Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Auction Number 146 - AUCTION Closing Date: Friday, 29 May, 2015
Regarding AUCTION #146
(Closing Date: Friday, 29 May, 2015
), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.
If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option. TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday,
when PETER FORD
is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX,
telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].
Section III: Nos. 1136 - 1201-1136. NINA de CHARNY
: Canta l’amore / DIEGO GIANNINI
: Catena e vase (Ricciardi).
10˝” dark blue paper label H & D Pathé 2036.
A to M-A, superb copy has, Sd.1 only, wee rub. MB 10
“Nina de Charny, described as an eccentruic and tormented personality, was born in 1889 in Napoli. As of 1909 she was already touring Italy, then appearing in London in 1910 as a singer of Neapolian songs. Between 1916 and 1923 she recorded in New York for Victor, Pathé and Okeh. She recorded many songs by immigrant Italian writers and was one of the principal leading forces behind the Italian-American stage."
- Simona Frasca, ITALIAN BIRDS OF PASSAGE137. MAURICE DECLÉRY
: La Charité (J. B. Faure) / BARBIERE
– Air de Figaro
(in French). 10˝” brown & gold Belgian Odéon 36665/64 (XP 839/838).
A-B, acceptable copy has lt.rubs & a few lt. scrs.; wee hlc at edge. MB 10
1138. A. DELCROIX: IL TROVATORE
7” black Brussels Zonophone 1152, w.Zonophone logo on verso, only form of issue, 1901.
A-B, very decent copy has cosmetic lt. rubs & superficial scrs. MB 20
1139. JEAN DELMAS: PATRIE
– Pauvre mertyr obscur (Paladilhe) /
MAXIMILIEN BOUVET: JOCONDE
– Dans un délire extręme (Nicolň).
8Ľ” etched label H & D Pathé 2494/2590, center start, announced.
A to M-A, superlative copy. MB 451140. JEAN-FRANÇOIS DELMAS: FAUST
- Vous qui faites l’endormie.
10˝” black & beige French Odéon LX 39051 (XPh 510).
A to M-A, choice copy has mere hint of grey on peaks, positively inaud. MB 45
1141. JEAN-FRANÇOIS DELMAS: LES HUGUENOTS
– Bénédiction des Poignards (Meyerbeer) / PATRIE
– Pauvre martyr (Paladilhe). 10˝” brown Parl. Odeon PO 128
(XPh 512/513), (w.Delmas’ signature embossed in shellac). M-A, superlative copy. MB 45
“Delmas made his début at the Paris Opera on 28 September 1886 as Saint-Bris (LES HUGUENOTS), which began a long association with that house, leaving him little time to sing outside of France. The notable exceptions were the Mariinsky in Saint Petersburg, the San Carlo in Lisbon, and the Monte Carlo Opera House in Monaco. Delmas was particularly successful in the major Wagnerian roles including Hans Sachs, Wotan, and Hagen. He was also a well-known interpreter of the standard French repertoire including FAUST, SIGURD, GUILLAUME TELL, and SAMSON ET DALILA. Delmas holds the record of taking part in more creator-roles than any other singer in the Paris Opera’s history: Twenty-one, including Massenet’s LE MAGE (Amour, 16 March 1891), THAĎS (Athanaël, 16 March 1894), and ARIANE (Périthous, 28 October 1906). Delmas had an incredible range, ‘…which was equally powerful in bottom F of the bass register as it was at the top of G of the tenor’s. (Georges Pioch, MUSICA, November 1905) and his voice possessed warmth and authority. He recorded for G&T, Pathé, Zonophone, Fonotipia, Odéon, and Opéra-Saphir. All of Delmas’ records are highly sought by collectors worldwide.”
- Vincent Giroud, Marston Program Notes1142. GIUSEPPE de LUCA
: Occhi di fata (Denza) /
DANNAZIONE E FAUST
- Serenata (Berlioz). 10˝” Milano Fonotipia 39169/68 (XPh 228/211).
A to M-A, superb copy has numerous minuscule pimples. MB 20
1143. GIUSEPPE de LUCA: BARBIERE
– Largo al factotum /
– Sei vendicata assai. 10˝” brown & gold Milano Odeon 59093/94
(XPh 2306/13). M-A, superb copy has a few faintest rubs, inaud. MB 151144. GIUSEPPE de LUCA: NOZZE
– Aprite un po’ gli occhi / Se vuol ballare.
10˝” brown & gold English Odeon 59097/98 (XPh 2358/59). A to M-A, superb copy. MB 20
“Although he had nothing like the brazen power of a Titta Ruffo or any of the other large-voiced baritones of his time, Giuseppe de Luca made up in refinement what he may have lacked in shear volume. His mastery of vocal technique allowed him to produce a finely concentrated tone that carried well and to sing with nearly undiminished quality into advanced age. In his stagecraft, too, de Luca was adept, creating memorable characterizations without ever chewing the scenery. Over his long career, he made many recordings, nearly all of them representing him at his best….Equally accomplished as a dramatic singer and a comic actor, de Luca left numerous recordings confirming the consummate level of his art.”
- Erik Eriksson, almusic.com1145. GIUSEPPE de LUCA
: Mia sposa sarŕ la mia bandiera (Rotoli) /
– Ferito, prigionier (Franchetti). 10˝” brown & gold Milano Fonotipia 59088/87 (XPh 2327/79). A to M-A, superb copy has wee pressing bump, Sd.1. MB 20
1146. FERNANDO de LUCIA
: Matinatta (Leoncavallo) / A suon di baci (Baldelli).
10˝” Milano Fonotipia 92695/96 (XPh 4491/92).
A-B, very decent copy has rubs & various lt. scrs, mainly cosmetic. MB 15
1147. FERNANDO de LUCIA
: Salve Maria (Mercadante), 2s.
10˝” shellac white Photo Label Phonotype C 2018/19.
A to M-A, exceptional copy has faintest rubs, inaud.; Sd.2 only has long
cosmetic ‘pressure’ mk, not to edge, entirely harmless. MB 451148. FERNANDO de LUCIA
: Mamma mia che vo’ sapč (Fonza) /
Ammore che gira (Buongiovanni). 10˝” Milano Fonotipia, blank label
test pressing for 92723/24 (XPh 4476/71). A to M-A/A-, lovely copy has lt.rubs, inaud.;
Sd.2 only has scuff & few minuscule scrs, inaud. MB 15
1149. FERNANDO de LUCIA
: Scčtate / Napulitanata (both Costa).
10˝” Milano Fonotipia 92713/14(XPh 4461/86). A-B, very decent copy has lt.rubs, inaud.;
Sd./2 only has sev.lt.scrs, merely cosmetic. MB 151150. FERNANDO de LUCIA
: Comm’ o zuccaro (Fonza) / Era di Maggio (Costa).
10˝” Milano Fonotipia 92711/12 (XPh 4470/83).
A-B, very decent copy has lt.rubs, inaud. MB 15
1151. FERNANDO de LUCIA
: Serenata napulitana (Costa) /
Chi sa? (Tosti). 10˝” Milano Fonotipia 92717/18 (XPh 4479/63).
A-B, very decent copy has rubs & various lt. scrs, mainly cosmetic. MB 15
1152. FERNANDO de LUCIA
: ‘O sole mio (di Capua) / Luna nova (Costa).
10˝” Milano Fonotipia 92701/02 (XPh 4488/65). A-B, very decent copy has lt.rubs & scrs,
mainly cosmetic; Sd.1 only has long scr, ltly audible. MB 15
1153. FERNANDO de LUCIA
: ‘Matenata (Nardella) / Serenata scumbinata (Valente).
10˝” Milano Fonotipia 92697/98 (XPh 4469/66). A/A-B, very decent copy has lt.rubs & scrs,
mainly cosmetic; Sd.1 only has tiny scr, possibly ltly audible. MB 151154. FERNANDO de LUCIA
: Dopo! (Tosti) / Occhi di fata (Denza)
10˝” shellac white Photo Label Phonotype C 2404/06.
A-B, very decent copy has lt.rubs, inaud.; Sd.2 only has various
lt scuffs & scrs, mainly cosmetic; Sd.1 has wee ec to 1st groove. MB 35
1155. FERNANDO de LUCIA: ANDREA CHÉNIER
– Improvviso (1917 Version), 2s.
10˝” shellac white Photo Label Phonotype C 1806/07.
M-A, spectacular copy. Contemporaneous Paris label stickers. MB 65
1156. FERNANDO de LUCIA: FEDORA
- Amor ti vieta /
Mia madre, la mia vecchia madre .
10˝” shellac white Photo Label Phonotype C 1788 / 1846.
M-A, spectacular copy has infinitessimal fingernail scr, beg. Sd.1. MB 65
1157. FERNANDO de LUCIA: I PESCATORI DI PERLE
– Della mia vita /
– Se il mio nome (w.interjections by Maria Resemba) (1918 Version).
10˝” shellac white Photo Label Phonotype C 1897 / 1945. M-A, spectacular copy.
Contemporaneous Paris label sticker remains, Sd.1. MB 65
1158. FERNANDO de LUCIA: I PESCATORI DI PERLE
– Mi par d’udir /
I PURITANI – A te, o cara (1921 Version). 10˝” shellac white Photo Label
Phonotype C 2394 / 2528. A-, lovely copy has very lt. rubs, inaud. MB 45
1159. FERNANDO de LUCIA: TOSCA
– E lucevan le stelle /
Recondita armonia (1917 Versions). 10˝” shellac white Photo Label Phonotype
C 1760/87. M-A, spectacular copy has 2 faintest pap.rubs, barely visible & inaud.
Contemporaneous Paris label stickers remain. MB 65
1160. FERNANDO de LUCIA: ANDREA CHÉNIER
- Come un bel dě di maggio /
I PESCATORI DI PERLE
– Mi par d’udir. 10˝” shellac white Photo Label Phonotype
C 2392/94. B/A-B, very decent copy has lt.rubs, inaud.; Sd.1 has wee ec to 1st groove & sev. wee scrs, inaud. Contemporaneous Napoli label stickers remain. MB 35
1161. FERNANDO de LUCIA
, w.Resemba, Novelli, Schottler, etc.:
- Ecco qua! / Ma signor…Zitto tu! 10˝” shellac white
Photo Label Phonotype C 1991/98. A to M-A, lovely copy has very lt. rubs, inaud. MB 35
1162. LAURA DEL LUNGO: SAMSON ET DALILA
– Mon coeur s’ouvre ŕ ta voix /
Amour, viens aider (in Italian). 10˝” Milano Fonotipia 92788/89(XPh 4418/4359).
M-A, spectacular copy. MB 20
“Laura del Lungo made her début at the Teatro Unione in Viterbo, 1906. She was subsequently a leading singer at the Khediviale in Cairo for several seasons, in addition to being heard in various Italian houses in operas such as AĎDA, CARMEN, MIGNON, LOHENGRIN, LA FAVORITA, and Mascagni’s PARISINA[ from which she recorded for Fonotipia extended excerpts under the composer’s direction.”
- Ashot Arakelyan, Forgotten Opera Singers1163. MARIA de MACCHI: LUCREZIA BORGIA
– Come č bello / POLIUTO
Di qual soavi lagrime (both Donizetti). 10˝” brown & gold German Odeon IRCC ‘G’
RX 59135/36 (XPh 1916/2554), POM-1906, (w.de Macchi’s signature embossed in shellac). A-B, fine copy of choice 1930s pressing, produced for IRCC, has lt.rubs, inaud. MB 35
1164. MARIA de MACCHI: NORMA
– Casta diva / Ah! bello a me ritorna.
10˝” Milano Fonotipia 39495/96 (XPh 478/484). A to M-A, lovely copy has, beg.
Sd. 1 only, minor ‘heat’ mk, causing very faint swish. MB 25
“de Macchi studied with Virginia Boccabadati in Milan. In 1899 she made her début at the Teatro Grande in Brescia as Laura in LA GIOCONDA. In 1892 she performed at the Teatro Annibal Caro in Civitanova Marche as Leonora in LA FORZA DEL DESTINO. In 1901 de Macchi performed at La Scala in Milan in the title role of Goldmark’s LA REGINA DI SABA. Guest performances followed in Prague (1901), Bucharest (1903) and Berlin (1902). On 16 Aug., 1902 she appeared at the Teatro Verdi in Vicenza in the premiere of Orefice’s CECILIA. On 5 Dec.1904 she made her Metropolitan Opera début singing the title role in LUCREZIA BORGIA with Enrico Caruso and Edyth Walker. At the Met she also performed in GLI UGONOTTI, AĎDA and CAVALLERIA RUSTICANA. In 1909 she appeared for the last time at the Teatro Lirico in Milan as Carmen.”
- Ashot Arakelyan, Forgotten Opera Singers1165. CHARLES DENIZOT: PAGLIACCI
– No, Pagliaccio, non son! /
& Mme La CABELLY: C’est bien, sur l’heure, chasse-moi (In French).
10˝” brown & gold French Odéon 111448/56 (XP 5943/45). A-, very decent copy has lt.grey, lt.rubs & faint scrs, inaud.; Sd.1 only has faintest nr, inaud. (Sd.2 label promotes Mme LaCabelly as being ‘Soprano de Métropolitan Opéra!) MB 10
“Denizot began his stage career appearing not only at the Grand Théâtre of Geneva, but also at the opera houses of Nice, Bordeaux, Algiers and at the festival in the arena of Fréjus. In 1922, together with the bass-baritone Guy Beckman, he founded ‘Association Artistique Beckmans-Denizot’, which organized opera performances at the Grand Théâtre of Geneva. He appeared there as a singer, director and conductor. In 1943 he appeared at the Grand Théâtre of Geneva in the premiere of J. Dupérier’s opera LE MALADE IMAGINAIRE. Later he was active in Geneva as a singing teacher."
- Ashot Arakelyan, Forgotten Opera Singers1166. EMMY DESTINN
: Uz mou milou / Mela jsem chlapce (both Czech Folksongs).
10˝” dark blue & gold German Odeon 29071/72 (xB 1010/13). A+, lovely copy has a few lt.rubs, inaud.; Sd.2 only has infinitessimal superficial scr, inaud. MB 15
1167. EMMY DESTINN
: Ave Maria (Bach-Gounod) /
– Un bel děŤ (both 1908 Versions).
10˝” black, brown & beige German Odeon Rx 99430/31 (xB 4746/4744).
A to M-A, beautiful copy has, Sd.1 only, few faintest superficial scrs, inaud. MB 12
1168. EMMY DESTINN
: Stark wie der Tod ist die Liebe (Das Hohenlied) (Mendelssohn) /
– Kdybych se co takového (in German). 10˝” US-Fonotipia 50024/26 (xB 1015/1018). A to M-A, lovely copy has, few faintest rubs, inaud. MB 12
1169. EMMY DESTINN: NOZZE
– Porgi amor / MIGNON
– Connais-tu le pays?
(both in German). 10˝” US-Fonotipia 50153/50023 (xB 1662/1014).
A to M-A, superb copy has, faintest rubs, inaud. MB 10
1170. EMMY DESTINN: NOZZE
– Porgi amor (in German) / TANNHÄUSER
Dich, teure Halle. 10˝” brown & gold German Odeon 50153/59 (xB 1662/61).
A to M-A, lovely copy has a few lt.rubs, inaud. MB 121171. EMMY DESTINN: ROBERT LE DIABLE
– Va! dit elle /
Quand je quitter la Normandie (in German) (Meyerbeer). 10˝” brown & gold German
Odeon 64837/55 (xB 3613/12). A to M-A, lovely copy has a few lt.rubs, inaud. MB 15
1172. EMMY DESTINN: MIGNON
– Connais-tu le pays? / Je connais un pauvre enfant (both in German). 10˝” brown & gold German Odeon Rx50023/25 (xB 1014/16).
A to M-A, superb copy. MB 15
1173. EMMY DESTINN: MIGNON
– O Vičrge Marie / Je connais un pauvre enfant
(both in German). 10˝” US-Fonotipia 50232/50025 (xB 2089/1016).
A to M-A, superb copy. MB 15
1174. EMMY DESTINN: MIGNON
– O Vičrge Marie (in German) /
DER FLIEGENDE HOLLÄNDER
– Traft ihr das Schiff. 10˝” brown & gold
German Odeon 50232/50166 (xB 2089/1663). A to M-A, superlative copy. MB 15
1175. EMMY DESTINN: MIGNON
– O Vičrge Marie (in German) / TANNHÄUSER – Allmächt’ge Jungfrau. 10˝” black, brown & beige German Odeon Rx 50232/50171
(xB 2089/1708). A to M-A, lovely copy has, Sd.2 only, few wee dust scrs, inaud. MB 12
1176. EMMY DESTINN: CARMEN
– Séguidille / Habanera (both in German).
10˝” black, brown & beige German Odeon Rx 50231/30 (xB 2088/87).
A to M-A, lovely copy has few lt.rubs & few insignificant scrs, inaud. MB 12
1177. EMMY DESTINN: CARMENM
– Séguidille / Habanera (both in German).
10˝” US-Fonotipia 50231/30 (xB 2088/87). A to M-A, spectacular copy. MB 15
1178. EMMY DESTINN: CARMEN
– En vain pour éviter /
Les tringles des sistres (in German). 10˝” US-Fonotipia 64815/64920 (xB 3591/3611).
A to M-A, superb copy has faintest rubs, inaud. MB 12
1179. EMMY DESTINN: SAMSON ET DALILA
– Mon coeur s’ouvre ŕ ta voix (in German).
10˝” dark blue US Okeh 70403 (xB 5290). A to M-A, spectacular copy. MB 15
1180. EMMY DESTINN: AĎDA
– Ritorna vincitor (Complete, in German), 2s.
10˝” US-Fonotipia 50027/28 (xB 1011/12). A to M-A, superlative copy. MB 151181. EMMY DESTINN: AĎDA
– Ritorna vincitor (Complete, in German), 2s.
10˝” white label German Odeon test pressing for German Odeon (xB 1011/12).
A-, lovely copy has lt.rubs, inaud. MB 10
1182. EMMY DESTINN: DER FREISCHÜTZ
– Wie nahte mir der Schlummer;
Und ob die Wolke (1908 Version), 2s. 10˝” US-Fonotipia 64842/43 (xB 3592/93).
A to M-A, superlative copy. MB 151183. EMMY DESTINN: LOHENGRIN
– Euch Lüften, die mein Klagen (1911 Version).
10˝” dark blue US Okeh 70401 (xB 5288). A to M-A, superlative copy. MB 12
1184. EMMY DESTINN: LOHENGRIN
– Euch Lüften, die mein Klagen (1906 Version) /
– Allmächt’ge Jungfrau. 10˝” brown & gold German Odeon 50170/71
(xB 1664/1708). A to M-A/A-, lovely copy has,
Sd.2 only, faintest rubs & few lt.mks, positively inaud. MB 10
1185. EMMY DESTINN: MADAMA BUTTERFLY
– Un bel dě / Tu, tu piccolo iddio.
10˝” brown & gold German Odeon X 99431/37 (xB 4744/45). A-, lovely copy has very
lt.rubs & 2 minuscule scrs, inaud.; Sd.2 label has white numeral identification. MB 10
1186. EMMY DESTINN & RUDOLF BERGER: LOHENGRIN
– Ach könnt ich deiner /
: Atmest du nicht. 10˝” black, brown & beige /
brown & gold German Odeon Rx 50650/50651 (xB 4685/4740).
A to M-A, lovely copy has lt.rubs, inaud.; wee label sticker, Sd.1. MB 12
“Destinn made her official début as Santuzza in CAVALLERIA RUSTICANA in August of 1898 at the Kroll Opera in Berlin and she sang Elisabeth in the 400th performance of TANNHÄUSER there. Soon after, she became a member of the Berlin Hofoper, making her début as Santuzza, and remained there until 1908. Her international career was launched in Bayreuth, singing the role of Senta in 1901. At the Berlin Hofoper, Destinn premiered in Leoncavallo’s ROLAND VON BERLIN (Elsbeth, 13 December 1904.) On
5 December 1906, she sang the title role in the German premiere of Strauss’ SALOME under the composer’s baton. She was engaged by the Metropolitan Opera in 1908, and on 10 December 1910 she created the role of Minnie in the world premiere of Puccini’s LA FANCIULLA DEL WEST.”
- Vincent Giroud, Marston Program Notes1187. ADAMO DIDUR: LES CONTES D’HOFFMANN
– Je me nomme Coppélius /
– Vi ravviso. 10˝” grey paper label H & D Pathé 27506, recorded 1918, New York. A to M-A, lovely copy has, Sd.2 only, few microscopic pap.scrs, inaud. MB 12
1188. ADAMO DIDUR: FAUST
- Le veau d'or / Vous qui faites l'endormie (in Italian).
10˝” US-Fonotipia 39485/86 (XPh 1650/51. A to M-A, lovely copy has lt.rubs, inaud. MB 20
1189. ADAMO DIDUR: FAUST
- Vous qui faites l'endormie (in Italian).
10˝” US-Fonotipia 39486 (XPh 1651). M-A, superlative copy. MB 15
1190. ADAMO DIDUR: MEFISTOFELE
– Ecco il mondo /
ADAMO DIDUR & GIOVANNI ZENATELLO
: – Strano figlio del Caos … Se tu mi dono.
10˝” US-Fonotipia 39510/09 (XPh 1628/31). A to M-A, superb copy. MB 15
1191. ADAMO DIDUR: DER FREISCHÜTZ
- Hier im ird’schen Jammertal.
10˝” Milano Fonotipia 92024 (XPh 2677). M-A, spectacular copy. MB 151192. ADAMO DIDUR: LA JUIVE
- Vous qui du Dieu vivant /
BETTINO CAPPELLI: LOHENGRIN
– Nun sei bedankt (both in Italian).
10˝” Milano Fonotipia 92224/92976 (XPh 3182/1899).
M-A, superb copy has occasional pap.scr or rub, positively inaud. MB 15
“Adamo Didur made his operatic début in Rio de Janeiro in 1894, after which he appeared in Russia. He sang at La Scala, Milan, in 1903–1906, and at the Royal Opera House, Covent Garden, in 1905. He also appeared with the Warsaw Opera from 1899 to 1903. Later, he travelled to Argentina, singing in Buenos Aires,1905–1908. Didur's North American début came at the Manhattan Opera House in 1907. Didur made his Metropolitan Opera début on 14 November 1908, singing Ramfis in AĎDA. He remained with the company for a quarter of a century and became one of its principal bass singers. It was at the Met in 1913 that he appeared in the title role in BORIS GODUNOV in the American premiere of Mussorgsky's opera. He also created roles in three Puccini operas at the Met, namely, FANCIULLA DEL WEST and the IL TABARRO and GIANNI SCHICCHI segments of IL TRITTICO. He also appeared in the world premiere of DIE KÖNIGSKINDER. His last appearance at the Met was in THE TALES OF HOFFMANN on 11 February 1932. “Didur's large, sonorous and magnificently rich-toned voice was in its prime between the late 1890s and the World War I period.”
- Zillah Dorset Akron1193. GASTON DULIČRE
: La Marseillaise (de l’Isle) / Le Chant du départ (Méhul).
10˝” dark blue & gold ‘Art Label’ Aérophone 1152/53.
A-B, very fine copy has lt.rubs & scuffs. MB 12
1194. MICHEL DUFOUR: CARMEN
– Chanson du Toréador /
LES NOCES DE JEANNETTE
– Grand Air (Massé). 10˝” brown & gold French
Odéon 36796/98 (XP 2733/34). A+, lovely copy has occasional faint rub, inaud.;
Sd.1 has 2 infinitessimal scrs, inaud. Dufour’s Autograph is affixed, Sd.2 label. MB 15
“Endowed with a beautiful voice and passion for the theater, Michel Dufour came to Paris and studied with Léon Melchissédec. He was hired at the Opéra-Comique and enjoyed a great career there singing Figaro in BARBIERE, with extraordinary verve, very great not only as a singer but as an actor. From that time Michel Dufour did several creations (27 Nov., 1897 – Massenet’s SAPHO (Restaurant Patron); 2 Feb., 1900 – Charpentier’s LOUISE (the Songwriter); 10 May, 1898 in d’Indy’s FERVAAL (Gwelkingubar), etc. He left the Opéra-Comique in 1900 to sing at the Grand Theatre Khedivial Cairo.”
- Le Guide Musicale1195 LOUIS DUPOUY: LES DRAGONS DE VILLARS
– Quand le Dragon a bien trotté (Maillart) / Le LES MOUSQUETAIRES AU COUVENT
– Pour faire un brave Mousquetaire (Varney). 10˝” dark red & gold ‘Art Label’ Aérophone 1301/02.
A, superb copy has lt.rubs & scuffs, inaud. MB 20
“Louis-Jean-Emile Dupouy was born in Paris and made his début at the Gaîté-Lyrique in 1908, where he sang Ourrias in MIREILLE. (He was on loan from the Opéra-Comique, where he appeared as early as 1907). There he mostly sang a variety of comprimario roles. His most important assignments seem to have been Alfio in CAVALLERIA RUSTICANA and d’Orbel (Germont pčre) in LA TRAVIATA. He took part in some premiers (SNÉGOUROTCHKA in 1908) and creations, including SOLANGE by Gaston Salvayre, from which he recorded an aria, though not from his stage role. He would be completely forgotten today had he not made over forty sides for Gramophone (with operetta items made under the name Jean Duez) and other companies between 1909 and 1913. All of his recordings reveal a good voice and fine style.”
- Christopher Norton-Welsh, Marston Program Notes1196. ERNST van DYCK
: Dichterliebe – Ich grolle nicht / Die Myrthen –
Du bist wie eine Blume (both Schumann). 10˝” white & gold Columbia IRCC 6
(XPh 535/539), POM-1905 (w.van Dyck’s signature embossed in shellac),
an extremely Limited Edition, Numbered Copy #33. M-A, exceptional copy. MB 45
X1197. KARL ERB: DIE MEISTERSINGER
– Morgenlich leuchtend (Preislied) /
Am stillen Herd. 10˝” beige, black & brown German Odeon Rx 98000/16 (xB 5745/44).
A-B, very decent copy has lt. rubs & numerous lt. cosmetic scrs, mainly. MB 12
1198. KARL ERB: RIGOLETTO
– Questa o quella? / La donna č mobile (both in German).
10˝” beige, black & brown German Odeon Rx 98054/55 (xB 6068/69).
A-B, very decent copy has lt. rubs & cosmetic mks, mainly cosmetic. MB 12
“…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.”
- Hans Hotter, MEMOIRS, pp.122-231199. LÉON ESCALAĎS: ROBERT LE DIABLE
- Sicilienne /
– Ô Paradis! 10˝” Milano Fonotipia 39414/26 (XPh 498/491).
A-B, very decent copy is somewhat cloudy; Sd.1 primarily has lt.grey on peaks. MB 125
1200. LÉON ESCALAĎS: ROBERT LE DIABLE
- Sicilienne / LÉON ESCALAĎS,w.LUPPI, SALA, ALGOS, MASOTTI, CORRADETTI & MAGINI-COLETTI: LES HUGUENOTS
Un mot bon droit j’ai confiance! (both in Italian). 10˝” brown & gold German Fonotipia-Odeon HRS 2008 (XPh 498/473-2), POM-12 Jan., 1905 / 18 Nov., 1905,
(w.Escalaďs’ signature embossed in shellac). A, Lovely Copy of this
choice mid-1930s pressing has very lt.rubs & hint of grey on peaks, inaud. MB 575
“Léon Escalaďs is the prototypical French heroic tenor, a French Tamagno with penetrating power, flawless registration, and pealing high notes, all produced with little apparent effort…his voice was undoubtedly the most voluminous in his category….”
- Gary A.Galo, ARSC Journal, Vol. 41, #1 , Spring 2010
“Escalaďs’ Paris Opéra début was in GUILLAUME TELL (Arnold) on 12 October 1883, just three months after graduating from the Conservatory, where he had won first prize in song and second prize in opera. Also in 1883 at the Paris Opéra, he sang Eléazar in LA JUIVE, and in 1884 he sang the title role in ROBERT LE DIABLE (opposite his soon-to be-wife and fellow-Conservatory graduate, Marie-Antoinette Lureau, who sang Alice), and Raoul in LES HUGUENOTS. Escalaďs made his La Scala début in LA JUIVE (Eléazar) on 31 January 1881 to poor reviews; created the role of Lusignan in Paul Vérange’s ZAĎRE (28 May 1890, Paris Opéra); and also at the Paris Opéra on 16 March 1891, he sang in Massenet’s LE MAGE (Zarastra.) After 1892, he left the Paris Opéra following a falling out with the management. He then sang at a number of the major French provincial houses, Marseilles being chief among them. He made an important début at the Teatro de Săo Carlos in December 1905, again singing Eléazar in LA JUIVE. He returned to the Paris Opéra during the 1907–1908 season, where he sang in GUILLAUME TELL (Arnold) and in AĎDA (Radames.) For the 1909–1910 season, Escalaďs performed numerous roles at the French Opera House at New Orleans to ecstatic acclaim; this marked the opera house’s 50th anniversary as well as his own. He was a well-liked figure in the opera world whose voice will be remembered for its trumpet-like brilliance. His stunning high notes are unique on records. He recorded exclusively for Fonotipia.”
- Vincent Giroud, Marston Program Notes1201. MARIA FARNETI: LA WALLY
- Ebben? ne andro lontana / Prendi, fanciul e serbala.
10˝” Milano Fonotipia 69199/69200 (XPh 5094/95).
A, very decent copy has lt.rubs, inaud. MB 45
“Maria Farneti was well known as an interpreter of verismo operas. In 1899 she débuted at the prestigious Teatro Regio of Turin in its premiere performance of Mascagni's IRIS to an enormous reception. She appeared in the U.S. in 1902 under Mascagni’s direction and was a great success in Buenos Aires, where she created Mascagni’s ISABEAU in 1911. In 1912 Farneti sang in the local premiere of PAOLO E FRANCESCA at Genoa and later in the local premiere of ISABEAU at Naples. She sang in the local premiere of ISABEAU at Brescia and in February of 1913 she sang in the Rome premiere to unanimously favorable reviews and huge audience response. The summer found her on another long visit to South America, and ISABEAU was again the centerpiece. The tour began at Buenos Aires' Coliseo and included stops at Rosario, Cordoba, Montevideo, Rio de Janeiro and Sao Paolo. In addition to ISABEAU, Farneti sang in LOHENGRIN, IRIS, MADAMA BUTTERFLY, Nepomuceno's ABUL and MEFISTOFELE. Bernardo de Muro, who was to perform Folco nearly four hundred times during a twenty five year career, sang with Farneti in the two Mascagni operas throughout the tour. Maria [was invited by] Umberto Giordano to appear in the Italian premiere of MADAME SANS GENE, an offer that was immediately accepted.”
- Ashot Arakelyan, Forgotten Opera Singers