Section I - French 78rpm records  Nos. N0101 – N0411

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Auction Number 151 ­-
AUCTION Closing Date: Tuesday, 26 November, 2019



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Section I - French 78rpm records Nos. N0101 – N0411



N0101. ALEKSANDR VERTINSKY: Tango 'Magnolia' / Chanson d’amour (both Sung by the ‘Composer’). 10” dark-blue PW Eng. Col. DC 28 (WL 2158/57), POM-1926. A to M-A, excellent copy has faintest rubs, inaud. MB 45

"At the beginning of 1916, Aleksandr Vertinsky came up with an original stage idea – he began to play the powdered-face character Pierrot. These singing sketches, novellas-in-song, later became known as ariettas under the common title of ‘Pierrot's doleful ditties’. Each song was a mini-tragedy, consisting of a prologue, exposition and climax, followed by the sad finale. Pierrot became an icon of its time – many actors all over Russia worked to imitate Vertinsky’s image. Shortly before the 1917 Bolshevik Revolution broke out in Russia, Vertinsky changed his image – Pierrot became black and started to tour Russia and Ukraine performing decadent elegies with a touch of cosmopolitan chic, such as 'Kokainetka' and Tango 'Magnolia' [above]. He began to perform romantic songs about faraway places, where the life passed quietly and peacefully – exactly what the audience needed at the time. In a country struggling through World War I and experiencing collapse in all spheres of life, many fans sought escapism from life’s hardships – a key element in Vertinsky’s songs.

Vertinsky made several successful tours around Russia and Ukraine, performing decadent elegies with a touch of cosmopolitan charm. The most popular songs were the love-ballad ‘Kokainetka’ (Little Cocaine Girl) and ‘Tango Magnolia’ – a fantasy narrative about the far-away island of Singapore, full of banana and lemon trees. As British researcher Richard Stites put it, 'Vertinsky bathed his verses in images of palm trees, tropical birds, foreign ports, plush lobbies, ceiling fans, and daybreak on the pink-tinted sea'. After several successful tours in the Middle East, Vertinsky followed the majority of well-to-do Russians to the United States, where he debuted before the audience which included Rachmaninoff, Chaliapin, and Marlene Dietrich.”


- Oleg Dmitriev, RUSSIAPEDIA


N0102. ANDRÉ URBAN, w.André Cadou Cond.: Begonia – Simplement / Que l’amour est traire (René Mercier & René Pujol). 10” green French Odéon 166-272), only form of issue, 1930. [Creator, 15 Feb., 1930, La Scala, Paris] A to M-A, excellent copy has faintest rubs, inaud. MB 15

N0103. LYS GAUTY, w. Pierre Chagnon Cond.: Cessez Le Feu - Chanson de l‘escadrille / Chanson du cul de jatte (Joseph Kessel / Arthur Honegger). 10” blue early PW Col. 4103, on Royal Blue Shellac, POM-12 July, 1937. M-A, choice copy has infinitessimal pap.scr, inaud. MB 12

“Lys Gauty, the grande dame of the classic chanson, well deserved the tribute of monstre sacre bestowed upon her by Colette, Cocteau and the gilded youth of les annees folles between the two wars. She was indeed a sacred monster off stage - Cocteau called her 'a vulture of virtuosity'. The moment she set foot on a stage, in the humblest cabaret or in the grandest music hall and advanced upon her public with a rapacious smile upon her beautiful face, one knew she was about to bruler les planches - burn up the boards and set the stage afire with her strange personality, her unusual, spellbinding vibrato growl and her heart-breaking songs. Fortunately, much of her extraordinary talent has been recorded - she is like a poster by Toulouse-Lautrec, ageless, timeless, and an undying classic.”


- James Kirkup, THE INDEPENDENT, 27 Jan., 1994


N0104. YVONNE GEORGE, w. Bernard Cond.: Le bossu / Les cloches de Nantes. 10” dark-blue PW French Col. D 19095, POM-1928. M-A MB 12

N0105. YVONNE GEORGE, w.Bernard Cond.: L'autre (Lenoir) / w.Georges van Parys (Pf.): C'est pour ça qu'ons'aime (Borel-Clerc). 10” dark-blue PW French Col. D 19093, POM-1928. M-A MB 12

N0106. YVONNE GEORGE, w.Georges van Parys (Pf.): Pars (Lenoir) / Chanson de Marin (Auric). 10” red PW French Col. D 12022, POM-1926. M-A MB 12

“George started her artistic career on the stage, where she befriended Jean Cocteau. George's performance style is considered as embodying the principles of the French realist song. She left a very small posterity to the public at large. The themes of the songs and her manner of interpretation with a troubled, broken voice, were to influence others. Yvonne George participated in the progress of female emancipation in the inter-war period.”


- Wikipedia


N0107. Mlle. SYRIL: La Belle Hélène – Amous divins / Un mari sage (Offenbach). 10” dark-green Disque Gram. K974, only form of issue, 25 May, 1920. A to M-A MB 12

N0108. Mlle. SYRIL: La Belle Hélène – Là ! vrai, Je ne suis pas coupable / On me nomme Héléne la blonde (Offenbach). 10” dark-green Disque Gram. K 764, only form of issue, 26 May, 1920. A to M-A MB 12

N0109. MARY BOYER & HENRI WEBER: Mireille - O Magali. 10” black & silver Col. 50570, POM-1905. M-A, exceptional copy has, verso only, sev. ec of no consequence. MB 15

“Boyer started her career in 1880s singing small roles at the Opéra-Comique. She was active primarily in French and Belgian provincial theaters as well as at the Théâtre de la Haye in the Hague. In 1902 she sang at the Opéra de Monte-Carlo as Musetta in LA BOHÈME opposite Nellie Melba and Enrico Caruso. She also appeared in opera at the Folies-dramatiques and the Gaité (1900/ 1907). She made successful guest performances in Moscow, Warsaw and Palermo.”


N0110. MARCEL ROQUE, w.Cloëz Cond.: Manon – Ne bronchez pas / O Rosalinde. 10” French Odéon 188.791, only form of issue, 25 Nov.,1930. [Marcel Roque is remembered for his Albert in the WERTHER with Vallin, Thill & Féraldy] M-A MB 10

N0111. MARCEL ROQUE, w.Cloëz Cond.: Les Cloches de Corneville – J’ai fais trois fois le tour de monde / La Mascotte – Un jour le diable… ces envoyés du Paradis. 10” green French Odéon 166.187, only form of issue, 26 March, 1929. A to M-A MB 10

N0112. MARCEL ROQUE, w.Cloëz Cond.: Rip van Winkle - Mes Enfants, sachez qu'en ménage / Si je la veux cette immense. 10” green French Odéon 166.301, only form of issue, 16 May, 1930. A to M-A MB 10

N0113. MARCEL ROQUE, w.Cadou Cond.: Rip van Winkle - Vive la paresse / Les Mousquetaires au couvent – Pour faire un brave mousquetaire (Varney). 10” green French Odéon 166.186, only form of issue, 26 March, 1929. A-, fine copy has lt.rubs, innaud. MB 10

N0114. YVETTE GUILBERT: I will give you the keys of heaven. 10” black HMV 3737 (5276b), POM-1907. M-A MB 25

N0115. YVETTE GUILBERT: Les quatr’z’ étudiants (Xanroff) / La Soularde (Jouy). 10” black V 62995 (5235½ /5237h), POM-1904. M-A MB 25

N0116. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): L'Éloge des vieux / Verligodin (both Sung by the Composer). [If one were to limit oneself to a single Guilbert disk, this would surely be the choice! Her magical phrasing and innuendi are positively delicious!] 10" PW plum Disque Gram. K-7068, POM-1933. A to M-A, faintest rubs, inaud. MB 12

N0117. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): La fille du Roi Loys / Les anneaux de Marianson. 10" PW plum Disque Gram. K-7066, only form of issue,1933. M-A, beautiful copy has, Sd.2 only, faintest rubs, inaud. MB 12

N0118. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): La Passion du doux Jésus, La ballade du Jésus-Christ. 10" PW plum Disque Gram. K-7065, POM-1933. M-A MB 12

N0119. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Le miracle de Sainte-Berthe, 2s. 10" PW plum Disque Gram. K-7064, only form of issue,1933. M-A, beautiful copy has, Sd.2 only, faintest rubs, inaud. MB 12

N0120. YVETTE GUILBERT, w.Irène Aïtoff (Pf.): Le voyage à Bethléem, 2s. 10" PW plum Disque Gram. K-7063, POM-1933. A to M-A, beautiful copy has faint rubs, inaud. MB 12

"Hers is an art that defies classification....Her voice is not a musical instrument - and I believe it is as musical now as ever it was. Yet there is no singer of our time who would not double his present artistic stature if he could borrow half of Guilbert's genius."


- Walter Legge, ON AND OFF THE RECORD, p.49


N0121. WILLY THUNIS, w.Lehár Cond.: Das Land des Lächlens - Qui dans nos coeurs / Dans l'ombre blanche (in French) (Cond. by the Composer). [Thunis created the French Version of Prince Sou-Chong, 16 Nov., 1932, Gaîté Lyrique , Paris] 10” green Pathé 91.045, POM-1933. A to M-A, faintest rubs, inaud. MB 10

N0122. ANDRÉ GOAVEC, w.Aubanel Cond.: L'Auberge du Cheval Blanc – La chanson d’une nuit (Spoliansky) / Pour être un jour aimé de toi (Benatzky). 10” dark-green PW French Polydor 522549, only form of issue, 1933. M-A MB 12

N0123. JEAN DELVOYE: Si J'étais Roi - Dans le Sommeil, L'amour. 10” black Paris G & T G.C. -2-32797 (1746F), only form of issue, 1903. [Delvoye’s Paris début was at the Théâtre du Château d'Eau, 27 October, 1898, as Ourrias in Mireille] M-A MB 15

N0124. LOUIS P. VERANDE: Qu'est-Ce que c'est triste (French song) / Le Grande Duchesse – Et pif paf pouf, tara pa poum (Offenbach). 10” black Col. E 514 (14703/14720), POM-27 Feb. / 3 March, 1909. [The Offenbach is a sheer delight! Verande was known primarily as an impressario from Covent Garden where he was instrumental in the formation of the Beecham Opera Company, subsequently managing the New Orleans Opera] M-A, albeit inherently grainy surface; Sd.1 only has infinitessimal scr, inaud. MB 15

N0125. LOUIS MUSY & MICHEL DENS w.Cariven Cond.: La Grande Duchesse de Gérolstein – Et pif paf pouf, tara pa poum / LUCIENNE JOURFIER: Dites-lui qu’on l’a remaqué (Offenbach). 10” red Pathé PD 85, only form of issue, 1948. M-A MB 12

N0126. HÉLÈNE RÉGELLY, HENRY LAVERNE (Henri Allum), FÉLIX OUDART, etc.; Gabriel Diot Cond. Mogador Theatre Ensemble: LA VIE PARISIENNE - Excerpts (Offenbach), 12s. 6-10” red Decca-Odeon G-20588/93, POM-1930. M-A MB 25, the Set.

N0127. FANÉLY REVOIL: La Fille de Mme Angot – Couplets de la dispute / FANÉLY REVOIL, ANDRÉ NOËL & MOREAU: Elle est tellement innocente (Lecocq). 10” green Pathé PG 18, only form of issue, 1934. A, lovely copy has faintest pap. rubs, inaud. MB 12

N0128. FANÉLY REVOIL, Lucie Thelin, Jeanne Mattio, René Herent, André Balbon, Alban Derroja & René Bonneval; Désormière Cond. L’Opéra-Comique Ensemble: L’ÉTOILE – Excerpts (Chabrier), 10s. 5-10" red Pathé PD 21/25, only form of issue, 1941. M-A MB 35, the Set.

"Fanély Revoil, the last French prima donna to specialise in operettas and, as a teacher, was one of the guardians of the old tradition of French singing, studied singing in Paris with Germaine Martinella, one of the greatest concert singers of the 1920s. Hahn wrote that 'she doesn't just burn up the stage, she reduces it to cinders'. Roger Désormière chose Revoil both for his famous 1941 revival and the recording of Chabrier's L’ÉTOILE. She had a firm, full-toned voice with a fearless attack on high notes."


- Patrick O'Connor, THE GUARDIAN, 25 Feb., 1999


N0129. VICTOR PUJOL, w.Cloëz Cond.: Si J'étais Roi – J’ignorais son nom/ Un regard de ses yeux. 12” green French Odéon 171.086, only form of issue, 29 March, 1929. M-A MB 10

N0130. VICTOR PUJOL, w.Cloëz Cond.: Le Chalet - Il faut me céder ta maîtresse (Adam), 2s. 12” French Odéon 123.612, only form of issue,1929. M-A MB 10

N0131. MIZZI HAJOS: Pom Pom – Evelyn / In the dark (Caldwell). 10” blue V 45091, ‘Takes’ 3 / 12, only form of issue, 28 March / 10 July, 1916. [Pom Pom, with Mizzi Hajos, ran 28 Feb - 17 June, 1916, George M. Cohan's Theatre] A-, fine copy has faint rubs, inaud. MB 8

N0132. ANDRÉ BAUGÉ: Auprès de ma blonde (arr.Andolfi). 10” S/S white Pathé Shellac Test Pressing for 203397, POM-1931. A, lovely copy has faint rubs, inaud. MB 10

N0133. ANDRÉ BAUGÉ: I kiss your hand, madame (as ‘Ce n’est pas que votre main, madame’ (Ralph Erwin) / Minuit, Place Pigale (Granichstäden). 10” green Pathé 3393, recorded 1931. M-A, glorious copy of this most elusive Baugé disk. MB 15

N0134. ANDRÉ BAUGÉ: Le Farfadet – Personne en bas le Moulin (Adam), 2s. 10” green Pathé PG 6, only form of issue, 1933. M-A MB 15

N0135. ANDRÉ BAUGÉ: Ariodant – Femme sensible (Méhul) / w.Mme Cariven (Harp): Plaisir d’amour (Martini). 12” MasterWorks Col. P-9155, POM-1933. M-A MB 10

N0136. ANDRÉ BAUGÉ: Monsieur Beaucaire – La rose rouge (Messager) (c.1930 Version) / Sous les étoiles. 10” Art Label Salabert 137, only form of issue, c.1930. M-A MB 10

N0137. ANDRÉ BAUGÉ: Monsieur Beaucaire – La rose rouge (Messager) (1935 Version) / Paganini – J’ai toujours cru qu’un baiser (Lehár). 10” green Pathé PG 66, only form of issue, 1935. M-A MB 10

N0138. ANDRÉ BAUGÉ: Un Caprice de la Pompadour –Je rêve d’un simple amour (Stolz) / C’est vous! (Kunnicke). 10” dark-blue Pathé X.3966, recorded 1931. A-, lovely copy has lt.rubs rubs, inaud. MB 8

N0139. ANDRÉ BAUGÉ: Rêve de Valse - Oui, c’est une valse de Vienne / Si J'étais Roi - Dans le Sommeil, L'amour. 10” black Disque Gram. P 447, only form of issue, 17 Feb., 1922. A to M-A MB 10

N0140. ANDRÉ BAUGÉ: Paganini – J’ai toujours cru qu’on baiser / Belle Italie (Lehár). 10½” green paper label H & D Pathé 2165, recorded 1927. A to M-A, lovely cop[y has hint of grey on peaks. MB 10

N0141. ANDRÉ BAUGÉ: Mireille – Si les fille d’Arles sone reines / YVONNE BROTHIER - O légère hirondelle. 10” black Disque Gram. P 397, only form of issue, 12 May, 1921 / 10 Dec., 1919. A to M-A MB 10

N0142. ANDRÉ BAUGÉ: Si J’Étais Roi – Dans la sommeil (1925 Version) (Adam) / Le Comte de Luxembourg – Bonheur, n’est-ce pas toi? (Lehár). 10½” green paper label H & D Pathé 2104, recorded 1925. M-A MB 10

N0143. ANDRÉ BAUGÉ: Si J’Étais Roi – Dans la sommeil (1936 Version) (Adam) / Les Mousquetaires au Couvent – Pour faire un brave mousquetaire (Varney). 10” green Pathé PG 73, only form of issue, 1936. M-A MB 10

N0144. ANDRÉ BAUGÉ: Die geschiedene Frau (The Divorcée) – Comme ma femme tu sais danse (Leo Fall) / La Mascotte – Un jour le diable… ces envoyés du Paradis (1924 Version). 10½” green paper label H & D Pathé 2096, recorded 1924. A to M-A, lovely copy has hint of grey on peaks. MB 10

N0145. ANDRÉ BAUGÉ: Les Cloches de Corneville – J’ai fais trois fois le tour de monde / La Mascotte – Un jour le diable… ces envoyés du Paradis (1936 Version). 10” green Pathé PG 72, only form of issue, 1936. M-A MB 10

N0146. ANDRÉ BAUGÉ: Les Cloches de Corneville – C’est la salle de mes ancêtres / La Fille de Mme Angot - Certainement, j’aimais Clairette. 10” green Pathé PG 59, only form of issue, 1935. M-A MB 10

N0147. ANDRÉ BAUGÉ: Benvenuto Cellini – De l’art splendeur immortelle (1923 Version) / Carmen – Air du Toréador. 10½” green paper label H & D Pathé 0425, recorded 1923. M-A MB 10

N0148. ANDRÉ BAUGÉ: Benvenuto Cellini – De l’art splendeur immortelle (1931 Version) / La Traviata – Di Provenza il mar (in French). 10” red Pathé X.90.042, only form of issue, 1931. M-A, choice bright copy has faintest pap. rubs, inaud. MB 10

N0149. ANDRÉ BAUGÉ: Manon – A quoi bon l’économie / Regardez-moi dans les yeux. 10” black Disque Gram. P 406, only form of issue, 23 June / 29 April, 1921. M-A MB 10

N0150. ANDRÉ BAUGÉ & EDMÉE FAVART: Ciboulette - Nous avons fait un beau voyage / EDMÉE FAVART: C’est sa banlieue [Créatrice, 7 April 1923, Théâtre des Variétés, Paris] (Hahn). 10” red Pathé X.2,608, only form of issue, 1928. M-A MB 15

N0151. ANDRÉ BAUGÉ & SUZANNE LAYDEKER: Véronique – Duo de l’escarpolette (Swing Song) / De ci, de là (Duo de l’âne) (Messager). 10” green Pathé PG 67, only form of issue, 1935. M-A MB 10

N0152. ANDRÉ BAUGÉ & MIGUEL VILLABELLA: Barbiere - All idea di quel metallo portentoso (in French). 12” black Art-Label Pathé X.7159, POM-1928. M-A MB 15

N0153. ANDRÉ BAUGÉ & SUZANNE LAYDEKER: Fragonard – Ne me force pas, ma chérie / Il ne faut pas être inflexibile. [Baugé created his role, 17 October 1934, Théâtre Lyrique de la Porte Saint-Martin, Paris] (Pierné). 10” dark-blue Pathé PA 396, only form of issue, 1934. M-A, choice copy has faintest grey mk, Sd.1. MB 15

N0154. THÉODORE BOTREL: Monsieur de Kergariou (Marietti). 10” black Paris G & T G.C. -2-32621 (2732F), only form of issue, 1904. A to M-A, excellent copy has faintest rubs, inaud. MB 12N0155. GABRIEL SOULACROIX: Rip van Winkle -Vive la paresse (1903 Version) (Planquette) / Le Timbre d’argent – De Naples à Florence (Saint-Saens). 11¾” black paper label H & D Pathé 183 (3723/3722), recorded 1903, Paris. M-A MB 15

N0156. GABRIEL SOULACROIX: Rip van Winkle -Vive la paresse (1904 Version) (Planquette). 10” black Paris G & T G.C.-2-32609 (2684F), only form of issue, 1904. M-A MB 15

N0157. GABRIEL SOULACROIX: Les Mousquetaires au couvent – Pour faire un brave mousquetaire (Varney). 10” black Paris G & T G.C.-3-32016 (2701F), only form of issue, 1904. A to M-A, lovely copy has faintest rubs, inaud.; contemporaneous Parisian label stkr. MB 15

N0158. GABRIEL SOULACROIX: Les Noces de Jeannette – Margot, Margot, lève ton sabot / Enfin, me voilà seul (Massé). 11¾” etched label center-start H & D Pathé 440/442 (16678/12755), recorded 1900, Paris, both Announced. M-A MB 15

N0159. GABRIEL SOULACROIX: Les Dragons de Villars – Quand la dragon / Chanson à boire (Maillart). 11¾” etched label center-start H & D Pathé 340/343 (10171/8964), recorded 1900, Paris, both Announced. M-A MB 15

N0160. GABRIEL SOULACROIX: La Traviata – Di Provenza il mar (in French) / Le Timbre d’argent – De Naples à Florence (Saint-Saens). 11¾” etched label center-start H & D Pathé 3695/3722 (8916/8754), recorded 1903, Paris, both Announced. M-A MB 15

N0161. GABRIEL SOULACROIX: Panurge – Berceuse / Chanson à boire (Planquette). 11¾” etched label center-start H & D Pathé 3725/3726 (17304/23321), recorded 1903, Paris, Sd.2 Announced. [Creator, 22 November, 1895, Gaîté, Paris] A to M-A MB 15

“Soulacroix joined the Opéra-Comique in 1885, his first appearance being as Bellamy in LES DRAGONS DE VILLARS on 25 September, 1885. He sang Ford in the 1894 production of FALSTAFF, as well as Alfio (CAVALLERIA RUSTICANA), Ourrias (MIREILLE), Schaunard (LA BOHEME) and Figaro (THE BARBER OF SEVILLE). He was on-stage singing Laerte in MIGNON the night of the fire at the Salle Favart on 25 May, 1887, and later received a médaille de sauvetage. In December 1899 he added Oreste to his repertoire, in a production of IPHIGÉNIE EN TAURIDE at the Théâtre de la Renaissance. At Covent Garden he sang the roles of Pedrillo, Escamillo, Figaro (Rossini), Alfio, Mercutio and Beckmesser. In addition, he was seen in a wide range of parts regularly at Monte Carlo from 1889 to 1904, including the title role in ZAMPA and Iago in OTELLO. His career was ended prematurely by his sudden death in middle-age.”


- butinsky


N0162. CAMILLE ROQUETTY: Faust – Salut, demeure, 2s. [Roquetty is remembered for his Schmidt in the Georges Sébastian-conducted WERTHER with Suzanne Juyol’s Charlotte; this is his sole 78] 10” red Disque Gram. DA-4902. M-A MB 12

N0163. JEANNE MARIÉ de L’ISLE: Mignon – Connais-tu le pays / Prière (1906 Versions). 10” dark-green Paris Zonophone X-83080/77 (5927/6014), POM-1906. M-A, beautiful copy has faintest pap.scr, Sd.1, positively inaud. MB 35

“Jeanne Marié de l’Isle belonged to a tradition that went back to the golden age of the Opéra-Comique.”


- Vincent Giroud


N0164. ODETTE TURBA-RABIER & ANDRÉ PERNET, w.Bigot Cond.: Lakmé - Où va la jeune hindoue (L’air des clochettes), 2s. 12” PW Disque Gram. DB 5001, only form of issue, 1936. [A sublime performance!] M-A MB 20

N0165. ODETTE TURBA-RABIER, w.Fournet Cond.: Ariadne auf Naxos - Grossmächtige Prinzessin (Final Version; in French), 2s. 12” French Col. LFX 674, only form of issue, 1944. A to M-A-, lovely copy has, Sd. 1 only, long entirely superficial scr, positively inaud. MB 15

“The French soprano, Odette Turba-Rabier, made her debut in 1936, then undertook coloratura soprano roles at both the Opéra Comique and the Grand Opéra in Paris (where her first appearance in 1945 was as Gilda in RIGOLETTO). Her career was almost exclusively in the French capital; she made only rare guest appearances in the provinces. Among her major roles were the Queen of the Night in DIE ZAUBERFLÖTE, the title roles in LAKMÉ and MIREILLE, Marzellina in FIDELIO and both Konstanze and Blonde in DIE ENTFÜHRUNG AUS DEM SERAIL. In 1942 she took part in the première of the opera GINEVRA by Delannoy at the Opéra-Comique, and in 1944 in the première of LA GAGEURE IMPRÉVUE by Henri Sauguet.”


- Bach Cantatas Website


N0166. JEAN RIDDEZ: Les Enfants (Massenet) / Benvenuto Cellini – De l'art splendeur immortelle(Label suggests ‘Arioso de Ben Venuto’) (Diaz). 10” green Viva-Tonal Col. 34277-F. M-A, beautiful copy has, Sd.2 only, hint of grey on peaks. MB 12

N0167. JEAN RIDDEZ: L’Africaine – Fille des Rois / Faust – Invocation. 10” red Disque Arion 2342/2462. A-, very decent copy has lt.rubs & superficial mks, inaud.; neatly mended incipient hlc forming at edge. MB 12

“Jean (Arthur) Riddez sang at the Paris Opéra, 1900-10, débuting in the title role of RIGOLETTO and sang as well Reyer’s SIGURD and SALAMMBO, and Saint-Saëns’ HENRY VIII and SAMSON ET DALILA, Xavier Leroux’s THE VAGABOND and Massenet's THAÏS. From 1908 to 1910 he sang roles such as Lohengrin, Faust, etc., but then returned to his baritone repertoire. He sang music composed by candidates for the Prix de Rome, including Caplet and Ravel. He sang for the Montréal Opera Company (1912-1913) where he débuted in Massenet’s HÉRODIADE (12 November, 1912). There he also sang in RIGOLETTO, ROMÉO ET JULIET, LE JONGLEUR DE NOTRE DAME, TOSCA, CARMEN, LES CONTES D’ HOFFMANN, THAÏS and Erlanger’s CHRISTMAS EVE. With the Boston Opera Company in the 1911-12 season he sang the French repertoire, especially Pelléas in 1912. Invited to perform again as Athanaël in THAÏS (1920), he moved to Montréal where he devoted himself mainly to teaching, privately and in institutions like the École Normale de Musique. Riddez became a naturalized Canadian on 2 Sep., 1939 in Montréal. His daughter Juanita Riddez débuted 24 June, 1947 at the Opéra-Comique in Paris, but soon abandoned her career.”


- Hélène Panneton, HISTORICA CANADA


N0168. LUCIENNE JOURFIER, w.Cluytens Cond. La Reine de Saba - Comme la naissante aurore / Manon - Je suis encore toute étourdie. 10" red Pathé PD 78, only form of issue, 1948. M-A MB 12

N0169. LUCIENNE JOURFIER, w.Cluytens Cond.: Les Pêcheurs de Perles – Comme autrefois, 2s. 10" red Pathé PD 75, only form of issue, 1948. M-A, exemplary copy has, Sd 1 only, infinitesimal label tear. MB 12

N0170. LUCIENNE JOURFIER, w.Fourestier Cond.: Roméo – Je veux vivre / Manon – Adieu, notre petite table. 10” red Pathé PD 73, only form of issue, 1947. M-A, exemplary copy. MB 12

N0171. LUCIENNE JOURFIER& MICHEL DENS, w.Cariven Cond.: La Grande Duchesse de Gérolstein – Mon amour / MICHEL DENS: Je viens de faire (Offenbach). 10” red Pathé PD 86, only form of issue, 1948. M-A MB 12

N0125. LUCIENNE JOURFIER, w.Cariven Cond.: La Grande Duchesse de Gérolstein – Dites-lui qu’on l’a remaqué / LOUIS MUSY & MICHEL DENS: Puf, paff, fouit (Offenbach). 10” red Pathé PD 85, only form of issue, 1948. M-A, exemplary copy. MB 12

“Reynaldo Hahn, who had just been appointed director of the Paris Opera, immediately engaged Jourfier. She made her début at the Palais Garnier on 10 August, 1945 in the role of Pamina in a revival of ZAUBERFLÖTE conducted by Hahn. In 1947, she sang Juliette in Gounod’s ROMÉO ET JULIETTE, then L’Amour in the première at the Palais Garnier of LES INDES GALANTES by Jean-Philippe Rameau. On 9 November, 1945, in the role of Sophie in WERTHER, she made her début at the Opéra-Comique which became her theatre. In her penultimate season, Raoul Gunsbourg invited her to sing Manon and Mimi at Monte-Carlo.”


- Jean Ziegler


N0172. ANTOINETTE LAUTE: Le Cid – Alleluia (Massenet). 10” black Paris G & T G.C.-34660 (4411o). M-A MB 25

N0173. ANTOINETTE LAUTE & LÉON BEYLE: Faust – Laisse-moi contempler. 10” black Paris G & T G.C.-34133 (4801o). M-A MB 25

N0174. PAUL AUMONIER: Le Cor (Flégier) [Aumonier’s name not on label]. 10” black & silver Col. 50044, POM-1903, Paris. A to M-A, beautiful copy has infinitessimal scr, inaud. & wee but audible pressing bump at very end; Uncommonly bright label. MB 20

N0175. JENNIE TOUREL, w.Erich Itor Kahn (Pf.): Ariettes oubliées – C’est l’éxtase langoureuse / Il pleure dans mon coeur (Debussy). 10” EL Eng. Col. LB 125, only form of issue, 1947. M-A MB 12

N0176. JENNIE TOUREL, w.George Reeves (Pf.): Zyczenie (The Maiden's Wish); Moja Pieszczotka (My Joy) / Niema Czego Trzeba (Mélancolie) (all Chopin; in Polish). 12” Col. 72870-D, only form of issue, 1949. M-A MB 10

N0177. SUZANNE BROHLY: La Reine de Saba - Me voilà seule enfin (Gounod), 2s. 10” black Disque Gram. G.C.-33745/46 (15517/18u), POM-25 Feb., 1910. M-A MB 15

N0178. SUZANNE BROHLY: La Périchole – O mon cher amant / ANDRÉ BAUGÉ: Les Noces de Jeannette – Margot, Margot, lève ton sabot. 10” black Disque Gram. P 478, POM-4 Dec., 1922 / 5 Dec., 1921. M-A MB 15

N0179. SUZANNE BROHLY: Carmen – Habanera / MARTHE BAKKERS: Faust – Faites-lui mes aveux. 10” black Disque Gram. P 435, POM-8 Feb. / 2 March, 1922. A, lovely copy has, Sd.2 only, faint mks, inaud. MB 10

N0180. SUZANNE BROHLY: Marie-Magdeleine - C'est icl-même a cette place / ANDRÉ BAUGÉ: Benvenuto Cellini - De l'art, splendeur immortelle ((Diaz). 12” black Disque Gram. W 490 (03305-1/03440v), POM-8 April, 1922 / 1921. M-A MB 15

N0181. SUZANNE BROHLY & PIERRE D’ASSY: Mignon – Légères hirondelles / As-tu souffert? 10” black Disque Gram. G.C.-34217/18 (5115h), POM-7 Dec., 1908. M-A MB 15

N0182. SUZANNE BROHLY & LÉON BEYLE: Carmen – Je vais danser en votre honneur / Non, ne m’aimes pas. 12” black Disque Gram. 034040/41, POM-28 Dec., 1908. M-A, beautiful copy has, Sds.2 only, faintest rubs, inaud. MB 15

N0183. SUZANNE BROHLY, w.SAINT-CRICQ, BECKMANS, CORNEY, LEBARD, BERNADET, PAYEN, VIEULLE, ROUSSEL, HERENT; Wolff Cond. Lamoureux Ensemble: Carmen – Excerpts (Complete, as recorded), 10s. 5-12” PW black French Polydor 566033/37, POM-1930, in Orig. sl.worn Polydor album. M-A, exemplary copy of Brohly’s sole EL recording. Exceedingly Elusive! MB 55, the Set.

“Suzanne Brohly was immediately engaged by Albert Carre for the Opéra-Comique where she made her debut on 9 Jan., 1906 in the role of La Vougne in Alexandre Georges’ MIARKA. With great authority she took over from the creator of this very heavy role, Mme Heglon who was moonlighting from the Opéra for one evening. The same year she took opart in the creation of Camille Erlanger’s APHRODITE on March 27th along with Mary Garden, Claire Friche and Léon Beyle and sang Daine in the revival of Gluck’s IPHIGENIE EN TAURIDE on December 20th. Three days later in the 50th performance of PELLÉAS ET MÉLISANDE she sang Geneviève, a role in which she would excel for more than 15 years. On 10 May, 1907 she sang Selysette in the first performance of Paul Dukas’ ARIANE ET BARBE BLEUE along with Georgette Leblanc and Felix Vieuille and on December 18th she sang Clytemnestre in the premiere of IPHIGENIE EN AULIDE at the Opéra-Comique with Lucienne Bréval and Léon Beyle. On 22 May, 1908 she sang the charming role of Lel in the premiere of Rimsky Korsakov’s SNEGOUROTCHKA at the Opéra-Comique, with Marguerite Carré and Léon Beyle. Next came Carmen, a role in which she triumphed whenever she sang it in Paris or in the provinces over more than 20 years and notably in a gala for the 1000th performance at the Opéra-Comique on 30 April, 1923 under the baton of Albert Wolff, but also Charlotte in WERTHER, her other favourite role. But she sang the fearsome Margared in LE ROI D’YS, the mother in LOUISE, etc. She sang the title role in the revival of Massenet’s THÉRÈSE on 6 Feb., 1930.


- Jean Ziegler


N0184. JANE LINDSAY: Roméo et Juliette – Je veux vivre. 10” black Paris G & T G.C.-33650 (5115h), POM-1907. A-, lovely copy has faintest rubs, inaud.; faintest harmless pressing indent, inaud. MB 25

N0185. JANE LINDSAY: Thais – L’amour est une vertu rare / HENRI DANGÈS: Toi qui mis la pitié dans mon ames. 10” black Paris G & T G.C.-33758 (15835/36u), POM-27 May, 1910. M-A MB 25

N0186. ANDRÉ BALBON, w.Andolfi Cond.: Panurge – Chanson de la Touraine / Manon – Épouse quelque brave fille (both Massenet). 10” dark-green Pathé X.0724, recorded 1929.. M-A, choice copy has faintest rubs, inaud. MB 10

N0187. ANDRÉ BALBON, w.Ruhlmann Cond.: Barbiere – La Calunnia (in French) / Le Pardon de Plomerel (Dinorah) – Chant du Chasseur (Meyerbeer). 12” red Pathé X.90.049, recorded 1931. M-A MB 12

N0188. ANDRÉ GAUDIN, w.Quintette Ibos: Automne / Poème d’un Jour - Adieu (Fauré). 10” PW black French Polydor 521576, only form of issue, 1930. A to M-A, faintest rubs, inaud. MB 10

N0189. ANDRÉ GAUDIN, w.Weiss Cond.: D’une prison (Hahn) / Les Vieilles de chez vous (Lévadé). 10” PW black French Polydor 561059, only form of issue, 1930 M-A MB 10

N0190. ANDRÉ GAUDIN, w.Weiss Cond.: Hamlet – Comme une pâle fleur / Werther – O bonheur dont mon âme est plaine. 10” PW black French Polydor 561039, only form of issue, 1930. M-A MB 10

N0191. ANDRÉ GAUDIN, w.Wolff Cond.: La Basoche – À ton amour simple et sincère /Je suis aimé (Messager). 10” PW black French Polydor 561016, only form of issue, 1930. A to M-A, faintest rubs, inaud. MB 10

N0192. ANDRÉ GAUDIN, w.Wolff Cond.: Manon – A quoi bon l’économie / Ne bronchez pas. 10” PW black French Polydor 561015, only form of issue, 1930. M-A MB 10

N0193. ANDRÉ GAUDIN, w.Lenoir Cond.: La Mascotte – Un jour le diable ivre d’orgueil (Audran) / RAOUL GILLES, w.Wolff Cond.: Le Roi d’Ys – Vainement ma bien aimée. 10” PW green French Polydor 561017, only form of issue, 1930. A to M-A, faintest rubs, inaud. MB 10

N0194. RAOUL GILLES, w.Lenoir Cond.: Griséldis-Je suis l'oiseau (Massenet) / Maître Pathelin - Je pense à vous (Bazin). 10” PW green French Polydor 521575, only form of issue, 1930. M-A MB 12

N0195. JEAN NOTÉ: L’Angelus de la mer / Le Credo du paysan (both Goublier). 11¾” brown paper label H & D Pathé 3121 (P2104/07), recorded 1910. M-A MB 12

N0196. JEAN NOTÉ: L’Angelus de la mer / Le Credo du paysan (both Goublier). 10” pale-blue English Scala Ideal 7001, presumably 1910, from Pathé. [Scala Records was a British record label, 1911-1927, based in London] M-A MB 10

N0197. JEAN NOTÉ: Sancta Maria (Faure) / Hosanna (Granier). 11¾” US grey paper label H & D Pathé 62017 (P2109), recorded 1911. M-A MB 12

N0198. JEAN NOTÉ: Prière (Gounod). 10” black Paris G & T G.C.3-32124 (3047F), only form of issue, 1904. M-A, lovely copy, w.contemporaneous Parisian label stkr. MB 25

N0199. JEAN NOTÉ: Charité (1903 Version) (Faure). 10” black Paris G & T G.C.2-32577 (1484F),only form of issue, 1903. M-A, lovely copy has wee pressing bump. MB 25

N0200. JEAN NOTÉ: Charité (1911 Version) (Faure) / Noël (Adam). 11¾” US grey paper label H & D Pathé 62005 (P2106), recorded 1911. A to M-A MB 12

N0201. JEAN NOTÉ: Les Rameaux (Faure) / La Promenade du Paysan (Dupont). 10” dark-green Paris Zonophone X82481/82 (9103/05u), POM-1905. M-A, lovely copy has faintest rubs, inaud. MB 15

N0202. JEAN NOTÉ: Je ne sais que t’aimer (Martin) / Les Cloches de Corneville – J’ai fais trois fois le tour de monde. 11¾” etched label H & D APGA-Pathé P1001 (65336/65383), recorded 1910. M-A MB 15

N0203. JEAN NOTÉ: La Favorite – Jardins d’Alcazar (1903 Version) (Donizetti). 10” black Paris G & T G.C.2-32902 (2247F), only form of issue, 1903. M-A, lovely copy has contemporaneous Parisian label stkr. MB 25

N0204. JEAN NOTÉ: La Favorite – Jardins d’Alcazar (1910 Version) / Pour tant l’amour (Donizetti). 11¾” black paper label H & D Pathé P88 (P0111/12), recorded 1910. M-A MB 12

N0205. JEAN NOTÉ: La Traviata – Di Provenza il mar (1906 Version) / Il Trovatore – Il balen (both in French). 10” dark-green Paris Zonophone X82471/72 (5369/70o), POM-1906. M-A, lovely copy has contemporaneous Parisian label stkrs.& faintest rubs, inaud. MB 15

N0206. JEAN NOTÉ: Hamlet – Chanson bachique (1903 Version). 10” red Monarch G & T 5054 (1496-F), POM-1903. A-, lovely copy has lt.rubs & various microscopic scrs, only occasionally very ltly audible. MB 12

N0207. JEAN NOTÉ: Hamlet – Chanson bachique (1910 Version) / Comme une pale fleur. 11¾” brown paper label H & D Pathé 89 (P0101/02), recorded 1910. M-A MB 12

N0208. JEAN NOTÉ: Hérodiade – Vision fugitive / PAUL AUMONIER: Roméo et Juliette – Invocation. 11¾” etched label H & D APGA-Pathé P0303 (63953/67975), recorded 1910. M-A MB 15

N0209. JEAN NOTÉ: Benvenuto Cellini - De l'art splendeur immortelle (1902 Version) (Diaz). 10” black Paris G & T G.C.2-32597 (1184F), only form of issue, 1902. M-A, exceptional copy has the ubiquitous pressing indents, common in this era. MB 25

N0210. JEAN NOTÉ: Benvenuto Cellini - De l'art splendeur immortelle (1905 Version) (Diaz) / Guillaume Tell – Quand l’Helvétie (Rossini). 10” dark-green Paris Zonophone X82476/82408 (9058u/4361o), POM-1905/’04’ resp. M-A, lovely copy has contemporaneous Parisian label stkrs.& faintest rubs, inaud. MB 15

N0211. JEAN NOTÉ: Charles VI - Guerre aux tyrans! (1904 Version) (Halévy). 10” black Paris G & T G.C.3-32060 (2956F), only form of issue, 1904. M-A, choice copy has harmless ulc, visible topside only & certainly inaud. MB 20

N0212. JEAN NOTÉ: Charles VI - Guerre aux tyrans! (Halévy) / La Traviata – Di Provenza il mar (1910 Versions, in French). 11¾” black paper label H & D Pathé 83 (110/111), recorded 1910, Paris. M-A MB 15

N0213. JEAN NOTÉ: Sigurd – Et toi, Fréia (Reyer) / Rigoletto - Cortigiani (in French). 11¾” black paper label H & D Pathé 93 (1012/1011), recorded 1910, Paris. M-A MB 15

N0214. JEAN NOTÉ: Tannhäuser – Blick ich umher / O du mein holder Abendstern (both in French). 11¾” etched label H & D APGA-Pathé P107 (63973/63993), recorded 1910. M-A MB 15

N0215. JEAN NOTÉ & CHARLES FONTAINE: Les pêcheurs de perles – Au fond du temple saint / Guillaume Tell – Ah, Mathilde. 11¾” US grey paper label H & D Pathé 60083 (2540/43), recorded 1917. M-A MB 12

N0216. JEAN NOTÉ & AGUSTARELLO AFFRE: La Muette de Portici – Amour sacre de la patrie (Auber). 10” black Paris G & T G.C.34001 (1148F), only form of issue, 1902. M-A, exceptional copy has the ubiquitous presing indents, common in this era; mere hint of grey on peaks is positively inaud. & hardly worth mention. MB 25

“Jean Noté was one of the most heralded baritones of his generation ….Noté was one of the most astonishing singers of his epoch and probably one of the most gifted artists of his time. He sang in opera from 1893 to 1922.”


- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.371


N0217. JEAN NOTÉ, w.LILLIAN BRYANT Cond.: Benvenuto Cellini - De l'art splendeur immortelle (1921 Version) (Diaz) / Le Roi de Lahore – Promesse de mon avenir (Massenet). 11¾” brown Chantal 2000 (2343/2342), recorded 1921, London. A to M-A, lovely copy has faintest rubs, inaud. MB 15

N0218. LUCIENNE TRAGIN, w.Bastin Cond.: I Puritani – Qui la voce (in French), 2s. [Tragin is remembered for her participation with d’Arkor & Cernay in the celebrated Mignon recording. This is a rare solo venture for her] 10” PW dark-blue French Col. LF 66, only form of issue, 1932. M-A MB 15

N0219. FRANCIS BANULS, w.Cloëz Cond.: Lakmé - Ah! viens, dans la foret profonde / Manon – Le Rêve. [Sensitive renditions from this lesser-known and excellent tenor] 10” red French Odéon 188.543, only form of issue, 1928. M-A MB 12

N0220. DOLORES DE SILVERA, w.Cohen Cond.: Samson et Dalila – Mon coeur s’ouvre à ta voix / w.Heurteur Cond.: Werther - Va laisse couler mes larmes. 10” PW red Eng. Col. D12043, only form of issue, 25 Feb., 1928. [Remembered primarily for her Spanish music, this is a rare example of de Silvera in French repertoire] M-A, choice copy has wee label tear, Sd.2. MB 15

N0221. CONRAD THIBAULT, w.Martha Halbwachs (Pf.): Novembre (Tremisot) / Plaisir d'amour (Martini). 10” PW V 1677, only form of issue, 22 Sept., 1932, on ‘Z’ shellac. M-A MB 12

N0222. CLAUDINE ARMELINY: La Boheme – Quando m’en vò / Boccaccio - D'abord le coeur sommeille (von Suppé). 10” black Paris G & T G.C.-33707/08 (5911/12h), POM-1908. A to M-A MB 15

N0223. CLAUDINE ARMELINY: Le Chalet – Dans ce modeste et simple asile (Adam) / Le Coeur et la main – Un soir Pérez le Capitaine (Lecocq). 10” black Paris G & T G.C.-33636/37 (7153/57o), POM-1908. M-A MB 15

N0224. LUCY VAUTHRIN: Armide - Air de la Naïade (Gluck) / 33656 5204h Chérubin - Aubade (Massenet). 10” black Paris G & T G.C.-33656/57 (5204½/5205 h), only form of issue, 1907. A to M-A, lovely copy has lovely copy has contemporaneous Parisian label stkr. MB 12

N0225. ROBERT COUZINOU: Noël (Adam) / RAOUL GILLES: Le Crucifix (Faure). 10” PW green French Polydor 521.813, POM-1930. A to M-A MB 10

N0226. ROBERT COUZINOU, w.Weiss Cond. Ibos Quintet.: Plaisir d’amour (Martini) / Le temps des cerises (Clément). 10” dark green PW French Polydor 522.339, POM-1933. M-A MB 12

N0227. GEORGES JOUATTE, w.Valsien Cond.: Dormi pure (Scuderi) / El Gaucho (Tito Schipa). 10” dark-blue French Odéon 250.486, only form of issue, 1933. M-A MB 12

“[Jouatte displays] such beauty of voice, of diction, and of phraseology, such refinement of musical utterance…and impeccable workmanship.”


- Virgil Thomson, 4 Nov., 1945


N0228. VINA BOVY, w.Büsser Cond.: La Traviata – Ah! fors’ è lui; Sempre libera (in French), 2s. 12” PW Disque Gram. DB 5004, only form of issue, 19 Feb., 1936. [Bovy enjoyed an excellent, albeit brief, Met Opera tenure, 1936-38] M-A MB 12

“Edward Johnson asked Bovy to return to the Met for the 1939-40 season, but the ominous signs of an approaching World War II forced Mme Bovy to ask to be excused. In effect, this was the end of her very successful international career..”


- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.197


N0229. GERMAINE FÉRALDY, w. Cohen Cond.: Les Noces de Jeannette – Cours mon aiguille dans la laine / Parmi tant d'amoureux (Massé). 10” blue PW French Col. LF 88, only form of issue,-27 June, 1931. M-A, beautiful copy has, Sd.2 only, faintest rub, inaud. MB 12

N0230. GERMAINE FÉRALDY & PIERRE DELDI, w. Bigot Cond.: Hamlet – Hélas votre élas votre âme / Doute de la lumière (Thomas). 10” blue PW French Col. LF 107, only form of issue,-27 June, 1931. M-A, appears unplayed! MB 12

N0231. RENÉE DORIA, w. Tasso Janopoulo (Pf.): Vocalise en forme de habanera (Ravel) / Le Rose et la rossignol (Rimsky-Korsakov). 10” red Pathé PD 101, only form of issue, 1949. M-A MB 12

Renée Doria was the last ‘historic’ Ophélie in Thomas’ HAMLET,appearing with that American prodigal son, Endrèze during his farewell to the role. She also sang, if memory serves, two performances of DON PASQUALE with Tito Schipa, that artist’s only staged opera performances in Paris. She sang over 2500 performances during an onstage career of more than forty years; 76 roles on stage, 125 roles on radio broadcasts, and she recorded over a period spanning one half century.”


- Father Cornelius Mattei, 26 April, 2015


N0232. RAOUL JOBIN, w.Charles Goulet Cond. Les Disciples de Massenet: Les anges dans nos campagnes / Ça, bergers assemblons-nous. 10” Canadian RCA 10-1180, only form of issue, 1945. Elusive, the 2nd copy ever seen by us! M-A MB 15

N0233. JOSEPH SAUCIER: Les rameaux (Faure) / Salut ô vierge immaculée! (Lambillotte). 10" black Col. E461 (1959/8054), POM-1904/'07, resp. [Joseph Saucier is believed to be the first French-Canadian artist to make a recording in Canada, c.1904. - Library and Archives Canada] M-A MB 12

N0234. EMMA LUART, w.Jeffry’s Jazz: The Love Parade – Rêve d’amour / Marche des grénadiers (Schertzinger) (both in French). 10” green Pathé X.3442, only form of issue, 1929. A to M-A, with contemporaneous Parisian label stkrs. MB 15

“Ernst Lubitsch’s first ‘talking picture’ was also Hollywood's first movie musical to integrate songs with narrative. Additionally, THE LOVE PARADE made stars out of Maurice Chevalier and Jeanette MacDonald, cast as a womanizing military attaché and a man-hungry queen.”


- Butinsky


N0235. EMMA LUART, w.Cloëz Cond.: La Traviata - Ah! fors' è lui / Sempre libera (in French). 10” French Odéon 188.520, only form of issue, 1927. M-A MB 15

N0236. EMMA LUART, w.Cloëz Cond.: Mignon – Mon coeur n’eut peut changer / A toi mon âme je suis ta femme. 10” French Odéon 188.519, POM-1927. M-A MB 15

N0237. EMMA LUART, w.Cloëz Cond.: Manon – Je suis encore toute étourdie / Adieu, notre petite table. 10” French Odéon 188.571, POM-1927. M-A MB 15

N0238. EMMA LUART & GERMAINE CERNAY, w. Cloëz Cond.: Madama Butterfly – Scuoti quelle fronda (in French), 2s. 12” French Odéon 123.761, only form of issue, 1931. [This heavenly record is sheer poetry!] M-A, superb copy has faintest rubs, inaud. MB 25

N0239. EMMA LUART & ROGER BOURDIN, w. Cloëz Cond.: Le Roi malgré lui – Barcarolle (Gondola Duet) (Chabrier), 2s. 12” French Odéon 123.682, POM-31 Jan., 1930. [If ever there was a ‘desert-island’ record, this most aptly qualifies!] Exceedingly Elusive! M-A MB 35

N0240. EMMA LUART & ROGER BOURDIN, w. Cloëz Cond.: Thais – Scène de l’oasis, 4s. 2-12” French Odéon 123.647/648, POM-22 May,1929. M-A, superb copy has, Sd.4 only, faint rub, inaud. MB 35, the Pair.

N0241. EMMA LUART & ROGER BOURDIN, w. Cloëz Cond.: Thais - Étranger, te voila, comme tu l’avais dit!, 3s / Sd.4 = Te souvient-il (Death of Thais). 2-12” French Odéon 123.652/653, POM-27 May, 1929. M-A, superb copy has, Sd.4 only, faintest rub, inaud. MB 35, the Pair.

N0242. EMMA LUART & ROGER BOURDIN, w. Cloëz Cond.: Sophie Arnoud – J'ai six moutons / Dorval, jeune ingénu. (Pierné). (Creator Record, 21 Feb., 1927, l’Opéra-Comique). 10” French Odéon 188.513, only form of issue, 1927. M-A MB 35

"Emma Luart was a Belgian operatic soprano whose official stage début was at The Hague in 1914. Her début in Brussels was in 1918 where she excelled in lyric soprano roles where she sang for seven years - as Louise, Mélisande and Manon. She spent the remainder of her career as a member of the Opéra-Comique in Paris where she débuted 8 July, 1922 as Lakmé. She remained an important principal through 1940. She left many beautiful recordings."


- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS


N0243. ROGER BOURDIN: Les berceaux (Fauré) / Les vieilles de chez nous (Lévadé). 10” French Odéon 188.564, only form of issue, 4 Feb., 1928. M-A MB 10

N0244. ROGER BOURDIN: Les roses d’Ispahan / Lydia (both Fauré). 10” French Odéon 188.634, only form of issue, 25 Jan., 1929. M-A MB 10

N0245. ROGER BOURDIN: Ständchen (Schubert) / Die beiden Grenadiere (Schumann) (in French). 12” French Odéon 123.614, only form of issue, 25 Jan., 1929. M-A MB 10

N0246. ROGER BOURDIN, w.Cloëz (Pf): Le captif / Il s’est tu, le charmant rossignol (both Gretchaninoff). 10” red Decca-Odéon G-20578, POM-1930. M-A MB 10

N0247.ROGER BOURDIN, w.Cloëz Cond.: Das Dreimäderlhaus - Chanson d’amour (Schubert-Berté) / ROGER BOURDIN & EMMA LUART: Véronique – Duo de l’ane (Messager). 10” French Odéon 188.711, only form of issue, 1931. M-A. MB 12

N0248. ROGER BOURDIN, w.Cloëz Cond.: Offrande / Séraphine (both Hahn). 10” French Odéon 188.766, only form of issue, 30 Sept., 1930. A to M-A MB 10

N0249.ROGER BOURDIN, w.Cloëz Cond.: Au pays d’amourette (Cuvillier) / Il neige (Bemberg). 10” French Odéon 188.767, only form of issue, 1930. A to M-A MB 10

N0250.ROGER BOURDIN, w.Cloëz Cond.: Lison dormait; Bergère légère / Menuet d’Exaudet; Aminte (all Weckerlin). 10” French Odéon 188.768, POM-30 Sept., 1930. M-A MB 10

N0251.ROGER BOURDIN, w.Cloëz Cond.: Le Promenoir des Deux Amants; Mandoline (both Debussy), 2s. 12” French Odéon 123.670, POM-28 Dec.,1929. M-A MB 12

N0252.ROGER BOURDIN, w.Cloëz Cond.: Le Promenoir des Deux Amants; Mandoline (both Debussy), 2s. 12” red Decca-Odeon G-25945, POM-1930. M-A MB 10

N0253.ROGER BOURDIN, w.Cloëz Cond.: La Marseillaise (de l’Isle) / Le chant du départ (Méhul). 12” green French Odéon 171.018, only form of issue, 1927. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

N0254.ROGER BOURDIN, w.Frigara Cond.: Rose de France – Pour vivre auprès de vous / Je vous aimerai dans l’ombre (Romberg). 10” dark blue French Odéon 166.705, only form of issue, 1933. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

N0255.ROGER BOURDIN, w.Cloëz Cond.: Cantique de Noël (Adam) / JULIEN LAFONT, w. w.Cloëz Cond.: Panis Angelicus (Franck). 12” French Odéon 123.513, POM-1 Dec., 1927. M-A/A-, S.2 only has faint rubs, inaud. MB 10

N0256. ROGER BOURDIN, w.Beydts Cond.: Coup de roulis - Ce n'est pas la première fois / La quarantaine (Messager). 10" Disque Gram. DA 4876, only form of issue, 24 Feb.,1943. [another enchanting ‘desert-island’ record!] M-A, appears unplayed! MB 15

“Bourdin seldom performed outside France, but did a few guest appearances at the Royal Opera House in London (including Pelléas to the Mélisande of Maggie Teyte in 1930), La Scala in Milan, and the Teatro Colón in Buenos Aires.”


- Wikipedia


N0257. GÉORI BOUÉ, w.Louis Beydts (Pf.) & Roger Cortet (Fl.): En Arles; On cri / C’est moi (all Acc. by the Composer). 10” French Odéon 188.947, only form of issue, 1946. [It is most unusual to be able to offer this exquisite rarity more than once within two years! These, being quite unknown mélodies, enjoyed a sadly brief catalogue life] M-A MB 45

N0258. MARISE COTTAVOZ, NATALIE WECHOR & MARGUERITE PIFTEAU, w.QUATOUR CALVET (Joseph Calvet, Léon Pascal, Daniel Guilevitch & Paul Mas): Quatour à Cordes Vocales et Instrumentales (André Caplet), 4s. 2-10" Disque Gram. DA 4876/77, only form of issue, 1935. M-A, appears unplayed! MB 20, the Pair.

N0259. CAMILLE MAURANE, w.Lily Bienvenu (Pf.): L’Infidelité; L’Incredule / À Chloris (all Hahn). 10” red Pathé PD 122, only form of issue, 1950. M-A MB 15

“The tessitura of Maurane’s fine voice, with a pleasant low register and clear, fluent top notes like a tenor’s, places him in that splendid line of French baryton-Martin named after the early 19th-century singer Jean-Blaise Martin. More modern exponents include Pierre Bernac, creator of many songs by Poulenc, and Jacques Jansen. Jansen’s contemporary, Maurane was an equally renowned exponent of the role of Pelléas in Debussy’s opera for which his delicately shaded palette of timbres was ideally suited. Maurane’s longevity and diligently maintained technique allowed him to continue singing well into his 70s. Throughout his career he retained his clear diction and a mode of restrained expression which had been the hallmarks of his teacher at the Conservatoire, Claire Croiza….he moulds syllables, shapes ideas, and in a superbly evocative manner demonstrates the art of turning music into speech.”


-GRAMOPHONE, Nov., 1984


N0260. JOSEPH PEYRON, w. Jean-Michel Damase (Pf.): L’Eau Vive (Jaubert), 2s. [Although he understood and appreciated film, scoring them was but one of Jaubert's creative activities. As music director of Pathé-Nathan studio, he conducted the film scores of several other composers, including Arthur Honegger and Darius Milhaud. He regularly conducted at concerts in France and abroad. He was a strong supporter of Kurt Weill when that composer was widely misunderstood] 10” blue Florilège 2006, only form of issue, 1944. M-A MB 12

N0261. HENRI WEBER: Les Cloches (Fock) / J’ai tent pleuré (Rico). 10” black Paris G & T G.C.3-32764/32765 (5334/5335h), POM-1907. A to M-A, lovely copy has faintest rubs, inaud. & contemporaneous Parisian label stkrs. MB 10

N0262. HENRI WEBER: Versez-moi le vin bleue (Darcier) / Sérénade à Magali (Trim). 10” black Paris G & T G.C.3-32770/32772 (5354/5355h), POM-1907. A to M-A, lovely copy has contemporaneous Parisian label stkrs. MB 10

N0263. REYNALDO HAHN (Self-Accompanied): Aimons-nous (Gounod) / L'Île Heureuse (Chabrier). 10" brown PW French Col.D 2020, only form of issue, 1928/'29. M-A, beautiful copy has, Sd.2 only, faintest rub, inaud. MB 15

N0264. REYNALDO HAHN (Self-Accompanied): Le retour du marin / Le pauvre laboureur (both arr. Tiersot). 10" brown PW French Col.BF 1, POM-1932, Orig. Issue. M-A, appears unplayed! MB 12

N0265. REYNALDO HAHN (Self-Accompanied): Maid of Athens (in English) (Gounod) / LUCIEN FUGÈRE: Louise - Voir naître une enfant (Creator, 2 Feb., 1900, l’Opéra-Comique). 12” vinyl BIRS Historic Masters HMB 14, POM-1928, both from Unpublished Masters. MINT MB 10

N0266. FANNY HELDY, w.Reynaldo Hahn Cond.: Le Marchand de Venise – La sentence nous y venons / FANNY HELDY, RENÉE MAHÉ, MARTIAL SINGHER & HENRI LE CLEZIO: L’amour qui pourtant n’est pas bête (Cond. by the Composer; Creators, 25 March, 1935, l’Opéra). 10" PW Disque Gram. DA 4872, only known form of issue, 1935. M-A, lovely copy has contemporaneous Parisian label stkr. MB 15

“Himself a singer, Hahn was cautious when discussing the art of singing and though his baritone voice was known for its beauty, he always gave more credit to the interpretation: ‘The true raison d’être for singing is the combination, the blending, the unbreakable union of the sound and the mind. The sound, as beautiful as it may be, is nothing if it says nothing….The idea of subtle expressivity, of the union of the sound and the intellect is characteristic of what is known as the French spirit’. Reynaldo Hahn became one of its main ambassadors. The success of his melodies rested upon their melodic and prosodic qualities, on the equal importance he gave to the words and to music.”


- francemusique.fr


N0267. DANIEL VIGNEAU: Le ciel a visité la terre (Gounod) / Les Rameaux (Faure). 10” black Paris G & T G.C.3-32777/32786 (5523/96h), POM-1908. A to M-A, lovely copy has faintest grey, Sd.1 only. MB 10

N0268. DANIEL VIGNEAU: L'aube naît (Broche) / GEORGES RÉGIS (as REY): À Colombine (Massenet). 10” black V 79458 (15416/15914u), POM-11 April, 1909 / 25 July, 1910. A to M-A, lovely copy has faintest rubs & 1 silent nr, inaud. MB 8

N0269. DANIEL VIGNEAU: Funiculi funiculà (as ‘L'amour s'en vient’ / Charles VI –Guerre aux tyrans! (Halévy). 10” black Disque Gram. P 51, POM-1908. M-A MB 10

N0270. JEAN PÉRIER: Véronique – Adieu, je pars (Air de la lettre) (Messager). 9½” etched H & D Pathé 1729 (6612), recorded 1905. (Creator, 10 Dec., 1898, Bouffes-Parisiens); very shortly thereafter, 3 April, 1902, Périer would create the role of Pelléas, for Debussy, at l’Opéra-Comique). One of Périer’s seven recordings. M-A MB 75

N0271. LOUIS CAZETTE: Serenata (Toselli) / Le tango du rêve (Malderen). 10” black Disque Gram. P 386, only form of issue, 28 Oct. / 8 Nov., 1920. A to M-A MB 15

N0272. LOUIS CAZETTE: Grisélidis – Je suis l’oiseau (Massenet) / Fortunio – La maison grise (Messager). 10” black Disque Gram. P 436, only form of issue, 1 Feb. / 25 April, 1922. M-A MB 15

“… Cazette…seems to possess naturalness and a certain sincerity of expression. Besides, the voice is beautiful, even, and correctly produced with an agreeable timbre and satisfying accuracy. This is all I can say today with some certainty about this artist, who unquestionably possesses many gifts.”


- Raymond Charpentier, COMOEDIA, 23 Jan., 1920


N0273. HENRI SAINT-CRICQ: Vous êtes jolie! (Delmet) / La Chanson de Marinette (Tagliafico). 10” dark-blue Pathé X.3427, only form of issue, 1929. M-A MB 15

N0274. HENRI SAINT-CRICQ: Le Légende de Saint-Nicolas (Gouzien) / Le Roi a fait battre tambour (de Séverac). 10” green Pathé X.3471, only form of issue, 1930. M-A, Sd.2 with contemporaneous Parisian label stkrs. MB 15

N0275. HENRI SAINT-CRICQ: Der Nussbaum (Schumann) / Die Forelle (Schubert) (both in French). 10” green Pathé X.3472, only form of issue, 1930. M-A, with contemporaneous Parisian label stkrs. MB 15

N0276. HENRI SAINT-CRICQ: L’amant jaloux - Tandis que tout sommeille / Zémire et Azor - Du moment qu'on aime! (both Grétry). 10” green Pathé X.0696, only form of issue, 1930. M-A MB 15

“Henri Saint-Cricq sang in both big opera houses in Paris, at the Grand Opéra (1932-1936, debut as Lohengrin) and at the Opéra-Comique. His most significant achievements were appearing in dramatic roles, as Samson in SAMSON ET DALILA, Radames, as Don José and as Faust in Berlioz’s LA DAMNATION DE FAUST.”


- Ashot Arkelyan


N0277. ÉDOUARD de RESZKE: Ernani – Infelice, e tuo credevi. 10½" Shellac S/S Columbia Special white label Pressing of 170727, RR-1903, announced. A-, lovely copy has faintest rubs & 3 minuscule edge lams, inaud. MB 20

N0278. ÉDOUARD de RESZKE: Ernani – Infelice, e tuo credevi / Marta – Chi mi dirà (Porter song). 10" silver & blue Columbia IRCC 28 on Royal blue shellac, (1221/22), Sd.1 is announced, RRs-1903. Numbered Copy #65 of a Limited Edition. M-A, beautiful copy has, Sd.1 only, faintest lams, positively inaud. MB 35

“Édouard de Reszke was the younger brother of Jean de Reszke. The two brothers often appeared together in Massenet’s LE CID, SIEGFRIED, GÖTTERDÄMMERUNG, MEISTERSINGER VON NÜRNBERG, LOHENGRIN, TRISTAN UND ISOLDE, as well as in the Meyerbeer operas - an astonishing list of roles! His popularity was as great as Jean’s, not only in Paris, but also at the Met and London. Édouard de Reszke was a giant figure on stage. His voice was described as powerful and sonorous but lacked the fine artistry and finesse which was so admirable in his brother’s singing. He was one of the artists involved in the first USA Grand Opera series of records published by Columbia in 1903, sounding very much a French-school singer. Jean and Édouard became an artistic combination whose presence defined the most elegant of turn-of-the-century performances at the Paris Opéra, Covent Garden, and the Metropolitan.”


- Andrea Shum-Binder, subito-cantabile


N0279. LUCIEN FUGÈRE, w.Cohen (Pf.): Ronde d'amour (Chaminade) / Plaisir d'amour (Martini). 10" PW French Col. D 13044, POM-13 April, 1928. M-A MB 12

"a basse chantante of easy baritone range, with ringing clarity in the lower register and skilful refinement in the upper"


- Harold Rosenthal, THE NEW GROVE DICTIONARY OF OPERA


N0280. LUCIEN FUGÈRE, w.Cohen (Pf.): Les vieilles de chez nous (Levadé) / Le vieux ruban (Henrion). 10" PW French Col. D 13043, POM-13 April, 1928. M-A MB 12

N0281. LUCIEN FUGÈRE, w.Cohen (Pf.): L'anneau d'argent (Chaminade) / Le Jongleur de Notre-Dame – Pour la Vièrge (Massenet). 10" Eng. Col. D 13077, POM-13 / 14 April, 1928. M-A MB 12

N0282. LUCIEN FUGÈRE, w.Cohen Cond.: Zauberflöte - Der Vogelfänger bin ich ja / Ein Mädchen oder Weibchen (both in French). 10" PW French Col. D 13092, POM-15 March, 1929. M-A MB 12

“Fugère has been compared to the Swiss tenor Hugues Cuénod, who made his debut at the Metropolitan Opera at the age of 84."


- Will Crutchfield, THE NEW YORK TIMES, 8 March 1987


N0283. LUCIEN FUGÈRE, w.Cohen Cond.: Don Giovanni – Madamina!, (in French) 2s. 10" PW French Col. D 13093, POM-15 March, 1929. M-A MB 12

N0284. LUCIEN FUGÈRE w.Cohen Cond.: Le Maître de Chapelle – Ah! quel bonheur (Paër), 2s. 12” PW Eng. Col. LFX 32, POM-7 March, 1930. M-A MB 20

“One needs only to hear one of the Columbia records to realise how great the baritone was: ‘Ah quel bonheur’ [above] strikes the listener in how youthful sounding the voice is….The flexibility is amazing with its countless embellishments and facility of vocalisation."


- Alfred de Cock, THE RECORD COLLECTOR, 2010


N0285. LUCIEN FUGÈRE w.Cohen (Pf.): Les Pèlerins de la Mecque – Un ruisselet bien clair (Gluck) / Le Médecin Malgré Lui – Qu'ils sont doux (Gounod). [These magical titles offer incomparable pianissimo effects!] 12” PW Eng. Col. D 15178, POM-8 March,1929. M-A MB 35

“An artist whom Paris loved so well that he never went over the borders of his country, and whose singing I have enjoyed more than words can tell, is the baritone Fugère. It is a loss to the world that he was so well loved at home that no other country had the privilege of hearing him, but the sweetness, the nobility, the charm of Fugère has never been equalled....while Pol Plançon was the finest French singer from the vocal standard, Fugère was the greatest male French artist on the operatic stage. Today he sings always with the same perfection, and he is an old man. That is the triumph of perfect voice production.”


- Blanche Marchesi, SINGER'S PILGRIMAGE, p.124


N0286. ANDRÉ GRESSE: Roméo et Juliette – Allons! Jeunes gens! 10” black Paris G & T G.C. -2-32696 (1490F), only form of issue, 1903. [Gresse was the famous Mephisto of the Grand Opéra in Gounod’s FAUST for nearly 30 years. One of his numerous pupils was the baritone Martial Singher] M-A, choice copy has faintest rubs, inaud. MB 15

N0287. ANDRÉ GRESSE: Faust – Le veau d’or / Vous qui faites l’endormie. 8¼” etched label center-start H & D Pathé 500/501 (22879/37520), Original 1904 issue, both sides announced. A to M-A, choice copy has mere hint of grey on peaks; in Orig. Pathé sleeve. MB 15

N0288. BERTHE AUGUEZ de MONTALANT: Gallia – Ses tribus plaintives / Jérusalem (Gounod). 10” black Paris Pre-Dog G.C.-33717/33695 (14040u/5841h), POM-4 Nov., 1908. A to M-A, lovely copy has lovely copy has contemporaneous Parisian label stkrs. MB 12

N0289. BERTHE AUGUEZ de MONTALANT: Ave Maria (Gounod) / LÉON BEYLE & HECTOR DUFRANNE: Le Crucifix (Faure). 10” black Paris Pre-Dog G.C.33649/34191 (5112/5120h), POM-1907. A-, lovely copy has faint rubs, inaud.; Sd.2 only has faintly audible nr; contemporaneous Parisian label stkrs. MB 10

N0290. BERTHE AUGUEZ de MONTALANT: Marie-Magdeleine – S’a lèvre d’ou tombait / MARCEL JOURNET: Nozze - Vedrò, mentr'io (A mes désirs rebelles) (in French). 10” black Disque Gram. 33777/4-032945 (14499u/14930u, POM-24 March / 11 June 1909. M-A, exceptional copy has contemporaneous Parisian label stkrs. MB 15

N0291. BERTHE AUGUEZ de MONTALANT: L’Africaine - Toujours son sommeilnagite / Robert le Diable – Va, dit-elle mon enfant (both Meyerbeer). 10” black Paris Pre-Dog G.C.-33715/16 (6486/87h), POM-1908. M-A, lovely copy has contemporaneous Parisian label stkrs. MB 12

N0292. BERTHE AUGUEZ de MONTALANT & LÉON BEYLE: Marie-Magdeleine – Heureux ceux qui vivront dans l'amour / LOUIS DUPOUY: Le Jongleur de Notre-Dame – Légende de la Sauge. 10” black Disque Gram. G.C.-34220/4-32094 (5771/15921h), POM-1908 / 7 Sept., 1910. [In 1899 Auguez de Montalant made her debut at the Opéra-Comique in Paris as Léonore in Fidelio] A to M-A,exceptional copy has faint nr on each label, plus contemporaneous Parisian label stkrs. MB 12

N0293. NINON VALLIN, w.Piano Acc.: La petite morte / w.Ruhlmann Cond.: La tempête (both Ackermans). 10” dark-blue Pathé X.93.136, only form of issue, 20 June, 1933. M-A Ultra-Rare! MB 35

N0294. NINON VALLIN, w.Ruhlmann Cond.: Dolores / Les sirènes (both Waldteufel). 10” dark-blue Pathé X.93.134, only form of regular issue, 20 June, 1933. M-A MB 20

N0295. NINON VALLIN, w.Andolfi Cond.: Redis-moi toujours (Lauwerens) / Tu demandes pourquoi! (Beydts). 10” dark-blue Pathé X.93.110, only form of issue, 1932. M-A Ultra-Rare! MB 35

N0296. NINON VALLIN, w.Andolfi (Pf.): Mai / Rêverie (both Hahn). 10” green Pathé X.93.082, only form of issue, 1932. M-A MB 25

N0297. NINON VALLIN, w.Andolfi (Pf.): Après un rêve / Au bord de l’eau (both Fauré). 10” green Pathé X.93.081, only form of regular issue, 1932. M-A MB 25

N0298. NINON VALLIN, w.Maurice Faure (Pf.): Si mes vers avaient des ailes / Chansons Grises – L’heure exquise (both Hahn) (1928 Versions). 10” French Odéon 188.579, POM-31 March, 1928. M-A MB 12

N0299. NINON VALLIN, w.Maurice Faure (Pf.): Les deux coeurs (de Fontenailles) / L’île heureuse (Chabrier). 10” dark-blue French Odéon 166.667, only form of issue, 31 May, 1933. M-A, lovely copy has faintest pap.rubs, inaud. MB 15

N0300. NINON VALLIN, w.Maurice Faure (Pf.): Aurore / En sourdine (both Fauré). 10” red Pathé PD 46, only form of issue, 28 July,1943. M-A Elusive wartime issue! MB 25

N0301. NINON VALLIN, w.Maurice Faure (Pf.): Nell / Le parfum impérissable (both Fauré). 10” red Pathé PD 51, only form of issue, 28 July,1943. M-A Elusive wartime issue! MB 15

N0302. NINON VALLIN, w.Reynaldo Hahn (Pf.): Le printemps / L’air (both Acc. by the Composer). 10” French Odéon 188.739, POM-26 June, 1930. M-A MB 15

N0303. NINON VALLIN, w.Reynaldo Hahn (Pf.): Les étoiles / La delaissée (both Acc. by the Composer). 10” French Odéon 188.740, POM-26 June, 1930. M-A MB 15

N0304. NINON VALLIN, w.Reynaldo Hahn (Pf.): Études Latines – Tyndaris / Lyde (both Acc. by the Composer). 10” French Odéon 188.741, POM-26 June, 1930. M-A, MB 15

N0305. NINON VALLIN, w.Reynaldo Hahn (Pf.): Infidélité / D’une prison (both Acc. by the Composer). 10” French Odéon 188.738, POM-26 June, 1930. M-A MB 15

N0306. NINON VALLIN, w.Yvonne Curti (Violin) & Lily Laskine (Harp): Sérénade du passant (Massenet) / Sadko – Chant indou (Rimsky-Korsakov) (1924 Version). 11½” H & D green paper label Pathé 3251 (1660/61), w. contemporaneous Parisian label stkrs., recorded 1924. M-A MB 15

N0307. NINON VALLIN, w.A. de Pierlas, (Pf.): Noël (Holmès) / Désespérance (Chant hindou) (Bemberg). 10” French Odéon 166.668, only form of issue, 1933. M-A, choice copy has, Sd.2 only, faintest rubs, inaud. Highly Elusive, the only copy we’ve seen in over 35 years! MB 25

N0308. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Ständchen / Traum durch die Dämmerung (both in French) (both Strauss). 10” Col.G-4077-M, on Royal Blue Shellac, POM-19 June, 1930. M-A MB 15

N0309. NINON VALLIN, w.Madeleine D’Aleman (Pf.): In der Fremde (Schumann) / Die Schöne Müllerin – Wohin? (both in French) (Schubert). 10” Col. G-4080-M, on Royal Blue Shellac, POM-19 June, 1930. M-A MB 15

N0310. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Peer Gynt – Solveig’s song (1929 Version, in French) (Grieg) / Sadko – Chant indou (Rimsky-Korsakov). 12” red Decca-Odeon 25318, POM-3 Dec., 1929. M-A MB 12

N0311. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Schwanengesang - Ständchen) (in French) (Schubert) / w.Cloëz Cond.: Chanson triste (Duparc). 12” red Decca-Odeon G-25843, POM-3 Dec., 1929 / 3 July, 1928. M-A MB 12

N0312. NINON VALLIN, w.Cariven Cond.: Étude, Op.10, #3 (as ‘Intimité) (Chopin) / Une Revue – La dernière valse (Hahn). 12” PW French Col. LFX 338, POM-1 Feb., 1934; only form of issue, Sd.2. A to M-A, lovely copy has faintest rubs, inaud. MB 12

N0313. NINON VALLIN, w.Darck (Pf.): Les roses de Saadi (Canal) / Les Nuits d’Été – Villanelle (Berlioz). 10” green Pathé PG 62, only form of issue, 15 May, 1935. M-A MB 15

N0314. NINON VALLIN, w.Darck (Pf.): Chanson de printemps (Gounod) / w.Roesgen-Champion (Pf.): Mai; Secret (both Acc. by the Composer). 10” green Pathé PG 81, only form of issue, 29 April / 13 Jan., 1937. M-A MB 20

N0315. NINON VALLIN, w.Darck (Pf.): Cimetière de campagne / Chansons Grises – L’heure exquise (both Hahn). 10” blue PW Col. P-17160, POM-13 Jan., 1937. M-A MB 10

N0316. NINON VALLIN, w.Darck (Pf.): Waltz #15 in A-flat (as ‘Ainsi qu’un très vieux refrain’ – ‘Célèbre Valse de Brahms’) (Brahms; arr.Darck) / L’adorable cantilène (Spencer). 10” dark-blue French Odéon 281.278, POM-21 June,1938. M-A MB 20

N0317. NINON VALLIN, w.Darck (Pf.): Waltz #9 in A-flat, Op.69, #1 (as ‘Valse de l’adieu’) (Chopin; arr.Darck) / Hungarian Dance #4 in f (as ‘Violon du soir’) (Brahms; arr.Darck). 10” dark-blue French Odéon 281.277, POM-21 June, 1938. M-A, choice copy has faintest rubs, inaud. MB 20

N0318. NINON VALLIN, w.Darck (Pf.): Près de l’étang (Longas) / The Cat and the Fiddle - The night is made for love (in French) (Jerome Kern). 10” dark-blue French Odéon 166.806, only form of regular issue, 25 June, 1934; [The Kern song is a quite special delight (w.piano & guitar accompaniment)]. M-A MB 20

N0319. NINON VALLIN: Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov). (1928 Versions). 11¾” orange Art-Label Pathé X.7149, only form of issue, 1928. M-A, choice copy has, Sd. 1 only, infinitesimal pap. scr, inaud. Exceedingly elusive! MB 25

N0320. NINON VALLIN, w.Ruhlmann Cond.: Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov) (1931 Versions). 12” green Pathé X93.044, only form of issue, 1931. M-A MB 20

N0321. NINON VALLIN, w.Louis Beydts Cond.: Le promenoir des deux amants (Debussy), 2s. 12” red Pathé PDT 82, only form of issue, 28 July, 1943. M-A Ultra-Rare wartime issue! MB 35

N0322. NINON VALLIN: Thais – Scène du miroir, 2s. 11¾” orange Art-Label Pathé‚ X.7144, only form of lateral issue, 1928. M-A, lovely copy has, Sd.2 only, faint rub, inaud. MB 25 25

N0323. NINON VALLIN: Thais – Scène du miroir, 2s. 11¾” black Art-Label Pathé X.7229, only form of issue, 1930. A to M-A, lovely copy has faintest rubs, inaud. MB 25

N0324. NINON VALLIN: Carmen – Habañera) / Séguedille (1927 Versions). 11¾” royal blue, steel grey & white Art-Label à la Kandinsky Pathé 7109, recorded 1927. Highly Elusive, the only copy we’ve seen in over 35 years! M-A MB 25

N0325. NINON VALLIN, w.Andolfi Cond.: Carmen – Habañera) / Séguedille (1928 Versions). 11¾” orange Art-Label (w.Vallin’s photo) Pathé X.7147, only form of lateral issue, both 1928. M-A MB 25

N0326. NINON VALLIN, w.Andolfi Cond.: La Boheme – Addio senza rancor / Mi chiamano Mimi (both in French). 11¾” orange Art-Label Pathé X.7145, only form of issue, 1928. M-A MB 25

N0327. NINON VALLIN, w.Andolfi Cond.: Manon – Adieu, notre petite table / Voyons Manon, plus de chimères. 11¾” black Art-Label Pathé X.7166, only form of lateral issue, 1928. M-A MB 25

N0328. NINON VALLIN, w.Cloëz Cond.: Norma – Casta Diva (in Italian!). 12” S/S Shellac French Odéon Test Pressing of Mx. xxP 7095-2, POM-27 June, 1930. French Odéon Test Pressing offering a remarkably quiet surface. M-A MB 15

N0329. NINON VALLIN, w.Cloëz Cond.: Mefistofele – L’altra notte / Norma – Casta Diva (both in Italian!). 12” French Odéon 123.709, POM-27 June, 1930. [Sublimely beautiful; her sole recordings in Italian!] M-A MB 15

N0330. NINON VALLIN, w.Cloëz Cond.: Mefistofele – L’altra notte / Norma – Casta Diva (both in Italian!). 12” Col.G-9058-M, on Royal Blue Shellac, POM-27 June, 1930. [Royal Blue Shellac offering remarkably quiet surfaces!] M-A MB 25

“Vallin [sings the ‘Casta Diva’] elegantly and in her attractive, individual timbre. She is the only soprano who sticks to the written notes exactly, to the very end, where she comes down to the A.”


- Andrew Porter, OPERA ON RECORD, I, p.162


N0331. NINON VALLIN, w.Andolfi Cond.: Nozze – Deh! vieni, non tardar / Don Giovanni – Batti, batti o bel Masetto (both in French). 11¾” black Art-Label Pathé X.7167, only form of issue, 1928. M-A, lovely copy has, Sd.2 only, faint rub, inaud. MB 35

N0332. NINON VALLIN, w.Bigot Cond.: Nozze – E Susanna non vien; Dove sono (in French), 2s. 10” red Pathé PD 35, only form of issue, 28 July, 1943. Most elusive wartime issue. A to M-A, lovely copy has faint rubs, inaud. MB 25

N0333. NINON VALLIN, w. Ruhlmann Cond.: Der Graf von Luxemburg – Je vais être mariée (Romance de Suzanne) (in French) (Lehár) / w.Andolfi Cond.: La Reine Joyeuse – Oh, Oh, La troublante volupté (Cuvillier). 10” green Pathé X.91.025, only form of issue, 1931. Important Vallin rarity! M-A MB 35

N0334. NINON VALLIN & JULIEN LAFONT, w.Cloëz Cond.: Louise – Repose-toi; L’enfant serait sage, 2s. 12” French Odéon 123.507, POM-26 Oct., 1927. M-A MB 12

N0335. NINON VALLIN & MADELEINE SIBILLE: Le Roi d’Ys – Margared, o ma soeur (Lalo), 2s. 11¾” black Art-Label Pathé X.7233, only form of issue, 1930. M-A MB 25

N0336. NINON VALLIN & MADELEINE SIBILLE; Andolfi Cond.: Les Contes d'Hoffmann – Belle nuit, ô nuit d’amour (Offenbach) / La Fille de Mme Angot – Jours fortunés (Lecocq). 10” red Pathé X.90.058, POM-1932, once thought to be only form of issue. M-A MB 15

N0337. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: La Fille de Mme Angot – Voyons monsieur, raisonnons politique (Duo politique) (Lecocq) / La Mascotte – Je sens lorsque je t’aperçois (Duo des dindons) (Audran). 10” red Pathé PD 4, only form of issue, 1934. Sheer enchantment, here! M-A MB 12

N0338. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: Der Graf von Luxemburg – Schau’n Sie freundlichst mich an / Die Lustige Witwe – Lippen schweign (both in French) (both Lehár). 10” Pathé X.2.620, only form of lateral regular issue, 1930. Highly Elusive, the only copy we’ve seen in over 35 years! M-A MB 25

N0339. NINON VALLIN & ANDRÉ BALBON: Manon - Pardon! mais j'étais là / Mignon - Légères hirondelles (1930 Versions). 10” red Art-Label Pathé 2621, only form of issue,1930. M-A MB 25

N0340. NINON VALLIN & ANDRÉ BALBON; Andolfi Cond.: Manon – Pardon, mais j’étais là / Mignon – Légères hirondelles (1936 Versions). 10” green Pathé PG 70, only form of issue, 29 Feb., 1936. M-A MB 25

N0341. NINON VALLIN & JEAN MARNY: Mireille – La brise est douce (Chanson de Magali) / La foi de son flambeau divin. 11½” H & D yellow paper label Pathé 2554 (2061/73), only form of issue, 1920. M-A MB 15

N0342. NINON VALLIN & JEAN MARNY: Manon – Duo de Saint-Sulpice, 2s. 11½” H & D yellow paper label Pathé 2553 (2059/60), only form of issue, 1920. M-A, beautiful copy has, tiny edge bite, not to grooves. MB 10

N0343. NINON VALLIN & JEAN MARNY: Lakmé - C'est le dieu de la jeunesse / Le Roi d'Ys - A l'autel j'allais rayonnant. 11½” H & D yellow paper label Pathé 2555 (2078/2065), only form of issue, 1920. M-A MB 15

N0344. NINON VALLIN & MIGUEL VILLABELLA, w.Ruhlmann Cond.: La Boheme – Sono andati / NINON VALLIN, MADELEINE SIBILLE, MIGUEL VILLABELLA & ANDRÉ BAUGÉ: Addio dolce svegliare (both in French). 12” red Pathé X.90.056, only form of issue, 1932. M-A MB 20

N0345. NINON VALLIN & MIGUEL VILLABELLA: Manon – J’ai marqué l’heure du départ…et je sais votre nom; Non! je ne veux pas le croire (Duo de la rencontre), 2s. 11¾” black Art-Label Pathé X.7225, only form of issue, 1930. M-A MB 25

N0346. NINON VALLIN & MIGUEL VILLABELLA, w.Ruhlmann Cond.: Manon – Duo de Saint-Sulpice, 2s. 12” red Pathé X.90.081, only form of issue, 1932. M-A MB 12

"During the period between the two world wars, Ninon Vallin was unrivaled as the leading lyric soprano in France. Very good technically, she had an admirable art of singing with a style full of inflexion and modulation and was adept at colouring her voice. That voice had a compass of an easy two octaves of the lyric soprano, with free and natural emission, excellent breath control and a very beautiful timbre….Hers was a perfect legato and she was a mistress of portamento.”


- Alfred de Cock, THE RECORD COLLECTOR, 2003


N0347. ERNEST VAN DYCK: Die Walküre – Winterstürme (in French). 11¾” etched label center-start H & D Pathé 795 (8562), recorded 1903, London, Announced. M-A, a spectacular copy! Ultra Rare! MB 75

“Ernest van Dyck sang Parsifal at the Bayreuth Festival regularly until 1901. Also at Bayreuth he portrayed Lohengrin in 1894 and was back again in 1911-1912 as Parsifal. In 1888 he joined the Vienna Opera where he had two brilliant seasons. It was there in 1892 that he sang Werther in the world premiere of the Massenet opera….In Paris he sang in many concerts under the direction of Charles Lamoureux. His career was quite international and after 1891 he was a regular guest artist at Covent Garden and a member of the Metropolitan Opera Company, 1898-1902….During this period he sang many Tristans and Parsifals…. van Dyck became one of the greatest Wagnerian tenors of his day….Many vocal historians feel the lyrical beauty of his voice was destroyed by Cosima Wagner and the German school of singing (sprechgesang).”


- Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, pp.329-331


N0348. ERNEST VAN DYCK: Dichterliebe – Ich grolle nicht / Die Myrthen – Du bist wie eine Blume (both Schumann). 10½” 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 MB 35

N0349. ERNEST VAN DYCK: Ich grolle nicht (in French) (Schumann) / RENÉ FOURNETS: Pauvre fous (Tagliafico). 10” black & gold Art-Label Homophone 8390/8702, recorded 1903, from Pathé cylinders, London / 1906, Paris. A-/A, fine copy has, Sd.1 only, faintest rubs & a few superficial scrs, ever-so-faintly audible & hardly worth mention; Sd.2 has infinitessimal nr & faint scr, positively inaud.; contemporaneous Parisian label stkr. MB 25

“Fournet’s debut was at the Paris Opéra-Comique in 1884 where he sang leading basse chantante roles. 1892 marked his debut at the Paris Opéra as Mefisto in Gounod’s FAUST. He remained an important artist there until 1901, singing Wotan, Leporello, Saint Bris in LES HUGUENOTS, etc. He subsequently appeared on a number of stages in the French provinces.”


N0350. PAUL FRANZ: Lohengrin – Mein lieber Schwan! (in French), 2s. 10” royal blue, steel grey & white Art-Label à la Kandinsky Pathé X.0720, recorded, 1930. M-A, a spectacular copy! MB 25

N0351. PAUL FRANZ w.Ruhlmann Cond.: Samson et Dalila – Vois ma misère, hélas! (Scène de la Meule) 2s. 12” red Pathé X.90.043, recorded 1930. M-A MB 25

N0352. PAUL FRANZ w.Ruhlmann Cond.: Siegfried – Du holdes Vöglein (Forest Murmurs) (in French), 2s. 12” red Pathé X.7.235, recorded 1930. A- excellent copy has faintest grey on peaks, inaud. MB 20

“The voice of the dramatic tenor Paul Franz is one of the finest of all French voices that emerged in the years immediately prior to the outbreak of World War I. He possessed a dark and powerful voice, with fully blended registers and a pronounced expressivity. His Wagner singing is equally outstanding as that of Jaques Urlus and Lauritz Melchior. The voice itself was unforced, at once lyrical and strong, with broad, well-bounded phrases. Some electrical recordings, made when he was more than 50, still show him at the height of his abilities.”


- Andrea Shum-Binder, subito-cantabile


N0353. JEANNE GERVILLE-RÉACHE: Chanson slave (Chaminade). 10” white Vla 88035, only form of regular issue, 30 Oct., 1909. M-A, superb copy of preferred late pressing. MB 20

N0354. JEANNE GERVILLE-RÉACHE: Ich grolle nicht (Schumann). 10” Pat.’08 Vla 87085, only form of regular issue, 5 May, 1911, Orig.’A’ Plate Issue. M-A MB 25

N0355. JEANNE GERVILLE-RÉACHE: D'une prison (Hahn). 12" Pat.’08 Vla 88368, only form of regular issue, 5 May, 1911. M-A, a spectacular copy! MB 45

N0356. JEANNE GERVILLE-RÉACHE: D'une prison (Hahn). 12" white Vla 88368, only form of regular issue, 5 May, 1911. M-A, choice copy of preferred late pressing. MB 45

N0357. JEANNE GERVILLE-RÉACHE: D'une prison (Hahn) / Sapho - O ma lyre immortelle (Gounod). 12” silver Victor HRS 1011, POM-5 May, 1911 / 29 April, 1909. Numbered Copy #28 of an extraordinarily rare Limited Edition. M-A, a spectacular copy! MB 65

N0358. JEANNE GERVILLE-RÉACHE: La Vivandière – Viens avec nous, petit (Godard). 10" Pat.'08 Vla 87080, only form of regular issue, 5 May, 1911. M A MB 20

N0359. JEANNE GERVILLE-RÉACHE: La Vivandière – Viens avec nous, petit (Godard). 10½" Shellac S/S RCA Special white label Pressing of Mx. B8333-3 (w.RCA embossed spiderweb verso), POM-5 May, 1911. M A, beautiful copy has faintest rubs, inaud. MB 20

N0360. JEANNE GERVILLE-RÉACHE: La Reine de Saba – Plus grand, dans son obscurité (‘Take’ 1) (Gounod). 12" Pat.'08 Vla 88205, only form of issue, 29 Oct., 1909. M A MB 25

N0361. JEANNE GERVILLE-RÉACHE: La Reine de Saba – Plus grand, dans son obscurité (‘Take’ 2) / Paul et Virginie – Parmi les lianes (Air du Tigre) (Massé). 12" silver Victor IRCC 73, POM 29 Oct., 1909 / 5 May, 1911. Numbered Copy #23 of a Limited Edition. M-A, a spectacular copy! MB 35

N0362. JEANNE GERVILLE-RÉACHE: Sapho – O ma lyre immortelle (Gounod). 12” Pat.’08 Vla 88166, Original "A" Plate Issue, only form of regular issue, 29 April, 1909. M-A, choice copy has very faintest rubs, inaud. & hardly worth mention. MB 25

N0363. JEANNE GERVILLE-RÉACHE: Sapho – O ma lyre immortelle (Gounod). 12” ‘Elaine’ Vla 88166, only form of regular issue, 29 April, 1909, (w.RCA embossed spiderweb verso). M-A, exemplary copy of preferred late ‘Elaine’ issue. MB 25

"The old 'Desert Island' cliché is really not a bad way to force one to come to grips with the problem of sorting out one's real favorites when it comes to recordings....I consider Gerville-Réache's recordings of the Reine de Saba and Sapho arias among the really great records. The regal quality and the authority with which the singer opens the first...is not equaled on records, in my estimation....The recording of 'O ma lyre immortelle' from Gounod's Sapho is a close second, and again would be on my list for the great recordings of the century....For a third selection of this singer's records, I would be hard put to choose between the 'Air de Lia' from Debussy's L'Enfant Prodigue and the lovely 'D'une prison' of Reynaldo Hahn...."


- W.R. Moran, THE RECORD COLLECTOR, 1973


N0364. JEANNE GERVILLE-RÉACHE: Carmen - En vain pour éviter (Card Scene). 10" Pat.'08 Vla 87039, Original "A" Plate Issue, only form of regular issue, 30 Oct., 1909. A to M-A MB 20

N0365. JEANNE GERVILLE-RÉACHE: Carmen - Habanera. 12" white Vla 88278, only form of regular issue, 9 Dec., 1910, [this appeared otherwise only in the red vinyl ‘Heritage’ Series]. M-A, superb copy of preferred late pressing. MB 45

N0366. JEANNE GERVILLE-RÉACHE: Carmen - Habanera / Paul et Virginie - Parmi les lianes (Massé). 12” red vinyl RCA ‘Heritage’ 15-1008, POM-9 Dec., 1910 / 5 May, 1911. MINT [The only D/S appearance of Sd.1] MB 8

N0367. JEANNE GERVILLE-RÉACHE: Samson et Dalila - Mon coeur s’ouvre à ta voix / Amour,viens aider. 12” Tri-Color Columbia A5533 [36825-1/36832-1], only form of issue, 12 / 11 Nov., 1913 [Gerville-Réache’s final recordings]. M-A, a spectacular copy! MB 15

N0368. JEANNE GERVILLE-RÉACHE: L’Enfant Prodigue – L’Année en vain chasse l’année (Air de Lia) (Debussy). 12” Pat.’08 Vla 88281,POM-5 May, 1911. A to M-A, lovely copy has faintest rubs & microscopic scr., inaud. MB 20

N0369. JEANNE GERVILLE-RÉACHE: Orfeo ed Euridice – J'ai perdu mon Euridice. 12” Pat.’08 Vla 88198, only form of regular issue, 29 April, 1909. M-A, a spectacular copy! MB 25

N0370. JEANNE GERVILLE-RÉACHE: Orfeo ed Euridice – J'ai perdu mon Euridice. 12” white Vla 88198, only form of regular issue, 29 April, 1909. M-A, superb copy of preferred late pressing! MB 25

N0371. JEANNE GERVILLE-RÉACHE: Il Trovatore – Stride la vampa (in Italian). 10” Pat.’08 Vla 87027, only form of issue, 29 Oct., 1909. M-A MB 15

N0372. JEANNE GERVILLE-RÉACHE: Il Trovatore – Stride la vampa (in Italian). 10” white Vla 87065, only form of issue, 29 Oct., 1909. A to M-A, lovely copy of preferred late pressing has faintest rubs, inaud MB 12

N0373. JEANNE GERVILLE-RÉACHE: Paul et Virginie – Parmi les lianes (Air du Tigre) (Massé). 12" Pat.'08 Vla 88317, only form of regular issue, 5 May, 1911. M A MB 25

N0374. JEANNE GERVILLE-RÉA CHE: Paul et Virginie – Parmi les lianes (Air du Tigre) (Massé). 12” ‘Elaine’ Vla 88317, only form of regular issue, 5 May, 1911, (w.RCA embossed spiderweb verso). M-A, a spectacular copy! MB 25

N0375. JEANNE GERVILLE-RÉACHE: Werther - Va’ laisse couler mes larmes. 10” Pat.’08 Vla 87027, only form of regular issue, 29 April, 1909. M-A MB 25

N0376. JEANNE GERVILLE-RÉACHE: Werther - Va’ laisse couler mes larmes. 10” white Vla 87027, only form of regular issue, 29 April, 1909. A to M-A MB 15

“Gerville-Réache remained on the roster at the Opéra-Comique until 1903, and it was there that she created the role of Geneviève in PELLÉAS ET MÉLISANDE (3 April, 1902). Her interpretation of Dalila quickly established the popularity of Saint Saëns’ opera in America, and the critic Philip Hale ranked her Dalila ‘on a par with de Reszke’s Roméo, de Lucia’s Canio, Ternina’s Isolde, Calvé’s Carmen and Maurel’s Iago’. She possessed the voice of a fine cello swathed in burgundy-colored velvet. A true, sonorous contralto with many of the better qualities of Ernestine Schumann-Heink and Louise Homer, remarkably amalgamated into a single human voice.

Gerville-Réache’s voice cannot but leave an impression on those hearing her….in record after record (not that there are all that many of them), she displays a remarkable range which encompasses cavernous lows to ringing, apparently effortless high notes. Hers was without doubt a voice to be cherished and remembered.”


- Andrea Shum-Binder, subito-cantabile


N0377. SUZANNE CESBRON-VISEUR:, w.Cloëz Cond.: Nozze – Deh vieni, non tardar (in French), 2s. [A magical performance! Cesbron-Viseur’s recitative alone qualifies this as a definitive rendition! Among her famous pupils were Régine Crespin and Eliette Schenneberg] 10” French Odéon 188.628. M-A MB 25

N0378. DAVID DEVRIÈS: Lakmé - Prendre le dessin d'un bijou / Ah, viens dans la forêt. 11½” etched label center-start H & D Pathé 0044/0072, recorded 1904, both announced. M-A, beautiful copy has, alas, wee lateral incipient hlc forming at outer edge, w.contemporaneous Parisian label stkrs. MB 20

N0379. DAVID DEVRIÈS: Mignon – Elle ne croyait pas / Adieu Mignon, courage. 11½” H & D black paper label Pathé 0124 (4596/4583), recorded 1907, w.contemporaneous Parisian label stkrs. M-A MB 25

N0380. DAVID DEVRIÈS: Werther – Pourquoi me réveiller? / Un autre est son époux. 11½” H & D brown paper label Pathé 0125 (4588/4598), recorded 1907, w.contemporaneous Parisian label stkrs. M-A MB 25

N0381. DAVID DEVRIÈS: Manon – En fermant les yeux (Le rêve) / Faust – Salut, demeure. 11½” etched label center-start H & D Pathé 0080/4790, recorded 1905/’07. M-A, lovely copy has, Sd. 2 only, faintest grey only at very beginning, w.contemporaneous Parisian label stkrs. MB 25

N0382. DAVID DEVRIÈS, w.Émile Nerini (Pf.): Cimetière de campagne (Hahn) / Les anes du Caire (Acc. by the Composer). 10" French Odéon 188.596, only form of issue, 5 July, 1928. M-A, lovely copy has, Sd.1 only, faintest rub, inaud. Sd.2 has special Odéon label stkr featuring Devriès’ photo. MB 65

N0383. DAVID DEVRIÈS, w.Cloëz Cond.: Mélodies Persanes –Au Cimetière / Tournoiement (Saint-Saëns). 10" French Odéon 188.584, original form of issue, 25 April, 1928 [hauntingly beautiful!] , w.contemporaneous Parisian label stkrs. M-A MB 65

N0384. DAVID DEVRIÈS, w.Cloëz Cond.: Mélodies Persanes –Au Cimetière / Tournoiement (Saint-Saëns). 10" French Odéon 188.584, original form of issue, 25 April, 1928 [hauntingly beautiful!]. A-, lovely copy has faintest rubs & various very lt.scrs, minimally only very ltly audible, w.contemporaneous Parisian label stkrs. MB 20

N0385. DAVID DEVRIÈS, w.Cloëz Cond.: Fortunio - Si vous croyez que je vais dire / J’aimes la vieille maison grise (Messager). 10" French Odéon 188.525, only form of issue, May, 1927, w.contemporaneous Parisian label stkrs. A to M-A MB 25

"There is David Devries to demonstrate how beautiful and musical a true head- voice production can sound on high notes if properly cultivated."


- Will Crutchfield, THE NEW YORK TIMES, 12 June, 1988


N0386. DAVID DEVRIÈS, w.Cloëz Cond.: Barbiere - Ecco ridente (in French), 2s. 10" French Odéon 188.524, only form of issue, April, 1927. A-, lovely copy has faintest rubs & various very lt.scrs, minimally ltly audible. Both sides have special Odéon label stkrs featuring Devriès’ photo. MB 20

N0387. DAVID DEVRIÈS, w.Cloëz Cond.: Manon – Le rêve / Le Roi d'Ys – Vainement, ma bien-aimée. 10" French Odéon 188.505, only form of issue, 1927. M-A MB 25

N0388. DAVID DEVRIÈS, w.Cloëz Cond.: Faust – Salut! demeure / Mignon – Elle ne croyait pas. 12” French Odéon 123.552, POM-22 / 25 May, 1928, only form of issue, Sd. 1, w.contemporaneous Parisian label stkrs. M-A MB 65

N0389. DAVID DEVRIÈS, w.Cloëz Cond.: Sapho - Qu'il est loin mon pays / Jongleur de Notre-Dame - O liberté ma vie (both Massenet). 12” French Odéon 171.034, only form of issue, 1927. M-A, superb copy has, Sd.2 only, faintest rubs, inaud., w.torn contemporaneous Parisian label stkrs. MB 35

N0390. DAVID DEVRIÈS & GABRIELLE LEJEUNE-GILIBERT: La Fille de Mme Angot – Voyons, Monsieur, raisonnons-nous politique (Lecocq). 12” purple Pat.’08 V 70025, Orig. ‘A’ Plate Issue, only form of issue, 4 April, 1910. A to M-A, lovely copy has faintest rubs, inaud. Exceedingly Elusive! MB 35

N0391. DAVID DEVRIÈS, NANSEN, DANGÈS & BELHOMME: L’Arlésienne – Marche des rois (Bizet) / DAVID DEVRIÈS, POUMAYRAC, NANSEN, DANGÈS & BELHOMME: L’Africaine – Choeur des matelots (Meyerbeer). 10½” black paper label H & D Canadian Pathé 127 (0777/0836), recorded 1910. M-A MB 15

“David Devriès was a French operatic lyric tenor noted for his light, heady tone, and polished phrasing. He represents a light style of French operatic singing that was popular in the 19th century. He débuted in the role of Gérald in Delibes's LAKMÉ at the Opéra-Comique, where he regularly performed throughout his career. He performed alongside Mary Garden, Luisa Tetrazzini and Dame Nellie Melba. In 1909-10 Devriès took part in the final season of Oscar Hammerstein I's Manhattan Opera Company, singing a range of French opera, including PELLÉAS ET MÉLISANDE, which he also performed in 1910 at Covent Garden. He created the role of Paco in Manuel de Falla's LA VIE BREVE.”


- Wikipedia


N0392. JEAN-ÉMILE MERCADIER: Pour t’avoir encore (Maquis). 10” black Paris G & T G.C. -2-32554 (853F), only form of issue, 1902. M-A, choice copy has mere hint of grey on peaks is positively inaud., hardly worth mention. MB 15

“Mercadier’s career ran from 1885 to his retirement in 1928. He was a singer of charm and impeccable diction. Between 1892 and 1897 he sang in Bataclan. In 1894 he was at Bijou, and in 1896 he was at the opening of New Athens, then at Libre-Échange between 1897 and 1902. He was at Café Montmartre between 1903 and 1905, at Casino Montparnasse and at the Casino St. Martin. He was at Les Folies-Parisiennes in 1905 and 1914. His songs remained famous for a long time.”


N0393. CLAIRE CROIZA, w.George Reeves (Pf.): Aubade / Ma poupée chérie (both de Sévérac). 10" PW French Col. LF 60, only form of issue, 1930. M-A, beautiful copy has faintest rubs, inaud.; Sd.1 has wee edge crunch, not to grooves. MB 35

N0394. CLAIRE CROIZA, w.George Reeves (Pf.): Lamento / Chanson triste (both Duparc). 10" PW French Col. LF 59, only form of issue, 1930. M-A MB 35

N0395. CLAIRE CROIZA, w.Albert Roussel (Pf.): Deux Melodies - Sarabande (Acc. by the Composer) (Sung by the dedicatée of this Cycle which Croiza premièred 9 Dec., 1928, Paris / w.Francis Poulenc (Pf.): Ariettes oubliées - Il pleure dans mon coeur (Debussy). 10" PW French Col. D 13084, only form of issue, 1928. M-A MB 65

N0396. CLAIRE CROIZA, w.Francis Poulenc (Pf.): Le Bestiaire, ou Le cortège d’Orphée (Acc. by the Composer) / L'invitation au voyage (Duparc). 12” PW French Col. D 15041, POM-1928. MB 35

N0397. CLAIRE CROIZA, w.Arthur Honegger (Pf.): Chansons de la Petite Sirène - Chanson des sirènes; Berceuse de la sirène (all Acc. by the Composer) / w.Albert Roussel (Pf.): Amoureux séparés. 10” PW Eng. Col. D 13082, only form of issue, 1928. M-A MB 45

N0398. CLAIRE CROIZA, w.Pierre de Bréville (Pf.): Une jeune fille parle / La belle au bois (both Acc. by the Composer). 10” PW French Col. D 13085, only form of issue, 1928. M-A MB 65

N0399. CLAIRE CROIZA, w. Pascal String Quartet & Michelène Kahn (Harp): Les Prières - Oraison dominicale / Salutation angélique (André Caplet). 10” red Lumen 30.0008, only form of issue, 1933. M-A MB 65

N0400. CLAIRE CROIZA, w.Ivana Meedintiano (Pf.): Trois Ballades de Villon – Ballade que Villon fait à la requeste de sa mère / Deux Romances - Les Cloches; Les Angélus (all Debussy). 12” red Lumen 32.045, only form of issue, 1936. M-A MB 65

“Croiza made her first recordings in 1927 after she had been singing twenty-two years. The voice in 1927 was in fine condition and there was very little change in it by 1936 when she made her last recordings. Not only do Croiza’s recordings provide some very beautiful singing and exquisite artistry, they are virtually all documents of historical stature.

Croiza’s records, by the nature of the music she recorded, are all scarce. In Paris she taught Janine Micheau, Suzanne Juyol, Camille Mauranne, Gérard Sousay, Jacques Jansen and many others.”


- Victor Giroud


N0401. JANE BATHORI (Self-Accompanied): Histoires naturelles – Le Paon; Le Grillon; Le Martin-Pêcheur (Ravel), 2s. 12” PW Eng. Col. D 15179, only form of issue, 1929. M-A MB 35

N0402. JANE BATHORI (Self-Accompanied): Clair de lune (Fauré) / Nez au vent (Lied) (Chabrier). 10" PW Eng. Col. D 13097, only form of issue, 1929. M-A MB 35

N0403. JANE BATHORI (Self-Accompanied): Chansons de Bilitis – La flûte de Pan / La chevelure (Debussy). 10" PW French Col.D 13086, POM-1929. M-A, beautiful copy has, Sd.2 only, faintest rubs, inaud. MB 25

N0404. JANE BATHORI (Self-Accompanied): Chansons de Bilitis – Tombeau des Naïades / Ariettes oubliées – C’est l’éxtase langoureuse (both Debussy). 10" PW French Col. LF 50, POM-1929. M-A MB 35

N0405. JANE BATHORI, w.Darius Milhaud (Pf.): Fumée; Fête de Bordeaux; Fête de Montmartre (all Acc. by the Composer) / w.Darius Milhaud (Pf.): Daphénéo; La statue de bronze; Le chapelier (all Satie). 12” PW French Col. D 15195, both POM-1929, Sd.1 being only form of issue. M-A MB 35

N0406. JANE BATHORI, w.Darius Milhaud (Pf.): Les Soirées de Petrograd - L'ancien régime / La révolution (Acc. by the Composer). 12” PW Eng. Col.D 15135, POM-1929. M-A MB 35

N0407. JANE BATHORI, w.Darius Milhaud Cond. Brega, Valencin, Planel, Petit & Hazart: L'Abandon d'Ariane; La Deliverance de Thesee; L'Enlevement d'Europe (all Cond. by the Composer), 6s. 3-Master Works Col.69059/61-D, POM-1929, in Orig. Album 309, w.Brochure. M-A MB 65, the Set.

"When asked if she had ever recorded prior to her Columbia recordings, Bathori replied, with considerable disdain, 'Oh, serious musicians would have nothing to do with the gramophone until they perfected the system. At the beginning it was a toy'. Why Columbia? 'In France Columbia was the label of choice. The company gave musicians complete freedom to record what we wanted and, quite frankly, it was the only company that was interested in promoting contemporary French music. All the other labels simply ground out, like sausages, the same old operatic numbers, Carmen this and Faust that. So we were all drawn to Columbia... like moths to a light'.”


- Victor Girard


N0408. IRÈNE JOACHIM, w.Jane Bathori (Pf.): L'Échelonnement des haies; Ariettes Oubliées - Green (Aquerelle #1) / Trois Chansons de Bilitis – La flûte de Pan; La cheveleure; Le tombeau des Naïades (all Debussy). 2–10" green Boîte à Musique 54/55, only form of issue, 1948. M-A MB 45, the Pair.

N0409. IRÈNE JOACHIM, w.Jean Germain (Pf.): Réponse d’une épouse sage (Roussel) / La chanson de Tessa (Jaubert). 10" green Boîte à Musique 48, only form of issue, 1948. M-A MB 25

N0410. IRÈNE JOACHIM, w.Leibowitz Cond.: Four Songs, Op.2 (Berg), 2s. 12” yellow & red French Classic 2.084, only form of issue, 1949. M-A MB 45

N0411. JEAN COCTEAU, w.Dan Parrish Orch.; Vance Lowry (Banjo), Dan Parrish (Piano), Dave Peyton (Drums), James Shaw (Reeds) & Crickett Smith (Trumpet): La Poisson d'or / Les voleurs d'enfants (recited by the Author). 12” Eng. Col.LFX 3 (WLX 1189), POM-12 March, 1929, Paris. M-A, a pristine copy! MB 45

“These unusual and excellent recordings feature the French poet, writer, artist and filmmaker Jean Cocteau reading his Dadaist poetry in French over the music of Dan Parrish's excellent jazz ensemble. Both performances ‘La Poisson d'Or’ (The Golden Fleece) and ‘Les Voleurs d'Enfants’ (The Child Snatchers) are taken from Cocteau's book OPÉRA. The recordings were made shortly before he made his classic first film, LE SANG D'UN POETE (The Blood Of A Poet).”


- Butinsky