Historical Reissue Classical CDs, LPs, 78s, Related Books & Ephemera
Since 1972

Auction Number 144 ­- AUCTION Closing Date: Monday, 13 June, 2010

Regarding AUCTION #144 (Closing Date: Monday, 13 June , 2011), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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K1419 - K1699 are Tenor Vocal 78rpm records

K1419. JEAN de RESZKÉ, w.Flon Cond.: L'Africaine – O Paradis! / w. Damrosch Cond.: Siegfried – Forge Scene (fragments). 10” AC gold IRCC 110, RR's from Mapelson Cylinders, Live Performances, Met Opera, 15 / 19 March, 1901. Numbered Copy #181 of a Limited Edition. de Reszké's Photo affixed to both Labels. M-A, Exemplary! MB 25

K1420. CHARLES ROUSSELIÈRE: Pensée d’automne / Noël païen (both Massenet). 12” EL black PW French Polydor 566065, only form of issue, 1930. M-A MB 35

K1421. CHARLES ROUSSELIÈRE: Mai (Hahn) / An die Ferne Geliebte – Nimm sie hin (in French) (Beethoven). 10” EL black French Polydor 561021, only form of issue, 1930. M-A MB 35

“Originally a blacksmith by trade, Rousselière studied with Albert Vaguet at the Paris Conservatoire and made his début at the Opéra as Samson in 1900. The following year he sang in the première of Camille Saint-Saëns's Les Barbares, and he remained with the company until 1905. Until 1919 he was a favourite at Monte Carlo, where he appeared first in La Damnation de Faust; premières there included Mascagni's Amica, Saint-Saëns' L’Ancêtre and Fauré's Pénélope. His 1906 début at the Metropolitan was in Roméo et Juliette. Upon his return to France, he added Otello, Lohengrin, Siegfried and Parsifal to his repertory. He also appeared in Berlin, Buenos Aires and Milan, and in his later years sang mostly at the Opéra-Comique where in 1913 he created the title rôle in Gustave Charpentier's Julien.”


K1422. JEAN ROUSSELIÈRE: Mamz’elle Nitouche – Un mariage de raison / Couplets de l’inspecteur (Hervé). 10” EL dark-green French Polydor 522108. A-, very decent copy has lt. rubs & few lt. scrs, inaud. MB 10

K1423. AGUSTARELLO AFFRE (The French Tamagno): Parais à ta fenêtre (Gregh). 10" AC black Paris G & T G.C.-32686 (1454-F), only form of issue, 1905. A to M-A, choice copy has infinitesimal pap. scr, positively inaud. MB 35

K1424. AGUSTARELLO AFFRE: Les Huguenots – Plus blanche que la blanche hermine / La Reine de Saba – Inspirez-moi, race divine. 8½” AC etched label center-start H & D Paris Pathé 3496/93 (22472/71), Original 1903 issue, Sd. 2 announced. A to M-A, bright copy has hint of grey on peaks. MB 35

K1425. AGUSTARELLO AFFRE: Les Huguenots – Plus blanche que la blanche hermine / Entrée de Raoul. 12” AC black paper label H & D Paris Pathé 6 (3496/3509), recorded 1903. M-A, Exemplary! MB 15

K1426. AGUSTARELLO AFFRE: Les Huguenots – Beauté divine / Asile héréditaire. 12” AC etched label H & D Paris Pathé 3511/3484 (38239/53511), recorded 1903. M-A/A-, lovely copy has, Sd.2 only, lt. grey on peaks. MB 15

K1427. AGUSTARELLO AFFRE: Roméo – Ah! lève-toi, soleil! 12” AC etched label center-start H & D Paris Pathé 3485 (7797), Original 1902 issue, announced. A to M-A, bright copy has hint of grey on peaks. MB 15

K1428. AGUSTARELLO AFFRE: La Reine de Saba – Inspirez-moi, race divine / Rigoletto – La donna è mobile (in French). 12” AC brown paper label H & D Paris Pathé 60 (3493/81), recorded 1910. A to M-A, lovely copy has mere hint of grey on peaks. MB 10

K1429. AGUSTARELLO AFFRE & HIPPOLYTE BELHOMME: Guillaume Tell – Troncar suoi dì (in French) / AFFRE & MATHILDE COMÈS: Grand duo (Act IV). 12” AC black paper label H & D Paris Pathé P.2501 (1701/1501), recorded 1910. A-, very decent copy has, primarily Sd. 2, lt. grey on peaks. MB 10

“Agustarello Affre held his own with Escalaïs, de Reszke, Van Dyck, Alvarez, Saléza, Scaremberg, Muratore and Franz in a career that lasted two decades. Affre made his début at the Paris Opéra in 1890 as Edgardo in Lucia with Nellie Melba. At the Opéra, he created rôles in operas by Massenet and Saint-Saëns and also sang Canio and Belmonte for the first time. Affre never sang at the Opéra-Comique, but during his career he made guest appearances in Lyon, Marseille, Brussels, London, New Orleans, Havana and San Francisco.”


K1430. CHARLES DALMORÈS: Ninon (Tosti). 12” AC Pat. ’08 Vla 88330, Orig. ‘A’ Plate Issue, POM-26 Oct., 1911, Never Doubled (although assigned an issue number for the ‘Heritage’ series, this was never used. M-A, gleaming copy has infinitesimal pap. mk, positively inaud. MB 25

K1431. CHARLES DALMORÈS: Bonjour, Suzon! (Delibes). 10” AC Pat.’12 Vla 87119, only form of issue, 28 Oct., 1912. M-A, gleaming copy has infinitesimal pap. mk, positively inaud. MB 25

K1432. CHARLES DALMORÈS: Je t’aime (Massenet). 10” AC V 87120, only form of regular issue, 28 Oct., 1912, this appeared otherwise only as the rare gold HRS private issue. M-A, Exemplary! MB 20

K1433. CHARLES DALMORÈS: Je t’aime (Massenet) / Samson et Dalila – Arrêtez, o mes frères. 10” AC gold Victor HRS 1054, POM-28 Oct., 1912 / 30 Oct., 1911. Numbered Copy #4 of an extraordinarily Limited Edition. M-A, a gleaming copy. MB 65

K1434. CHARLES DALMORÈS: Samson et Dalila – Arrêtez, o mes frères. 10” AC white Vla 87087, only form of regular issue, 30 Oct., 1911, this appeared otherwise only as the rare gold HRS private issue & as AGSA 15. M-A, Exemplary! MB 15

K1435. CHARLES DALMORÈS: Samson et Dalila – Arrêtez, o mes frères / Le Prophète – Roi du ciel. 10” AC mauve & gold HMV AGSA 15, POM-30 Oct., 1911 / 25 March,1908, Sd. 2 Unpublished. MINT MB 15

K1436. CHARLES DALMORÈS: Il Trovatore – Ah! sì ben mio / Grisélidis – Ouvrez-vous sur mon front (Massenet). 12” AC mauve & gold HMV AGSB 9, POM-12 April, 1907 / 25 Oct., 1912. MINT MB 15

"…[Dalmorès’] style is exemplary, and the phrasing and attack that of a consummate musician. He also supplies the written trill in the Trovatore excerpt – a vital component of the aria, but largely ignored by contemporary tenors….”


K1437. CHARLES DALMORÈS: Roméo – Ah! lève-toi, soleil! / Grisélidis – Ouvrez-vous sur mon front, portes du Paradis (Massenet). 12” AC silver Victor HRS 2004, POM-3 April, 1907 / 25 Oct., 1912. Sd. 2 label Autographed by Dalmorès. M-A, gleaming copy has, Sd. 1 only, faintest pap. rub, inaud. MB 45

K1438. CHARLES DALMORÈS: Les Contes d’Hoffmann – C’est elle / O Dieu, de quelle ivresse. 10” AC mauve & gold HMV AGSA 7, POM-26 Oct., 1911 / 25 March, 1908, Sd. 2 Unpublished. MINT MB 15

K1439. CHARLES DALMORÈS: Lohengrin – Athmest Du nicht. 10” AC Pat.’08 Vla 87088, POM-26 Oct., 1911, Orig. ‘A’ Plate Issue. M-A, a gleaming copy. MB 15

K1440. CHARLES DALMORÈS: Carmen – La fleur que tu m’avais jetée. 12” AC GP V 85122, POM-25 Oct., 1912. A-, lovely copy has few faint dust scrs. MB 10

K1441. CHARLES DALMORÈS: Carmen – La fleur que tu m’avais jetée / Roméo – Ah! lève-toi, soleil! 12” AC red vinyl RCA 15-1013, POM-25 Oct., 1912. MINT MB 10

K1442. CHARLES DALMORÈS & EMMA CALVÉ: Carmen – Là-bas dans la montagne. 12” AC Pat.'12 Vla 89019, POM-20 March, 1908. M-A, Exemplary! MB 12

K1443. CHARLES DALMORÈS & MARCEL JOURNET: Carmen – Je suis Escamillo. 12” AC GP V 85114, POM-15 Feb., 1907, Never Doubled, USA. A-, very decent copy has lt. rubs, inaud. MB 10

K1444. CHARLES DALMORÈS & MARCEL JOURNET: Faust – Ô merveille…À moi les plaisirs. 12” AC GP V 85115, only form of regular issue, 19 Feb., 1907, this appeared otherwise only as IRCC 169. A-, very decent copy has lt. rubs, inaud.; nd at very end, after performance. MB 10

“Dalmorès made his operatic début at the Théâtre des Arts in Rouen on 6 October, 1899, in the heavy Wagnerian rôle of Siegfried. Following this, he spent six seasons with the Théâtre de la Monnaie in Brussels and sang with success at London's Royal Opera House, Covent Garden, in 1904-1905 and 1909-1911. His American début took place in Faust, in which he appeared with New York's Manhattan Opera Company on 7 December, 1906. He spent four years with the company, specializing in French rôles....In the pantheon of great French dramatic/lyric-dramatic tenors, his place is secure. He proved to be a worthy successor to Jean de Reszke (the biggest male opera star of his day), Léon Escalaïs‎ and Albert Alvarez, each of whom enjoyed international careers during the 1890s and early 1900s. Of those French-speaking tenors who took up his mantle, the most esteemed were Paul Franz and Fernand Ansseau, followed in turn by René Maison, Georges Thill and, finally, Jose Luccioni, who was the last representative of this distinguished lineage. Luccioni retired in 1962. There are no big-voiced French tenors of comparable stature singing today.”

K1445. JOSÉ LUCCIONI , w.Tomasi Cond. Lamoureux Orch.: Colomba – Le chant du Maquis / Méditerranée (Scotto). 10” EL LVSM DA 5023, only form of issue, 1948. M-A, lovely copy has, Sd 1 only, faintest pap. rubs, inaud. MB 12

K1446. JOSÉ LUCCIONI , w.Bigot Cond.: Werther – Pourquoi me réveiller? / J’aurais sur ma poitrine. 10” EL Disque Gram. DA 4901, only form of issue, 1936. A/A-B, very decent copy has lt. rubs, inaud.; Sd. 2 only has various dust scrs, positively ltly audible. MB 8

K1447. JOSÉ LUCCIONI , w.Bigot Cond. l’Opéra Orch.: Polyeucte – Source délicieuse / Roméo et Juliette – Ah! lève-toi, soleil! (both Gounod). 12” EL Disque Gram. DB 11.115, only form of issue, 1946. M-A, Exemplary! MB 15

K1448. JOSÉ LUCCIONI , w.Bigot Cond. l’Opéra Orch.: Aïda – Celeste Aïda / Otello – Niun mi tema (both in French). 12” EL LVSM DB 11.179, only form of issue, 1948. M-A, exemplary copy. MB 15

K1449. JOSÉ LUCCIONI & CHARLES CAMBON , w.Bigot Cond. l’Opéra Orch.: Otello – Desdemona rea!, 3s / Sd. 4 = CHARLES CAMBON: Otello – Credo (in French). 2-12” EL LVSM DB 11.193 & 11.204, only form of issue, 1948. M-A, gleaming copy has, Sd 3 only, faintest pap. rub, inaud. MB 20, the Pair.

“In 1927 Luccioni entered the Conservatoire de Paris and studied with Léon David, Léon Escalaïs and Eugène Size who eventually became his wife. In 1931 he sang at the Grand Opéra Paris for one season. In 1933 he was engaged at the Opéra-Comique where he was successful as Don José, a rôle he sang about 500 (?) times. He soon specialized in dramatic tenor rôles which suited his temperament. From 1935 - 1937 he regularly appeared at Italian opera houses. The Chicago Opera engaged him in the season 1937-38. After World War II he appeared in several sound movies. At the end of his career he became Director of the Opéra in Nice. José Luccioni is a dramatic tenor with much power in the upper register. His singing is characterized by an overwhelming spontaneity. It is ‘al fresco singing’, but of a high standard.”


K1450. DAVID DEVRIÈS , w.Émile Nerini (Pf.): Cimetière de campagne (Hahn) / Les anes du Caire (Acc. by the Composer). 10" EL French Odéon 188.596, only form of issue, 5 July, 1928. M-A, lovely copy has very occasional pap. rub, inaud. Exceedingly elusive! MB 75

K1451. DAVID DEVRIÈS , w.Cloëz Cond.: Mélodies Persanes – Tournoiement / Au Cimetière (Saint-Saëns). 10" EL French Odéon 188.584, original form of issue, 25 April, 1928 (this appeared otherwise only in Argentina). M-A, a gleaming copy. Exceedingly elusive! MB 75

K1452. DAVID DEVRIÈS , w.Cloëz Cond.: La Basoche – Je suis aimé de la plus belle / J’irai chez les oiseaux mes frères (Messager). 10" EL French Odéon 188.526, only form of issue, 1927. M-A, lovely copy has very occasional pap. rub, inaud. Exceedingly elusive! MB 45

K1453. DAVID DEVRIÈS , w.Cloëz Cond.: Mignon – Elle ne croyait pas / Faust – Salut! demeure. 12” EL French Odéon 123.552, POM-25 / 22 May, 1928, only form of issue, Sd. 1. M-A, a gleaming copy. MB 75

K1454. DAVID DEVRIÈS , w.Cloëz Cond.: Manon – En fermant les yeux (Le rêve) / Le Roi d'Ys – Vainement, ma bien-aimée. 10" EL French Odéon 188.505, only form of issue, 1927. M-A, a gleaming copy. MB 35

K1455. DAVID DEVRIÈS: Manon – En fermant les yeux (Le rêve) / Faust – Salut, demeure. 12” AC etched label H & D Paris Pathé 80/4790 (12378/75104), recorded 1905/’07. M-A, lovely copy has, Sd. 2 only, faint grey patch only at beginning. MB 35

K1456. DAVID DEVRIÈS: Le Roi d’Ys – Vainement, ma bien aimée (Aubade) (Lalo). 12” AC purple Pat.’08 V 70021, Orig. ‘A’ Plate Issue, only form of issue, 4 April, 1910. M-A, Exemplary! Exceedingly Elusive! MB 45

“In the delightful Aubade from Lalo’s Le Roi d’Ys, recorded for Victor, the actual colour of [Devriès’] vocal tone is to be heard to advantage. Captured here is a light and not unattractive vibrato which allows his beautifully managed poised soft top A’s to float effortlessly over the gentle accompaniment.”


K1457. DAVID DEVRIÈS & GABRIELLE LEJEUNE-GILIBERT: La Fille de Mme Angot – Voyons, Monsieur, raisonnons-nous politique (Lecocq). 12” AC purple Pat.’08 V 70025, Orig. ‘A’ Plate Issue, only form of issue, 4 April, 1910. A-, lovely copy has faint pap. rubs & few infinitesimal pap. scrs, inaud. Exceedingly Elusive! MB 35

K1458. DAVID DEVRIÈS, NANSEN, DANGÈS & BELHOMME: L’Arlésienne – Marche des Rois (Bizet) / HENRI ALBERS, LAPEYRETTE & LASALLE: La Marseillaise (de Lisle). 12” AC H & D grey paper label US-Pathé 59013 (0777/0590), recorded 1910. M-A/A-, lovely copy has, Sd. 2, long nr, positively inaud. MB 15

“…David Devriès…exemplified the art of the French ténor légère. As did Edmond Clément and the ill-fated Louis Cazette, he exhibited in his singing the elegance, style and good taste that has seemingly been eroded during the last half of the 20th Century.”


K1459. EDMOND CLÉMENT: L’adieu du matin (Pessard; att.Chizat) / Manon – En fermant les yeux (Le rêve). 11¼” AC H & D grey paper label US-Pathé 59051, recorded 1916. M-A, Exemplary! MB 20

K1460. EDMOND CLÉMENT: Mai (Hahn) / Lakmé – Fantaisie aux divins mensonges. 11¼” AC H & D grey paper label US-Pathé 59006, recorded 1916. M-A, lovely copy has faintest pap. rubs, inaud. The Hahn song is sheer balm to the ears and soul! MB 20

K1461. EDMOND CLÉMENT: Il neige (Bemberg); Bergère légère (Weckerlin) / Plaisir d’amour (Martini). 11¼” AC green Paris paper label H & D Pathé 3098, recorded 1916. M-A, Exemplary! MB 20

K1462. EDMOND CLÉMENT: Bergère légère (Pessard; Weckerlin); L'adieu du matin (Pessard). 10” AC Pat.’08 V 64223, POM-6 Nov., 1911. M-A, a gleaming copy. MB 10

“The café song ‘Ça fait peur aux oiseaux’ has a delicious flavour of Paris, and there are the early songs ‘Bergère légère’ and ‘L'adieu matin’, both of them magical in the singer’s handling of the melody and use of the head voice.”


K1463. EDMOND CLÉMENT: Ça fait peur aux oiseaux (Bernard). 10” AC Vla 64226 (w.RCA embossed spiderweb verso), POM-6 Nov., 1911, Never Doubled, US. M-A, choice copy of late Elaine pressing. MB 15

K1464. EDMOND CLÉMENT: Il est d’étranges soirs (Roubaud) / Lakmé – Ah! viens dans la forêt. 11¼” AC green Paris paper label H & D Pathé 2022, recorded 1919. M-A, Exemplary! MB 15

K1465. EDMOND CLÉMENT: En passant par la Lorraine (arr.Tiersot) / Les filles de la Rochelle. 11¼” AC green Paris paper label H & D Pathé 3099, recorded 1916. M-A, Exemplary! Sd.2 provides an example of the lost art of fin-de-siècle French singing – simply exquisite! MB 25

K1466. EDMOND CLÉMENT: Les Nuits d’Été – L’absence (Berlioz) / Werther – O nature. 11¼” AC green Paris paper label H & D Pathé 2021, recorded 1919. M-A/A, lovely copy has, Sd. 2 only, faint pap. scr, inaud., positively inaud. MB 20

K1467. EDMOND CLÉMENT: Le mariage des roses (Franck) / Amadis de Gaule – Bois épais (Lully). 11¼” AC black Paris paper label H & D Pathé 3166, recorded 1919. M-A, Exemplary! Most elusive! MB 35

K1468. EDMOND CLÉMENT: Ariettes oubliées – Green (Aquarelle, #1) (Debussy) / Clair de lune (Fauré). 11¼” AC black Paris paper label H & D Pathé 3165, recorded 1919. M-A/A-, lovely copy has, Sd. 2 only, lt. grey on peaks. Exceedingly elusive! MB 25

“There are those singers who, despite relatively ordinary careers, are remembered by posterity by dint of having made a few records. Because of their recordings, some artists of yesteryear are even more highly regarded nowadays than they were during their own lifetimes. Not so for Edmond Clément (1867-1928), the famous French tenor idolized by the audiences of the Paris Opéra-Comique….The many recorded documents of his work that we possess have not yet established his rightful place in our collective consciousness. While listening to Clément, one should not expect the immediate impact and solar timbre of a Caruso or a Gigli. Instead, one must go one step further and listen attentively to savor a ray of the moonlight that illuminates his voice, and to discover the poetry and charm of an exquisite artist.”


K1469. EDMOND CLÉMENT: La Dame Blanche – Viens, gentille dame (Boiëldieu) / Manon – En fermant les yeux (Le rêve). 11¼” AC green Paris paper label H & D Pathé 121, recorded 1916. A to M-A, lovely copy has, Sd. 1 only, few infinitesimal mks, positively inaud. MB 20

K1470. EDMOND CLÉMENT: Manon – En fermant les yeux (Le rêve). 12” AC Pat.'12 V 74258, POM-6 Nov., 1911. M-A, Exemplary! MB 10

K1471. EDMO0D CLÉMENT: Lakmé – Fantaisie aux divins mensonges / Werther – Pourquoi me révéiller? 11¼” AC green Paris paper label H & D Pathé 119, recorded 1916. M-A, a gleaming copy. MB 25

K1472. EDMOND CLÉMENT: Werther – Pourquoi me réveiller? 10” AC V 64234, POM-18 Dec., 1911. M-A, Exemplary! MB 10

K1473. EDMOND CLÉMENT: Manon – Ah! fuyez, douce image (1905 Version) / Roméo – Ah! lève-toi, soleil! 10" AC silver IRCC 205, RRs-1905, Odéon. Numbered Copy #7 of a Limited Edition, w.Clément’s photo affixed to Sd. 1 label. M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs, inaud. MB 12

K1474. EDMOND CLÉMENT: Manon – Ah! fuyez, douce image (1916 Version) / Cavalleria – O Lola (Sicilienne) (in French). 11¼” AC green Paris paper label H & D Pathé 120, recorded 1916. M-A, Exemplary! MB 20

K1475. EDMOND CLÉMENT: La Basoche – À ton amour simple et sincère / Je suis aimé de la plus belle (Messager). 11¼” AC black Paris paper label H & D Pathé 0279, recorded 1920. M-A, Exemplary! Exceedingly elusive! MB 35

K1476. EDMOND CLÉMENT: Jocelyn – Cachés dans cet asile (Berceuse) (Godard). 10” AC V 64233, POM-18 Dec., 1911. M-A, a gleaming copy. MB 10

K1477. EDMOND CLÉMENT: Le Roi d’Ys – Vainement, ma bien aimée (Lalo). 12” AC V 74264, POM-18 Dec., 1911. M-A, Exemplary! MB 10

K1478. EDMOND CLÉMENT & MARCEL JOURNET: Les Pêcheurs de Perles – Au fond du temple saint / EMMY DESTINN & MARIA DUCHÊNE: Pique Dame – O viens, mon doux berger. 12” AC Vla 8017, POM-18 Jan, 1912 / 23 April, 1915. M-A, a gleaming copy. MB 10

K1479. EDMOND CLÉMENT & MARCEL JOURNET: Robert le Diable – Le bonheur est dans l’inconstance / Du rendezvous (Meyerbeer). 12” AC white Archive HMV VB 30, POM-18 Jan., 1912. MINT MB 8

K1480. EDMOND CLÉMENT & GERALDINE FARRAR: Au clair de la lune (Lully). 10” AC Pat.’12 Vla 87509, Orig. ‘A’ Plate Issue, POM-17 March, 1913. M-A, a gleaming copy. MB 10

K1481. EDMOND CLÉMENT & GERALDINE FARRAR: Unter’m Fenster (in French) / Danté – Nous allons partir (Godard). 10” AC mauve & gold HMV AGSA 5, POM-17 March, 1913. MINT MB 15

K1482. EDMOND CLÉMENT & GERALDINE FARRAR: Roméo – Ange adorable. 12” AC Pat.’12 Vla 88421, POM-13 Feb., 1913. A to M-A, bright copy has few wee pap. mks, inaud. MB 10

K1483. EDMOND CLÉMENT & GERALDINE FARRAR: Mefistofele – Lontano, lontano. 12” AC Vla 88422, POM-13 Feb., 1913. M-A, Exemplary! MB 10

“Edmond Clément was one of the very fine French tenors to emerge around the turn of the century. He studied singing at the Conservatoire (Paris) and made his début at the Opéra-Comique in 1889 in Gounod’s Mireille. He took part in the premières of Saint-Saëns’ Phryné and Bruneau’s L’Attaque du Moulin as well as the first performances in Paris of Falstaff and Butterfly. In 1896 he was in the first Don Giovanni ever given at the Opéra-Comique, and in 1904 sang Don José in the 1000th performance of Carmen at that theater. In 1909 he made his début at the Metropolitan in Werther and appeared in the only performances there of Fra Diavolo. With the Boston Opera Company in 1912 he sang his first Hoffmann, a performance reputedly ideal in its mixture of masculinity and dreaminess, with finely shaded singing. His Don José also developed into a masterly portrayal. He returned to France to fight in World War I and was wounded. Later he devoted himself to teaching, but gave a memorable last recital at the age of 60 in Paris. His recordings are models of their kind, with slim, clearly defined tone, a polished style and unostentatious personal charm.”


K1484. RAOUL JOBIN , w.Charles Goulet Cond. Les Disciples de Massenet: Les anges dans nos campagnes / Ça, bergers assemblons-nous . 10” EL Canadian RCA 10-1180, only form of issue, 1945. M-A, lovely copy has, Sd. beg. Sd. 2, few tiny edge scrs, inaud. Exceedingly Elusive! MB 15

K1485. RAOUL JOBIN , w.Charles Goulet Cond. Les Disciples de Massenet: Nouvelle agréable / Venez, Divin Messie! 10” EL Canadian RCA 10-3883, only form of issue, 1945. A to M-A, lovely copy has few faint rubs & pap. scrs, positively inaud. Exceedingly Elusive! MB 15

K1486. RAOUL JOBIN , w.Cluytens Cond. l'Opéra-Comique Orch. & Chorus: Carmen – Avec la garde montante / Cluytens Cond.: La cloche a sonné. 10” EL Eng. Col. LB 146, POM-1950. M-A, Exemplary! An oddity! MB 15

K1487. RAOUL JOBIN , w.Cluytens Cond. l'Opéra-Comique Orch.: Tosca – Recondita armonia / E lucevan le stelle (both in French). 10” EL French Col. LF 270, only form of issue, 1 April, 1948. M-A, Exemplary! MB 15

K1488. RAOUL JOBIN , w.Cluytens Cond. l'Opéra-Comique Orch.: Carmen – La fleur que tu m’avais jetée / Werther – J'aurais sur ma poitrine. 12” EL French Col. LFX 827, only form of issue, 1 April, 1948. M-A, a gleaming copy. MB 15

K1489. RAOUL JOBIN , w.Fourestier Cond. l'Opéra Orch.: Lohengrin – In fernem Land / Siegfried – Nothung! Nothung! (both in French). 12” EL French Col.LFX 844, only form of issue, 1 April, 1948. M-A, gleaming copy has, Sd. 1 only, sev. microscopic dust mks, inaud. MB 15

K1490. RAOUL JOBIN , w.Pelletier Cond. Metropolitan Opera Orch.: Arias from Roméo, Manon, L'Africaine, Hérodiade, Werther & Damnation de Faust, 6s. 3-12” EL Col. 72138/40-D, POM-1947, in Orig. Album MM-696. M-A, Exemplary! MB 25, the Set.

K1491. RAOUL JOBIN, Joan Peebles, Leonard Warren , etc; w.Pelletier Cond.: CARMEN – Excerpts, 6s. 3-12” EL World's Greatest Operas SR-45/47, only form of issue, 1940. M-A, Exemplary! MB 20, the Set.

“Raoul Jobin made his début at the Paris Opéra on 3 July, 1930, as Tybalt in Roméo et Juliette. From then on, he quickly sang principal tenor rôles at both the Opéra and the Opéra-Comique, as well as in many cities throughout France, Lyons, Toulouse, Bordeaux, Marseilles, etc. He sang mainly the French repertoire, with occasional incursions into the Italian repertoire. With the outbreak of the war, he returned to North America. He made his début at the Metropolitan Opera on 19 February, 1940, as des Grieux in Manon. He remained with the company until 1950, where he sang many rôles alongside such singers as Lily Pons, Bidú Sayão, Licia Albanese, Risë Stevens, under conductors such as Wilfrid Pelletier and Thomas Beecham, among many others. He made regular appearances in San Francisco, Chicago, Boston, New Orleans, etc., also appearing in Mexico City, Rio de Janeiro, and Buenos Aires. The war over, he returned to Paris in 1947, where he successfully sang his first major Wagnerian rôle, Lohengrin, earning him the nickname ‘Monsieur Lohengrin’. He later sang the role of Walther in Die Meistersinger with equal success. He also created the role of Fabrice Del Dongo in La Chartreuse de Parme by Henri Sauguet. He began teachng at the Conservatoire de musique du Québec à Montréal, and later at the Conservatoire de musique du Québec à Québec where he notably served as director from 1961-1970. He trained many young Canadian singers, notably Colette Boky and Huguette Tourangeau.”

K1492. JEAN ANZANI , w.Bigot Cond.: La Favorite – Un ange, une femme inconnue / Ange si pur. 10” EL PW French Col. LF 86, only form of issue, 1931. A to M-A, lovely copy has hint of grey on peaks. MB 12

K1493. JEAN ANZANI , w.Cohen Cond.: Mignon – Elle ne croyait pas / Mireille – Anges du Paradis. 12” EL PW French Col. LFX 130, only form of issue, 1930. A to M-A, lovely copy has hint of grey on peaks. MB 12

“Jean Anzani gives pleasure with his strong voice, full from top to bottom.”


K1494. VICTOR PUJOL , w.Cloëz Cond.: Si J’Étais Roi – J’ignorais son nom / Un regard de ses yeux (Adam). 12” EL green French Odéon 171.086, only form of issue, 1929. M-A, lovely copy has, Sd. 2, very minor indent at end, inaud. MB 15

K1495. VICTOR PUJOL , w.Cloëz Cond.: La Poupée – Je suis timide / Dans les couvents qu’on est heureux (Audran). 10” EL green French Odéon 166.245, only form of issue, 1929. M-A, Exemplary! MB 15

K1496. VICTOR PUJOL , w.Cloëz Cond.: Les Dragons de Villars – Ne parle pas (Maillard) / La Fille du Régiment – Pour ne rapprocher de Marie (Donizetti). 10” EL green French Odéon 166.174, only form of issue, 1929. M-A, choice copy has, Sd. 1 only, infinitesimal dust mk, positively inaud. MB 15

K1497. VICTOR PUJOL , w.Cloëz Cond.: Les Cloches de Corneville – Va, petit mousse / Je regardais en l’air (Planquette). 10” EL green French Odéon 166.068, only form of issue, 1928. M-A, Exemplary! MB 15

“Victor Pujol was both a leading tenor and a singer of important comprimario rôles at the Opéra-Comique during the 1920s….He had over eighty rôles in his repertoire, many of which he had created….He retired from the stage in 1941 and after the war, from 1947-1964, he was a professor at the Operetta Department of the Paris Conservatory.”


K1498. GEORGIO SEMBRI , w.Cohen Cond.: Tosca – E lucevan le stelle / L’Elisir d’Amore – Una furtiva lagrima. 12” EL Disque Gram. DB 11.167, only form of issue, 1949. M-A, choice copy has, Sd. 2 only, infinitesimal dust mk, inaud. MB 12

K1499. JOSÉ JANSON , w.Ruhlmann Cond.: Manon – En fermant les yeux (Le rêve) / Ah! fuyez, douce image. 12” EL dark blue Pathé PAT 153, only form of issue, 1939. M-A, lovely copy has, Sd. 2, wee scr, inaud. MB 15

“…José Janson, one of the lightest tenors to record Werther (he sang it at the Opera-Comique in 1939)…produces refined, imaginative performances….”


K1500. CHARLES RICHARD , w.Bigot Cond.: Mignon – Elle ne croyait pas / Adieu, Mignon, courage. 12” EL Disque Gram. DB 11.119, only form of issue, 1944. A to M-A, lovely copy has Sd. 2 only, few lt. rubs & minor pap. scr, ever-so-faintly audible, a turn or three. MB 12

“Having already considered some ‘French’ tenors from earlier years, I must now turn to…the postwar era, among them Charles Richard whose vocal equipment is good, the notes are sweet, and there is an amount of feeling….”


K1501. MIGUEL VILLABELLA: Pensée d’automne (Massenet) / Plaisir d’amour (Martini). 10” EL green Pathé X.3409, recorded 1928. A-, decent copy has considerable rubs & numerous scrs, ever-so-faintly audible. MB 8

K1502. MIGUEL VILLABELLA: Geschichten aus dem Wiener Wald (as ‘Le beau Danube bleu) (Johann Strauss) (in French) / Flots du Danube (Ivanovici). 10” EL Canadian Pathé PA 93, recorded 1933. B, decent copy has considerable rubs, nrs & lt. scrs, positively ltly. audible. Sd. 2 offers Villabella’s best! MB 8

K1503. MIGUEL VILLABELLA: Mon gentil Pierrot (Sérénade française) (Leoncavallo) / Quand tu chantes (Sérénade) (Gounod) (1927 Versions). 10” EL green Pathé Actuelle X.3355, recorded 1927. A to M-A MB 12

K1504. MIGUEL VILLABELLA , w.Cloëz Cond.: Mon gentil Pierrot (Sérénade française) (1928 Version) / Mattinata (Aubade) (both Leoncavallo). 10” EL French Odéon 188.559, POM-1928. A-, very decent copy has lt. rubs & scrs, ever-so-faintly audible the occasional turn. MB 10

K1505. MIGUEL VILLABELLA , w.Cloëz Cond.: Madrigal – Rencontre (Fauré) / Quand tu chantes (Sérénade) (1928 Version) (Gounod). 12” EL French Odéon 123.517, POM-1928. M-A, Exemplary! MB 15

K1506. MIGUEL VILLABELLA , w.Andolfi (Pf.): Dans cet asile solitaire (Romance) (Pierre-Louis Couperin) / L’Amant Jaloux – Tandis que tu sommeilles (Sérénade) (Grétry). 10” EL MasterWorks Col. P-17144-D, POM-1933. M-A, a gleaming copy. MB 12

K1507. MIGUEL VILLABELLA: Barbiere – Ecco ridente (1928 Version) (in French), 2s. 12” EL orange Art Label Pathé X.7127, recorded 1928. A to M-A, lovely copy has faint pap. rubs, inaud. MB 20

K1508. MIGUEL VILLABELLA , w.Cloëz Cond.: Grisélidis – Voir Grisélidis, c’est connaître / Je suis l’Oiseau (Massenet). 10” EL French Odéon 188.669, POM-1929. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K1509. MIGUEL VILLABELLA: Mignon – Elle ne croyait pas / Manon – Ah! fuyez, douce image. 12" EL early green Pathé X.0703. A to M-A, lovely copy has, Sd. 1 only, 3 infinitesimal dust scrs, inaud. MB 12

K1510. MIGUEL VILLABELLA , w.Andolfi (Pf.): La Favorite – Ange si pur / Mignon – Adieu, Mignon, courage. 10” EL green Pathé PG 29, only form of issue, 1934. A-, lovely copy has few lt. rubs, inaud. MB 10

K1511. MIGUEL VILLABELLA , w.Ruhlmann Cond.: Lakmé – Ah! viens dans la forêt profonde / Le Roi d’Ys – Vainement, ma bien aimée (1932 Version). 10” EL Pathé X.90.051, only form of issue, 1932. M-A, gleaming copy has, Sd. 1 only, sev. wee dust mks, ever-so-faintly audible sev. turns. MB 12

K1512. MIGUEL VILLABELLA , w.Cloëz Cond.: Le Roi d’Ys – Vainement, ma bien aimée (1928 Version) / La Salut nous est promis. 10” EL French Odéon A 188.555, only form of issue, 1928. B, decent copy has lt. scrs & heat damage, ltly audible throughout, yet this plays remarkably well. MB 6

K1513. MIGUEL VILLABELLA , w.Cauchie Cond.: Amadis de Gaule – Bois épais / Armide et Renaud – Plus j’observe ces lieux (both Lully). 12” EL PW Col. P-9153, POM-1935. A to M-A MB 8

K1514. MIGUEL VILLABELLA , w.Cloëz Cond.: La Dame Blanche – Déjà la nuit plus sombre / Viens gentille dame (1928 Version) (Boiëldieu). 10” EL French Odéon 188.586, POM-1928. M-A, Exemplary! MB 15

K1515. MIGUEL VILLABELLA , w.Cloëz Cond.: La Dame Blanche – Ah! quel plaisir d’être soldat! / Quand la paix (Déjà la nuit plus sombre) (Boiëldieu). 10” EL French Odéon A 188.656, POM-1929. A-, lovely copy has few lt. rubs. MB 10

K1516. MIGUEL VILLABELLA , w.Ruhlmann Cond.: Tosca – Recondita armonia / E lucevan le stelle. 10” EL Pathé X.90.071, only form of issue, 1930. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K756. MIGUEL VILLABELLA & NINON VALLIN , w.Ruhlmann Cond.: Manon - Duo de la lettre / NINON VALLIN: Obéissons quand leur voix appelle. 12” EL Pathé X.90.034, only form of issue, 1931. M-A, gleaming copy has, Sd 2 only, 1 lt. mk, positively inaud. MB 15

K790. MIGUEL VILLABELLA & NINON VALLIN , w.Ruhlmann Cond.: Manon - Duo de Saint-Sulpice, 2s. 12” EL Pathé X.90.081, only form of issue, 1932. M-A, a gleaming copy. MB 15

K789. MIGUEL VILLABELLA & NINON VALLIN , w.Ruhlmann Cond.: La Boheme – Sono andati / MIGUEL VILLABELLA, NINON VALLIN, MADELEINE SIBILLE & ANDRÉ BAUGÉ: Addio dolce svegliare (both in French). 12” EL Pathé X.90.056, only form of issue, 1932. M-A, a gleaming copy. Elusive! MB 20

K1517. MIGUEL VILLABELLA , w.Cloëz Cond.: Così fan Tutte – Un aura amorosa (in French) (shades of Heddle Nash!) / Roméo et Juliette – Ah! lève-toi, soleil! 12” EL French Odéon 123.639, only form of issue, 1929. A, lovely copy has few lt. mks, occasional very ltly.audible. Exceedingly Elusive! MB 25

“Miguel Villabella, though remembered as a quintessential French tenor, was actually a Basque, born in Bilbao in 1892. His father was a famous Zarzuela baritone, from whom the young tenor learned much, but a move to Paris led to a meeting with Lucien Fugère, doyen of French bass-baritones and musical life in Paris. He made a concert début in San Sebastian in 1917 and his operatic début a year later, opened at the Opéra-Comique in 1920 and thereafter, once established, was seldom heard outside France (he did get as far as Brussels and though he was billed for a Florence appearance it can’t be confirmed he actually appeared). His career wound down after the Second War; his stage career ended in 1940, as he devoted more and more time to teaching, and he died in 1954. He took the expected roles, Don José, Hoffmann, Fernando (in Così), Des Grieux, Rinuccio and Gérald amongst them. He sang under Bruno Walter and recorded Lully, so he was certainly no one-dimensional tenor. What he was instead was an expressive lyric tenor with a fine range, especially at the top where his floated head voice was exceptionally convincing. He was a most stylish exponent of the French tradition, one that embraces a good number of Basque and Corsican singers in addition to Villabella. He is plangency itself in Manon – marvellously floated head voice with admirable breath control (even at the top there is no sense of strain) – and he is noble and virile in Massenet’s Grisélidis. The voix mixte he so effortlessly deploys (essentially head voice and falsetto) is emblematically French and wonderful to hear. His Le Roi d’Ys is notable for richness of execution, latent power, consummate style and portamenti on light head notes. [Villabella is] lyrically elevated and tonally admirable exponent of a vanished performing style.”


K1518. JOSÉ PALET: La Dolores – Di que es verdad (Bretón) / Lucrezia Borgia – Di pescatore ignobile. 10” AC Vla 927, POM-4 / 11 Sept., 1917. Never listed in a North American Victor catalogue. M-A, choice copy has, Sd. 2 only, tiny ulc, far from grooves. MB 15

K1519. JOSÉ PALET: Marina – Costa la da levante (Arietta), 2s. 10” AC Vla 928, POM-1921. Never listed in a North American Victor catalogue. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 20

K1520. JOSÉ PALET & MERCEDES FARRY: Marina – Dúo Marina y Jorge (Arietta). 12” AC Vla 74638 (w.RCA embossed spiderweb verso), POM-1916. M-A, a gleaming copy. MB 15

“Palet's international career, mainly in Latin countries, won him acclaim principally in dramatic rôles, but he is best remembered now for his assumption of the tenor lead in Breton's opera La Dolores.”


K1521. ENRICO di MAZZEI , w.Cloëz (Pf.): Andrea Chénier – Un dì al’azzurro spazio (Improvviso) (in Italian), 2s. 10” EL French Odéon 188.688, only form of issue, 1927. M-A, choice copy has, Sd. 1, tiny label smudge. MB 20

K1522. ENRICO di MAZZEI , w.Cloëz Cond.: Cavalleria – O Lola (Sicilienne) / Tosca – Recondita armonia (both in French). 10” EL French Odéon 188.501, only form of issue, 1927. M-A, Exemplary! MB 12

K1523. ENRICO di MAZZEI , w.Cloëz Cond.: Tosca – E lucevan le stelle / O dolci mani (sung as a solo, in French). 10” EL French Odéon 188.500, only form of issue, 1927. A, lovely copy has few lt. rubs, inaud. MB 12

K1524. ENRICO di MAZZEI , w.Cloëz Cond.: La Fanciulla del West – Ch’ella mi creda libero / Iris – Apri la tua finestra. 10” EL French Odéon 188.562, only form of issue, 1928. M-A, Exemplary! MB 15

K651. ENRICO DI MAZZEI & LILY PONS , w.Cloëz Cond.: Rigoletto – E il sol dell'anima (in Italian), 2s. 12” EL French Odéon 123.597, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12

K652. ENRICO DI MAZZEI & LILY PONS , w.Cloëz Cond.: La Boheme – Non sono in vena / O soave fanciulla (in French). (both in French). 12” EL French Odéon 123.598, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12

K1525. CHRISTY SOLARI: I Puritani – A te, o cara / Barbiere – Se il mio nome. 10” EL black Viva-Tonal Col. 2178-D, POM-c.1932. M-A, gleaming copy has, primarily Sd. 2, long internal lam, very ltly audible toward end, Sd. 2 only. MB 12

K1526. CHRISTY SOLARI , w.Giuseppina Zinetti, Maugeri, Zambelli, Mannarini, Nessi, etc.; Molajoli Cond. La Scala Ensemble: LA FAVORITA – Abridged, (Complete, as recorded), 10s. 5-12” EL green Eng. Col. GQX 10064/68. M-A, a gleaming copy. MB 35, the Set.

K1527. GIOVANNI MANURITTA: Barbiere – Ecco ridente / L’Elisir d’Amore – Una furtiva lagrima (1927 Versions). 12” EL green Italian Odeon E5058 (xxPh 5822/23), POM-13 Jan., 1927. M-A, a gleaming copy. MB 15

K1528. GIOVANNI MANURITTA: Barbiere – Ecco ridente / L’Elisir d’Amore – Una furtiva lagrima (1929 Versions). 12” EL dark-blue Italian Col. D 14622, POM-1930. M-A, a gleaming copy. MB 12

K1529. GIOVANNI MANURITTA & WANDA BARDONE: L’Amico Fritz – Suzel, buon dì (Cherry Duet), 2s. 12” EL red Milano Fonotipia E 5057 (xxPh 5849/50), POM-19 Jan., 1927. M-A, gleaming copy has, Sd 2 only, infinitesimal pap. scr, inaud. MB 15

K1530. TINO BORELLI, w.Albergoni Cond.: Tosca – Recondita armonia / E lucevan le stelle. 10” EL blue Italian Odeon B 3758, only form of issue, 12 Dec., 1929. M-A, a gleaming copy. MB 25

K1531. TINO BORELLI, w.Albergoni Cond.: Fedora – Amor ti vieta / Manon – En fermant les yeux (Le rêve) (in Italian). 10” EL blue Italian Odeon B 3768, only form of issue, 12 Dec., 1929. M-A, gleaming copy has, beg. Sd. 1, tiny rub, inaud. MB 25

K1532. GASTON MICHELETTI , w.Cloëz Cond.: Les Contes d’Hoffmann – Légende de Kleinzach / MARIE THÉRÈSE GAULEY: Les oiseaux dans la charmille. 10” EL French Odéon 188.533, only form of issue, 1927. M-A, a gleaming copy. MB 12

K1533. GASTON MICHELETTI & EMMA LUART , w.Cloëz Cond.: Les Contes d’Hoffmann – C’est une chanson d’amour, 2s. 10” EL French Odéon 188.574, only form of issue, 1928. M-A, a gleaming copy. MB 15

K1534. GASTON MICHELETTI , w.Cloëz Cond.: Mignon – Elle ne croyait pas / Roméo – Ah! lève-toi, soleil!. 12” EL French Odéon 171.019, POM-1927. M-A, Exemplary! MB 12

K1535. GASTON MICHELETTI , w.Cloëz Cond.: Carmen – La fleur que tu m’avais jetée / Faust – Salut, demeure. 12” EL French Odéon 123.650, POM-1929. M-A, Exemplary! MB 12

K1536. GASTON MICHELETTI, GERMAINE CERNAY, ARTHUR ENDRÈZE, MADY ARTY , etc., w.Cloëz Cond.: CAVALLERIA RUSTICANA – Excerpts (in French) (Complete, as recorded), 10s. 5-12” EL red Decca-Odeon G-25935/40, POM-1932. M-A, lovely copy has very occasional pap. rub, inaud. MB 45, the Set.

“Gaston 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 Risurrezione, 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.”

K1537. GIOVANNI MALIPIERO: La leggenda del Piave (Mario) / AURELIANO PERTILE: La campana di S. Giusto (Arona). 10” EL black Decca 70024, POM-c.1939 / 20 Oct., 1926. M-A, Exemplary! Most Elusive! MB 25

K1538. GIOVANNI MALIPIERO , w.Cordone Cond.: La Damnation de Faust – Nature immense / Merci, doux crépuscule (in Italian). 12” EL LVDP DB 5445, only form of issue, 1941. M-A, a gleaming copy. MB 25

“…Giovanni Malipiero is alive to the poetry [Sd.2], of the aria [which is] very sensitively sung. Malipiero was clearly an artist, and he has the benefit of first-rate orchestral accompaniment.”


K1539. GIOVANNI MALIPIERO , w.Berrettoni Cond.: Manon – En fermant les yeux (Le rêve) (1940 Version) / Ah! fuyez, douce image (in Italian). 12” EL LVDP DB 5362, only form of issue, 1940. M-A, a gleaming copy. MB 25

K1540. GIOVANNI MALIPIERO , w.Tansini Cond.: Manon – En fermant les yeux (Le rêve) (1939 Version) / Mignon – Elle ne croyait pas (in Italian). 12” EL Parl. DPX 25, POM-8 June, 1939. M-A, a gleaming copy. MB 15

K1541. GIOVANNI MALIPIERO , w.Berrettoni Cond.: Mignon – Adieu, Mignon, courage / Elle ne croyait pas (in Italian). 12” EL LVDP DB 5356, only form of issue, 1940. M-A, a gleaming copy. MB 25

“…try to hear Giovanni Malipiero, for there you will find much elegance of phrasing. Listen as he sings [Sd.1], all taken in one breath, creating an effect that is utterly charming, and he is well in character: a piece of great singing.”


K1542. GIOVANNI MALIPIERO , w.Ghione Cond.: Werther – O nature (in Italian) / La Favorita – Spirto gentil (1941 Version). 12” EL LVDP DB 5405, only form of issue, 1941. M-A, a gleaming copy. MB 25

K1543. GIOVANNI MALIPIERO , w.Tansini Cond.: L’Elisir d’Amore – Una furtiva lagrima / La Favorita – Spirto gentil (1939 Version). 12” EL Parl. DPX 24, POM-8 June, 1939. M-A, a gleaming copy. MB 15

"Malipiero's singing is so limpid, so musical, so purely poetic that [that lovely apostrophe to the twilight from Berlioz version of Faust] ought to go at once, without a second thought, into anybody's Desert Island Discs....His over-all standard of performance is remarkably high and consistent."


K1544. GIOVANNI MALIPIERO , w.Berrettoni Cond.: Mefistofele – Giunto sul passo estremo (1940 Version) / Dai campi, dai prati. 10” EL LVDP DA 5382, only form of issue, 1940. M-A, lovely copy has faintest pap. rubs, inaud. MB 20

K1545. GIOVANNI MALIPIERO , w.Tansini Cond.: Mefistofele – Giunto sul passo estremo (1939 Version) / Tosca – O dolci baci; E lucevan le stelle. 12” EL Parl. DPX 29, POM-8 June, 1939. M-A, a gleaming copy. MB 15

K1546. GIOVANNI MALIPIERO , w.Tansini Cond.: Mefistofele – Giunto sul passo estremo (1939 Version) / Rigoletto – La donna è mobile; Questa o quella? 12” EL dark-green Cetra BB 25063, POM-8 June, 1939. M-A, a gleaming copy. MB 25

“Malipiero’s version of the ‘Giunto sul passo estremo’ from Mefistofele is a reminder that this rôle was one in which he was very much admired. It is stylishly sung and allows for his expressive talents to be fully realised.”


K1547. GIOVANNI MALIPIERO , w.Tansini Cond.: La Boheme – Che gelida manina / Mefistofele – Giunto sul passo (1939 Version). 12” EL dark-green Cetra BB 25052, POM-8 June, 1939. M-A, a gleaming copy. MB 25

K1548. GIOVANNI MALIPIERO , w.Tansini Cond.: Tosca - O dolci baci; E lucevan le stelle / GIOVANNI MALIPIERO & TANCREDI PASERO: Faust – Vous qui faites l’endormie (in Italian). 12” EL dark-green Cetra BB 25061, POM-8 Nov., 1937. M-A, gleaming copy has, Sd. 2 only, faintest pap. scr, barely visible & inaud. MB 25

“In 1937, Malipiero made the first of what would prove to be many appearances at Italy's foremost opera house, the Teatro alla Scala in Milan, as Ramiro in Rossini's La Cenerentola. Nine years later, following World War II, he took part in an historic concert held to mark the re-opening of La Scala, performing under the baton of Arturo Toscanini. Much admired in parts written by the bel canto composers Rossini, Donizetti and Bellini, Malipiero was also acclaimed for his performances in Verdi's La Traviata, Falstaff and Rigoletto. During the 1930s and '40s he appeared, for instance, in Les Contes d’Hoffmann, Faust, Werther and Le Jongleur de Notre-Dame. The political turmoil of the late 1930s, culminating in the outbreak of the six-year-long Second World War, restricted Malipiero's opportunities to establish an international career. Malipiero possessed a clear, bright, well-trained voice with a slightly husky timbre. Italian music critics and audiences of the 1930-1960 period praised his singing style, regarding it as belonging to the elegant 'old school' of pre-verismo vocalism. He can be heard as Edgardo in a complete recording of Lucia di Lammermoor, with the coloratura soprano Lina Pagliughi in the title rôle and Ugo Tansini conducting, that was made by Cetra Records at the height of the tenor's powers in 1939.”


K1549. EMILIO RENZI (a.k.a. Aldo Visconti), w.Zeme Cond.: Mamma Rosa (Cherubini) / Serenatella a mamma (Bertini). 10” EL red Cetra AA 380, only form of issue, 5 / 6 July, 1944. M-A, Exemplary! Truly redolent of the young di Stefano! MB 25

K1550. EMILIO RENZI , w.Basile Cond.: Tarantella / ANTENORE REALI: Caruli (both Giordano & Mauri). 10” EL red Cetra AA 395, only form of issue, 26 Sept., 1944. M-A, a gleaming copy. MB 25

K1551. EMILIO RENZI , w.Basile Cond.: Serenata (Giordano & Mauri) / LINA de FERRARI: I fiori prigionieri (Pick Mangiagalli). 10” EL red Cetra AA 393, only form of issue, 26 Sept., 1944. M-A, gleaming copy has, beg. Sd. 2, lt. rubs, positively inaud. MB 25

“Emilio Renzi’s…voice has that light lyrical and incisive timbre that not only is attractive but also projects well, with his phrasing, even in the most ordinary of songs, being a model of its kind …possessed of a charm that is irresistible….a tenor who surely would have achieved a greater cachet with those collectors interested in fine voices and good singing had he left more demanding solo examples of his operatic repertoire.”


K1552. ROBERTO D’ALESSIO: Werther – Pourquoi me réveiller? (in Italian) / Mefistofele – Dai campi, dai prati. 10” EL red PW Eng. Col. D 12553, POM-1932. M-A, a gleaming copy. MB 25

K1553. ROBERTO D’ALESSIO: Les Pêcheurs de Perles – Je crois entendre (in Italian) / La Boheme – Che gelida manina. 12” EL red PW Eng. Col. D14683, POM-1927. A to M-A, bright copy has, Sd. 2 only, few minuscule dust mks, ever-so-faintly audible a turn or three. MB 15

K1554. ROBERTO D’ALESSIO: Mignon – Elle ne croyait pas / Adieu, Mignon, courage (in Italian). 10” EL red PW Eng. Col. D 12549, POM-1932. M-A, a gleaming copy. MB 25

“Roberto d’Alessio provides subtle and elegant phrasing. The voice is not inherently beautiful, but its owner certainly knows how to use what he has….voice forward and with a slight vibrato, phrases [Sd.1] in wonderfully long-breathed spans and colours the voice considerably….His breath control and phrasing are such that he spins out a fine legato for some twenty seconds without pausing for breath.”


K1555. NINO EDERLE: Rigoletto – La donna è mobile / Questa o quella? 10” EL black Fonit 27001. M-A, Exemplary! MB 20

K1556. NINO EDERLE: Mignon – Elle ne croyait pas / Adieu, Mignon, courage (in Italian). 12” EL black Fonit 35053. M-A, choice copy has, Sd. 2 only, lt. rubs & faint nr, inaud. MB 15

K1557. NINO EDERLE: Mignon – Adieu, Mignon, courage / Manon – En fermant les yeux (Le rêve) (both in Italian). 12” EL PW purple Parl. E10781. M-A, a gleaming copy. MB 15

K1558. AMEDEO BERDINI & PINA MALGARINI , w.Petralia Cond.: Madama Butterfly – Bimba dagli occhi, 2s. 12” EL red Cetra CB 20504, only form of issue, 22 / 23 March, 1950. M-A, gleaming copy has, Sd. 2 only, infinitesimal dust mk, positively inaud. MB 35

“Amedeo Berdini, possessor of a voice of real weight, coupled with a warm timbre, was a true lirico spinto, whose mentor, Gigli, opened the way to what seemed destined to be a great career. This tragically was cut short by his early death at the age of 44. Arias from Pietri’s Maristella, Catalani’s Loreley, Gomes’ Salvator Rosa and Lo Schiavo, and a passionate Madama Butterfly love duet with Pina Malgarini will impress by their commitment and highly-compelling interpretations.”


K1559. FERRUCCIO TAGLIAVINI , w.Ermelinda Magnetti (Pf.): L’heure exquise (Hahn) / Élégie (Massenet). 10” EL blue Cetra AT 0129, only form of issue, 20 July, 1948. M-A/A-, lovely copy has, Sd. 2 only, sev. wee dust scrs, positively inaud. Exceedingly Rare! MB 45

K1560. FERRUCCIO TAGLIAVINI , w.Gallino Cond.: Voglio vivere così (Film) – Voglio vivere così / Tu non mi lascerai (both d’Anzi, from the 1941 film). 10" EL dark-blue Italian Cetra AT-0115, only form of issue, 9 Dec., 1941. M-A, a gleaming copy. Exceedingly Rare! MB 35

K1561. FERRUCCIO TAGLIAVINI , w.Petralia Cond.: La Donna è Mobile (Film) – Malinconia d’amore / Ho messo il cuore nei pasticci (both d’Anzi, from the 1941 film). 10” EL dark-blue Cetra AT 0125, only form of issue, 6 Nov., 1942. M-A, Exemplary! Exceedingly Rare! MB 35

K1562. FERRUCCIO TAGLIAVINI , w.Cellini Cond.: O paese d’o sole (Bovio) / Scalinatella (Cioffi). 10” EL pale-blue Cetra AT 0294, POM-25 Oct., 1951, New York. M-A, a gleaming copy. MB 25

K1563. FERRUCCIO TAGLIAVINI , w.Cellini Cond.: O paese d’o sole (Bovio) / Scalinatella (Cioffi). 10” EL black Canadian RCA 25-7164, POM-25 Oct., 1951, New York. M-A, lovely copy has tiny rub, beg. both sides, inaud. MB 15

K1564. FERRUCCIO TAGLIAVINI , w.Cellini Cond.: Me so ‘nbriacato ‘e sole (d’Esposito) / Musica proibita (Gastaldon). 10” EL pale-blue Cetra AT 0295, POM-26 Oct., 1951, New York. M-A, a gleaming copy. MB 25

K1565. FERRUCCIO TAGLIAVINI , w.Cellini Cond.: Me so ‘nbriacato ‘e sole (d’Esposito) / Musica proibita (Gastaldon). 10” EL HMV DA 2054, POM-26 Oct., 1951, New York. M-A, Exemplary! MB 12

K1566. FERRUCCIO TAGLIAVINI , w.Cellini Cond.: Mamma mia, che vo’ sape? (Nutile) / Senza nisciuno (de Curtis). 10” EL HMV DA 2029, POM-24 Nov., 1950, New York. M-A, Exemplary! MB 15

K1567. FERRUCCIO TAGLIAVINI , w.Fragna Cond.: Notte a Santa Lucia (Fragna-Bonagura) / FERRUCCIO TAGLIAVINI & PIA TASSINAR I, w. Basile Cond.: Mefistofele – Lontano, lontano. 12” EL red Cetra BB 25276, only form of issue, 7 / 6 Nov., 1950. M-A, a gleaming copy. MB 35

K1568. FERRUCCIO TAGLIAVINI , w.Rossi Cond.: Luisa Miller – Quando le sere al placido / Marta – M’appari. 12” EL blue Cetra BB 25230, POM-17 / 19 July, 1948, only form of issue, Sd.1. M-A, gleaming copy has, Sd. 2 only, 2 wee pap. rubs, inaud. MB 20

K1569. FERRUCCIO TAGLIAVINI , w.Rossi Cond.: La Fanciulla del West – Ch’ella mi creda libero / Andrea Chénier – Come un bel dì di Maggio. 12” EL red Cetra BB 25217, only form of issue, 13 / 16 July, 1948. M-A, a gleaming copy. MB 35

K1570. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Manon – En fermant les yeux (Le rêve) / Mignon – Adieu, Mignon, courage (both in Italian). 12” EL dark-green Cetra BB 25119, only form of issue, 12/14 June, 1943. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25

K1571. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Manon – En fermant les yeux (Le rêve) / Mignon – Adieu, Mignon, courage (both in Italian). 12” EL dark-blue Cetra BB 25119, only form of issue, 12/14 June, 1943. M-A, Exemplary! MB 15

K1572. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Tosca – O dolci mani (as a solo) / Barbiere – Ecco ridente in cielo. 12” EL dark-green Cetra BB 25181, POM-1942. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25

K1573. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Tosca – O dolci mani (as a solo) / Barbiere – Ecco ridente in cielo. 12” EL red Cetra BB 25181, POM-1942. M-A, a gleaming copy. MB 15

K1574. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Tosca – O dolci mani (as a solo) / E lucevan le stelle (1942 Version). 12” EL red Cetra BB 25118, POM-1942. M-A, gleaming copy has, Sd. 1 only, wee pap. rub, inaud. Sd. 1 presents Tagliavini at his most remarkably enchanting! MB 15

K1575. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Tosca – Recondita armonia / E lucevan le stelle (1941 Versions). 12” EL dark-green Cetra BB 25040, POM-1941. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25

K1576. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Tosca – Recondita armonia / E lucevan le stelle (1941 Versions). 12” EL red Cetra BB 25040, POM-1941. M-A, a gleaming copy. MB 15

K1577. FERRUCCIO TAGLIAVINI , w.Morel Cond.: Tosca – Recondita armonia / E lucevan le stelle (1950 Versions). 12” EL Canadian RCA 12-3295, POM-7 April, 1950. M-A, a gleaming copy. MB 12

“Tagliavini was considered by many to be the natural successor to Gigli after World War II….He made his North American début at the Chicago Opera as Rodolfo, and in 1947 created a furor in his début at the Metropolitan Opera in the same role….Tagliavini’s recordings remain touchstones of the lyric tenor’s art.”


K1578. FERRUCCIO TAGLIAVINI , w.Basile Cond.: Werther – Pourquoi me réveiller? / FERRUCCIO TAGLIAVINI & PIA TASSINARI , w.Basile Cond.: Il faut nous séparer, 3s (in Italian). 2-12” EL blue Cetra BB 25233/34, POM-18 July, 1948, only form of issue, Sd.3. M-A, gleaming copy has, Sd. 2 only, 2 wee pap. rubs, inaud. MB 35, the Pair.

K1579. FERRUCCIO TAGLIAVINI , w.Basile Cond.: Werther – Pourquoi me réveiller? / w. .Rossi Cond.: Marta – M’appari. 12” EL red Cetra BB 25182, POM-18 /19 July, 1948. M-A, gleaming copy has, Sd. 2 only, 2 wee pap. rubs, inaud. MB 20

K1580. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: L’Arlesiana – È la solita storia (Cilea) / I Quattro Rustighi – Luceta xe un bel nome (Wolf-Ferrari). 12” EL red Cetra BB 25056, POM-23 June, 1940. M-A, a gleaming copy. Exceedingly Elusive! MB 45

K1581. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: L'Arlesiana - 'E la solita storia / La Boheme – Che gelida manina. 12” EL red Cetra BB 25021, POM-23 June, 1940. M-A, a gleaming copy. MB 20

K1582. FERRUCCIO TAGLIAVINI , w. Rossi Cond.: Don Pasquale – Sogno soave e casto / L'Elisir – Quant’è bella. 12” EL blue Cetra BB 25219, only form of issue, 16 / 17 July, 1948. M-A, a gleaming copy. MB 35

K1583. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: L'Elisir – Una furtiva lagrima / Rigoletto – Parmi veder le lagrime. 12” EL dark-green Cetra BB 25058, POM-23 June, 1940. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25

K1584. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: L'Elisir – Una furtiva lagrima / Rigoletto – Parmi veder le lagrime. 12” EL dark-green Cetra BB 25058, POM-23 June, 1940. M-A, Exemplary! MB 15

K1585. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Sonnambula – Prendi, l'anel ti dono / Falstaff – Dal labbro il canto. 12” EL dark-green Cetra BB 25022, POM-5 Oct., 1940. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25

K1586. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: Sonnambula – Prendi, l'anel ti dono / FERRUCCIO TAGLIAVINI & PIA TASSINARI , w. Rossi Cond.: La Traviata – Parigi, o cara. 12” EL blue Cetra BB 25231, POM-5 Oct., 1940 / 19 July, 1948, only form of issue, Sd. 2. M-A, gleaming copy has tiny edge nick, far from grooves. MB 15

K1587. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: L’Amico Fritz – Ed anche Beppo amò / I Lombardi – La mia letizia. 12” EL green Cetra BB 25026, POM-23 Nov, 1940. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25

K1588. FERRUCCIO TAGLIAVINI , w.Tansini Cond.: L’Amico Fritz – Ed anche Beppo amò / I Lombardi – La mia letizia. 12” EL green Cetra BB 25026, POM-23 Nov, 1940. M-A, lovely copy has, Sd. 2 only, sev. very lt. pap. scrs, inaud. MB 12

K1589. FERRUCCIO TAGLIAVINI , w.Voorhees Cond.: Manon – En fermant les yeux (Le rêve); L’Africaine – O Paradis! (both in Italian) / MONA PAULEE , w.Kostelanetz Cond.: The Firefly – Romany life (Victor Herbert). 12” EL vinyl V-Disc 788, Broadcast Performances, 19 May, 1947, NBC Studios / June, 1947, CBS, New York (not to be confused with Paulee’s commercial release of her earlier studio recording, 19 Jan., 1942). B-/A-, very decent copy has numerous rubs & lt. scrs, customary for this series. MB 12

K1023. MAGDA OLIVERO & FERRUCCIO TAGLIAVINI ; Tansini Cond.: L’Amico Fritz – Suzel, buon dì (Cherry Duet), 2s. 12” EL red Cetra BB 25050, POM-27 Nov., 1939. M-A, a gleaming copy. MB 65

"Ferruccio's voice was a true lyric tenor – full without being absolutely 'robusto,' with a marvelous colour, a natural flexibility and most admirably schooled. It can be heard on many records in almost its full beauty, for it is a voice which recorded well."


K1590. FERRUCCIO TAGLIAVINI & PIA TASSINAR I, w.Basile Cond.: Tosca – Or lasciami al lavoro, 2s. 12” EL blue Cetra BB 25232, POM-17 July, 1948. M-A, a gleaming copy. MB 20

K1591. FERRUCCIO TAGLIAVINI, PIA TASSINARI, MARIA HUDER & ENZO MASCHERINI, w.Tansini Cond.: La Boheme – Addio, dolce svegliare, 2s. 12” EL dark-green Cetra BB 25121, POM-16 June, 1943. M-A, Exemplary! MB 15

“Nearly any time opera lovers discuss inherently beautiful voices, Tagliavini's name is sure to come up. His smooth lyric tenor had a luxurious timbre, reminiscent of Tito Schipa's, and was also warm and extremely expressive. In another resemblance to Schipa, he had a particular gift for vocally caressing a phrase without making it sound like a studied effect, and could sing piano and pianissimo without crooning. He excelled in the lighter, lyric repertoire, and for many was the definitive Nemorino, Nadir (Les Pêcheurs de Perles), Ernesto (Don Pasquale), and Fritz (L’Amico Fritz) of his generation, or for some, even the century. He and composer Pietro Mascagni became close friends, and Mascagni claimed that Tagliavini was instrumental in making L’Amico Fritz a success. During his early years, Tagliavini focused on this lyric repertoire, but as his career advanced, he added heavier rôles, such as Loris Ipanov in Fedora, Riccardo and Cavaradossi. His opera début was in Florence as Rodolfo, in 1938. His La Scala début was in 1942, also as Rodolfo, as was his United States début in Chicago in 1946, and his Met début in 1957. In addition to his stage performances and recordings, he also appeared in many popular films, mostly of the light and sentimental type. He retired from the stage in 1965, but gave annual performances at Carnegie Hall through 1981. He was [for a time] married to soprano Pia Tassinari, whom he met in 1940.”


K1592. PRIMO MONTANARI , w.Semprini Cond.: Schwanengesang – Leise flehen meine Lieder (Ständchen) (in Italian) (Schubert) / Mattinata (Leoncavallo). 10” EL black Fonit 8962, only form of issue, 31 Dec., 1942. M-A, bright copy has, alas, minor hlc, ever-so-faintly audible both sides. Exquisitely lovely singing! Montanari married Lina Pagliughi in 1929, performing with her, Castagna, Granforte & Pedro Mirassou on many tours. He and Pagliughi remained devoted to one another until his death in 1972. MB 12

K1593. GIULIO CRIMI: Santa Lucia lontana. 10” AC brown shellac Vocalion 30123, POM-1920. A-, lovely copy has lt. rubs & few superficial mks, inaud. MB 10

K1594. GIULIO CRIMI: Marta – M’appari. 10” AC brown shellac Vocalion 30174, POM-1921. M-A, Exemplary! Crimi is best-remembered for having created both Luigi (Il Tabarro) & Rinuccio (Gianni Schicchi), 14 Dec., 1918, Metropolitan Opera. MB 12

K1595. GIULIO CRIMI: Rigoletto – La donna è mobile. 10” AC brown shellac Vocalion 30170, POM-1921. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K1596. GIULIO CRIMI: Pagliacci – Vesti la giubba / Tosca – E lucevan le stelle. 10” AC brown shellac Vocalion 60039, POM-1922. M-A, Exemplary! MB 15

K1597. GIULIO CRIMI: Manon Lescaut – Donna non vidi mai. 10” AC brown shellac Vocalion 30119, POM-1920. M-A, a gleaming copy. MB 15

K1598. GIULIO CRIMI: L’Africaina – O Paradiso! 12” AC brown shellac Vocalion 52044, POM-1923. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K1599. GIULIO CRIMI: Zazà – O mio piccolo tavolo. 12” AC brown shellac Vocalion 55006, only form of issue, 1923. A-, lovely copy has faintest pap. rubs & scrs, inaud. MB 10

K1600. GIULIO CRIMI & MARIE SUNDELIUS: Madama Butterfly – O quanti occhi fisi. 12” AC brown shellac Vocalion 52014, POM-1921. M-A, lovely copy has faint pap. rubs, barely visible & inaud. MB 15

K1601. ALESSANDRO VALENTE , w.Fred Hartley and his Quintet: Canta pe’ me / Tu, ca nun chiagne (both de Curtis). 10” EL PW dark-blue Eng. Decca F.3871, only form of issue, 1932 (Valente’s final recording). A to M-A, lovely copy has mere hint of grey on peaks. Elusive! MB 15

K1602. ALESSANDRO VALENTE , w.Nastrucci Cond.: La Fanciulla del West – Ch’ella mi creda libero / Or son sei mesi. 10” EL PW plum LVDP HN 764, POM-4 Dec., 1928. M-A, a gleaming copy. This Italian issue was obviously unknown by Alan Kelly at the time of his excellent 1989 Record Collector discography. MB 15

K1603. ALESSANDRO VALENTE , w.di Veroli Cond.: Turandot – Nessun dorma! / Non piangere, Liù. 10” EL PW plum LVDP HN 763, POM-25 April, 1927. M-A, a gleaming copy. This Italian issue was obviously unknown by Alan Kelly at the time of his excellent 1989 Record Collector discography. MB 15

K1604. ALESSANDRO VALENTE , w.di Veroli Cond.: Turandot – Nessun dorma! / Non piangere, Liù. 10” EL HMV DA 2033, POM-25 April, 1927. M-A, Exemplary! MB 8

K1605. ALESSANDRO VALENTE , w.di Veroli Cond.: Turandot – Nessun dorma! / Non piangere, Liù. 10” EL white Archive HMV VA 73, POM-25 April, 1927. M-A, Exemplary! MB 8

“When, in 1953, the playing of [Valente’s] ‘Nessun dorma’ on a BBC programme created such renewed interest, he did try to capitalise on the sudden success [thus the third incarnation by HMV].”


K1606. ALESSANDRO VALENTE , w.di Veroli Cond.: Pagliacci – Vesti la giubba / Tosca – Recondita armonia. 12” EL PW plum HMV C 1387, POM-25 April / 10 May, 1927. M-A, a gleaming copy. MB 12

K1607. ALESSANDRO VALENTE , w.Sabajno Cond.: L’Africaina – O Paradiso! / ALESSANDRO VALENTE & BENVENUTO FRANCI (although label suggests A. Pilotto): Madama Butterfly – Addio, fiorito asil. 10” EL PW plum LVDP HN 765, POM-4 June, 1929. M-A, a gleaming copy. MB 15

K1608. ALESSANDRO VALENTE , w.Sabajno Cond.: Serenata (Mascagni) / Andrea Chénier – Si, fui soldato. 10” EL PW plum HMV B 3486, POM-6 Jan. / 14 March, 1930. M-A, Exemplary! MB 10

K1609. ALESSANDRO VALENTE , w.Sabajno Cond.: Tosca – E lucevan le stelle / Carmen – La fleur que tu m’avais jetée (in Italian). 10” EL PW plum HMV B 3487, POM-7 June, 1929 / 13 March, 1930. A-, very decent copy has, primarily Sd. 1, lt. rubs & dust scrs, positively ltly audible. MB 6

K1610. ALESSANDRO VALENTE , w.Sabajno Cond.: Aïda – Celeste Aïda (w.recit.), 2s. 10” EL PW plum HMV B 3682, POM-26 Jan., 1929. A-, very decent copy has, primarily Sd. 2, lt. rubs & dust scrs, positively ltly audible. MB 6

K1611. ALESSANDRO VALENTE & EMMA LATTUADA , w.Sabajno Cond.: Manon Lescaut – Tu! Tu! Amore, tu?; O tentatrice, 2s. 12” EL PW plum HMV C 1503, POM-21 Feb., 1928. M-A, a gleaming copy. MB 15

K1612. FRANCO RICCI , w.Guarino Cond.: Marechiare (Tosti) / Mmiez’ ‘o ggrano (Nardella). 10” EL dark-green Italian Col. CQ 2147, only form of issue, 22 / 24 Jan., 1951. M-A, a gleaming copy. In his day, Ricci was often compared to Carlo Buti – a well deserved compliment! MB 15

K1613. NINO NIPOTE , w.Angelo Fiorentino (Pf.): Luna chiara (Fusco) / Curiosita’ (Mendes). 10” EL pale-green Cetra DC 0319, only form of issue, 4 June, 1955. M-A, gleaming late 78-era issue. MB 12

K1054. IVAN KOZLOVSKY: O, if you only knew (Tchaikovsky) / SOFIA PREOBRAZHENSKAYA: Why, tell me, girl of my heart (Mussorgsky). 10” EL purple Aprelevski Zavod 18632/31, recorded 1950. M-A, Exemplary! MB 15

K1614. IVAN KOZLOVSKY: Before my window (Rachmaninoff) / Disenchantment (Tchaikovsky). 10” EL red Aprelevski Zavod CCCP 19451/52, recorded 1951. M-A, Exemplary! MB 12

K1615. IVAN KOZLOVSKY: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]) / Marmotte (Beethoven) (both in Russian). 10” EL red Aprelevski Zavod CCCP 9182/83, recorded 1939. M-A, lovely copy has, Sd. 2 only, faint cosmetic pap. rubs, inaud. MB 15

K1616. IVAN KOZLOVSKY: At the ball (Tchaikovsky) / Winter evening (Yakovlev). 10” EL red Aprelevski Zavod CCCP 20229/30, recorded 1951. M-A, Exemplary! MB 12

K1617. IVAN KOZLOVSKY: Do not re-awaken memories (Bulakhov), 2s. 10” EL red Aprelevski Zavod CCCP 20271/72, recorded 1951. M-A, a gleaming copy. MB 12

K1618. IVAN KOZLOVSKY: On the hills of Georgia (1950 Version) (Rimsky-Korsakov) / Frenzied nights (Tchaikovsky). 10” EL red Aprelevski Zavod 18091/92, recorded 1950. M-A, Exemplary! MB 12

K1619. IVAN KOZLOVSKY: On the hills of Georgia (1951 Version) (Rimsky-Korsakov) / I shall tell you nothing (Tchaikovsky). 10” EL red Aprelevski Zavod CCCP 20382/83, recorded 1951. M-A, a gleaming copy. MB 12

K1620. IVAN KOZLOVSKY: It is not the wind / In the silence of the night (both Rimsky-Korsakov). 10” EL black Aprelevski Zavod USSR 6265/66, recorded 1937. M-A, Exemplary! MB 12

K1621. IVAN KOZLOVSKY: A lone white sail / Mountain summits (both Varlamov). 10” EL black Aprelevski Zavod USSR 6261/62, recorded 1937. A-/A, lovely copy has, Sd. 1 only, few lt. scrs, very ltly audible a few turns. MB 8

K1622. IVAN KOZLOVSKY: Black brows, brown eyes (Ukranian folk song), 2s. 10” EL red Aprelevski Zavod CCCP 20956/57, recorded 1951. M-A, Exemplary! MB 10

K1623. IVAN KOZLOVSKY: Behind the window (Tschaikowsky) / Lonely and sad (Dargomyzhsky). 10” EL red Aprelevski Zavod CCCP 20453/54, recorded 1951. M-A, Exemplary! MB 10

K1624. IVAN KOZLOVSKY: Again, as before, alone (Tschaikowsky) / Daydreaming (Arensky). 10” EL red Aprelevski Zavod CCCP 20164/65, recorded 1951. M-A, Exemplary! MB 8

“Kozlovsky’s popularity was enormous, even though relatively few heard him live in the theatre or on the concert platform since he performed almost exclusively in Moscow. He was known mainly from records…and radio broadcasts, on which for many years before World War II his voice was heard almost daily….Kozlovsky has wonderful breath control, and the voice sounded crystal-clear and sonorous. The sound was so individual that it was impossible to imitate him.”


K1625. IVAN KOZLOVSKY: Natalka Poltavka – Do not rustle, meadow / Oh! I’m unhappy (Lysenko). 10” EL red Aprelevski Zavod USSR 10677/76, recorded 1940. M-A, lovely copy has occasional rub, inaud. MB 10

K1626. IVAN KOZLOVSKY: Dubrovsky – Recitative and romance of Vladimir (Napravník), 2s. 10” EL blue Aprelevski Zavod USSR 9180/81, recorded 1939. M-A, Exemplary! MB 12

K1627. IVAN KOZLOVSKY: Halka – The wind moans in the hills (Moniuszko), 2s. 10” EL pale-blue Aprelevski Zavod Art Label 10718/19, recorded 1940. A to M-A, lovely copy has occasional cosmetic pap. mk, inaud. MB 15

K1628. IVAN KOZLOVSKY: Rusalka – Prince’s cavatina (Dargomyzhsky), 2s. 10” EL blue Aprelevski Zavod USSR 12540/41, recorded 1945. M-A, Exemplary! MB 15

K1629. IVAN KOZLOVSKY: May Night – Sleep, my beauty (Rimsky-Korsakov), 2s. 10” EL red Aprelevski Zavod CCCP 9176/77, recorded 1939. M-A, Exemplary! MB 15

K1630. IVAN KOZLOVSKY: Werther – J’aurais sur ma poitrine / Pourquoi me réveiller? (in Russian). 10” EL red Aprelevski Zavod 9160/61, recorded 1939. A to M-A, lovely copy has few lt. rubs, inaud. MB 15

K1631. IVAN KOZLOVSKY: Werther – Un autre est son époux! (Désolation de Werther) (in Russian), 2s. 10” EL taupe & dark-blue Aprelevski Zavod 9168/69, recorded 1939. A to M-A, lovely copy has few lt. rubs, inaud.; Sd. 1 only has tiny pressing bump, audible a few turns during orchestral passage. Kozlovsky sings Werther as to the manner born; this is sheer poetry! MB 15

K1632. IVAN KOZLOVSKY: La Boheme – Che gelida manina (in Russian), 2s. 10” EL red Aprelevski Zavod CCCP 9178/79, recorded 1939. M-A, Exemplary! MB 12

K1633. IVAN KOZLOVSKY: Lohengrin – In fernem Land (in Russian), 2s. 10” EL pale-blue Aprelevski Zavod Bolshoi Art Label 6981/82, recorded 1938. M-A, Exemplary! MB 15

K1634. IVAN KOZLOVSKY: Demon – Recitative and aria of Sinodal (Rubinstein), 2s. 12” EL red Aprelevski Zavod CCCP 018502/03, recorded 1950. M-A, Exemplary! MB 15

K1635. IVAN KOZLOVSKY & YELIZAVETA SHUMSKAYA: Madama Butterfly – Bimba dagli occhi; Vogliatemi bene (in Russian), 4s. 2-12” EL red Aprelevski Zavod CCCP 018709/12, recorded 1950. M-A, a gleaming copy. MB 25, the Pair.

K1636. IVAN KOZLOVSKY: Eugen Onégin – Faint echo of youth, 2s. 12” EL red Aprelevski Zavod USSR 04903/04, recorded 1937. M-A, Exemplary! MB 15

K1637. IVAN KOZLOVSKY: Prince Igor – Daylight is fading away, 2s. 12” EL red Aprelevski Zavod CCCP 06346/47, recorded 1937. M-A, choice copy has, beg. Sd. 1, faint rub, inaud. MB 15

K1638. IVAN KOZLOVSKY: Rusalka – Prince’s Cavatina (Dargomyzhsky), 2s. 12” EL red Aprelevski Zavod CCCP 022910/11, recorded 1953. M-A, a gleaming copy. MB 15

K1639. IVAN KOZLOVSKY & BORIS GMYRIA: When two people part (Lysenko) / The wind is wailing (both in Ukranian). 10” EL red Aprelevski Zavod USSR 28129/28, recorded 1957. M-A, a gleaming copy. MB 12

K1640. IVAN KOZLOVSKY & MARIA MAKSAKOVA: Eugen Onégin – I love you, Olga / YELIZAVETA ANTONOVA & YELENA KRUGLIKOVA: Didst thou not hear? 12” EL red Aprelevski Zavod CCCP 020895 / 04584, recorded 1951/’36, resp. M-A, a gleaming copy. MB 15

“Kozlovsky was one of the most admired singers of his time, one of the rarities known for his range, technique, beauty of tone, and acting. As if that weren't enough, he also directed an opera company, occasionally singing lead rôles there as well. He had a remarkable longevity, singing creditably even in his seventies. While his most familiar rôles were from the Russian repertoire (he is credited for making the Simpleton in Boris Godunov a rôle for stars rather than comprimarios), he was also noted for his performances of Werther, Lohengrin, and Almaviva. His style was old-fashioned, particularly in the bel canto repertoire, where sometimes he permitted a performance to become mere showmanship, but even those who deplored his taste had to admit his technical facility. He began his nearly 30-year career at the Bolshoi in 1926, and he was soon one of its leading tenors, making his last appearance in a staged opera there in 1954. Kozlovsky also started his own opera company in 1938, occasionally appearing in the lyric repertoire there. He was awarded the prestigious designation of People's Artist of the U.S.S.R. in 1940. In 1956, he began an impressively long teaching career at the Moscow Conservatory, retiring in 1980. Even into his seventies he was singing recitals, and at public appearances, even one celebrating his ninetieth birthday, was willing to oblige his audience with a few lines, at least, showing an increasingly amazing vocal longevity.”


K1641. GEORGY VINOGRADOV: Travelling song (Dunayevsky) / Early stars glimmer (Makarov). 10” EL red Aprelevski Zavod CCCP 17095/17134, recorded 1949. M-A, a gleaming copy. MB 10

“It is true that Vinogradov lent his talents to some second-rate (at best) music, but with a voice like that, the old adage about listening to him sing the telephone directory becomes literally true. We just listen to him and sit back, letting the waves of beautiful sound wash over us, seducing us with their comeliness and teaching us what good singing is all about.”


K1642. GEORGY VINOGRADOV: In a sunny clearing (Solovyov-Sedoy) / Why do you? (Kirichek). 10” EL black Aprelevski Zavod USSR 11965/12389, recorded 1944. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 10

K1643. GEORGY VINOGRADOV , w.Golovanov Cond.: Eugen Onégin – Faint echo of my youth, 2s. 10” EL red Aprelevski Zavod CCCP 12769/70, recorded 1945. M-A, a gleaming copy. MB 12

“…judged solely from his recorded legacy, [Vinogradov] deserves to be at least as well known and highly regarded as his more famous colleagues, Sergei Lemeshev and Ivan Kozlovsky…Certainly the voice and artistry can stand comparison with such tenors as Schipa, Simoneau, Valletti, and the young Vanzo, making his neglect even more extraordinary….for the true genius of this singer it is necessary to hear the operatic arias and Russian art songs. Few tenors have sung Lensky’s final aria [above] with such beauty of tone, tenderness, and real poetry.”


K1644. MISHA ALEXANDROVICH: My beloved garden (Khachaturian) / Lullaby (Kompaneyets). 10” EL red Aprelevski Zavod CCCP 16118/37, recorded 1948. M-A, Exemplary! MB 12

K1645. MISHA ALEXANDROVICH: The nightingale and the Rose / Ballade (both Khrennikov). 10” EL red Aprelevski Zavod CCCP 16356/57, recorded 1948. M-A, Exemplary! MB 12

K1646. MISHA ALEXANDROVICH: Two delightful Neapolitan songs (in Russian), 2s. 10” EL black Aprelevski Zavod 17065/66, recorded 1949. M-A/A-, lovely copy has, Sd. 2, few lt. rubs & long, lt. scr, ever-so-faintly audible. MB 10

“Mikhail Davidovich Alexandrovich (a.k.a. Misha Alexandrovich) gained popularity as a prodigy. He graduated from the Riga Conservatory. For a long time he was a cantor at synagogues in Vilnius and Kaunas. From 1940 onwards he was a concert and chamber singer in the USSR, recording numerous 78s and LPs. He lived in Israel from 1971 to 1979, when he moved to the United States, and then from 1990 until his death he lived in Germany.”


K1647. SOLOMON KHROMCHENKO: Aleko – Romance of the young gypsy (Rachmaninoff) / Rafael – My heart trembles with passion (Arensky). 10” EL pale-blue Aprelevski Zavod Bolshoi Art Label 8566/67, recorded 1936. M-A, Exemplary! MB 15

K1648. SOLOMON KHROMCHENKO: Aleko – Romance of the young gypsy (Rachmaninoff) / N. SEREDA: Tsar’s Bride – Aria of Lykov (Rimsky-Korsakov). 10” EL black New York World’s Fair 1939 USSR 4598/5746, recorded 1936. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 15

“What can one say about Solomon Khromchenko? First of all, the timbre of his voice, lyrical and masculine, but not sickly-sweet. He was an able dramatic actor and was perfectly built….Khromchenko possessed the most beautiful timbre of the voices in the Bolshoi.”


K1649. ARTUR FRINBERG: Ballo – Di tu se fedele / Otello – Dio! mi potevi, scagliar (in Latvian). 10” EL red Aprelevski Zavod CCCP 19956/57, recorded 1951. M-A, a gleaming copy. Although sung in Latvian, Sd 2 is truly a glorious performance! MB 12

K1650. GEORGI NELEPP , w.Kondrashin Cond.: La Juive – Rachel, quand du Seigneur (in Russian), 2s. 10" EL red Aprelevski Zavod 14937/38, recorded 1947. M-A, choice copy has, Sd.1, faintest pap.rub, inaud. MB 15

K1651. GEÖRGI NELEPP , w.Melik-Pashaev Cond.: Sadko – Had I thy pearls and gold (w.recit.) (Rimsky-Korsakov), 2s. 10" EL red Aprelevski Zavod CCCP 15679/80, recorded 1948. M-A, Exemplary! MB 15

“The Bolshoi had a remarkable dramatic tenor, György Mikhailovich Nelepp, an artist of impeccable taste, with a beautiful, youthfully resonant voice. I have yet to hear a better Hermann in The Queen of Spades. When I first joined the Bolshoi, we worked on Fidelio together; that time ranks among the best memories of my career.”


K1652. TADEUSZ LELIVA: L’Africaine – O Paradis! (in Italian; label states in Polish), announced, w.piano acc.. 10” AC black & silver Warsaw Col. 35261, POM-1904. B, very decent copy has considerable rubs & numerous very lt. scrs, very ltly audible in this remarkably forward recording. MB 65

“[Leliva’s] was a characteristic voice with an attractive and plaintive quality. In spite of his identification with the Italian repertory, his Eastern European origin is very obvious.”


K1653. BÉNO BLACHUT: Cavalleria – O Lola (Sicilienne) / Il Trovatore – Deserto sulla terra (both in Czech). 10” EL black Supraphon 17011-M, POM-7 April, 1942. M-A/A, lovely copy has, Sd. 2, few lt. rubs, inaud. MB 15

"Beno Blachut’s voice is what is left for us on records….Anglophone commentators have most often compared Blachut’s voice to Gedda’s, occasionally Björling’s and Wunderlich’s, meaning that it was an attractive lirico-spinto capable of heroic colouration.”


K1654. JAN KONSTANTIN , w.Vasata Cond. Prague National Opera Orch.: Libuse – O, vy lipy (Smetana) / JINDRICH BLAZICEK, w.Skvor Cond.: Rusalka - Vim, ze jsi kouzlo (Dvorák). 10” EL black Ultraphon C 12500, POM-1941. A to M-A, lovely copy has occasional lt. rub, inaud. MB 10

K1655. JAN KONSTANTIN, ADA NORDENOVÁ, MARTA KRÁSOVÁ, JAROSLAV GLEICH, VLADIMIR TOMS, EMIL POLLERT, KAREL HRUSKA , etc.; Ostrcil Cond. Prague National Opera Orch.: PRODANÁ NEVESTA (Smetana), 30s. 15-12” EL Orth Vla 11617/31, POM-1933, in Orig. Album M-193, w.Libretto-Brochure. M-A, beautiful copy has remarkably quiet surfaces; Sds. 4 & 16 only, long nr, ltly audible. Exceedingly elusive! MB 85, the Set.

"Here is one of the all-time great opera recordings, a snapshot of a departed age….This adorable recording held its own for 20 years, a tribute to HMV’s artistic sense in going to the fountainhead rather than essaying a version in German….[enchanting is] the conversational lightness of this Prague cast which is virtually ideal.”


K1656. SAMUEL HYBINETTE: Süsse Träume (Elling) / Rigoletto – La donna è mobile (in Swedish). 10” AC black Stockholm Concert Gram. G.C.-4–42550/2–52855 (5373/72), POM-28 Aug., 1913. A/A-, lovely copy has, primarily Sd. 2, occasional faint rub & pap. scr, positively inaud. MB 25

“[Dr Samuel Hybinette was] a semi-professional singer who had a beautiful voice, gave many concerts and recitals in Scandinavia, in 1916, [followed by] a 1919 Danish concert tour….Hybinette studied medicine and became a surgeon….A noted doctor, he became physician to the King of Sweden.”


K1657. MARIUS JACOBSEN: Der gaar sagn (Toft) / Der Flyver saa mange fugle (Andersen). 10” EL plum PW HMV X.3997, only form of issue, 11 / 14 May, 1932. M-A, Exemplary! MB 8

K1658. MARIUS JACOBSEN: Der Var Engang – Midsommervise / Serenade (Lange-Müller). 10” EL plum PW HMV X.3298, only form of issue, 21 June, 1929. M-A, lovely copy has faint pap. rubs, inaud. MB 8

K1659. MARIUS JACOBSEN , w.Hye-Knudsen Cond.: Tosca – Recondita armonia / E lucevan le stelle (in Danish). 10” EL HMV DA 1448, only form of issue, 1936. M-A, lovely copy has faint pap. rubs, inaud. Jacobsen sang at Copenhagen’s KGL Opera from 1927 to 1956, being named Kämmersänger in 1946. MB 8

K1660. FOLKE ANDERSSON , w.Hans Bingangs Cond.: La Belle Hélène – Au mont Ida trois déesses (Paris' Entrance) (Offenbach) / Les Cloches de Corneville – Va, petit mousse (Planquette) (both in Swedish). 10” EL plum HMV X.3751, POM-19 May, 1931. M-A, Exemplary! Although entirely eclipsed by the Björling 1938 rendition, Sd. 1 is a quite delightful rendition by Anderson who sang into his 90s, having made his Stockholm operatic début in 1921 as Almaviva, in Barbiere! MB 10

K1661. FOLKE ANDERSSON , w.Eduard Hladisch Cond.: Alexandra – Love comes from a fairy-tale land (Szirmai) / Das Land des Lächelns – Dein ist mein ganzes Herz (Lehár) (both in Swedish). 10” EL blue & orange Sonora 6006, POM-1938. M-A, Exemplary! MB 10

K1662. FOLKE ANDERSSON & SYLVAN BERÉ , w.von Eichwald Cond.: Teufelreiter (The Devil’s Horseman) – Potpourri (Kálmán) (in Swedish), 2s. 10” EL blue & orange Sonora 6007, POM-1938. M-A, Exemplary! MB 10

K1663. STEFAN ISLANDI , w.Thórdarson Cond. Reykjavik Men’s Choir: Ökuljóò (Russian folksong) (in Icelandic) / STEFAN ISLANDI , w.Felumb Cond.: Fedora – Amor ti vieta. 10” EL Scandinavian HMV DA 5278, POM-22 Nov., 1937 / 27 Aug., 1936. M-A, lovely copy has faintest pap. rubs, inaud. MB 12

“Of special note is the song ‘Ökuljóó’….Originally issued as a single-sided 10 inch electric disc, it had a certain cachet among 78rpm collectors. It is sung over a male choir accompaniment….Islandi is very effective here.”


K1664. STEFAN ISLANDI , w.Thórdarson Cond. Reykjavik Men’s Choir: Ökuljóò (Russian folksong) (in Icelandic). 10” EL HMV DAS 5208, POM-22 Nov., 1937. MINT copy of this unusual S/S issue, (w.HMV embossed spiderweb verso). A record of haunting beauty and great sensitivity. MB 25

K1665. STEFAN ISLANDI , w.Felumb Cond.: I Fjarlaegò (Runólfsson) / Vögguljóò (Pórdarson) (both in Icelandic). 10” EL HMV DA 5201, only form of issue, 27 Aug., 1936. M-A, Exemplary! Sd. 2 is of ethereal beauty! MB 20

K1666. STEFAN ISLANDI , w.Felumb Cond.: Fedora – Amor ti vieta / Adriana Lecouvreur – L’anima ho stanca (both in Italian). 10” EL HMV DA 5202, POM-27 Aug., 1936, only form of issue, Sd. 2. M-A, Exemplary! MB 8

K1667. STEFAN ISLANDI , w.Felumb Cond.: Pagliacci – Vesti la giubba / Rigoletto – La donna è mobile (both in Italian). 10” EL HMV DA 5218, only form of issue, 2 Sept., 1940. M-A, Exemplary! MB 8

“[Islandi had a] brilliant lyric tenor, equally at home in concert. An internationally acclaimed artist, one of the glories of Icelandic vocal history. A beautiful…voice with an Italianate sound and style.”


K1668. STEFAN ISLANDI & HENRY SKJAER , w.Egisto Tango Cond.: Les Pêcheurs de Perles – Au fond du temple saint (in Danish) / Forza - Solenne in quest'ora (in Italian). 12” EL HMV DB 5268, POM-29 May, 1942. MINT MB 8

“The Pearl Fishers duo is sung here in Danish but does not suffer in any way from this, as the style is captured perfectly….The two sides from Il Trovatore are splendidly sung [in Italian] with [Islandi’s] wife, the warm-voiced Danish contralto Else Brems….both artists sound very effective.”


K1669. HANS BUFF-GIESSEN: La Dame Blanche – Viens, gentille dame (Boiëldieu) / Mignon – Adieu, Mignon, courage (both in German). 10” AC black Dresden Pre-Dog G.C.-3-42324/42701 (185r/4643h), POM-1905/’06, resp. M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. An outstanding copy of this rarity, only two of Buff-Giessen’s celebrated six recorded sides! MB 1250

K1670. OTTO BRIESEMEISTER: Siegfried – Nothung! Nothung! (Schwertlied) / Das Rheingold – Über Stock und Stein zu Tal. 10½” AC brown German Odeon 64774/75 (xB 3464/67), only form of issue, 1907. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. MB 160

K1671. KARL ERB: Tannhäuser – Inbrunnst im Herzen (Rome narrative), 2s. 12” AC beige, black & brown German Odeon Rxx 76477/78 (xxB 6066/67), only form of issue, 1914. A-B, very decent copy has lt. rubs & cosmetic mks, inaud. MB 15

K1672. KARL ERB: Die Meistersinger – Preislied / Am stillen Herd. 10½” AC beige, black & brown German Odeon Rx 98000/16 (xB 5745/44), only form of issue, 1912. A-B, very decent copy has lt. rubs & numerous lt. scrs, ever-so-faintly audible. MB 15

K1673. KARL ERB: Rigoletto – Questa o quella? / La donna è mobile (both in German). 10½” AC beige, black & brown German Odeon Rx 98054/55 (xB 6068/69), only form of issue, 1914. A-B, very decent copy has lt. rubs & cosmetic mks, inaud. MB 15

K1674. KARL ERB , w.Seidler-Winkler (Pf.): Litanei (Schubert) / O Jesulein süss (Bach). 10” EL plum HMV EG 3184, only form of issue, 1934. M-A, Exemplary! MB 8

K1675. KARL ERB , w.Seidler-Winkler (Pf.): Nun wandre, Maria / Schlafendes Jesukind (both Hugo Wolf). 10” EL plum HMV EG 3498, only form of issue, 1935. M-A, Exemplary! MB 8

K1676. KARL ERB , w.Seidler-Winkler (Pf.): Zum neuen Jahr (Hugo Wolf) / Ein gar alt Fröhlich (Zilcher). 10” EL plum HMV EG 3499, only form of issue, 1935. M-A, Exemplary! MB 8

K1677. KARL ERB , w.Seidler-Winkler (Pf.): Verborgenheit / Gebet (both Hugo Wolf). 10” EL plum HMV EG 3591, only form of issue, 1935. M-A, Exemplary! MB 8

K1678. KARL ERB , w.Seidler-Winkler (Pf.): Nacht und Träume / Des Fischers Liebesglück (both Schubert). 10” EL plum HMV EG 3611, only form of issue, 1936. M-A, Exemplary! MB 8

K1679. KARL ERB , w.Seidler-Winkler (Pf.): An Sylvia (Schubert) / Lerchengesang (Brahms). 10” EL plum HMV EG 3687, only form of issue, 1936. M-A, Exemplary! MB 8

K1680. KARL ERB , w.Seidler-Winkler (Pf.): Du bist die Ruh’ / Ave Maria (both Schubert). 10” EL plum HMV EG 3756, only form of issue, 1936. M-A, Exemplary! MB 8

K1681. KARL ERB , w.Seidler-Winkler (Pf.): Der Wanderer an den Mond / Liebesbotschaft (both Schubert). 10” EL HMV DA 4421, POM-1937. M-A, Exemplary! MB 8

K1682. KARL ERB , w.Seidler-Winkler (Pf.): Am See / An die Laute (both Schubert). 10” EL HMV DA 4422, POM-1937. M-A, Exemplary! MB 8

K1683. KARL ERB , w.Seidler-Winkler (Pf.): A Lieder Recital, incl. Schubert, Schumann, Brahms, Wolf & Loewe, 12s. 6-10" EL PW V 4398/4403, POM-1935-37, in Orig. Album M 501, w.Brochure. M-A, Exemplary! MB 45, the Set.

“…the recital magician Karl Erb…had been a member of the Munich ensemble all the way back in the days when Bruno Walter wielded the baton on the conductor’s podium of the opera house. Hans Pfitzner himself was the one who elevated Erb’s unique interpretation of the title rôle in his Palestrina to a position high in the heavens of his admiration. The remarkable thing about Erb’s song interpretation was that it was not just the sheer beauty of his voice that made all the difference…it was also his interpretative acumen. I had the good fortune to be able to learn and profit from the impressions any number of great recitalists made on me in the course of my long life, but ultimately it was Paul Bender and Karl Erb who sparked my great love for the art song.”


K1684. KARL ERB , w.Seidler-Winkler (Pf.): Das Lied im Grünen (Schubert) / Frohe Botschaft (Hugo Wolf). 10” EL HMV DA 4420, POM-1937. M-A, Exemplary! MB 8

K1685. KARL ERB , w.Hans Altmann (Pf.): Nachtstück / Gesange des Harfners – Wer nie sein Brot mit Tränen ass (both Schubert). 12” EL Electrola DB 11539, only form of issue (Germany only), 1951 – Erb’s final recording session at age 74! M-A, a gleaming copy. Exceedingly elusive! MB 25

K1686. KARL ERB , w.Seidler-Winkler (Pf.): Das sie hier gewesen (Schubert) / Andenken (Hugo Wolf). 10” EL HMV DA 4423, POM-1937. M-A, Exemplary! MB 8

K1687. KARL ERB , w.Seidler-Winkler (Pf.): Was soll ich sagen? (Schumann) / Die Liebe hat gelogen (Schubert). 10” EL HMV DA 4424, POM-1937, only form of issue, Sd. 1. M-A, Exemplary! MB 8

K1688. KARL ERB , w.Seidler-Winkler (Pf.): Es muss ein Wunderbares sein (Liszt) / Abendlied (Schumann). 10” EL HMV DA 4425, only form of issue, 1937. M-A, Exemplary! MB 8

K1689. KARL ERB , w.Seidler-Winkler (Pf.): Des Fremden kindes heil’ger Christ (Loewe) / Weinachtsgesang (Adam). 10” EL HMV DA 4426, only form of issue, 1937. M-A, Exemplary! MB 8

K1690. KARL ERB , w.Seidler-Winkler (Pf.): Mondnacht / Der Nussbaum (both Schumann). 10” EL HMV DA 4427, only form of issue, 1937. M-A, Exemplary! MB 8

K1691. KARL ERB , w.Seidler-Winkler (Pf.): Adelaide (Beethoven), 2s. 10” EL HMV DA 4428, only form of issue, 1937. M-A, Exemplary! MB 8

K1692. KARL ERB , w.Seidler-Winkler (Pf.): O wüsst’ ich doch den Weg zurück / O kühler Wald (both Brahms). 10” EL HMV DA 4429, POM-1937. M-A, Exemplary! MB 8

K1693. KARL ERB , w.Seidler-Winkler (Pf.): Auf ein altes Bild (Hugo Wolf) / Nachruf (Schoeck). 10” EL HMV DA 4448, only form of issue, 1937. M-A, Exemplary! MB 8

K1694. KARL ERB , w.Seidler-Winkler (Pf.): Im Abendrot / Über allen gipfeln ist ruh’ (both Schubert). 10” EL HMV DA 4459, only form of issue, 1939/’36, resp. M-A, Exemplary! MB 8

K1695. KARL ERB , w.Seidler-Winkler (Pf.): Der Einsame / Der Wegweiser (both Schubert). 12” EL HMV DB 4465, only form of issue, 1937. M-A, Exemplary! MB 8

K1696. KARL ERB , w.Seidler-Winkler (Pf.): Vor meiner Wiege / Der Jüngling und der Tod (both Schubert). 12” EL HMV DB 4466, only form of issue, 1937. M-A, Exemplary! MB 8

K1697. KARL ERB , w.Seidler-Winkler (Pf.): Wer machte dich so krank; Alte Laute (both Schumann) / Ihr Grab (Schubert). 12” EL HMV DB 4467, only form of issue, 1937. M-A, Exemplary! MB 8

K1698. KARL ERB , w.Seidler-Winkler (Pf.): Ich liebe dich; Das Geheimnis / Der Wachtelschlag (all Beethoven). 12” EL HMV DB 4677, only form of issue, 1939. M-A, Exemplary! MB 8

K1699. KARL ERB :, w.Gerald Moore (Pf.): Nimmersatte Liebe / MARTA FUCHS: Spanisches Liederbuch – Geh’ Gelibter, geh’ jetzt (both Hugo Wolf). 12” EL HMV DB 6813, only form of issue, 1937. M-A, Exemplary! MB 8

"[Erb] kept his voice without the slightest deterioration till well into his seventies, retaining its almost angelic tone quality, not unlike a German McCormack. In retrospect he emerges as one of the most subtle and fascinating Lieder singers of his age."

- Michael Scott, THE RECORD OF SINGING