Tenor  Vocal  78rpm  Records:   1086 - 1477

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

Since 1972



Auction Number 145 ­- AUCTION Closing Date: Sunday, 22 December, 2013



Regarding AUCTION #145 (Closing Date: Sunday, 22 December, 2013), 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.

To view pictures within the Auction, click on the picture with your cursor over it and this will enlarge the picture. When done viewing the picture, simply click on your browser’s back-arrow. This will return you to the previous page.

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].

Nos. 1086 - 1477 are Choice Tenor Vocal 78rpm records:



1086. SYDNEY RAYNER: Obstination (de Fontenailles) / A vucchella (Tosti). 10” EL dark blue English Decca F.3327, POM-1932, London. M-A, a gleaming copy. MB 12

1087. SYDNEY RAYNER: Parted (Tosti) / I love life (Mana-Zucca) (both in English). 10” EL dark blue EnglishDecca F.3133, only form of issue, 1932, London. M-A, choice copy has 2 wee rubs, Sd.1, inaud. MB 12

1088. SYDNEY RAYNER: Werther - J'aurais sur ma poitrine / Manon - Ah! fuyez, douce image. 12” EL dark blue English Decca K.685, POM-1932, London. M-A, a gleaming copy. MB 12

1089. SYDNEY RAYNER: Roméo et Juliette - Ah! lčve-toi, soleil / Carmen – Air de la fleur. 12” EL black English Decca K.677, POM-1932, London. M-A, a gleaming copy. MB 12

1090. SYDNEY RAYNER: Aďda –Celeste Aďda / Otello – Ora e per sempre addio. 12” EL red English Decca T.204, POM-1932, London. A to M-A, lovely copy has few superficial mks, inaud.. MB 12

“Rayner’s art and in particular that intensity of brilliant tone above the stave [are reasons why] his recordings are well worth a place in any collection….Rayner, surprisingly, competes with his American contemporaries Charles Kullman and Richard Crooks in a series of piano-accompanied well-known ballads, when we can hear him in sufficient form to control finely that more robust part of his voice….”


-Alan Bilgora, THE RECORD COLLECTOR, 2013


1091. CESARE VALLETTI, w.Basile Cond.: Barbiere – Se il mio nome / Martha – M’appari. 10” EL pale blue Cetra AT 0243, only form of issue, 16/17 May, 1951. M-A, a gleaming copy. MB 45

“As one of the younger tenors to emerge soon after World War II, it was obvious that Valletti was an artist whose reputation would be made based on artistic and musical considerations….His musicianship and vocal colour made him an ideal interpreter of Mozart roles, and like Schipa [his mentor], he became a renowned Werther with sensitivity and nuance being the key to his interpretation….he was considered a lyric tenor of the front rank.”


- Alan Bilgora, program notes to Pearl’s THE CETRA TENORS


1092. PIERRE CORNUBERT: Plaisir dámour (Martini) / Cést mon ami. 8 1/2 ” AC black on white Arya 313 (175/176), recorded 1905, Disques Ultima. M-A, a gleaming copy. MB 150

“Pierre Cornubert began as an Opéra-Comique singer, and it is a pity not more of that side of his repertory is preserved. Cornubert made his début as Daniel in Adam’s LE CHÂLET, the role he sang most often in the course of the next two years, and [appeared] in 1889 as the Byzantine Herald in the opening production of Massenet’s ESCLARMONDE. Cornubert was the first Marseilles Werther and the first Dominique in L’ATTAQUE DU MOULIN. There, he also premiered Charles Silver’s LA BELLE AU BOIS DORMANT in 1901 alongside the composer’s wife, Georgette Bréjean-Silver. His Metropolitan Opera début took place in 1900, when he stepped in for Albert Saléza as Vasco da Gama in L’AFRICAINE, partnering Nordica’s Selika. His other Met roles were Raoul (Nordica his Valentine) and Roméo (with Emma Eames). His Covent Garden appearances occurred as part of the San Carlo visit in the fall of 1904, singing Don José and Canio, each once, alternating with Caruso, and act 2 of TOSCA. In 1919 he was appointed a professor at the Paris Conservatoire, succeeding Saléza.

Like Scaramberg, Cornubert’s recordings highlight both his lyrical and heroic roles. ‘Ô Paradis’, the role of his Met début, shows the voice to good advantage. The possessor of an attractive timbre, slightly nasal in color, he attacks the opening G-flat with precision, the voice opening to deliver exciting B-flats. His diction is careful and varied—as are his vocal effects. Raoul’s entrance in LES HUGUENOTS is excitingly delivered, with a finely executed gruppetto.

It is good to have some examples of Cornubert’s lighter repertory. Martini’s ‘Plaisir d’amour’ is sung in G and at such a slow tempo that one wishes it had been taken more briskly to make room for the missing B section. As for ‘C’est mon ami’, an 18th-century song occasionally attributed to Marie-Antoinette (an unlikely attribution), it features an exquisite gruppetto.”


- Victor Giroud, Marston Program Notes


1093. RENÉ MAISON, w.Clśz Cond.: Lohengrin – Atmest du nicht / Höchstes Vertrau’n (in French). 10” EL French Odéon 188.547. A-, lovely copy has occasional minuscule dust mk. MB 12

1094. RENÉ MAISON, w.Clśz Cond.: Roméo – Salut, tombeau, 2s. 10” EL French Odéon 188.600. A-, lovely copy has faintest rubs & occasional pap. scr, inaud. MB 12

1095. RENÉ MAISON, w.Leinsdorf Cond.: Fidelio – Gott! welch’ Dunkel hier, 2s. 12” EL PW Col. 71410-D, only form of issue, 6 Jan., 1942. M-A MB 8

1096. RENÉ MAISON, w.Cloez Cond.: Louise - Un jour dans l'escalier sombre / Rigoletto - La donna Č mobile (in French). 10" EL French Odéon 188.539, only form of issue, 1927. M-A, a gleaming copy. MB 12

1097. RENÉ MAISON, w.Cloez Cond.: Roméo – Salut, tombeau, 2s. 10” EL French Odéon 188.600, only form of issue, 11 July, 1928. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

1098. RENÉ MAISON, & JULIEN LAFONT, w.Cloez Cond.: Faust – Me voici, d’oů vient ta surprise?; O merveille!, 2s. 12” red US Decca G-25858, POM-2 Nov., 1927. M-A, a gleaming copy. MB 12

“Dramatic tenor René Maison had qualities which made him valuable as an alternate to Melchior in all but the most heroic parts, and his character assumptions were often genuinely distinctive. His début took place in Geneva in 1920 when he sang Rodolfo in LA BOHEME. A performance of Alfano's RÉSURRECTION at the Opéra-Comique in Paris found him singing with Mary Garden. Impressed, she urged the Chicago Civic Opera to put the young tenor under contract. From 1927 to 1932, Maison sang at the Chicago Opera, adding light dramatic roles such as Florestan, Lohengrin and the title role in PARSIFAL, sung before a completely sold-out house in December 1931. In the period following his Chicago years, Maison sang throughout Europe and South America, appearing for several seasons at the Teatro Colón in Buenos Aires. On 3 February, 1936, Maison appeared at the Metropolitan Opera as Walter von Stolzing, beginning an eight-season relationship there. Fidelio brought the verdict of an excellent Florestan and, at all times, Maison's musicianship was found first-rate. When Louise was revived for Grace Moore, Maison's Julien was regarded as the one truly French performance.”


- Erik Eriksson, All Music Guide


1099. GASTON MICHELETTI, w.Minssart Cond.: Das Land des Lächelns – Dein ist mein ganzes Herz / Immer nur lächeln (in French). 10” EL dark-blue French Odéon 166.646, only form of issue, 1933. M-A, a gleaming copy. Elusive! MB 15

“Micheletti was contracted to the Opéra-Comique, where his first rôle was Des Grieux. This opera house became the centre of his activities until his retirement in 1946. He sang in a wide range of rôles, including Don José, Turiddu, Hoffmann, Gérald, Pinkerton, Canio, Dimitri in Alfano’s RÉSURRECTION, Mylio, Werther, Rodolfo, Cavaradossi and Roméo. He created numerous rôles in premieres of forgotten French operas. His career was largely restricted to French and Belgian opera houses. He is a lirico-spinto tenor of remarkable subtlety. The timbre of his voice is attractive, warm and velvety, with a slightly baritonal tinge."


1100. TULLIO PANE, w.Gallino Cond.: ‘A vucchella (Tosti) / Tu, ca nun chiagne (de Curtis). 10” EL pale-green Cetra DC 6682, only form of issue, 6 Dec., 1956. M-A, choice copy of late 78-era issue. MB 12

1101. TULLIO PANE, w.Petralia Cond.: Marechiare (Tosti) / Guapparia (Falvo). 10” EL pale-green Cet ra DC 6687, only form of issue, 6 Dec., 1956. M-A, choice copy of late 78-era issue. MB 12

1102. DAVID POLERI: One love too many (Paone) / Please say you love me (Kent). 10” EL RCA 10–3910, only form of issue, c.1953. M-A, lovely copy has, Sd.2 only, sev. tiny dust scrs, ltly audible a few turns. Exceedingly Elusive! MB 12

1103. DAVID POLERI, w.Dudley King Cond.: One night of love (Schertzinger) / w.Hugo Winterhalter Cond.: Some day my heart will awake (Ivor Novello). 10” EL RCA 10-3856, only form of issue, 1952. M-A, appears unplayed, albeit Sd.2 only has faintest pap.rub, positively inaud. Exceedingly Elusive! MB 20

“Poleri’s ringing Italian-style tenor…might even have gone on to a more important career had not his unpredictable behavior proved to be his undoing. Once, while singing CARMEN with the New York City Opera on tour in Chicago, the temperamental Poleri reached the final scene, dropped his knife, shouted ‘Finish it yourself!’ and marched off the stage, leaving a perplexed Carmen, Gloria Lane, to stab herself to death. After that, Poleri was not surprisingly viewed as a bad risk. The tenor did make a glorious sound, though, one that was prematurely silenced when he died in a helicopter crash in Hawaii.”


– Peter G. Davis, THE AMERICAN OPERA SINGER, p.454




1104. JEAN PÉRIER: Véronique – Air de la lettre (Messager). 9 1/2 “AC etched label H & D Pathé 729, recorded 1905. Creator Record, (10 Dec., 1898, Bouffes-Parisiens); (very shortly thereafter, 3 April, 1902, Périer would create the role of Pelléas, for Debussy, at l’Opéra-Comique). One of Périer’s mere seven recordings. M-A, exemplary copy has mere hint of grey on peaks, inaud. MB 150



“Jean (Alexis) Périer was a French operatic baritone and actor. Although he sang principally within the operetta repertoire, Périer did portray a number of opera rôles, mostly in operas by Mozart and Puccini. His career was almost entirely centered in Paris and he had a long association with the Opéra-Comique.

He made his début as Monostatos in Mozart's THE MAGIC FLUTE at the Opéra-Comique. He continued to perform at that opera house until 1920, with the exception of the years 1894 through 1900 when he principally sang at the Théâtre des Bouffes Parisiens and other Parisian theatres specializing in operetta.

Although he performed a great deal of operetta, he also sang a number of operatic roles including the title role in DON GIOVANNI, Lescaut in MANON LESCAUT, and Scarpia in TOSCA. His career was almost entirely centred in Paris, particularly at the Opéra-Comique, where he notably created the role of Pelléas in Debussy's PELLÉAS ET MÉLISANDE, (3 April, 1902 – l’Opéra-Comique). He repeated the role of Pelléas at the Manhattan Opera Company in 1908 and at the Opéra de Monte-Carlo. He appeared in numerous other world premieres, most notably Ramiro in Ravel's L'HEURE ESPAGNOLE and leading roles in Messager's VÉRONIQUE and FORTUNIO.

Although described as a baritone, he created roles for Debussy and Ravel in the Baryton-Martin register. His was a declamatory art, and he created convincing characters with the help of his clear diction and his ability as an actor. In addition to his opera career, he acted in several films between 1900 and 1938. His voice on one of the seven published recordings he made (Act 2 of VÉRONIQUE, 1905, above) is described as dry and husky. After retiring in 1938, Périer worked as an acting and singing teacher in Paris.”




1105. FLORENCIO CONSTANTINO: La Favorita – Spirto gentil / Barbiere – Ecco ridente (1906 Versions). 10ľ” AC H & D Éden 5086/87, recorded 1906, Paris . A to M-A, an extraordinary copy. MB 35

1106. FLORENCIO CONSTANTINO: Manon Lescaut – Donna non vidi mai ( in French / Les Pęcheurs de Perles - Je crois entendre ( in Italian). 10˝” AC grey paper label H & D Pathé 59056, recorded 1905, Paris. M-A, a gleaming copy. MB 15

1107. FLORENCIO CONSTANTINO: Barbiere – Ecco ridente (1907 Version). 12" AC Pat.’08 V 74073, only form of issue, 28 May, 1907. M-A MB 12

1108. FLORENCIO CONSTANTINO: La Boheme – Che gelida manina. 12" AC GP V 74106, only form of issue, 1 May, 1908. M-A MB 12

1109. FLORENCIO CONSTANTINO: Lucia – Tu che a Dio. 12" AC Pat.’08 V 74066, POM-28 May, 1907, Never Doubled. M-A, superb copy has lwee pressing bump. MB 8

1110. FLORENCIO CONSTANTINO: Le Prophčte – Roi du ciel / Werther – Pourquoi me réveiller? (both in Italian) 10" AC Col. A848, POM-1910. A to M-A , lovely copy has few faint rubs, barely visible & inaud. MB 8

1111. FLORENCIO CONSTANTINO: Rigoletto – La donna č mobile (1907 Version). 10" AC Pat.’12 V 64072, only form of issue, 22 May, 1907. M-A MB 12

1112. XXXXX FLORENCIO CONSTANTINO: Rigoletto – La donna č mobile (1909 Version) / Questa o quella. 10" AC Col. A680, POM-1909. M-A MB 8

1113. FLORENCIO CONSTANTINO: La Gioconda – Cielo e mar. 10" AC V 64070, POM-28 May, 1907, Never Doubled. M-A, superb copy has lt.label nr. MB 8

1114. FLORENCIO CONSTANTINO: Aďda – Celeste Aďda / Pagliacci – Vesti la giubba. 10" AC Col. A679, POM-1909. M-A MB 8

1115. FLORENCIO CONSTANTINO: Cavalleria – O Lola (Siciliana) / Viva il vino (Brindisi). 10" AC Col. A681, POM-1909. M-A MB 8

1116. FLORENCIO CONSTANTINO: Tosca – Elucevan le stelle / Recondita armonia. 10" AC Col. A682, POM-1909. A to M-A , lovely copy has few faint rubs, inaud. MB 8

1117. FLORENCIO CONSTANTINO: Carmen – La fleur que tu m’avais jetée (in French) / Lucia – Tu che a Dio (1st 1909 Version). 10" AC Col. A692, POM-1909. A to M-A, beautiful copy has faintest pap.rubs, barely visible & inaud. MB 8

1118. FLORENCIO CONSTANTINO: Ama (Tirindelli). 12" AC S/S Special vinyl Pressing of Victor Mx.C 6147, POM-23 April, 1908, from Unpublished Master. MINT MB 35

1119. FLORENCIO CONSTANTINO: Lolita (Buzzi-Peccia) / Barbiere – Ecco ridente (1909 Version). 10" AC Col. A706, POM-1909. M-A MB 12

1120. FLORENCIO CONSTANTINO: La Paloma (Yradier) / Marina – Costas las del Levante (Arrieta). 12" AC Col. A5111, POM-1909. M-A MB 12

1121. FLORENCIO CONSTANTINO: Sempre amarti (Pietro Vallini) / Otello – Niun mi tema. 12" AC Col. A5113, POM-1909. M-A , lovely copy has few faint rubs, barely visible & inaud. MB 15

1122. FLORENCIO CONSTANTINO: Il Duca d’Alba – Angelo casto e bel / Lucia – Tu che a Dio (2nd 1909 Version). 12" AC black flush label Col. A5112, POM-1909. A to M-A, choice copy has faintest pap.rubs, barely visible, inaud. MB 15

1123. FLORENCIO CONSTANTINO: Iris – Apri la tua finestra / Manon – Le ręve (in Italian). 10" AC Col. A689, POM-1909. M-A MB 8

1124. FLORENCIO CONSTANTINO: Il Trovatrore – Deserto sulla terra / Di quella pira. 10" AC Col. A690, POM-1909. M-A MB 8

1125. FLORENCIO CONSTANTINO: La Favorita – Una vergine, un angiol di Dio / Martha – M’appari. 10" AC Col. A683, POM-1909. M-A MB 8

1126. FLORENCIO CONSTANTINO: L’Élisir – Una furtiva lagrima / L’Africana – O Paradiso! 12" AC Col. A5109, POM-1909. M-A MB 8

1127. FLORENCIO CONSTANTINO & ALICE NIELSEN: Faust – Dammi ancor (‘Take’ 1, 1907 Version). 12" AC GP V 74076, POM-322 April, 1908, issued USA only. M-A MB 10

1128. FLORENCIO CONSTANTINO & ALICE NIELSEN: Faust – Dammi ancor (‘Take’ 2, 1908 Version). 12" AC Pat.’12 V 74076, POM-31 May, 1907, Never Doubled. M-A MB 10

1129. FLORENCIO CONSTANTINO & ALICE NIELSEN: Rigoletto – Č il sol dell’anima (1907 Version). 12" AC Pat.’08 V 74063, POM-31 May, 1907, Never Doubled. M-A MB 10

1130. FLORENCIO CONSTANTINO & ALICE NIELSEN: La Traviata – Parigi, o cara. 12" AC Pat.’08 V 74075, POM-31 May, 1907. M-A MB 8

1131. FLORENCIO CONSTANTINO & ALICE NIELSEN: Lucia – Veranno a te. 12" AC Pat.’12 V 74064, POM-31 May, 1907, Never Doubled. M-A MB 10

1132. FLORENCIO CONSTANTINO & ALICE NIELSEN: Roméo – Ah! ne fuis pas encore. 10" AC Pat.’12 V 64091, only form of issue, 22 April, 1908. M-A MB 10

1133. FLORENCIO CONSTANTINO & ALICE NIELSEN: Roméo – Ange adorable. 12" AC Pat.’08 V 74108, only form of issue, 22 April, 1908. M-A MB 12

1134. FLORENCIO CONSTANTINO & EUGENIA BRONSKAJA: Rigoletto – Č il sol dell’anima (1910 Version) / EUGENIA BRONSKAJA & RAMÓN BLANCHART: Tutte le feste al tempio. 12" AC Col. A5183, POM-1910. M-A , lovely copy has, Sd.2 only, faint rub, barely visible & inaud. MB 12

“Florencio Constantino had an important international career in the time of Caruso, Bonci, Anselmi, Ershov, Jadlowker, Sobinov and Zenatello. Constantino’s records merit special attention since his is a voice of much grace, with a sweet mezza voce and a legato of impeccable quality. His style takes us back to pre-Caruso days. A turning point in his career was an engagement to the Teatro Real Madrid in 1899. There he enjoyed tremendous success opposite such famous singers like Hariclea Darclée and Ramón Blanchart.

At Lisboa, he made his début as the Duke opposite Mario Sammarco in RIGOLETTO. At the turn of the century he was invited by the Tsar to St. Petersburg where he débuted as Enzo in LA GIOCONDA. It was in Russia (St. Petersburg and Moscow) where he enjoyed a great reputation, singing in LOHENGRIN, LA TRAVIATA, RIGOLETTO and THE DEMON. Constantino made his début as Don José in New Orleans. Within two months he appeared in eleven different operas. The company embarked on a huge continental tour, but Boston was to be the most important town in Constantino’s career. Eventually this success led to the opening of a new opera house under the direction of Henry Russell. The company offered LA GIOCONDA with Constantino, Lillian Nordica and Louise Homer.”


1135. DINO BORGIOLI: Marinaresca (Sung by the Composer) / Sadko – Chant indoue (Song of the Indian Guest), (in Italian). 10” EL PW red Eng.Col.D 12573, POM-1928. M-A, a gleaming copy. Exquisitely beautiful singing! Elusive! MB 15

1136. DINO BORGIOLI: Caro mio ben (Tommaso Giordani) / Princesita (Padilla). 10” EL black Viva-Tonal Col.2370-D, POM,1930. M-A, a gleaming copy. Again, exquisitely beautiful singing! MB 8

1137. DINO BORGIOLI: Fior di campo (Pinelli) / Ideale (Tosti). 10” AC red Eng.Col.D 12481, POM-1925. M-A, gleaming copy copy has minor ‘heat’ mk, each side. A casualty of the approaching EL recording era, this jewel enjoyed a brief catalogue life! Most Elusive! MB 20

1138. DINO BORGIOLI: Lolita (Buzzi-Peccia) / Rimpianto (Toselli). 10” AC red Eng.Col.D 12482, only form of issue,1925. M-A, gleaming copy copy has, Sd.2 only, hint of grey on peaks – an extremely forward recording. A casualty of the approaching EL recording era, this jewel enjoyed a brief catalogue life! Most Elusive! MB 20

1139. DINO BORGIOLI: Serenata napolitana / Leggenda orientale (both Billi). 10” AC red Eng.Col.D 5104, POM-1923. M-A, lovely copy has, Sd.2 only, infinitessimal edge lam, hardly worth mention. Most Elusive! MB 20

1140. DINO BORGIOLI: I Puritani – A te, o cara / La Boheme – Che gelida manina. 10” AC red Eng.Col.D 1004, POM-1923. M-A, lovely copy has, Sd.2 only, sev. infinitessimal scrs, faintly audible, if at all. MB 8

1141. DINO BORGIOLI: Mignon – Ah non credevi tu / Addio Mignon. 10” AC red Eng.Col.D 1006, POM-1923. M-A, lovely copy has, Sd. faintest rubs, barely visible & inaud. MB 10

1142. DINO BORGIOLI: BARBIERE – Ecco ridente / SE IL MIO NOME (1923 VERSIONS). 10” AC red Eng.Col.D 1003, POM-1923. Borgioli’s first recordings. M-A, a gleaming copy. MB 10

1143. DINO BORGIOLI: BARBIERE – Ecco ridente / RIGOLETTO - QUESTA O QUELLA (1927 VERSIONS). 10” EL burgundy Viva-Tonal Col. 43000-F, POM-1927. M-A, a gleaming copy. MB 10

1144. DINO BORGIOLI: BARBIERE –SE IL MIO NOME (1927 VERSION) / I Pescatori di Perle – Del tempio al limitar. 12” EL black Viva-Tonal Col.50266-D, POM-1917/’28. M-A, beautiful copy has faintest pap.rubs, inaud. MB 8

1145. DINO BORGIOLI: La Sonnambula – Prendi l’anel ti dono (1923 Version) / FAUST – SALVE! DIMORA. 10” AC red Eng.Col.D 1009, POM-1923. A to M-A, lovely copy has few superficial scrs, faintly audible, if at all. MB 8

1146. DINO BORGIOLI: La Sonnambula – Prendi l’anel ti dono (1928 Version) / I Pescatori di Perle – Della mia vita. 10” EL black Viva-Tonal Col.182-M, POM-1928. M-A, a gleaming copy. MB 10

1147. DINO BORGIOLI: I Pescatori di Perle – Mi par d’udir / FAUST – SALVE! DIMORA. 10” AC blue early PW Col. 2018-M, POM-1923. M-A, a gleaming copy. MB 10

1148. DINO BORGIOLI: I Pescatori di Perle – Mi par d’udir / Don Pasquale – Com’ č gentil. 10” AC red Eng.Col.D 1002, POM-1923. M-A, lovely copy has, Sd.2 only, sev. infinitessimal scrs, faintly audible, if at all. MB 8

1149. DINO BORGIOLI: MANON – Le ręve (1923 Version, in Italian) / FEDORA – Amor ti vieta. 10” AC red Eng.Col.D 1005, POM-1923. M-A, lovely copy has, Sd.2 only, sev. infinitessimal scrs, faintly audible, if at all. MB 8

1150. DINO BORGIOLI: MANON – Le ręve (1923 Version, in Italian) / FEDORA – Amor ti vieta. 10” AC PW English Cigale D 9432, POM-1923. A, lovely copy has faint rubs & hint of grey on peaks. MB 8

1151. DINO BORGIOLI: La Traviata – De’ miei bollenti spiriti / MARIA GENTILE: Addio del passato. 10” EL PW red Eng.Col.D 1639, POM-1927. M-A, a gleaming copy. MB 15

1152. DINO BORGIOLI: LOHENGRIN – Nun sei bedankt (in Italian) / L’AMICO FRITZ – O amore, o bella luce. 10” EL Viva-Tonal Col.2424-D, POM-1928/’30. M-A, a gleaming copy. Exquisitely beautiful! MB 10

1153. DINO BORGIOLI: RIGOLETTO – LA DONNA Č MOBILE / QUESTA O QUELLA (1923 VERSIONS). 10” AC red Eng.Col.D 1001, POM-1923. M-A to M-A, choice copy has mere hint of grey on peaks. MB 8

1154. DINO BORGIOLI: MANON – Le ręve (1928 Version, in Italian) / L’ELISIR – UNA FURTIVA LAGRIMA (1927 VERSION). 12” EL black Viva-Tonal Col.50205-D, POM-1928/’27. M-A, a gleaming copy. MB 10

1155. DINO BORGIOLI: L’ELISIR – UNA FURTIVA LAGRIMA (1927 VERSION) / La Favorita – Spirto gentil. 12” AC red Eng.Col.D 16379, POM-1923. M-A, a gleaming copy. MB 15

1156. DINO BORGIOLI: DON PASQUALE – Sogno soave e casto / DINO BORGIOLI & AURORA RETTORE: Tornami a dir. 10” EL black Viva-Tonal Col.1961-D, POM-1928. M-A, a gleaming copy. MB 10

1157. DINO BORGIOLI: Carmen – La fleur que tu m’avais jetée (in Italian) / La Traviata – De’ miei bollenti spiriti. 10” AC PW blue Eng.Col.D 1503, POM-1923. M-A, gleaming copy has 3 pressing indents, Sd.1 & pressing bump, Sd.2, of no consequence. MB 8

1158. DINO BORGIOLI, w.IVOR NEWTON (Pf.): Gondoliera veneziana (Sadero) / La barcarola della Marangona. 10” EL Eng.Col.LB 29, only form of issue,17 June, 1935. M-A, a gleaming copy. Exquisitely beaufiful singing! MB 15

1159. DINO BORGIOLI & ENA SURINACH: La Sonnambula – D’un pensiero / Son geloso. 10” AC red Eng.Col.D 1007, POM-1923. M-A, choice copy has, Sd.1 only, faint rubs & pap.scrs, positively inaud. MB 10

1160. DINO BORGIOLI & ENA SURINACH: La Sonnambula – I Puritani – Vieni fra queste braccia / Don Pasquale – Tornami a dir. 10” AC red Eng.Col.D 1008, POM-1923. M-A, a gleaming copy. MB 12

1161. DINO BORGIOLI & GINO VANELLI: LA BOHEME – O Mimi tu piů non torni / BARBIERE – All’idea dě quel metallo. 10” EL red Eng.Col.D 12574, POM-1928. M-A, a gleaming copy. MB 10

1162. DINO BORGIOLI & GINO VANELLI: LA BOHEME – O Mimi tu piů non torni / BARBIERE – All’idea dě quel metallo. 10” EL black Viva-Tonal Col. 1859-D, POM-1928. M-A, a gleaming copy. MB 10

1163. DINO BORGIOLI & MARIA GENTILE: RIGOLETTO - Č il sol dell’anima / MARIA GENTILE: CARO NOME. 12” EL blue PW Eng. Col.D 18026, POM-1927. M-A, gleaming copy has, Sd.1 only, faintest pap.rub, inaud. MB 10

1164. DINO BORGIOLI, w.GENTILE, MANNARINI & PEDRONI: LA SONNAMBULA – D’un pensiero / DINO BORGIOLI, w.BACCALONI & NESSI: LUCIA – Chi mi frena. 12” EL blue Viva-Tonal Col.7145-M, POM-14 April, 1927. M-A, a gleaming copy. MB 10

1165. DINO BORGIOLI, w.GENTILE, MANNARINI & PEDRONI: LA SONNAMBULA – D’un pensiero / DINO BORGIOLI, w.BACCALONI & NESSI: LUCIA – Chi mi frena. 12” EL blue PW Australian Col.04025, POM-14 April, 1927. M-A, a gleaming copy. MB 12

1166. DINO BORGIOLI & ROSETTA PAMPANINI: La Boheme – O soave fanciulla / DINO BORGIOLI, PAMPANINI, AURORA RETTORE & GINO VANELLI: Dunque č proprio finita. 12” EL blue Italian Col. GQX 10182, POM-1928. M-A, a gleaming copy. MB 12 1167. DINO BORGIOLI & MARIA ZAMBONI: Faust – Il se fait tard (in Italian), 2s. 12” EL PW Eng. Col. L 2077, POM-1927. M-A, beautiful copy has, Sd.2 only, few superficial pap.scrs, inaud. One of the loveliest renditions of the Garden Scene, sung with extreme sensitivity! A few months before, Zamboni created the rôle of Liů, (25 April, 1926, La Scala). MB 12

1168. DINO BORGIOLI & ROSETTA PAMPANINI: L’Amico Fritz – Suzel, buon dě (Cherry Duet), 2s. 12” EL green Italian Col. GQX 10282, POM-13 May, 1930. M-A MB 12

1169. DINO BORGIOLI & ROSETTA PAMPANINI: La Boheme – O soave fanciulla / DINO BORGIOLI, PAMPANINI, AURORA RETTORE & GINO VANELLI: Dunque č proprio finita. 12” EL blue Italian Col. GQX 10182, POM-1928. M-A, a gleaming copy. MB 12

1170. DINO BORGIOLI, w.STRACCIARI, CAPSIR, BETTONI, FERRARI, ETC.; MOLAJOLI COND.: IL BARBIERE DI SIVIGLIA (COMPLETE), 31S.; SD.32 = MOLAJOLI COND.: NOZZE – OVERTURE.. 16-12” EL blue Viva-Tonal (partially on blue shellac) & MasterWorks Col.67932-47-D, POM-1929, in Orig. Albums 8A & 8B, w.Brochure. M-A, a gleaming copy. MB 25, the Set.

1171. DINO BORGIOLI, w.STRACCIARI, CAPSIR, BETTONI, FERRARI, ETC.; MOLAJOLI COND.: IL BARBIERE DI SIVIGLIA (COMPLETE), 31S.; SD.32 = MOLAJOLI COND.: NOZZE – OVERTURE.. 16-12” EL green PW Eng.Col.D14564-79, POM-1929, in Orig. Italian Albums, w.photos & brochure. M-A, a gleaming copy. MB 25, the Set.

“Dino Borgioli enjoyed a distinguished international career as a lyric tenor that saw him performing in many of the world’s finest theatres, and he was also a fairly prolific recording artist….his musicality, languid style and what we have come to consider as a bel canto technique mirrored that of the late 19th and early 20th century tenors. In his vocal approach, he leaves the listener with echos of Fernando de Lucia….in Borgioli’s case [tonal emission was] constantly used to create chiaroscuro effects which were often beguiling….one of the most fascinating tenors to have appeared before the public during the first half of the 20th century.”


- Alan Bilgora, THE RECORD COLLECTOR, 2013


1172. FERNANDO de LUCIA: Palomma ‘e notte (Buongiovanni)) / Luna, lů! (Ricciardi). 10ľ“ AC Milano Fonotipia 92719/20 (XPh 4472/87). M-A, a gleaming copy. MB 20

1173. FERNANDO de LUCIA: Serenata napulitana (Costa) / Chi sa? (Tosti). 10ľ“ AC Milano Fonotipia 92717/18 (XPh 4479/63). A to M-A, lovely copy has few faint pap.rubs, inaud. MB 15

1174. FERNANDO de LUCIA: Carmela (de Curtis). 10” AC red Gram.Concert G.C.2-52773 (13337b), POM-21 May, 1909. M-A, gleaming copy has infinitessimal pap.scr, inaud.; wee label stkr. Never Doubled in any Regular Series. MB 12

1175 FERNANDO de LUCIA: Fenesta che lucive (Cottrau) / Canta pe’ me (de Curtis). 10ľ“ AC Milano Fonotipia 92715/16 (XPh 4462/82). M-A, beautiful copy has few faint pap.rubs, inaud. MB 20

1176. FERNANDO de LUCIA: Matinatta (Leoncavallo) / A suon di baci (Baldelli). 10ľ“ AC Milano Fonotipia 92695/96 (XPh 4491/92). A-/A-B, lovely copy has occasional lt. scrs & wee mks, faintly audible. MB 10

1177. FERNANDO de LUCIA: Voce ‘e notte (de Curtis) / Serenata a Surriento (Gambardella). 10ľ“ AC Milano Fonotipia 92710/09 (XPh 4480/90). A-/A-B, lovely copy has occasional lt. scrs, ltly audible; Sd.2 only has lateral lam, audible during first inch. MB 5

1178. FERNANDO de LUCIA: Serenamente (Barthélemy) / ‘A Surrentina (de Curtis). 10” AC vinyl Historic Masters HMA 2 (13334/39b), POM-21 May, 1909. MINT MB 8

1179. FERNANDO de LUCIA: Marechiare (1911 Version) (Tosti) / MARIA PEROSIO: Nell’alta notte (Serenata medioevale) (Silvestri). 10ľ“ AC white & green Okeh-Fonotipia 60002 (XPh 4467/57), POM-11 Jan., 1911 / 10 Feb., 1917. M-A, gleaming copy of preferred late pressing has, Sd 2 only, infinitessimal dust mk, inaud. MB 15

1180. FERNANDO de LUCIA: Cavalleria – O Lola (Siciliana). 10” AC red Milano flush G & T G.C.52652 (2897b). M-A, lovely copy has faint pap.rubs & mere hint of grey on peaks, inaud. Never Doubled. MB 12

1181. FERNANDO de LUCIA: Barbiere – Se il mio nome (1902 Version). 10” AC red Milano G & T G.C.52427 (2864b). M-A, gleaming copy has mere hint of grey on peaks. Uncommonly bright label. Never Doubled. MB 15

1182. FERNANDO de LUCIA: Pagliacci – Vesti la giubba / No, pagliacco non son! 10”silver IRCC 210, RRs – 1917/’19. Numbered Copy #31, w.de LUCIA’s Photo affixed Sd.1 label. M-A, a gleaming copy. MB 12

1183. FERNANDO de LUCIA: La Traviata – Un dě felice. 10” AC red Milano G & T G.C.52080 (12156L). Never Doubled in any Regular Series. M-A, lovely copy has faint pap.rubs inaud. MB 15

"...[de Lucia] had developed a control of his vocal mechanism that was probably unique in any other male singer excepting Battistini, and he was able to colour his tones in a seemingly miraculous manner. In him the true meaning of the term 'bel canto' becomes clear, for no more sensitive or expresssive singing has been heard in the memory of anyone now alive....what he made of the rather commonplace air in LA TRAVIATA [above], must be heard to be believed."


- P.G. Hurst, THE GOLDEN AGE RECORDED, p.83


1184. FERNANDO de LUCIA: Carmen – La fleur que tu m’avais jetée (in Italian) (1907 Version). 12” AC red Milano G & T 052185 (1175c). A-, lovely copy has few lt.rubs & pap.scrs, inaud. MB 12

1185. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (1902 Version, in Italian. 10” AC red Milano G & T G.C.52650 (2905b), POM-3 Dec., 1902. Never Doubled in any Regular Series. M-A, lovely copy has faint pap.rubs, barely visible & inaud. MB 15

1186. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (in Italian) / Carmen – La fleur que tu m’avais jetée (in Italian) (1902 Versions). 10” AC gold Victor HRS 1025, (Mx.2905/2899b), POM-3 Dec., 1902. Numbered copy #41. Never Doubled in any Regular Series. M-A, a gleaming copy. MB 25

1187. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (in Italian) (1907 Version). 12” AC red vinyl RCA Test Pressing for Mx.1174c, POM-1907. M-A MB 10

1188. FERNANDO de LUCIA: Lohengrin – Nun sei bedankt (in Italian) (1907 Version). 12” AC red Milano G & T 052184 (1174c). M-A, beautiful copy has wee ec, far from grooves. MB 15

1189. FERNANDO de LUCIA: MANON – Le ręve 1902 Version, in Italian). 10” AC Monarch 91020 (2870W-2),, POM-1902, Never Doubled. A to M-A, superb copy has mere hint of grey on peaks & infinitessimal dust scr, inaud. MB 25

1190. FERNANDO de LUCIA: Mignon - Addio, Mignon! 12” AC red Milano G & T 052111 (549c). A-, lovely copy has few very lt.rubs & wee pressing bumps, inaud. MB 15

1191. FERNANDO de LUCIA: Mignon - Addio, Mignon! / La Traviata - De' miei bollenti spiriti. 12” AC red vinyl RCA 15-1024 (Mx.549/622c), POM-1905/'06 resp., the only doubling of these titles in any Regular Series. M-A MB 5

“[Although Tetrazzini wanted to sing at Caruso’s funeral, since the Pope would not permit a woman to sing in the cathedral] instead, Fernando de Lucia came out of retirement and sang ‘Pietŕ, Signore’ at the service.”


- Charles Nelson Gattey, LUISA TETRAZZINI, p.215


1192. FERNANDO de LUCIA & CELESTINA BONINSEGNA: Faust - Tardi si fa (1904 Version). 12” AC red Milano G & T 054043 (213m) POM-1904. Never Doubled in any Regular Series. M-A, a gleaming copy. MB 25

1193. FERNANDO de LUCIA & CELESTINA BONINSEGNA: Faust - Tardi si fa (1904 Version) / GIOVANNI VALS & CELESTINA BONINSEGNA: Aďda – Fuggiam gli ardor inospiti (Nile scene). 12” AC silver Victor IRCC 15 (213/215m), POM-1904. Numbered Copy #24, Never Doubled in any Regular Series. M-A, beautiful copy has faintest pap.rubs, inaud. MB 20

1194. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Faust - Tardi si fa (1907 Version). 12” AC red vinyl RCA Test Pressing for Mx.1173c, POM-1907. M-A MB 10

1195. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Lohengrin – Nie sollst du mich befragen (in Italian). 12” AC red Milano G & T 054175 (1171c). A to M-A, beautiful copy has few faintest pap.rubs, inaud. MB 15

1196. FERNANDO de LUCIA & MARIA GALVANY: La Sonnambula – Prendi, l’anel ti dono / FERNANDO de LUCIA & GIUSSEPINA HUGUET: Lohengrin – Nie sollst du mich befragen (in Italian). 12” AC silver Victor IRCC 104 (1444/1171c), Numbered Copy #24. Sd.1 Never Doubled in any Regular Series. M-A, a gleaming copy. MB 25

1197. FERNANDO de LUCIA & MARIA GALVANY: La Sonnambula – Son geloso. 12” AC red vinyl RCA Test Pressing for Mx.1444c, POM-1908. Never Doubled in any Regular Series. M-A MB 25

1198. FERNANDO de LUCIA & ANTONIO PINI-CORSI: Barbiere – O grido di quest’anima (1906 Version). 12” AC red Milano G & T 054080 (619c). A-, bright copy has few pap.rubs & wee scrs, inaud. MB 15

1199. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Rigoletto - E il sol dell'anima. 12” AC red Milano G & T 054084 (638c). A-, lovely copy has mere hint of grey on peaks, inaud.; faint label nr. MB 12

1200. FERNANDO de LUCIA & GIUSSEPINA HUGUET: La Traviata - Parigi, o cara. 12” AC red Milano G & T 054081 (620c). A-, lovely copy has faint pap.scuff & wee pap.scr, inaud. MB 15

1201. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Carmen – Mia madre io vedo ancor. 12” AC red Pat.’08 Vla 92052 (1172c). M-A, a gleaming copy. MB 15

1202. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Rigoletto - E il sol dell'anima. 12” AC red Milano G & T 054084 (638c). A-, lovely copy has mere hint of grey on peaks, inaud.; faint label nr. MB 12

1203. FERNANDO de LUCIA & GIUSSEPINA HUGUET: La Traviata - Parigi, o cara / Rigoletto - E il sol dell'anima. 12” AC dark-blue Connoisseurs' Records HMV ABHB 6 (Mx.620/638c), POM-1906, Milano. MINT MB 8

1204. FERNANDO de LUCIA & GIUSSEPINA HUGUET: Lohengrin – Das süsse Lied verhallt (in Italian) (1907 Version). 12” AC red Milano Gram. Monarch 054171 (1170˝c). M-A, gleaming copy has faintest pap.rubs, inaud. MB 15

1205. FERNANDO de LUCIA & ERNESTO BADINI: L'Elisir – Obbligato, obbligato. 10” AC white Special Pressing Vla 87562 (10513b), POM-1907, Never Doubled in any regular series. Never listed in a North American Victor catalogue. M-A, a gleaming copy of choice late pressing. MB 15

1206. FERNANDO de LUCIA & ERNESTO BADINI: L'Elisir – Obbligato, obbligato. 10” AC Pat.’08 Vla 91079 (10513b), POM-1907, Never Doubled in any regular series. Never listed in a North American Victor catalogue. M-A, a gleaming copy. MB 12

Nos. 1207 – 1235 are Original shellac Pressings of de Lucia's Phonotypes, featuring de Lucia's photo on each Phonotype Label.

“Americo Esposito was now [in 1917] ready to expand his recording activities beyond the songs and music halls of Naples. His ambition lay in operatic records made by singers more celebrated than the artists on whom he had previously depended. His opportunity came when de Lucia made his farewell performances at the San Carlo in 1917, showing, at the age of fifty-six, that his voice and technique were in fine state and that he retained his local following…..In 1917 the time was propitious for the tenor to record for them, and Americo achieved the coup of engaging him.”


- Michael E. Henstock, FERNANDO DE LUCIA, SON OF NAPLES, p.330


1207. FERNANDO de LUCIA: Barbiere – Se il mio nome (w.interjections by Maria Resemba) (1918 Version) / de LUCIA & ANGELO di TOMMASO: Piano, pianissimo. 10ľ” AC shellac white Photo Label Phonotype C 1945 / M 1989. A-, lovely copy has lt.rubs & very occasional wee scr, inaud. MB 75

1208. FERNANDO de LUCIA: Rimpianto (Come un sogno d’or…) (Toselli) / Nell’alta notte (Serenata medioevale) (Silvestri). 10 3/4 ” AC shellac pale-green Photo Label Phonotype M (printed as ‘N’) 1860 / 2114. M-A, beautiful copy has faintest pap.rubs, inaud.; Sd.1 only, barely visible pap.scr, certainly inaud. MB 95

1209. FERNANDO de LUCIA: Salve Maria (Mercadante), 2s. 10ľ” AC shellac white Photo Label Phonotype C 2018/19. A to M-A-, exceptional copy has few ‘dust’ mks, inaud.; Sd.2 only has long cosmetic ‘pressure’ mk, not to edge, entirely harmless. MB 75

1210. FERNANDO de LUCIA: Dopo! (Tosti) / Occhi di fata (Denza). 10ľ” AC shellac white Photo Label Phonotype C 2404/06. A-, very decent copy has lt.rubs & faint grey on peaks, inaud.; Sd.1 has wee ec to 1st groove. MB 95

1211. FERNANDO de LUCIA: La mia canzone (Lama) / Torna al paesello (Giuliani). 10ľ” AC shellac white Photo Label Phonotype C 1980/81. A-, excellent copy has lt.rubs & occasional wee pap.scr, inaud. Contemporaneous Napoli label stickers remain. MB 75

1212. FERNANDO de LUCIA: Cavalleria – O Lola (Siciliana) / Ernani – Come ruggiada al cespite. 10ľ” AC shellac white Photo Label Phonotype M 1765 / 1811. A to M-A, beautiful copy has faintest pap.rubs, inaud.; faint ‘pressure’mk, Sd.2, not to edge, entirely harmless. MB 95

1213. FERNANDO de LUCIA: L’Elisir – Una furtiva lagrima / Luisa Miller – Quando le sere al Placido (1917 Versions). 10ľ” AC shellac white Photo Label Phonotype M 1754/92. M-A, spectacular copy has cloudy patch, Sd.1, inaud.; occasional faint pap.rub, inaud. Contemporaneous Ricordi label stickers remain. MB 95

1214. FERNANDO de LUCIA: I Pescatori di Perle – Della mia vita / Barbiere – Se il mio nome (w.interjections by Maria Resemba) (1918 Version). 10ľ” AC shellac white Photo Label Phonotype C 1897 / 1945. M-A, spectacular copy has 2 wee rubs, Sd.1, inaud. Contemporaneous Paris label sticker remains, Sd.1. MB 95

1215. FERNANDO de LUCIA: I Pescatori di Perle – Mi par d’udir / I Puritani – A te, o cara (1921 Version). 10ľ” AC shellac white Photo Label Phonotype C 2394 / 2528. A-, lovely copy has very lt. rubs, inaud. MB 95

1216. FERNANDO de LUCIA: Andrea Chénier - Come un bel dě di maggio / I Pescatori di Perle – Mi par d’udir. 10ľ” AC shellac white Photo Label Phonotype C 2392/94. A-, very decent copy has lt.rubs, inaud.; Sd.1 has wee ed to 1st groove & sev. tiny pap.scrs, inaud. Contemporaneous Napoli label stickers remain. MB 75

1217. FERNANDO de LUCIA: Fedora- Amor ti vieta / Mia madre, la mia vecchia madre . 10ľ” AC shellac white Photo Label Phonotype C 1788 / 1846. M-A, spectacular copy has tiny edge scr, beg. Sd.1. MB 95

1218. FERNANDO de LUCIA: Tosca – E lucevan le stelle / Recondita armonia (1917 Versions). 10ľ” AC shellac white Photo Label Phonotype C 1760/87. M-A, spectacular copy has faintest pap.rub Sd.1, inaud. Contemporaneous Paris label stickers remain. MB 95

1219. FERNANDO de LUCIA: Andrea Chénier – Un dě all’azzurro spazio (Improvviso) (1917 Version), 2s. 10ľ” AC shellac white Photo Label Phonotype C 1806/07. M-A, spectacular copy has infinitessimal dust mk, Sd.1, inaud. Contemporaneous Paris label stickers remain. MB 95

1220. FERNANDO de LUCIA &.ANGELA de ANGELIS (although the labels suggest del Piano): L'Amico Fritz - Duetto delle ciliege, 2s. 10ľ” AC shellac white Photo Label Phonotype M 2153/54. CREATOR record, (31 Oct., 1891, Teatro Costanzi, Roma). M-A, spectacular copy has infinitessimal dusk mk, Sd.2, inaud. MB 125

1221. FERNANDO de LUCIA & ANGELA de ANGELIS: Re di Lahore – Sia benedetto il dolore / FERNANDO de LUCIA & BENVENUTO FRANCI: I Pescatori di Perle – Del tempio al limitar. 10ľ” AC shellac white Photo Label Phonotype M 1808/2342. M-A, a spectacular copy. MB 150

1222. FERNANDO de LUCIA & ANGELA de ANGELIS: La Traviata – Un dě felice / Les Huguenots – Le danger presse (in Italian). 10ľ” AC shellac white Photo Label Phonotype M 1770 / 1816. A to M-A, exceptional copy has very lt. pap.rubs, inaud. MB 150

1223. FERNANDO de LUCIA & ANGELA de ANGELIS: Lohengrin – Das süsse Lied verhallt (in Italian) (1918 Version) / La Sonnambula - Prendi, l'anel ti dono. 10ľ” AC shellac white Photo Label Phonotype M 2013 / 2115. A-, lovely copy has faint rubs, inaud. MB 95

1224. FERNANDO de LUCIA & ANGELA de ANGELIS: Aďda – Tomb Scene, 2s. 10ľ” AC shellac white Photo Label Phonotype M 1772/73. M-A, spectacular copy has cloudy patch, inaud.. Contemporaneous Ricordi label sticker remains, Sd.1. MB 150

1225. FERNANDO de LUCIA & ANGELA de ANGELIS: Fedora- Vedi io piango / Addio a domani . 10ľ” AC shellac white Photo Label Phonotype C 2158/59. M-A, spectacular copy. MB 95

1226. FERNANDO de LUCIA & ANGELA de ANGELIS: Lucia – Sulla tomba / Verranno a te. 10ľ” AC shellac white Photo Label Phonotype M 1818/19. M-A, spectacular copy. MB 125

1227. FERNANDO de LUCIA: Barbiere – Se il mio nome (w.interjections by Maria Resemba) (1918 Version) / de LUCIA & ANGELO di TOMMASO: Piano, pianissimo. 10ľ” AC shellac white Photo Label Phonotype C 1945 / M 1989. A-, lovely copy has lt.rubs & very occasional wee scr, inaud. MB 75

1228. FERNANDO de LUCIA: Barbiere – Ecco ridente / Se il mio nome (1917 Versions). 10ľ” AC shellac white Photo Label Phonotype M 1744/48. M-A, beautiful copy has infinitessimal dust mk & few lt.rubs, Sd.1, inaud.; very beg.Sd.1 also has tiny edge scr., also inaud. MB 95

1229. FERNANDO de LUCIA: Barbiere – Ecco ridente (1918 Version) / Oh sorte! giŕ veggo. 10ľ” AC shellac pale-green Photo Label Phonotype C 1943/44. M-A, spectacular copy. MB 45

1230. FERNANDO de LUCIA, w.Maria Resemba & Francesco Novelli: Barbiere – Ah quel colpo / w.Resemba, Novelli & Schottler: Buona sera / w.Resemba, Novelli & Schottler: Ah disgraziati noi! 10ľ” AC shellac white Photo Label Phonotype M 1964/99. M-A, spectacular copy has wee dust mk, each side. MB 95

1231. FERNANDO de LUCIA, w.Resemba, Schottler & Sabatano: Barbiere - Finora in questa camera / w.Novelli & Schottler: Ah! Ah! che bella vita. 10ľ” AC shellac white Photo Label Phonotype M 1984/96. M-A, spectacular copy. MB 95

1232. FERNANDO de LUCIA, w.Resemba, Sabatano, Schottler & Valentino: Barbiere – E Rosina: or son contento / Fermi tutti. Nessun so muova. 10ľ” AC shellac white Photo Label Phonotype M 1985/95. M-A, spectacular copy has very few faintest pap.rubs, Sd.1 only, naturally inaud. MB 95

1233. FERNANDO de LUCIA, w.Resemba, Novelli, Schottler & Valentino: Barbiere – Colla febbre / Buona sera. 10ľ” AC shellac white Photo Label Phonotype M 1987/88. M-A, spectacular copy. MB 95

1234. FERNANDO de LUCIA, w.di Tommaso & Novelli: Barbiere – Ehi, Fiorello? / Various Ensemble: Si, si, la vincerň. 10ľ” AC shellac white Photo Label Phonotype M 1990 / green & gold Phonotype label 2000. M-A, spectacular copy. MB 95

1235. FERNANDO de LUCIA, w.Resemba, Novelli, Schottler, etc.: Barbiere - Ecco qua! / Ma signor…Zitto tu! 10ľ” AC shellac white Photo Label Phonotype C 1991/98. A to M-A, lovely copy has very lt. rubs, inaud.; Sd.2 only has 3 infinitessimal pap.scrs, inaud. MB 75

Nos. 1236 -1301 are MINT Special vinyl Pressings of de Lucia's Phonotypes, replete with any pressing defects in original matrices. Each of these Special vinyl Pressings is Pressed from the Original Phonotype Matrix, offering a better playing surface than the original pressing itself. Each of these Special vinyl Pressings features a beautifully reproduced facsimile Phonotype Label, with de Lucia's photo (unless otherwise noted):

1236. FERNANDO de LUCIA: Caro mio ben (Tommaso Giordani). 12” AC S/S Special Vinyl Pressing of Phonotype C 2508, POM-1921. MB 8

1237. FERNANDO de LUCIA: Salve Maria (Mercadante), 2s. 12” AC Special Vinyl Pressing of Phonotype C 2018/19, POM-1918. MB 5

1238. FERNANDO de LUCIA: Pietŕ, Signore (Niedermeyer) / Marechiare (Tosti) (1922 Version). 12” AC Special Vinyl Pressing of Phonotype M 1879 / C 3148, POM-1918/'22. MB 5

"Quite apart from the fact that no copy has been reported of [de Lucia's] final version of 'Marechiare,' which might even have been unpublished, it has particular significance since it was his very last recording....The recording is a good example of the excellent control that, at the age of sixty-two, he still had over his voice, since he introduces variations that are considerably more intricate than those used in his recordings of the same piece for G & T and for Fonotipia."


- Michael E. Henstock, THE RECORD COLLECTOR, 1987


1239. FERNANDO de LUCIA: Ave Maria (Bach-Gounod) / Quand tu chantes (French Version) (Gounod). 12” AC Special Vinyl Pressing of Phonotype C 1880/81, POM-1918. MB 8

1240. FERNANDO de LUCIA: Amour! Amour! / Serenata (both Tosti). 12” AC Special Vinyl Pressing of Phonotype C 2433/34, POM-1920. MB 8

1241. FERNANDO de LUCIA: Ideale / Malia (both Tosti). 12” AC Special Vinyl Pressing of Phonotype C 2405/07, POM-1920. MB 5

1242. FERNANDO de LUCIA: Vorrei / Oblio! (both Tosti). 12” AC Special Vinyl Pressing of Phonotype C 2507/11, POM-1921. MB 8

1243. FERNANDO de LUCIA: Amor fa morire! / L'alba (both Rotoli). 12” AC Special Vinyl Pressing of Phonotype C 2456/57. MB 8

1244. FERNANDO de LUCIA: Aprile / Ninon (both Tosti). 12” AC Special Vinyl Pressing of Phonotype C 2435/59, POM-1920. MB 8

1245. FERNANDO de LUCIA: Leggenda Valacca (Braga) / A Suon di baci (Baldelli). 12” AC Special Vinyl Pressing of Phonotype M 1898 / C 2121, POM-1918/’19. MB 8

1246. FERNANDO de LUCIA: Palumella zompa e vola (Cottrau) / Nu Mazzo di scivre (de Meglio). 12” AC Special Vinyl Pressing of Phonotype C 2726/27, POM-1921. MB 8

1247. FERNANDO de LUCIA: La mia bandiera / La gondola nera (both Rotoli). 12” AC Special Vinyl Pressing of Phonotype C 2409/37, POM-1920. MB 5

1248. FERNANDO de LUCIA: Scetate (Costa) / Nell’alta notte (Serenata medioevale) (Silvestri). 12” AC Special Vinyl Pressing of Phonotype M 1868 / 2114, POM-1917/’19. MB 5

1249. FERNANDO de LUCIA: Voce ‘e notte / Torna a Surriento (both de Curtis). 12” AC Special Vinyl Pressing of Phonotype M 2103/04, POM-1919. MB 5

1250. FERNANDO de LUCIA: Salome (Stolz; in Italian) / Andrea Chénier - Come un bel dě di maggio. 12” AC Special Vinyl Pressing of Phonotype C 2572/2392, POM-1921/'20. No original copy known to exist, Sd.1. MB 5

1251. FERNANDO de LUCIA: Mefistofele – Forma ideal purissima. 12” AC Special Vinyl Pressing of Phonotype C 2343, POM-1920. MB 8

1252. FERNANDO de LUCIA: Mefistofele – Colma il tuo cor / Iris – Apri la tua finestra. 12” AC Special Vinyl Pressing of Phonotype C 2344 / 2452, POM-1920. MB 10

1253. FERNANDO de LUCIA: Mefistofele - Dai campi, dai prati / Giunto sul passo estremo. 12” AC Special Vinyl Pressing of Phonotype M 1750/51, POM-1917. MB 10

1254. FERNANDO de LUCIA: Otello - Niun mi tema / Traviata - De' miei bollenti spiriti. 12” AC Special Vinyl Pressing of Phonotype M 2117/1762, POM-1917. MB 10

1255. FERNANDO de LUCIA: Manon Lescaut - Donna non vidi mai / Tra voi belle. 12” AC Special Vinyl Pressing of Phonotype C 2558/59, POM-1921. MB 8

1256. FERNANDO de LUCIA: Tosca – E lucevan le stelle / Recondita armonia (1917 Versions). 12” AC Special Vinyl Pressing of Phonotype M 1760/87, POM-1917. MB 10

1257. FERNANDO de LUCIA: Forza - La vita č inferno / O tu che in seno. 12” AC Special Vinyl Pressing of Phonotype M 1797/98, POM-1917. MB 5

1258. FERNANDO de LUCIA: Cavalleria – O Lola (Siciliana) / Fedora – Amor ti vieta. 12” AC Special Vinyl Pressing of Phonotype M 1765/88, POM-1917. MB 5

1259. FERNANDO de LUCIA: Andrea Chénier – Un dě all’azzurro spazio (Improvviso) (1921 Version), 2s. 12” AC Special Vinyl Pressing of Phonotype C 2531/32, POM-1921. MB 8

1260. FERNANDO de LUCIA: Favorita - Spirto gentil / L'Elisir - Una furtiva lagrima. 12” AC Special Vinyl Pressing Phonotype M 1759/54, POM-1917. MB 8

1261. FERNANDO de LUCIA: Il Trovatore – Ah! si, ben mio / Ernani – Come ruggiada al cespite. 12” AC Special Vinyl Pressing Phonotype M 1791 / 1811, POM-1917. MB 10

1262. FERNANDO de LUCIA: Lucia – Tombe degli avi miei / Fra poco a me ricovero. 12” AC Special Vinyl Pressing Phonotype M 1813/14, POM-1917. MB 8

1263. FERNANDO de LUCIA: Lucia – Tu che a Dio / Gli Ugonotti – Bianca al par. 12” AC Special Vinyl Pressing Phonotype M 2120 / 1812, POM-1919/’17. MB 10

1264. FERNANDO de LUCIA: Rigoletto – La Donna č mobile / Barbiere - Oh sorte! Giŕ veggo. 12” AC Special Vinyl Pressing Phonotype M 1749 / C 1944, POM-1917/’18. No labels. MB 10

1265. FERNANDO de LUCIA: Rigoletto – Ella mi fu rapita / Parmi veder le lagrime. 12” AC Special Vinyl Pressing Phonotype C 1795/96, POM-1917. No labels. MB 10

1266. FERNANDO de LUCIA: Rigoletto – Questa o quella / w.Ferluga & Armentano: Partite? Crudele! 12” AC Special Vinyl Pressing Phonotype M 1761 / C 1910, POM-1917/’18. No labels. MB 10

1267. FERNANDO de LUCIA: Barbiere – Ecco ridente / Se il mio nome (1917 Versions). 12” AC Special Vinyl Pressing Phonotype M 1744/48, POM-1917. MB 10

1268. FERNANDO de LUCIA: Faust – Salve! Dimora (Salut! demeure) / O bei lochi (O nature). 12” AC Special Vinyl Pressing Phonotype M 1804/05, POM-1917. MB 5

1269. FERNANDO de LUCIA: Manon – Ah! dispar vision (Ah! fuyez) / Lohengrin – Da voi lontan (In fernem Land). 12” AC Special Vinyl Pressing Phonotype M 1794 / 1802, POM-1917. MB 10

1270. FERNANDO de LUCIA: La Boheme - Che gelida manina / In poverta mia lieta (1917 Versions). 12” AC Special Vinyl Pressing of Phonotype C 1767/68, POM-1917. MB 5

1271. FERNANDO de LUCIA: La Boheme - Che gelida manina (1920 Version). 12” AC S/S Special Vinyl Pressing of Phonotype M 2234, POM-1920, from Unpublished matrix, w.plain label. MB 5

1272. FERNANDO de LUCIA: Pagliacci - Un tal gioco. 12” AC S/S Special Vinyl Pressing of Phonotype M 1843, POM-1917. Plain label. MB 5

1273. FERNANDO de LUCIA: Pagliacci – No, pagliaccio non son! / La Boheme – Quest’č Mimi. 12” AC Special Vinyl Pressing of Phonotype M 1803 / C2396, POM-1921/’20. MB 5

1274. FERNANDO de LUCIA: Pagliacci - O Colombina [Serenata d'Arlecchino]. 12” AC S/S Special Vinyl Pressing of Phonotype C 2562, POM-1921. MB 10

[In the 'Serenata'] "The voice emerges with magnificent sonority, richness and power through minimal surface noise; one might almost be listening to an early electrical recording."


- Michael E. Henstock, THE RECORD COLLECTOR, 1984


1275. FERNANDO de LUCIA: I Pescatori di Perle – Mi par d’udir / w.NGELA de ANGELIS: Non hai compreso. 12” AC Special Vinyl Pressing of Phonotype M 1758 / 1820, POM-1917. MB 8

1276. FERNANDO de LUCIA: Werther – Ah! non mi ridestar / w.ANGELA de ANGELIS: Re di Lahore – Sia benedetto il dolore. 12” AC Special Vinyl Pressing of Phonotype M 1755/1808, POM-1917. MB 8

1277. FERNANDO de LUCIA: L'Africaina - O Paradiso! / w.ANGELA de ANGELIS: O Selika, io t’adoro. 12” AC Special Vinyl Pressing of Phonotype M 1766 / C 1778, POM-1917. MB 10

1278. FERNANDO de LUCIA: L’Amico Fritz – O amore, o belle luce / w.ANGELA de ANGELIS: La Boheme – O soave fanciulla. 12” AC Special Vinyl Pressing of Phonotype M 1844 / 2134, POM-1917/’19. MB 10

1279. FERNANDO de LUCIA &.ANGELA de ANGELIS: L'Amico Fritz - Duetto delle ciliege, 2s. 12” AC Special Vinyl Pressing of Phonotype M 2153/54, POM-1919. CREATOR record (31 Oct., 1891, Teatro Costanzi, Roma). MB 8

1280. FERNANDO de LUCIA &.ANGELA de ANGELIS: Les Huguenots – Le danger presse / Les Pęcheurs de Perles - Ton coeur n’a pas compris (both in Italian). 12” AC vinyl Rubini pressing of Phonotype M 1816/20, POM-16 / 30 Sept., 1917. Plain labels. MINT; Sd. 1 only pressed from damaged stamper. MB 10

1281. FERNANDO de LUCIA & ANGELA de ANGELIS: La Traviata – Un dě felice / Parigi, o cara. 12” AC vinyl pressing of Phonotype M 1770/71, POM-24 June, 1917. MINT MB 5

1282. FERNANDO de LUCIA & ANGELA de ANGELIS: Ruy Blas – O dolce voluttŕ / I Puritani – Nel mirarti. 12” AC Special Vinyl Pressing of Phonotype M 1786 / C 1809, POM-1917. MB 10

1283. FERNANDO de LUCIA & ANGELA de ANGELIS: Rigoletto – Č il sol dell’anima / ANGELA de ANGELIS: Caro nome. 12” AC Special Vinyl Pressing of Phonotype M 1777 / 2293, POM-1917/’20. No labels. MB 10

1284. FERNANDO de LUCIA & ANGELA de ANGELIS: Il Guarany - Sento una forza indomita, 2s. 12” AC Special Vinyl Pressing of Phonotype C 1789/90, POM-1917. MB 5

1285. FERNANDO de LUCIA & ANGELA de ANGELIS: L'Elisir - Una parola, o Adina / Chiedi al rio. 12” AC Special Vinyl Pressing of Phonotype M 2223/24, POM-1919. MB 5

1286. FERNANDO de LUCIA & ANGELA de ANGELIS: Lucia – Sulla tomba / Verranno a te. 12” AC Special Vinyl Pressing of Phonotype M 1818/19, POM-1917. MB 10

1287. FERNANDO de LUCIA & OLGA PERUGINO: La Sonnambula - Prendi, l'anel ti dono / Sposi or siamo. 12” AC Special Vinyl Pressing of Phonotype M 2020/21, POM-1918. MB 10

1288. FERNANDO de LUCIA & ANTONIO ARMENTANO: La Gioconda - Enzo Grimaldo! / O grido di quest’anima (1917 Version). 12” AC Special Vinyl Pressing of Phonotype M 1800/01, POM-1917, from Unpublished matrices. MB 8

1289. FERNANDO de LUCIA & BENVENUTO FRANCI: La Gioconda - Enzo Grimaldo! / O grido di quest'anima. 12” AC Special Vinyl Pressing of Phonotype C 2340/41, POM-1920. MB 8

1290. FERNANDO de LUCIA & GIORGIO SCHOTTLER: Barbiere - All'idea di quel metallo / Numero quindici (1917 Version). 12” AC Special Vinyl Pressing of Phonotype M 1781/82, POM-1917. MB 8

1291. FERNANDO de LUCIA, w.Maria Resemba: Barbiere – Se il mio nome / w.Novelli & Schottler: Ah! Ah! che bella vita. 12” AC Special Vinyl Pressing of Phonotype C 1945 / M1996, POM-1918. No labels. MB 8

1292. FERNANDO de LUCIA & FRANCESCO NOVELLI: Barbiere - All'idea di quel metallo / Voi dovreste travestirvi (1918 Version). 12” AC Special Vinyl Pressing of Phonotype C 1948/49, POM-1918, from Unpublished matrices. No labels. MB 12

1293. FERNANDO de LUCIA & FRANCESCO NOVELLI: Barbiere - Numero quindici / w.Resemba, Schottler & Sabatano: Finora in questa camera. 12” AC Special Vinyl Pressing of Phonotype C 1950 / M1984, POM-1918, from Unpublished matrix, Sd.1. No labels. MB 12

1294. FERNANDO de LUCIA, w.Maria Resemba & Francesco Novelli: Barbiere – Ah quel colpo / w.Resemba, Novelli & Schottler: Buona sera. 12” AC Special Vinyl Pressing of Phonotype M 1964/88, POM-1918. No labels. MB 12

1295. FERNANDO de LUCIA, w.Maria Resemba & Francesco Novelli: Barbiere – Zitti, zitti, piano solo / w.Resemba, Novelli & Schottler: Ah disgraziati noi! 12” AC Special Vinyl Pressing of Phonotype C 1965 / M1999, POM-1918. No labels. MB 12

1296. FERNANDO de LUCIA, w.Resemba, Sabatano, Schottler & Valentino: Barbiere – E Rosina: or son contento / Nessun si muova. 12” AC Special Vinyl Pressing of Phonotype M 1985/97, POM-1918. No labels. MB 12

1297. FERNANDO de LUCIA, w.Scottler: Barbiere – Pace e gioia / Resemba, Novelli, Schottler & Valentino: Buona sera. 12” AC Special Vinyl Pressing of Phonotype C 1966 / M1987, POM-1918. No labels. MB 12

1298. FERNANDO de LUCIA, w.di Tommaso & Novelli: Barbiere – Ehi, Fiorello? / —————-. 12” AC Special Vinyl Pressing of Phonotype M 1990/2337, POM-1918/’20. No labels. MB 12

1299. FERNANDO de LUCIA, w.Armentano & Muńoz: Rigoletto – La Donna č mobile / Bella figlia dell'amore. 12” AC Special Vinyl Pressing of Phonotype M 1915 / 2324, POM-1918/’20. No labels. MB 10

1300. FERNANDO de LUCIA, w.Armentano & Muńoz: Rigoletto – Ch’ío gli parli / —————. 12” AC Special Vinyl Pressing of Phonotype M 1922 / 2319, POM-1918/’20. No labels. MB 10

1301. FERNANDO de LUCIA, de Angeles, Ferluga & Armentano: Rigoletto - Un děŤ, se ben rammentomi / Bella figlia dell'amore. 12” AC Special Vinyl Pressing of Phonotype C 1918/19, POM-1918. MB 8

“Fernando de Lucia sang in many of the world’s greatest opera houses from his début at the San Carlo of Naples in 1885. Since 1909, however, his operatic activity had been limited to only a handful of performances (Rome and Paris in 1910, Naples in 1914, and Milan and Rome in 1916) when, in February 1917, he was persuaded to emerge from retirement to give some last performances, at the Teatro San Carlo, Naples, of the title rôle of Fritz Kobus in Mascagni’s L’AMICO FRITZ, a part that he had created at the Teatro Costanzi (as it then was) of Rome, in 1891.

It was in 1917, shortly after Fernando de Lucia had been enticed from the virtual retirement of several years to make some farewell performances at the Teatro San Carlo, Naples, that his old friend Raffaele Esposito, proprietor of the small Neapolitan recording house of Phonotype, offered him the opportunity of making records for his company. It would be a resumption of a recording career which had started in 1902, with the first of his 69 published titles made for G&T up until 1909, but to which the 30 published Fonotipias of 1911 had seemed to write finis. It would also be the most prolific period of that career, for over the period 1917-22 de Lucia recorded 301 titles for Phonotype: they embraced operas that he had never sung on the stage, religious pieces, a great variety of songs, both Neapolitan and otherwise, and much of his operatic repertoire (including ‘complete’ versions of RIGOLETTO and IL BARBIERE DI SIVIGLIA).

Phonotypes had little circulation outside Naples, and they are rare even in that war-ravaged city. Most are known in only a handful of copies. Many collectors may never have seen one.”


- Michael E. Henstock, HISTORIC MASTERS


1302. MARIO FILIPPESCHI, w.Morelli Cond.: Pagliacci – Vesti la giubba / Tosca – Recondita armonia. 10” EL plum LVDP HN 2362, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs, barely visible & certainly inaud. Exceedingly Elusive! MB 65

1303. MARIO FILIPPESCHI, w.Morelli Cond.: Rigoletto – La donna č mobile / Madama Butterfly – Addio fiorito asil. 10” EL plum LVDP HN 2376, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs, barely visible & certainly inaud. Exceedingly Elusive! MB 65

“There can be no doubt that [Filippeschi’s] voice, one of outstanding brilliance and penetration, could also in certain phrases be called beautiful and was described by one critic as a ‘force of nature’. It was supported by a secure technique that enabled him to produce his phenomenal acuti (top notes) with apparent ease when he sang to the gallery and flaunted his top Cs. He was admnired at home in Italy and audiences in Spain idolised him. In the Iberian peninsula he was known as ‘il tenore di spada’, a soubriquet that followed him to the Spanish-speaking South American Continent too, as his top notes were thought to be like the flashing brilliance of a Toledo swordblade. Evidence of his telling tones, so suitable for the lyrico-spinto repertoire that he sang for most of his fine career, are to be heard [above]….Easier and more telling high B flats would be very difficult to find anywhere.”


- Alan Bilgora, Program Notes to A NEW GOLDEN AGE – FORGOTTEN TENORS IN ITALY, 1940-1955


1304. ANTONIO SALVAREZZA, w.Basile Cond.: Turandot – Nessun dorma / Il Trovatore – Di quella pira. 10” EL dark red German Odeon O-4854, POM- 7/11 Oct., 1948. only form of issue, 1948. M-A, gleaming copy of beautiful German pressing. MB 35

“Salvarezza’s voice was that of a true lirico-spinto, possessing a phenomenal upper register that was produced with ease and brilliance. Mario del Monaco was overheard saying that he thought Salvarezza was ‘the best tenor in Italy’, with another colleague expressing the view that ‘Salvarezza’s acuti (top notes) were the finest to be heard anywhere’.”


Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS


1305. GERSHON SIROTA: Halbein Chatoeinu. 10” AC red Pat.’12 V 64230 (1221ab), POM-22 June, 1909. M-A MB 15

1306. GERSHON SIROTA: Aďda – Celeste Aďda / Tosca – E lucevan le stelle (both in Italian). 10” EL Eng. Vocalion Broadcast Twelve 5017, only form of issue, 1928. A to M-A, lovely copy has very occasional superficial rubs, inaud. MB 85

“Blanche Marchesi, in her book A Singer’s Pilgrimage, states that although the voice of Caruso was remarkable, she was of the opinion that the voices of Tamagno and the cantor from Warsaw, Sirota, were just as outstanding. As a longtime observer at the classes given by her mother, Mathilde, and from her own career as singer and teacher, she was in a position to hear many of the greatest singers in the world at the time. Thus any comment of hers as to an artist’s vocal abilities, whether natural or highly cultivated, must be taken seriously. Sirota possessed a rare elemental quality of tenor voice which invariably invokes in the listener a reaction usually associated with hearing artists like Ponselle, Ruffo, Chaliapin or the young Gigli for the first time.”


- Alan Bilgora, liner notes to Symposium’s Sirota CD issue


“Sirota was commonly referred to as the ‘king of cantors’ or the Jewish Caruso. The singer had a dramatic coloratura tenor voice for which he was famed among Jewish communities not only in Poland - he became a worldwide phenomenon. He had an unusually broad-ranged voice, strong and beautifully resonate both in high and low registers. Thanks to his command of coloratura, he could deliver even the most demanding melismata effortlessly and softly. Despite their technological limitations, Sirota’s surviving recordings provide a vivid sense of the extraordinary power and expressive range of his voice. His was a brilliant and rich instrument, both warm and penetrating, capable of extraordinary dramatic contrasts. The influence of contemporary operatic style is apparent to some degree in his use of elaborate coloratura and his open, Italianate vocal production, particularly in the upper register. Much of the emotive power of his singing resulted from vocal gestures and ornaments that are central to the East European cantorial tradition, which includes not only the traditional modal patterns, but also glottal attacks and glissandos, bended pitches (singing between the standard chromatic pitches), trills and turns, sudden dynamic contrasts, and a distinctive use of highly elaborate coloratura in the service of text and affective expression.”


- YIVO


“We come now to the mightiest of Italian tenors, Francesco Tamagno, the original and unapproachable creator of Verdi’s OTELLO. He was the tenore robusto par excellence, and one of the greatest tenors of all time….Tamagno was a singer and actor of unbounded energy and vitality, with a ringing top C which is still said to have caused the great chandelier then hanging in Covent Garden to vibrate.”


- P.G. Hurst, THE GOLDEN AGE RECORDED, p.89


1307. FRANCESCO TAMAGNO: Hérodiade – Quand nos jours. 10” AC Milano G &T G.C.-52684(3027b), POM-1903, Serial #1144. M-A, superb copy has infinitessimal nr, barely visible, positively inaud. MB 45

1308. FRANCESCO TAMAGNO: Hérodiade – Quand nos jours. 10” AC Victor G &T 95011(3027b), POM-1903, Serial #490. B, very decent copy has lt. rubs & scuffs, merely cosmetic. MB 15

1309. FRANCESCO TAMAGNO: Hérodiade – Quand nos jours / Samson et Dalila – Figli miei (3027/19b), POM-1903. 10” AC PW Historical Catalogue #2 HMV DR 101 (3027/19), POM-1903. M-A MB 10

1310. FRANCESCO TAMAGNO: Hérodiade – Adieu donc, vains objets / LEO SLEZAK: Guillaume Tell – O Mathilde (1903 Version, in German). 10” AC silver Victor IRCC 172 (3016b./ 820z/), POM-1903. Numbered copy #5 of Limited Edition. M-A, a gleaming copy. MB 15

1311. FRANCESCO TAMAGNO: Hérodiade – Adieu donc, vains objets / Le Prophčte – Sopra Berta . 10” AC vinyl BIRS Historic Masters HMA 43 (3017/15b), POM-1903, from Unpublished Masters. MINT MB 12

1312. FRANCESCO TAMAGNO: Samson et Dalila – Figli miei / MATTIA BATTISTINI: Demon – Deh, non plorar. 12” AC vinyl BIRS Historic Masters HM 85 (3018b / 446Z), 10” masters pressed onto 12” vinyl blank,POM-1903/’02, Sd.1 from Unpublished Master. MINT MB 12

1313. FRANCESCO TAMAGNO: Guglielmo Tell – Corriam corriamo. 10” AC Monarch 95010 (3021b), Serial #169, POM-1903. A-B, very decent copy has the usual lt.rubs & greying, especially opening grooves. MB 15

1314. FRANCESCO TAMAGNO: Guglielmo Tell – O must asil. 10” AC Vla 95009 (3020b), POM-1903. A to M-A, lovely copy has faintest rubs, inaud. MB 8

1315. FRANCESCO TAMAGNO: Guglielmo Tell – O must asil / Corriam corriamo. 10” AC PW Historical Catalogue #2 HMV DR 103 (3020/21b), POM-1903. M-A , immaculate copy has, Sd.1 only, 2 wee label tears. MB 12

1316. FRANCESCO TAMAGNO: Le Prophčte – Re del cielo. 10” AC Milano G &T G.C.-52677(3011b), POM-1903, Serial #0492. A-B, lovely copy has usual rubs; nd near beg.; alas, 3 mended hlc at very beginning. MB 15

1317. FRANCESCO TAMAGNO: Le Prophčte – Re del cielo. 10” AC Vla 95005(3011b), POM-1903. A to M-A MB 8

1318. FRANCESCO TAMAGNO: Le Prophčte – Re del cielo / Sopra Berta. 10” AC PW Historical Catalogue #2 HMV DR 104 (3011/14b), POM-1903. M-A MB 10

1319. FRANCESCO TAMAGNO: Le Prophčte – Re del cielo / Andrea Chénier –Un dě all’azzurro spazio (Improvviso). 10” AC vinyl BIRS Historic Masters HM 117 (3006/07b), POM-1903, from Unpublished Masters. MINT MB 15

1320. FRANCESCO TAMAGNO: Le Prophčte – Sopra Berta. 10” AC Monarch 95007(3014b), POM-1903. A-B, very decent copy has the usual rubs & lt scrs, mainly cosmetic. MB 15

1321. FRANCESCO TAMAGNO: Le Prophčte – Sopra Berta. 10” AC Vla 95007(3014b), POM-1903, choice mid-1930’s ‘Elaine’ Pressing with RCA spiderweb verso. M-A, a gleaming copy. MB 15

“The Italian dramatic tenor Francisco Tamagno had one of the most remarkable voices of the nineteenth century and one of the most original operatic talents of his time….Tamagno was a once-in-a-century phenomenon, a singer decidedly worth hearing.”


- John Stratton, OPERA QUARTERLY, Vol. 12, #4, pp.61 & 72


1322. FRANCESCO TAMAGNO: Andrea Chénier –Un dě all’azzurro spazio (Improvviso). 10” S/S Special red vinyl Pressing of 3007b, POM-11 Feb., 1903, from Unpublished Master (ultimately issued as HMA 117). MINT MB 15

1323. FRANCESCO TAMAGNO: Andrea Chénier –Un dě all’azzurro spazio (Improvviso) / Il Trovatore – Di quella pira. 10” AC PW Historical Catalogue #2 HMV DR 102 (3008/13b), POM-1903. M-A MB 10

1324. FRANCESCO TAMAGNO: Andrea Chénier –Un dě all’azzurro spazio (Improvviso) / Il Trovatore – Di quella pira. 10” AC LVDP DR 102 (3008/13b), POM-1903. M-A, pristine copy of preferred late LVDP pressing. MB 10

1325. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira. 10” AC Monarch 95006 (3013b), Serial #1978, POM-1903. A-, lovely copy has the usual lt.rubs & lt. grey on peaks. MB 15

1326. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira. 10” AC Victor G & T 95006 (3013b), Serial #3302, POM-1903. A to M-A, lovely copy has the usual lt. grey on peaks. MB 15

1327. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira. 10” AC Pat.’08 Vla 95006 (3013b), Serial #4978, POM-1903. M-A, beautiful copy has the usual lt. grey on peaks. MB 12

1328. FRANCESCO TAMAGNO: Il Trovatore - Di quella pira. 10” AC Vla 95006 (3013b), choice mid-1930’s ‘Elaine’ Pressing with RCA spiderweb verso. M-A, a gleaming copy. MB 15

1329. FRANCESCO TAMAGNO: Il Trovatore - Deserto sulla terra / Otello - Ora e per sempre addio. Creator Record (5 Feb., 1887, La Scala). 10” PW Historical Catalogue #2 HMV DR 105 (3028/3004b), POM-1903). M-A MB 10

1330. FRANCESCO TAMAGNO: Il Trovatore - Deserto sulla terra / Otello - Ora e per sempre addio. Creator Record (5 Feb., 1887, La Scala). 10” AC LVDP DR 105 (3028/3004b), POM-1903). M-A, pristine copy of preferred late LVDP pressing. MB 10

1331. FRANCESCO TAMAGNO: Il Trovatore – Di quella pira / Otello – Ora e per sempre addio. Creator Record (5 Feb., 1887, La Scala). 10” AC vinyl BIRS Historic Masters HMA 4 (3012/25b), POM-1903, from Unpublished Masters. MINT MB 12

1332. FRANCESCO TAMAGNO: Otello - Niun mi tema (1903 Version). Creator Record (5 Feb., 1887, La Scala). 10” AC Milano G &T G.C.-52674(3002b), POM-1903, Serial #2476. A-, lovely copy has the usual lt.rubs & lt. grey on peaks. MB 25

1333. FRANCESCO TAMAGNO: Otello - Niun mi tema (1903 Version). M-A , an extraordinary copy. MB 12

1334. FRANCESCO TAMAGNO: Otello - Niun mi tema (Unpublished 1903 Version. Creator Record (5 Feb., 1887, La Scala). / NELLIE MELBA: Distance tests, excerpts from Hamlet’s Mad Scene (Thomas).- 12” AC vinyl BIRS Historic Masters HM 36 (14 / 4195f), POM-1903/’10, both from Unpublished Masters. MINT MB 15

1335. FRANCESCO TAMAGNO: Otello – Niun mi tema (1904 Version). Creator Record (5 Feb., 1887, La Scala). 12” AC Opera Disc 78506 (269f), POM-1904. M-A, gleaming copy of this beautiful German pressing. MB 8

1336. FRANCESCO TAMAGNO: Otello – Niun mi tema (1904 Version) / Ora e per sempre addio. Creator Record (5 Feb., 1887, La Scala). 12” AC PW HMV Historic Catalogue #2 DS 100, (269f/12c), POM-1904/’03. M-A, Exemplary! MB 10

1337. FRANCESCO TAMAGNO: Otello – Niun mi tema (1904 Version) / Ora e per sempre addio. Creator Record (5 Feb., 1887, La Scala). 12” AC LVDP DS 100, (269f/12c), POM-1904/’03. M-A, pristine copy of preferred late LVDP pressing. MB 10

1338. FRANCESCO TAMAGNO: Otello –Ora e per sempre addio. Creator Record (5 Feb., 1887, La Scala). 12” AC pale-green Milano Pre-Dog 052102 (12c), POM-1903, Serial #2322. M-A, a spectacular copy. Contemporaneous Paris label sticker remains on uncommonly bright label. MB 15

1339. FRANCESCO TAMAGNO: Otello - Esultate! / Niun mi tema (1903 Version). Creator Record (5 Feb., 1887, La Scala). 10” AC PW HMV Historic Catalogue #2 DR 100, (3001/02b), POM-1903. M-A MB 10

1340. FRANCESCO TAMAGNO: Otello - Esultate! / Niun mi tema (1903 Version). Creator Record (5 Feb., 1887, La Scala). 10” AC LVDP DR 100, (3001/02b), POM-1903. M-A, pristine copy of preferred late LVDP pressing. MB 10

1341. FRANCESCO TAMAGNO: Otello – Esultate! Creator Record (5 Feb., 1887, La Scala) / Andrea Chénier – Un dě all’azzurro spazio. 12” AC PW HMV Historic Catalogue #2 DS 101, (10c/270f), POM-1903/’04. M-A MB 8

1342. FRANCESCO TAMAGNO: Otello – Esultate! Creator Record (5 Feb., 1887, La Scala) / Andrea Chénier – Un dě all’azzurro spazio. 12” AC LVDP DS 101, (10c/270f), POM-1903/’04. M-A, pristine copy of preferred late LVDP pressing. MB 10

“Francesco Tamagno was known as a strong clarion-like voice, a tenor who benefited from the disciplinary teachings of the ‘Italian old school voice lineage’. Tamagno created Otello under supervision of Giuseppe Verdi himself. Unfortunately, Tamagno’s vocal prime falls into a period where in recording of sound was not yet invented. In 1903 the reportedly sick Tamagno (53 years of age) recorded several arias with the primitive recording methods of the time. Reading up on Tamagno through reviews written during his vocal prime, one can still match a lot to that which we can hear on the records. Tamagno’s voice, although obviously thinned out due to age and sickness, still shows a clarion-like quality and exceptionally easy delivery. The vowels are very clear, and despite age and sickness, the voice shows no signs of a wobble. Some detractors find the recorded voice too thin in tone, usually stating that the recording methods were too poor to allow us to know how Tamagno would have sounded. That may very well be, but we are left at least with a good idea of his approach and style, and the characteristics that can be distilled from these recordings are impressive enough. The recordings reveal excellent interpretations, of which ’Niun mi tema’ is arguably one of the best. Tamagno was instructed by Verdi himself, and thus is the closest to Verdi’s wishes we have on record. Verdi reportedly urged Tamagnot to shout when singing Otello. And so we can hear that when Tamagno sings ’Niun Mi tema’ with an exceptional legato. Many phrases have a subtle morendo ending, marking Otello’s remainder of glory. The exclamation on a B-flat is sung in crescendo, to powerful effect. The last kiss that Otello demands, is sung in diminuendo, ending with an almost magical sigh, marking his death.”


- Andrea Shum-Binder, subito-cantabile


1343. NICOLA ZEROLA: Ave Maria (Luzzi). 12” AC Vla 74747, only form of issue, 12 July, 1921; Zanelli’s final published recording as a baritone, (intended, presumably, exclusively for the Latin American market). M-A, an outstanding copy. Highly Elusive Issue! MB 30

1344. NICOLA ZEROLA: L’alba nascente (Parelli). 10” AC Pat.’08 V 64207, POM-10 March, 1911. M-A MB 15

1345. NICOLA ZEROLA: Samson et Dalila – Figlia miei v’arrestate. 10” AC Pat.’08 V 64173, POM-3 March, 1910, Never Doubled in any regular series (other than as rare HRS reissue). A to M-A, lovely copy has lt.rubs, inaud. MB 10

1346. NICOLA ZEROLA: Ballo – La rivedrŕ nell’estasi. 10” AC Pat.’08 V 87037, POM-1 Nov., 1909, Never Doubled. M-A MB 12

1347. NICOLA ZEROLA: Ballo – Di’ tu se fedele (Barcarola). 10” AC Pat.’08 V 87036, POM-1 Nov., 1909, Never Doubled. M-A, choice copy has label tear. MB 10

1348. NICOLA ZEROLA: Pagliacci – Vesti la giubba. 10” AC Pat.’08 V 64169, POM-3 March, 1910, Never Doubled. M-A MB 12

1349. NICOLA ZEROLA: Pagliacci – Un tal giocco. 10” AC Pat.’08 V 64206, POM-10 March, 1911, Orig. ‘A’ Plate Issue, Never Doubled. M-A MB 12

1350. NICOLA ZEROLA: Otello – Ora e per sempre addio. 10” AC white label Vla 64168, POM-19 Nov., 1909, Never Doubled. M-A MB 12

“[Otello] was a part for which [Zerola’s] voice was ideal, as his recordings affirm….The tenor – once characterized by Hammerstein as ‘a second Tamagno’ – had sung the rôle of the torurted Moor many times on many stages, invariably meeting with great success. It was a part for which his voice was ideal….”


- Michael F. Bott, THE RECORD COLLECTOR, 2013


1351. NICOLA ZEROLA: Il Trovatore – Di quella pira. 10” AC Pat.’08 V 64170, POM-20 Oct., 1909, Never Doubled. M-A MB 12

1352. NICOLA ZEROLA: Il Trovatore – Deserto sulla terra. 10” AC Pat.’08 V 64172, POM-17 Dec., 1909, Never Doubled. A to M-A, lovely copy has very faint rubs, inaud. MB 10

“[Zerola] possessed a true tenore di forza which, in spite of its baritone origins, infused a fullness of tone to his middle register that did not at any time make him sound like a baritone who was singing in a higher register. The recordings, that would appear to reflect his basic repertoire closely, capture his bright, plangent and heroic tone very clearly, and therefore make it comparatively easy to analyse his method and basic technique, which seem to be very sound indeed….He was thought to be one of the best tenors engaged by Hammerstein for his New York opening season….He was gifted with a voice of considerable natural and virtually elemental quality, honed by numerous performances….”


- Alan Bilgora, THE RECORD COLLECTOR, 2013


1353. RENATO ZANELLI (as Baritone): Los Ojos Negros! (Alvarez). 10” AC Vla 64858, recorded 23 Oct., 1919, issued USA only. M-A MB 10

1354. RENATO ZANELLI (as Baritone): El Relicario (Padilla). 10” AC Vla 64954, POM-23 Feb. 1921. M-A MB 8

1355. RENATO ZANELLI (as Baritone): Madrigal de mai (Nitke). 10” AC Vla 64972, POM-1 April, 1921. M-A MB 10

1356. RENATO ZANELLI (as Baritone): Marianina (Ferri). 10” AC Vla 66013, POM-1 April, 1921. M-A , lovely copy has mere hint of grey on peaks. MB 8

1357. RENATO ZANELLI (as Baritone): La Spagnola (di Chiara). 10” AC Vla 64834, POM-18 Sept. 1919. M-A MB 8

1358. RENATO ZANELLI (as Baritone): Les Cloches de Corneville – J’ai fait trois fois…Dans mes voyages (Planquette). 10” AC Vla 66025, POM-23 Feb. 1921. M-A MB 10

1359. RENATO ZANELLI (as Baritone): Zazŕ – Buona Zazŕ, del mio buon tempo. 10” AC Vla 64835, POM-25 Sept., 1919. M-A In 1921 it sold only 247 copies; his record with fewest copies sold that year! MB 8

1360. RENATO ZANELLI (as Baritone): La Favorita – A tanto amor. 12” AC Vla 74632, POM-10 Oct., 1919. M-A MB 8

1361. RENATO ZANELLI (as Baritone): Rigoletto – Pari siamo. 12” AC Vla 74622, POM-16 Dec., 1919. M-A MB 8

1362. RENATO ZANELLI (as Baritone): I Pagliacci – Si puň?, 2s. 2-10” AC Vla 64831/32, POM-25 Sept. / 7 Oct., 1919. M-A, lovely copy has, Sd.1 only, sl.grainy surface. Zanelli’s greatest record as a baritone. MB 20, the Pair.

“…the finest version [of the Prologo] on records, which is high praise in a field crowded with competition. Even though Zanelli’s was a less exciting voice than Ruffo’s, it often showed a certain sweetness which Ruffo could not command.”


- W.R. Moran, THE RECORD COLLECTOR, 1986


1363. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Andrea Chénier –/ Si fui soldato / Un dě all’azzurro spazio (Improvviso). 12” EL PW HMV DB 1339, POM-1930. M-A , choice copy has label stickers. MB 15

1364. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello – Esultate / Ora e per sembre addio. 12” EL LVDP DB 1439 (CM 977/1321), POM-24 June, 1929 / 12 March, 1930. M-A, Gleaming Copy of excellent late LVDP pressing! MB 10

1365. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello – Esultate / Ora e per sembre addio. 12” EL Orth Vla 7366 (CM 977/1321), POM-24 June, 1929 / 12 March, 1930. M-A, Gleaming Copy of late Orth Vla pressing! MB 10

1366. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello - Dio, mi potevi scagliar / Niun mi tema. 12” EL LVDP DB 1173 (CM 971-2/972-1), POM-22 June, 1929. M-A, Gleaming Copy of excellent late LVDP pressing! MB 12

1367. RENATO ZANELLI (as Tenor), w.Sabajno Cond. La Scala Orch.: Otello - Dio, mi potevi scagliar / Niun mi tema. 12” EL Orth Vla 7020 (CM 971-2/972-1), POM-22 June, 1929. M-A MB 12

1368. RENATO ZANELLI (as Tenor), w.Barbirolli Cond. La Scala Orch.: Otello - Dio, mi potevi scagliar / Niun mi tema. 12” EL Orth Vla 7020 (CR 2095-2 / 2094-3), POM-1928. (NB: The same issue number was used by Victor for both the 1929 Sabajno and 1928 Barbirolli performances.) A-, very decent copy has lt.rubs, inaud. MB 12

1369. RENATO ZANELLI (as Tenor) & MARGARET SHERIDAN, w.Sabajno Cond. La Scala Orch.: Otello – Giŕ nella notte denza, 2s. 12” EL LVDP DB 1395 (CM 1333-2/1334-2), POM-13 Dec., 1929. M-A, Gleaming Copy of excellent late LVDP pressing! MB 12

“[Zanelli’s] records are not numerous, but they are valuable in the way that Spani’s are; both as a baritone and a tenor he sang with a rare sense of style, a dramatic quality inherent in the tone, and a musical dignity pervading most of his work….His Otello is represented on records by five extracts, deeply impressive and in some respects unmatched….”


- J.B. Steane, THE GRAND TRADITION


1370. FERRUCCIO GIANNINI: Funiculi-funiculŕ (Denza). . 10” AC black GP V 2404 (B-1687), only form of issue, 15 Sept., 1904. A to M-A, extraordinary copy has 2 infinitessimal mks, inaud., of course. MB 25

1371. FERRUCCIO GIANNINI: La Donna č mobile (self-announced by Giannini). 10” AC flush black & silver Col. 1749, only form of issue, April, 1904. A-, remarkable copy for this vintage has lt.grey on peaks, plays beautifully & has wee ipc, nowhere near center nor edge; uncommonly bright flush label. MB 25

1372. FERRUCCIO GIANNINI: La Gioconda – Cielo e mar. 10” AC black Monarch V 2405 (B-137), only form of issue, 25 June, 1903. A-B, very decent copy has the usual rubs & lt.scrs, but plays beautifully. MB 25

“At the age of seventeen Ferruccio Giannini immigrated to the USA. In Boston he took singing lessons from Eleodoro De Campi. In 1891 Giannini made his début in Boston and from 1892 to 1894 undertook an American tour with the Mapleson Opera Company. He then lived in Philadelphia and appeared in opera and concert performances in the USA and also taught singing. He opened a small Théâtre, Verdi Opera House, in Philadelphia in which he organized operas and concerts with his pupils. His daughter was the famous soprano Dusolina Giannini (whose Aďda was the first complete recording of the opera, famous also for her Donna Anna), and his son Vittorio was a justly celebrated composer. He was the first ‘serious’ operatic artist to make recordings, for Berliner in 1896, and later for Victor and Zonophone.”


1373. FERRUCCIO GIANNINI: Martha – M’appari. 10” AC black GP V 4056 (B-1686), only form of issue, 15 Sept., 1904. A-, lovely copy has few lt.rubs & lt. scrs, but plays beautifully. MB 20

1374. FERRUCCIO GIANNINI: Rigoletto – Questa o quella. 10” AC black GP V 4058 (B-1682), only form of issue, 13 Sept., 1904. A-, lovely copy has few lt.rubs & plays beautifully. MB 20

1375. FERRUCCIO GIANNINI: Il Trovatore – Miserere (as a solo, 1903 Version). 10” AC black Monarch V 2431 (B-190), only form of issue, 3 July, 1903. B-, decent copy has rubs, lt. scrs. & mere formation of wee hlc, appears topside only. MB 20

1376. FERRUCCIO GIANNINI & Miss MERRILEES: Il Trovatore – Miserere (1904 Version). 10” AC black GP V 4092 (B-1703), ‘Take’ 2 (the alternate ‘Take’ being ‘Take’ 1, recorded the same day); only form of issue, 24 Sept., 1904. A-, bright copy has varous isolated lt.cosmetic scrs. MB 20

“On a visit to Atlantic City one day I discovered the handsome tenor Ferruccio Giannini in a provincial Italian opera company. The next day he came to my studio and made records of ‘La Donna č mobile’ and ‘Questa o quella.’ These were most successful and were the first opera excerpts [Berliner] ever brought out. They filled us with pride and for many months represented our only concessions to highbrow taste.”


- F. W. Gaisberg, THE MUSIC GOES ROUND, p.17


1377. FRANCESCO DADDI: O’ core mio (Fredi) / Addio Napoli. 10”AC black V 62667 (9019/21b), POM-20 Sept., 1906. M-A, an extraordinary copy. MB 20

1378. FRANCESCO DADDI: ‘Ndringhete ‘ndra (de Gregorio) / Mattinata (Leoncavallo). 10”AC black V 62670 (8973/9016b), POM-15 / 20 Sept., 1906. A-, lovely copy has faint rubs & lt. mks, inaud.; Sd.2 only has long but light label nr. MB 12

1379. FRANCESCO DADDI: Palomma ‘e notte (Buongiovanni) / ‘O tremulicchio (Criscuolo). 10”AC black V 67764, POM-1908. M-A, an extraordinary copy. MB 20

1380. FRANCESCO DADDI: Palomma ‘e notte (Buongiovanni) / ‘O tremulicchio (Criscuolo). 10”AC black V 67764, POM-1908. A-, lovely copy has faint rubs & lt. mks, inaud. MB 12

1381. FRANCESCO DADDI: T’amo ancora. 10” AC flush black & silver Col. 10175, POM-1904. A-B, very decent copy has greying thgroughout; uncommonly bright label. MB 15

1382. FRANCESCO DADDI: ‘O surdano scuntento (Cannio) / ‘O Sfizio (Ricciardi). 10” AC black Col. E149 (3799/3801), POM-1908. A-, choice copy has the usual lt.rubs & superficial mks, inaud. MB 12

1383. FRANCESCO DADDI: La Spagnola (di Chiara) / Inno dei lavoratori (Turat). 10” AC black Col. E146 (3787/3810), POM-1908. A-, choice copy has the usual lt.rubs & superficial mks, inaud. MB 12

1384. FRANCESCO DADDI: ‘O Visuvio 1906, sul motivo di ‘Torna a Surriento’ (de Curtis) / EUGENIO CIBELLI: Pusilleco Addiruso (Gambardella). 10” AC black Col. E151 (3792/1988), POM-1906/’08. A, choice copy has the usual lt.rubs & superficial mks, inaud.; uncommonly bright label. MB 12

1385. FRANCESCO DADDI: O sole mio (di Capua) / Rondala Criolla: Il gallo (Obiglio). 10” AC brown Col. E821 (55701/94). A to M-A, choice copy has, Sd.2 only, few lt.rubs & mks, inaud. MB 12

1386. FRANCESCO DADDI: Nuttata é sentimento (Capolongo) / FRANCESCO DADDI & TERESA de MATIENZO: Ammore é femmena (Mario). 10” AC brown Col. E1348 (4473/4846), POM-1908/’10. A-, lovely copy has lt.rubs & faint grey on peaks. MB 12

1387. FRANCESCO DADDI: Rosa ‘e maggio! (di Capua) / FRANCESCO DADDI & TERESA de MATIENZO: ‘O Vasillo (Cannino). 10” AC pale green Col. E930 (19320/19540), POM-1908/’10. A, exceptional copy has faintest rubs, inaud. MB 12

1388. FRANCESCO DADDI: Suonno sunnate (Capolongo) / Banda: La Marcia delle donne belle. 10” AC pale green Col. E573 (4462/10780), POM-3 May, 1910. A-, lovely copy has faintest rubs., inaud. MB 12

1389. FRANCESCO DADDIM: Te si cagnata (de Crescenzo / Luntananza. 10” AC pale green Col. E2481 (46611/19). B/A-, unworn copy has , S.1 only, 2 clusters of scrs, certainly audible; Sd.2 virtually perfect. MB 12

1390. FRANCESCO DADDI: ‘O marenariello (Gambardella) / Santa Lucia (Cottrau). 10” AC blue Col. E931 (19316/55742). A to M-A, superlative copy has, Sd.1 only, mere hint of nr, barely visible & inaud. MB 12

1391. FRANCESCO DADDI: Mamma mia che vo’ sape (Nutile) / Prince’s Orch.: Tarantella reminiscenze dell’antica Napoli (Calace). 12” AC blue Col. A5221 (30494/30516), POM-112 May / 11 June, 1910. A to M-A, superlative copy. MB 15

1392. FRANCESCO DADDI: Martha – M’appari. 10” AC flush black & silver Col. 10182, POM-1904. A, choice copy has the usual lt.rubs & superficial mks, inaud.; uncommonly bright label. MB 15

1393. FRANCESCO DADDI: Pagliacci – Serenata di Colombina. Creator Record (Daddi created the role of Beppe [conducted by Toscanini] at the World Premiere, 21 May, 1892, Teatro dal Verme, Milano) / TAURINO PARVIS: Prologo – Un nido di memorie. 10” AC blue Col. C124 (10173/3079), POM-1905. B, very decent copy has, primarily Sd.2, greying throughout. MB 15

1394. FRANCESCO DADDI & TERESA de MATIENZO: Calandrella, Calandrč (Crescenzo) / Banda: Al ballo. 10” AC brown Col. E677 (4984/5546), POM-21 Oct., 1910. A to M-A, choice copy has faintest rubs., inaud.; Sd.1 only, has 2 wee scrs, positively inaud. MB 12

1395. FRANCESCO DADDI & TERESA de MATIENZO: Carmč de Cristófaro) / Rondella Creola: La Golondrina del campo. 10” AC brown Col. E6823 (4983/55786), POM-21 Oct., 1910. A to M-A, choice copy has faintest rubs. & hint of grey on peaks, positively inaud. MB 12

1396. FRANCESCO DADDI & TERESA de MATIENZO: Bolero d’amore (Falvo) / Tarantella Surrentina. 10” AC pale-green Col. E3240 (4845/19541), POM-1910. A, choice copy has lt.rubs & superficial mks, inaud. MB 12

1397. FRANCESCO DADDI & TERESA de MATIENZO: Ciribiribin (Pestalozza) / ‘O sentimento (Fonzo). 10” AC blue Col. A946 (4868/69), POM-1910. A-B, very decent copy has lt.rubs & scrs, inaud.; Sd.2 only has sl.rough start. MB 8

“Francesco Daddi trained as a singer and pianist at the Naples Conservatory and made his stage début at Milan in 1891. The following year at the Dal Verme he sang Beppe in the premičre of PAGLIACCI (21 May, 1892, Teatro dal Verme, Milano), and this was also his role in his single season at Covent Garden in 1900. He sang in the Rome premičre of Pietro Mascagni's LE MASCHERE in 1901. Having become one of Italy's leading comprimario tenors, he emigrated to the USA in 1907, singing with the Manhattan Company usually in small parts but also as Corentin in DINORAH with Tetrazzini. From 1911 to 1920 he appeared regularly in Chicago, where he enjoyed considerable success in comic bass roles such as Dr Bartolo in IL BARBIERE DI SIVIGLIA. His recordings, made as a tenor, include Beppe's Serenade in PAGLIACCI and many Neapolitan songs graced by an agreeable lyric voice and an idiomatic sense of style.”




1398. ULYSSES LAPPAS: Andrea Chénier - Come un bel dě di maggio / Un dě all’azzurro spazio (Improvviso) (Lappas’ first recordings). 12” AC gold Flags Label Col.65035-D, POM-1923. A-, lovely copy of choice Flags Label pressing has rubs, inaud. MB 20

1399. ULYSSES LAPPAS: Carmen – La fleur que tu m’avais jetée (in Italian) / Tosca – Recondita armonia. 10” AC early PW Col.3910-M, POM-1923. M-A, gleaming copy of choice mid-1930s pressing. MB 15

1400. ULYSSES LAPPAS: Carmen – La fleur que tu m’avais jetée (in Italian) / Tosca – E lucevan le stelle. 10” AC PW Eng. Col.D1463, POM-1923. A-, lovely copy has faintest rubs & few superficial mks, inaud. MB 8

1401. ULYSSES LAPPAS: Pagliacci – Vesti la giubba / No! pagliacco non son. 10” AC PW Eng. Col.D1455, POM-1923. A to M-A, lovely copy has faint pap.rubs, inaud.. MB 12

1402. ULYSSES LAPPAS: Pagliacci – Un tal giocco / Tosca – Recondita armonia. 10” AC PW Eng. Col.D1456, POM-1923. M-A, a gleaming copy. MB 12



“Lappas’ real name was Odysseus Lappas. He studied with Giuseppe Mandolini in Milan. In 1914 he made his début as Enzo in LA GIOCONDA at the Teatro Dal Verme in Milan. In the same year, he also appeared there as Canio in PAGLIACCI. Already in 1917 Lappas performed at La Scala in the premiere of the opera IL MACIGNO of Victor de Sabata, and in 1918 he sang at the Teatro Politeama Reinach of Parma in LA FANCIULLA DEL WEST. In 1919 Lappas began his real international career appearing at the opera house of Monte Carlo in RUY BLAS and made guest appearance at Covent Garden. The next year, he went to Cairo where he performed in FRANCESCA DA RIMINI. In 1920 Lappas repeated his success in Monte Carlo appearing with Elvira De Hidalgo in PAGLIACCI. In 1925 he was to be found again at Covent Garden, now as Maria Jeritza’s partner in FEDORA. From 1921-22 and 1928-29 he sang at the Chicago Opera, making his début there in LA FANCIULLA DEL WEST. In 1934 he sang at La Scala in the premičre of the opera DON OF GIOVANNI of Felice Lattuada.”




1403. HIPÓLITO LÁZARO: Les Huguenots – Plus blanche que la blanche ermine / Les Pęcheurs de Perles – Je crois entendre (both in Italian). 12” EL Viva-Tonal Col. 8944-M, POM-1926. A-B, very decent copy has lt rubs & few superficial scrs. MB 15

1404. HIPÓLITO LÁZARO: L’Africaine – O Paradis! (in Italian) (1911 Version). 12” AC V 74495, POM-2 Aug., 1911, London, Never Doubled. M-A, choice copy has faintest pap. rubs, inaud. MB 10

1405. HIPÓLITO LÁZARO: L’Africaine – O Paradis! (in Italian) (1916 Version). 12” AC Col. 48747, POM-28 April, 1916. M-A MB 8

1406. HIPÓLITO LÁZARO: Ave Maria (Bach-Gounod) / Martha – M’appari. 12” AC early PW Col. 8931-M, POM-1918/’16. A-, lovely copy has very lt.rubs; Sd.2 only has few harmless lams, inaud. MB 15

1407. HIPÓLITO LÁZARO: Eili, Eili! 12” AC Col. 49914, Issued USA only, 26 Nov., 1920. M-A, a gleaming copy. MB 15

1408. HIPÓLITO LÁZARO: Al desperdirme (Cases) / Rosa marchita (Esperón). 10” EL green Viva-Tonal Col.-Tonal Col.4119-X (WK1646/67), POM-1929, Madrid. M-A, a gleaming copy. MB 35

1409. HIPÓLITO LÁZARO: Desde lejos (Contini) / A Granada (Alvarez). 10” EL green Viva-Tonal Col.-Tonal Col.4072-X (WK1649/72), POM-1929, Madrid. M-A, a gleaming copy. MB 25

1410. HIPÓLITO LÁZARO: I Puritani – A te, o cara. 12” AC Col. 48783, POM-5 May, 1916. M-A MB 8

1411. HIPÓLITO LÁZARO: I Puritani – Vieni fra queste braccia. 10” AC Disco Columbia 46752, POM-5 May, 1916. A, lovely copy has faint grey on peaks. Elusive! MB 12

“Lázaro’s upper register was remarkable not only for the power and ringing quality of its high B naturals, and, at the outset of his career, its high Cs, but also for its capacity to sustain with ease long phrases on high F and high G in the manner dear to the ‘verismo’ composers, and to Mascagni in particular.”


- Rodolfo Celletti, THE RECORD COLLECTOR, 1964


1412. HIPÓLITO LÁZARO: El Trust de los Tenorios – Te quiero (Jota) (Serrano) / La Corte del Amor - Princesita (Padilla). 10” AC red San Sebastian Col. RS 5052 (452/53), POM-1924, only form of issue, Sd.1. A-B, very decent copy has lt. rubs & superficial scrs, ever-so-faintly audible the occasional turn. Exceedingly Elusive! MB 25

1413. HIPÓLITO LÁZARO: Ay del ay (Osma) / Carmen – La fleur que tu m’avais jetée (in Italian). 12” EL Viva-Tonal Col. 8945-M, POM-1926. M-A, gleaming copy has, Sd.1, superficial dust mk, inaud. MB 15

1414. HIPÓLITO LÁZARO: Aďda – Celeste Aďda. 12” AC Col. 48762, POM-1 May, 1916. M-A MB 8

1415. HIPÓLITO LÁZARO: La Favorita – Spirto gentil (1911 Version). 12” AC Vla 74496, POM-3 Aug., 1911, London. A to M-A, choice copy has faintest pap. rubs, inaud. MB 8

1416. HIPÓLITO LÁZARO: La Favorita – Spirto gentil (1916 Version). 12” AC Col. 48748, POM-28 April, 1916. M-A MB 8

1417. HIPÓLITO LÁZARO: La Favorita – Una vergine, un angiol di Dio. 12” AC Col. 48749, POM-28 April, 1916. M-A MB 15

1418. HIPÓLITO LÁZARO: La Boheme – Che gelida manina. 12” AC Col. 48741, POM-27 April, 1916. M-A MB 8

1419. HIPÓLITO LÁZARO: Manon – Le ręve (in Italian). 12” AC. Col. 48787, POM-6 May, 1916. M-A, lovely copy has faint rubs, inaud. MB 8

1420. HIPÓLITO LÁZARO: Rigoletto – La donna č mobile. 10” AC Col. 46736, POM-28 April, 1916. M-A, lovely copy has wee pap.rub, inaud. MB 8

1421. HIPÓLITO LÁZARO: Rigoletto – Questa o quella. 10” AC Col. 46737, POM-28 April, 1916. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8

1422. HIPÓLITO LÁZARO: Il Trovatore – Di quella pira. 10” AC Col. 47211, POM-7 Dec., 1916. M-A MB 10

1423. HIPÓLITO LÁZARO: Tosca – E lucevan le stelle. 12” AC red Eng. Regal 75800, POM-27 April, 1916. A, lovely copy has hint of grey on peaks, lt. rubs & 1 wee scr, inaud. MB 6

1424. HIPÓLITO LÁZARO: Tosca – Recondita armonia. 12” AC Col. 48750, POM-28 April, 1916. M-A MB 8

1425. HIPÓLITO LÁZARO: Andrea Chénier – Come un bel dě di maggio / Un dě all’azzurro spazio (Improvviso). 12” EL PW Eng. Col. D 18001, POM-1926. A-, lovely copy has lt. rubs, inaud.; Sd.2 only has a few lt.scrs, positively audible. MB 10

1426. HIPÓLITO LÁZARO: Turandot – Nessun dorma / Non piangere, Liú. 12” EL PW Eng.Col. D 18000, POM-1926. M-A, gleaming copy has tiny ec to 1st groove, most certainly not affecting playing. Highly elusive! MB 15

1427. HIPÓLITO LÁZARO & MARIA BARRIENTOS: La Traviata – Parigi, o cara / MARIA BARRIENTOS & RICCARDO STRACCIARI: Rigoletto – Tutte le feste al tempio. 12” AC early PW Col.8928-M, POM-1918/’19. M-A, gleaming copy of choice mid-1930s pressing. MB 15

1428. HIPÓLITO LÁZARO & MAFALDA de VOLTRI: Il Piccolo Marat – Gran duetto (Mascagni), 4s. 2-12” EL Viva-Tonal Col. 8941/42-M, POM-1926. Important Lázaro Creator Record, (2 May, 1921, Teatro Costanzi). A-, lovely copy has lt cosmetic rubs. Exceedingly Elusive! MB 45, the Pair.

“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


1429. GALIANO MASINI: La Boheme – Che gelida manina / Cavalleria Rusticana – Addio alla madre (1932 Version). 12” EL dark blue Japanese Viva-Tonal Col. JW 266, POM25/27 April, 1932. A to M-A, beautiful pressing & copy has occasional superficial pap.mk., positively inaud. MB 12

1430. GALIANO MASINI: Turandot – Non piangere, Liů (1929 Version) / Madama Butterfly – Addio, fiorito asil. 10” EL Eng. Col. LB 43, POM-1929. M-A, a gleaming copy. MB 12

1431. GALIANO MASINI: Tosca – Recondita armonia / E lucevan le stelle. 10” EL dark blue Italian Col. D 5980, POM-1929. M-A, a gleaming copy. MB 12

1432. GALIANO MASINI: L’Arlesiana – Lamento di Federico / La Boheme – Che gelida manina. 12” EL brown Italian Col. GQX 16524, POM-25 April, 1932. M-A, a gleaming copy MB 12

1433. GALIANO MASINI: Lucia – Fra poco a me ricovero / Manon Lescaut – Donna non vidi mai. 10” EL PW Col. 17159-D, POM, 27/27 April, 1932. M-A, a gleaming copy MB 10

1434. GALIANO MASINI: L’Arlesiana – Lamento di Federico / GEORGES THILL: Sigurd – Esprits, gardiens. 12” EL PW Col. 9151-M, POM-25 April, 1932/’33. M-A, albeit very minor label smudges. MB 8

1435. GALIANO MASINI: Lodoletta – Sč Franz dicesse il vero; Ah! ritrovarla / Cavalleria Rusticana – Addio alla madre. 12” EL dark blue PW Italian Col. GQX 16526, POM-27 April, 1932. M-A, a gleaming copy. MB 12

1436. GALIANO MASINI, w.Ricci Cond.: Stella del Mare -Vela definta (Dusmet) / La vita sei tu (Bianchieri). 10” LVDP DA 5360, only form of issue, 1938 (from Masini’s film STELLA DEL MARE). M-A, a gleaming copy. MB 15

1437. GALIANO MASINI, w.Ricci Cond.: Stella del Mare –Nubi vagabonde (Cartoni) / Barcarola (Ansoldi). 10” LVDP DA 5359, only form of issue, 1938 (from Masini’s film STELLA DEL MARE). M-A, a gleaming copy. MB 15

1438. GALIANO MASINI, w.Tansini Cond.: Adriana Lecouvreur – La dolcissima effigie / L’anima ho stanca. 10” EL dark blue Cetra AT 0106, only form of issue, 14 July, 1941. M-A, a gleaming copy MB 12

1439. GALIANO MASINI, w.Tansini Cond.: Andrea Chénier – Come un bel dě di maggio / Si fui soldato. 10” EL dark blue Cetra AT 0107, only form of issue, 14 July, 1941. M-A, a gleaming copy MB 12

1440. GALIANO MASINI, w.Tansini Cond.: Aďda – Celeste Aďda / Cavalleria – Addio alla madre (1941 Version). 12” EL dark green Cetra BB 25096, POM-14 July, 1941. M-A, a gleaming copy MB 12

1441. GALIANO MASINI, w.Tansini Cond.: Aďda – Celeste Aďda / La Gioconda – Cielo e mar. 12” EL dark green Cetra BB 25039, POM-14 July, 1941. M-A, a gleaming copy MB 12

1442. GALIANO MASINI, w.Basile Cond.: Fedora – Mia madre, mia vecchia madre, 2s. 12” EL red Cetra BB 25223, POM-21/23 Oct., 1947. M-A, a gleaming copy MB 12

1443. GALIANO MASINI, w.Basile Cond.: Fedora – Amor ti vieta /Tosca – Recondita armonia. 12” EL red Cetra BB 25220, POM-21/24 Oct., 1947. M-A, a gleaming copy MB 12

1444. GALIANO MASINI, w.Basile Cond.: Turandot – Non piangere, Liů (1929 Version) / Manon Lescaut – Ah, Manon, mi tradisce 12” EL red Cetra BB 25222, POM-20/23 Oct., 1947. M-A, gleaming copy has, Sd. 2 only, wee label tear. MB 12

1445. GALIANO MASINI, w.Basile Cond.: Tosca – E lucevan le stelle. / SERGIO MASINI, w.Basile Cond.: Mignon – Ah non credevi tu. 12” EL red Cetra BB 25221, POM-24/21 Oct., 1947. M-A, a gleaming copy. MB 15

1446. GALIANO MASINI, w.Marinuzzi Cond.: Forza – Sulla terra l’ho adorata / GIOVANNI MALIPIERO & LUCIANO NERONI: Lucia – Tu che addio. 12” EL dark green Cetra BB 25096, POM-26 May, 1941 / 6 July, 1939 (obviously from their complete recordings). M-A, a gleaming copy MB 8

“Galiano Masini sang at the Rome Opera from 1930 to 1950, and was also a regular guest artist at La Scala, Milan, and the Verona Arena. He appeared at the Paris Opéra, the Lyric Opera of Chicago (1937–38), the Metropolitan Opera in New York (1938–39), and the Teatro Colón in Buenos Aires (various years). His large, ardent and ringing voice can be heard to best advantage in a complete recording of Verdi's LA FORZA DEL DESTINO, under the baton of Gino Marinuzzi, that was made by Cetra Records in 1941, the first ever complete recording of this work.”


1447. LUIGI FORT: Mignon – Addio Mignon / L’Italiana in Algeri – Languir per una bella. 10” EL Eng. Col. DC 191, POM- 27 March, 1933. M-A, a gleaming copy. MB 6

1448. LUIGI FORT: Don Pasquale – Com’ č gentil / L’Italiana in Algeri – Languir per una bella. 10” EL Master Works Col. 4157-M, POM- 27 March, 1933. M-A, gleaming copy of c.1936 Master Works pressing. MB 8

1449. LUIGI FORT, w.Consiglio Cond.: Me Ideal / LUIGI FORT & C. LAURI: La Monferrina (both in Piemontese dialect). 10” EL dark blue Italian Col.D 13279, only form of issue, 6 June, 1946. M-A, a gleaming copy. MB 8

1450. LUIGI FORT, w.Galliano Cond.: Der Vogelhändler – Wie mein Ahn’l zwanzig Jahr (Nightingale Song) (Zeller) / Les Cloches de Corneville – Mozzo novello (Planqutte) ( both in Italian). 10” EL red Cetra AA 415, only form of issue, 27 March, 1945. M-A, gleaming copy has, Sd.2 only, wee label tear. MB 10

“Luigi Fort’s stage début took place in 1927 at the Teatro Regio in Turin in LUCIA DI LAMMERMOOR, and sang with great success as Nadir in I PESCATORI DI PERLE. From 1930 to 1937 he appeared in Holland where he attained great popularity, and in 1935 he appeared at the Maggio Musicale of Florence in the premiere of Pizzetti’s L'ORSEOLO. In 1936, Fort made his La Scala début on 12 Feb., 1936 in the premiere of Wolf-Ferrari’s IL CAMPIELLO. In 1937 he sang at Covent Garden, in 1938 in Antwerp and in 1939 at the Glyndebourne Festival and at the Salzburg festival as Almaviva.”


1451. AUGUSTO FERRAUTO, w.La Rosa Parodi Cond.: Turandot – Non piangere, Liú / Tosca – Recondita armonia. 12”EL dark blue Cetra CB 20248, POM- 14 July, 1938. M-A, a gleaming copy. MB 65

“Ferrauto’s voice is that of a tenore di forza with considerable weight and projection in the middle register, and real squillo above the stave, where the dramatic effect of his top notes can easily be appreciated….But for the intervention of World War II, Ferrauto might well have enjoyed a great international career.”


- Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS


1452. PIERO SCHIAVAZZI: Cavalleria – Avete altro a dirmi? / Addio alla madre. 10ľ” AC Milano Fonotipia 39902/03 (XPh2186/85), POM-1906. A to M-A, lovely copy has lt rubs & infinitessimal pap.scrs, inaud. MB 25

“Schiavazzi’s official début was at the Teatro Comunale di San Giovanni in Persiceto, 23 Sept., 1899, in Puccini's LA BOHČME. Notably, in an era of great voices, he sang in the major theaters of the world, under the batons of Pietro Mascagni, Ruggero Leoncavallo, Renato Virgil, Leopoldo Mugnone, Gino Marinuzzi, Tullio Serafin, Ettore Panizza and Arturo Toscanini (who in 1904 at the Teatro de la Opera in Buenos Aires directed him in FAUST, FALSTAFF, LINDA DI CHAMOUNIX and IRIS).

In his early years, he rivaled de Lucia, Borgatti and Caruso. He was particularly admired in Puccini's MANON LESCAUT, and especially in FEDORA and ZAZŔ. His outstanding voice endured for about fifteen years, due to frequent performing of verismo repertoire. He then appeared in twenty melodramatic silent films: THE BASTARD (1915, subject by Dumas, director Emilio Graziani-Walter), THE DEATH OF THE DUKE OF OFENA (1915, subject by d'Annunzio, director Emilio Alfredo Graziani-Walter), THE SHADOW OF A THRONE (1921, director Carmine Gallon), and CHEER (1922, director Antonio Gravina), CAVALLERIA RUSTICANA (directed by Ubaldo Maria del Colle), L’AMICO FRITZ (in Italian and French, directed by René Hervil, IL TROVATORE (directed by Ugo Moth) and THE CALL OF THE EARTH, produced in 1923 by Fidua.”


1453. IVAN ZHADAN, w.Matvey Sakharov (Pf.): We sat together / If I could express in one word (both Tschaikowsky). 10” EL black Russian Zavod 4603/04, only form of issue, 1937. B-C, very decent, unworn copy has numerous lt.rubs & scrs, but the exquisite performances come through beautifully. Exceedingly Elusive! MB 25

“I believe the most sadly neglected truly great figure of the Russian singing tradition remains Ivan Jadan (1900-1995). Both in the '30s and in the '50s, there are Jadan's absolutely flabbergasting control of breath, his enormous range of dynamics and colors. Ivan Jadan was a tenor ‘buried alive’ by the Soviet regime. He also was one of this century's musical marvels. If you love grand style Russian singers, do not miss Jadan.”


- Samir Golescu


1454. FRANK MULLINGS: Have you seen but a whyte lillie grow? / My lovely Celia. 10” AC Eng. Col. D1479, POM-1924. M-A, gleaming copy has, Sd.1 only, infinitessimal pap.mk, barely visible & certainly inaud. MB 8

1455. FRANK MULLINGS: Semele – Where’er you walk / Jeptha – Deeper and deeper still (1919 Versions) (both Handel). 12” AC Eng. Col. L 1344, POM-1919. A, lovely copy has wee pap.mks, barely visible & inaud. MB 8

1456. FRANK MULLINGS: Semele – Where’er you walk / Jeptha – Deeper and deeper still (1926 Versions) (both Handel). 12” EL Eng. Col. 9350, POM-1926. A, a gleaming copy. MB 8

1457. FRANK MULLINGS: Die Meistersinger – Preislied / Pagliacci – Vesti la giubba (1918 Versions, in English). 12” AC Eng. Col. L 1228, POM-1918. M-A MB 8

1458. FRANK MULLINGS: Lohengrin – Mein lieber Schwan! / In fernem Land (in English). 12” AC Eng. Col. L 1147, POM-1917. M-A MB 8

1459. FRANK MULLINGS: Otello – Dio! Mi potevi scagliar / Niun mi tema (in English). 12” AC Eng. Col. L 1344, POM-1920. A to M-A, beautiful copy has, Sd.2 only, mere hint of grey on peaks. MB 8

1460. FRANK MULLINGS & MIRIAM LICETTE: Otello – Giŕ nella notte densa (in English), 2s. 12” AC Eng. Col. L 1562, POM-1924. M-A, beautiful copy has, Sd.2 only, very faint, superficial scr, inaud. MB 10

1461. FRANK MULLINGS & NORMAN ALLIN: Love and war (Cooke) / Genevičve de Brabant – Duo des Gendarmes (Offenbach; in English). 12” EL Eng. Col. 9804, POM-1926. A to M-A, lovely copy has the odd faint pap.mk, inaud. MB 8

“Frank Mullings was a leading English tenor with Sir Thomas Beecham's Beecham Opera Company and its successor, the British National Opera Company, during the 1910s and 1920s. Blessed with a strong stage presence and a voice that provoked varying reactions from critics, his repertoire included such taxing dramatic parts as Tristan, Radames, Otello and Canio. The limitations of early microphones meant that his voice has not always been recorded successfully, although the British National Opera Company website notes that playing the recordings at 80 rpm produces a more reliable result.

The young Mullings studied singing in Birmingham and made his operatic début in Coventry in 1907—in Gounod’s FAUST. He joined the Denhof Opera Company in 1913, was engaged by the Beecham Opera Company from 1916 to 1921, and was with the British National Opera Company from 1922 until its closure in 1929. He was the first to sing the part of Wagner's PARSIFAL in English, which he did at the Royal Opera House, Covent Garden, in 1919. Mullings was a noted interpreter, in England at least, of Verdi's OTELLO, as well as TRISTAN. The English music critic Neville Cardus, who came to know Mullings well, wrote in one of his press reviews that: ‘Mr. Mullings acted Canio in PAGLIACCI far beyond the plane of conventional Italian opera of the blood and sand order. His singing is not exactly all honey, but how intensely he lived in the part! He almost persuades us that there is real tragedy about –- that if the puppet Canio were pricked, blood and not sawdust would come forth’. At the height of his fame, Mullings joined the staff of the Birmingham School of Music, teaching voice, and working from 1927 through to 1946. He also taught at the Royal Manchester College of Music from 1944 to 1949.”


1462. GERVASE ELWES: Sigh no more, Ladies (Aikin) / Phyllis has such charming graces. 10” AC PW plum HMV B 320, POM-1912/’11. M-A, choice copy has few faint est rubs, inaud. MB 12

1463. GERVASE ELWES: Ich liebe dich (Grieg) / Morning hymn (Henschel). 10” AC PW plum HMV B 322, POM-1912. A to M-A, lovely copy has faint rubs, inaud. MB 12

1464. GERVASE ELWES, w.Frederick Kiddle (Pf.) : A Carol of bells (Stanford) / Semele – Where’er you walk. 12” AC PW pale blue Eng. Col. L 1162, only form of issue, 1916. M-A, extraordinary copy. MB 25

“Elwes’ singing was distinguished by that indefinable quality we call style. No one can say what style is, but one knows at once whether a musician possesses it or not; one had only to hear Elwes sing two bars to realize that his style was perfect."


- Ralph Vaughan Williams, GERVASE ELWES, THE STORY OF HIS LIFE, p.295


1465. GERVASE ELWES, w.Frederick Kiddle (Pf.), London String Quartet (Sammons, Virgo, Warner & Warwick-Evans): ON WENLOCK EDGE, 5s. Important Creator recording, [Elwes & Kiddle], (15 Nov., 1909, Aeolian Hall, London) / Sd.6 = The roadside fire (both Vaughan Williams). 3-12”AC purple PW Eng. Col. 7363/65, only form of issue, 1917/’16, resp. M-A , a gleaming copy. MB 75, the trio.

“Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career.

His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a baritone career in opera or a tenor career in oratorio and concert (and he chose the latter).

Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and of considerable power. His diction and intonation were very secure, his delivery somewhat ‘gentlemanly’ but his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual fervour. But it was as singer of English art-song, and the friend of many leading English composers, that Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to record) Ralph Vaughan Williams cycle ON WENLOCK EDGE and many of the finest songs of Roger Quilter (including the cycle TO JULIA), both of whom wrote with his voice in mind. In 1912 he gave the first performance of Thomas Dunhill's song-cycle THE WIND AMONG THE REEDS for the Philharmonic Society. He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to leading British singers of his time, as their many private and published memorials testify.”


1466. DAN BEDDOE: Bugeilior gwenith gwyn / Gwew fach (both Welsh). 10" AC pale green Col.E4305 (85067/68), only form of issue, 1919. A-, very decent copy has lt.grey on peaks. Exceedingly elusive! MB 45

1467. DAN BEDDOE: Irish love song (Lang). 10" AC Pat.’08 V 64195, only form of issue, 19 May, 1911. M-A , a gleaming copy. MB 25

1468. DAN BEDDOE: Yesterday and today (Spross). 10" AC Pat.'12 V 64361, only form of issue, 24 June, 1913. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

1469. DAN BEDDOE: A heart like thine (van Deventer) / Jesus is mine (Wittich). 10" AC colorful Art Label Rainbow 1032, only form of issue, 1924. M-A, a spectacular copy. MB 45

1470. DAN BEDDOE: A heart like thine (van Deventer) / Jesus is mine (Wittich). 10" AC colorful Art Label Rainbow 1032, only form of issue, 1924. B, very decent copy has rubs & very lt.scrs, mainly cosmetic. Offered due to rarity. MB 12

1471. DAN BEDDOE: His love / DAN BEDDOE & FLORENCE EVANS: Shadows (Gebriel). 10" AC colorful Art Label Rainbow 1031, only form of issue, 1924. B-C, much played copy has considerable rubbing & scrs; Sd.2 only tiny ND & ec, not to grooves. Offered due to rarity. MB 12

1472. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): Danny Boy (Weatherly) / In an old fashioned town (Harris). 10" EL Bruns. 3848, only form of issue, 23 Feb., 1928. M-A, a superlative copy. Exceedingly Rare! MB 75

1473. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): Elijah – If with all your hearts / Then shall the righteous shine forth (Mendelssohn). 10" EL black Bruns. 3847, only form of issue, 23 Feb., 1928. M-A, a superlative copy. Exceedingly Rare! MB 95

1474. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): Elijah – If with all your hearts / Then shall the righteous shine forth (Mendelssohn). 10" EL black Bruns. 3847, only form of issue, 23 Feb., 1928. A to M-A, lovely copy has very lt. rubs, inaud. Exceedingly Rare! MB 65

“What a pity that so few recordings of Dan Beddoe are available for us to hear…to remind us of perhaps the greatest of all tenors to have emerged from Wales, and one of the outstanding oratorio and concert singers of all time.”


1475. BROWNING MUMMERY: Tosca – Recondita armonia / E lucevan le stelle (in Italian). 10” EL plum PW HMV B 2724. M-A MB 8

1476. BROWNING MUMMERY: Manon – Le Ręve / Pagliacci – No, pagliacco non son! (in English). 10” EL plum PW HMV B 3121. M-A, lovely copy has, Sd.1 only, lt rub & tiny scr, audible just a few turns. MB 6

1477. BROWNING MUMMERY & KATHLEEN HILLIARD: Madame Pompadour – Love’s sentry / By the light of the moon (Leo Fall; in English). 12” AC plum PW HMV C 1143. M-A MB 8