Section II - Spanish 78rpm records  Nos. N0412 – N0504

Historical Reissue Classical CDs, LPs, 78s,
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Auction Number 151 ­-
AUCTION Closing Date: Tuesday, 26 November, 2019



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Section II - Spanish 78rpm records Nos. N0412 – N0504



N0412. ENRIQUE BEUT: Maruxa - Cancion de Rufo (Act II) (Vives) / ENRIQUE BEUT, RAFAEL LOPEZ & EMILIA IGLESIAS: Terceto (Act I). 10” black Madrid Disco Gramophone 2-62151/64398 (18830/31m), only form of issue, 1914, w.contemporaneous Madrid stickers. [CREATOR Record, 28 May, 1914,Teatro de la Zarzuela, Madrid] A-, very decent copy has faint rubs & hint of grey on peaks, inaud. MB 15

N0413. GIUSEPPINA HUGUET: Pescadoreta (Canço catalaña). 10” black Barcelona G & T G.C.-63269 (7199-1), Original 1902 Issue, Never Doubled. M-A, choice copy has harmless incipient hlc & inaud.; uncommonly bright label & ubiquitious pressing indents. MB 25

N0414. GIUSEPPINA HUGUET: Mignon - Je connais un pauvre enfant (in Italian). 10” black Barcelona G & T G.C.-53266 (7195-F), only form of issue, 1902. M-A, choice copy has uncommonly bright label. MB 25

N0415. GIUSEPPINA HUGUET: Norma – Casta Diva; Ah! bello a me ritorna (abridged) (1902 Version). 10” black Barcelona G & T G.C.-53268 (7197-F), only form of issue, 1902. A to M-A, beautiful copy has very slightly noisy opening of only a few grooves, microscopic ndl cut, momentarily ltly audible & ubiquitious pressing indents. MB 25

N0416. GIUSEPPINA HUGUET: Norma – Casta Diva; Ah! bello a me ritorna (abridged) (1907 Version). 10” black Pat.’08 [5 line] V 52526 (10587b), POM-6 May, 1907. M-A, beautiful copy has microscopic scr, barely visible & inaud. MB 12

N0417. GIUSEPPINA HUGUET: I Vespri Siciliani – Mercè diletti amiche. 10” black Milano G & T G.C.-53452 (8057b), Original 1906 Issue, Never Doubled. A-, fine copy has lt.rubs, very rarely faintly audible; uncommonly bright label. MB 15

N0418. GIUSEPPINA HUGUET: Les Huguenots – O beau pays (in Italian). 12" white Vla 58407 (639c), POM-1906, Never Doubled. [one of Huguet’s earliest roles and one with which she truly identified] M-A, choice copy of preferred late pressing. MB 15

N0419. GIUSEPPINA HUGUET: Le Pardon de Ploërmel (Dinorah) – Dors, petite, dors tranquille / Hamlet – A vos jeux, mes amis (Mad Scene) (both in Italian). 12" black V 35180 (627c/641c), POM-1906. M-A, choice copy of preferred late pressing. MB 12

N0420. GIUSEPPINA HUGUET & PERELLO de SEGUROLA: Mignon – Légères hirondelles (in Italian). 10” black Barcelona G & T G.C.-54018 (7257-F), only form of issue, 1902. M-A, choice copy has ubiquitious pressing indents. MB 15

N0421. GIUSEPPINA HUGUET, JOSÉ MARISTANY & PERELLO de SEGUROLA: Faust – Anges purs, anges radieux (1902 Version, in Italian). 10” black Barcelona G & T G.C.-54019 (7256-F), only form of issue, 1902. M-A MB 25

N0422. GIUSEPPINA HUGUET, PIETRO LARA & JOSÉ TORRES de LUNA: Faust – Anges purs, anges radieux (1906 Version, in Italian). 10” black GP V 52520 (8041b), POM-1906. A to M-A, beautiful copy has faintest rubs, inaud. MB 10

N0423. GIUSEPPINA HUGUET & FERNANDO de LUCIA: Carmen – Parle moi de ma mère (in Italian). 12” red Pat.’08 Vla 92052 (1172c), POM-2 May, 1907. M-A MB 12

N0424. GIUSEPPINA HUGUET & FERNANDO de LUCIA: Faust - Il se fait tard (1907 Version, w.piano, in Italian). 12” red vinyl RCA Test Pressing for Mx.1173c, POM-2 May, 1907. M-A, best-possible quiet pressing of this‘desert-island’ record! MB 12

N0425. GIUSEPPINA HUGUET & FERNANDO de LUCIA: Rigoletto - E il sol dell'anima. 12” red Milano G & T 054084 (638c), Original 1906 Issue. A-, lovely copy has faint rubs, inaud.; wee pressing bump; faint label nr. MB 10

N0426. GIUSEPPINA HUGUET & FERNANDO de LUCIA: La Traviata - Parigi, o cara. 12” red Milano G & T 054081 (620c), Original 1906 Issue. A-, lovely copy has faint scuff & minuscule scr, ever-so-faintly audible. Remarkably quiet surface. MB 10

N0427. GIUSEPPINA HUGUET & FERNANDO de LUCIA: La Traviata - Parigi, o cara / Rigoletto - È il sol dell’anima. 12” dark blue Connoisseurs' Record Club HMV ABHB 6, POM-1906, Milano. MINT MB 6

N0428. GIUSEPPINA HUGUET & FERNANDO de LUCIA: Lohengrin – Das süsse Lied (in Italian). 12” red Milano G & T 054171 (1170½c), Original 1907 Issue. M-A, spectacular copy has very faintest rubs, inaud. MB 15

N0429. GIUSEPPINA HUGUET & FERNANDO de LUCIA: Lohengrin – Nie sollst du mich befragen (in Italian). 12” red Milano G & T 054175 (1171c), Original 1907 Issue. [Surely, we’ll never hear Wagner sung so lyrically, so poetically, ever again!] A to M-A, beautiful copy has faintest rubs, inaud. MB 15

“Giuseppina Huguet was born in Barcelona and made her début there in 1889. She sang in London, Paris, Milan, and Russia. She appeared at the New York Academy of Music for one season in 1898. She retired in 1912 and taught in Barcelona. She made recordings for G & T in 1903 and for HMV in 1908. Her records clearly show the imprint of a consistently reliable singer who took her work seriously and used imagination as well as professional skill….Huguet undoubtedly had a beautiful voice…one of the most beautiful soprano voices of her era.”


- Robert Bunyard, THE RECORD COLLECTOR, 2008


N0430. MARIA GALVANY: Fado Portuguez - Ouvi dizer (Neuparth). 10” red Pat.’08 [5 line] V 87061 (11187½ b), POM-1908 Issue, Never Doubled & extremely brief Catalogue Life. A to M-A, lovely copy has remarkably quiet surface! MB 35

N0431. MARIA GALVANY: Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapí). 10” red Milano G & T G.C.-53527 (10895b), Original 1907 Issue, Never Doubled in any regular series, w.contemporaneous Spanish label sticker. A to M-A MB 20

N0432. MARIA GALVANY: L’Eco (Eckert). 10” black Milano G & T G.C.-53294 (3049-R), sole issue, 1903. A to M-A, fabulous copy has faintest rubs, inaud., & ubiquitous pressing indents; Remarkably bright label. MB 35

N0433. MARIA GALVANY: Deh, non torna, mio bene (Thème et variations) (1903 Version, Italian) (Proch). 10” black Milano G & T G.C.-53296 (3058), sole issue, 1903. A- MB 20

N0434. MARIA GALVANY: Deh, non torna, mio bene (Thème et variations) (1907 Version, Italian) (Proch). 10” red Disco Gramophone G.C.-53526 (10894b), POM-1907. M-A MB 15

N0435. MARIA GALVANY: Zauberflöte – Der Hölle Rache (in Italian). 10” Pat.’12 Vla 87059 (4728h), POM-1906. [Galvany’s uniquely inimitable tour-de-force, fully displaying her armory of stratospheric staccati, [‘the staccati chattering away like machine-gun fire’ – Michael Scott] . . . for coloratura aficionadi!] M-A, choice copy has faint label nr. MB 25

N0436. MARIA GALVANY: Lucia di Lammermoor – Rondo andante / Zauberflöte – Der Hölle Rache (in Italian). 11¾” etched label center-start H & D Pathé 4124/4126 (31110/18294), recorded 1904, Paris, both Announced, w.contemporaneous French label stickers. M-A, a spectacular copy! MB 25

N0437. MARIA GALVANY: La Sonnambula – Ah! non giunge / Barbiere – Io sono dolcile. 11¼” black paper label H & D Pathé 5427 (04132/04127), rec. 1904, Paris. M-A MB 15

N0438. MARIA GALVANY: Barbiere – Andante della cavatina / Io sono dolcile 11¾” etched label center-start H & D Pathé 4120/4132 (18112/18118), recorded 1904, Paris, both Announced, w.contemporaneous French label sticker. M-A MB 25

N0439. MARIA GALVANY: Mireille - O légère hirondelle (1904 Version) / Le Pardon de Ploërmel (Dinorah) – Ombre légère (both in Italian). 11¾” etched label center-start H & D Pathé 4123/4125 (18292/18100), recorded 1904, Paris, both Announced. M-A, superb copy has barely visible ipc, not to grooves. MB 15

N0440. MARIA GALVANY: Mireille - O légère hirondelle (1906 Version,in Italian). 10” red Milano G & T G.C.-53483 (4731h), Original 1906 Issue. A to M-A MB 20

N0441. MARIA GALVANY: Roméo - Je veux vivre (in Italian) / Lucia di Lammermoor – Splendon le sacri faci. 12” white Victor unnumbered IRCC ‘K’ (1308c/1453½c)., POM-1907/’08, resp. M-A, superlative copy of this rare, preferred 1930s pressing. MB 25

N0442. MARIA GALVANY & REMO ANDREINI: La Traviata – Sempre libera. 12” red Milano G & T 054209 (1456c), Original 1908 Issue, w.contemporaneous Italian label sticker. M-A, beautiful copy has faintest rubs, inaud. & hardly worth mention. MB 20

N0443. MARIA GALVANY & FRANCESCO MARCONI: I Puritani – Vieni fra queste braccia. 12” (5-line) Pat.’08 Vla 89046 (1446c), Orig.’A’ Plate Issue, POM-1908. M-A, beautiful copy has faintest rubs, inaud. & hardly worth mention. MB 20

N0444. MARIA GALVANY & FERNANDO de LUCIA: La Sonnambula – Prendi, l’anel ti dono. 12” red vinyl RCA Test Pressing for Mx.1443c, POM-1908. Never Doubled in any Regular Series. M-A, choice red vinyl pressing, quiet surface. MB 15

N0445. MARIA GALVANY & FERNANDO de LUCIA: La Sonnambula – Prendi, l’anel ti dono. 12" white Vla 89045 (1443c), POM-1908. M-A, choice copy of preferred 1930s pressing. MB 15

N0446. MARIA GALVANY & FERNANDO de LUCIA: La Sonnambula – Son geloso del zefiro / GIUSSEPINA HUGUET & FERNANDO de LUCIA: Lohengrin – Nie sollst du mich befragen (in Italian). 12” silver Victor IRCC 104 (1444c/1171c), Numbered Copy #42. M-A, beautiful copy has faintest rubs, inaud. & hardly worth mention. MB 20

N0447. MARIA GALVANY & TITTA RUFFO: Rigoletto – Ah, veglia o donna. 10” red Milano G & T 54315 (4727h), Original 1906 Issue. A to M-A, lovely copy has faintest rubs, inaud. MB 15

“Galvany had an inherent love for, and understanding of, complicated florid work much like the finest instrumental virtuosi. Her knowledge of ornaments, variational patterns and cadential formulae was staggering. But she was a technician rather than an interpreter and so her art was best served by concert showpieces. Galvany's technical battery was astonishing; like a human violin she darted through intricate coloratura and staccati with a rapidity and accuracy that has not been equaled in the history of recorded sound. No technical challenge was beyond her and a transcription of some of her fioriture is a shocking experience….her instrument was well-produced with an attractive, warm middle register contrasted by a focused, ringing top to F in alt. I find Galvany's timbre easy to distinguish from other singers of that era. True to form, it is apparent that in some arias Galvany felt they did not sufficiently display her virtuosity. To remedy this she simply tacked on a cadenza.”


- Nicholas E. Limansky, THE OPERA QUARTERLY, 2004


N0448. RAFFAELE LAGARES & ROSANNA PAPAGNI: Carmen – Parle-moi de ma mère (in Italian), 2s. 12” LVDP DB 11352, only form of issue, 20 March, 1952. M-A MB 25

N0449. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): When I bring to you colour'd toys (in English) (Carpenter). 10” S/S white HMV Shellac Test Pressing for WL03006-2, POM-17 March, 1932, Unpublished until BIRS issued it on a special vinyl pressing [below]. MINT MB 8

N0450. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): When I bring to you colour'd toys (Carpenter) / Lullaby (Scott) (both in English). 10” vinyl BIRS Historic Masters HMA 1, POM-17 March, 1932, both from Unpublished Masters. MINT MB 8

N0451. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): A lesson with the fan (d’Hardelot) / Sould he upbraid (Bishop) (both in English). 10” Parl.-Odeon RO 20186, Original Issue, 17 March, 1932. M-A MB 20

“I had played a great deal for soprano Emma Calvé and we always had in the programme a song which Guy d’Hardelot wrote for her called ‘Lesson with the fan’. Calvé moved with utmost grace and could handle a fan with great elegance - something all the ladies of fashion in those days prided themselves on. This was always considered a sign of good breeding. Being a Spaniard Supervia knew how to handle a fan and liked the song very much but I felt that I myself could not get across to her exactly what had been in the composer’s mind. So Mme. d’Hardelot agreed to sing the song to Conchita and talk to her about it. Now she was then very old; she had already changed her red wig for a grey one and she was very frail: we had great difficulty in getting her up to the first floor drawing room of Conchita’s house, then in Westminster. Guy liked to sing her own songs, but she sang like a basso profundo with a cold. It was an extraordinary sound that she made, right down in her boots, and on these occasions she always accompanied herself. I introduced her to Conchita and said ‘I wish you would sing this to Conchita and just give her some idea of this song’. Guy then gave the most extraordinary performance - right down about four octaves below any sound ever heard from a human voice before: it could have been made by a very old man. But with her eyes and eyebrows and smiles she conveyed the naughty elegance of the period. When we had seen her back into her car Conchita said in that feminine way of hers: ‘What a wonderful life that woman must have led!’ Conchita’s recordings of these songs are still eagerly sought after.”


- Ivor Newton, At The Piano—Ivor Newton The World of an Accompanist


N0452. CONCHITA SUPERVIA, w.Ivor Newton (Pf.): Have you seen but a whyte lillie grow? (Dolmetsch) / O no, John! (Sharp) (both in English). 10” Parl.-Odeon RO 20193, only form of issue, 17 March, 1932. M-A MB 15

“…the first [English song] I thought of was a very old English song ‘Have you seen but a white lillie grow?’ Fortunately Conchita liked it; her diction was impeccable in this and to hear her pronounce the word ‘white’ was just the absolute quintessence of purity. I taught her a number of them which appealed to her - amongst them was the folk-song ‘Oh, no John’, which appropriately declares ‘My father was a Spanish Captain’. She liked this immensely - and she began to sing in English with remarkably clear enunciation; her diction in English songs was already a lesson to many native singers before she could speak the language.”


- Ivor Newton, The World of an Accompanist


N0453. CONCHITA SUPERVIA, w.Gennai Cond.: Canzoncine – Il gallo / Preghiera della sera (both Acc.by Composer), all preceded by Supervia’s spoken introductions. 10” blue Italian Odeon M 6060, POM-7 Feb., 1929. M-A MB 20

N0454. CONCHITA SUPERVIA, w.Gennai Cond.: Canzoncine – Filastrocca del ‘asino / La scarpetta e la neve (both Acc.by the Composer), all preceded by Supervia’s spoken introductions. 10” blue Italian Odeon M 6061, POM-7 Feb.,1929. M-A MB 25

“During the first war Conchita Supervia fell in love with an Italian lawyer named Francesco Santamaria, who was later to become the Mayor of Naples; he died in 1947. Their son Giorgio was born in October 1918; and some ten years later, in order to amuse her little ‘Giorgino’, she recorded a set of nursery songs by a composer named Gennai, each one with a spoken introduction. They are enchanting, and I believe that the Italian, spoken as well as sung, is pretty well flawless….Leopoldo Emanuele Gennai conducts the orchestra. How exciting to hear Supervia speaking: she introduces each song talking in exactly the same way that she sings–of course, she is “on stage” here, too, and may not have placed the voice so theatrically in the mask when chatting intimately to her ‘little Giorgio’, who, she claims, is in the studio with her.”


- Michael Aspinall


N0455. CONCHITA SUPERVIA, w.Capdevilla Cond.: Occhietti amati (Falconieri) / Se tu m’ami (Pergolesi). 10” blue Italian Odeon M 6064, POM-4 April, 1930. M-A MB 15

N0456. CONCHITA SUPERVIA: Adiós a Mariquiña (Curros-Enriquez) / Meus Amores (Baldomir). 12” blue PW Spanish Odeon 121.152 [XXS.4906/XXS.4907], only form of issue, 22 October, 1928. A to M-A, lovely copy has faintest rubs, inaud. Ultra Rare! MB 75

N0457. CONCHITA SUPERVIA: El Corral de la Pachca – La presumida (Canción epigramática) (Vives) / w.María Gil (Pf.): Romanç de Santa Llucia (Toldrá). 10” French Odéon 188.746 (SO 4909/4698), POM-1928/’27, resp. M-A, lovely copy has faintest rubs, inaud. MB 25

N0458. CONCHITA SUPERVIA: Clavelitos (Valverde) / Poema en forma de canciones - Cantares (Turina). 10” French Odéon 188.714 (SO 4620-3 / 4699), POM-17 Feb. / 2 May, 1928. M-A MB 20

N0459. CONCHITA SUPERVIA, w.Capdevilla Cond.: Bonjour, Suzon / w.Romero Cond.: Viens, une flûte invisible (Églogue) (This ‘Églogue’ is an exquisite ‘desert-island’ record!) (both Delibes). 10” blue Italian Odeon M 6068, POM 7 March / 28 Feb., 1930. M-A MB 15

N0460. CONCHITA SUPERVIA, w.Romero Cond.: El Niño Judío – De España vengo (Luna). [A fabulous ‘desert-island’ record] 12” S/S Shellac Parlophone Test Pressing for (XXS 4619), POM-13 Feb.,1928. M-A MB 65

N0461. CONCHITA SUPERVIA, w.Romero Cond.: Granada (1st Version) (Albéniz) / w.Frank Marshall (Pf.): Andaluza (Granados). [Among Supervia’s most beguiling records – not to be missed!] 12” Parl.-Odeon R 20130, POM-28 Feb./11 March, 1930. M-A MB 15

N0462. CONCHITA SUPERVIA, w.Bastide Cond. l’Opéra-Comique Orchestra: Frasquita – Il y avait une fois [Couplets de la cigarrière] (Lehár) [Creator Record, French Version, 3 May, 1933, l'Opéra-Comique] / w. A. Cuenco (Guitar): Tengo dos lunares (Valverde); Los ojos negros (Barta) (the latter two interpolated in Act II of Frasquita). 12” dark-blue French Ultraphone EP 1024, only form of issue, 1933. A to M-A, lovely copy has faintest rubs, inaud. Ultra Rare! MB 75

N0463. CONCHITA SUPERVIA, w. Cloëz Cond.: La Damnation de Faust – Autrefois un roi de Thulé (Berlioz) / w. Minssart Cond: Faust - Il était un roi de Thulé (Gounod) (both in French). 12” vinyl Historic Masters HMB 11, POM-24 / 26 Oct., 1931, both from Unpublished Masters. MINT MB 8

N0464. CONCHITA SUPERVIA, w. Cloëz Cond.: Carmen – Habañera / CONCHITA SUPERVIA & GASTON MICHELETTI: Non, tu ne m’aimes pas (2nd ‘Take’). 12” red French Odéon 123.773 (xxP 7267/65-2), POM-24 April, 1931. M-A MB 12

N0465. CONCHITA SUPERVIA & GASTON MICHELETTI, w. Cloëz Cond.: Carmen – C’est-toi? C’est moi! (Final scene), 2s. 12” red French Odéon 123.774 (xxP 7263/7264), POM-24 April, 1931. M-A MB 12

N0466. CONCHITA SUPERVIA & GIOVANNI MANURITTA: Barbiere – Contra io cor (Lesson scene), 2s. 12” red Argentinian Odeon 125032 (xxPh 6320/6321), POM-19 June, 1928. M-A, beautiful copy has faint rubs, inaud. MB 12

N0467. CONCHITA SUPERVIA, w.Albergoni Cond.: Barbiere – Una voce poco fa, 2s. 12” brown Fonotipia-Odeon L-305 (xxPh 6046/47), POM- 15 October 1927. M-A MB 12

N0468. CONCHITA SUPERVIA & VINCENZO BETTONI, w.Albergoni Cond.: La Cenerentola – Signore, una parola / Mignon – Légère hirondelle (in Italian). 12” red & gold Milano Fonotipia U 556 (xxPh 6455/56-2), POM-8 Feb., 1929. M-A MB 15

N0469. AMELITA GALLI-CURCI: Les Soirées Musicales – La Danza (Rossini) / Manon Lescaut – C’est l’histoire amoureuse (Laughing Song) (Auber). 10” white ‘Archive’ HMV VA 8, POM-28 March, 1930 / 5 March, 1917, Sd.1 Unpublished, being only form of issue, also Autographed in black ink by Galli-Curci. M-A MB 15

N0470. AMELITA GALLI-CURCI: Little Dorry (Seppilli). 10” Vla 64749, POM-12 Sept., 1917, Never Doubled (and in the catalogue only briefly!). M-A MB 20

"...Amelita Galli-Curci, whose bell-like coloratura voice set the standards for her competitors in the 1920s. She was the heir to Tetrazzini's roles and, by my standards at least, outdistanced every other coloratura of her era."


- Rosa Ponselle, A SINGER'S LIFE, p.90


N0471. AMELITA GALLI-CURCI, w.Homer Samuels (Pf.): Home, sweet home (Bishop) / ‘Tis the last rose of summer (Moore). 10” Scroll V 1355, POM-16 May / 5 Sept., 1928, on ‘Z’ shellac. M-A, lovely copy has very faintest rubs, inaud. MB 15

N0472. AMELITA GALLI-CURCI: Semiramide - Bel raggio lusinghier / ALICE NIELSEN: La Fille du Régiment - Il faut partir (in Italian). 12” gold Victor HRS 1031, POM 16 Sept., 1924 / 1 May, 1908. Numbered Copy #27 of an extraordinarily Limited Edition, each label Autographed by respective Artist. M-A MB 35

N0473. AMELITA GALLI-CURCI, w.Berenguer (Flute): I Puritani - Qui la voce. 12” Vla 74558, POM-14 Sept., 1917, Never Doubled, USA. Autographed in white ink by Galli-Curci. M-A MB 20

N0474 AMELITA GALLI-CURCI, w.Barone (Flute): La Capinera (Benedict) / La Paloma (Yradier). 10” PW Electrola DA 1002, POM-15 / 16 May, 1928. A to M-A, lovely copy has faint rubs, inaud. MB 10

N0475. AMELITA GALLI-CURCI, w.Barone (Flute): Le Pardon de Ploërmel (Dinorah) – Ombre légère (in Italian). 10” Scroll V 1174, POM-28/29 Dec., 1925, on ‘Z’ shellac. MB 12

N0476. AMELITA GALLI-CURCI, w.Barone (Flute): Lucia di Lammermoor – Il dolce suono. 12” Vla 74509, POM-1 Feb., 1917. Autographed in white ink by Galli-Curci. A, lovely copy has faintest rubs, inaud. MB 15

N0477. AMELITA GALLI-CURCI, BENIAMINO GIGLI, LOUISE HOMER & de LUCA: Rigoletto – Bella figlia dell’amore / GALLI-CURCI, GIGLI, HOMER, de LUCA, PINZA, etc.: Lucia – Chi mi frena. 12” Scroll V 10012, on ‘Z’ shellac, POM-16 Dec., 1927. M-A MB 10

N0478. AMELITA GALLI-CURCI: Il Trovatore - Tacea la notte / D'amor sull' ali rosee. 12” PW LVDP DB 1474, POM-22 Dec., 1925. M-A, superlative copy of preferred Italian pressing. MB 15

N0479. AMELITA GALLI-CURCI: Echo song (Bishop). 12” S/S vinyl Special Pressing of Unpublished Victor Mx. CVE-25548, POM-9 June, 1930. MINT MB 15

N0480. AMELITA GALLI-CURCI: 'Tis the last rose of summer (interpolated in Flotow's Martha as a 'Volkslied’). [An exquisite rendering – a mystery that it wasn’t published!] 12” S/S vinyl Special Pressing of Unpublished Victor Mx. CVE-20042, POM-13 May, 1927. MINT MB 20

“Amelita Galli-Curci had a fluid, clear, very beautiful voice and a great gift for sustaining lyric lines. Her voice recorded very well, particularly in the acoustic process, where it was taken down with such clarity and resonance that listeners supposed it was a large-sounding voice, which it was not, in person. The adjective that live listeners used frequently for her voice was ‘celestial’.”


- Joseph Stevenson, allmusic.com


N0481. SOFIA del CAMPO, w.Reibold Cond.: Pesares (Alvarez) / No quiero casarme. 10” Orth Vla 4049, POM- 14 March / 3 April, 1928. M-A MB 12

N0482. SOFIA del CAMPO, w.Reibold Cond.: Ayer en la tristeza (Parades) / El paño moruno de Falla). 10” Orth Vla 4051, POM- 3 / 5 April, 1928. Never listed in a pre-1931 US Catalog. M-A MB 12

N0483. SOFIA del CAMPO, w.Reibold Cond.: El majo discreto (Granados) / Yo ya sabía (Netto). 10” Orth Vla 4036, POM- 20 April, 1927. Never listed in a pre-1931 US Catalog. A-, lovely copy has lt. rubs, inaud. MB 10

N0484. SOFIA del CAMPO, w.Reibold Cond.: Clavelitos (Valverde) / La Borrachita (Esperón). 10” Orth Vla 4035, POM-20 April, 1927. A to M-A, lovely copy has faintest rubs, inaud. MB 12

N0485. SOFIA del CAMPO, w.Reibold Cond.: Il Guarany – Gentile di cuore (Gomes) / Manon Lescaut – C’est l’histoire amoureuse (L’éclat de rire) (Auber). 10” Orth Vla 4037, POM-15 March, 1928. M-A MB 12

N0486. SOFIA del CAMPO, w.Reibold Cond.: Il Guarany – C’era una volta un principe (Gomes) / Lakmé – Où va la jeune Hindoue (L’air des clochettes). 12” Orth Vla 9394, only form of issue, 3 April, 1929. M-A MB 12

N0487. SOFIA del CAMPO, w.Reibold Cond.: La Primavera d’Oro (Glazounov) / Il Re Pastore – L’amerò, sarò costante (Mozart). 12” Orth Vla 9444, POM- 25 March, 1929. A to M-A, beautiful copy has, Sd.1 only, wee ec, only to first groove. MB 15

N0488. SOFIA del CAMPO, w.Reibold Cond.: Villanelle (dell’Acqua) / Roméo – Je veux vivre. 12” PW V 9206, only form of issue, 15 March / 23 April, 1928. M-A MB 10

N0489. SOFIA del CAMPO [The Nightingale from Valparaíso], w.Reibold Cond.: Delizia (Parades [Schubert's Op. 9, D. 365]) /Una lezione de gorgheggio Alessandro Guagni-Benvenuti). 10” Orth Vla 4052, POM-14 March / 6 April, 1928. Never listed in a pre-1931 US Catalog. M-A MB 15

N0490. ROSITA SERRANO, w.Michael Jary [Jarczyk ]Cond.: La Paloma (Yradier) / Carmencita la gitana (Sung by the Composer). [Because of her bell-like voice and pitch-perfect whistling, Serrano, daughter of Sofio del Campo, was dubbed the ‘Chilenische Nachtigall’] 10” dark-blue German Telefunken A 2563, POM-22 Feb., 1940. M-A MB 10

N0491. HINA SPANI, w.Nastrucci Cond.: Fanciullina (Ciampi). 10” S/S Special HMV Shellac Pressing of Mx. BM 996-2, POM-7 Jan., 1929. MINT MB 20

N0492. HINA SPANI, w.Nastrucci Cond.: Alte Liebe, op.72, #1 (in Italian) (Brahms). 10” S/S Special HMV Shellac Pressing of Mx. BM 1576-4, POM-15 April, 1930. MINT MB 20

N0493. HINA SPANI, w.Nastrucci Cond.: Sandmännchen (in Italian) (Brahms). 10” S/S Special HMV Shellac Pressing of Mx. BM 1577-1, POM-15 April, 1930. MINT MB 20

N0494. HINA SPANI, w.Nastrucci Cond.: Canción del Carretero (Buchardo) / Dia del feste (Ugarte). 10” vinyl Historic Masters HMA 3, POM-17 April, 1930. MINT MB 8

N0495. HINA SPANI, w.Nastrucci Cond.: Amarilli (Caccini) / Se Florindo e fedele (Scarlatti). 10” PW black Disco Grammofono AV 15, POM-1 July,1929. M-A MB 20

N0496. HINA SPANI, w.Sabajno Cond.: O Primavera! (Tirindelli) / w.Nastrucci Cond.: Gypsy Songs - Nos. 5 & 7 (Dvorák). 10” LVDP DA 1246, POM-14 March, 1931 / 19 April, 1929. M A, lovely copy of choice late pressing. MB 12

N0497. HINA SPANI, w.Sabajno Cond.: Tosca - Vissi d'arte / Madama Butterfly - Tu, tu, piccolo iddio! 10” LVDP DA 1060, POM-3 / 6 May, 1929. M A, choice copy of preferred late Italian pressing appears unplayed. MB 10

N0498. HINA SPANI, w.Sabajno Cond.: Manon Lescaut - In quelle trine morbide / La Boheme - Donde lieta uscì. 10” PW Australian HMV DA 879, POM 10 / 12 March, 1927. A to M-A , lovely copy of preferred Australian pressing has faintest rubs, inaud. MB 12

N0499. HINA SPANI, w.Sabajno Cond.: Ballo - Ma dall'arido / Il Trovatore - Tacea la notte. 12” PW Australian HMV DB 1045, POM 11 / 16 March, 1927. A to M-A, lovely copy of preferred Australian pressing has faintest rubs, inaud. MB 15

N0500. HINA SPANI, w.Sabajno Cond.: La Wally - Ebben, ne andrò lontana / Faust - Il m'aime (in Italian). 12” LVDP DB 1163, POM 3 April, 1927. M A, lovely copy of choice late Italian pressing appears unplayed. MB 12

N0501. HINA SPANI, w.Sabajno Cond.: Manon - Adieu, notre petite table (in Italian) / Il Trovatore - D'amor sull'ali rosee. 12” LVDP DB 1503, POM-3 April, 1928 / 3 May, 1929. M A, lovely copy of choice late Italian pressing appears unplayed. MB 12

N0502. HINA SPANI & GIOVANNI ZENATELLO; Sabajno Cond.: Pagliacci – Nedda! Silvio!...Decidi il mio destin, 2s. 12” PW Disco Grammofono DB 1046, POM 1927. M-A, lovely copy has faintest rubs, inaud. MB 15

N0503. HINA SPANI & GIOVANNI ZENATELLO; Sabajno Cond.: Otello - Già nella notte densa (Act I), 2s. 12” Orth Vla 6714, POM-9 Nov., 1926. M-A MB 12

N0504. HINA SPANI & GIOVANNI ZENATELLO; Sabajno Cond.: Otello - Già nella notte densa (Act I), 2s. 12” vinyl Special Pressing of HMV Matrices CK.1918-4/1919-2, POM-9 Nov., 1926. [A treasure to hear this legendary performance on such quiet surfaces!] MINT MB 25

“Hina Spani, under the wise guidance of Maestro Vittorio Moratti, himself a noted pupil of Lamperti, had in Moratti a source of inspiration for many years. As an accompanist of Frida Leider, Lotte Lehmann and Elisabeth Schumann, Moratti went year after year to Salzburg and other musical centers where Lieder singing was of the highest standards, and the traditions of fine artistry were passed on to the clever and sensitive young singer. Hina Spani debuted at La Scala, Milano, on March 13,1915, singing the role of Anna in Catalani's LORELEY,with a cast headed by Eugenia Burzio and Edward Johnson, then singing as Edoardo di Giovanni. The conductor was Gino Marinuzzi. Her instantaneous success led to a contract at the Teatro Colon in Buenos Aires. During the years 1916 to 1918,when the war prevented her return to Europe, Spani used the time to good advantage to polish her musicianship and enlarge her repertory of art songs. Temporarily retired from operatic activities, she devoted herself to concerts, offering many recitals throughout her native country. In 1918 she returned to opera, alternating (at the Colon) Nedda with Ninon Vallin. Also at the Colon, she sang Micaela to the Carmen of Besanzoni, the José of Pertile, and the Escamillo of Journet. At the Colon again in 1919, Spani sang Anna in LORELEY(with Claudia Muzio), plus both Margherita and Elena in the same performance of MEFISTOFELE(with Gigli as Faust). In spite of having sung many taxing roles for a lyric soprano, Hina Spani was still reluctant to undertake full dramatic parts. She considers that her first real step in this direction was her Aida, which she sang in Prato, Italy, in 1924. Her success in this role was such that she learned Amelia in UN BALLO IN MASCHERA, in which she scored a great personal triumph before the difficult audience of Cremona. It was in 1924 that Arturo Toscanini asked Spani to take part in the funeral services in the Milan Cathedral for Giacomo Puccini. Toscanini conducted the La Scala orchestra and chorus, with Spani and Nazzareno de Angelis as the soloists.

The year 1926 was one of tremendous activity and exceptional artistic responsibility. Early in the year Mme. Spani undertook an engagement for thirty-five song recitals with orchestra and piano. It was in this same year that the artist signed her first contract with La Voce del Padrone, and made her first recordings for that company.

Her activities on the concert stage often took precedence over her opera performances, for she prefers the art song to opera. Her song repertory is tremendous, numbering hundreds of songs in French, Spanish, Italian and Portugese. Spani is a fastidious stylist and adores song literature from Bach to Poulenc, Ravel, etc. She was responsible for the introduction of scores of Argentine art songs, and the modern Argentine composers owe her a debt that could never be paid. After leaving the operatic stage in 1940, Mme. Spani continued to give song recitals until 1946.”


- W.R. Moran and Ricardo Turro, THE RECORD COLLECTOR, 1954