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I want your heart (Haydn Wood) / Love everlasting (Friml). 10” dark-blue Eng. Col. DB 839.
A to M-A
Puritan Lullaby - Always (Leslie - Smith) /
Luana – Love, I give you my all (Besly). 10” dark-blue Eng. Col. DB 1417. A to M-A
Maid of the Mountains – Love will find a way (Fraser-Simson) / The Chocolate Soldier – My Hero (Straus). 10” dark-blue Eng. Col. DB 1226. M-A
, w.Barbirolli Cond.: Norma – Casta Diva; Ah! bello a me ritorna, 2s. 12” PW black V 36286, POM-23 Oct., 1935. M-A
, w.Erede Cond.: Ernani – Ernani, involami, 2s.
12” V 14493, POM-9 July, 1936. M-A, exemplary. INA SOUEZ & HEDDLE NASH: Fra gli amplessi in pochi istanti. 12” MasterWorks Col. 9104-M, POM-1 Oct., 1934, (Not from any set – the complete HMV recording was made in 1935). M-A MB 15
“Ina Souez was engaged to sing at the London Promenade Concerts under Sir Henry Wood's baton. These concerts brought her to the attention of the English music world and were the beginning of her singing career in that country. Her quick study talents and habits stood her in good stead and she learned the role of Liù on thirty-six hours notice. Her performance of that role, during the Gala Coronation season, made her name a ‘household word’. The Turandot for these Covent Garden performances was Dame Eva Turner who became her life-long friend.
With Sir John Barbarolli, Sir Thomas Beecham, and Sir Malcolm Sargeant, Miss Souez sang concerts all over the British Isles for the next two years. When she returned to Covent Garden, on 4 June, 1935, it was to sing Micaëla in the history-making Sir Thomas Beecham performances of CARMEN, featuring Conchita Supervia. These performances brought the young soprano to the attention of Dr. Fritz Busch who was just then creating and establishing the Glyndebourne Festival. On 29 May 1934, the second night of the first opera season Ina Souez scored a tremendous success as Fiordiligi, in COSI FAN TUTTE. He saw and heard Ina Souez as the perfect Donna Anna and Fiordiligi for his productions. From its inception, that conductor, his company and Miss Souez became a part of music history. The soprano was the leading Prima Donna of the Festival for six years and recorded both the DON GIOVANNI and the COSI FAN TUTTE. These superlative recordings of the Mozart operas are still recognized as definitive.
On the outbreak of war she returned to the United States, and after singing Fiordiligi with the New Opera Company in New York in 1941 and with the New York City Opera in 1945, she retired from opera and became a jazz singer. She toured America with Spike Jones and his City Slickers, whose popularity was at its height in the late 1940s. In a typical act, one of Jones' zany musicians would reach into her huge hat while she was singing and pull out pigeons. When Jones waned in popularity, Souez moved to San Francisco to teach, and then to Los Angeles.”
- Charles L. Ralph, OPERA IN COLORADO
N0998. INA SOUEZ, w.Spike Jones & his City Slickers: Il Barkio (Il Bacio) (Arditi - Jones) / SPIKE JONES & his City Slickers: My Daddy is a general to me (Knittel). 10” black RCA 20-4125, POM- 23 Dec., 1947, Chicago. M-A, appears unplayed! Highly Elusive! MB 15
N0999. ANNE BROWN, w.Hye-Knudsen Cond.: Porgy and Bess - Summertime / My man's gone now. 12” Danish Tono X 25112, only form of issue, 1947. (Brown created title role 30 Sept., 1935, Boston.) M-A MB 30
“Anne Brown, a penetratingly pure soprano who literally put the Bess in PORGY AND BESS by inspiring George Gershwin to expand the character’s part in a folk opera that was originally to be called PORGY, was the first person Gershwin heard singing the part of Bess, a morally challenged but achingly human character. As he composed the opera, often with Ms. Brown at his side, Gershwin added more and more music for her. Her voice was also the first he heard singing several other parts in the opera. Ms. Brown ultimately moved to Oslo. ‘To put it bluntly, I was fed up with racial prejudice’, she said in an interview with THE NEW YORK TIMES in 1998.
- Douglas Martin, THE NEW YORK TIMES, 18 March, 2009
N1000. TODD DUNCAN, w.William Allen (Pf.): Go down Moses (arr.Burleigh) / New born again (arr.Hellman). 10” Danish Philips A 56003. M-A, as unplayed! MB 15
N1001. TODD DUNCAN, w.William Allen (Pf.): Roll, Jerd’n roll / Witness (both arr.Hall Johnson). 10” Danish Philips A 56004. M-A, lovely copy has, Sd. 1 only, few superficial ‘damp’ spots, inaud. MB 15
N1002. TODD DUNCAN, w.William Allen (Pf.): Songs by Rachmaninoff, Moussorgsky, Gershwin, Prentice, Jaegerhuber, Jerome Kern, etc., 8s. 4-10” Musicraft 467/70, only form of issue, 1946, in Orig. Musicraft Album 82.
Exceedingly elusive! M-A MB 35, the Set.
N1003. TODD DUNCAN, w.Charles Prentice Cond. Drury Lane Theatre Orch.: The Sun Never Sets – River God (Cole Porter) / Drums (Smith). 10” blue MasterWorks Col. 399-M, POM-4 July, 1938, Duncan’s first recordings. A-, lovely copy has lt. rubs, inaud. MB 15
“Robert Todd Duncan was George Gershwin's personal choice as the first performer of the role of Porgy in PORGY AND BESS in 1935 and played the role more than 1,800 times. Duncan was also the first performer for the role of Stephen Kumalo in Kurt Weill's LOST IN THE STARS. He had a very successful career as a concert singer with over 2,000 performances in 56 countries. In 1945, he became the first African-American to sing with a major opera company, and the first black person to sing in an opera with an otherwise white cast, when he performed the role of Tonio in Leoncavallo's PAGLIACCI with the New York City Opera. In the same year he sang the role of Escamillo, in Bizet's CARMEN.”
N1004. NORA MELLON, w.Edward Rechlin (Pf.): Verborgenheit (Wolf).
10” yellow HMV Private Issue Ob.5280-1, only form of issue, c.1933. Not for connoissseurs of beautiful singing, but a curious vanity pressing of the work of a wealthy woman who tried to find happiness in her singing – a happiness denied to all. A to M-A, lovely copy has faint rubs, inaud. MB 15
“Nora trumpeted her bitterness (over her divorce from Andrew Mellon) in media interviews – ‘Gold fighting against one lone woman is unscrupulous in its methods. Gold may crush me’….Mellon was an absolute hedghog, one of the most cold, taciturn and repressed men of his generation who treated his wife like a client of the bank. Industrial Pittsburgh, a polluted megalopolis that comntemporaries described as ‘Hell with the lid taken off’ proved a fit setting for a marriage made in hell.”
- David Cannadine, MELLON: AN AMERICAN LIFE
N1005. JOSEPHINE TUMINIA, w.Jimmy Dorsey Cond.: An der schönen blauen Donau (in English) (Johann Strauss) / La Capinera (Benedict). 12” red Decca 29009, POM 17 March / 28 Feb., 1937, Los Angeles. A remarkable and equally delightful coloratura ‘swing’-style tour-de-force; Tuminia’s sole record! M-A MB 15
“Just twenty-two when in 1935 [Tuminia] bowed as Rosina in a BARBIERE cast that included Schipa, Bonelli, and Pinza, the perky coloratura, who sang swing with Tommy Dorsey on the side, would go on to perform opera in Europe, and in 1941 make her début at the Met as Gilda, only to see her career fade quickly thereafter. For if the composer Virgil Thomson…thought her ‘sensational’, declaring hers ‘a vocal technique such as has not been heard here for many years’, for some reason Tuminia sang just two seasons for the Met for a total of twelve performances. In 1942 she substituted for Lily Pons in Chicago and drew an eight-minute ovation for her LUCIA Mad Scene.”
- Victoria Etnier Villamil, FROM JOHNSON’S KIDS TO LEMONADE OPERA, pp.62-63
N1006. MARGARET TRUMAN, w.Robert Shaw Chorale: American Songs, incl. Hopkinson, Billings, French, Law, Antes & Webbe, 8s. 4-10” RCA 10-3136/39, only form of issue, 1951, in Orig. Album DM-1445, handsome late RCA pressing with beveled edges. Understandably Elusive! M-A, appears unplayed; damaged album spine. MB 45, the Set.
[After Margaret Truman’s concert at Constitution Hall, 6 Dec., 1950] “She is flat a good deal of the time - more last night than at any time we have heard her in past years. There are few moments during her recital when one can relax and feel confident that she will make her goal, which is the end of the song….Miss Truman has not improved in the years we have heard her.”
- Paul Hume, THE WASHINGTON POST, 7 Dec., 1950
The following day, Hume received a note at THE POST. Written on White House stationery and signed ‘H.S.T.’, it began: ‘I’ve just read your lousy review of Margaret’s concert … It seems to me that you are a frustrated old man who wishes he could have been successful. Some day I hope to meet you. When that happens you’ll need a new nose, a lot of beefsteak for black eyes, and perhaps a supporter below!”
N1007. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): The Musical Snuff Box (Liadoff); Like a Bird (Acc. by the Composer) / Lakmé – Où va la jeune Hindoue? 12” Melotone, only form of issue, 1941. M-A MB 45
"Florence Foster Jenkins - dean of the coloraturas, first lady of the sliding scale.... She was exceedingly happy in her work. It is a pity that so few artists are. And the happiness was communicated as if by magic to her hearers, who were stimulated to the point of audible cheeriness, even joyous laughter and ecstasy, by the inimitable singing."
- Robert Bagar, THE NEW YORK WORLD, TELEGRAM 26 Oct., 1944
N1008. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): Biassy (based on Prelude XVI) (Bach) / Die Fledermaus - Mein Herr Marquis. 12” Melotone, only form of issue, 1941. M-A MB 45
N1009. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.):
Serenata Mexicana (Acc. by the Composer) / Zauberflöte - Der Hölle rache (in English). 12” Melotone, only form of issue, 1941. M-A MB 45
N1010. FLORENCE FOSTER JENKINS, w.Cosme McMoon (Pf.): La Perle du Brésil – Charmant oiseau, 2s. 10” Melotone, only form of issue, 1941. M-A MB 45
“Mme Jenkins’ visits to the studio were a distinct and radical departure from the customary routines of the many artists for whom Melotone has recorded. Rehearsals, the niceties of volume and pitch, considerations of acoustics – all were thrust aside by her with ease and authority. The technicians never ceased to be amazed at her capacity for circumventing the numerous problems and difficulties peculiar to recording. She simply sang; the disc recorded.”
- Melotone Recording Studio, 1946 brochure
N1011. CAROLINA WHITE: I hear a thrush at eve (Cadman) / A birthday (Woodman). 10” Tri-Color Col. A1591, POM-27 April, 1914. M-A MB 12
N1012. CAROLINA WHITE: At parting (Rogers) / The Lass with the delicate air (Arne). 10” Tri-Color Col. A1376, POM-10 May, 1913. M-A MB 12
N1013. CAROLINA WHITE: ‘O sole mio (di Capua) / Manon Lescaut – In quelle trine morbide. 10” Tri-Color Col. A1330, POM17 / 18 Oct., 1912. M-A MB 12
N1014. CAROLINA WHITE: The sweetest story ever told (Stults) /
Natoma – I list the trill of golden throat (Herbert). 10” Tri-Color Col. A1432, POM-13 /
16 May, 1913. M-A MB 12
“White was Minnie in the Chicago premiere of Puccini’s LA FANCIULLA DEL WEST (fifteen days after the Met world premiere) and the title role in the American premiere of Wolf-Ferrari’s IL SEGRETO DI SUSANNA. Other roles she assumed included Barbara in Victor Herbert’s NATOMA, and Maliella in Wolf-Ferrari’s I GIOIELLI DELLA MADONNA. While in Chicago, she complained of being overworked and underpaid, so in 1914, despite excellent reviews and not yet having reached thirty years of age, she left the operatic stage for vaudeville.”
- Ward Marston
N1015. CAROLINA WHITE: La Serenata / l’Ultima canzone (both Tosti).
12” Tri-Color Col. A5571, POM-24-27 April, 1914. Quite Elusive! M-A MB 15
N1016. CAROLINA WHITE: Irish love song (Lang) / 'Tis the last rose of summer (interpolated in Flotow's Martha as a 'Volkslied’). 12” Tri-Color Col. A5488,
POM-10 May, 1913. M-A MB 12
N1017. CAROLINA WHITE: Nozze – Dove sono / Madama Butterfly – Un bel dì. 12” Tri-Color Col. A5354, POM-20 Nov. / 24 Oct., 1911.
M-A, beautiful copy has faintest rubs, inaud. MB 10
N1018. CAROLINA WHITE: Aïda – Ritorna vincitor! / O patria mia.
12” Tri-Color Col. A5499, POM-13 / 15 May, 1913. A to M-A, lovely copy has faintest rubs, inaud.; 2 tiny insignificant ec, Sd.2. MB 10
N1019. CAROLINA WHITE: Louise – Depuis le jour. 12” Tri-Color Col. 30871, POM-24 Oct., 1911, Never Doubled, USA. M-A, appears unplayed! MB 10
N1020. CAROLINA WHITE: Robert le Diable – Robert, toi que j’aime (in Italian) / Pagliacci – Strdono lassu. `12” Tri-Color Col. A5353, POM-24 / 20 Oct., 1911.
A to M-A, lovely copy has faintest rubs, inaud. MB 10
N1021. CAROLINA WHITE: Robert le Diable – Robert, toi que j’aime (in Italian). 12” gold PW Victor HRS 1012, POM-24 Oct., 1911. Numbered Copy #12 of a very Limited Edition. Most Elusive! M-A MB 35
“Carolina White enjoyed a stratospheric, but relatively brief, career as a lirico spinto soprano.…during her short career, Carolina White was a patrician artist who sang with many of the greatest singers of her time and held sway with other far more famous sopranos. Her records would grace every collection.”
- Larry Lustig, THE RECORD COLLECTOR, 2019
N1022. NORMAN WALKER, w.Sargent Cond. Royal Liverpool Phil.:
The Creation - With joy the impatient husbandman (Haydn). 12” S/S white Columbia Shellac Test Pressing for Mx.CAX-10007-1, POM-8 Feb., 1946. M-A MB 10
N1023. NORMAN WALKER, w.Sargent Cond. Royal Liverpool Phil.:
The Creation - And God said; Now heaven in fullest glory shone (Haydn), 2s. 2-12” S/S white Columbia Shellac Test Pressings for Mx.CAX-10008-1 & 10009-1, POM-27 Aug., 1947. M-A MB 15, the Pair.
“Norman Walker, one of the outstanding basses of his time, impressed many with his sonorous and seemingly naturally produced bass voice, encompassing two octaves, and was compared, not unfavourably, with the famous bass Norman Allin. During the early 1930s, Walker’s career as a concert singer was developing and in 1935 he sang in the Verdi Requiem at the invitation of Sir Thomas Beecham. He made his first appearance with the Covent Garden Opera Company as Simone in Puccini’s GIANNI SCHICCHI. During 1938 and 1939, in addition to his very busy concert career, he sang various roles at Covent Garden under Beecham, including King Marke in TRISTAN UND ISOLDE, a role in which he was much admired.”
- Michael Letchford
N1024. MARJORIE LAWRENCE, w.Raymond Lambert Cond.:
God bless Australia (Stewart) / Waltzing Matilda (Cowan). 10” blue Australian Columbia LO-67, only form of issue. 1944. Exceedingly Elusive! MB 15
N1025. MARJORIE LAWRENCE, w.Raymond Lambert (Pf.):
Rule Britannia (Arne) / Haere Ra (Maori tribal song) (in English & Maori).
10” blue Australian Columbia LO-68, only form of issue. 1944. Exceedingly Elusive! MB 15
N1026. MARJORIE LAWRENCE, w.Felix Wolfes (Pf.): My ain folk (Lemon) / Doun the Burn (Hook). 10” PW V 2147, POM-29 May / 18 July, 1940. M-A MB 10
N1027. MARJORIE LAWRENCE, w.Felix Wolfes (Pf.): Danny Boy / Annie Laurie. 12” PW V 17457, POM- 31 May / 18 July, 1940. M-A MB 10
N1028. MARJORIE LAWRENCE, w.Felix Wolfes (Pf.): Stimme der sehnsucht (Pftzner) / Die Einsame (Pfitzner). 10” PW V 2142, POM- 31 May, 1940. M-A MB 10
N1029. MARJORIE LAWRENCE, w.Felix Wolfes (Pf.): Lied an meinen Sohn / Des Dichters Abendgang (both Strauss). 12” PW V 17230, 1 June, 1940.
M-A MB 10
N1030. MARJORIE LAWRENCE, w.Ivor Newton (Pf.):So willst du des armer; Der Schmied / Nicht mehr zu mir zu gehen (all Brahms). 10" Eng.Decca M.598, only form of issue, 5 July, 1946. M-A MB 12
N1031. MARJORIE LAWRENCE, w.Ivor Newton (Pf.): Floods of Spring (Rachmaninov) / Jeg elsker dig (Grieg) (both in English). 10" Eng.Decca M.602, only form of issue, 2 July, 1946. M-A MB 12
N1032. MARJORIE LAWRENCE: Jeg elsker dig (in English) (Grieg). 12” S/S Columbia vinyl Test Pressing for Unpublished Mx. XCO 34637, POM-17 Oct., 1945. MINT MB 15
N1033. MARJORIE LAWRENCE: Loch Lomond. 10½” S/S Columbia vinyl Test Pressing for Unpublished Mx. CO CO35317, POM-2 May, 1945. MINT MB 15
N1034. MARJORIE LAWRENCE: Down the burn. 10½” S/S Columbia vinyl Test Pressing for Unpublished Mx. CO CO35318, POM-2 May, 1945. MINT MB 15
N1035. MARJORIE LAWRENCE: Comin' thru the rye. 10½” S/S Columbia vinyl Test Pressing for Unpublished Mx. CO CO35319, POM-2 May, 1945. MINT MB 15
N1036. MARJORIE LAWRENCE: My ain folk. 10½” S/S Columbia vinyl
Test Pressing for Unpublished Mx. CO CO35320, POM-19 Oct., 1945. MINT MB 15
N1037. MARJORIE LAWRENCE: Flow gently sweet Afton. 10½” S/S Columbia vinyl Test Pressing for Unpublished Mx. CO CO35321, POM-19 Oct., 1945. MINT MB 15
N1038. MARJORIE LAWRENCE: A highland lad my love was born.
10½” S/S Columbia vinyl Test Pressing for Unpublished Mx. CO CO35322,
POM-19 Oct., 1945. MINT, with irregular cut edges, not at all affecting playing. MB 15
N1039. MARJORIE LAWRENCE: Robin Adair. 10½” S/S Columbia vinyl
Test Pressing for Unpublished Mx. CO CO35324, POM-19 Oct., 1945. MINT, albeit with slight warp; plays beautifully with weighted center. MB 15
N1040. MARJORIE LAWRENCE: Blue bells of Scotland.
10½” S/S Columbia vinyl Test Pressing for Unpublished Mx. CO CO35323,
POM-19 Oct., 1945. MINT, with irregular cut edges, not at all affecting playing MB 15
N1041. MARJORIE LAWRENCE, w.Sylvan Schulman Cond.: The Lord's Prayer (Malotte), Annie Laurie (Scott), Danny Boy (Weatherly), The Chocolate Soldier - My hero (Oscar Straus) Waltzing Matilda (Cowen-Paterson), Maori Farewell & Auld Lang Syne. 6s. 3-12” Col.71682/84-D, only form of issue, 1945, Orig. Album M 579.
M-A MB 25, the Set.
N1042. MARJORIE LAWRENCE, w.Coppola Cond. Pasdeloup Orch.:
Sigurd - Salut, splendeur du jour / O palais radieux (Reyer). 12” PW V 15892, POM-7 Sept., 1934. M-A, appears unplayed! MB 15
N1043. MARJORIE LAWRENCE, w.Coppola Cond. Pasdeloup Orch.:
Salome - Final Scene (in French), 4s. 2-12” Scroll V 8682/82, on Z Shellac, POM-12 June, 1934. M-A, appears unplayed! MB 25, the Pair.
“[Lawrence’s] erotic mumblings at the end go very well in French, and Miss Lawrence sings superbly."
- Alan Blyth, OPERA ON RECORD, I, p.558
"I find this...old recording far more thrilling than the much-vaunted Ljuba Welitsch version....among the most thrilling dramatic soprano records in existence.... quite remarkable."
- Leo Riemens, RECORD NEWS, 1950
N1044. MARJORIE LAWRENCE, w.Coppola Cond. Pasdeloup Orch.:
Götterdämmerung – Immolation Scene (in French), 4s. 2-12” PW Disque Gram.
DB 4914/15, only form of issue, 23 Oct.,1933. Most Elusive ! M-A MB 45, the Pair.
N1045. MARJORIE LAWRENCE, w.Coppola Cond. Pasdeloup Orch. & Dames de l’Opéra: Die Walküre - Ho-jo-to-ho! (in French), 2s. 12” PW Disque Gram. DB 4905 (2PG 1052/53), only form of issue, 11 Oct.,1933. Most Elusive ! M-A MB 25
N1046. MARJORIE LAWRENCE, w.Coppola Cond. Pasdeloup Orch.:
Die Walküre - War es so schmälich / MARJORIE LAWRENCE & JEAN CLAVERIE: Ho-jo-to-ho! (both in French). 12” PW Disque Gram. DB 4925 (2PG 1054/55), only form of issue, 11 Oct.,1933. Most Elusive . . . and beautiful –
Brünnnhilde’s plea is rarely sung with such tenderness! M-A MB 25
"Marjorie Lawrence...is simply amazing. On this evidence, she must have been one of the most exciting artists of her generation. For once, a Brünnhilde really sounds as if she had been a woman totally consumed with love for Siegfried. The youthful high spirits of [the above] 1933 version are confirmed by Irving Kolodin....When she made her Met debut a couple of years later he says she ‘climaxed a strong Brünnhilde by swinging herself to the back of Grane at the end of the Immolation and riding briskly off stage’. The lack of caution is there in the singing."
- Alan Blyth, OPERA ON RECORD, I, p.434
N1047. MARJORIE LAWRENCE & MARTIAL SINGHER,
w.Coppola Cond. Pasdeloup Orch.: Lohengrin – Erhebe dich, Genossin meiner Schmach (in French), 2s. 12” PW Disque Gram. DB 4900, only form of issue, 11 Oct.,1933. Most Elusive ! M-A MB 25
N1048. MARJORIE LAWRENCE & YVONNE BROTHIER,
w.Coppola Cond. Pasdeloup Orch.: Lohengrin – Elsa! Wer ruft?; Ortrud! Wo bist du
(‘Du Ärmste’ only) (in French), 3s. / Sd.4 = HEGER Cond. London S.O.: Siegfried – Prelude to Act I. 2-12” PW Disque Gram. DB 4890/91, only form of issue, 29 June,1933. Most Elusive ! M-A, gorgeous copy has wee label stkrs. MB 45, the Pair.
“In the nine years of her career Marjorie Lawrence had sung the most demanding and most strenuous dramatic roles right from the beginning. Her voice was fully matured and her gleaming high C demonstrated the same illuminating power and brilliance as the rest of her range. Her voice had never lost its strength, its glorious radiancy and attack, easily mastering the leaps and difficult climaxes….It is only sad that such a voice and talent together with such fine human attributes was not granted such a long career as Flagstad’s.”
- Andrea Shum-Binder, subito-cantabile
N1049. FLORENCE EASTON & LAURITZ MELCHIOR, w.Robert Heger Cond. London S.O.: Siegfried - Final Scene, 7s / Sd.8 = Heger Cond. London S.O.: Act I - Prelude. 4-12” PW V 7766/69, POM-29 May, 1932, in Orig. Album AM-167, w.Brochure. M-A, appears unplayed! MB 35, the Set.
N1050. ELLABELLE DAVIS, w.Kjell Olsson (Pf.): Chère nuit (Bachelet) / Berceuse Créole (Sauget). 12” Danish Philips A 56502. Highly Elusive and beautiful! M-A MB 20
N1051. ELLABELLE DAVIS, w.Kjell Olsson (Pf.): I’m goin’ to march down to Jordan Soon I will be done. 10” Danish Philips A 56002. M-A, exemplary copy has, Sd. 2 only, faintest pap. rub, inaud. MB 15
N1052. ELLABELLE DAVIS, w.Hubert Greenslade (Pf.): Allerseelen / Befreit (both Strauss). 12” Eng. Decca K.2381, only form of issue, 8 Feb., 1950. M-A, superlative copy. MB 20
N1053. ELLABELLE DAVIS, w.Warwick Braithwaite Cond. New S.O.:
Don Carlos – Tu che le vanità, 2s. 12” Eng. Decca X.469, only form of issue, 10 Feb.,1950.
M-A, exemplary copy has, Sd.1 only, faintest rub. MB 20
“Ellabelle Davis was an African-American singer whose recital debut was at New York’s Town Hall 25 October, 1942. As an opera singer, Davis was the first African-American to sing the title role of AIDA at the Opera Nacional in Mexico City in 1946, after which she sang with the Philadelphia Orchestra under Ormandy 22 Nov., later that year. She concertized throughout the 1950s in Europe and the United States until illness interrupted her career….she died on 15 Nov., 1960.”
– Patricia Turner, DICTIONARY OF AFRO-AMERICAN PERFORMERS
N1054. BLANCHE THEBOM, w.Warwick Braithwaite Cond. London S.O.:
Don Carlos - Nel giardin del bello saracin (Canzone del vel) / O don fatale! 12” HMV DB 21494, only form of issue, 12 July 1950. A lovely memento of Thebom’s performances of Eboli at the Met during that period. M-A MB 15
N1055. EDITH MASON: Mighty lak' a rose (Nevin) / American Indian Songs – From the land of sky-blue water (Cadman). 10" purple Bruns. 10241, only form of issue, 8 Feb., 1928. A-, lovely copy has faintest rubs, inaud. MB 25
N1056. EDITH MASON: La Serenata (in English) (Tosti) / Oh, for the wings of a dove (Mendelssohn). 10" purple Bruns. 10243, only form of issue, 31 / 30 March,1926. A-, lovely copy has faintest rubs, inaud. MB 25
N1057. EDITH MASON: Oh, dry those tears (del Riego) / American Indian Songs - Far off I hear a lover's flute (Cadman). 10" purple Bruns. 10215, only form of issue, 9 Oct., 1925. A to M-A, lovely copy has sl.grainy surface. MB 20
"In Teresa del Riego's 'Oh, dry those tears', [Mason] offers the real portamento style....The Entrance of Butterfly [N1060], has to withstand strong competition but it need bow to none, for its vocal ease and security are unsurpassed...."
- Michael Scott, THE RECORD OF SINGING
N1058. EDITH MASON: Indian Love Lyrics - Pale hands I loved (Kashmiri song) (Woodforde-Finden) / Bayou Songs - Dreamin' time (Strickland). 10" purple Bruns. 10222, only form of issue, 13 Oct., 1925. A-, lovely copy has faintest rubs. MB 75
N1059. EDITH MASON: 'Tis the last rose of summer (interpolated in Flotow's Martha as a 'Volkslied’) (Moore) / Goodbye (Tosti). 12” purple Bruns.30115,
only form of issue, 14 Oct., 1925. A to M-A, exemplary copy has very faintest rubs. MB 25
N1060. EDITH MASON: Madama Butterfly – Ancora un passo (Entrance of Butterfly) / Faust – Air des bijoux. 10” gold Bruns.15096, only form of issue, 28 Nov., 1924.
A to M-A, exemplary copy has very faintest rubs. MB 25
N1061. EDITH MASON: Madama Butterfly – Un bel dì / Faust – Air des bijoux. 12” gold Bruns.50080, only form of issue, 13 Oct., 1925. A to M-A, exemplary copy has very faintest rubs. MB 25
" Gatti-Casazza desperately needed a Sophie for the  season's first ROSENKAVALIERS, and after basking in Mason's silvery soprano, few had any regrets....Considering how greatly she was esteemed and how well she knew her worth, Mason left an amazingly small recorded legacy...."
- Peter G. Davis, THE AMERICAN OPERA SINGER, pp.296-97
N1062. EILEEN FARRELL, w.Camarata Cond.: Always (Irving Berlin) /
A kiss in the dark (Victor Herbert). 10” Decca 23366, only form of issue, 1944. M-A MB 10
N1063. EILEEN FARRELL & SET SVANHOLM, w.Leinsdorf Cond. Rochester Phil.: Siegfried – Act 3, Scene 3 (Wagner), 10s. 5-12” RCA 12-0979/83, only form of issue, 9 April, 1949, late beveled edge pressing, in Orig. Album DM-1319. M-A MB 20, the Set.
N1064. EILEEN FARRELL, w.Stokowski Cond.: Wesendonck Lieder (Wagner), 6s. 3-12” RCA 12-0354/56, only form of issue, 30 Dec., 1947, in Orig. Album DM-1233. M-A, appears unplayed! MB 15, the Set.
“We had to be through [the Wesendonck Lieder] at midnight because that was the deadline [before the union strike]. It was the last recording that was done before the strike….I was in great awe of Stokowski, but I loved working with him and he explained things so beautifully to me.”
- Eileen Farrell, in conversation with Oliver Daniel, 1 Oct., 1977
N1065. ELEANORA de CISNEROS [Eleanor Broadfoot]: Will o’ the wisp (Spross) / In the gloaming (Harrison). 11½” H & D dark-green paper label Pathé 52015,
recorded 1916. M-A, exemplary copy has very faintest rubs. MB 12
N1066. ELEANORA de CISNEROS [Eleanor Broadfoot]: Juanita (Norton) /
I’ll sing thee songs of Araby (Clay). 10” Pathé Actuelle 025095, recorded 1917, issued USA only. A to M-A, choice copy has occasional faintest pap. rub, inaud. MB 12
N1067. ELEANORA de CISNEROS [Eleanor Broadfoot]: Die Walküre – Ho-jo-to-ho! / Tristan – Einsam wachend. 10” Perfect 11513, recorded 1916. M-A
N1068. ELEANORA de CISNEROS [Eleanor Broadfoot]: Samson et Dalila – Printemps qui commence. 10” etched label Edison H & D 82529 (2209-A), recorded 1913. M-A MB 15
N1069. ELEANORA de CISNEROS [Eleanor Broadfoot]: Samson et Dalila – Printemps qui commence. 10” etched label Edison H & D 82529 (2209-H), recorded 1913. M-A MB 15
N1070. ELEANORA de CISNEROS [Eleanor Broadfoot]: Samson et Dalila – Mon coeur s’ouvre à ta voix / TAURINO PARVIS: La Favorita – Vien, Leonora. 10” etched label Edison H & D 82176 (2210-H/6173-C), recorded 1913. M-A MB 15
N1071. ELEANORA de CISNEROS [Eleanor Broadfoot]: La Gioconda – Voce di donna. 10” etched label Edison H & D 82524 (2212-A), recorded 1913. M-A MB 15
N1072. ELEANORA de CISNEROS [Eleanor Broadfoot]: Semiramide – Ah! quel giorno. 10” etched label Edison H & D 82521 (2127-A), recorded 15 Oct., 31913.
M-A, lovely copy has 2 harmless tiny lateral edge lams, only to grooves. MB 15
N1073. ELEANORA de CISNEROS [Eleanor Broadfoot]: Don Carlos – O don fatale / Les Huguenots – Nobles seigneurs (in Italian). 12” Col. A5626, POM-23-11-14. M-A MB 15
N1074. ELEANORA de CISNEROS [Eleanor Broadfoot]: La Favorita – O mio Fernando (1914 Version) / Carmen – Les tringles des sistres tintaient (1914 Version, in Italian). 12” Col. A5653, POM-23 Nov., 1914. M-A MB 15
N1075. ELEANORA de CISNEROS [Eleanor Broadfoot]: Carmen – Les tringles des sistres (1913 Version, in Italian). 10” etched label Edison H & D 82520 (2209-A), recorded 5 April, 1913. M-A MB 15
N1076. ELEANORA de CISNEROS [Eleanor Broadfoot]: La Gioconda – Voce di donna / Orfeo - Che farò senza Euridice. 12” Col. A6540, POM-24 / 23 Nov., 1914. M-A MB 15
“Jean de Reszke introduced de Cisneros to the manager of the Metropolitan Opera company in 1899 and she became the first American-trained opera singer there to be hired there. Previously, the Met would hire singers only formally trained in Europe. De Cisneros became their key contralto singer from 1906 -1911. After her initial European tour, Oscar Hammerstein brought her to his Manhattan Opera House where she sang major roles from 1906 to 1908. Listeners of de Cisneros remember her high volume contralto voice of wide range.”
N1077. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Lied der Mignon / Nachtstück; Die Junge Nonne / Liebesbotschaft; Die Liebe hat Gelogen (all Schubert); Die Lotusblume; Schneeglockchen; Zum Schluss / Herzeleid; Liebeslied (all Schumann); Le Secret; Le don silencieux / Soir; Nell (all Fauré). 4-12” yellow PW HMV Private Record JG 19-22, only form of issue, 7 July, 1937. M-A, appears unplayed! MB 150, the Set.
“As a recitalist, Susan Metcalfe Casals made her début in New York in 1897 and gave few, but very select recitals each year. In 1904 she met the cellist Pablo Casals, gave a recital with him (Casals accompanying her at the piano), and briefly developed a 'fervid' friendship….they moved together to Europe. The marriage lasted until 1928, when they were formally separated, but they did not divorce until 1957. During their artistic life together, Casals and his wife often gave recitals together in which he accompanied her song sets at the piano and also performed cello sets in the same concert. Her last known recital was at the École Normale de Musique there, in 1951. Later she moved back to the U.S. to live with her sister, and died there in 1959. Susan Metcalfe Casals made no fully commercial recordings, but she did record eight sides [above] of 78rpm records (yellow label His Master's Voice) for private distribution, with Gerald Moore accompanying, in 1937.”