Section IV - Romanian, Slav, Hungarian & Greek 78rpm records  Nos. N0707 – N0753, plus N0758 - N0822

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

Since 1972



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



Regarding AUCTION #151 (Closing Date: Tuesday, 26 November, 2019), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option.

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Saturday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

Section IV - Romanian, Slav, Hungarian & Greek 78rpm records Nos. N0707 – N0753, plus N0758 - N0822



N0707. JÓZSEF SIMÁNDY: Tosca – Recondita armonia / Cavalleria – O Lola (Siciliana) (both in Hungarian). 10” green M.H.V. 1573 (1087/88). [Simándy, who debuted in Szeged, in 1946, was best known for his Radames, Lohengrin, and Otello. A most appealing voice & phrasing] A to M-A, lovely copy has faint rubs, Sd.2, inaud. MB 12

N0708. ALEXANDER SVÉD, w.Charles Benci’s Gypsy Orchestra: Alexander Svéd in the ‘Csarda’, 8s. 4-10” purple RCA 25-6056/59, only form of issue, c.1946, in Orig.Album S-47. M-A, choice copy has occasional rub, inaud. MB 15, the Set.

N0709. ALEXANDER SVÉD, w.Clemens Krauss Cond.: Rigoletto – Pari siamo / Cortigianni. [Riveting, glorious performances, in Italian] 12” lilac Grammophon 35039, only form of issue, 20 Feb., 1936. M-A MB 15

N0710. ALEXANDER SVÉD, w.Simonetto Cond.: Otello – Era la notte / Credo. 12” dark-green Cetra BB 25192, only form of issue, 27 / 28 June, 1947. M-A, lovely copy has, Sd. 2 only, long lateral lam, ltly audible during 1st inch. MB 8

N0712. ALEXANDER SVÉD, w.Simonetto Cond.: Ballo – Eri tu?, 2s. 12” dark-green Cetra BB 25191, only form of issue, 27 / 28 June, 1947. M-A MB 10

N0713. ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Pari siamo / ALEXANDER SVÉD & LINA PAGLIUGHI: Figlia! Mio padre!, 3s. 2–12” dark-green Cetra BB 25199/25200, only form of issue, 1-5 July, 1947. M-A MB 20, the Pair.

N0714. ALEXANDER SVÉD, w.Simonetto Cond.: Rigoletto – Cortigiani / Guglielmo Tell – Sois immobile (as ‘Resta immobile’) (in Italian). 12” dark-green Cetra BB 25203, only form of issue, 5 July / 29 June, 1947. M-A MB 12

N0715. ALEXANDER SVÉD, w.Olivieri Cond.: Macbeth – Pieta, rispetto, amore / Guglielmo Tell – Sois immobile (as ‘Resta immobile’) [Stunning performances, in Italian]. 12” LVDP DB 5366, only form of issue, 1940. [Svéd opened La Scala with Macbeth, 1938, then likewise with Guglielmo Tell, 1939] Superb, late Italian LVDP pressing. M-A MB 10

“The one demonstration of consequence [in the Met’s new BALLO] was that which greeted Alexander Svéd, the company's new Hungarian baritone, after his singing of ‘Eri tu’. Mr. Svéd doubtless caused some genuine commotion - he is the first big-voiced baritone the Metropolitan has had since Titta Ruffo departed. Last night he presented some slight resemblances to Ruffo, not only in weight of the upper tones, but in the ‘growl’ of his production. ‘Eri tu’ was his best achievement.


- Oscar Thompson, THE NEW YORK SUN, 3 Dec., 1940


N0716. DESZÖ ERNSTER: Kol Nidrei, 2s. 10” Hungarian Libertas LI 1001, only form of issue, c.1929, w.contemporaneous Hungarian label stkr. A to M-A MB 15

“Mr. Ernster was born in Pecs, Hungary, the son of a cantor. After studying singing in Budapest and Vienna, Mr. Ernster made his debut in Düsseldorf in 1925. He sang with the Berlin State Opera beginning in 1929, and in 1936 made his American debut with the Salzburg Opera Guild.

During World War II Mr. Ernster was interned in a concentration camp. He came to the Met soon after his release. In 1948, Olin Downes, The NEW YORK TIMES critic, wrote of his performance as Hagen at the Metropolitan: ' ‘He was superb in song and in presence, in action and in facial play. He not only sang dramatically, he colored his tones in a way that gave additional menace and dramatic emphasis to his utterances’.''


- THE NEW YORK TIMES, 26 Feb., 1981


N0717. ENID SZANTHO: Morgen / Träum durch die Dämmerung (both Strauss). 10” Scroll V 1795, only form of issue, 27 Jan., 1936. A to M-A MB 12

“…an excellent new Fricka – Enid Szantho – made her first appearance on this stage….the richness and color of the voice, the capacitry to project…the dignity and prophetic intensity they require betoken a valuble addition to the Metropolitan Opera’s ranks.”


- Olin Downes, THE NEW YORK TIMES, 18 Feb., 1938


N0718. IZABELLA NAGY, w.Rékai Cond.: Háry János – Hogyan tudtál rózsám idejönni; Hej két tyúkom Tavalyi / Szegény vagyok, szegények Születtem (Kodály). 12” PW Czech HMV AN 212, only form of issue, 1 Dec., 1928 (Creator Record, 16 Oct., 1926, Budapest). M-A, a gleaming copy. MB 45

N0719. MATILDA DE BARTÓKY: Ferencz jóska azt üzente / Nem mehet a háboruba. 12” green Col.E 5117 (37275/76), POM-1915. A to M-A MB 12

N0720. ANNA CRIONA & TETOS DEMETRIADES: Svisan ta onira mou (Farougia) / Ferte mou na pio (Sakelarides). 12” black Orth V 7-59070, only form of issue, 16 Aug., 1928. A to M-A MB 12

N0721. D. CRIONAS: To proto erotiko fili (Papadimitriou) / TETOS DEMETRIADES: Mono esi (Constandinides). 12” black Orth V 7-59071, only form of issue, 16 Aug., 1928. A to M-A MB 12

"Tetos Demetriades, unquestionably was one if not the most influential figures in Modern Greek music in the United States. Whatever Demetriades’ ultimate destiny may yet prove to be, he began as simply a working musician. To illustrate this point we need only review Demetriades' involvement in the 1924 musical tour for the the Victor Talking Machine Company. Demetriades had first arrived in the United States from Constantinople in 1921 and is said to have started working for Victor Records full-time by 1922. Clearly these Victor Tours were meant to promote the careers of this Company’s artists and so overall company sales. So this tour, while it involved some radio performances, the majority of these public performances took place in front of live audiences. Various top Victor performers took part in this tour. Demetriades' inclusion in this far ranging, logistically complex and expensive tour indicates that Victor executives had high hopes for the young Greek tenor."


- Steve Frangos, THE NATIONAL HERALD, 14 Aug., 2018


N0722. THALIA SABANIEVA & ANNA CRIONA: Stin akroyialia (At the seashore) (Grodzkīĭ) / Pique Dame - Vradiazi (Evening is coming) (Tschaikowsky). 12” red Orth Vla 9303, only form of issue, 14 Aug., 1928. M-A MB 12

N0723. MARIA MENEGHINI CALLAS, w.Basile Cond. RAI S.O., Turina: I Puritani – Qui la voce; Vien diletto, 2s. 12” Parl.-Odeon R.30043, POM-1949. M-A MB 25

“Of [Callas’] three 78s, the PURITANI aria is the prize. In few other arias has Callas so precisely distilled the essence of melancholy, and few other performances of it linger so urgently in the memory….Chicago critic Claudia Cassidy graphically termed it ‘part oboe, part clarinet’ - ideally expressed the dreamy, dazed state of Elvira’s mind….Thre are few examples in singing where so absolute a comnmand of voice is wedded with such equality to such agility and justness of dramatic statement. The wonder of the feat is doubled, coming from a woman of twenty-five.”


– John Ardoin, THE CALLAS LEGACY, p.5


N0724. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: Semiramide – Bel raggio lusinghier, 2s. 12” Col. 72885-D, only form of issue, 31 August, 1949. M-A MB 12

“Elena Nikolaidi was a noted Greek-American opera singer and teacher. In 1949, Nikolaidi made her Town Hall début recital in New York in 1949. The following morning, Jerome D. Bohm of THE NEW YORK HERALD TRIBUNE wrote: ‘In 20 years of music reviewing and in twice that number spent in listening to most of the world's best singers, I have encountered no greater voice or vocalist’; THE NEW YORK TIMES critic wrote of her ‘rare brilliance’. She made her American operatic début as Amneris in Verdi's AIDA with the San Francisco Opera and reprised the role for her Metropolitan Opera début on Opening Right in 1951, alongside the debut of George London, with Zinka Milanov singing the title role. In the early 1960s she retired from opera but continued concertizing extensively for a number of years.”


- Ned Ludd


N0725. ELENA NIKOLAIDI, w.Cleva Cond. Columbia S.O.: Don Carlos – O don fatale / Macbeth – Una macchia č qui tuttora (Sleep walking scene). 12” Col. 72884-D, only form of issue, 31 August, 1949. M-A MB 12

N0726. ELENA NIKOLAIDI: Orfeo ed Euridice – Che faro senza Euridice / Alceste – Divinités du Styx. 10” acetate of undated live performances. A to M-A MB 20

“Verdi's AIDA, newly cast, gave to last night's opening performance of the Metropolitan Opera a spectacle and a musical performance of unusual distinction. These were the appearances of Elena Nikolaidi as Amneris, of George London as Amonasro and of Mario del Monaco, who had sung just once last year, as Rhadames. Miss Nikolaidi has a powerful alto voice of wide range and fine clarity. She sang handsomely and at all times on pitch, She also looked well. Zinka Milanov, the Aida, one of today's most beautiful, soprano voices, also sang elegantly and, in soft passages, ever so sweetly….Both ladies were ecstatically satisfying in the ensemble passages, of which this opera contains many. And Lucine Amara sounded charming as the invisible priestess….The new AIDA is surprisingly agreeable to look at and, for the ear, it is ravishing.”


- Virgil Thomson, THE NEW YORK HERALD TRIBUNE, 14 Nov., 1951


N0727. NADEZHDA V. PLEVITSKAYA: Pesnia / Na gorushke kaleenka. 10” black Orth V 21067 (BG928/931), POM-10 Nov., 1930, Paris. M-A MB 12

N0728. NADEZHDA V. PLEVITSKAYA: The snow has swept you up / Gather old and young (Volga). 10” black Orth V 21068 (BG929/930), POM-10 Nov., 1930, Paris. M-A MB 12

N0729. YURI SPIRIDONOVICH MORFESSI: Nu bystree letite Koni / Dremlyut plakutchiya ivy. 10" black V 65703, POM-c.1918. A-, lovely copy has faint rubs, inaud. MB 10

N0730. YURI SPIRIDONOVICH MORFESSI: Where art thou? Answer me! / We parted today (Lev Drizo). 10” PW plum HMV EK 27 (17984b/17984b), POM-21 Oct.,1913, St Petersburg. M-A MB 15

N0731. SOPHIE BRASLAU: Come to me, o beloved (Malipiero) / Romance in E-flat (Rubinstein). 12” Columbia Shellac Test Pressing for Mx. 98380 / 98399, POM-30 Aug. / 26 Sept., 1927. M-A MB 12

N0732. NINA KOSHETZ, w.Dougherty (Pf.): Valse (Arensky) / None but the lonely heart; At the ball (both Tschaikowsky). 12” Schirmer 5512, only form of issue, 1941. M-A, exceptional copy has, Sd.2 only, faintest rub, inaud. The Arensky Waltz is a tresaure; Exceedingly Rare, (sole issue, not to be confused with the Koshetz Set)! MB 85

N0733. NINA KOSHETZ, w.Dougherty (Pf.): Eleven Songs (Rachmaninoff), 8s. 4–12” Schirmer 5508/11, only form of issue, 1941, in Original Schirmer Album 16. M-A, beautiful set has very occasional faintest rub, inaud. MB 45, the Set

N0734. NINA KOSHETZ: Sorotchinski Fair - Parassia's Reverie (Moussorgsky) / Pique Dame - It is midnight (Tschaikowsky). 12” purple Bruns.30106, issued USA only, 1922 (Koshetz’s only 12” Brunswick). A to M-A, lovely copy has faint rubs, inaud. MB 45

N0735. NINA KOSHETZ, w.Reibold Cond.: Prince Igor - Arioso of Jaroslavna (Borodin) / Sadko - Berceuse (Rimsky-Korsakov). 12” PW V 9233, on ‘Z’ shellac, POM-12 / 13 April, 1928. M-A MB 25

“[In the above}, there is the thrill of real distinction. It is partly in the tone, vibrant and shining, partly in the sheer power and in its contrast with the softness where this very Russian ice-princess melts, all tenderness. And it is partly in a kind of glamour, which marks also her later recordings, made in 1939, principally of songs by Rachmaninov...Koshetz clamours with a passionate Russian melancholy, then passes a veil over the voice as a deep sigh comes from the soul in the depths of mortal weariness...”


- J. B. Steane, THE GRAND TRADITION, p.308


N0736. ODA SLOBODSKAYA, w.Percy Kahn (Pf.): Lilacs (Rachmaninoff); Roses (Rubinstein) / The Fair at Sorochintsi - Parassia's Reverie (Moussorgsky). 10" plum HMV EK.113, only form of issue, 1931. M-A MB 10

N0737. ODA SLOBODSKAYA, w.Ivor Newton (Pf.): The Dreary Steppe (Gretchaninoff); From my Tears, Spring Flowers; Water Nymphs (all Borodin); Hebrew Melody (Balakirev). 12” Eng. Decca K.1206, only form of issue, 1939. M-A MB 10

"[Slobodskaya] has a never-failing power to convey the precise significance of each song she sings to audiences ignorant of the Russian language. And it is with a Russian richness of temperament that she enjoys or suffers everything she sings....Working with her was always an adventure...."


- Ivor Newton, AT THE PIANO, THE WORLD OF AN ACCOMPANIST, p.111


N0738. ODA SLOBODSKAYA, w.Ivor Newton (Pf.): Songs by Taneiev, Tschaikowsky, Tcherepnin, Cui & Rachmaninoff, 8s. 4-12” orange Eng.Decca RVW.104/107, only form of issue, 1938. Privately issued by Rimington van Wyck. M-A MB 65, the Set.

"...the [above] recordings were made and issued in a limited edition of 2,000 copies, bearing a classy orange label....the Rimington van Wyck set comprising four 12" 78rpm records, made in 1938, [includes] her own favourite recording, Tschaikowsky's 'Golden Cornfields' [and] captures Slobodskaya in her vocal prime, she was just 50, and at her interpretative best. Ivor Newton, her accompanist, is sensitive and supportive....Even if a Rimington van Wyck set can be discovered nowadays, and it is exceedingly rare, the records may be seriously impaired."


- Maurice Leonard, SLOBODSKAYA, A Biography


N0739. SALOMEA KRUSZELNICKA: Oi, de ty idesz, de ty poidesz [Prykoliskowa pisnia] (Oh, you go, you leave) [Prikolisko song] / Oi, letily bili husi [Rozpletyny] (Oh, white geese were flying) [Rospletini] (both in Ukranian). 10" green Viva-Tonal Col. 27133-F, only form of issue, 1928. M-A, a superlative copy! MB 45

N0740. SALOMEA KRUSZELNICKA: Tosca – Vissi d’arte (in Italian [but label suggests Polish]). 10" black Victor Monarch 61078 ((407z)), POM-1902. A-, lovely copy has hint of grey on peaks; label nr. MB 45

N0741. SALOMEA KRUSZELNICKA: Loreley - Da che tutta (Catalani) / Madama Butterfly – Un bel dě. 10ľ" red German Fonotipia-Odeon X 92939/40 (XPh 4813/4816), POM-20 March, 1912. M-A, superlative copy of choice mid-1930s pressing. MB 65

N0742. SALOMEA KRUSZELNICKA: Adriana Lecouvreur - Io son l'umile ancella / Poveri fiori. 10ľ" US-Fonotipia 92088/89 (XPh 2854/2853), POM-12 Nov., 1907. A, lovely copy has hint of grey on peaks. MB 45

N0743. SALOMEA KRUSZELNICKA: Aida - Ritorna vincitor…I sacri nomi di padre, 2s. 10ľ" Milano Fonotipia 92086/87 (XPh 2849/2850), POM-11 Nov., 1907. A to M-A MB 45

“Kruszelnicka’s high standard of accuracy of execution, together with her cello-like legato and delicate expression, are typical of the artistic finish expected from the performances of great singers in the salon of a hundred years ago. ‘Ritorna vincitor’ is a souvenir of one of her most famous roles, a vivid interpretation with an exciting musical tension in the vocal line. She instinctively hurries at the impassioned moments and lingers over reflective passages….Her singing here is in the grand Italian tradition of the late 19th century, rather like Arangi-Lombardi in her complete recording of the opera, but with an even better voice and technique. She manages to be vibrant, warm, and touching in ‘Numi, pietŕ’ without any exaggeration. Her aria from LORELEY…is a beautiful piece of singing. Despite the apparently increased weight of her medium range she preserves the flexibility for neat florid work. She is in very good voice again at this session, and the aria from MADAMA BUTTERFLY, which is the record of hers that most people will be curious to hear, is a worthy souvenir despite the short cut. Her attack on the first note, G flat, a well-known test for all sopranos, is as beautiful as we have come to expect from her. She uses more portamento here than in some other arias, in suitable style, and her tone is haunting at the beginning, triumphant at the climax. Other sopranos have recorded this aria with more shadings and ‘effects’, but this is a well-judged and winning performance.


- Michael Aspinall


N0744. ELENA RUSZKOWSKA & EGIDIO CUNEGO: Tosca – Trionfa di nuova speme. 10” V 87069 (13830b), POM 2 Nov., 1909, Never Doubled. A, lovely copy has faintest rubs, inaud. MB 35

N0745. ELENA RUSZKOWSKA & EGIDIO CUNEGO: Tosca – Amaro sol per te. 12” Pat.’12 V 88274 (1867c), POM 2 Nov., 1909, Never Doubled. M-A, lovely copy has wee label stain. MB 45

During the 1909 Aďda sessions Ruszkowska also recorded an aria and four duets from Tosca in which her singing is of ravishing beauty. Ruszkowska is at her limpid best in the last bars of ‘Amaro sol per te’….In all the wide range of recordings of this music it seems to me that only Muzio and Callas (and perhaps Lotte Lehmann) have rivaled Ruszkowska’s extraordinarily detailed and beautifully sung performance - like Maria Callas in 1964, she sings the music as though it were by Bellini.”


- Michael Aspinall


N0746. PETRE MUNTEANU, w.Giorgio Favaretto (Pf.): Elfenlied; Der Gärtner (both Wolf) / Feldeinsamkeit (Brahms). 12” dark-red Cetra PE.128, only form of issue, 4 Dec., 1946. [Positively another ‘desert-island’ record! The Brahms cannot be equalled!] M-A MB 75

N0747. PETRE MUNTEANU, w.Giorgio Favaretto (Pf.): Die Forelle (Schubert) / Mondnacht (Schumann). 10” dark-red Cetra AA 468, only form of issue, 4 Dec., 1946. M-A Exceedingly Elusive! MB 75

N0748. PETRE MUNTEANU, w.Giorgio Favaretto (Pf.): Granadinas (Barara) / Andalusia (Granados). 10” dark-red Cetra AA 430, only form of issue, 2 April, 1946. M-A Exceedingly Elusive! MB 75

N0749. PETRE MUNTEANU, w.Leitner Cond.: Rigoletto – Questa o quella / La Traviata – De’ miei bollenti spiriti. 10” DGG 62881, only form of issue, 26 May, 1951. M-A Exceedingly Elusive! MB 50

N0750. PETRE MUNTEANU, w.Leitner Cond.: Tosca – Recondita armonia / E lucevan le stelle. 10” DGG 62875, only form of issue, 27 April, 1951. M-A Exceedingly Elusive! MB 50

N0751. PETRE MUNTEANU, w.Leitner Cond.: Barbiere – Ecco ridente / L’Elisir – Una furtiva lagrima. 12” DGG 68468, only form of issue, 27 April, 1951. [Recorded in an unusually expansive acoustic hall!] M-A Exceedingly Elusive! MB 50

N0752. PETRE MUNTEANU, w.Rossi Cond.: Don Giovanni – Dalla sua pace / Il mio tesoro. 12” dark-blue Cetra CB 20461, only form of issue, 2 Dec., 1948. M-A Exceedingly Elusive! MB 75

N0753. PETRE MUNTEANU, w.Rossi Cond.: Zauberflöte – Dies Bildnis ist bezaubernd schön (in Italian) / CARLO TAGLIABUE, w.Tansini Cond.: Il Trovatore – Il balen. 12” Irish Parl. BIPX 26, POM-2 Dec., 1948 / 19 July, 1939. M-A, beautiful copy has, Sd.1 only, wee closed ‘blister’, very faintly audible 2 turns. A gorgeous ‘Bildnis’ rendition! MB 25

"The word that best describes [Munteanu’s] singing is ‘delicacy’. The voice is a leggiero in the best sense of that category. It is a light tenor, suffused with an attractive, flicker vibrato, and capable of melting sweetness of tone. He reminds one of Schipa….This is singing of rare grace and fastidious taste, and always accomplished with charm and a real ‘face’….To represent this aristocrat of a tenor in your collection is precisely what record collecting is all about.


- Larry Lustig, THE RECORD COLLECTOR, 2004


N0758. JOSEPH WINOGRADOFF: Eili, Eili / A din Toire mit Gott (A judgement before God). 12” black V 68580, only form of issue, 29 April /20 May, 1921. M-A, choice copy of a brilliant record! MB 25

N0759. JOSEPH WINOGRADOFF: Po chasidatskomu (Der chusid, der misnagid, und der aristocrat) / A Chazendil Oif Shabbos (A Cantor's debut in a small town). 12” black V 66570, only form of issue, 18 April, 1921. M-A, lovely copy of this sensational disk has, Sd.1 only faintest rubs, inaud. MB 35

N0760. JOSEPH WINOGRADOFF: Idel mit'n fidel, Chajkel mit'n bass! (Pidel with the fiddle, Chajkel with his bass!)) [possibly a Yiddish version of Irving Berlin's ‘Yiddle on your fiddle, play some ragtime’] / Barbiere – Largo al factotum (Cavatina fun Figaro, in Yiddish) (Rossini). 12” black V 68603, only form of issue, 16 / 14 Nov., 1922. M-A, superb copy of this uniquely delightful and fabulously well-sung performances! MB 45

“Joseph Winogradoff made his operatic debut as Ferrando in IL TROVATORE. For the next three decades, he performed throughout Europe including London’s Pavilion Theatre, home of the city’s Yiddish stage, and was on the roster of Covent Garden as far back as 1890-91. Winagradoff arrived in the U.S. in 1920 where he worked as a cantor and performed on the stage in New York and Philadelphia.”


- Mayrent Collection of Yiddish Recordings, University of Wisconsin


N0761. GERSHON SIROTA: Aďda – Celeste Aďda / Tosca – E lucevan le stele (both in Italian). 10” pale-blue & gold Eng. Vocalion Broadcast Twelve 5017, only form of issue, 1928. A to M-A, lovely copy has very superficial rubs, inaud. MB 45

“Blanche Marchesi, in her book A SINGER’S PILGRIMAGE, states that although the voice of Caruso was remarkable, she was of the opinion that the voices of Tamagno and the cantor from Warsaw, Sirota, were just as outstanding. As a longtime observer at the classes given by her mother, Mathilde, and from her own career as singer and teacher, she was in a position to hear many of the greatest singers in the world at the time. Thus any comment of hers as to an artist’s vocal abilities, whether natural or highly cultivated, must be taken seriously. Sirota possessed a rare elemental quality of tenor voice which invariably invokes in the listener a reaction usually associated with hearing artists like Ponselle, Ruffo, Chaliapin or the young Gigli for the first time.”


- Alan Bilgora


N0762. LEV SIBIRIAKOV: Not the autumn drizzle / LEV SIBIRIAKOV & YEVGENIY VITTING: The sailors (Vilboa). 10” PW plum HMV EK 53 (16706b/16682˝b), POM-1912, St Petersburg. M-A, beautiful copy has tiny edge bite into 1st grooves, not affecting performance. MB 8

N0763. LEV SIBIRIAKOV: Demon – A cursed world / I am he whom you called (Rubinstein). 10” PW plum HMV EK 52 (16516/17b), POM-6 May, 1912, St Petersburg. M-A MB 20

N0764. LEV SIBIRIAKOV: La Juive – Si la rigeur (in Russian) (Halévy) / Judith – Cease your grumbling (Serov). 12” vinyl Historic Masters HMB 25, POM-20 Sept., 1910 / 15 March, 1913. MINT MB 10

N0765. LEV SIBIRIAKOV: Don Carlos – Elle ne m’aime pas / Je dormirai (in Russian). 12” vinyl Historic Masters HMB 57, POM-27 Sept., 1910. MINT MB 8

“Sibiriakov has the lower, richer, cello-like timbre and he uses it to produce a seamless legato of prince-like breadth.”


- Alan Blyth, OPERA ON RECORD, I, p.529


N0766. TRAIAN GROZAVESCU, w.Carl Besl Cond.: Madama Butterfly – Addio fiorito asil (in Italian) / Tosca – Recondita armonia (in German). 12” brown German Odeon O-8596 (xxB 6928-2/30-2), only form of issue, 23 Jan., 1924, Berlin. A to M-A MB 12

“Traian Grozavescu was an Austro-Hungarian-born Romanian operatic tenor. In 1922, following a disagreement with the Cluj Opera, he left for Vienna and sang at the Vienna State Opera, as well as at the Hungarian State Opera House and the Berlin State Opera, achieving great success. He was killed with a revolver by his jealous wife and buried in his native town.”


- Wikipedia


N0767. EMILIA KRISTMANN: The flowers of spring (Carl Reinecke). 10" black & silver Columbia 35122, POM-1903. A-, fine, unworn copy has numerous pressing ‘pimples’, thus a noisy surface but this plays remarkably well. MB 45

N0768. EMILIA KRISTMANN: Doubt (Glinka). 10” Victor Monarch 91065 (310z), POM-1902. A-, lovely copy has faint rubs, inaud. MB 25

N0769. EMILIA KRISTMANN: The Virgin Maria (Sancta Maria) (Jean-Baptiste Faure). 10” Victor Monarch 91064 (311z), POM-1902. A-, beautiful copy has faintest rubs, inaud. MB 25

N0770. EMILIA KRISTMANN: Ave Maria (Bach-Gounod). 10” black St. Petersburg G & T G.C.-23190 (309z), POM-1902. A to M-A, beautiful copy has faintest rubs, inaud. MB 45

N0771. EMILIA KRISTMANN: Ave Maria (Bach-Gounod). 10” Victor Monarch 91035 (309z), POM-1902. A to M-A, beautiful copy has faintest rubs, inaud. MB 25

N0772. EMILIA KRISTMANN: Ave Maria (Bach-Gounod). 10" black & silver Columbia 35121, POM-1903. A to M-A, beautiful, bright copy has an apparent incipient lateral hlc forming at edge, neatly mended on verso, entirely harmless. MB 25

N0773. YOSSELLE ROSENBLATT: Sefirah – Ribono Shel Olom (Sung by the Composer), 2s. 12” EL Orth Vla 9072, POM-9 March, 1927. M-A, exceptional copy has, Sd. 1 only, faintest rub, inaud. MB 15

N0774. YOSSELLE ROSENBLATT: Shomer Israel (Guardian of Israel) / Elokay neshomo. 12” blue V 55125, POM- 17 Sept.,1920. M-A MB 12

N0775. YOSSELLE ROSENBLATT: Rachem noo (Have mercy), 2s. 12” blue V 55201, POM- 25 Oct.,1923. M-A MB 12

N0776. YOSSELLE ROSENBLATT: Geishem, 2s. 12” blue V 55199 , POM- 5 Aug.,1923. M-A MB 12

N0777. YOSSELLE ROSENBLATT: Elokay ad schelo nozarti / W’chol Maaminim. 12” blue V 55164, POM- 7 April,1922. M-A MB 12

N0778. YOSSELLE ROSENBLATT: Yistabach / Adoshem moloch geus. 12” blue V 55152, POM- 12 Sept., 1921 / 9 Dec., 1921 / 12 Jan., 1922. M-A MB 12

N0779. YOSSELLE ROSENBLATT: Tikanto Shabbos / Der neuer Omar Rabbi Elosor. 12” blue V 55142, POM- 15 Sept., 1921. M-A, lovely copy has faintest rubs, inaud. MB 12

N0780. YOSSELLE ROSENBLATT: Ow horachmim / Tikanto shabat. 12” green Col.E 5066 (37020/30), POM-9 Oct., 1914. M-A, lovely copy has faintest rubs, inaud.; Sd.2 only has wee harmless edge lam. MB 12

N0781. YOSSELLE ROSENBLATT: Sorea zdukaus / Omar Rabbi Elosor. 10” black V 17448, POM-29 July, 1913. A-, excellent copy has faint rubs, inaud. MB 12

N0782. YOSSELLE ROSENBLATT: El Mole Rachmim / Kol Nidrei. 12” dark-blue PW Eng.Col.E 5126 (59435/86), POM-1917. M-A, lovely copy has faintest rubs, inaud. MB 12

N0783. YOSSELLE ROSENBLATT: El Mole Rachmim / Kol Nidrei. 12” green Col.E 5126 (59435/86), POM-1917. M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has wee harmless edge lam. MB 12

N0784. YOSSELLE ROSENBLATT: Uvinu malkenu galeh / Weaf hu hoyoh mischaven. 12” green Col.E 5173 (59533/34), POM-1917. M-A, lovely copy has faintest rubs, inaud. MB 12

N0785. YOSSELLE ROSENBLATT: Yaleh / Hineny Heony. 12” green Col.E 5172 (59531/32), POM-1917. A to M-A MB 12

N0786. YOSSELLE ROSENBLATT: Meloch al kol hoolom / Haben jakir li. 12” green Col.E 5148 (59474/75), POM-1917. A to M-A MB 12

N0787. YOSSELLE ROSENBLATT: Birkhas kohanim / Atto Yozarto. 12” green Col.E 5067 (37019/23), POM-1914. M-A, superlative copy. MB 12

N0788. YOSSELLE ROSENBLATT, SAWEL KWARTIN, LEIB GLANTZ, PIERRE PINCHIK, BEN ZION KAPOV-KAGAN & SAMUEL VIGODA – THE GOLDEN VOICES OF ISRAEL, 12s. 6-12” purple RCA 38-1002-1007, POM-1927-38, in Orig. Album S 100. M-A MB 35, the Set.

“The name of Rosenblatt hovers above all other cantors of any generation as the quintessential virtuoso hazzan of all time….it is safe to assume that if a layman recognizes only one name from the pantheon of cantorial Olympians, it is likely to be Rosenblatt’s. His life and his art combine to form a Jewish as well as an American legend. It can be tempting to draw a loose analogy to the superseding fame of Enrico Caruso, who stands out in popular memory as the dominant Italian operatic tenor in the history of that genre, but in reality he was only one of a number of equally great contemporaneous tenors. If the general public can identify only one operatic tenor from that era, is likely to cite Caruso, likewise Rosenblatt among cantors.


- Neil W. Levin, Milken Archive


N0789. VLADIMIR ROSING: Hunger (Cui). 12" pink Eng.Vocalion A-0131, POM-1920, only form of issue, London. A to M-A, beautiful copy has infinitesssimal dust mk, ever-so-faintly audible a turn or two. Elusive! MB 20

N0790. VLADIMIR ROSING: Sadko – Song of the Indian merchant. 10” brown shellac Vocalion 30178, POM-1921, issued USA only. A-, lovely copy has faint rubs, inaud. MB 12

N0791. VLADIMIR ROSING: Faust – Salut, demeure (in French!). 12” brown shellac Vocalion 52029, POM-1921, issued USA only. M-A MB 15

N0792. VLADIMIR ROSING, w.Gellhorn (Pf.): A dream on the Volga; Autumn (both Arensky) / The dreary steppe; Snowflakes; Rain (all Gretchaninoff). 12” red Decca 29049, POM-28 May / 21 July, 1937, Sd.2 is Rosing’s final recording. A to M-A, lovely copy has faintest rubs, inaud.; label stkrs. MB 15

N0793. VLADIMIR ROSING: Spring waters (Rachmaninoff). 10” brown shellac Vocalion 30141, POM-1921, issued US only. M-A MB 15

N0794. VLADIMIR ROSING: Song of the flea (Moussorgsky) / Prince Igor – Vladimir’s cavatina (Borodin). 12” brown shellac Vocalion 70022, POM-1921, issued USA only. M-A MB 15

N0795. VLADIMIR ROSING: The Clock (Sachnovsky) / Yeremoushka’s cradle song (1920 Version) (Moussorgsky). 10” brown shellac Vocalion 60052, POM-1920. A to M-A, lovely copy has faintest rubs, inaud. MB 15

N0796. VLADIMIR ROSING: Nimpha (Rimsky-Korsakov). 12" pink Eng.Vocalion A-0123, POM-1920, only form of issue,London. A to M-A MB 15

N0797. VLADIMIR ROSING, w.Ivor Newton (Pf.): Gathering Mushrooms (Mussorgsky). 10” pink Eng.Vocalion B-3012, POM-1920, only form of issue,London. M-A MB 15

N0798. VLADIMIR ROSING, w.Ivor Newton (Pf.): / Do not depart (Rachmaninoff); Hunger (in Russian) (preceded by Rosing’s most effective spoken introduction in English) (Cui) / Prince Igor – Daylight is fading (1934 Version) (Borodin). 12” red Decca-Odeon 25188, POM-21 March / 23 Feb.,1934. A to M-A, lovely copy has faintest rubs, inaud. MB 15

N0799. VLADIMIR ROSING, w.Ivor Newton (Pf.): / Danse macabre (Saint-Saens); Lullaby (Gretchaninow) / My father has some very fine sheep (in English) (preceded by Rosing’s delightful spoken introduction, also in English) (Hughes) / Romance (in Russian) (preceded by Rosing’s poignant spoken introduction in English) (Cui). 12” red Decca-Odeon 25468, POM-23 Feb.,1934. A to M-A, lovely copy has faintest rubs, inaud. MB 15

N0800. VLADIMIR ROSING, w.Foggin (Pf.): The goat; Ballade; Savishna; Gopak; The star; To the Dnieper; Gathering mushrooms (1935 Version); The orphan; Songs and Dances of Death – Trepak; Death’s lullaby; Field-Marshall Death; Death’s serenade; Yeremoushka’s cradle song (1935 Version); The Fair of Sorochinski – Reverie of the young peasant (all Mussorgsky), 12s. 6-12’ black & red Decca 29020/25, POM-1935, in Orig. Decca Album #1. M-A, appears unplayed; minor damage on album spine. MB 45, the Set.

N0801. VLADIMIR ROSING, w.Gellhorn (Pf.): Song of the poor wanderer (Nevstrueff); The Drunken miller (Dargomyzhsky); Northern Star; Virtus antiqua (both Glinka); The Sea (Borodin); The rose and the nightingale; Southern night (both Rimsky-Korsakov); Dream on the Volga - Lullaby; Autumn (both Arensky); At the ball; Again, as before; Do not speak, beloved!; Why? (all Tschaikowsky); Oh, do not sing again!; The island; In the silence of the night; Spring waters (all Rachmaninoff); The dreary steppe; Snowflakes; Rain (all Gretchaninoff) (final side is Rosing’s final recording). 5-12” black Decca 29046/50, POM-1937, in Orig. Decca Album #9. M-A, appears unplayed. MB 45, the Set.

“Rosing was a tenor of the lyrico-spinto type, which allowed him to sing roles like Cavaradossi and Radames….It was notable mainly for its expressive quality, a feature he shared with Chaliapin and Kozlovsky, and with sopranos like Koshetz and Slobodskaya, for a particularly lovely mezza-voce, and for his exemplary enunciation of the Russian language. His top was probably rather limited, as he frequently extended his range by making use of the head voice, a characteristic he shared with Tauber.”


- Foris Juynboll, THE RECORD COLLECTOR, 1991


N0802. VLADIMIR ROSING & OLGA ALEXEEVA: Black eyes; Haida troika / The old waltz; Two guitars. 12” red Decca-Odeon 25370, POM-4 Dec., 1934. [This Decca issue missing in the Juynboll Discography] M-A, appears unplayed. MB 15

N0803. VLADIMIR POLITKOVSKY: , w. Melik-Pashaev Cond. The Tsar’s Bride - I can’t forget this beauty (Rimsky-Korsakov), 2s. 10” purple Aprelevski Zavod 4823/24, recorded 1937. A to M-A MB 12

N0804. MARIA KOUSNETZOFF: La Traviata – Ah,fors’ e lui / La Boheme – Mi chiamano Mimi. 11ľ” US grey paper label H & D Pathé 60057 (4164/65), recorded 1917, Paris. M-A MB 15

N0805. MARIA KOUSNETZOFF: Manon – Gavotte / Adieu, notre petite table. 11ľ” black paper label H & D Pathé 122 (3134/3135), recorded 1916, Paris. A-, very decent copy has considerable cosmetic rubs, but plays beautifully. MB 12

N0806. IVAN KOZLOVSKY, w.Walter (Pf.) Before my window (Rachmaninoff) / Disenchantment (Tchaikovsky). 10” red Aprelevski Zavod CCCP 19451/52, recorded 1951. M-A MB 12

N0807. IVAN KOZLOVSKY, w.Walter (Pf.) At the ball (Tchaikovsky) / Winter evening (Yakovlev). 10” red Aprelevski Zavod CCCP 20229/30, recorded 1951. M-A MB 12

N0808. IVAN KOZLOVSKY, w.Walter (Pf.): On the hills of Georgia (Rimsky-Korsakov) / I shall tell you nothing (Tchaikovsky). 10” red Aprelevski Zavod CCCP 20382/83, recorded 1951. M-A MB 12

N0809. IVAN KOZLOVSKY, w.Walter (Pf.): Behind the window (Tschaikowsky) / Lonely and sad (Dargomyzhsky). 10” red Aprelevski Zavod CCCP 20453/54, recorded 1951. M-A MB 12

N0810. IVAN KOZLOVSKY, w.Walter (Pf.) Again, as before, alone (Tschaikowsky) / Daydreaming (Arensky). 10” red Aprelevski Zavod CCCP 20164/65, recorded 1951. M-A MB 8

N0811. IVAN KOZLOVSKY, w.Sakharov (Pf.) & Borisovsky (Viola): O cease thy singing, maiden fair / Before my window; It cannot be (all Rachmaninoff). 7” red Aprelevski Zavod CCCP 00646/47, recorded 1937. A to M-A, lovely copy has, Sd.2 only, infinitessimal scr, ltly audible only a few turns. MB 12

N0812. IVAN KOZLOVSKY, w.Sakharov (Pf.) It is not the wind / In the silence of the night (both Rimsky-Korsakov). 10” black Aprelevski Zavod USSR 6265/66, recorded 1937. M-A MB 12

N0813. IVAN KOZLOVSKY, w.Orlov Cond.: Werther – J’aurais sur ma poitrine / Pourquoi me réveiller? (in Russian). 10” red Aprelevski Zavod 9160/61, recorded 1939. M-A, lovely copy has faintest rubs, inaud. MB 12

N0814. IVAN KOZLOVSKY, w.Orlov Cond.: La Boheme – Che gelida manina (in Russian), 2s. 10” red Aprelevski Zavod CCCP 9178/79, recorded 1939. [‘Kozlovsky could spin a cantabile line in a way equaled by few, his intonation was impeccable, and he could vary the color of his timbre to reflect the dramatic situation being depicted by the music’. – Henry Fogel, FANFARE] M-A MB 12

N0815. IVAN KOZLOVSKY, w.Orlov Cond.: May Night – Sleep, my beauty (Rimsky-Korsakov), 2s. 10” red Aprelevski Zavod CCCP 9176/77, recorded 1939. M-A MB 12

N0816. IVAN KOZLOVSKY, w.Orlov Cond.: Dubrovsky - O give me oblivion (Napravník), 2s. 10” blue Aprelevski Zavod USSR 9180/81, recorded 1939. M-A MB 12

N0817. IVAN KOZLOVSKY, w.Orlov Cond.: Halka - The wind moans in the hills (Moniuszko), 2s. 10” pale-blue ‘Art-Label’ Aprelevski Zavod Art Label 10718/19, recorded 1940. M-A MB 15

N0818. IVAN KOZLOVSKY, w.Samosud Cond.: Faust – Si le bonheur ŕ sourire t'invite (The Tom Peel discography suggests this is the mezzo aria, ‘Faites-lui mes aveux’!) /IRINA MASLENNNIKOVA: Roméo et Juliette – Je veux vivre (both in Russian). 12” red Aprelevski Zavod CCCP 020121/020122, recorded 1953. M-A MB 15

N0819. IVAN KOZLOVSKY, w.Samosud Cond.: Rusalka – Some unknown power (Dargomyzhsky), 2s. 12” red Aprelevski Zavod CCCP 022910/11, rec. 1953. M-A MB 15

N0820. IVAN KOZLOVSKY, w.Knushevitsky Cond.:Eugen Onégin – Whither have you gone?, 2s. 12” red Aprelevski Zavod USSR 04903/04, recorded 1937. M-A MB 15

N0821. IVAN KOZLOVSKY & MARIA MAKSAKOVA, w.Khaikin Cond.: Eugen Onégin – I love you, Olga / YELIZAVETA ANTONOVA & YELENA KRUGLIKOVA: Didst thou not hear? 12” red Aprelevski Zavod CCCP 020895 / 04584, recorded 1951/’36, resp. M-A MB 15

N0822. IVAN KOZLOVSKY, w.Steinberg Cond.: Prince Igor – Daylight is fading away, 2s. 12” red Aprelevski Zavod CCCP 06346/47, recorded 1937. [If ever there was a ‘desert-island’ record, this positively qualifies!] M-A, beautiful copy has, Sd. 1 only, cloudy surface, positively inaud.; this gem plays beautifully. MB 15

“…[Kozlovsky’s] bright incisive tone that was capable of being so effective in mezza voce, piano and pianissimo, is also here certainly very telling when required in several fortissimo passages. Although his basic timbre is not ideal in capturing all those expected effects of chiaroscuro required from a lieder singer, he can, and does, always create the true atmosphere of an experienced recitalist. This is achieved by the skilful use of dynamics, by excellent phrasing that is combined with a strong sense of rhythm and by constantly maintaining a good legato in the cantilena….”


- Alan Bilgora, THE RECORD COLLECTOR, 2017