Spanish Vocal 78rpm records

Historical Reissue Classical CDs, LPs,
78s, Related Books & Ephemera

Since 1972



Auction Number 149 ­- AUCTION Closing Date: Monday, 21 May, 2018



Regarding AUCTION #149 (Closing Date: Monday, 21 May, 2018), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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Section IV - Spanish Vocal 78rpm records Nos. V0451 - V0591

V0451. ICILIO CALLEJA: PAGLIACCI – No, pagliaccio non son / ISABEAU – Canzone del Falco (Mascagni). 10” buff Col. S 59 (41922/25), POM-1913. M-A, a spectacular copy! MB 25

V0452. ICILIO CALLEJA: GERMANIA – Studenti udite / No, non chiuder gli occhi vaghi (Franchetti). 10” buff Col. S 57 (41915/18), POM-1913. A to M-A, superb copy has, beg. Sd.1, infinitesimal scr, positively inaud. MB 25

V0453. ICILIO CALLEJA: ANDREA CHÉNIER – Improvviso / Come un bel dì di maggio. 10” pale green Col. E2383 (41917/19), POM-1913. M-A, spectacular copy has, Sd.1 only, faintest tiny rub, inaud. MB 25

V0454. ICILIO CALLEJA: OTELLO - Ora e per sempre addio / GIUSEPPE TRICARIO: Niun mi tema. 10” pale green Col. E2150 (41916/41768), POM-1913. A-, fine copy has lt.grey on peaks, inaud.; Sd.1 only, has hint of grey on peaks. MB 20

“Icilio Calleja became the second tenor after Tamagno to sing the demanding role [of Otello] at La Scala, after he was auditioned and subsequently chosen by a La Scala Commission chaired by Arrigo Boito and Tullio Serafin, much to the consternation of other Italian tenors who felt they were being discriminated against to favour a ‘foreign' singer! The Commission set up for the specific purpose of organising these festivities decided on a production of OTELLO which had not been staged there for 26 years since Francesco Tamagno had created this role. After holding a number of auditons, both Arrigo Boito and Tullio Serafin were decided on the best choice for the title-role which fell on Icilio Calleja. Letters in the press complained that the special occasion called for a choice of an Italian tenor rather than a foreigner. Tullio Serafin kept firm and reiterated that the Commission opted for the best interpreter and in the circumstances the Commission's decision was final. In order to portray as faithfully as possible the role of Otello, Calleja had made an in-depth study of the effects of convulsions, jerking and facial congestion…by a fit of epilepsy. He would then put them to good use in Act III when the Moor is overcome by his rage and emotion and falls in a swoon. ADRIATICO of 24 November, 1913, reported that Boito felt duty bound to visit Calleja in his dressing room to congratulate him for his excellent portrayal which he rated as the finest since Tamagno.”
- Emy Scicluna, GRANDI TENORI


V0455. LA ARGENTINA: Cordoba; La Corrida (both Valverde); Danza #5 - Andaluza (Granados); Cordoba (Albéniz); Valenciana (Colorado); Lagarterana (Guerrero); Jota Aragonesa; Malagueña, 8s. 4-10” dark-green French Odéon 166.075/78 (Be6402/09), POM-1935, in Orig. Gramophone Shop Album #48. M-A, choice copies; Malagueña only has faint rubs, inaud. MB 45, the Set.

“Antonia Mercé y Luque (September 4, 1890 – July 18, 1936), stage name ‘La Argentina’, was an Argentine-born Spanish dancer known for her creation of the neoclassical style of Spanish dance as a theatrical art, and was the most celebrated Spanish dancer of the early 20th century. Her intensive musical and theatrical collaborations with members of the Spanish vanguard - Manuel de Falla, Frederico García Lorca, Enrique Granados, Néstor de la Torre, Joaquín Nín, and with renowned Andalusian Gypsy dancers - reflect her importance as an artistic symbol for contemporary Spain and its cultural history. When she died in 1936, newspapers around the world mourned the passing of the 'Flamenco Pavlova'. Argentina was also the first to inaugurate the recital format, performing her own choreography for concerts in which she was alone on stage, accompanied simply by a pianist, and occasionally by a guitarist."
- Ninotchka Bennahum


V0456. LA NIÑA DE LINARES (Petra Garcia Espinosa), w.Manolo el de Badajoz (Guitar): Que la manden a decir / Santa Maria. 10” dark-blue Parlophone 22.864. A-, very fine copy has light rubs, inaud. MB 12

V0457. LA NIÑA DE LINARES (Petra Garcia Espinosa), w.Manolo el de Badajoz (Guitar): Me quitaron la alegria / Un corazon que te adore. 10” dark-blue Parlophone 22.866. A-, very fine copy has light rubs, inaud. MB 12

“The cantaora La Niña de Linares (Petra Garcia Espinosa), best known in the history of flamenco singing with the stage name of LA NIÑA DE LINARES, was born in Linares in 1911. She triumphed in Madrid and became an important figure in the Flamenco Opera of that time. In the early thirties she settled in Barcelona.”
- El Museo del Fandango


V0458. SÉLICA PÉREZ CARPIO: EL PERRO CHICO – El pay-pay (Alvarez & Serrano) / EL MESON DE LA FLORIDA – Chantilly (Tirado & Ponte). [Sélica Pérez Carpio is best-known for having been the creatrice of the title role in LUISA FERNANDA, 26 March, 1932, Teatro Calderon, Madrid.] 10” green Viva-Tonal Col. 4576-X (K2196/93), POM-c.1928. A-, lovely copy has faint rubs & few superficial scrs, inaud. MB 10

V0459. ELVIRA LÓPEZ MUÑOZ, w. Francisco Alonso Cond.: LA CALESERA - Los chisperos / ELVIRA LÓPEZ MUÑOZ& ANTONIO PALACIOS: Críspulo se ha casado ayer con Nicanora (Cond. by the Composer). 10” olive-green Gramófono AE 1453 (2-263520 /2-264063), POM-1927. B, decent copy has rubs & very few lt. scrs, yet plays beautifully. MB 12

V0460. AMALIA MOLINA: El vendedor malagueño de Boquerones (Noir) / SEBASTIÁN MUÑOZ BEIGVEDER ‘El Pena’: Asturianas flamencas. 10” black V 67120 (2896y/18ab), POM-1920/’08, resp. A/A-, excellent copy has, Sd.2 only, faint rubs, inaud. MB 12

“AMALIA MOLINA was a popular Spanish tonadillera and dancer who debuted in Madrid at the age of 17. Her career took her to Latin America and even Broadway. In Paris she premiered in the opera, GOYESCAS. She starred in the 1926 film, MALVALOCA. SEBASTIÁN MUÑOZ BEIGVEDER was a flamenco singer of payo origin who was known as El Pena Padre. Like many other great singers of the time, he began to sing in the cafés of the singers, and then toured throughout Spain and even Morocco. He dominated various flamenco styles to which the sweetness of his voice and his mastery gave new dimensions. He gave the malagueñas Cuban influences acquired during his military service, these cantes were therefore called Cantes Ida y Vuelta.”
- historiasdeflamenco.com


V0461. CONCHITA VELÁSQUEZ, w.Ernesto Halffter Cond.Orquesta Bética de Cámera, Seville: EL AMOR BRUJO - Danza ritual del fuego; Escena y Canción del fuego fatuo / ERNESTO HALFFTER Cond.: Pantomima (de Falla). 10” dark-blue PW Regal LK 4003 (K1803/1814), POM-1930. M-A MB 12

“EL AMOR BRUJO is given a magical performance by Orquesta Betica de Camara de Sevilla directed by Ernesto Halffter. The gusty-voiced soprano Conchita Velásquez lends the performance a wild elation in the celebrated ‘Danza del Juego del Amor’. Conchita Velásquez made her debut in 1925 at the Teatro Liceo in Barcelona and sang there during the following years roles like Carmen, Amneris, Azucena, & Leonora in Donizetti's LA FAVORITA. Guest performances in Madrid, Lisbon and in other Spanish towns let her name become known. In 1929 she went to Italy, where she appeared in Ancona, Bologna, Ravenna and Cremona. At the Rome Opera House she sang the title role in CARMEN. In 1937 she sang for a season at the Teatro Colón in Buenos Aires. In 1937 she gave guest performances in Germany at the Municipal Theatres of Bremen and Augsburg.”
- Ashot Arkelyan


0462. LA GOYA: Tirana del Tripili (Chapí). 10” dark-green Disco Gramophone 263104 (2850y), POM-3 May, 1912. M-A MB 12

V0463. LA GOYA: Balancé (Canción Portuguesa). 10” V 64349 (2852y), POM-3 May, 1912, Never listed in a North American Victor catalogue. A to M-A MB 12

V0464. LA GOYA: Serenata de Pierrot (Mediavilla). 10” Vla 64704 (s19523u), POM-30 Oct., 1916, Never listed in a North American Victor catalogue. A to M-A MB 12

V0465. LA GOYA: La Cigarrona (Valverde). 10” V 64395 (17560u), POM-28 Jan., 1913, Never listed in a North American Victor catalogue. A to M-A, lovely copy has one tiny scr, momentarily faintly audible. MB 10

V0466. LA GOYA: Cara Morena (Faixá). 10” V 64508 (17706u), POM-8 March, 1913, Never listed in a North American Victor catalogue. M-A MB 12

V0467. LA GOYA: Tápame, tápame (Yust) / La Zagala (Faixá). 10” blue V 45225 (17561/17711u), POM-28 Jan. / 9 March, 1913, Never listed in a North American Victor catalogue. A to M-A, lovely copy has wee label stickers. MB 12

V0468. LA GOYA: Esencia chula (Zamacois). 10” V 64678 (19511u), POM-27 Oct., 1916, Never listed in a North American Victor catalogue. A to M-A MB 12

V0469. LA GOYA: Chulapa soy (Larruga). 10” V 64701 (19510u), POM-27 Oct., 1916, Never listed in a North American Victor catalogue. A to M-A, lovely copy has wee label sticker. MB 12

V0470. LA GOYA: El dale dale (Alonso). 10” V 64702 (19517u), POM-28 Oct., 1916, Never listed in a North American Victor catalogue. M-A, pristine copy has wee label sticker. MB 12

V0471. LA GOYA: Del Iris Bar (Abades). 10” V 64682 (19525u), POM-30 Oct., 1916, Never listed in a North American Victor catalogue. M-A, pristine copy has wee label sticker. MB 12

V0472. LA GOYA: LAS GOLONDRINAS – Canción del Acto I (Sierra). 10” V 64465 (18746u), POM-14 March, 1914, Never listed in a North American Victor catalogue. A to M-A MB 12

V0473. LA GOYA: EL REY QUE RABIó – Ay di mi (Chapí). 10” Vla 64569 (18996u), POM-16 Jan., 1915, Never listed in a North American Victor catalogue. M-A, pristine copy has wee label sticker. MB 12

“LA GOYA (Aurora Purificación Mañanós Jauffre) was a Spanish tonadillera , known by the stage name of La Goya. A celebrated canzonetista, her style was much imitated by other artists of the cuplé genre. La Goya debuted at the Trianón Palace in Madrid in 1911, the most prestigious coliseum in the city, thanks to Álvaro Retana , who gave her the stage name of the Goya, taking advantage of one of the revalorization periods of the Aragonese painter. She brought a personalized wardrobe for each performance, a practice that soon became fashionable among the other artists, thus justifying her nickname of ‘canzonetista transformista’. In 1912 she performed at the Teatro Lara , becoming the first performance of a canzonetista in the theater, and also managed to be a pioneer in the recording of cuplés. Her fame took her to Buenos Aires , which represented the culminating point for Spanish artists of the time. Her popularity flourished in such a way that the ‘Goya’ brand appeared for perfumes, liquors, fans, coffee and automobiles. She performed for the first time in the Gran Teatro del Liceo on December 10, 1912, at a festival for the benefit of the Association of the Daily Press. In South America, she evolved from the cuplé to other musical forms, such as tango, jazz and cinema. At her death, June 4, 1950, she left a huge heritage of a series of songs of great variety of genres and a style and attitude that have endured.”
- Wikipedia


V0474. MANUEL AUSENSI, w.Argenta Cond.: LA GRAN VIA – Vals del caballero de gracia (Federico Chueca & Joaquín Valverde) / LOS GAVILANES – Romanza (Guerrero). 10” dark-blue Eng. Decca F.40676, POM-1949-50. [Ausensi's debut was in 1946 at the Tivoli Theater, then sang at the Liceu for thirteen consecutive seasons.] M-A, appears unplayed; Sd.2 only has very faintest rubs, inaud. MB 12

V0475. MARCOS REDONDO: Mi vieja (Guerrero) / Los camagueyanos (Nieto). 12” brown & beige Barcleona Odeon M.77.310/311 (xxB 973/974), only form of issue, 1925. Elusive late AC era issue. A/A-, lovely copy has, Sd.2 only, very lt.rubs, positively inaud. MB 25

V0476. MARCOS REDONDO La danza (Rossini) / La linda tapada (Alonso). 12” brown & beige Barcleona Odeon M.77.308/309. (xxB 914/968-2), only form of issue, 1925. Elusive late AC era issue. A to A-, lovely copy has very lt.rubs, positively inaud. MB 25

V0477. MARCOS REDONDO, w.Godes Cond.: LA CARMAÑOLA – Donde estas, Luella? / Cancion de la Carmañola (Alonso). 10” brown Spanish Odeon 184.322 (SO 8136/8137), only form of issue, 1929. A to M-A, beautiful copy has very faintest rubs, positively inaud. MB 20

“An acknowledged world-class singer, Redondo possessed not only an exceptionally beautiful, strong and flexible baritone, but also something far harder to quantify: an air of tender humility. The great Tita Ruffo, hearing the young singer in Pagliacci, gave vent to a memorable epithet: ‘That voice is a first class ticket to glory’.”
- Christopher Weber, THE ZARZUELA COMPANION, p.310


V0478. MARIMÍ DEL POZO, w.Braithwaite Cond. Philharmonia Orch.: Carnevale di Venizia (Benedict) / LUCIA – Ardon gl’incensi. 12” plum HMV C.3967, only form of issue, 21 July, 1949. M-A, as Unplayed! MB 15

V0479. MARIMÍ DEL POZO, w.Fistoulari Cond. Philharmonia Orch.: DON PASQUALE – Quel guardo, il cavaliere / LA SONNAMBULA – Ah! non credea mirarti. 12” plum HMV C.4237, only form of issue, 4 Oct., 1950. M-A, choice copy has, Sd.2 only faintest rub, positively inaud. MB 15

“In 1945 del Pozo’s debut was at the Teatro de la Zarzuela, accompanied by the veteran tenor Hipólito Lázaro and the baritone Pablo Vidal. She was soon offered a contract for a series of performances in Seville, and in 1947 he returned triumphantly to Madrid with LUCIA DE LAMMEMOOR, perhaps his best work. That same year she made her debut at the Teatro del Liceo in Barcelona in LA SONNÁMBULA, with Pasero and Giuseppe di Stéfano.”
- Zillah Dorset Akron


V0480. MARGARIDA, Cantadeira de Paredes: Rabella do douro / Verdegar. 10” dark-blue Eng. Col. J 853 (P318/320). M-A MB 12

V0481. FRANCESCO VIÑAS: Donna Clara (Gastaldon) / Maria (Guetary). 10½” Milano Fonotipia 39137/39794 (XPh 163/2091). A to M-A / A-, beautiful copy has, Sd.2 only, very faintest rubs, positively inaud. MB 95

V0482. FRANCESCO VIÑAS: Mi Niña (Guetary) / La Partida (Mandeno). 10½” Milano Fonotipia 39122/23 (XPh 164/65). A-/M-A, beautiful copy has, Sd.1 only, lt. grey on peaks, positively inaud. MB 65

V0483. FRANCESCO VIÑAS: LE PROPHÊTE - Sopra Berta / LOHENGRIN - Cigno fedel. 10½” Columbia-Fonotipia 39805/06 (XPh 2102/2104). A-, beautiful copy has very faintest rubs & hint of grey on peaks, inaud. MB 65

V0484. FRANCESCO VIÑAS: AÏDA – Celeste Aïda / L’AFRICANA – O paradiso! (1905 Versions). 10½” US-Fonotipia 39136/34 (XPh 161/170). A-, beautiful copy has very faintest rubs & barely a hint of grey on peaks, inaud. MB 65

V0485. FRANCESCO VIÑAS: AÏDA – Celeste Aïda / L’AFRICANA – O paradiso! (1908 Versions). 10½” Milano Fonotipia 92344/45 (XPh 3624/26). A-, fine copy has very faintest rubs & lt. grey on peaks, inaud. MB 65

V0486. FRANCESCO VIÑAS: DIE WALKÜRE – Winterstürme (in Italian) / OTELLO – Ora e per sempre addio. 10½” Milano Fonotipia 92351/50 (XPh 3629/39). A-, fine copy has very faintest rubs & various tiny ‘pimples’, inaud.; Sd.1 only has infinitessimal scr, inaud. & hardly worth mention. MB 65

V0487. FRANCESCO VIÑAS: LOHENGRIN: Mein lieber Schwan! (Second part only) (in Italian). 12” black Milano G & T 052005 (Con527), only form of issue, 1903. A-, lovely copy has very lt.rubs, inaud.; hint of grey on peaks only momentarily audible; faint ‘heat’ mk, of absolutely no consequence; uncommonly bright label. MB 125

“One of Viñas greatest records, even better than the later Fonotipia, is the G & T ‘S’ei torna alfi’ (above) in which he makes a lovely contrast between the fortissimo of ‘l’acciar gli accorderà’ and the haunting piano of the succeeding phrase, ‘Ma se all’anello volgerà il suo sguardo’. He sings particularly slowly in this record, which might serve as a model for the execution of upward and downward portamento. There are some very long phrases but the voice floats on the breath with ineffable serenity throughout this profoundly eloquent performance. The grand style, indeed.
- Michael Aspinall, Marston Records


V0488. FRANCESCO VIÑAS: LOHENGRIN – Atmest du nicht (1906 Version) (in Italian) / LUCREZIA BORGIA – Di pescatore ignobile. 10½” Milano Fonotipia 39853/44 (XPh 2080/2643). A-, beautiful copy has faint rubs, inaud. MB 65

V0489. FRANCESCO VIÑAS: LOHENGRIN – Atmest du nicht / Höchtes Vertrau’n (1908 Versions) (in Italian). 10½” Milano Fonotipia 92340/41 (XPh 3618/19). A-, beautiful copy has very faintest rubs & hint of grey on peaks, inaud. MB 65

V0490. FRANCESCO VIÑAS: DIE MEISTERSINGER – Preislied / LOHENGRIN – In fernem Land (1908 Versions) (both in Italian). 12“ Milano Fonotipia 74123/24 (xxPh 3646/20). (Numbered Copy #55). A to M-A, beautiful copy has very faintest rubs & hint of grey on peaks, positively inaud. MB 75

V0491. FRANCESCO VIÑAS: DIE MEISTERSINGER – Preislied / LOHENGRIN – In fernem Land (1906 Versions) (both in Italian). 12“ Milano Fonotipia 74020/19 (xxPh 2093/92). A to M-A, beautiful copy has very faintest rubs, positively inaud. MB 95

V0492. FRANCESCO VIÑAS: L'AFRICAINE - O Paradis! (in Italian) / AÏDA - Celeste Aïda. 12” brown Parl.-Odeon PO 110 (XPh 170/161), POM-1905. A to M-A, beautiful copy has very faintest rubs, positively inaud. MB 20

V0493. FRANCESCO VIÑAS & ESTER MAZZOLENI: AIDA – Pur ti riveggo / Fuggiam gli ardori. 12“ Milano Fonotipia 74117/18 (xxPh 3637/38), (Numbered Copy #95). A to M-A, beautiful copy has very faintest rubs & hint of grey on peaks, positively inaud. MB 75

“Perhaps no better example of ideal voice production could be found for a young singer to emulate than Francisco Viñas; the voice we hear on the records is of a purity rivaled - but not surpassed - only by Caruso. The voice is perfectly free of the throat, easy and natural in emission, and, like Caruso or Gigli, does not have any very obvious vibrato: an example of how a voice should be firm and steady without being ‘fixed’ in the way Latin ears find so detestable. It is a voice of silver, perhaps, rather than of gold, with the clarion ring of a Bach trumpet on the high notes…..Like all the greatest names in singing, Viñas has an individual timbre and style that stamp him as a distinctive and recognizable musical personality. His wonderfully clear and pellucid diction has limpid consonants and rounded, equalized vowels....

There are not many singers whose entire recorded output I long to hear, but Viñas is one of them: after at long last having had the opportunity to hear all his records, I find that they are all good, and quite a lot of them I shall want to hear again and again. Apart from the beauty of tone and the flawless legato, his singing is distinguished by a high sense of artistic endeavor. In the records of Viñas we hear a bright, open, silvery tone similar to that of other Spanish tenors such as Valero and Constantino and, we believe, also typical of the way Italian lyric tenors sang before the age of Caruso - Marconi is somewhat similar in his more lyrical moments, while Signoretti has something of the declamatory brilliance of Viñas.

Viñas is a master of the legato style, tends to sing deliberately with grandly sweeping portamento, savoring the melody and the words and, especially at the fermate and at significant closes, he likes to introduce long-held and gracefully diminished notes; he also embellishes the vocal line occasionally with affectionate mordents. The extraordinary beauty and eloquence of his singing must surely make his records among the most important, stylistically and historically, among all documents of 19th-century Wagnerian performance practice.

…the main importance of Viñas’ recorded legacy lies in the records from LOHENGRIN, in which he was always highly regarded. These lovely and thrilling records will repay close study with the score in hand, and I do hope that young singers will be able to hear them."
- Michael Aspinall, Marston Records


V0494. TOMÁS ALCAIDE: MIGNON – Adieu, Mignon, courage / El ne croyait pas (in Italian). 10” black Viva-Tonal Col. 2447-D, POM-6 Oct., 1930. M-A, a spectacular copy! MB 10

V0495. TOMÁS ALCAIDE: LA FAVORITA - Spirto gentil / LES PÊCHEURS DE PERLES - Je crois entendre (in Italian). 12” Eng. Col. LX 108, POM-10 Oct., 1930. M-A MB 10

“Tomas de Aquino Carmelo Alcaide was a Portuguese tenor who debuted on December 5, 1925, in MIGNON. He was subsequently selected for the world premiere of Felice Lattuada’s LE PREZIOSE RIDICOLE at Teatro alla Scala, 9 February 1929. He remained active in Europe and America until retiring in 1948. That year he returned to Portugal, collaborating with Companhia Portuguesa de Ópera. He wrote his autobiography A CANTOR ON THE STAGE AND IN LIFE (1961).”
- Wikipedia


V0496. RAMÓN BLANCHART: Las Golondrinas / A Granada (both Alvarez). 12” buff Col. S 5001 (30451/30456), POM-13 / 14 April, 1910. M-A, beautiful copy has very faintest rubs, inaud.; Sd.2 label affixed both sides. MB 8

V0497. RAMÓN BLANCHART: Cuba Hermosa (de Fuentes) / Pesares (Alvarez). 10” buff Col. S 8 (19285/19292), POM-5 / 11 April, 1911. M-A, pristine copy has fantest pap.scr, Sd.1, positively inaud. MB 12

V0498. RAMÓN BLANCHART: A una Morena / Anyoransa (both Alvarez). 10” buff Col. S 6 (19287/19288), POM-5 / 6 April, 1911. M-A, beautiful copy has very faintest rubs, inaud. MB 12

V0499. RAMÓN BLANCHART: Salida de Campanone (Mazza) / RAMÓN BLANCHART & Mme. de la ROCHE: DIE LUSTIGE WITWE – Lippen schweigen (Act III Waltz Duet) (in Spanish). 10” buff Col. S 4 (19305/19299), POM-20 / 17 April, 1911. A-, lovely copy has faint rubs, inaud. MB 12

V0500. RAMÓN BLANCHART: La Mantilla / Mi Patria (both Alvarez). 10” buff Col. S 7 (19286/19293), POM-5 April / 11 Feb., 1911. M-A, beautiful copy has very faintest rubs, inaud.; Sd.2 only has tiny lam, very faintly audible. MB 12

V0501. RAMÓN BLANCHART: El Canto des Presidiario (Alvarez) / RAMÓN BLANCHART & EMILIA VERGERI (label suggests Mme. de la ROCHE): PEPE GALLARDO – Duo de Remedios y Pepe (Chapí). 10” buff Col. S 5 (19290/19307), POM-6 / 20 April, 1911. A-, lovely copy has faint rubs, inaud. MB 12

V0502. RAMÓN BLANCHART: PAGLIACCI – Prologo / RIGOLETTO – Pari siamo. 12” buff Col. S 5037 (30424/30450), POM-11 / 14 April, 1910. M-A MB 8

V0503. RAMÓN BLANCHART: OTELLO - Credo / IL TROVATORE – Il balen. 12” buff Col. S 5039 (30433/30457), POM-11 / 21 April, 1910. M-A MB 8

V0504. RAMÓN BLANCHART & JOSÉ MARDONES: I PURITANI - Suoni la tromba / RAMÓN BLANCHART & FLORENCIO CONSTANTINO: FORZA - Solenne in quest’ora. 12” Tri-Color Col. H1026 (30409/30419), POM-8 / 9 April, 1910. A to M-A, beautiful copy has faint rubs, inaud. MB 8

V0505. RAMÓN BLANCHART: BALLO – Eri tu / LA TRAVIATA – Di Provenza il mar. 12” Tri-Color Col. H1045 (30431/30441), POM-11 / 15 April, 1910. M-A, beautiful copy has very faintest rubs, inaud. MB 8

V0506. RAMÓN BLANCHART: LA GIOCONDA – Pescator, affonda l’esca / Boston Opera Co. Male Chorus: FAUST – Deposons les armes (in Italian). 12” Tri-Color Col. A5176 (30413/30412), POM-11 April, 1910. M-A MB 8

V0507. ANDRÉS PERELLÓ DE SEGUROLA: Clavelitos (Valverde) / Un adios a Mariquina – Cancion gallega (I. C. Chane). 10” buff Col. S 16 (21589/21588), POM-1912. A to M-A, beautiful copy has very faint rubs, inaud. MB 12

V0508. ANDRÉS PERELLÓ DE SEGUROLA: LA FAVORITA – Splendon più belle. 10” black GP V 52450 (9073b), POM-1906. A to M-A MB 8

V0509. ANDRÉS PERELLÓ DE SEGUROLA: FAUST – Vous qui faites l’endormie / ANDRÉS PERELLÓ de SEGUROLA & BERNICE de PASQUALI: MIGNON - Légères hirondelles (in Italian). 10” Tri-Color Col. A1215 (19857/19876), only form of issue, 17 / 30 April, 1912. M-A MB 6

V0510. ANDRÉS PERELLÓ DE SEGUROLA: MIGNON – De son coeur j’ai calmé / GAUDIO MANSUETO: Fugutif et tremblant (both in Italian). 12” Pat.’08 blue V 55004, POM-1907. M-A, a spectacular copy! MB 12

V0511. ANDRÉS PERELLÓ DE SEGUROLA: LA BOHEME – Vecchia zimarra / de SEGUROLA & BERNICE de PASQUALI: LES CONTES D’HOFFMANN - Barcarolle (in Italian). 10” Tri-Color Col. A1214 (19858/19860), only form of issue, 17 / 19 April, 1912. A to M-A, fine copy has, Sd.2 only sev.superficial scrs, inaud. MB 6

V0512. ANDRÉS PERELLÓ DE SEGUROLA: ERNANI – Infelice, e tuo credevi / ALICE NIELSEN: FAUST – Le Roi de Thulé. 12” Tri-Color Col. H1070 (36375/30587), POM-1912 / 1910. A to M-A, superb copy has, Sd.2 only, sev. wee lams, inaud. MB 8

“Andrés de Segurola was invited to the Met in 1902 by Maurice Grau where he appeared in two performances of AIDA. The following season he was engaged at La Scala. His career continued in Europe, then in 1907 at the Boston Opera House. In 1908 he was booked by Hammerstein to appear at the Manhattan Opera House. There he sang a particularly memorable Basilio in a cast that included Tetrazzini, Sammarco, and Gilibert. In 1909 he returned to the Met and was to remain a member of the company for the next eleven years. He sang Basilio, Méphistophélès, Rodolfo in SONNAMBULA, Colline, and Alvise. He created Jake Wallace in the world premiere of Puccini’s LA FANCIULLA DEL WEST (10 Dec., 1910), and Nicolao in GIANNI SCHICCHI (14 Dec., 1918), Victor Herbert’s MADELEINE (24 Jan., 1914) & Giordano’s MADAME SANS-GÊNE (25 Jan., 1915), as well as appearing in 1912 in the American première of Wolf-Ferrari’s LE DONNE CURIOSE, in 1913 in BORIS GODUNOV (as Varlaam), in 1918 in the American première of Mascagni’s LODOLETTA and in 1917 in Henri Rabaud’s MAROUF. Gradually competition from other bassos, chiefly Léon Rothier and Adamo Didur, reduced him to comprimario roles such as Lodovico in OTELLO and Sparafucile in RIGOLETTO. After he left the Met, he continued to give concerts.”
- Ward Marston, THE EDISON LEGACY, Vol. II


V0513. CARLOS RAMÍREZ, w.Levey Cond.: Nostalgias (Cobián) / Díme que sí (Oteo). 12” V 13595, only form of issue, 11 Feb., 1941. M-A MB 10

V0514. CARLOS RAMÍREZ, w.Cibelli Cond.: Rica pulpa (Grenet) / Para qué recordar (Grever). 10” V 10-1090, POM-16 Feb., 1942. A to M-A MB 8

V0515. CARLOS RAMÍREZ, w.George Stoll Cond. MGM Orch.: LATIN LOVERS - A little more of your amor / I had to kiss you (both Robin). 10" heavy vinyl M-G-M 30836, DJ pressing, only form of issue, 17 Nov., 1953. Most Elusive! M-A MB 12

V0516. CARLOS RAMÍREZ, w.Arnau Cond.: Belén (Grenel) / Un poquito de tu amor (Gutierrez). 10" heavy vinyl SMC 2513, only form of issue, recorded in Cuba, 1948. A-, very decent copy has lt.rubs & very lt.superficial scrs, inaud. MB 8

V0517. CARLOS RAMÍREZ, w.Arnau Cond.: Granada (Lara) / Begin the beguine (Cole Porter). 10" heavy vinyl SMC 2512, only form of issue, recorded in Cuba, 1948. A-, excellent copy has lt.rubs, inaud. MB 8

“Carlos Julio Ramírez is one of the most important Colombian singers of all time. His debut took place in 1928 in the radio station ‘La Voz de la Victor’, one of the first radio stations established in Colombia where he met Maestro Efraín Orozco who asked him to be in his orchestra so he could begin a long prolonged South American tour. While in Buenos Aires, Argentina, a very important couple of the musical world met Carlos: André Kostelanetz and his wife Lily Pons. He acted in several movies being mostly remembered in the famous 1945 picture ‘Bathing Beauty’ where he worked together with Esther Williams. He died in Miami on December 12, 1986”
- Edubarca46


V0518. PEDRO VARGAS: The Lord’s Prayer (Malotte) / Ave Maria (Schubert) (both in Spanish). 10” plum HMV JG 146, POM-1950. M-A, as Unplayed! MB 8

“Pedro Vargas, who was known as ‘the tenor of the Americas’ during a career that lasted more than 60 years, sang many times in the United States - at Carnegie Hall, Madison Square Garden, the White House, etc.. His first break was in 1928 when he was selected to sing the role of Turiddu in CAVALLERIA RUSTICANA. The performance led to a tour of the United States. Mr. Vargas then turned to popular ballads, eventually reaching an audience of millions in Latin America, the United States, Europe and Asia.”
- THE NEW YORK TIMES, 31 Oct., 1989


V0519. TINO FOLGAR, w.Sabajno Cond. La Scala Ensemble: RIGOLETTO – Ella mi fu rapita; Parmi veder le lagrime / TINO FOLGAR, LUIGI PIAZZA, NESSI, etc.: Questa o quella. 12” V 12792, POM-1927, from Complete Set. M-A MB 8

V0520. TINO FOLGAR: LOS DE ARAGON – Aguita que corre al mar / Los de Aragon (Serrano). 12” Orth V 9692, POM-1928. M-A, glorious copy has, Sd. 1 only,infinitessimal rub, inaud. Most Elusive! MB 35

V0521. TINO FOLGAR: ALMA DE DIOS – Canto Hungaro (Serrano) / GIGANTES Y CABEZUDOS – Coro de Repatriados (Caballero). 12” Argentinian Orth V 9694, POM-1928. A-, fine copy has faint rubs, inaud.; Sd. 1 only has contemporaneous Buenos Aires label sticker. Most Elusive! MB 20

V0522. FOLGAR: LA PICARA MOLINARA – Romanza de Joan Colás / EMILIO SAGI-BARBA: Cancion de Pinta (Asenjo & Luna). 10” black Orth V 30817, POM-1928. B, decent copy w.rubs & lt.grey on peaks; label sticker, Sd.2. Elusive! MB 12

"Juventino Folgar Ascaso in Barcelona made his stage debut at the Liceu as Rodolfo in LA BOHEME, in 1922. He made his debut in Italy in Acqui Terme, as Almaviva in IL BARBIERE DI SIVIGLIA, in 1925. He went on appearing in Genoa, Turin, Cremona, and scored a triumph at the Teatro Adriano in Rome, as Lindoro in L'ITALIANA IN ALGERI, opposite Conchita Supervia, in 1926. He is partly responsible for the Rossini renaissance, alongside Supervia. From 1929, he appeared mainly in Spain, singing in zarzuela and operetta. In 1932, he went to London, on tour with a zarzuela-ensemble. He then sang mostly in concert and on radio, he also appeared in a feature film LA CANCION DEL DIA. A stylish and refined artist, Folgar possessed a rather small but attractive voice [heard in] his 1927 recording of the Duke of Mantua in a complete RIGOLETTO [V0519] with Pagliughi, Piazza & Baccaloni.”
- Ashot Arakelyan


V0523. ELSIE HOUSTON: Santo San Juanito (Ecuador); From yon mountain verdant (Peru); Tutú Marambá (Brazilian) / WALTER PRESTON: La cuisinière (French Canadian); WALTER PRESTON & MARGARET DAUM: The turtle dove (English); Mixed Quartet: Boule’s Ball (French Canadian). 10” black PW V 27280, POM-c.1940, from rare Victor Set ‘Singing America’. [‘Santo San Juanito’ alone is worth the price of this disc!] M-A, wee label tear, Sd.2. MB 15

V0524. ELSIE HOUSTON, w.Pablo Miguel (Pf.): 11 Brazilian Songs, 6s. 3-12” RCA 13667/69, POM-17 Jan., 1941, in Orig. Album M-798, w.Notes. M-A, as unplayed! MB 20, the Set.

"The [above] recording does justice to Miss Houston's wholly delightful and searching interpretations."
- Howard Taubman, THE NEW YORK TIMES, 1941


V0525. ELSIE HOUSTON, w.José Garcia (Bongo Drum): Jongo (Brazilian) / w.Augusto Mesquita (Guitar) & Antonio Silva (Violao): Fado (Portugese). 10" PW Liberty Music Shop L 232, only form of issue, 1938. M-A, a beautiful copy. [Sd.2 is exquisitely haunting and lovely! Most Elusive!] MB 25

V0526. ELSIE HOUSTON, w.Cy Walter (Pf.): Mon Ami (Herpin) / The Cherry Tree (in English) (Barlow). 10" PW Liberty Music Shop L 263, only form of issue, 1938. M-A, beautiful copy has minor ‘heat’ mark on edges, positively inaud.; Sd.1 only has 3 minuscule scrs, also inaud. Most Elusive! MB 25

“Houston’s voice is usually described as a soprano, but that was only one of the many voices she used to capture the color of Brazilian music. There was the guttural voice she used to create the incantation in ‘Jongo’, the magic spell of Makumba. In her performances of the song, the lights were dimmed to nothing and in the dark, illuminated only by candles, she would play a drum while she chanted….Sometimes she would use her voice like a percussive instrument, usually in music that was driving and syncopated, typical of Afro-Brazilian rhythms. In this music we can hear her extraordinary rhythmic sense. But then, in the most intimate moments, she became a French diseuse (monologist), as she whispered ‘Mon ami!’….Houston sings with abandon, impetuous, and with such conviction and authority that one could not imagine anyone singing these folksongs better than this….No one would have thought this was a voice of an operatically trained singer.

Houston made a series of recordings for New York’s Liberty Music Shop, only four of which were issued….the group provides a glimpse of the variety of her art, ranging from ‘Jongo’ and ‘Xango’….The three French songs have their moments. ‘Mon ami’, based on a simple scale, starts with casual insouciance, but as the scale rises the diseuse becomes more and more tormented until, at the last note, the performer is almost in tears because of her ‘ami’….Her recording of ‘Fado’ (Fate) is so despairing, as if it were the summing up of her life….[In 1943] she took her own life with an overdose of sleeping pills….There is enormous irony to her sad end, for had she delayed just a little, she would have received a check from Mrs. Bliss, the wealthy arts patron who lived in Dumbarton Oaks in Georgetown, where Houston had sung. Perhaps we will never know details…but what matters is that the world lost a great and unique artist.
- Ed Blickstein with Gregor Benko, Marston Records


V0527. ELSIE HOUSTON, w.Mme Villa-Lobos (Pf.): SERESTAS – Realejo; Estrella do céo / Desejo; Na paz do outomno (Villa-Lobos). 10” black Disque Gram. P-760, only form of issue, 20 June, 1928. Companion disc to # V0528, Abreu. M-A, a gleaming copy. MB 45

V0528. ANDINO ABREU, w.Mme Villa-Lobos (Pf.): SERESTAS – Cancão do Carreiro / POEMAS INDIGENAS – Canide youne sabath; Xangô (Chant africain) (all Villa-Lobos). 10” black Disque Gram. P-761, only form of issue, 20 June, 1928. M-A, a gleaming copy. Companion disc to # V0527, Elsie Houston (also acc. by Mme Villa-Lobos). Abreu’s sole recordings. MB 25

V0529. JOSÉ MOJICA: Que queras que yo li haga (Padilla) / LA SULTANA – Serenata oriental (Fraga). 10” Orth Vla 1368, POM-18 / 19 Sept., 1928. . M-A, beautiful copy has minuscule hlc, inaud. MB 8

V0530. JOSÉ MOJICA: MI ULTIMA AMOR – Dame tu mano / Mi ultima amor (both Sung by the Composer). 10” Brazilian Orth Vla 1561, POM-8 April, 1932. A-, excellent copy has hint of grey on peaks; Sd.2 only has faintest rubs & ‘damp’ spots, inaud. Most Elusive! MB 25

V0531. JOSÉ MOJICA: En donde estas? (Sanders) / Alguna vez (Stamper). 10” PW Argentinian V 4238, POM-6 / 10 June,1930. A-, fine copy has lt.rubs, inaud.; Sd.2 only has very few very lt.scrs, also inaud. MB 12

V0532. JOSÉ MOJICA: Cancion de la buenaventura (Lopez) / Cuando el amor te llama (Sung by the Composer). 10” PW V Mojica Picture Record 17-5000, POM-8 Feb., 1933. M-A, choice copy has, Sd.1 only, 2 microscopic paper scrs, barely visible & inaud. Exceedingly Rare! MB 150

"Mexican tenor José Mojica is simply one of the most sumptuous, stylishly deployed tenor voices in history.
- David Patrick Stearns


V0533. JOSÉ MOJICA: En donde estas? (Sanders) / Alguna vez (Stamper). 10” Disque Gram. DA 1166, POM-6 / 10 June,1930. M-A, choice copy of beautiful PW French pressing. MB 15

V0534. JOSÉ MOJICA: María la o (Lecuona) / Hojas muertas – Añoranza (Maduro). 10” Scroll V 4240, POM-11 April, 1932. M-A, as Unplayed! MB 20

V0535. JOSÉ MOJICA: Libre soy (Kernell) / Un beso loco (sung in English by the Composer). 10” Brazilian RCA 4239, RCA transcription, 6 / 10 June, 1930. M-A, choice copy of choice pressing w.beveled edges appears unplayed. MB 20

V0536. JOSÉ MOJICA: Dime (Curiel) / A tus pies (Lara). 10” Brazilian RCA 4242, POM-11 / 18 April,1932. M-A, choice copy has contemporaneous Brazilian label sticker, Sd.1. MB 15

V0537. JOSÉ MOJICA: Recuerdas? (Sung by the Composer) / Gratia plena (Talavera). 10” Chilean RCA 4278, POM-7 Sept., 1934, Hollywood / 22 Sept., 1927, Camden. A-, lovely copy has lt.rubs, inaud.; contemporaneous Chilean label sticker, Sd.2. Most Elusive! MB 15

V0538. JOSÉ MOJICA: Gitana (Serenata española) (del Moral) / Júarme (Grever). 10” Orth Vla 1324, POM-21 / 22 Sept., 1927. Never listed in a pre-1931 U.S. catalogue. M-A, lovely copy has faintest rubs, inaud. MB 15

V0539. JOSÉ MOJICA: Viejos conventos (Talavera) / Un amor que se va - Criolla (de Fuentes). 10” Orth Vla 1357, POM-18 / 19 Sept., 1928. Never listed in a pre-1931 U.S. catalogue. M-A, lovely copy has faintest rubs, inaud. MB 15

V0540. JOSÉ MOJICA: ONE MAD KISS – One mad kiss / Oh! where are you? (both sung in English by the Composer). 10” Orth Vla 1485, only form of issue, 1930. A-, lovely copy has faintest rubs, inaud.; Sd.2 only has 2 inaud. microscopic scrs. MB 15

V0541. JOSÉ MOJICA: LA MELODIA PROHIBIDA – Siempre / Pais ideal (both Akst). 10” Argentinian Orth Vla 4232, POM-18 March, 1933. A-, fine copy has considerable cosmetic rubs, inaud.; contemporaneous Buenos Aires label sticker, Sd.1. Most Elusive! MB 25

V0542. JOSÉ MOJICA: Viejos conventos (Talavera) / LA SULTANA – Serenata oriental (Fraga). 10” Brazilian RCA 886-0013, RCA transcription, 18 Sept., 1928. M-A, beautiful copy of choice pressing w.beveled edges. MB 20

V0543. JOSÉ MOJICA: Amores y amorios (del Moral) / LA CRUZ Y LA ESPADA - Gratia plena (Talavera). 10” Orth Vla 1297, POM-22 Sept., 1927. Never listed in a pre-1931 U.S. catalogue. M-A, choice copy has wee label smudge, Sd.2 only. MB 15

V0544. JOSÉ MOJICA: Pais azul (Sung by the Composer). 10” S/S white label Vla 1283-A, POM-21 Sept., 1927. M-A, virtually pristine copy has microscopic paper scr at edge, positively inaud. MB 12

V0545. JOSÉ MOJICA: Pais azul (Sung by the Composer) / Pasas por el abismo (del Moral). 10” Orth Vla 1283, POM-21 Sept., 1927. Never listed in a pre-1931 North American Victor catalogue. M-A, as Unplayed! MB 15

V0546. JOSÉ MOJICA: EL CABALLERO DE LA NOCHE – Es un ladron / Amame (both Sung by the Composer). 10” Disco Gramofono DA 1299, POM-5 Nov.,1932. M-A, superb copy has, Sd.2 only, tiny ec, far from grooves. MB 15

V0547. JOSÉ MOJICA: EL CABALLERO DE LA NOCHE – Miniatura / JOSÉ MOJICA & MARY SOLARES: Unidos por siempre (both Sung by the Composer). 10” Orth Vla 1608, POM-11 May, 1932. M-A, exceptional copy. MB 20

V0548. JOSÉ MOJICA: SNEGOROUTCHKA – Full of wonders [in impeccable English] (Rimsky-Korsakov). 12” S/S Special vinyl Pressing of Victor Mx CVE-42963-1 (released as 6892-B), POM-20 Sept., 1928. Remarkably quiet playing surface, far preferable to Mojica’s sole issued Victor disc. MINT MB 15

“José Mojica joined the Chicago Opera Company in 1919 and remained there until 1930, when he went into films, returning once more to Chicago to sing Fenton in FALSTAFF in 1940. His parts ranged from Pelléas, which he sang opposite Mary Garden, to Don Basilio in NOZZE. In 1921 he sang the Prince in the première of THE LOVE FOR THREE ORANGES, in which he scored a further success the following year in New York. On his mother's death in 1943 he gave up his career and became Father José Francisco de Guadaloupe , a Franciscan priest, working as a missionary in Peru. He undertook a concert tour of Central America to raise funds in 1954, and later wrote his autobiography, YO PECADOR [B0932]. His recordings show an attractive lyric voice used with skill and imagination.”
- J. B. Steane


V0549. MIGUEL FLETA: Amapola (Lacalle) / Bimba, non t’avvicinar (Bettinelli). 10” Vla 1073, Original 1925 Issue. MB 6

V0550. MIGUEL FLETA: Mi tierra (Media-Villa) / ¡Adiós trigueña! (Robles). 10” Vla 993, POM-14 / 9 Jan., 1924. M-A MB 6

V0551. MIGUEL FLETA, FLORENCE AUSTRAL & EDNA THORNTON: AÏDA - presago il cor; o terra addio – Tomb scene, 2s. 12” Vla 8063, POM-18 April, 1923. A to M-A, lovely copy has faintest rubs, inaud. MB 12

V0552. MIGUEL FLETA: Si fuera un aeroplane; Mañica si te dejaras / La calle Mayor de Jaca – Ya no la rondan chavales (all Jotas). 10” PW HMV DA 598, POM-5 April, 1924. Most uncommon issue, deleted very quickly at very end of AC era. M-A MB 15

V0553. MIGUEL FLETA: LOS GAVILANES – Flor Roja (Guerrero) / DOÑA FRANCISQITA – Mujer fatal (Vives). 12” Vla 6549, POM-15 / 16 April, 1925, Never listed in a North American Victor Catalog. M-A, superb copy of Fleta’s magical enchantment; [Sd.1 is truly a ‘Desert Island’ beauty!] MB 25

V0554. MIGUEL FLETA: DOÑA FRANCISQITA – Mujer fatal (Vives) / LOS GAVILANES – Flor Roja (Guerrero). 12” PW Czech HMV DB 850, POM-15 / 16 April, 1925. M-A, choice copy of this preferred Czech pressing. MB 25

V0555. MIGUEL FLETA: DOÑA FRANCISQITA – Mujer fatal (Vives) / LOS GAVILANES – Flor Roja (Guerrero). 12” Vla 6549, POM-15 / 16 April, 1925, Never listed in a North American Victor Catalog. M-A, superb copy of Fleta at his enchanting very best; [Sd.2 is another ‘Desert Island’ beauty!] MB 35

V0556. MIGUEL FLETA: Triste toque de oración (Nostalgia Andaluza) (Martínez) / Un mundo de emociones nace en mi pecho (de mi Aragón) (Forns). 12” Orth Buenos Aires Vla 6668, POM-16 / 17 March, 1927, Never listed in a pre-1931 US Catalog. M-A, excellent copy has, Sd.2, very faintest inaud. rubs; very ltly audible minor ‘heat’ mk at edge; contemporaneous Brazilian label sticker. [Most Elusive . . . and beautiful!] MB 25

V0557. MIGUEL FLETA: La fematera, y la virgen (Jota) / LA DOLORES – Aragón, la más famosa (Bretón). 10” Disque Gram. DA 599 (BS-1249-1/ BS-1250-2), POM-5 April, 1924. Most uncommon issue, deleted very quickly at very end of AC era. M-A, pristine copy of PW French pressing has contemporaneous French label sticker, Sd.2 label. MB 25

V0558. MIGUEL FLETA: La fematera, y la virgen (Jota) / LA DOLORES – Aragón, la más famosa (Bretón). 10” Vla 1066 (BS-1249-1/ BS-1250-2), POM-5 April, 1924. Most uncommon issue, deleted very quickly at very end of AC era. M-A, beautiful copy has very faintest rubs, inaud. MB 15

“Miguel Fleta had the honor of creating the role of Calaf in Puccini's final opera TURANDOT in 1926, at the insistence of the conductor Arturo Toscanini. During his brief but important career, Fleta was most admired for the finesse with which he used his rich, flexible, and wide-ranged voice. The most notable aspect of his performance style was the technical dexterity of his bel canto technique enabling him to produce the most spectacular messa di voce and pianissimo. He was regarded as the ‘Lord High Keeper of the Seal of the Ancient Vocal Method’ and was the primary inspiration for the trademark pianissimo of Caballé.”
- Kendrick Jacocks, ANATOMY OF BEL CANTO


V0559. MIGUEL FLETA: Asómate a la ventana (Ay, ay, ay) (Freire) / LA DOLORES – Henchido de amor santo (Bretón) (1922/’23 Versions). 12” red Electrola DB 525, POM-17 April, 1922 / 19 April, 1923. A to M-A, excellent copy of preferred Electrola pressing has very faintest rubs, inaud. MB 15

V0560. MIGUEL FLETA: Asómate a la ventana (Ay, ay, ay) (Freire) / LA DOLORES – Henchido de amor santo (Bretón) (1930 Versions). 12” LVDP DB 1483, POM-9 / 15 Dec., 1930. M-A, choice copy of preferred late LVDP pressing. MB 12

V0561. MIGUEL FLETA: RIGOLETTO – La donna è mobile / I PURITANI – A te, o cara. 10” Vla 948 (Bb-2844-2/ Bb-2843-1), POM-17 April, 1923 (Sd.1 not to be confused with the 1924 Version). M-A MB 12

V0562. MIGUEL FLETA: GIULIETTA E ROMEO – Giulietta son io! (Zandonai). 12” Vla 74775, POM-17 April, 1922, (Creator Record, 14 Feb. 1922, Costanzi, Roma). Never listed in a North American Victor Catalog. M-A MB 12

“…recorded barely two months after Fleta had successfully created the role [of Romeo], we can assume that his interpretation met with the composer’s approval….The squillo engendered here indicates his ability to sustain the more dramatic parts he was to undertake throughout his career.”
- Alan Bilgora, THE RECORD COLLECTOR, 1993


V0563. MIGUEL FLETA: CARMEN – La fleur que tu m’avais jetée (in Italian). 12” Vla 74778, POM-17 April, 1922, Never listed in a North American Victor Catalog. M-A MB 12

V0564. MIGUEL FLETA: GIULIETTA E ROMEO – Giulietta son io! (Zandonai) / CARMEN – La fleur que tu m’avais jetée (in Italian). 12” LVDP DB 524, POM-17 April, 1922, (Creator Record, Sd. 1, 14 Feb. 1922, Costanzi, Roma). M-A, exemplary copy of preferred late LVDP pressing. MB 12

V0565. MIGUEL FLETA: EL TRUST DE LOS TENORIOS – Te quiero, morena (1st 1922 Version) (Serrano) / I PURITANI – A te, o cara. 10” LVDP DA 445 (BE-388-1/ Bb-2843-1), POM-14 April, 1922 / 17 April, 1923, Sd. 1 being ‘Take’ I, only form of issue. M-A MB 8

V0566. MIGUEL FLETA: EL TRUST DE LOS TENORIOS – Te quiero, morena (2nd 1922 Version) (Serrano) / TOSCA – E lucevan le stelle. 10” Vla 950 (BE-388-2 / BE-389-2), POM-14 April, 1922, Sd. 1 being ‘Take’ 2. A, lovely copy has faintest rubs, inaud. MB 8

V0567. MIGUEL FLETA: EL TRUST DE LOS TENORIOS – Te quiero, morena (1929 Version) (Serrano) / TOSCA – E lucevan le stelle (1929 Version). 10” HMV DA 1087 (BJ-2304-1/ BJ-2311-2), POM-21 / 22 June, 1929. M-A, as Unplayed! MB 8

V0568. MIGUEL FLETA: EL TRUST DE LOS TENORIOS – Te quiero, morena (1929 Version) (Serrano) / TOSCA – E lucevan le stelle (1929 Version). 10” Buenos Aires Orth V 1470 (BJ-2304-1/ BJ-2311-2), POM-21 / 22 June, 1929. A, lovely copy has faintest pap. rubs & hint of grey on peaks, inaud. This plays as M-A with beautifully quiet surfaces. MB 15

V0569. MIGUEL FLETA: Waltz #15 in A-flat (as ‘Déjame ver en tu boquita’) (Brahms; in Spanish) / LE ROI D’YS – Vainement, ma bien aimée (in French). 10” PW HMV DA 1208, only form of issue, 1931. [A Most exquisite rendition, Sd.1; among Fleta’s most enchanting.] M-A MB 15

V0570. MIGUEL FLETA: LOHENGRIN – In fernem Land / Mein lieber Schwan (both in Italian, Sd.2 being a ‘Desert Island’ disk). 12” Orth Vla 6631, POM-13 / 12 Nov., 1926. Never listed in a pre-1931 US Catalog. M-A MB 15

V0571. MIGUEL FLETA: LA BOHEME – Che gelida manina / PAGLIACCI – Vesti la giubba. 12” LVDP DB 1034, only form of issue, 15 Feb. / 9 March, 1927. M-A, exemplary copy of choice late LVDP pressing. MB 12

V0572. MIGUEL FLETA: LES PÊCHEURS DE PERLES – Je crois entendre / L’AFRICAINE – O Paradis! (both in Italian). 12” LVDP DB 1071, POM-15 / 12 March, 1927. M-A, exemplary copy of preferred late LVDP pressing. MB 12

V0573. MIGUEL FLETA: LA FAVORITA – Una vergine, un angiol di Dio / AÏDA – Celeste Aïda. 12” LVDP DB 1053, only form of issue, 7 / 9 March, 1927. M-A, exemplary copy of choice late LVDP pressing. MB 12

V0574. MIGUEL FLETA: MARINA – Costas las de Levante (Salida de Jorge) (Arrieta), 2s. 10” Orth Vla 1259, POM-12 / 17 March, 1927. M-A MB 12

V0575. MIGUEL FLETA & EMILIO SAGI-BARBA: MARINA – Feliz morada / A beber, a beber (Brindisi) (Arrieta). 12” Orth Vla 6666 (CJ-619-2/620-2), POM-18 March, 1927, Never listed in a pre-1931 US Catalog. [‘Takes’ 1 were used for non-USA issues; The orchestral sound at the end of this version is more brilliant and clearer than on ‘Take’ 1.] M-A MB 12

“Miguel Fleta was a star tenor of the first magnitude. He was an artist courted by opera house managements throughout the Western world, selected to create two major verismo roles, admired by sophisticated audiences on three continents and almost deified by his fellow countrymen….The voice itself has been described by Lauri-Volpi in his book VOCI PARALLELE, as dark, masculine, virile and remarkably flexible, without an ugly note in its register.”
- Alan Bilgora, THE RECORD COLLECTOR, 1993


V0576. JOSÉ MARDONES: Brindo a tu Salud (Spain’s homage to Columbia, Escritas expresamente para el eminente artista José Mardones (Esteban Anglada) / SALVATOR ROSA: E quanto (Gomes). 12” gold Flags Label Col. 65028-D (49420/27), POM-16 / 17 May, 1918. Beautiful, quiet pressing. A, lovely copy has faintest rubs, inaud. MB 20

V0577. JOSÉ MARDONES: Pallide mammole (Trimarchi) / Mefisto (Corelli). 10” buff Col. S 84 (77832/82414), POM-20 May, 1918 / 1920. A-, very decent copy has lt.rubs, inaud.; Sd.1 only has significant label tears; sl.grainy surface causes some swish at very beg. [Elusive . . . & delightful!] MB 15

V0578. JOSÉ MARDONES: Meus amores (Baldomir) / La Reja (Larruga). 10” black Col.1918-M (4432/82413), POM-4 April, 1910 / c.1920. Beautiful late, quiet pressing. M-A, beautiful copy has faintest rubs, inaud. Most Elusive! MB 20

V0579. JOSÉ MARDONES: Nostalgia / El tamborilero (both Auglan & Ochoa). 10” buff Col. S 12 (21586/87), only form of issue,c.1912. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. Elusive! MB 25

V0580. JOSÉ MARDONES: Satisfaccion / Vizcaya (both Anglada). 10” black Col.1920-M (79031/38), POM-8 / 9 March, 1920. Beautiful late, quiet pressing, Sd. 1 only has contemporaneous Buenos Aires label sticker. M-A Most Elusive! MB 25

V0581. JOSÉ MARDONES: NABUCCO - Del futuro nel buio / DIE ZAUBERFLÖTE - O Isis und Osiris (in Italian). 12” Tri-Color Col. A6220, POM-1919. M-A, a pristine copy! MB 12

"Those who heard José Mardones in person recall him as the possessor of one of the greatest voices of his day....The voice on records sounds large and is sonorous throughout a range of more than two octaves to an easy high F sharp. In Zaccaria's 'Del futuro nel buio' from NABUCCO he has the right authority and sings cleanly...."
- Michael Scott, THE RECORD OF SINGING


V0582. JOSÉ MARDONES: LA GIOCONDA – Si, morir ella de’. 12" S/S Special vinyl Pressing of C 30051-1, POM-6 May, 1924, from Unpublished Master. Remarkably quiet surface. MINT MB 20

V0583. JOSÉ MARDONES: MARUXA - Golondron (Vives) / MEFISTOFELE - Ave Signor. 12” black Col. 5062 (49563/49629), POM-17 Dec., 1918 / 7 May, 1919. Beautiful late, quiet pressing. M-A MB 15

V0584. JOSÉ MARDONES: MEFISTOFELE – Ave Signor (Prologo) (Boito) / SIMON BOCANEGRA – Il lacerato spirito. 12” black Col. 6916 (30414/49430), POM-8 April, 1910 / May, 1918. Beautiful late, quiet pressing. A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0585. JOSÉ MARDONES: EL GUITARRICO - Jota (Soriano) / LA TEMPESTAD – Ya el trueno (Chapí). 12” black Col. 6913 (30449/30470), POM-15 / 21 April, 1910. Beautiful late, quiet pressing. M-A MB 15

V0586. JOSÉ MARDONES & MERCEDES CAPSIR: MARINA – Yo tosco y rudo trabajador / JOSÉ MARDONES & HIPOLITO LÁZARO: Costas las de Levante (Salida de Jorge) (Arrieta). 12” green & white Mexican Iberia ZG-1105 (WKX 169/170), POM-1929. A brilliant, forward recording! A to M-A, lovely copy has faintest rubs, inaud. MB 15

V0587. JOSÉ MARDONES: Saeta y praviana (Asturian Folksong) / Os teus ollos (Galician song). 10” black Col.1917-M (78145/82233), POM-22 Oct., 1918 / 1920, Sd.1 declared UNPUBLISHED by David Mason in his RECORD COLLECTOR discography, Vol.51, #2. Beautiful late, quiet pressing. M-A Most Elusive! MB 25

V0588. JOSÉ MARDONES: Tango de la frutas (Anglada) / Alborada (Alvarez). 10” black Col.1921-M (78213/82420), POM-18 Dec., 1918 / 1920, only form of issue, Sd.2. Beautiful late, quiet pressing. M-A Most Elusive! MB 25

V0589. JOSÉ MARDONES, w.Montero Cond.: Song of the Flea (Moussorgsky) / Im tiefen Keller (Fischer) (both in Spanish). 12” PW Eng. Col. RS 3027 (WKX 138/130), POM-6 / 5 April, 1929. M-A, beautiful, heavy copy has faintest rubs, inaud. Rare! MB 45

"In 1891 José Mardones appeared for the first time at the Teatro de la Opera in Buenos Aires and at the Opera de Rio de Janeiro. Until the end of the 19th century he mostly sang in Spanish opera houses and Zarzuela theatres. From 1909-1910 and 1913-16 he was engaged at the Boston Opera. In 1913 he was invited by Arturo Toscanini to sing the bass solo in Verdi's REQUIEM. In 1917 he moved to the Met and appeared there until 1926 where he outshone Adamo Didur, Andréas de Segurola and Léon Rothier by the splendour of his voice. He sang in Spontini's LA VESTALE opposite Rosa Ponselle who was deeply impressed by his voice. In 1926 he returned to his native country where he was active until the time of his death. Although often described as a basso profondo, Mardones was in essence a powerful basso cantante….The delivery is always full of authority with a sense of the grand seigneur….There is always the smooth legato, the easy emission of dark-vowelled tone….His blackish tones make him almost ideal in his accounts of three Mefistos: Boito, Gounod and the unusual and interesting Corelli version [V0577, above]….the finest of the Mediterranean basses…not equalled to this day.”


- Graham Oakes & Wayne Turner, THE RECORD COLLECTOR, Vol.51, #2, 2006


V0590. FREDERICK FULLER, w.Heitor Villa-Lobos (Pf.): A Viola / Cantilena #3 (Acc. by the Composer). 10” plum HMV B 9700, only form of issue, 12 Feb., 1948. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15

“Baritone Frederick Fuller was known for his sensitive interpretations of lesser-known vocal works, from early troubadour songs to 20th-century Serial works. He gave his first public recital at the National Gallery in London in 1940 and went on to perform and teach in the United States, Europe, Latin America and China. During World War II he served as assistant music officer with the British Council in South America, where he gave recitals and lectures. It was there that he met the composer Heitor Villa-Lobos, who became one of his accompanists and a lifelong friend. In 1947 he joined the United Nations as a translator, and in the 1950s he toured Europe, giving concerts with the lutenist and guitarist Julian Bream.”
- THE NEW YORK TIMES, 15 Feb., 1995


V0591. ROXY KING: Mamma dice (Gomes). 10” RCA S/S Special vinyl Transcription of Mx.C-6184, recorded 11 May, 1908. Remarkably quiet surface. M-A MB 45

“Born in Alliance, Ohio, Roxy King moved with her family to Brazil where, at the age of 16, she sang in Rio de Janeiro in Alberto Nepomuceno’s ARTEMIS. Her success was such that she was sent to Berlin where she studied singing under Selma Nicklass-Kempner at the Berlin Conservatory. In 1901 she made her debut at the Theater des Westens in Berlin as Milada in Smetana’s DALIBOR. In 1902 she was engaged by the Hofoper in Berlin, where she substituted for Lilli Lehmann as Donna Anna in DON GIOVANNI, followed by Selika in Meyerbeer’s L’AFRICAINE, a role she sang 60 times at the Hofoper, singing with Caruso and d’Andrade. She became celebrated for her Wagnerian roles: Senta, Venus and Elsa.”
- Zillah Dorset Akron