H & D Pathé 2494/4936
(44971/62414), recorded 1902/’08, resp. M-A, an immaculate copy! MB 45
J0620. JEAN-FRANÇOIS DELMAS: PATRIE – Pauvre martyr obscur (1904 Version) (Paladilhe) /
FAUST – Vous qui faites l’endormie. 10½” Paris Fonotipia 39085/51 (XPh 513/510), POM-1904.
M-A, choice copy, critically graded, has a few minuscule ‘pimples’, only one being momentarily audible, of no concern;
Sd.2 only has visible but inaud. ‘scuff’ which appears to be endemic in matrix. MB 85
J0621. JEAN-FRANÇOIS DELMAS: FAUST – Non, tu ne prieras pas (Scène de l’église).
10” flush black Paris G & T G.C. –2-32624 (1289F), POM-1902.
A to M-A, superb copy has lt grey on peaks and is generally noisy –apparently endemic in matrix;
this fine copy is not in the least worn; minuscule nr, inaud & hardly worth mention; uncommonly bright label. MB 65
J0622. FRANÇOIS DELMAS: LA JOLIE FILLE DE PERTH - Quand la flamme de l'amour (Bizet).
10” flush black Paris G & T G.C. –2-32626 (1292F), POM-1902. M-A, another immaculate copy.
These Delmas rarities, all with uncommonly bright labels, are from a duly well-cared for collection. MB 75
J0623. FRANÇOIS DELMAS: LA JOLIE FILLE DE PERTH - Quand la flamme de l'amour (Bizet).
10” red Victor Monarch 5081 (1292F), POM-1902. M-A, another immaculate copy.
These Delmas rarities, all with uncommonly bright labels, are from a duly well-cared for collection. MB 75
J0624. FRANÇOIS DELMAS: DON GIOVANNI – Deh, vieni, alla finestra (in French, w.laughter & recit.) (Mozart).
10" black Paris G & T G.C.-2-32639 (1290F), POM-1902; (assigned Victor #91049, but never issued as such).
M-A, another immaculate copy has mere hint of grey on peaks. MB 75
J0625. FRANÇOIS DELMAS: LES HUGUENOTS – Des troubles renaissants (Bénédiction des Poignards) (Meyerbeer) /
FAUST – Le veau d’or. 10½” Paris Fonotipia 39027/28 (XPh 512/514), POM-1904. M-A/A, beautiful copy has,
Sd.2 only, hint of grey on peaks – not surprising since Delmas’ recordings are extremely ‘forward’. MB 75
J0626. FRANÇOIS DELMAS: ROMÉO – Allons! jeunes gens (Gounod) / LES HUGUENOTS – Dieu le veut (Meyerbeer).
10½” brown & gold French Odéon 56180/81 (xP 4356/4338), POM-1908, A-B, fine copy has lt. rubs & grey on peaks, ltly audible. Not for the fastidious, but a fine playing copy. MB 25
J0627. FRANÇOIS DELMAS: DIE WALKÜRE – Leb wohl, du kühnes, herrliches Kind! (Les adieux de Wotan) (in French) (Wagner). [For those who lament not ever hearing a true bass sing Wotan, this your ticket to refulgent vocal joy!]
10" black Paris G & T G.C.-2-32625 (1291F), POM-1902. M-A, another immaculate copy
has mere hint of grey on peaks; microscopic pressing bump, faintly audible. MB 95
“Delmas made his début at the Paris Opéra on 28 September 1886 as Saint-Bris (LES HUGUENOTS), which began a long association with that house, leaving him little time to sing outside of France. The notable exceptions were the Mariinsky in Saint Petersburg, the San Carlo in Lisbon, and the Monte Carlo Opera House in Monaco. Delmas was particularly successful in the major Wagnerian roles including Hans Sachs, Wotan, and Hagen. He was also a well-known interpreter of the standard French repertoire including FAUST, SIGURD, GUILLAUME TELL, and SAMSON ET DALILA. Delmas holds the record of taking part in more creator-roles than any other singer in the Paris Opera’s history: twenty-one, including Massenet’s LE MAGE (Amour, 16 March 1891), THAÏS (Athanaël, 16 March 1894), and ARIANE (Périthous, 28 October 1906). Delmas had an incredible range, ‘…which was equally powerful in bottom F of the bass register as it was at the top of G of the tenor’s [Georges Pioch, MUSICA, November 1905] and his voice possessed warmth and authority. He recorded for G&T, Pathé, Zonophone, Fonotipia, Odéon, and Opéra-Saphir. All of Delmas’ records are highly sought by collectors worldwide.”
- Vincent Giroud, Marston Program Notes
J0628. PAUL AUMONIER: LE CHALET - Vallons de la Helvétie (Adam) / LES HUGUENOTS - Piff, paff, piff (Meyerbeer).
10½” brown & gold French Odéon 33570/71 (xP297/299), POM-1904, announced by Aumonier in his authoritative black voice!
A-B, fine copy has few faintest rubs, positively inaud.; Sd.2 only has minor scuff, very ltly audible. MB 15
J0629. PAUL AUMONIER: LES HUGUENOTS – Des troubles renaissants (Bénédiction des Poignards) /
ROBERT LE DIABLE – Nonnes qui reposez (Meyerbeer). 10½” brown & gold French Odéon 33578/33600
(xP298/300), POM-1904, announced by Aumonier in his authoritative black voice!
A-B, fine copy has few faintest rubs & occasional superficial scrs., ltly audible. MB 15
“Aumonier entered the Paris Conservatory as a pupil of Léon Melchissédec. Most of his career was spent on the stages of provincial theaters including Monte Carlo, Lausanne, Brussels, Algiers, Nice, and Rouen. He appeared with van Dyck, Albers, Demougeot, and Caruso. Aumonier took part in the premiere of Edouard Trémisot’s PYRAME ET THISBÉ (Monte Carlo, 1904), Mazellier’s GRAZIELLA (Andréa, Theatre des Arts in Rouen, 1913), and Trémisot’s STAMBOUL (Mehmed Pacha, Algiers Opera, 1924). He also sang at the Paris Opéra in SAMSON ET DALILA, SALAMMBÔ, AÏDA, ROMÉO ET JULIETTE, AND RIGOLETTO. Aumonier, who recorded extensively for all of the French record labels, possessed one of the most beautiful basso profondo voices of his time.
- Vincent Giroud, Marston Program Notes
J0630. POL PLANÇON: ROMÉO – Allons! jeunes gens (Gounod). 10” red Victor Monarch 81035 (B-990), POM-29 Jan., 1904, Never Doubled, USA. A-, fine copy has lt.rubs, inaud.; minor ulc, nowhere near grooves. MB 35
J0631. POL PLANÇON: FAUST – Le Veau d’or (1906 Version) / ROMÉO – Allons! jeunes gens (Gounod).
10” PW Historical Catalogue #2 HMV DA 542 (B-3168/B-990), POM-8 March, 1906 / 29 Jan., 1904. M-A MB 15
J0632. POL PLANÇON: Les Rameaux (J. B. Faure). 10” London red G & T G.C.-2-2665 (1922-G), Stamper IV,
only form of issue, 1902. A to M-A, beautiful bright copy has minimally raised edge (endemic in matrix);
numerous pinpoint pressing indents, inaud.; uncommonly bright label. MB 175
J0633. POL PLANÇON: Embarquez-vous (Godard). 10” red Victor Monarch 81039 (B1052),
POM-27 Feb., 1904, Original ‘A’ Plate Issue. Never Doubled (other than as the elusive IRCC reissue).
M-A, another immaculate copy with uncommonly bright label has wee harmless pressing bump, inaud. MB 35
J0634. POL PLANÇON: Embarquez-vous (Godard). 10” red GP Victor 81039 (B1052), POM-27 Feb., 1904.
Never Doubled (other than as the elusive IRCC reissue). A-B, very decent copy has rubs & few lt.scrs, absolutely inaud.
This charming performance plays beautifully. MB 15
J0635. POL PLANÇON: Le Soupir (Bemberg) / DINORAH – En chasse (Meyerbeer). 10” gold PW Victor HRS 1021
(B-2335-1 / B-2338-1), POM-25 Feb., 1905. Numbered copy #32 of extremely Limited Edition. M-A, as New! MB 25
J0636. POL PLANÇON: LES HUGUENOTS - Piff, paff, piff (Meyerbeer).
10” flush red London G & T G.C.-2-2661 (1936-G), Stamper II, only form of issue, 1902. A-, remarkably bright copy has
2 faintest & minuscule scrs, minimally & very ltly audible; uncommonly bright label. [This plays at 66 rpm!] MB 175
J0637. POL PLANÇON: PHILÉMON ET BAUCIS – Au bruit des lourds marteaux d’Airain (Gounod).
10” flush red London G & T G.C.-2-2666 (1921-G), Stamper II, only form of issue, 1902.
A to M-A, remarkably bright & virtually flawless copy. [This, Plançon’s first London G & T, plays at 74 rpm!] MB 275
J0638. POL PLANÇON: CARMEN – Air du Toréador. 10” flush red London G & T G.C.-2-2667 (1938-G), Stamper II,
only form of issue, 1902. A to M-A, remarkably bright & virtually flawless copy has the occasional minuscule pressing indent,
endemic to this period; uncommonly bright label. [This plays at 66 rpm!] MB 275
J0639. POL PLANÇON: LE CAÏD - Enfin, chéri (Air du Tambour-Major) (The rare 1902 Version) (Thomas).
10” red Victor Monarch 91015 (1923G), POM-1902. Never Doubled. A-, fine copy has lt.rubs, inaud. MB 35
"Who better to represent the old school than Pol Plançon with his instrumental-like legato line and a coloratura technique to put many a soprano to shame?" - Vivian A. Liff, AMERICAN RECORD GUIDE, May/June, 2005
J0640. POL PLANÇON: FAUST – Vous qui faites l’endormie. 10” flush red London G & T G.C.-2-2663 (1924-G), Stamper III,
POM-1902, Never Doubled (other than as the HMV ‘Archive’ reissue). A to M-A, remarkably bright copy has sev.minuscule scrs at outer edge, minimally, momentarily & ltly audible; somewhat rubbed label. [This plays at 74 rpm!] MB 125
J0641. POL PLANÇON: FAUST – Le Veau d’or (1904 Version). 10” red Victor Monarch 81038 (B-1051-1),
only form of issue, 27 Feb., 1904, Original ‘A’ Plate Issue; NB: the 1905 and 1906 versions also were issued under this number.
M-A, another immaculate copy with uncommonly bright label has faintest rub, inaud. & hardly worth mention. MB 45
J0642. POL PLANÇON: LE CHALET - Vallons de la Helvétie (Adam).
10” red Victor Monarch 91037 (B-1050), POM-27 Feb., 1904. Never Doubled (other than as the rare IRCC & AGS reissues).
A to M-A, remarkably bright & virtually flawless copy has the occasional minuscule pressing indent,
endemic to this period; hint of grey on peaks, inaud.; faintest label nr. MB 25
“…just as we have seen…demands from the singer [display] all his technical expertise in the form of amazing vocalisations and scales sung wih complete ease and mastery and, in that field, Plançon excels head and shoulders above the rest.”
- Francisco L. Segaletva Cabello, THE RECORD COLLECTOR, 2007
J0643. GAETAN AUZENEAU, w.Andre Collard (Pf.): Les roses d'Ispahan (Fauré) /
LA JOLIE FILLE DE PERTH - Quand la flamme. 10” pale-blue French Col. LF 251, only form of issue, 7 Nov., 1947. M-A MB 12
J0644. LOUIS AZÉMA: LE CHALET – Arrêtons-nous ici (Adam) /
MARCELIN DUCLOS. La Marseillaise (de L’Isle). 8¾” H & D Saphir 103 (1318/54), POM-6 Sept., 1910 / c.1920.
A to M-A, spectacular copy has, Sd. 2 only, infinitessimal scr, barely visible & inaud. MB 25
“Louis Azéma was engaged by the Opéra de Lyon, then by the Graslin Theater in Nantes (1903), and finally by the Royal Theater in The Hague (1904), débuting 20 September, 1905 as Basilio in BARBIERE, retiring in 1930 from l’Opéra-Comique. During his extensive career he appeared in 90 roles, with 35 creations.” - artlyriquefr.fr
J0645. JULES GAUTIER (de l’Opéra): LA DAME BLANCHE – Viens, gentille dame (Boildieu) / MARTHA – M’appari (in French).
10” black Paris Art Label (lady playing harp, with morning glory horn) Homphone 8796/91, recorded presumably 24 March, 1906.
B, decent copy has rubs, scuffs & lt. scrs, momentarily ltly audible; beg. Sd. 2 has tiny incipient lam. MB 8
J0646. JULES GAUTIER (de l’Opéra): GUILLAUME TELL – Accours dans ma nacelle / Lakmé – Ah! viens dans la forêt.
10” black Paris Art Label (lady playing harp, with morning glory horn) Homophone 8396/8810 (2817B1/G18U).
B, decent copy has, Sd. 1 only, rubs, scuffs & very lt scrs, only very occasionally audible. This plays remarkably well. MB 10
J0647. JULES GAUTIER (de l’Opéra): LA JUIVE – Rachel, quand du Seigneur (Halévy) / DANIEL VIGNEAU: RIGOLETTO – Cortigiani (in French). 12” black Paris Gram. Monarch 032072/71 (599/595i), POM-1908. M-A MB 15
“Jules (Charles) Gautier made his début as Sigurd on 3 July, 1896, at Théâtre de la Haye in Hague. He then sang Manrico in
IL TROVATORE at the Grand Opéra in Paris. During 1901-04 he was engaged by the Opéra-Comique in Paris where he made his début as Gérald in LAKMÉ. In the 1908-09 season he appeared at l’ Opéra where he performed in a number of major roles. In 1901, as Charles Gauthier, he appeared at the Metropolitan Opera in New York as Manrico in IL TROVATORE. Daniel Vigneau’s 1907 début was at l’Opéra-Comique where he appeared for the next twenty years. Here on 15 May, 1914 he sang in the premiere of Henri Rabaud's MAROUF in the part of Ali. The same year he sang in the première of de Falla's LA VIDA BREVE. In 1908 he created the role of Mizgir in the Paris première of Rimsky-Korsakov's SNEGOUROTCHKA. In 1924 he sang in the Paris premiere of Léon Sachs’ LES BURGRAVES, also at the Opera House in Monte Carlo in in the premiere of Chabrier's UNE ÉDUCATION MANQUÉE.” - Ashot Arkelyan
J0648. MANUEL CARVALHO (Bar.): Chamarita (Freitas) / Fado novo do Avelino (de Burro) (both in Portuguese).
10” black V 72117, POM-22 July, 1918. A to M-A, beautiful copy has, Sd.1 only, sev.superficial lt.scrs, inaud. MB 10
J0649. MARGUERITE D’ALVAREZ: El relicario (Padilla). 10” brown shellac Vocalion 30129, POM-1921. A to M-A MB 10
J0650. MARGUERITE D’ALVAREZ: Homing (1921 Version) (del Riego).
10” brown shellac Vocalion 30121, POM-1921. A to M-A MB 10
J0651. MARGUERITE D’ALVAREZ, w.Morton Howard (Pf.): Homing (del Riego) / Do not go, my love (Hageman) (1925 Versions).
10” (AC label) Vla 1116, only form of issue, 5 May, 1925. M-A, choice Reviewer’s Copy. MB 8
“What a relief it is when, after listening to singer after singer of talent, one is able to listen to a singer of genius! Mme d’Alvarez has chosen two of her most popular encores with which to make her début in electric recording, and, believe me, it takes all the electricity going to reproduce her electrically. She has the quality of dangling some utterly commonplace string of Ciro pearl words as if they were jewels sparkling….” - Compton Mackenzie, GRAMOPHONE, Oct., 1926
J0652. MARGUERITE D’ALVAREZ, w.Neale Blair (Pf.): Tus ojillos negros (de Falla) / La zagalina (Tabuyo).
10” Orth Vla 1139, only form of issue, 8 Dec., 1925 (Sd. 2 being ‘Take’ 8 of two issued Versions). M-A MB 25
J0653. MARGUERITE D’ALVAREZ, w.Mme Adami (Pf.): La première (Amherst Webber) /
w.Percy Kahn (Pf.): J’ai pleuré en rêve (Hüe). 10” PW Disque Gram. DA 794, only form of issue,
17 July, 1925 / 18 June, 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. Exceedingly Rare! MB 45
J0654. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): Platero (arr Schindler) / Mi pobre reja (Tabuyo).
10” PW Disco Gramófono DA 830 (Bb9308-2/99313-1), only form of issue, 13 Oct., 1926.
[Most elusive, the only copy we’ve ever seen!] A to M-A MB 45
J0655. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): Caro mio ben (Giordani) / Down here (Brahe). 10” PW HMV DA 831,
only form of issue, 14 Oct., 1926. A-, lovely copy has faint rubs; Sd.1 only has 2 minuscule scrs, inaud. MB 15
J0656. MARGUERITE D’ALVAREZ: Stille Nacht (in English) (Gruber).
12” brown shellac Vocalion 52020, POM-1921. M-A, pristine copy has faint rub, inaud. MB 8
J0657. MARGUERITE D’ALVAREZ: ELIJAH – O rest in the Lord (Mendelssohn).
12” brown shellac Vocalion 52018, POM-1921. M-A, as New! MB 12
J0658. MARGUERITE D’ALVAREZ: LE PROPHÈTE – Ah, mon fils! / SAMSON ET DALILA – Mon coeur s’ouvre à ta voix
(1920 Version). 12” brown shellac Vocalion 70010, POM-1920, issued USA only. M-A, as New! MB 12
J0659. MARGUERITE D’ALVAREZ: CARMEN – Habañera (1920 Version, D’Alvarez’s first recording) /
MARGUERITE D’ALVAREZ & GIULIO CRIMI: IL TROVATORE – Ai nostri monti. 12” pink Eng. Vocalion A-200
(5151/7359), POM-1920. A-/M-A, lovely copy has, Sd. 1 only, mere hint of grey on peaks. MB 10
J0660. MARGUERITE D’ALVAREZ: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix /
Printemps qui commence (1920 Versions). 12” Orth Vla 6590, POM-23 April, 1926. M-A, as New! MB 8
J0661. MARGUERITE D’ALVAREZ: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix (1920 Version).
12” brown shellac Vocalion 52000, POM-1920. M-A, as New! MB 10
J0662. MARGUERITE D’ALVAREZ: SAMSON ET DALILA – Mon coeur s’ouvre à ta voix (1920 Version).
12” brown shellac Vocalion 52000, POM-1920. M-A, as New! Label Autographed in black ink by D’Alvarez. MB 20
“Marguerite d’Alvarez is gifted with a most extraordinary contralto voice of great range and flexibility, and of a mellow and luscious quality.” - Carl Van Vechten, MUSICAL COURIER, 22 April, 1920
J0663. MARGUERITE D’ALVAREZ: CANZONES ARABESCAS – Mira la bien (Pedrell) /
CARMEN – Séguedille (1921 Version). 10” brown shellac Vocalion 60031, POM-1921. M-A MB 15
J0664. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): CARMEN – Séguedille /
SAMSON ET DALILA – Mon coeur s’ouvre à ta voix (1928 Versions). 10” EL PW HMV DA 1000, only form of issue, 14 Sept., 1928. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 15
“D’Alvarez studied in Brussels and made her operatic début at Rouen as Dalila in 1907 or 1908. In 1909 she joined Oscar Hammerstein's Manhattan Opera Company, first appearing as Fidès in LE PROPHÈTE. With the Boston Opera Company in 1913 she made a strong impression as the Mother in Ermanno Wolf-Ferrari's I GIOIELLI DELLA MADONNA, and at Covent Garden in 1914 her Amneris won acclaim for the power, rich quality and ease of her singing. She appeared as Carmen at La Scala and as Léonor in LA FAVORITE at Marseilles. After 1918 she sang principally in concerts, specializing in French and Spanish song, and gave her last London recital in 1939. She wrote a colourful autobiography, FORSAKEN ALTARS (London, 1954), published also as ALL THE BRIGHT DREAMS (New York, 1956) [B1131 & B1132 on our website]. Her recordings show an exceptionally rich and well-produced voice.” - Ashot Arkelyan
J0665. RAFAELO DIAZ: Because (d’Hardelot) / How dy do, Mis’ Springtime (Guion).
10” black early Col. 117-M, only form of issue, 19 Nov., 1925. A-, lovely copy has lt.rubs, inaud.
[Met Opera, 1918-30; Particularly charming renditions, in Diaz’s delightfully inflected English!] MB 15
J0666. CARLOS MEJIA: LES PÊCHEURS DE PERLES – Je crois entendre (in Italian) / BARBIERE – Ecco ridente.
12” blue Victor 55091, POM-7 / 10 Aug., 1917. A to M-A, superb copy has, Sd.2, faintest rub, inaud. & hardly worth mention. MB 15
“Carlos Mejía Lango was a Mexican tenor and composer and is recognized as one of the most important tenors of the Latin American music scene of the beginning of the last century. He made his first public appearance at age 23 on 4 April, 1915 at the Abreu Theater in LA FAVORITA. Subsequently Mejia appeared in New York at the Lírico Theater in a company of zarzuelas and operettas.” - Wikipedia
J0667. CRISTINA SORO BARRIGA DE BALTRA: Lejos de ti (Ponce) / Vida mia (Fuentes).
10” Vla 954, POM-25 / 27 Sept., Sept., 1922, (assigned S/S numbers, but never issued).
Never listed in a North American Victor Catalogue. M-A, as New! [Sd.2 is particularly exquisite!] MB 25
J0668. CRISTINA SORO BARRIGA DE BALTRA: Estrellita (Ponce) / EL CARRO DEL SOL – Canción veneciana (Serrano).
10” Vla 920, POM-18 Sept. / 3 Oct., 1922, Never listed in a North American Victor Catalogue. M-A, as New! MB 15
J0669. CRISTINA SORO BARRIGA DE BALTRA:, w.Enrique Soro Barriga (Pf.): Copihue rojo (Nueva canción)
(Acc. by the Composer). 10” Vla 64762, only form of issue, 24 June, 1917, Havana, Original ‘A’ Plate Issue,
long believed not to have been issued. Never listed in a North American Victor catalogue. M-A, as New! MB 35
J0670. CRISTINA SORO BARRIGA DE BALTRA: LA WALLY – Ebben? Ne andró lontana (Cilea).
12” Vla 74585, only form of issue, 24 June, 1917, Havana, Original ‘A’ Plate Issue, long believed not to have been issued.
Never listed in a North American Victor catalogue. M-A Exceedingly rare! M-A, choice copy has faintest rubs, inaud. MB 35
“Soro began vocal studies with Italian teachers who had settled in Chile. She made her début at the age of 15 at the Santiago Teatro Municipal, singing compositions of her brother, Enrique Soro Barriga. It was Barriga who accompanied Soro in her first group of Red Seal Victor records (originally trial recordings), these made in Santiago (another souce indicates Havana, Cuba) in 1917 on portable equipment by a Victor talent scout then visiting Central and South America. This was a year after she had graduated with highest honors from the Santiago Conservatory of Music, receiving a degree of Professor of Music. On the success of these trials (which included the LA WALLY disk, above), Victor wanted her to come to Camden to record with orchestra, but she had entered a course of study at the Verdi Conservatory in Milano and wasn’t available until 1922, when she made her second and final group of records. A concert tour of Mexico with pianist/composer Manuel Ponce followed this. Apparetly Soro didn’t appear in opera, her career having been as a recitalist and teacher She was active in the latter capacity in 1949 when she was interviewed for Hobbies Magazine by William R. Moran (and from which article this information is taken).” - Lawrence F. Holdridge
J0671. CRISTINA SORO BARRIGA DE BALTRA: IL TROVATORE – D’amor sull’ali rosee /
GABRIELLA BESANZONI: SAMSON ET DALILA – Printemps qui commence (in Italian).
12” Vla 6409, POM-30 Sept., 1922 / 10 March, 1920. Never listed in a North American Victor catalogue. M-A MB 12
J0672. ZÉLIE de LUSSAN: Spoken message, followed by Joaquin Miller’s poem
‘If all God’s world a garden were’ / I know a lovely garden (d’Hardelot).
10” Private UK shellac disk, recorded 1948 at Star Sound Studios, London / RR-1906, from Beka Grand. A to M-A MB 15
J0673. ZÉLIE de LUSSAN: Spoken message discussing all her ‘murders’ by fifty-seven different Don Josés,
followed by her 1906 recording of ‘Me voici dans son boudoir’ from MIGNON. 12” Private black & white Star Sound Studios
S/S shellac disk SSS 1609, recorded 4 Nov, 1946. Label
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