Slav, Hungarian & Scandinavian Vocal 78rpm records

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

Since 1972

Auction Number 149 ­- AUCTION Closing Date: Monday, 21 May, 2018

Regarding AUCTION #149 (Closing Date: Monday, 21 May, 2018), 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 VI - Slav, Hungarian & Scandinavian Vocal 78rpm records Nos. V0827 - V0901

V0827. 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, gorgeous copy has, end Sd.1 only, 2 infinitessimal dust mks, positively inaud. MB 45

V0828. SALOMEA KRUSZELNICKA: LORELEY – Da che tutta / MADAMA BUTTERFLY - Un bel dì. 10½” red Fonotipia-Odeon x92939/40 (XPh 4813/16). M-A, gleaming copy of choice 1931 pressing. MB 75

V0829. SALOMEA KRUSZELNICKA: ADRIANA LECOUVREUR – Poveri fiori / Io son l’umile ancella (1907 Version). 10½” Columbia-Fonotipia 92089/88 (XPh 2853/54). M-A, exceptional copy has, Sd. 2 only, faintest rubs, barely visible & certainly inaud. MB 45

V0830. SALOMEA KRUSZELNICKA: AIDA - Ritorna vincitor…I sacri nomi di padre, 2s. 10½” Milano Fonotipia 92086/87 (XPh 2849/50). A to M-A, superb copy has, Sd.1 only, hint of grey on peaks, only momentarily audible. MB 45

“’Ritorna vincitor’ is a souvenir of one of Kruszelnicka’s 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. She is near enough to the horn for some naughtily audible intakes of breath to have been recorded. 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, pietà’ without any exaggeration.

Few great prima donnas of that day sang Adriana Lecouvreur because of some quarrel between Cilea and the publisher Sanzogno. Kruszelnicka sang the role at the San Carlo and at the Costanzi, Rome. She brings out all the pathos of ‘Poveri fiori’ with a beautifully sustained climax in which she is able to intensify her tone without any harshness.”
- Ward Marston

V0831. ADAMO DIDUR: DON GIOVANNI – Madamina! (Il catalogo) / NOZZE – Non più andrai. 10” brown & gold Perfect 11530, recorded 1919. A, lovely copy has faintest pap. rubs, inaud. MB 10

V0832. ADAMO DIDUR: ERNANI – Infelice, e tuo credevi / NOZZE – Aprite un po’ quegli occhi. 10” brown & gold Perfect 11543 [65838/66088], recorded 1919, New York. M-A, choice copy has minuscule rub, very beginning Sd.1, inaud. [This issue is missing from the excellent Harold Barnes Discography.] MB 12

V0833. ADAMO DIDUR: MEFISTOFELE – Son lo spirito / FAUST – Le Veau d’or. 10” brown & gold Pathé Actuelle 025092 [69178/66089], recorded 1921 / ’19, resp., New York. M-A, choice copy has minuscule pressing bump, Sd.1, inaud. MB 12

V0834. ADAMO DIDUR: LES CONTES D’HOFFMANN – Je me nomme Coppélius / LA SONNAMBULA – Vi ravviso. 10½” grey paper label H & D US-Pathé 27506 [66610/40], recorded 1918, New York. M-A, exceptional copy has, Sd.1 only, minuscule pressing bump. MB 12

V0835. ADAMO DIDUR: LES CONTES D’HOFFMANN – Je me nomme Coppélius / LA SONNAMBULA – Vi ravviso. 10” brown & gold Pathé Actuelle 025066 [66610/40], recorded 1918, New York. M-A MB 10

V0836. ADAMO DIDUR: MARTHA – Chi mi dirà (Porter Song) / ERNANI – Infelice, e tuo credevi. 11½” grey paper label H & D US-Pathé 62027 [65834/38], recorded 1919, New York, issued US only. M-A MB 12

V0837. ADAMO DIDUR: PAGLIACCI – Prologo. 11½” grey paper label H & D US-Pathé 54061, recorded 1920, New York, issued US only. M-A MB 12

V0838. ADAMO DIDUR: DER FREISCHÜTZ – Schweig! Schweig! Damit dich niemand warnt! / Hier im ird’schen Jammertal (in Italian) (Weber). 10½” Milano Fonotipia 39487/88 (XXPh 1624/1645). A-, lovely copy has faint rubs & very occasional lt.scr, momentarily audible. MB 15

V0839. ADAMO DIDUR: MEFISTOFELE – Ave, Signor / ROBERT LE DIABLE – Nonnes che reposez (in French) (Meyerbeer). 10¾“ Columbia-Fonotipia 39537 / 95002 (XPh 1622/2670), POM-1906. A-, lovely copy has very faint rubs, inaud. MB 15

V0840. ADAMO DIDUR: MEFISTOFELE – Son lo spirito che nega / FAUST - Le veau d'or (in Italian). 10½” Milano Fonotipia 92226/27 (XPh 3176/3181). A-/M-A, lovely copy has, Sd.1 only, very faint rubs, inaud. MB 15

V0841. ADAMO DIDUR: LA JUIVE–Vous qui du Dieu vivant (in Italian) (Halévy) / ERNANI – Infelice, e tuo credevi. 10½” Columbia-Fonotipia 92224/25 (XPh 3182/83). A-, beautiful copy has faint rubs, inaud. MB 15

V0842. ADAMO DIDUR: FAUST - Le veau d'or / Vous qui faites l'endormie (1906 Versions) (in Italian). 10½” Columbia-Fonotipia 39485/86 (XPh 1650/51). A, lovely copy has, Sd.1 only, very faint rubs, inaud. MB 12

V0843. ADAMO DIDUR: BARBIERE – La calunnia / FERRUCCIO CORRADETTI: CARMEN – Chanson du Toréador (in Italian). 11¾” Milano Fonotipia 74119/20 (XXPh 3175/3478), POM-1908. A-, lovely copy has faintest rubs, inaud.; Sd.1 only has minuscule pressing bump & hint of grey on peaks, inaud. MB 15

V0844. ADAMO DIDUR, w.Gino Nastucci (Vln): LA VITA BRETTONA –Vivea nel tempo antico (Mugnone) / 10½” Columbia-Fonotipia 39490 / 90023 (XPh 1662/2671). A-, beautiful copy has very faintest rubs, inaud. MB 35

V0845. ADAMO DIDUR: Si tu le voulais (in Polish) (1916 Version) (Tosti) / MEFISTOFELE – Ecco il mondo. 9¾” grey paper label H & D Pathé 27039, POM-1916. A to M-A MB 15

V0846. ADAMO DIDUR: Si tu le voulais (in Polish) (1916 Version) (Tosti) / MEFISTOFELE – Ecco il mondo. 10” grey & gold Pathé Actuelle 027039, recorded 1916. A-, lovely copy has faintest rubs, inaud MB 10

V0847. ADAMO DIDUR: Si tu le voulais (in Polish) (1928 Version) (Tosti) / Song of the flea (Moussorgsky) (both in Polish). 10” purple Bruns. 60048, only form of issue, 11 Feb., 1928; Sd.1 of particular sensitivity. M-A Exceedingly Rare! MB 95

“Didur was one of the most oustanding basses of the 20th century. His voice had a black timbre, a wonderful richness of tone, an astonishingly agilty (quite rare in a bass voice) and, last but not least, an extraordinary vocal range which enabled him to sing both bass and baritone roles. In addition to these vocal gifts Didur was a passionate and expressive actor on stage. His huge voice recorded very well. From 1899, the Warsaw Opera House became one of the greatest stages for Italian Opera in Europe. The most illustrious stars of Italian belcanto-tradition regularly appeared there. As a result of the excellent cultural relations between Poland and Italy, Giulio Gatti-Casazza, then impresario of La Scala di Milano, strongly influenced Didur’s career. Another influential mentor was Mattia Battistini.

Didur appeared in several Met Opera World premieres: LA FANCIULLA DEL WEST (1910); KÖNIGSKINDER (1910); IL TABARRO (1918); GIANNI SCHICCHI (1918).”
- Andrea Shum-Binder, subito-cantabile

V0848. IVAN ERSHOV (as E.B. YERSHOV) [‘The most brilliant jewel in the Mariinsky’s Wagnerian crown.’ – Levik] LE PROPHÊTE - Pour Berthe, moi je soupire; Versez! Que tout respire (in Russian) (Meyerbeer). 12” black St Petersburg G & T 022012 (95y) (w.Roman, not Cyrillic type), only form of issue, 1903. A-, beautiful copy has faintest rubs & hint of grey on peaks, inaud.; uncommonly clean & bright label. MB 225

“Ivan Ershov is not only one of the most exceptional of all Russian singers but also one of the most thrilling heroic tenors on records. The recordings present his voice in its absolute prime. His voice is a true Heldentenor. His recordings belong to the first ones recorded of a voice of this huge size. Exceptional for me are all the nuances he brings to the music. He is a truly great singer of Meyerbeer’s music.

His voice was discovered while singing in a church choir. The composer Anton Rubinstein advised him to study with the well-known teachers Gabel and Palatchek in St Petersburg. He also travelled to Italy for further studies with Cesare Rossi. After returning to Russia in 1894, he spent a season at the opera house of Kharkov. The following year he was contracted to the Mariinsky Theatre where he remained a principal of the company for 34 years! His popularity in Russia was enormous and he was called ‘The Russian Tamagno’. He specialized in heroic parts such as Otello, Florestan, Tristan, Lohengrin, Siegfried and Tannhäuser. Ivan Ershov was undouptedly the greatest Russian heroic tenor of his time. After his retirement he continued to sing in concerts and became a renowned singing coach at the Leningrad Conservatory.”
- Andrea Shum-Binder, subito-cantabile

V0849. JARMILA NOVOTNÁ, w.Jan Masaryk (Pf.): 15 Songs of Lidice (Czech Folk Songs), 6s. 3-12” V 11-8318/20, only form of issue, 6-7 May & 29 June, 1942, New York (except for 2 Sides, otherwise issued only on HMV, those being dubbings), in Orig. Album M-936. M-A MB 45, the Set.

“Jarmila Novotná was widely considered one of the finest singing actresses of her time. Her interpretations of such roles as Donna Elvira, Euridice, Manon, Mélisande, Antonia and Marenka were praised for their intelligence and lyrical grace. She also excelled in trouser roles, particularly Orlofsky in DIE FLEDERMAUS, Cherubino in LE NOZZE DI FIGARO and Octavian in DER ROSENKAVALIER. On hearing her American début in San Francisco in MADAMA BUTTERFLY in 1939, Olin Downes wrote in THE NEW YORK TIMES: ‘There is grace, warmth, communicative feeling in all that she does’.

She made her Metropolitan debut in LA BOHEME in 1940, singing with Jussi Björling. That year Downes also praised her ‘great’ Violetta at the Met: ‘She conceived the music, from first note to last, dramatically, and portrayed the character with an aristocratic sensibility and simplicity. The word and the tone were indissoluble; the phrasing was that of the finest musician’. In her years at the Metropolitan Opera, Miss Novotna sang 193 performances and won consistent praise for her expressiveness and musicianship.

Miss Novotná studied with Emmy Destinn and made her début at the age of 17 with the Prague National Opera. She continued her studies in Milan and became a member of the Vienna State Opera from 1933 to 1938, eventually singing opera and concerts in most of the major houses of Europe. Toscanini brought her to the attention of the Met after she sang Pamina under his direction in Salzburg in 1937. She came to New York in 1940, arriving, she noted years later, the day Hitler marched into Prague. During the war years she recorded ‘Songs of Lidice’, in memory of the victims of the Nazi massacre. The recording presents folk songs of her native land; the piano accompaniments are by Jan Masaryk, the son of the former president of Czechoslovakia.”
- Edward Rothstein, THE NEW YORK TIMES, 10 Feb., 1994

V0850. ROSA OLITZKA: Ich liebe dich (Grieg) / PIQUE DAME – O jeunes filles. 10” Tri-Color Col. A1344, POM-25 Nov., 1912. M-A, a gleaming copy. MB 25

V0851. ROSA OLITZKA: XERXES – Ombra mai fu (Handel). 12” Tri-Color Col. 30840, POM-6 Sept., 1911. M-A, a gleaming copy. Elusive! MB 25

V0852. ROSA OLITZKA: Agnus Dei (Bizet) / SAPHO – O ma lyre immortelle (Gounod). 12” Tri-Color Col. A5428, POM-20 March, 1912 / 21 Nov., 1911. M-A, a gleaming copy. MB 20

V0853. ROSA OLITZKA: ORFEO – Che farò senza Euridice / LE CID – Pleurez mes yeux (Massenet). 12” Tri-Color Col. A5379, POM-6 / 16 Sept., 1911. M-A, a gleaming copy. MB 20

V0854. ROSA OLITZKA: SAMSON ET DALILA – Printemps qui commence / Mon coeur s’ouvre à ta voix. 12” Tri-Color Col. A5369, POM-April, 1912. M-A, a gleaming copy. MB 20

V0855. ROSA OLITZKA: LE PROPHÈTE – Ah, mon fils! / TANNHÄUSER – Frau Holda kam aus dem Berg hervor (Shepherd’s song). 12” Tri-Color Col. A5340, POM-6 / 18 Sept., 1911. M-A, a gleaming copy. MB 20

V0856. ROSA OLITZKA: DAS RHEINGOLD – Weiche, Wotan, weiche! / LA GIOCONDA – Voce di donna. 10” yellow IRCC 3009, RRs-1907/’16. Sd.1 label is Autographed by Olitzka. M-A MB 12

V0857. ROSA OLITZKA: LA GIOCONDA – Voce di donna / FAUST – Faites-lui mes aveux (in Italian). 10” H & D paper label Edison 80726 (4377-A/52-C), both recorded 1916, only form of issue, Sd.1. [Olitzka’s sole Edison disc, although not issued until 1922]. M-A, a gleaming copy. MB 20

V0858. ROSA OLITZKA: LA GIOCONDA – Voce di donna / FAUST – Faites-lui mes aveux (in Italian). 10” H & D paper label Edison 80726 (4377-C /52-C), both recorded 1916, only form of issue, Sd.1. [Olitzka’s sole Edison disc, although not issued until 1922]. M-A, a gleaming copy. MB 20

V0859. ROSA OLITZKA: LUCREZIA BORGIA – Brindisi / IL TROVATORE – Stride la vampa (in German). 10” pale pink HRS 1032, RRs-25 Nov., 1912 / 1907. Olitzka’s photo appears Sd.1 label which is Autographed by her. M-A MB 15

“Rosa Olitzka was definitely a product of her unique era, and her name appeared numerous times on programs that featured at least six other top-notch singers in a single opera; lavish casting was possibly the finest aspect of Olitzka’s ‘Golden Age’. At various times, and in a number of houses, her competition for the contralto roles included Schumann-Heink, Giulia Ravogli, Eugenia Mantelli and Sofia Scalchi, but even those Titans could not push Olitzka onto the sidelines.

Her repertoire was large and all encompassing. She was a particularly outstanding Amneris and was highly acclaimed in the medium-to-large sized Wagnerian roles such as Ortrud, Fricka in DIE WALKÜRE, Brangäne, Magdalene in DIE MEISTERSINGER and Erda. But the amiable Olitzka, devoid of ‘diva’ tendencies, was happy to oblige management in the smaller ensemble roles: she sang various Norns, Valkyries and Rhinemaidens on countless occasions.

Of Polish descent, Rosa Olitzka was born in Berlin and began her voice lessons there with Julius Hey. Later in Paris she studied with Désirée Artôt de Padilla, and made her debut in a Berlin recital when she was barely sixteen. Olitzka had quickly fine-tuned a rich, velvety and steady contralto instrument and was at the beginning of a long operatic career that would take her just about everywhere in a large and varied repertoire. She sang frequently at Covent Garden until 1907, where the SIEGFRIED Erda was generally her most admired interpretation. Olitzka was also a success in St. Petersburg, Berlin, Milan (La Scala), Brussels and especially Paris, where her roles included Waltraute in a French-language production of GÖTTERDÄMMERUNG in 1902. She toured the United States with the Damrosch troupe in 1894 and managed to crowd in four seasons at the Metropolitan between 1895 and 1901. She eventually settled in the United States, singing in recital tours and with the Boston and Chicago Opera Companies. She retired to Chicago and taught there until her death.”
- Andrea Shum-Binder, subito-cantabile

V0860. ANNA MEITSCHIK: Aufenthalt (Schubert) / XERXES – Ombra mai fu (Handel). 10” purple Bruns. 53010, only form of issue, 25 Nov., 1927. M-A Exceedingly Rare! MB 175

“Anna Meitschik studied at the St. Petersburg Conservatory under Carolina Ferni-Giraldoni and made her debut after the turn of the century in Tbilisi. From1907 to 1910 she appeared on different Italian stages; she guested at the beginning of her career in Spain and sang at the Teatro San Carlo in Lisbon. In the 1909-10 season she was a member of the Metropolitan Opera in New York (debut role being La Cieca in LA GIOCONDA under Toscanini). In 1910 she sang there the role of the old countess in the New York première of Tchaikovsky’s PIQUE DAME. In 1922 she gave a very successful concert in New York and was heard there again in Steinway Hall 25 Nov., 1930.”
- Ned Ludd

V0861. ANTONINA NEZHDANOVA: La Serenata (Tosti) / Si vous l’aviez compris (Denza). 12” vinyl Historic Masters HMB 48, POM-19 April, 1913 / 14 April, 1914. MINT MB 10

V0862. ANTONINA NEZHDANOVA: Die Nachtigall (Alabieff) / OLIMPIA BORONAT: MARTHA – The last rose of summer (1904 Version) (in Italian). 10” white Archive HMV VA 19, POM-1904/’08, resp. MINT MB 8

V0863. ANTONINA NEZHDANOVA: Matushka golobushka (Gurliev) / RUSLAN AND LUDMILA – Ah destiny (Glinka). 10” vinyl Historic Masters HMB 96, POM-17 April, 1912 / 1906, resp. MINT MB 10

V0864. ANTONINA NEZHDANOVA: Der Vogel im Walde (in Russian) (Taubert) / DEMON – The Night was warm (Rubinstein). 12” mauve & gold HMV AGSB 71, POM-27 Jan., 1910 / 9 May, 1911. M-A MB 15

V0865. ANTONINA NEZHDANOVA: DEMON – The Night was warm (Rubinstein). 12” plain label Special HMV Shellac Pressing of Gram. 02075 (398ac), 9 May, 1911. MINT MB 45

V0866. ANTONINA NEZHDANOVA: Parla (in Russian) (Arditi) / LES HUGUENOTS – Nobles Seigneurs, salut (in Russian) (Meyerbeer). 12” vinyl Historic Masters HMB 122, POM-24 April, 1912 / 13 April, 1914, resp. MINT MB 12

V0867. ANTONINA NEZHDANOVA: BARBIERE - Una voce poco fa (in Russian) / A LIFE FOR THE CZAR - I do not grieve (1914 Version) (Glinka). 12” vinyl Historic Masters HMB 24 (2799c / 319af), POM-1913/'14, resp. MINT MB 10

V0868. ANTONINA NEZHDANOVA: WINTERMÄRCHEN – Schmücket euch mit Rosen (Goldmark) / 12” plain label Special HMV Shellac Pressing of Gram. 023952 (1931c), POM-28 Jan., 1910. MINT MB 45

V0869. ANTONINA NEZHDANOVA: WINTERMÄRCHEN – Schmücket euch mit Rosen (Goldmark) / ZAUBERFLÖTE –Der Hölle Rache (in Russian). 12” white Archive HMV VB 37, POM-28 Jan., 1910 / 17 April, 1912. MINT MB 8

"There were many fine singers in the old Russia, both native and foreign, and there was also a remarkably high technical standard of recording. Neshdanova was a lyrical and coloratura soprano of great purity, and her many records are invariably well made.... Undoubtedly the pick of...specimens of Neshdanova's art is the rare aria from Goldmark's Shakespearian Opera....Her long-drawn-out, unconventional cadenza is a beautiful piece of workmanship."
- Desmond Shawe-Taylor

V0870. MATILDA DE BARTÓKY: Huzd rá cigány; Edes anyam / Isten veled. 10” pale-green Col. E2430 (45618/45807), POM-10 May / 22 June, 1915. A to M-A, beautiful copy has faintest rubs, inaud. MB 10

V0871. MATILDA DE BARTÓKY: Ferencz jóska azt üzente / Nem mehet a háboruba. 12” pale-green Col. E5117 (37275/76), POM-c. 1915. A-, lovely copy has lt.rubs & few isolated tiny scrs, ltly audible only a few times. MB 10

V0872. GEORGE BAKLANOV: LA DAMNATION DE FAUST – Voici des roses (Berlioz). 10” HMV 7-32020, POM-28 May, 1919. A to M-A, lovely copy has faintest rubs, inaud. MB 10

V0873. GEORGE BAKLANOV: LA GIOCONDA – Pescator, affonda l’esca (1915 Version). 10” Tri-Color Col. 77911, POM-1915. M-A MB 10

V0874. GEORGE BAKLANOV: CARMEN - Chanson du Toréador (1914 French Version) / LA GIOCONDA - Pescator, affonda l'esca (1910 Version). 12” Tri-Color Col. A5272, POM-1910. M-A MB 10

V0875. GEORGE BAKLANOV: CARMEN - Chanson du Toréador (1914 Russian Version) / PAGLIACCI – Prologo (in Italian). 12” green Künstler-Schallplatte.85059, POM-8 Jan., 1914. A to M-A, choice copy has faintest rubs, inaud. MB 15

V0876. GEORGE BAKLANOV: DEMON - I am he whom you called / Do not weep, my child (Rubinstein). 10” HMV DA 465, POM-28 / 29 May, 1919. A to M-A, lovely copy has faintest rubs, inaud. MB 10

V0877. GEORGE BAKLANOV: DEMON - Do not weep, my child / I swear by the eternal truth (Rubinstein). 12” Tri-Color Col. A5271, POM-30 Dec., 1910. M-A MB 10

V0878. GEORGE BAKLANOV: HAMLET - Brindisi. 12” Tri-Color Col. 49452, Original 1918 Issue. M-A MB 10

V0879. GEORGE BAKLANOV: OTELLO - Credo (1911 Version). 12” Tri-Color 30621, POM-3 Jan., 1911. M-A MB 10

V0880. GEORGE BAKLANOV: OTELLO - Credo / Era la notte (1911 Versions). 12” Tri-Color Col. A5270, POM-3 Jan., 1911. M-A MB 10

V0881. GEORGE BAKLANOV: EUGEN ONÉGIN – Alas, there is no doubt (1919 Version) / DON GIOVANNI – Deh, vieni alla finestra. 10” white Archive HMV VA 51, POM-27 May, 1919. MINT MB 8

V0882. GEORGE BAKLANOV, w.Weissmann Cond. Berlin Staatsoper Orch.: EUGEN ONÉGIN – Written words / Alas, there is no doubt (1929 Version). 10” red Decca-Odeon G-20423, POM-26 Sept., 1929. M-A, pristine copy has, Sd.1 only, sev. minuscule pressing bumps, occasionally ltly audible. MB 12

V0883. GEORGE BAKLANOV, w.Weissmann Cond. Berlin Staatsoper Orch.: PRINCE IGOR - No sleep, no rest (Borodin), 2s. 12” red Decca-Odeon 25122, POM-26 Sept., 1929. M-A MB 12

V0884. GEORGE BAKLANOV, w.Weissmann Cond. Berlin Staatsoper Orch.: BORIS GODOUNOV - I have attained the highest power, 2s. 12” red Decca-Odeon G-25813, POM-26 Sept., 1929. M-A MB 12

“Male voices like Baklanov’s with a two and a half octave range are rare….He had an excellent cantilena. His enunciation and musicianship were of a high standard. In short, he was a talented and versatile artist….Generally, Baklanov was the most interesting of the great Russian baritones and his success abroad was phenomenal.”
- Sergei Levik, THE LEVIK MEMOIRS, pp.241-42

V0885. OTOKAR MARÁK: Mam té rád (Jan Malát). 12” black Prague G & T 072005 (231y), only form of issue, 1904. A-, beautiful copy has faintest rubs, inaud. MB 25

V0886. OTOKAR MARÁK & KAMILA UNGROVÁ: PRODANÁ NEVESTA - Jako matka pozehnánim / KLÁNOVÁ-PANZNEROVA, FELDENOVA, KUBÁTOVA, SIR, VIKTORIN & POLÁK: Rozmysli si Marenko (Smetana). 12” black Monarch Gram. 074003/000, POM-1907. A to M-A-, beautiful copy has, Sd.2 only, 3 faint ticks at very beg. MB 15

V0887. OTOKAR MARÁK & OTA HORÁKOVÁ: PRODANÁ NEVESTA – Vérné milování / HORÁKOVÁ, SLECHTOVA, REJHOLCOVÁ, SOBESKY, FIFKA & HUML: Rozmysli si Marenko (Smetana). 12” EL dark-blue German Lindström Parlophon P.60009, POM-1929. A-, very decent copy has lt.rubs, inaud.; Sd.2 only has faint nr which ticks ltly only during initial turns. This plays as virtually M-A. MB 15

“[Marák] remained [as first tenor with the Prague National Opera] more than twenty years, and sang over fifteen hundred performances….It was a voice of characteristic timbre, lyric in quality….with Emmy Destinn and Karel Burian, Mařák completed the trio of well-known early 20th century Czech singers.”

V0888. BENO BLACHUT, w. Zdeněk Folprecht Cond. Orchestr Národního: HUBIČKA - Kdybych věděl, jak svou vinu smýt / BENO BLACHUT & LÍDA ČERVINKOVÁ: Jsme svoji (Smetana). 12” gold & green Esta 5073 (4301/02). A/M-A, lovely copy has, Sd.1 only, faintest rubs, inaud. MB 12

V0889. BENO BLACHUT, MARIE BUDÍKOVÁ-JEREMIÁŠOVÁ, w.Jan Ouředník Cond. Orchestr Národního: PRODANÁ NEVĚSTA - Proč bychom se netěšili (Smetana), 2s. 12” Art-label Esta 5083 (4412/13). M-A MB 12

V0890. BENO BLACHUT, w. František Škvor Cond. Orchestr Národního: DVĚ VDOVY - Když zavítá máj / Aj, vizte lovce.tam (Smetana). 12” Art-label Esta 5106 (4444/46). A to M-A, lovely copy has, Sd.1 only, faintest scr, inaud. MB 15

V0891. BENO BLACHUT, w. Jožka Charvát Cond. Orchestr Národního: DALIBOR - Když Zdeněk můj / Kde meškáš, Zdeňku (Smetana). 12” Art-label Esta 5169 (4717/18). M-A MB 12

“Beno Blachut’s operatic debut came in 1939 with Jeník in THE BARTERED BRIDE at the Olomouc Opera. In 1941 Blachut joined the Czech National Opera, based at the Prague National Theatre, once again making his debut as Jeník. Gradually he extended his repertoire, moving from lyric parts to more dramatic roles, notably in the operas of Smetana, Dvořák and Janáček. He fully established himself as the Czech National Opera’s leading tenor in 1945 with his interpretation of another title part, Smetana’s Dalibor.

Following a highly praised appearance as Boris in Janáček’s KÁT’A KABANOVÁ at the Holland Festival in 1959, his performance of Luka Kuzmič in the Czech National Opera’s production of Janáček’s FROM THE HOUSE OF THE DEAD at the 1964 Edinburgh Festival received great acclaim, as did his portrayal of Mathias Brouček in Janáček’s THE EXCURSIONS OF MR BROUČEK, also at the Edinburgh Festival, in 1970.

Blachut appeared as a guest with several major opera companies outside his homeland, including the Vienna State Opera; the Komische Oper, Berlin; La Fenice, Venice; Finnish National Opera and Netherlands Opera. He was also active as a concert singer, in works such as Dvořák’s Stabat Mater and Janáček’s Glagolitic Mass, and his realisation of Janáček’s THE DIARY OF ONE WHO DISAPPEARED was considered by many to be definitive. He left a large recorded legacy, mainly with the Czech record company, Supraphon.”
- David Patmore, Naxos’ A–Z of Singers

V0892. BOHUMIL PTÁK & HANNA FÖRSTROVÁ: PRODANA NEVESTA –Dueto Vaska a Marenky / Verne milováni (Smetana). 10” plum Czech HMV 1451 (274025/26), POM-24 Jan., 1912 (Recorded in America). A-, lovely copy has lt.rubs; Sd.2 only has lt scr, , inaud. This charming disk plays as absolutely M-A. MB 15

“Bohumil Pták made his debut in 1890 at the Opernhaus in Brno as Hans in B. Smetana’s VERKAUFTER BRAUT and appeared there until 1896. That year he established himself with DALIBOR at the National Theatre in Prague. He sang at the National Opera in Prague in important premieres of Czech operas of his epoch. His repertoitre was very extensive. The management often presumed on his guest appearances, and at the last moment he was asked to stand in for his colleagues [reminiscent of Steber at the Met]. Thus he was instrumental in saving many performances. But one such substitution led to conflict [with Burian]. Thus embittered, he went on a three year tour to America, 1912-1914 seasons, where he enjoyed great success [and made the above recording. In 1914 he returned home, securely accomplished. The last ten years of his life were spent in complete seclusion.”
- John R. Bennett, SMETANA ON 3000 RECORDS

V0893. PRODANA NEVESTA – Complete Opera (Smetana), 30s., w. Ostrcil Cond. Prague National Opera Ensemble; Jan Konstantin, Ada Nordenová, Marta Krásová, Jaroslav Gleich, Vladimir Toms, Emil Pollert, Karel Hruska, etc.; 15-12” PW & RCA Victor 13345/59, POM-1933, in Orig. Albums DM-193, w.Libretto-Brochure. M-A, beautiful copy has very occasional surface rubs, inaud. Exceedingly elusive! MB 95, the Set.

"This is an historic issue of appreciable importance. The first-ever recording of Smetana's most popular opera, performed by a team steeped in the tradition of interpreting the work in Prague... All the cast have the great advantage of being Czech so that the recitative as much as the arias flow with a natural feeling for speech rhythms and accentuation."
- Alan Blyth

V0894. ALEXANDER KIPNIS, w.Arthur Bergh (Pf.): Immer leiser wird mein Schlummer / Feldeinsamkeit (both Brahms). 12” early PW Col.7204-M (98629/30), POM-15 Feb., 1931, on Royal Blue Shellac. A to M-A, beautiful copy has faintest rubs, inaud. MB 10

V0895. ALEXANDER KIPNIS, w.Arthur Bergh (Pf.): Si tra i ceppi / ARIODANTE - Al sen ti stringo e parto (both Handel). 12” early PW Col.7224-M (98683/98673), POM-23 Oct., 1929. A to M-A, beautiful copy has faintest rubs, inaud. MB 10

V0896. ALEXANDER KIPNIS, w. Johannes Heidenreich Cond.: DON CARLOS – Ella giammai m’amo (in Italian) / DER BARBIER VON BAGDAD – So schwärmt Jugend (Cornelius). 12” buff, blue & gold (art deco) Homocord B.8424 (M51219/22), only form of issue, 29 Sept., 1923. A to M-A, exemplary copy has faintest rubs, inaud. MB 45

V0897. ALEXANDER KIPNIS, w.Orthmann Cond. Berlin Staatsoper Orch.: WILDSCHÜTZ - Fünftausend Thaler (Lortzing) / EDUARD HABICH & WALDEMAR HENKE; w.Blech Cond. Berlin Staatsoper Orch.: FRA DIAVOLO - O Sainte Vierge (in German) (Auber). 12” mauve & gold HMV AGSB 11, POM-1931. [Rare American Gramophone Society Issue which was never circulated due to Addison Foster's error in having followed the WERM listing which states that the soloist, Sd.2, is KIPNIS. Upon discovering this error, Foster refused to offer this disk for sale, thus its rarity.] MINT MB 35

V0898. ALEXANDER KIPNIS, w.Orthmann Cond. Berlin Staatsoper Orch.: ZAUBERFLÖTE - In diesen heil'gen Hallen / SIMON BOCCANEGRA - Il lacerato spirito. 12” PW V 8684, POM-1931/'30, ‘z’ shellac pressing. M A, lovely copy has faintest pap.rubs, inaud. MB 15

“Kipnis’ was certainly the great basso cantante voice in my experience. I can in fact think of only one other to compare with it, that of José Mardones. But Kipnis had so much more than just the voice….Most fortunately, he recorded well and he recorded prolifically. In the best of his performances on disc, one can almost see him as a presence. Who ever sang ‘Il lacerato spirito’ with such a wealth of expressive tone?”
- Philip Lieson Miller, THE OPERA QUARTERLY, Summer, 1991

V899. NADEZHDA OBUKHOVA. KHOVANCHINA – Mysterious powers! (Marfa’s divination) (Mussorgsky), 2s. 10” yellow CCCP Aprelevski Zavod 10931/32, recorded 1941. MINT MB 12

V900. NADEZHDA OBUKHOVA, w.Melik-Pashaev Cond.: SADKO - Liubava's Recitative and Aria (Rimsky-Korsakov) / KHOVANCHINA – Marfa’s aria (Moussorgsky). 12" red CCCP Aprelevski Zavod 016088/89, recorded 1948. M-A MB 12

“Nadezhda Obukhova was one of Russia’s most beloved artists. Listening to her records of 1937 onwards you can hardly believe that this is the voice of a 51 years old singer! Hers was a light, lyrical and colorful mezzo-soprano, easily reaching into the low register but with a curiously light, almost soprano timbre in the middle register. You will never hear her darkening the voice or making it heavier for effect which is certainly one of the reasons for her longevity. If you compare her earlier recordings of 1937 with her final recording of 1960 (which was the song ‘Kalinushka Malinushka’), breath and legato are not only intact but better than most singers half her age!”
- Andrea Shum-Binder, subito-cantabile

V0901. ROSA RAISA: CAVALLERIA - Voi lo sapete / LA GIOCONDA - Suicidio! 12” silver Victor IRCC 203, POM-29-30 June, 1933 (not 1934, as suggested by label). This is Numbered Copy #29 of an extremely Limited Edition; Sd.1 Label Autographed by Raisa, to which her Photo is affixed. M-A, superlative copy. MB 35