Spanish Vocal 78rpm records Nos. P0621 - P0678

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

Since 1972



Auction Number 147 ­- AUCTION Closing Date: Wednesday, 18 May, 2016



Regarding AUCTION #147 (Closing Date: Wednesday, 18 May, 2016), 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.

If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option.

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

Section V: Spanish Vocal 78rpm records: Nos. P0621 - P0678

P0621. ANTONIO CORTIS: LA BOHEME – Mimi e una civetta / LA FAVORITA –
Una vergine, un angiol di Dio. 10" LVDP DA 757, POM-8 Sept., 1925. M-A MB 8

P0622. ANTONIO CORTIS: LA BOHEME – Che gelida manina /
FAUST – Salut! demeure (in Italian). 12” LVDP DB 1468, POM-1930.
M-A, gleaming copy of preferred late LVDP pressing. MB 8

P0623. ANTONIO CORTIS: LA CENA DELLE BEFFE – Ahi che tormento / Mi svesti (Giordano). 10" Orth Vla 1240, POM-28 March, 1927. M-A, a gleaming copy. MB 8

P0624. ANTONIO CORTIS: LA CENA DELLE BEFFE – Ahi che tormento / Mi svesti (Giordano). 10” white Archive HMV VA 1, POM-28 March, 1927. MINT MB 4

P0625. ANTONIO CORTIS: DOÑA FRANCISQUITA – Mujer fatal (Vives) /
EL DICTATOR – Canción de la carta (Millán). 12" Orth Vla 6554, POM-3 Sept., 1925.
M-A, lovely copy has, Sd.1 only, 3 infinitessimal mks, positively inaud.
[One of the truly great tenor records. As enchanting as Sd.1 is,
Sd.2 is overwhelming! Most elusive!] MB 45

P0626. ANTONIO CORTIS: TOSCA – Recondita armonia / E lucevan le stelle.
10" LVDP DA 1074, only form of issue, 19 Sept., 1929.
M-A, gleaming copy of preferred late LVDP pressing. MB 8

P0627. ANTONIO CORTIS: WERTHER – Pourquoi me réveiller? (in Italian) /
IRIS – Apri la tua finestra. 10" LVDP DA 1076, POM-1929.
M-A, gleaming copy of preferred late LVDP pressing. MB 8

P0628. ANTONIO CORTIS: CAVALLERIA – Siciliana /
IRENE MINGHINI-CATTANEO: IL TROVATORE – Stride la vampa!
10" LVDP DA 1277, only form of issue, 1929. M-A, a gleaming copy. MB 8

P0629. ANTONIO CORTIS: RIGOLETTO – Ella mi fu rapita;
Parmi veder le lagrime, 2s. 10" LVDP DA 1152, only form of issue, 1930.
M-A, a gleaming copy. MB 8

P0630. ANTONIO CORTIS: IL TROVATORE – Di quella pira / Ah! si, ben mio.
10" LVDP DA 1155, POM-25 Sept., 1930.
M-A, gleaming copy of preferred late LVDP pressing. MB 8

P0631. ANTONIO CORTIS: CARMEN – La fleur que tu m'avais jetée /
MANON – Ah, fuyez! (both in Italian). 12” LVDP DB 1363, only form of issue, 1929.
M-A, gleaming copy of preferred late LVDP pressing. MB 8

P0632. ANTONIO CORTIS: TURANDOT – Non piangere, Liù / Nessun dorma.
10" HMV DA 1075, only form of issue, 1929. MINT MB 4

“Antonio Cortis is certainly the most beautiful and thrilling of all Spanish tenors. It was essentially a lyric, yet a ‘romantic’ voice. He was superior to Miguel Fleta, Hipolíto Lazáro and even to Francesco Vignas. It is the richness of his tone, which is ideally combined with a lively and spontaneous responsiveness of style that makes him one of the greatest tenors. There was undoubtedly a certain similarity in emission and style between Cortis and Caruso. Cortis’ recordings are a ‘must’!”
- Andrea Shum-Binder, subito-cantabile

P0633. MIGUEL FLETA: Amapola (Lacalle) / Bimba, non t’avvicinar (Bettinelli).
10” Vla 1073, POM-1925. A to M-A MB 8

P0634. MIGUEL FLETA: Mi tierra (Media-Villa) / ¡Adiós trigueña! (Robles).
10” Vla 993, POM-1924. M-A, exemplary. MB 8

P0635. MIGUEL FLETA: Asómate a la ventana (Ay, ay, ay)
(1922 Version) (Freire) / LA DOLORES – Henchido de amor santo
(1923 Version) (Bretón). 12” Vla 6392, POM-1922/’23, resp.
Never listed in a North American Victor Catalog. M-A, exemplary. MB 10

P0636. MIGUEL FLETA: Asómate a la ventana (Ay, ay, ay) (Freire) /
LA DOLORES – Henchido de amor santo (Bretón) (1930 Versions). 12” LVDP DB 1483,
POM-1930. M-A, exemplary copy of preferred late LVDP pressing. MB 10

P0637. MIGUEL FLETA: Triste toque de oración (Nostalgia Andaluza) (Martínez) /
Un mundo de emociones nace en mi pecho (de mi Aragón) (Forns).
12” PW Disque Gram. DB 1025, POM-1927. M-A, exemplary. MB 45

P0638. MIGUEL FLETA: Waltz #15 in A-flat (in Spanish) (Brahms-Moreno) /
LE ROI D’YS – Vainement, ma bien aimée (Lalo). 10” PW HMV DA 1208,
only form of issue, 1931. [The Brahms Waltz is among Fleta’s most alluring renditions – not to be missed!] M-A, exemplary. MB 15

P0639. MIGUEL FLETA: Si fuera un aeroplane; Mañica si te dejaras /
LA CALLE MAYOR DE JACA – Ya no la rondan chavsles (all jotas).
10” PW HMV DA 598, POM 1924. Elusive, quickly deleted! M-A, exemplary. MB 15

P0640. MIGUEL FLETA: DOÑA FRANCISQITA – Mujer fatal (Vives) /
LOS GAVILANES – Flor Roja (Guerrero). 12” Vla 6549, POM-1925,
Never listed in a North American Victor Catalog. M-A, a supreme copy. MB 35

P0641. MIGUEL FLETA: LA CORTE DEL AMOR - Princesita (Padilla) /
EL CASERIO – Yo no sé que veo en Ana Mari (Romanza de José Miguel) (Guridi).
12” PW Disque Gram. DB 1024, POM-1927.
M-A, lovely copy has 2 wee dust mks, inaud. MB 25

P0642. MIGUEL FLETA: EL TRUST DE LOS TENORIOS –
Te quiero, Morena (‘Take’ 1) (Serrano) / I PURITANI – A te, o cara.
10” LVDP DA 445, POM-1922/’23, resp., Sd.1 never issued on Victor.
M-A, exemplary copy of preferred late LVDP pressing. MB 12

P0643. MIGUEL FLETA: EL TRUST DE LOS TENORIOS –
Te quiero, Morena (‘Take’ 2) (Serrano) / I PURITANI – A te, o cara.
10” Vla 950, POM-1922/’23, resp., Sd.1 issued USA only.
A-, lovely copy has faint rubs, inaud.; wee adhesive stkrs on labels. MB 10

P0644. MIGUEL FLETA: GIULIETTA E ROMEO – Giulietta son io! (Zandonai) / CARMEN – La fleur que tu m’avais jetée (in Italian). 12” Vla 6391, POM-1922,
(Creator Record, Sd. 1, 14 Feb. 1922, Costanzi, Roma).
Never listed in a North American Victor Catalog. M-A, exemplary. MB 15

P0645. MIGUEL FLETA: LOHENGRIN – In fernem Land /
Mein lieber Schwan (both in Italian). 12” Orth Vla 6631, POM-1926,
Never listed a pre-1931 US Catalog. M-A, exemplary copy. MB 12

P0646. MIGUEL FLETA: LES PÊCHEURS DE PERLES – Je crois entendre / L’AFRICAINE – O Paradis! (both in Italian). 12” LVDP DB 1071, POM-1927.
M-A, exemplary copy of preferred late LVDP pressing. MB 12

P0647. 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, exemplary. MB 12

P0648. MIGUEL FLETA: LA FAVORITA – Spirto gentil / MANON – Le rêve (in Italian). 12” PW HMV DB 986, POM-1926. M-A, superlative copy. MB 12

P0649. MIGUEL FLETA & ROSITA SALAGRAY:
DOÑA FRANCISQUITA - Escúchame! No puedo escucharte (Vives), 2s.
12” PW Disco Gramófono DB 878, only form of issue, 20 Sept., 1925.
M-A, a gleaming copy. Exceedingly elusive! MB 45

P0650. MIGUEL FLETA: LA BOHEME – Che gelida manina /
PAGLIACCI – Vesti la giubba. 12” LVDP DB 1034, only form of issue, 1927.
M-A, exemplary copy of preferred late LVDP pressing. MB 12

P0651. MIGUEL FLETA: MARINA – Salida de Jorge (Arrieta), 2s.
10” ORTH Vla 1259, POM 1927. A to M-A MB 8

P0652. MIGUEL FLETA & EMILIO SAGI-BARBA: MARINA – Feliz morada /
A beber, a beber (Brindisi) (Arrieta). 12” La Voz de su Amo DB 1026 [CJ-619-2/620-2], POM-18 March, 1927. M-A, a gleaming copy. MB 15

P0653. 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. M-A, a gleaming copy. MB 12

P0654. MIGUEL FLETA & EMILIO SAGI-BARBA: MARINA – Feliz morada /
A beber, a beber (Brindisi) (Arrieta). 12” white Archive HMV VB 50 [CJ-619-2/620-2], POM-18 March, 1927.MINT MB 4

P0655. MIGUEL FLETA & LUCREZIA BORI: CARMEN – Parle-moi de ma mère / BENIAMINO GIGLI & LUCREZIA BORI: ROMÉO – Ange adorable. 12” mauve & gold HMV AGSB 58,POM-1924/’23, resp, both fromUnpublished Matrices. MINT MB 12

P0656. MIGUEL FLETA, FLORENCE AUSTRAL & EDNA THORNTON:
AÏDA – Tomb scene, 2s. 12” LVDP DB 580, POM-1923. M-A MB 15

“Fleta was one of the reigning tenors after Caruso, famous for his vocal virility and passion, a recording superstar, creator of the role of Calaf in Puccini's TURANDOT, and a figure almost as dramatic in his personal life as on the opera stage. Like his compatriots Alfredo Kraus, Giacomo Aragall, Luis Lima, and Plácido Domingo, he made a point of performing and recording zarzuela music, contributing to its continued popularity in the non-Hispanic countries. His command of dynamics was remarkable, with an exceptionally fine diminuendo, though he was often accused of over-using this effect, and his high notes had a powerful ring, though again he was accused of drawing attention to them.

Fleta made his opera début as Paolo in a production of Zandonai's FRANCESCA DA RIMINI in 1919 at the Teatro Comunale in Trieste. He was given other roles, and soon appeared at the major theaters in Europe. In 1922, Zandonai engaged him to create Romeo in the world premiere of his GIULIETTA E ROMEO. In the same year, Fleta began a series of performances in Mexico and Central and South America, and also made his famous recording of Osman Perez Freire’s ‘Ay, ay, ay’, which sold more than 100,000 copies, incredible sales for that time. He made his Metropolitan Opera début the following year. His La Scala début was in 1924, as the Duke in RIGOLETTO. He was scheduled to sing at the Met for the next two seasons, but decided to sign with the Teatro Apolo in Madrid instead. The Met's general manager, Gatti-Casazza successfully sued Fleta for breach of contract. In 1926, Fleta returned to La Scala to appear in the world premiere of Puccini's TURANDOT, specifically chosen by Toscanini to sing Calaf.”
- Anne Feeney, allmusic.com

P0657. HIPÓLITO LAZARO & MAFALDA de VOLTRI:
IL PICCOLO MARAT – Sei tu? Che cosa vieni a fare?... Va nella tua stanzetta (Mascagni), 4s. 2-12” Viva-Tonal Col. 8941-M & Eng Col. D 18003, POM-1926. Important Lázaro Creator Record, (2 May, 1921, Teatro Costanzi).
M-A, superlative copy. Exceedingly Elusive! MB 45, the Pair

P0658. HIPÓLITO LAZARO, w. Montorio Cond.: Yolanda (Arregui) /
La Picarona (Alonso). 10” red Spanish Col. R.14711 [WK 2603/17],
only form of issue, 1931. M-A Choice copy of a late Lazaro rarity. MB 35

“Spanish tenor Hipólito Lázaro managed to carve out a brilliant and long-lasting career in an era rich with great tenors, not to mention Enrico Caruso. By 1913 he had gained the attention of composer Pietro Mascagni, who cast Lázaro in his new opera PARISINA at La Scala in Milan. Lazaro was a success, and this helped pave the way for his triumphant comeback to Barcelona in RIGOLETTO in 1914. Through the years of the Great War, Lázaro traveled extensively throughout Europe and in 1918 joined the Metropolitan Opera in New York for a stint lasting two years. Lazaro did not return to Spain until 1922, when he became embroiled in an open competition with established favorite Miguel Fleta, the public taking sides as to who was a ‘Fletista’ and who was a ‘Lazarista’. Whereas most rivalries of this kind among artists are born of publicity and nurtured by the press, in Lázaro's case it appears that the competition with Fleta was real; in his memoirs published as MEMORIAS Y MI MÉ TODO PARA EL CANTO in 1947, Lázaro stated about Fleta ‘I can sing better than that old uncle’.

Hipólito Lázaro recorded often and well, most frequently for the American Columbia label, though his choice of label may have contributed to his obscurity, at least relative to Enrico Caruso, who recorded for Victor.”
- Uncle Dave Lewis, allmusic.com

P0659. HINA SPANI: Amarilli (Caccini) / Se Florindo e fedele (Scarlatti).
10” white Archive HMV VA 60, POM-4 April, 1929. MINT MB 4

P0660. HINA SPANI, w.Nastrucci Cond.: Canción del Carretero (Buchardo) /
Dia del feste (Ugarte). 10” vinyl Historic Masters HMA 3, POM-1931. MINT MB 10

P0661. HINA SPANI: Primavera! (Tirindelli) / w.Nastrucci Cond.:
Canzoni boeme - Nos. 5 & 7 (Dvorák). 10” LVDP DA 1246, POM-1927/'30, resp.
M A, lovely copy of choice late pressing. MB 8

P0662. HINA SPANI: MADAMA BUTTERFLY - Tu, tu, piccolo iddio! /
TOSCA - Vissi d'arte. 10” LVDP DA1060, POM-1931/'27, resp. MINT MB 6

P0663. HINA SPANI: MANON - Adieu, notre petite table (in Italian) /
IL TROVATORE - D'amor sull'ali rosee. 12” LVDP DB 1503, POM 1927/’28, resp.
M A, lovely copy of choice late pressing appears unplayed. MB 12

P0664. HINA SPANI: BALLO - Ma dall'arido /
IL TROVATORE - Tacea la notte. 12” PW Australian HMV, POM 1927.
M A, lovely copy of choice Australian pressing. MB 12

P0665. HINA SPANI:BALLO - Ma dall'arido / IL TROVATORE - Tacea la notte.
12” Orth Vla 6770, POM 1927. M-A, an exceptional copy. MB 10

P0666. HINA SPANI: LA WALLY - Ebben, ne andrò lontana /
FAUST - Il m'aime (in Italian). 12” LVDP DB 1163, POM 1928.
M A, lovely copy of choice late pressing appears unplayed. MB 10

P0667. HINA SPANI: MANON LESCAUT – In quelle trine morbide /
BARBARA KEMP: TRISTAN – Liebestod, (part 2).
10” vinylHistoric Masters HMB 210 [Columbia D9461 (B340)/BDR4685-2],
POM-1924/’27, resp., the latter from Unpublished Matrix. MINT MB 12

P0668. HINA SPANI & APOLLO GRANFORTE:
PAGLIACCI – Decidi, il mio destino, 2s.
12” PW Disco Grammofono DB 1046, POM 1927. M-A MB 12

P0669. HINA SPANI & GIOVANNI ZENATELLO:
OTELLO - Già nella notte densa, 2s. 12” vinyl pressing of CK1918-4/1919-2,
POM-1926. MINT Superlative pressing with remarkably quiet surfaces. MB 35

P0670. HINA SPANI & GIOVANNI ZENATELLO:
OTELLO - Già nella notte densa, 2s. 12” Orth Vla 6714, POM 1926.
A to M A, lovely copy has, Sd.1 only, faintest pap.rubs, inaud. MB 12

“Hina Spani's career was centered mostly in South America, Spain and Italy. She appear neither at the Met nor in England or Germany. This may be the reason why she is still underrated. She enjoyed a long and successful career and sang opposite the greatest singers such as Caruso, Chaliapin, Bonci, De Angelis, Ruffo, Stracciari, Gigli and many others. Hina Spani was a true dramatic soprano. Her upper register was particularly remarkable, coupled with brilliance and a fine attack. She was very responsive to changing moods and to the sense of words. She made some of the most satisfying and exciting operatic records to be heard from the early years of electrical recordings. With Hina Spani we can learn what impassioned singing is about!“
- Andrea Shum-Binder, subito-cantabile

P0671. EUGENIA MANTELLI: Good-bye (Tosti).
10” dark-green crossed bugles label) Zonophone 12621 [6498],
only form of issue, 1907. A-B, beautiful copy has lt rubs & scuffs, inaud. MB 125

P0672. EUGENIA MANTELLI: MIGNON - Io conosco un garzoncel [Styrienne] (Thomas). 10” dark-green crossed bugles label) Zonophone 12622 [6525],
only form of issue, 1906. A-B, beautiful copy has lt rubs &
1 infinitessimal scr, positively inaud. MB 125

P0673. EUGENIA MANTELLI: FAUST - Le parlate d’Amor (Gounod).
9½ “ dark-green crossed bugles label) Zonophone 12617 [6495], only form of issue, 1906. A-B, beautiful copy has lt rubs & sev. faintest scrs., ltly audible 5 turns. MB 125

P0674. EUGENIA MANTELLI: LA CENERENTOLA – Nacqui all’affanno.
10“dark-green (crossed bugles label) Zonophone 12614 [6653], only form of issue, 1906. B, very decent copy has lt rubs & scrs, momentarily audible. MB 75

P0675. EUGENIA MANTELLI: LA CENERENTOLA – Non più mesta.
10“ dark-green (crossed bugles label) Zonophone 2615 [6654], POM-1906.
B, very decent copy has lt rubs & scrs, momentarily audible. MB 75

“Mantelli’s tone is warm, limpid and velvety, round and fresh, and truly ‘forward’; the primitive but frequently close recordings enable us to hear her clear attack. She has equalized her vowels, and can declaim easily in the upper medium register with clear diction….Her mastery of coloratura is such that we may point to her Rossini records (alas, only four sides) as probably the only records ever made by a contralto or mezzo soprano in which the florid music is executed with absolute precision combined with perfectly produced and beautiful tone in the style of Rossini’s own singers….New York audiences, spoiled by only hearing the best artists (like Patti and the de Reszkes), did not like the cruder, more unrefined aspects of opera singing. Caruso listened to Plançon in order to emulate his sonorous legato singing ‘like a ‘cello’: Mantelli must have polished her technique and style during her stay in New York. The ‘great tremolo’ is not in evidence on her records because she had long before stopped forcing her voice. Mantelli’s most important recording is the Rondo Finale from LA CENERENTOLA. The voice is most beautifully recorded, catching the lovely timbre: from the A below the stave to the B natural above the voice is supported on the breath with admirable solidity….everything that she does sing is executed with a perfection that we shall not find in any other recording of this music. What a lesson she gives us in the properly defined execution of the runs, every note distinct without any hint of intrusive aspirates or diaphragmatic thrust; true to Garcia’s definition, her florid passages sound as though ‘played on the organ’. She interpolates two cadenz
- Michael Aspinall, Program Notes to Marston’s Mantelli Issue

P0676. JOSÉ MOJICA: Miniatura / Unidos por siempre (both Sanders).
10” Orth Vla 1608, POM-1928. A to M-A MB 20

P0677. JOSÉ MOJICA: EL PRECIO DE UN BESO – Libre soy (Kernell) /
Un beso loco (Sanders). 10” Orth Vla 1484, POM-1928. A to M-A MB 20

“Born in México in poverty, but gifted with a fine voice and good looks, 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 LE NOZZE DI FIGARO. 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 (I, a sinner).”

- J. B. Steane

P0678. RAMÓN BLANCHART: LA FAVORITA – Vien Leonora / TANNHÅUSER –
O du mein holder Abendstern (in Italian). 11½” etched label center-start
H & D Pathé 86164/67 [19760/13369], announced, recorded 1906, Milano.
A-B, very decent copy has hint of grey on peaks; 1” hlc appears both sides. MB 15