Auction 148 auction closing Date: Wednesday, 12 April, 2017
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| H & D US-Pathé 54072,
Original 1919 USA Issue. A, lovely copy has faintest pap. rubs, inaud. MB 10
10” brown & gold Pathé Actuelle 025085, recorded 1920. M-A, gorgeous copy appears unplayed. MB 10 J0419. YVONNE GALL: Ave Maria (Bach-Gounod) / Ave Maria (Schubert). 10” brown & gold Pathé Actuelle 025102, recorded 1920. M-A, gorgeous copy appears unplayed. MB 10 J0420. YVONNE GALL: Élégie (Massenet). 11½” grey paper label H & D US-Pathé 54055, Original 1919 USA Issue. M-A, a gleaming copy. MB 15 J0421. YVONNE GALL: Élégie (Massenet) / JOCELYN – Cachés dans cet asile (Berceuse) (Godard). 10” brown & gold Pathé Actuelle 025070, recorded 1920. M-A, gorgeous copy appears unplayed. MB 10 J0422. YVONNE GALL: JOCELYN – Cachés dans cet asile (Berceuse) (Godard). 11½” grey paper label H & D US-Pathé 54074, Original 1920 USA Issue. M-A MB 12 J0423. YVONNE GALL: Good-bye (Tosti) / Comin’ thro’ the rye. 10” brown & gold Pathé Actuelle 025097, recorded 1920. A-, lovely copy has faint rubs, inaud.; Sd.1 only has wee scrape, also inaud. MB 8 J0424. YVONNE GALL: My old Kentucy home / Old folks at home (both Foster). 10” brown & gold Pathé Actuelle 025088, recorded 1920. M-A, gorgeous copy has, Sd.1 only very faintest rubs, inaud & hardly worth mention. MB 10 J0425. YVONNE GALL: Quand tu chantes (Gounod) / LAKMÉ – Dans la forêt près de nous. 11” green paper label H & D Pathé 0431, only form of issue, 1924. M-A, superb copy. MB 12 J0426. YVONNE GALL: JÉRUSALEM – Les tribus plaintives / Jérusalem, Jérusalem! (Gounod). 11” black paper label H & D Pathé 3128, only form of issue, 1917. M-A, superb copy. MB 12 J0427. YVONNE GALL: LE CID – Alleluia / HÉRODIADE – Il est doux, il est bon (both Massenet). 11” black paper label H & D Pathé 209, only form of issue, 1917, only form of issue, Sd.1. M-A, superb copy, in Original Pathé sleeve. MB 12 J0428. YVONNE GALL: STABAT MATER – Inflammatus (Rossini), 2s. 11” green paper label H & D Pathé 2564, recorded 1922. M-A, superb copy. MB 12 J0429. YVONNE GALL: MANON – À nous, les amours et les roses / Profitons bien de la jeunesse. 11” green paper label H & D Pathé 241, recorded 1918. M-A, superb copy. MB 12 J0430. YVONNE GALL: MANON – Adieu, notre petite table / Je marche sur tous les chemins. 11” green paper label H & D Pathé 240, recorded 1918. M-A, superb copy. MB 12 J0431. YVONNE GALL: THAÏS – L’amour est une vertu rare / Dis-moi que je suis belle (Scène du miroir). 11” black paper label H & D Pathé 208, recorded 1917. A to M-A, lovely copy has few lt.rubs, inaud.. MB 12 J0432. YVONNE GALL: THAÏS –Dis-moi que je suis belle (Scène du miroir) / FAUST – Le Roi de Thulé. 11½” grey paper label H & D US-Pathé 60080, recorded 1917. M-A, superb copy. MB 12 J0433. YVONNE GALL: THAÏS – L’amour est une vertu rare / Faust – Air des bijoux. 11½” grey paper label H & D US-Pathé 60078, recorded 1917. A to M-A, lovely copy has few lt.rubs, inaud.. MB 12 J0434. YVONNE GALL: LES CHANSONS DE MIARKA – L’eau qui court (Alexandre Georges) / LAKMÉ – Pourquoi dans les grands bois (Delibes). 11¾” art label Pathé X.7169, only form of lateral issue, 1927. A-, lovely copy has faint rubs, positively inaud. [Sd.1 in particular is a great Desert Island Record – exquisitely beautiful!] MB 20 J0435. YVONNE GALL, w.Cohen Cond.: TOSCA – Vissi d’arte / Non la sospiri (in French). 12” black Viva-Tonal Col. 50177-D, POM-10 /11 Jan., 1929. A-, lovely copy has lt.rubs, inaud. MB 8 J0436. YVONNE GALL, w.Büsser Cond.: LA DAMNATION DE FAUST – D’amour, l’ardente flamme (Berlioz), 2s. 12” Eng. Col. LFX 5, POM-4 Dec.,1929. M-A, a gleaming copy. MB 8 J0437. YVONNE GALL, w.Büsser Cond.: LA DAMNATION DE FAUST – D’amour, l’ardente flamme (Berlioz), 2s. 12” Col. MasterWorks 9117-M, POM-1929, POM-4 Dec.,1929. M-A, a gleaming copy of preferred MasterWorks Pressing. MB 15 J0438. YVONNE GALL & JEAN NOTÉ: Le Crucifix (J. B. Faure) / THAÏS – Duo de l’oasis. 11” yellow & white paper label H & D Pathé 2539, only form of issue, 1917. M-A, superb copy. MB 12 "After graduating from the Paris Conservatoire, Yvonne Gall made her début as a Rhinemaiden in a performance of LE CRÉPUSCULE DES DIEUX (GÖTTERDÄMMERUNG) at the Opéra-Comique in 1908. Her first leading role was Mathilde in Rossini’s GUILLAUME TELL opposite Léon Escalaïs. She took part in a number of novelties. She sang in Bachelt’s SCEMO in 1914, in Magnard’s GUERCOEUR opposite Marthe Chenal and Maria Kuznetsova. It was not until after the war that she became a principal at the Opéra-Comique. Her first appearance was as Marguerite. In due course she sang, Manon, Antonia, Tosca, Louise, Donna Anna, Juliette and Daphne in Busser’s LES NOCES CORINTHIENNES. In 1918 she was invited to the Teatro Colón at Buenos Aires, where she was heard as Thaïs, Juliette and Salomé in Massenet’s HÉRODIADE. She made her début at the Chicago Opera as Thaïs the same year. There, she was called to undertake whatever the great Diva Mary Garden was unwilling or unable to sing. She was very successful in the first American performance of Ravel’s L’HEURE ESPAGNOLE. She greatly pleased as Tosca, Manon, Salomé and Mathilde. The remarkable Russian impresario Raoul Gunsbourg brought her to Monte Carlo for THAÏS, a French TRISTAN with Paul Franz and Ariane in Dukas’s ARIANE ET BARBE-BLEU. Gall made Pathé and Columbia recordings. Hers is a bright sounding lyric soprano voice of a typically 'gallic' sound and full of dramatic energy." - Andrea Shum-Binder, subito-cantabile J0439. GEORI BOUÉ: Les yeux / ROGER BOURDIN: Messe d’amour (both (Heitz-Boyer). 10” French Odéon 188.948, only form of issue, 1946. M-A, exceptional copy has faintest rubs, inaud., hardly worth mention. MB 45 J0440. GEORI BOUÉ, w.André Collard (Pf.): Le Rossignol des lilas; Mai / Si mes vers avaient des ailes; Infidelité (all Hahn). 10” French Odéon 188.953, only form of issue, 1945. M-A, as New! MB 45 J0441. GEORI BOUÉ, w.André Collard (Pf.): Le Rossignol des lilas; Mai / Si mes vers avaient des ailes; Infidelité (all Hahn). 10” French Odéon 188.953, only form of issue, 1945. A-, very decent copy is considerably rubbed, inaud. MB 15 J0442. GEORI BOUÉ, w.André Collard (Pf.): D’une prison / Paysage (both Hahn). 10” French Odéon 188.959, only form of issue, 1945. M-A, exceptional copy has faintest rubs, inaud., hardly worth mention. MB 45 J0443. GEORI BOUÉ, w.André Collard (Pf.): ARIETTES OUBLIÉES – Il pleure dans mon coeur / AQUARELLES - Green (both Debussy). 10” French Odéon 188.954, only form of issue, 1945. M-A, exceptional copy has, Sd.1 only, faintest rubs, inaud., hardly worth mention. MB 45 J0444. GEORI BOUÉ, w.Louis Beydts (Pf.): L’étranger / Mélancolie (all Acc. by the Composer). 10” French Odéon 188.960, only form of issue, 1946. M-A, as New! MB 45 J0445. GEORI BOUÉ, w.Louis Beydts (Pf.): C’est moi / w.Louis Beydts (Pf.) & Roger Cortet (Fl.): En Arles; On cri (all Acc. by the Composer). 10” French Odéon 188.947, only form of issue, 1946. M-A, exceptional copy has faintest rubs, inaud., hardly worth mention. MB 45 J0446. GEORI BOUÉ, w.Cloëz Cond.: MANON – Je suis encore toute étourdie / Adieu, notre petite table. 10” French Odéon 188.944, only form of issue, 1945. M-A MB 12 J0447. GEORI BOUÉ, w.Cloëz Cond.: MIREILLE – Mon coeur ne peut changer / À toi mon âme, je suis ta femme. 10” French Odéon 188.945, only form of issue, 1945. M-A, choice copy w.faintest rubs, inaud., hardly worth mention. MB 12 J0448. GEORI BOUÉ, w.Cloëz Cond.: MIREILLE – Scène de la Crau, 2s. 10” French Odéon 188.946, only form of issue, 1945. M-A MB 15 J0449. GEORI BOUÉ, w.Cloëz Cond.: OTELLO – Canzone del Salce / Ave Maria (in French) (Verdi). 12” French Odéon 123.870, only form of issue, 1943. M-A MB 15 J0450. GEORI BOUÉ, w.Cloëz Cond.: NOZZE – Voi che sapete / Deh! vieni, non tardar (in French). 12” French Odéon 123.893, only form of issue, 1947. M-A MB 15 J0451. GEORI BOUÉ, w.Cloëz Cond.: FAUST – Le Roi de Thulé / Air des bijoux. 12” French Odéon 123.872, only form of issue, 1943. M-A MB 15 J0452. GEORI BOUÉ, w.Cloëz Cond.: LA BOHEME– Mi chiamano Mimi / MADAMA BUTTERFLY - Un bel dì (both in French). 12” French Odéon 123.871, only form of issue, 1947. M-A MB 15 J0453. GEORI BOUÉ, w.Pascal Quartet & Raymond Trouard (Pf.): Chanson perpétuelle (Chausson), 2s. 12” French Odéon 123.889, only form of issue, 1947. M-A MB 15 J0454. GEORI BOUÉ, w.Jean Brizard (Cello) & Jean Pasquier (Violin): Ave Maria (Schubert) / ROGER BOURDIN, w.Jean Brizard (Cello) & Robert Steinmetz (Organ): Panis angelicus (Franck). 12” Le Lutrin ‘Picture Disc’ C 402 (134/142), only form of issue, 1952-53. A to M-A, choice copy w.faintest rubs, inaud. Exceedingly Rare! MB 45
A to M-A, choice copy w.faintest rubs, inaud. Exceedingly Rare! MB 45 J0456. GEORI BOUÉ & ROGER BOURDIN, w.Albert Wolff Cond.: VÉRONIQUE – De ci, de là (Duo de l'âne) (Messager) / MALVINA – Duo du vieux chêne (Hahn). 10” Saturne ‘Picture Disc’ D 603/604 (I 117/119), only form of issue, 1952-53. A to M-A, choice copy w.faintest rubs, inaud. Exceedingly Rare! MB 45 “French soprano Géori Boué was born on 16 October, 1918 in Toulouse and managed an exemplary career in her native country. She studied at the Music Conservatory in Touluse, taking on voice with Claude Jean, piano and harp. She made her début in Toulouse in 1938 and rose to fame singing staples of the French repertoire that include Marguerite from FAUST, Juliette from ROMÉO ET JULIETTE and Manon from Massesent’s opera of the same name. As her career progressed she expanded into other repertoire taking on Gilda in Verdi’s RIGOLETTO, Violetta in LA TRAVIATA, Mimi in LA BOHEME, Cio Cio San in MADAMA BUTTERFLY, Tatiana in EUGEN ONÉGIN, Desdemona in OTELLO and Thaïs among other roles. In later years CARMEN, WERTHER and numerous operettas would enter her repertoire. She also appeared in a 1943 film entitled LA MALIBRAN. She also managed an international career in Mexico, Barcelona, Rio de Janeiro and at La Scala in Milan where she appeared as Mélisande in Debussy’s PELLÉAS ET MÉLISANDE under the baton of Victor de Sabata. She appeared in that Debussy work alongside her husband Roger Bourdin. She died at age 98, 5 Jan., 2017.” - David Salazar, operawire.com, 6 Jan., 2017 J0457. GEORGES RÉGIS: Illusion (Barbirolli) / Parais à ta fenètre (Gregh). 10” blue Victor 45025, POM-1908 / 27 Nov., 1908, neither side ever doubled. A-, lovely copy has faintest rubs, inaud. MB 10 J0458. PAULINE DONALDA: FAUST – Air des bijoux. 10” London red G & T G.C.-33620 (8453b), POM-7 Sept., 1906. A-, bright copy has lt.rubs & faint grey on peaks, inaud. MB 45 “Born in Montréal 5 March, 1882, Donalda auditioned for the title role in Massenet's CHÉRUBIN but lost it to Mary Garden. With Massenet's help, however, she made her début 30 Dec., 1904 in Nice, singing Manon. She was equally successful in the roles of Marguerite, Micaëla, and Mimi. Leoncavallo was in Nice for the French premiere of his CHATTERTON, in which Donalda sang Jenny and, subsequently, under his direction she sang Nedda in PAGLIACCI. She made her London début 24 May, 1905 at Covent Garden, singing Micaëla with Emmy Destinn and Charles Dalmorès, under the direction of André Messager. At Covent Garden on 28 June, 1905 she sang the role of Ah-Joe in the premiere of Franco Leoni's L'ORACOLO, with Dalmorès, Scotti, and Vanni-Marcoux as partners. On 24 July, 1919 she sang Concepción in the English premiere of Ravel's L'HEURE ESPAGNOLE. Considered a rival of Melba, she often replaced her and thus sang Mimi with Enrico Caruso. She made her New York début 7 Dec., 1906 in FAUST and sang in CARMEN, MARTHA, DON GIOVANNI, LA TRAVIATA, LOHENGRIN, AND PAGLIACCI in the course of Hammerstein’s historic season that brought together Melba, Calvé, Bonci, Ancona, Sammarco, Renaud and Gilibert. In the spring of 1910, she opened the Covent Garden season replacing Luisa Tetrazzini, on short notice, in LA TRAVIATA with McCormack and Sammarco. Returning to Montréal in 1937 Donalda opened a studio there.” - Gilles Potvin, HISTORICA CANADA J0459. BLANCHE ARRAL: El bolero grande (Vasseur). 10” Pat.’08 V 64107, POM-19 March, 1909, Never Doubled (other than as the elusive IRCC reissue). A to M-A, lovely copy has faintest rubs, inaud. MB 12 J0460. BLANCHE ARRAL: L’AMOUR MOUILLÉ - Valse d’oiseau (Varney). 10” Pat.’12 V 64099, POM-19 March, 1909, Never Doubled. M-A MB 12 J0461. BLANCHE ARRAL: DER BETTELSTUDENT – Doch wenn’s im Lied hinaus dann klinget (Czardas) (Millöcker). 10” Pat.’08 V 64098, only form of issue, 18 March, 1909, Orig. ‘A’ Plate Issue. M-A Most elusive! MB 15 J0462. BLANCHE ARRAL: CARMEN - Je dis que rien ne m'épouvante / LE COEUR ET LA MAIN - Boléro (Lecocq). 2” yellow & red PW IRCC 135, RRs-1908, from Edison cylinders. Numbered Copy #46 of a Limited Edition; Sd.1 label Autographed by Arral, to which her photo is affixed. M-A MB 25 J0463. BLANCHE ARRAL: LES NOCES DE JEANETTE – Au bord du chemin (Air du rossignol) (Massé). 12” Pat.’08 V 74142, POM-19 March, 1909, only form of regular issue (other than AGS reissue). A to M-A, beautiful copy has 2 infinitessimal scrs, very faintly audible 2 or 3 turns. [A sheer delight!] MB 12 J0464. BLANCHE ARRAL: LA TRAVIATA – Ah! fors’ è lui; Sempre libera (in French). 12” Pat.’08 V 74132, only form of issue, 19 March, 1909. A to M-A, beautiful copy has few lt. rubs, inaud. MB 15 J0465. BLANCHE ARRAL: ROMÉO – Je veux vivre. 12” Pat.’08 V 74151, POM-18 March, 1909, Never Doubled. M-A MB 15 J0466. BLANCHE ARRAL: FAUST – Air des bijoux. 12” Pat.’08 V 74147, POM-18 March, 1909, only form of shellac issue (other than vinyl RCA reissue). A to M-A, beautiful copy has few lt. rubs, inaud. MB 12 J0467. BLANCHE ARRAL: I LOMBARDI – Quelle ivresse bonheur suprême. 12” Pat.’08 V 74146, POM-18 March, 1909. A to M-A, beautiful copy has few lt. rubs, inaud. MB 12 J0468. BLANCHE ARRAL: I LOMBARDI – Quelle ivresse bonheur suprême / FAUST - Air des Bijoux. 12” red vinyl RCA Heritage DeLuxe 15-1016, POM-18 March, 1909. M-A, as unplayed! MB 6 “[Arral’s] recordings show a technically well-trained virtuoso coloratura of the most beautiful quality, and bear the stamp of Marchesi training.” - Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.190 J0469. GEORGETTE LEBLANC MAETERLINCK: Elle avait trois couronnes d’or (Février) / AMADUIS DE GAULE – Bois épais (Lully). 10” Tri-Color Col.A1243, only form of issue, 15 Feb., 1912. A to M-A, lovely copy has lt.rubs, inaud. MB 25 J0470. GEORGETTE LEBLANC MAETERLINCK: THAÏS - L'amour est une vertu rare / CARMEN - En vain pour éviter. 10" Col. Tri-Color A1153, only form of issue, 8 Feb., 1912. A to M-A, lovely copy has lt.rubs, inaud. [Leblanc’s complete discography, a mere four sides!] MB 25 “Georgette Leblanc Maeterlinck was the mistress (or common-law wife) of Belgian poet Maurice Maeterlinck. Her singing career was more extensive and successful than is generally recognised – there can be no doubt that she was a major artistic personality at the height of her career. She had a phenomenal triumph as Carmen wherever she sang it, and created the principal soprano role of Francoise in Alfred Bruneau’s L’ATTAQUE DU MOUILIN and the title role in ARIANE ET BARBE-BLEUE of Paul Dukas. Her reputation was, however, fatally compromised by Debussy’s refusal to cast her as Mélisande in the world premiere…. [the above] represent Leblanc’s complete published discography, a mere four sides!]” ” – Richard Bebb, THE RECORD COLLECTOR, 2001 J0471. BLANCHE DESCHAMPS-JEHIN: LE PROPHÈTE – Ah! Mon fils / SAMSON ET DALILA – Mon coeur s’ouvre à ta voix. 10¾” brown French Odéon 97041/28 (Xp4299-2/4298), POM-1908. A to M-A, lovely copy has, Sd.2 only, infinitessimal pap.scr, inaud. MB 75 “The leading French mezzo of her generation, Blanche Deschamps made her 1879 début in Brussels singing in the operetta GIROFLÉ-GIROFLA, soon followed by her operatic début at the Monnaie as Mignon. There, she was associated with two important creations: Herodias in Massenet’s HÉRODIADE (1881) and Uta in Reyer’s SIGURD (1884). Her creator parts at the Paris Opéra-Comique, where she sang beginning in 1885, included principal mezzo/contralto roles in Lalo’s LE ROI D’YS (1888), Massenet’s CENDRILLON (1899) and Charpentier’s LOUISE (1900). As a member of the Paris Opéra beginning in 1891, she appeared in many major roles: Azucena, Amneris, Fricka, and Brangäne, and most notably, the Paris Opéra’s first Dalila in SAMSON ET DALILA (1892), a role she sang on many other stages. That same year, she appeared as Fidès in the Paris Opéra’s revival of LE PROPHÈTE, and the following year, sang at the Meyerbeer centenary concert. Much of her career was centered in Monte Carlo where her husband, Léon Jehin, was for many years the house conductor. Her first role there was Maddelena in RIGOLETTO in 1889. Soon thereafter, she took on more important roles, such as Carmen, Léonore in LA FAVORITE, Margared in LE ROI D’YS, and the Queen in HAMLET, opposite Nellie Melba in 1890. Also at Monte Carlo, Deschamps-Jehin was the first woman to sing the trouser role of Pygmalion in Victor Massé’s GALATHÉE, as the composer had originally intended it. - Vincent Giroud, Marston Program Notes J0472. EMMA CALVÉ: Plaisir d'amour (Martini). 12” GP V 88134, POM-6 March, 1908, Never Doubled, USA. Most Elusive in this original pressing which enjoyed a brief catalogue life. A-, lovely copy has lt.rubs & wee scr, positively inaud., remarkably quiet surface. MB 35 “On the same exalted level is [Calvé’s] superb singing of ‘Plaisir d’amour’ in a very plain version, shorn of all ornament, relying entirely on the perfectly floated vocal line and infinite shadings of volume. This is one of the greatest examples of legato singing that I know, and I can understand why Calvé herself gasps an ecstatic ‘Ooh!’ at the end, overwhelmed by her own artistry.” - Michael Aspinall, THE RECORD COLLECTOR, 2008 J0473. EMMA CALVÉ: Où voulez-vous allez (Gounod) / CARMEN – Chanson bohème. 11¾” grey H & D US-Pathé 59090 (2370/2304), recorded 1920. A to M-A MB 25 J0474. EMMA CALVÉ, w.Landon Ronald (Pf.): Enchantement (Massenet). 10" Victor Monarch 91001 (2060-F), POM-1902, Never Doubled. A-, lovely copy has faintest rubs & a few lt. scrs, only faintly audible. [Obviously very pleased with her rendition, Calvé emits a soothing ‘oooooh’ at the end!] MB 85 J0475. EMMA CALVÉ, w.Remualdo Sapio (Pf.): Trois chansons pour les tous petits. 12” V 88572, POM-6 June, 1916. M-A, remarkably quiet surface. MB 15 “…If you would hear almost all the riches that Calvé has to give on one record, play [the above]….no one, save a very great artist, could get them over with such humour, such a sense of drama, and such lovely tone in all her several voices. We may never listen to her like again….” - Cedric Wallis, THE AMERICAN MUSIC LOVER, July, 1936 J0476. EMMA CALVÉ: Ma Lisette (18th Century); Le printemps (Gounod). 12” Pat.'08 Vla 88123, POM-6 March, 1908, Never Doubled in any regular series (other than IRCC & AGS). M-A MB 35 "[In the above], hear one of the miracles of singing snatched by the early gramophone. In the folksong ‘Ma Lisette’, Calvé makes her famous leap up to a high, pianissimo D that is one of those notes from what she called her 'fourth voice'. She had learned the technique, she claimed, from Domenico Mustafa, one of the last of the Papal castrati. What is remarkable about the note is its fullness despite its quietness." - Patrick O'Connor, INTERNATIONAL CLASSIC RECORD COLLECTOR, Autumn, 1997 J0477. EMMA CALVÉ, w.Édouard Mathé (Pf.): L’heure exquise / Dernier voeu (both Hahn). 11¾” green H & D Pathé 3193 (2573/2577), recorded 1920, only form of issue; Calvé’s final recordings (before her ‘Message suprême, 2 Jan., 1942). A to M-A, lovely copy has faint rubs, inaud. MB 25 “The French songs are all among her greatest recordings, especially what appears to have been her very last effort before the acoustic horn, Hahn’s ‘L’heure exquise’ and ‘Dernier voeu’. In the former she is in full command of her ravishing pianissimo upper G – once heard, you can never forget this record – and in the latter she re-arranges the tempo and phrasing after her own fashion to produce a deeply felt performance.” - Michael Aspinall, THE RECORD COLLECTOR, 2008 J0478. EMMA CALVÉ: In questa tomba oscura (in Italian) (Beethoven) / NORMA – Casta diva. 11¾” green H & D Pathé 0277 (2343/2345), recorded 1920, only form of issue. A to M-A, choice copy has infinitessimal pap.scr, Sd.2, inaud., in Original Pathé sleeve. MB 25
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