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French Vocal 78rpm records Nos. P0543 - P0620

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Auction Number 147 ­- AUCTION Closing Date: Wednesday, 18 May, 2016



Regarding AUCTION #147 (Closing Date: Wednesday, 18 May, 2016), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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Section IV: French Vocal 78rpm records: Nos. P0543 - P0620

P0543. FÉLIX MAYOL (Comic Song): Polka des Trottins (Christiné).
7” flush black Paris G & T 2-32135 (2016), recorded 1903.
A-B, lovely copy has lt.grey on peaks; uncommonly bright label. MB 25

“In 1895 Mayol went to Paris and the Montparnasse Quarter where he began a career in entertainment that spanned more than forty years. He adopted a camp and effeminate manner on stage as part of his theatrical persona. In the early years of the 20th century some of Mayol's performances were captured by an early form of talking picture. He would record his voice, then the motion picture camera would film him as he lip-synced to the record. When the teenage Maurice Chevalier took a risk by impersonating Mayol in small-time cafe entertainments, Mayol recognised the young man's talent and gave him his blessing. It led Chevalier to the Casino de Paris and the Folies Bergère.”

- Wikipedia

P0544. CHARLUS (Comic Song [Eldorado]): Nuit d’Hôtel (André).
7” flush black Paris G & T 2-32193 (2280), recorded 1903.
A-B, lovely copy has lt.grey on peaks; uncommonly bright label;
in Original Brussels G & T sleeve. MB 25

P0545. JANINE MICHEAU, w.Cariven Cond.: Trois Noëls, 3s /
Sd. 4 = MICHEAU & HENRI-BERTRAND ETCHEVERRY:
Noël des poèmes franciscains (both Bonnal). 2-10” Disque Gram. DA 5004/05,
only form of issue, 1944. M-A, choice copies. MB 25, the Pair.

P0546. LUCIEN MURATORE: LE CHANTEUR INCONNU – Puisque je t’aime /
Quand je suis loin de toi (Sylvano). 10” dark-blue Pathé X.94.107, only form of issue, 1931. [A lovely memento from Muratore’s first film, LE CHANTEUR INCONNU, directed by Viktor Tourjansky.] M-A, choice copy has, Sd.2 only, wee pap.scr, inaud. Elusive! MB 20

P0547. LUCIEN MURATORE: Le Régiment de Sambre-et-Meuse (Planquette).
11½” grey paper label H & D US-Pathé 54020, POM-1918. M-A, pristine. MB 15

P0548. LUCIEN MURATORE: Le Régiment de Sambre-et-Meuse (Planquette) /
Le Chant du depart (Méhul). 11½” grey paper label H & D Pathé 3160, POM-1918.
A to M-A, lovely copy has occasional superficial mk, inaud. MB 12

P0549. LUCIEN MURATORE: SIGURD - Prince du Rhin / Hilda, vierge au pâle sourir.
10” dark green Paris Zonophone X-82569/70 (5820/21o), only form of issue, 1906.
B, very decent copy has lt.rubs & very occasional wee scr, faintly audible at very end, during orchestral postlude. [A stunning example of the young Muratore!] MB 25

P0550. LUCIEN MURATORE: La Chanson de Barberine (Loret) /
LES CHANSONS DE LA PROVENÇE – O Magali.
10” yellow & gold French Pathé Actuelle X.3390 [N201588/97], recorded 1928, Muratore’s first electrical recordings. M-A, a gorgeous copy. MB 25

P0551. LUCIEN MURATORE: A quoi pensez-vous? (Berger) /
MIGNON – Elle n e croyait pas. 11½” grey paper label H & D US-Pathé 63005,
recorded 1917. M-A, pristine. MB 15

P0552. LUCIEN MURATORE: La Marseillaise (de l'Isle).
11½” grey paper label H & D US-Pathé 54002, POM-1916. A to M-A MB 15

P0553. LUCIEN MURATORE: Tu ne sauras jamais! (Millandry) /
CARMEN – La fleur que tu m’avais jetée. 11½” grey paper label H & D
US-Pathé 63011, POM-1917, in Original Sleeve. M-A MB 15

P0554. LUCIEN MURATORE: Le temps des cerises (Renard) /
L’AFRICAINE – O Paradis! (1916 Version) 11½” grey paper label H & D
US-Pathé 63012, recorded 1916. M-A, pristine. MB 15

P0555. LUCIEN MURATORE: Le temps des cerises (Renard) / WERTHER -
Pourquoi me réveillez? 11½” grey paper label H & D US-Pathé 64002, recorded 1916. M-A, pristine copy has, Sd.1 only, infinitessimal pressing bump. MB 12

P0556. LUCIEN MURATORE: L’AFRICAINE – O Paradis! (1918 Version)
11½” grey paper label H & D US-Pathé 52026, recorded 1918.
A-, very decent copy has faint grey on peaks. MB 10

P0557. LUCIEN MURATORE: WERTHER - Pourquoi me réveillez?
11½” grey paper label H & D US-Pathé 54003, recorded 1916. M-A, pristine. MB 15

P0558. LUCIEN MURATORE: MIGNON – Elle n e croyait pas.
11½” grey paper label H & D US-Pathé 54028, recorded 1917. A to M-A MB 12

P0559. LUCIEN MURATORE: Reviens! (Christiné) / ROMÉO – Ah, lève-toi, soleil! (1917 Version). 11½” grey paper label H & D US-Pathé 63015, recorded 1916/’17, resp.
M-A, pristine. MB 15

P0560. LUCIEN MURATORE: L'enlèvement (Levadé) /
LE ROI D'YS - Vainement ma bien aimée. 11½” grey paper label H & D
US-Pathé 63013, recorded 1917. M-A, pristine copy, in Original Sleeve. MB 15

P0561. LUCIEN MURATORE: Il pescatore canta! (Tosti) / FEDORA – Amor ti vieta.11½” grey paper label H & D US Pathé 63010, recorded 1917/’18, resp.
M-A, pristine copy, in Original mended Sleeve. MB 15

P0562. LUCIEN MURATORE: Non m’amate più / Il pescatore canta! (both Tosti).
11½” grey paper label H & D US- Pathé 64009, recorded 1917. M-A, pristine. MB 12

P0563. LUCIEN MURATORE: E comm’ ‘o zuccaro (Fonzo) /
PAGLIACCI – Vesti la giubba. 11½” grey paper label H & D US-Pathé 63016,
recorded 1917; only form of issue, Sd. 1. M-A, pristine. MB 15

P0564. LUCIEN MURATORE: Non m’amate più (Tosti) / MANON – Ah! Fuyez!
11½” grey paper label H & D US- Pathé 63004, recorded 1917/’16, resp.
A, lovely copy has faint rubs, inaud. MB 10

P0565. LUCIEN MURATORE: RIGOLETTO – La donna è mobile /
PAGLIACCI – Vesti la giubba. 11½” grey paper label H & D
US-Pathé 64005, recorded 1917. M-A, Pristine. MB 15

P0566. LUCIEN MURATORE: FAUST – Salut! demeure.
11½” grey paper label H & D US-Pathé 54018, recorded 1918.
M-A, pristine copy has infinitessimal pressing bump. MB 15

P0567. LUCIEN MURATORE: ROMÉO – Ah, lève-toi, soleil! (1918 Version).
11½” grey paper label H & D US-Pathé 54008, recorded 1918.
A-, very decent copy has faint grey on peaks. MB 10

P0568. LUCIEN MURATORE: ROMÉO – Ah, lève-toi, soleil! (1907 Version) /
WERTHER – J’aurais sur ma poitrine. 11½” brown paper label
H & D Pathé 207, recorded 1907/09, resp. A to M-A MB 15

P0569. LUCIEN MURATORE: TOSCA – E lucevan l stelle /
CAVALLERIA – Viva il vino (Brindisi) (both in French).
11½” black paper label H & D Pathé 185, recorded 1909/’03, resp. A to M-A MB 15

P0570. LUCIEN MURATORE: MONNA VANNA – Elle est à moi (Février)
(Creator Record, 10 Jan., 1909, l’Opéra). 11½” grey paper label H & D US-Pathé 54019, recorded 1918, original form of issue. M-A, pristine copy has tiny label rub. MB 15

“Lucien Muratore made his début at the Odéon theatre in Paris, where he played opposite such actresses as Sarah Bernhardt and Réjane. He then studied at the Paris Music Conservatory, and made his operatic début 16 Dec., 1902 at the Opéra-Comique, creating the King in Reynaldo Hahn 's LA CARMÉLITE (performing with Calvé, Marié de l’Isle & Dufranne). He made his début at La Monnaie in 1904, as Werther, and the following year at the Palais Garnier, as Renaud in Lully's ARMIDE. He created several Massenet operas such as ARIANE AND BACCHUS, at the Opéra, and ROMA, in Monte Carlo. He also took part in the creation of LA CATALANE by Le Borne, MONNA VANNA by Henry Février, DÉJANIRE by Camille Saint-Saëns, and PÉNÉLOPE by Gabriel Fauré. He became principal French tenor at the Opera Houses of Boston and Chicago from 1913 until 1922. He also appeared at the Teatro Colón in Buenos Aires. Muratore retired from the stage in 1931. He was married first to soprano Magali Beriza, and later to soprano Lina Cavalieri, with whom he appeared in a silent movie, MANON LESCAUT, in 1914”
- Ned Ludd

P0571. LUCIEN MURATORE, w.Andolfi Cond.: LES CHANSONS DE LA PROVENÇE – O Magali / Lou cont dou Souléu. 10” green Pathé X.93.070, only form of issue, 1930.
M-A, choice copy has occasional faint rub, inaud. Elusive! MB 20

P0572. LUCIEN MURATORE & LINA CAVALIERI: La Forêt de Noël (Margis) /
Au clair de la lune (Lully). 11½” grey paper label H & D US-Pathé 64010, recorded 1916. A to M-A MB 20

“In virtually every recording [Muratore] demonstrates a very well-schooled technique. The voice, although of considerable weight, is bright and beautifully controlled. His singing through the passaggio allows a smooth transition into his extension (upper register), which contains some very impressive ringing top A naturals and B flats. He had mastery over his mezza voce, understood chiaroscuro by colouring his tone and was able to produce floated piano head tones, using these vocal effects with good taste. This is coupled with informed phrasing, a good legato and, where required, a true sense of drama….In his singing, Muratore’s use of dynamics and tonal colour can convey an effect, at times, of a lovely voice, something not given all singers.”
- Alan Bilgora, THE RECORD COLLECTOR, 2009

P0573. GERMAINE LUBIN: DER FREISCHÜTZ – Wie nahte mir der Schlummer
(in French) (Weber), 2s. 11½” H & D green paper label Pathé 0612 [200607/08],
only form of issue,1927. M-A Exceedingly Elusive! MB 85

P0574. GERMAINE LUBIN: SIGURD - Salut, splendeur du jour (Reyer), 2s.
10" PW French Odéon 188.724, only form of issue, 16 May, 1930. M-A MB 25

P0575. GERMAINE LUBIN: Tristesse (Étude #3 in E) (Chopin) / Cantata #68 –
Mein gläubiges Herze (Bach) (both in French). 12” dark blue Parlophone E 11318, POM-15 April, 1929. A to M-A, lovely copy has occasional faint rub, inaud. MB 12

P0576. GERMAINE LUBIN, w.Erich Itor Kahn (Pf.) Der Erlkönig (Schubert) /
Liebeslied; Suleika (both Schumann). 12” green Special shellac Pressing of
Mx.PARTX 1350-3/1351-2, POM-1939, from a private disk. M-A MB 65

P0577. GERMAINE LUBIN, w.Defosse Cond.: GÖTTERDÄMMERUNG –
Immolation scene (in French), 4s. 2-12” EL French Odéon 123.634/35,

only form of issue, 19 & 25 March,1929. M-A, superlative copy. MB 85, the Pair.

P0578. GERMAINE LUBIN & GÉRARD SOUZAY: Signes (Leguerney) /
Per valli, per boschi (Blangini). 12” vinyl Historic Masters HMA 94 (10” record pressed onto a 12” blank), POM-24 May, 1944, both from Unpublished Masters. MINT MB 10

“Lubin had a powerful voice of gleaming tonal splendour. Although Germaine Lubin became the foremost French dramatic soprano during the 1920s and '30s, and indeed one of the finest opera singers to be heard anywhere during the inter-war period, her performances are not particularly well represented on disc. In total her recorded legacy amounts to about two dozen items.”
-Zillah D. Akron

P0579. ODETTE TURBA-RABIER, w.Fournet Cond.: ARIADNE AUF NAXOS -
Grossmächtige Prinzessin (Final Version; in French), 2s. 12” blue French Col. LFX 674, only issue, 1 April, 1943. A-, lovely copy has faintest rubs & tiny scrs, inaud. MB 25

P0580. EDMÉE FAVART: LE PETIT DUC – Rondo de la paysanne (Lecocq) /
LES TRAVAUX D’HERCULE – Air du rire (Terrasse). 10” green Pathé PG 28,
only form of issue, 1934. Exuding infectious charm! M-A, a gleaming copy. MB 15

P0581. EDMÉE FAVART, w.André Baugé, Tom Waltam, Paul Colline, René Dorin,
Paul Reboux, Robert Marino, Viard, Constantin, Jean Cyrano, Fredo Gardoni,
Robert Burnier, La Palma, Dréan & Alibert: Cocktail-Pathé, Sketch Musical, 2s.
12” dark blue Pathé X.94.209, only form of issue, 1932.
B-C, decent copy has considerable rubs & lt.scrs, minimally audible.MB 15

P0582. SYDNEY RAYNER: ROMÉO ET JULIETTE - Ah! lève-toi, soleil / CARMEN –
Air de la fleur. 12” black English Decca K.677, POM-1932, London. A to M-A MB 12

P0583. CHARLES ROUSSELIERE: Pensée d’automne / Noël païen
(both Massenet). 12” black PW French Polydor 566065, only form of issue, 1930. A-, very decent copy has lt.rubs, inaud. MB 15

P0584. CHARLES ROUSSELIERE, w.Wolff Cond.: DIE WALKÜRE –
Ein Schwert verhiess mir der Vater / PARSIFAL – Nur eine Waffe taugt
(both in French). 12” black PW French Polydor 566075, only form of issue, 1930. A to M-A, lovely copy has, Sd.2 only, faint rub, inaud. MB 35

P0585. CHARLES ROUSSELIERE: En Bretagne (Emile Nérini).
10” black Paris G & T G.C. 2-32921 [2142-P], Original 1903 Stamper,
only form of issue; missing in Bauer. A-, lovely copy has wee cluster dust scrs
at very end, faintly audible 2 or 3 turns; exceptionally bright label. MB 35

P0586. CHARLES ROUSSELIERE: Stances(Flégier). 10” black Paris G & T
G.C. 2-32847 [1818-P], Original 1903 Stamper, only form of issue; missing in Bauer.
A to M-A, superlative copy has faintest wee rub, positively inaud. MB 45

P0587. CHARLES ROUSSELIERE: Lydia (Fauré) / Nuit devant la mer (Emile Nérini). 10" black PW French Polydor 561022, only form of issue, 1930.
M-A, exceptional copy has, very end Sd.2 only, mere hint of nr, positively inaud. MB 35

P0588. CHARLES ROUSSELIERE: SALAMBO – Le voilà ce voile sacrée (Reyer).
10” black Paris G & T G.C. 2-32755 [1687-P], Original 1903 Stamper,
only form of issue; missing in Bauer. A to M-A, superlative copy has infinitessimal rub
at very beginning, ltly audible 2 or 3 turns only during piano introduction. MB 35

P0589. CHARLES ROUSSELIERE: WERTHER – J’aurais dur ma poitrine (Massenet).
10” black Paris G & T G.C. 2-32991 [2270-P], Original 1903 Stamper,
only form of issue; missing in Bauer. A to M-A, superlative copy has
pressing ‘crease’ in shellac, visible topside only, positively inaud. MB 35

P0590. CHARLES ROUSSELIERE: L’ATTAQUE DU MOULIN –
Les adieux à la forêt (Bruneau). 10” black Paris G & T G.C. 2-32687 [1466-P],
Original 1903 Stamper, only form of issue; missing in Bauer.
A to M-A, superlative copy has exceptionally bright label. MB 45

P0591. CHARLES ROUSSELIERE: LA BOHEME – Che gelida manina (2nd verse)
(in French). 10” black Paris G & T G.C. 2-32975 [2138-P], Original 1903 Stamper,
only form of issue; missing in Bauer. A, beautiful copy has pressing bump,
audible just a few turns; sl.faded label, although a highly recommended copy. MB 35

P0592. CHARLES ROUSSELIERE, w.Wolff Cond.:
DIE WALKÜRE – Winterstürme / SIEGFRIED – Dass der mein Vater nicht ist
(both in French). 12” black PW French Polydor 566043, only form of issue, 1930. M-A, lovely copy has, Sd.2 only, tiny faint rub, inaud. MB 35

P0593. CHARLES & JEANNE ROUSSELIERE: MIREILLE – Vincenette à votre âge.
10” black Paris G & T G.C. 34016 [1801-F], Original 1903 Stamper, only form of issue. M-A, exceptional copy has faintest rubs, barely visible, positively inaud. MB 45

P0594. CHARLES & JEANNE ROUSSELIERE: LAKMÉ – Duo de la jeunesse.
10” black Paris G & T G.C. 34015 [1821-F], Original 1903 Stamper, only form of issue. M-A, choice copy has faintest rubs, positively inaud.; exceptionally bright label. MB 45

“Rousselière studied with Albert Vaguet at the Paris Conservatoire and made his début at the Opéra as Samson in 1900. The following year he sang in the première of Camille Saint-Saëns's LES BARBARES, and he remained with the company until 1905. Until 1919 he was a favourite at Monte Carlo, where he appeared first in LA DAMNATION DE FAUST; premières there included Mascagni's AMICA, Saint-Saëns' L’ANCÊTRE and Fauré's PÉNÉLOPE. His 1906 début at the Metropolitan was in ROMÉO ET JULIETTE. Upon his return to France, he added Otello, Lohengrin, Siegfried and Parsifal to his repertory. He also appeared in Berlin, Buenos Aires and Milan, and in his later years sang mostly at the Opéra-Comique where in 1913 he created the title rôle in Gustave Charpentier's JULIEN.”
- J. B. Steane

P0595. AGUSTARELLO AFFRE (The French Tamagno): Hosanna (Granier).
10” flush black & silver Col. 50381, announced & only form of issue, 1904.
A-, very fine copy has lt.grey on peaks, inaud.; uncommonly bright label. MB 25

P0596. AGUSTARELLO AFFRE: Parais à ta fenêtre (Gregh).
10" black Paris G & T G.C. 2-32686 [1454-F], Original Stamper,
only form of issue, 1903. A to M-A, a spectacular copy with the
ubiquitous wee pressing indents. MB 35

P0597. AGUSTARELLO AFFRE: LA STATUE – Ah! laisse-moi te contempler (Reyer). 10" black Paris G & T G.C.-2-32971 [2417 CS], Original Stamper, only form of issue, 1903. A-, very fine copy has lt.grey on peaks, inaud.; uncommonly bright label. MB 25

P0598. AGUSTARELLO AFFRE: LA STATUE – Comme l’aube nouvelle (Reyer).
10" black Paris G & T G.C.-2-32974 [2420 CS], Original Stamper,
only form of issue, 1903; missing in Bauer. A-, very fine copy has few
superficial light scrs & lt.grey on peaks, inaud.; uncommonly bright label. MB 25

P0599. AGUSTARELLO AFFRE: L’AFRICAINE– Pays merveilleux (Meyerbeer).
10" black Paris G & T G.C.-2-32593, Original Stamper, only form of issue, 1902.
A to M-A, choice copy has few faint rubs & the ubiquitous
wee pressing indents; very sl.rubbed label. MB 25

P0600. AGUSTARELLO AFFRE: L’AFRICAINE – O Paradis! /
AÏDA – Celeste Aïda (in French). 11½” H & D black paper label Pathé 1
[3482/83], only form of issue,1910. M-A MB 25

P0601. AGUSTARELLO AFFRE: GUILLAUME TELL – Asile héréditaire (Rossini) / ATTAQUE DU MOULIN – Adieu à la forêt (Bruneau). 11½” H & D black paper label Pathé 3 [3484/92], only form of issue,1911, in original Pathé sleeve. M-A MB 25

P0602. AGUSTARELLO AFFRE: GUILLAUME TELL – Asile héréditaire (Rossini).
10" black Paris G & T G.C.-2-32594 [1150 P], Stamper II, only form of issue, 1902.
M-A, spectacular copy has minor pressing bump. MB 35

P0603. AGUSTARELLO AFFRE: FAUST – Laisse-moi contempler ton visage (Gounod). 10" black Paris G & T G.C.-2-32969 [2288 CS], Original Stamper,
only form of issue, 1903. A to M-A, choice copy has few faint rubs &
the ubiquitous wee pressing indents; 1 ‘stressed’ groove. MB 25

P0604. AGUSTARELLO AFFRE: LE MAGE – Ah! parais astre de mon ciel (Massenet). 10" black Paris G & T G.C.-2-32688 [1468 P], Stamper II, only form of issue, 1903.
M-A, spectacular copy has the ubiquitous wee pressing indents. MB 35

P0605. AGUSTARELLO AFFRE: LE PROPHÈTE – Pour Berthe (Pastorale) (Meyerbeer). 10" black Paris G & T G.C.-2-32689 [1469 P], Original Stamper,
only form of issue, 1903. A to M-A, choice copy has few faint rubs & the ubiquitous
wee pressing indents; minor nr on bright label; remarkably quiet surface! MB 35

P0606. AGUSTARELLO AFFRE: RIGOLETTO – La donna è mobile (in French) /
LA REINE DE SABA - Inspirez-moi, race divine. 11½” etched label center-start
H & D Pathé 3481/93 [22713/7763], announced, recorded 1910, Paris. M-A MB 25

P0607. AGUSTARELLO AFFRE (The French Tamagno):
RIGOLETTO – Questa o quella / IL TROVATORE – Miserere (both in French).
11½” H & D black paper label Pathé 76 [3494/3506], only form of issue,1911.
M-A, a spectacular copy. MB 25

P0608. AGUSTARELLO AFFRE: LES HUGUENOTS –
Plus blanche que la blanche ermine / Entrée de Raoul.
11½” H & D black paper label Pathé 6 [3496/3509], recorded 1903. M-A MB 25

P0609. AGUSTARELLO AFFRE: LES HUGUENOTS –
Plus blanche que la blanche ermine / La Reine de Saba – Inspirez-moi, race divine.
8½” etched label center-start H & D Paris Pathé 3496/93 [22472/71],
Original 1903 issue, Sd. 2 announced. A to M-A, bright copy has
hint of grey on peaks. MB 25

P0610. AGUSTARELLO AFFRE: LA JUIVE – Dieu que ma voix tremblante /
Rachel, quand du Seigneur (Halévy). 11½" H & Dcenter-start etched label
APGA Pathé 27 [54466/60571], recorded 1910, Paris. M-A, a spectacular copy. MB 25

P0611. AGUSTARELLO AFFRE & LEONIE TANESY:
FAUST – Laisse-moi contempler / SIGURD – Due de l fontaine (Reyer).
11½” etched label center-start H & D Pathé 730/31 [17326/17756], recorded 1902, Paris. M-A, lovely copy has faint rubs, Sd.1, inaud (of course). MB 25

“Agustarello Affre made his début at the Paris Opéra in 1890 as Edgardo in LUCIA with Nellie Melba. At the Opéra, he created rôles in operas by Massenet and Saint-Saëns and also sang Canio and Belmonte for the first time at l’Opéra. In 1911 he moved to the United States where he was heard in operas in New Orleans, San Francisco, and in Havana. According to one source, Affre became director of the French Opera House in New Orleans in 1913 when it came under the ownership of Tulane University, remaining there until the house burnt down in 1919."
- Ned Ludd

“ANNA LÉONIE JEANNE TANÉSY was a genuine Meyerbeer singer from a period in which Meyerbeer was still an integral part of the repertoire. Tanésy was a member of the Grand-Théâtre de Marseilles during the 1889–1892 and 1895–1897 seasons. There, she was referred to as ‘première forte chanteuse falcon’ and as such was the major soprano for dramatic roles. In 1889 she sang Valentine in LES HUGUENOTS, a role with which she was closely associated in subsequent years. In 1890 she appeared as Alice in ROBERT LE DIABLE, and sang Brunehild in SIGURD, another role she was to repeat throughout her career. She also participated in the local premiere of Paladilhe’s PATRIE. In 1892 and 1895, Tanésy sang Elsa in LOHENGRIN and Elisabeth in TANNHÄUSER. She again appeared as Alice in Robert Le Diable in 1896, and sang Sieglinde in LA WALKYRIE the following year. She appeared at the Paris Opéra in 1892, and sang at Bordeaux in 1900; Brunehild in SIGURD; Salomé in HÉRODIADE; and Rachel in LA JUIVE.”

- Victor Giroud, Program Notes to Marston’s MEYERBEER ON RECORD

P0612. CÉSAR VEZZANI: MANON LESCAUT - Donna non vidi mai/
Guardate, non pazzo son! (in French) (Puccini). 10” plum Disque Gram. U-78,
POM-8 July, 1924. [“The MANON LESCAUT excerpts are more than curiosities, as Puccini’s work, owing to the understandable popularity of Massenet’s MANON, has never had in France the same success as elsewhere and, as a result, few French tenors have recorded them. This makes Vezzani’s ardent, idiomatic contributions even more valuable, especially since the part suits his vocal gifts more naturally than the Massenet. ” - Victor Giroud]
A-B, very decent copy has lt.rubs, inaud.; Sd.2 has 1 lt.scr, minimally audible. MB 15

P0613. CÉSAR VEZZANI: LA REINE DE SABA –
Faiblesse de la race humaine... Inspirez-moi, race divine (1923 Version)
(Gounod), 2s. 10” plum Disque Gram. U-63, POM-27 Feb., 1923.
A-, lovely copy has few lt.rubs; Sd.2 only has wee scr, positively inaud. MB 15

P0614. CÉSAR VEZZANI/: LA REINE DE SABA –
Faiblesse de la race humaine... Inspirez-moi, race divine (1929 Version) (Gounod), 2s. 10” black Disque Gram. P-832 [BN344-1/345-3], POM-27 feb., 1929. A to M-A,
glorious copy of this sensational record has wee label tear, each side. MB 45

“The recitative [above] is delivered with great dignity, while the aria proper contains ringing top As and demanding phrasing that is accomplished with real fervour and is surely one of the best recordings of this music in the 78rpm era.”

- Alan Bilgora, THE RECORD COLLECTOR, Dec., 2012

P0615. CÉSAR VEZZANI: SIGURD - Prince du Rhin / Oui, Sigurd est vainqueur.
10” black Disque Gram. P-728, only form of issue, 11 April, 1927.
A-, lovely copy has few lt.rubs, inaud. MB 15

P0616. CÉSAR VEZZANI: SIGURD - J'ai gardé mon âme ingénue / Esprits gardiens. 10” black Disque Gram. P-753, only form of issue, 12 April, 1927. A to M-A MB 15

P0617. CÉSAR VEZZANI/: SIGURD - Un souvenir poignant (Reyer) /
LA NAVARRAISE - O bien-aimée, pourquoi n’est-tu pas là (Massenet).
10” vinylHistoric Masters HMB 209 [OW 447-2/448-2], POM-11 Sept., 1931.

[Both arias show Vezzani at this most telling and passionate, whilst emitting
strong vibrant tone with high notes that have real squillo.] MINT MB 12

P0618. CÉSAR VEZZANI: OTELLO - Niun mi tema (in French) /
ÉMILE SCARAMBERG: WERTHER – Pourquoi me réveiller? 11½" H & Dcenter-start etched label Phrynis S1111 / 1884 [xP5787-2; 111338 / ------], POM 1912/'07, resp.
[“Werther’s ‘Ossian Lied’ [above] is very impressive and expressive, showing off Scaramberg’s beautiful low medium tones.” – Victor Giroud] A to M A MB 85

P0619. CÉSAR VEZZANI & LUCY PERELLI: WERTHER – Il faut nous séparer, 2s.
12” black Disque Gram. W 1138, only form of issue, 1931.
A to M-A, lovely copy; Sd.2 has infinitessimal dust mk, inaud. MB 20

P0620. CÉSAR VEZZANI & JEANNE GUYLA: TOSCA – Mario! Mario!; Or lasciami
al lavoro (in French), 2s. 12” Disque Gram. DB 4877, only form of issue, 1932.
A to M-A, lovely copy has faintest rubs, inaud. MB 25

"As one of Frances's most admired singers....[Vezzani] possessed a true ténor fort, capable of producing very exciting acuti in the performance of dramatic music and, although at his most effective when singing mezzo-forte and forte, he was still able on occasion to refine and soften the tone, in an effort to observe the composer's dynamic markings."

- Alan Bilgora, THE RECORD COLLECTOR, Dec., 2012