Auction 148 auction closing Date: Wednesday, 12 April, 2017
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| Flags Label Col. 14094-F (B441/B442), POM-1924. M-A, superlative copy of preferred pressing. MB 20
J0956. ERNESTO BADINI & GAUDIO MANSUETO: ERNANI – Lo vedremo / Sabajno Cond.: Beviam, beviam. 10” dark-green Disco Grammofono R 5195, POM-5 April, 1909 / ----. A to M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has very lt.scr, positively inaud. MB 8
10” blue Pat.’08 Victor 45000, POM-6 April, 1909. A to M-A, lovely copy has hint of grey on peaks. MB 10 J0958. ERNESTO BADINI & ERNESTA COTTINO: PAGLIACCI – So ben che difforme, 2s. 10” blue Col. E 1994, POM-1913. M-A MB 8 J0959. ERNESTO BADINI & ERNESTA COTTINO: PAGLIACCI – Decidi al mio destin, 2s. 10” blue Col. E 1396, POM-1913. M-A, beautiful copy has mere hint of grey on peaks. MB 8 J0960. ERNESTO BADINI & GENNARO de TURA: LA BOHEME – Questo mar rosso. 12” white Vla 89156, POM-5 April, 1909. M-A MB 8 J0961. ERNESTO BADINI, ANDREINI & BETTONI: LA BOHEME – Questo mar rosso / ERNESTO BADINI, ANDREINI, BETTONI & BARACCHI: Pensier profondo. 12” black Victor 68765, POM-8 / 17 Feb., 1917. M-A, a superlative copy! MB 6 J0962. ERNESTO BADINI, ANDREINI, BOSINI, BETTONI, BARACCHI & CECCARELLI: LA BOHEME – Pranzare in casa? / Ha visto? 10” black Victor 70050, POM-14 Feb., 1917. M-A, a superlative copy! MB 6 J0963. ERNESTO BADINI, ANDREINI, BETTONI, BARACCHI & CECCARELLI: LA BOHEME – Parpignol! Parpignol! / E ch’io beva del tossico! 12” black Victor 68734, POM-10 Feb., 1917. M-A, a superlative copy! MB 6 J0964. ERNESTO BADINI, GIANA, BOSINI, ANDREINI, BETTONI, BARACCHI, BETTONI & CECCARELLI: LA BOHEME – Quando m’en vo / Oh! Marcello! 12” black Victor 68735, POM-12 Feb., 1917. M-A, a superlative copy! MB 6 J0965. ERNESTO BADINI & FANNY LOTTI: AMICA – Più presso al ciel / EBE BOCCOLINI & GUIDO CICCOLINI: L’AMICO FRITZ – Suzel, buon dì (Cherry Duet) (both Mascagni). 12” black Pat.’12 V 68376, POM-26 Nov. / 14 Dec., 1910. M-A, appears unplayed! MB 35 J0966. ERNESTO BADINI & GAETANO PINI-CORSI: DON PASQUALE – Son nov’ore / ANTONIO PINI-CORSI & EMILIA CORSI: Signorina in tanta fretta. 12” black Victor 68273, POM-1906. M-A MB 8 J0967. ERNESTO BADINI, GIUSEPPINA HUGUET & ANTONIO & GAETANO PINI-CORSI: BARBIERE – Guarda Don Bartolo / PIETRO LARA: FRA DIAVOLO – Agnese la zitella. 10” black Victor 63171, POM-1906/’07, resp.. M-A MB 8 “Pietro Lara’s reputation was established as one of the most promising young tenors in Italy. He was the leading tenor of Mme. Sembrich's Opera Company with whom in 1901 he performed in San Francisco and in Berlin.” - Ashot Arkelyan “Badini débuted in Rossini’s BARBIERE at Pavia, then in 1909 he sang the role of Kyoto in IRIS at the Teatro Regio di Torino directed by Tullio Serafin with Emma Carelli, and in 1913 Ford in FALSTAFF directed by Cleofonte Campanini with Flora Perini at the Teatro Regio di Parma and at La Scala conducted by Arturo Toscanini, with Lucrezia Bori and Antonio Scotti. In 1914 he sang Manfredo in L'AMORE DEI TRE RE at Teatro San Carlo in Naples, then Hermann in LORELEY directed by Rodolfo Ferrari at the Teatro Comunale di Bologna. In 1915, again directed by Ferrari, he sang Belcore in L'ELISIR D'AMORE with Alessandro Bonci and Antonio Pini-Corsi. In DON PASQUALE he sang Malatesta in Bologna, the Teatro Costanzi in Rome, the Teatro La Fenice in Venice and Parma. In 1916 he sang Laertes in MIGNON at La Scala directed by Ettore Panizza, with Rosina Storchio. He achieved early success which led him to sing in the most prestigious Italian and European theaters, as well as in South America where he appeared in Chile and at the Teatro Colón in Buenos Aires. In 1920 he sang in GIANNI SCHICCHI directed by Panizza, with Toti Dal Monte, and Sixtus Beckmesser in DIE MEISTERSINGER directed by Serafin, with Maria Zamboni and Francesco Merli. In 1920 he sang Marco in GIANNI SCHICCHI with Gilda Dalla Rizza, Giulio Crimi and Giuseppe de Luca at the Royal Opera House, London. In 1921, directed by Victor de Sabata, he sang GIANNI SCHICCHI with Dalla Rizza, then Papageno in ZAUBERFLÖTE with Graziella Pareto and John McCormack, then Don Bartolo in BARBIERE with Pareto and McCormack in Monte Carlo. He sang Dandini in LA CENERENTOLA with Cesira Ferrari and Conchita Supervia in Bologna, then Ford in FALSTAFF under Toscanini at La Scala.” - Wikipedia J0968. GUIDO CICCOLINI: CAVALLERIA – Mamma, quel vino è generoso (Addio alla madre) / ERNESTO BADINI & BIANCA BESALÙ: Turiddu, mi tolse l’onore. 12” blue Victor 55021, POM-22 / 24 Nov., 1910. M-A MB 12 J0969. GUIDO CICCOLINI & BIANCA BESALÙ: CAVALLERIA –Tu qui, Santuzza?, 2s. 12” blue Victor 55022, POM-25 Nov., 1910. M-A MB 12 “A student of famed teacher Antonio Cotogni, Ciccolini made his 1907 début in Bologna as Alfredo in LA TRAVIATA. He was very successful in Russia where he appeared at the Opera Theatres of St. Petersburg and Odessa as well as in Warsaw. In 1911 he undertook an Australian tour with Nellie Melba’s opera troupe. In 1914 he sang at the Teatro Lirico in Milan in the Italian premiere of Ermanno Wolf-Ferrari’s I QUATTRO RUSTEGHI. In 1914 he appeared several times at the Boston Opera Theatre, in 1915 at Havana and in the 1918-19 season with the Chicago Opera. He retired from the stage in 1922.” - Ashot Arkelyan J0970. EDOARDO FERRARI-FONTANA: Inno di Garibaldi (Olivieri) / VIRGILIO LAZZARI: BARBIERE –La calunnia. 10" H & D etched label Edison 82555, only form of issue, 23 Oct., 1918 / 12 Dec., 1916. M-A, lovely copy has faintest rubs, inaud. MB 20 J0971. EDOARDO FERRARI-FONTANA: TRISTAN – Notto Regina e a me / PAGLIACCI – Un tal giocco. 10” Tri-Color Col. A1731, only form of issue, 20 Feb., 1914. M-A, superlative copy! MB 15 J0972. EDOARDO FERRARI-FONTANA: I GIOIELLI DELLA MADONNA - Madonna, dei dolori / Madonna, con sospiri (Wolf-Ferrari). 12” Col. A5663, only form of issue, 20 Feb., 1914. A-, very decent copy has lt. rubs, inaud. MB 10 J0973. EDOARDO FERRARI-FONTANA: OTELLO – Niun mi tema / CARMEN – Air de la fleur (in French!). 12” Tri-Color Col.A5721, only form of issue, 1 March, 1915. M-A, lovely copy has faintest rubs, inaud. MB 12 “Edoardo Ferrari-Fontana was an Italian tenor who was born 8 July 1878 in Rome, Italy. He married Margarete Matzenauer on 26 June 1912 at the Italian Club in Buenos Aires, Argentina, and they divorced in 1917. His American début was in TRISTAN UND ISOLDE in Boston when he was the only tenor available when the original lead singer left the country a day before the performance. In 1914, he made his Metropolitan Opera début at the in the role of Avito in the United States Premiere of Montemezzi’s L'AMORE DEI TRE RE, conducted by Arturo Toscanini. He had previously created the role in the world premiere at Teatro alla Scala under Tullio Serafin.” - Wikipedia J0974. GIUSEPPE NESSI, EMILIO VENTURINI, & GIOVANNI INGHILLERI: TURANDOT – Terzetto di Ping, Pang, Pong, 2s. [Creator Record, Teatro alla Scala, Milano, 25 April, 1926]. 12” red & gold Milano Fonotipia 6567 (Nxx 120049) (xxPh 5885/86), POM-11 May, 1927. M-A, choice copy has faintest rubs. MB 15 J0975. BICE ADAMI, ANGELO PINTUCCI & FERRUCCIO CORRADETTI: LA TRAVIATA- Prendi, quest'è l'imagine. 10” flush black Milano G & T G.C.-54007 (435b), only form of issue, 1901. A, beautiful copy has faintest rubs, hardly worth mention; uncommonly large & bright label. MB 35 J0976. ACHILLE BRASCHI & FERNANDA CADONI, w.Basile Cond.: CAVALLERIA – Viva il vino spumeggiante, 2s. 10” pale-blue Cetra AT 0279, only form of issue, 7 March, 1952. M-A, a gleaming copy. MB 25 “Achille Braschi is one of those wide vibrato-owners, very wide some would say, but he is vibrant and I’d loved to hear more from him though he probably didn’t make another recording (apart from a few arias on a French LP and a ‘live’ selection of arias circulating among collectors).” - Jan Neckers J0977. BENIAMINO GIGLI, w.Zamboni & Carnevali Cond.: Arie Antiche by Caldara, Scarlatti, Durante, Cesti, Monteverdi, Giordani, Bononcini, Fasolo, Carissimi, Bassani & Handel. 12s. 6-10” HMV DA1896, 1906, 1927, 1934, 1955 & 1956, only form of issue, 1947-49, in Elaborate pale-blue buckram HMV Album 457, w.Brochure & texts. M-A, as New. MB 45, the Set. J0978. BENIAMINO & RINA GIGLI, Quadri Cond.: L’AMICO FRITZ – Suzel, buon dì (Cherry Duet) / MEFISTOFELE – Lontano, lontano.. 12” LVDP DB 11342, only form of issue, 18 Jan., 1951. M-A, superb copy has, Sd.1 only, faintest rub, inaud. MB 25 J0979. EUGENIA MANTELLI: Der Asra (in German) (Rubinstein). 10” dark-green (crossed bugles label) Zonophone 12619 (6499),
Zonophone 12614 (6553), only form of issue, 1906-07. M-A, a spectacular copy with exceptionally bright label. MB 95 J0981. EUGENIA MANTELLI & TAURINO PARVIS: DON GIOVANNI – Là ci darem la mano. 10” dark-green (crossed bugles label) Zonophone 12573 (6013), only form of issue, 1906-07. B, lovely copy has lt.rubs & superficial scrs, but a large nd is audible for 15 turns; exceptionally bright label. MB 25
10” dark-green (crossed bugles label) Zonophone 12574 (6014), only form of issue, 1906-07. B-, decent copy has rubs & lt.scrs, rgus a noisy surface; very fine label nr. MB 25
10” flush black & silver Col. 1435, POM-1903, announced; de Bassini’s name not on label. A-, beautiful copy has a few superficial tiny scrs, most minimally ltly audible; uncommonly bright label. MB 20
B-, very decent copy has a few ltly audible tiny scrs & sev. tiny nd, positively momentraily audible; uncommonly bright label. MB 15 “Alberto de Bassini was the son of a famous Italian baritone Achille De Bassini (1819-81), who appeared in 1849 in the premiere of Verdi’s LUISA MILLER and in 1862 at St. Petersburg in LA FORZA DEL DESTINO. He was trained by his father and débuted in 1870 at Venice in Donizetti’s BELISARIO, together with his father. In 1881 he sang at the Teatro Paganini in Genoa, then at the Teatro Malibran in Venice as Almaviva in IL BARBIERE DI SIVIGLIA. In 1883 De Bassini appeared at the Teatro Carcano in Milan. In 1890 De Bassini made his second début, this time as a baritone, in Teatro Filodramatico, Milan. As a baritone, and in 1898 he emigrated to the North America, where he appeared at different opera societies especially in French repertoire. Later he was a song pedagogue in New York.” - Ashot Arkelyan J0985. MARIO BERINI (Israel Burstein), w.Max Rudolf Cond. Met Opera Orch.: Wien, du Stadt meiner Träume (Sieczynski) / Ich muss wieder einmal in Grinzing sein (Benatzky). 12” EL Col. 72847-D, only form of issue, 1947. M-A, lovely copy has faint rubs, inaud. Exceedingly elusive! MB 25 “Mario Berini, an opera singer known for his interpretation of dramatic tenor roles, sang Cavaradossi in TOSCA in February 1944 in the first opera performance at City Center. Two years later he made his début with the Metropolitan Opera, taking over the title role in FAUST with just nine hours' notice when the scheduled tenor, Raoul Jobin, became ill. In his two seasons with the Met he appeared as Don Jose in CARMEN, Dimitri in BORIS GODUNOV and other roles. Mr. Berini was born in Russia and grew up in California. He made his New York début in 1940 with the San Carlo Opera Company and later sang with major opera companies and orchestras in the United States. He also sang at Radio City Music Hall and on radio and television.” - THE NEW YORK TIMES, 11 March, 1993 J0986. EDOARDO GARBIN: CAVALLERIA – Viva il vino spumeggiante / La Scala Chorus: A casa, a casa. 11½” Milano Fonotipia 74129/30 (XXPh 3453/3827), POM-1 Oct., 1908 / 19 April, 1909. A to M-A, beautiful copy has very few faint rubs, inaud. MB 20 J0987. EDOARDO GARBIN: LA FAVORITA - Una vergine, un angiol di Dio. 10” flush red Milano G & T 52434 (2843-R), Original 1902 Issue. M-A, a spectacular copy with exceptionally bright label. MB 35 J0988. EDOARDO GARBIN: MANON LESCAUT - Donna non vidi mai (1902 Version). 10" Victor Monarch 5037 (2838b), POM-1902, Never Doubled. A-, very lovely copy has faint rubs, inaud. MB 35 J0989. EDOARDO GARBIN: MANON LESCAUT - Donna non vidi mai (1913 Version) / CESARE FORMICHI: Sei splendida e lucente. 10” blue Col. E1861 (41939/11457), POM-1913. M-A MB 12 J0990. EDOARDO GARBIN: MANON LESCAUT– Ah! non v’avvicinate / EUGENIA LOPEZ-NUÑES: Sulla vetta tu del monte (La Madrigale). 10” green Col. E2867 (41973/41913), POM-1913. M-A MB 12 J0991. EDOARDO GARBIN: LUCREZIA BORGIA – Di pescatori ignobile / EUGENIA LOPEZ-NUÑES: Il segreto per essere felice. 10” dark-brown Eng. Col. D 4463 (41940/41910), POM-1913. M-A, beautiful copy has, Sd.2 only, faint rubs, inaud. MB 12 J0992. EDOARDO GARBIN: MEFISTOFELE – Dai campi, dai prati / Giunto sul passo estremo [duly sensitive renditions!]. 10” green Col. E2250 (41942/41943), POM-1913. A to M-A, lovely copy has, Sd.1 only, hint of grey on peaks, inaud. MB 12 J0993. EDOARDO GARBIN: LA BOHEME – Che gelida manina, 2s. 10” green Col. E1808 (41941/41979), POM-1913. A-, lovely copy has faint rubs & superfcicial mks, inaud. MB 10 J0994. EDOARDO GARBIN: TOSCA – E lucevan le stelle / CESARE FORMICHI: Ella verra.. 10” green Col. E2279 (41978/11460), POM-1913. A-, lovely copy has faint rubs & superfcicial mks, inaud. MB 10 “Edoardo Garbin was an Italian operatic tenor, married to the soprano Adelina Stehle. One of the most important Italian tenors of his day, Garbin created, inter alia, tenor roles in Franchetti's CRISTOFORO COLUMBO, Fenton in Verdi's last opera FALSTAFF (1893), and Milio in Leoncavallo's ZAZÀ, in 1917. At his death in 1943, Edoardo Garbin was the last male solo vocal artist to have created a part and worked with Giuseppe Verdi – some fifty years' previously in the composer's FASTAFF of 1893. It was a role he had repeated in 1913 at La Scala at the Verdi Centenary Celebrations.” - Wikipedia J0995. GIULIO ROSSI: SIMON BOCCANEGRA – Il lacerato spirito. 9” dark green dark-brown shellac Zonophone 2509, POM-8 Sept., 1904. B-, decent copy has very numerous audible pressing bumps, yet plays clearly. MB 15 J0996. GIULIO ROSSI: LUCREZIA BORGIA – Vieni, la mia vendetta /
M-A/A-, beautiful copy has, Sd.2 only faintest rubs, inaud.; faintest nr on both labels. MB 12 J0997. GIULIO ROSSI: MEFISTOFELE – Son lo spirito che nega / MOSÉ IN EGITTO – Dal tuo stellato soglio. 10” red & silver IRCC 3020, RRs-c.1901. MINT MB 8 “Giulio Rossi studied with Oreste Tomassoni in Rome and made his début in 1887 in Parma in Petrella’s JONE. He appeared in 1892 at La Scala, where in 1894 he performed in the premiere of Franchetti’s FIOR D'ALPE and in 1897 in IL SIGNOR DI POURCEAUGNAC of the same composer. In 1903 he sang at La Scala in a concert performance of PARSIFAL. In 1889 he had taken part in a South American tour with Adelina Patti; in 1897 he appeared again in South America. Tours led him also to England, Spain and Russia. In 1908 he joined the Metropolitan Opera in New York (début as the King in AÏDA) and remained there until 1919. Here he performed also as Sid in the World Premiere of Puccini’s LA FANCIULLA DEL WEST (1910) and in de Koven’s THE CANTERBURY PILGRIMS (1917).” - Ashot Arkelyan J0998. ARCANGELO ROSSI: DON GIOVANNI – Nella bionda (2nd part of Catalogue Aria). 10” black GP Victor 4443 (B-2507), POM-1 May, 1905. M-A, beautiful, bright copy; uncommonly bright label. MB 15 J0999. ARCANGELO ROSSI: LA CENERENTOLA – I miei rampolli femminini (1903 Version, w.piano) [a priceless and uproarious rendition!]. 10” flush black & silver Col. 3117, POM-1903. A to M-A, superb copy has lt.rubs & an uncommonly bright label. MB 35 J1000. ARCANGELO ROSSI: LA CENERENTOLA – I miei rampolli femminini (1905 Version, w.orchestra) [another priceless and uproarious rendition!]. / EMMA TRENTINI & ALBERTO CAFFO: FRA DIAVOLO - Quell'uom dal fiero aspetto. 10” black Pat.’12 V 62621 (B-2510 / 7022b), POM-1 May, 1905 / 1905. M-A, beautiful, bright copy; uncommonly bright label. MB 15 “Arcangelo Rossi was considered the best Italian basso-buffo active between the late nineteenth and early twentieth century. After a long tour that took him to major US cities with the Marcella Sembrich company, he landed at New York's Metropolitan Opera, where he made his début on 27 November, 1903 in Puccini’s LA BOHEME. Soon after, on 2 December, he appeared in in TOSCA with Caruso, with whom he would sing many times. They sang in many works that were performed at the Metropolitan for the first time. He made his fortune mainly in America, and at the Metropolitan he sang for 112 times over five years. He suffered a heart attack in 1906 in San Francisco, then signs of a deep depression took over, thus the mental block which prevented him from singing, resulting in suicide. The circumstances of his death were dramatic. Back in Italy, he met at dinner with friends, sang for the last time and then, in front of everyone, he cut his tongue. He died from loss of blood.” - Ned Ludd J1001. GIUSEPPE DANISE: Sérénade (Panizza) / Sérénade Napolitaine (Leoncavallo). 10” gold Bruns.15140, POM-5 / 1 April, 1926. [Most uncommon!] A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J1002. GIUSEPPE DANISE: Eternamente (Mascheroni) / Canta il mare (de Leva). 10” purple Bruns.10237, only form of issue, 25 March / 1 April, 1926. A to M-A, beautiful copy has faintest rubs, inaud. MB 15
10” purple Bruns.10181, only form of issue, 11 March, 1925. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J1004. GIUSEPPE DANISE: Campana di San Giusto (Arona) / L’ultima canzone (Tosti). 10” purple Bruns.10128, POM-29 Jan. / 8 Feb., 1924. M-A, lovely copy has faintest rubs, inaud. MB 15 J1005. GIUSEPPE DANISE: When the king went forth to war (Könemann) / Song of the Volga boatmen. 10” purple Bruns.10150, only form of issue, 16 Oct., 1924. M-A, lovely copy has faintest rubs, inaud. MB 12 J1006. GIUSEPPE DANISE: Ave Maria (Carnevali) / STABAT MATER – Quae moerebat (Pergolesi). 10” gold Bruns.15139, POM-1 / 5 April, 1926. A to M-A, lovely copy has faintest rubs, inaud. MB 12 J1007. GIUSEPPE DANISE: Panis angelicus (Franck) / Pietà Signore! (att. Stradella). 12” purple Bruns.30109, only form of issue, 8 Feb., 1924 / 11 March, 1925, late AC-era Issue, in Catalogue briefly. [Most uncommon!] A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J1008. GIUSEPPE DANISE: Core ‘ngrato (Cardillo) / Canta pe’ me (de Curtis) (1923 Versions). 12” gold Bruns. 50034, POM-14 / 20 Feb., 1923. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J1009. GIUSEPPE DANISE: La paloma (Yradier) / Torna a Surriento (de Curtis) (1922 Versions). 12” gold Bruns. 50014, only form of issue, 1922. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J1010. GIUSEPPE DANISE: La paloma (Yradier) / Torna a Surriento (de Curtis) (1926 Versions). 12” purple Bruns. 30117, only form of issue, 20 April, 1926. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J1011. GIUSEPPE DANISE: La partida (Alvarez) / La Danza (Rossini). 12” gold Bruns.50011, only form of issue, 1922. A to M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12 J1012. GIUSEPPE DANISE: FAUST – Avant de quitter ces lieux (in French) / LA TRAVIATA – Di Provenza il mar (1921 Versions). 12” gold Bruns.50007, POM-1921. A to M-A, beautiful copy has faintest rubs, inaud. MB 10 J1013. GIUSEPPE DANISE: LA TRAVIATA – Di Provenza il mar (1921 Version). 12” green Bruns.30010, POM-1921. A to M-A, lovely copy has faintest rubs, inaud. MB 10 J1014. GIUSEPPE DANISE: FAUST – Avant de quitter ces lieux (in French) / LA TRAVIATA – Di Provenza il mar (1926 Versions). 12” gold Canadian Bruns.50083, only form of issue, 6 April, 1926. A to M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12 J1015. GIUSEPPE DANISE: LE JONGLEUR DE NOTRE-DAME - Fleurissait une sauge /
12” gold Bruns.50013, only form of issue, 1921/’22, resp. A to M-A, superlative copy! MB 12 J1017. GIUSEPPE DANISE: ANDREA CHÉNIER – Nemico della patria (1st issued ‘Take’, 5447) / OTELLO – Credo (1921 Versions). 12” gold Bruns.50004, POM-1921, only form of issue Sd.2. M-A, pristine copy! MB 15 J1018. GIUSEPPE DANISE: ANDREA CHÉNIER – Nemico della patria / OTELLO – Credo (1926 Versions). 12” gold Canadian Bruns. 50079, only form of issue, 6 April / 26 March, 1926. M-A, pristine copy has contemporaneous Montréal label sticker. MB 15 J1019. GIUSEPPE DANISE: HÉRODIADE – Vision fugitive (in French) / FORZA – Urna fatale del mio destino. 10” gold Bruns.15045, only form of issue, 1922. M-A, choice copy has, Sd. 1 only, faintest rubs, inaud. MB 12 J1020. GIUSEPPE DANISE: PAGLIACCI - Prologo. 12” green Bruns.30020, POM-1921. M-A, choice copy has faintest rubs, inaud. MB 12 J1021. GIUSEPPE DANISE: BALLO – Eri tu. 12” green Bruns.30012, POM-1921. M-A, choice copy has faintest rubs, inaud. MB 12 J1022. GIUSEPPE DANISE: BALLO – Eri tu / PAGLIACCI - Prologo. 12” gold Bruns.50006, POM-1921. A to M-A, lovely copy has very lt.rubs, inaud. MB 12 J1023. GIUSEPPE DANISE: ZAZÀ – Zazà, piccola zingara / Buona Zazà. 10” gold Bruns.15025, only form of issue, 1922. M-A, a gleaming copy. MB 12 “In a generation, which boasted so many great Italian baritones, Giuseppe Danise was among the most important ones, even though today he is undeservedly underrated. In 1906 he made his début at the Teatro Bellini as Alfio in CAVALLERIA RUSTICANA and soon established himself - yet on provincial stages - as one of the leading Italian baritones. At the Teatro Massimo in Palermo he sang in ISABEAU and in Leoncavallo´s LA BOHÈME in 1913. In the same year he appeared at the Teatro Regio in Parma stepping in for Titta Ruffo as Posa in DON CARLOS (the five-act version with Russ, de Cisneros and Bassi) at the centenary celebrations of Verdi´s birth. As Amonasro in AÏDA he took part in the opening season of the first Verona Festival, again in 1913. The summer of 1915 saw him busy at the Teatro Colón in AÏDA (with Raisa, Frascani and Caruso), LUCIA DI LAMMERMOOR (with Galli Curci and Caruso), LA GIOCONDA (with Poli-Randaccio and Caruso) and as Schaunard in LA BOHÈME (with Raisa, Galli Curci, Lázaro and Sammarco). At the Colón he also appeared in the local premiere of Zandonai´s FRANCESCA DA RIMINI (with Raisa, Spani and Lázaro). During the 1915-16 season of La Scala, Danise´s début took place in the title role of PRINCE IGOR (with Dalla Rizza, Anitua and Schipa); in the following year he sang in Spontini´s FERNANDO CORTEZ (with Mazzoleni), in AÏDA (with Raisa and Dolci), CAVALLERIA RUSTICANA (with Hariclea Darclée, the first Tosca) and in the Scala-premiere of FRANCESCA DA RIMINI (with Raisa, Dal Monte and Pertile). In 1917-18 he again was heard at La Scala in SIBERIA (with Dalla Rizza and Bassi), TOSCA and in the world premiere of Victor de Sabata´s IL MACIGNO (with Melis and Lappas). On 17 November, 1920, Danise for the first time faced the American public on the occasion of his début at the Metropolitan Opera as Amonasro in AÏDA (with Destinn, Matzenauer, Martinelli and Rothier). His last two performances with Caruso were in LA FORZA DEL DESTINO (with Ponselle as Leonora). Danise remained at the Met for 12 years - until 1932 - and shared most of the big baritone roles with de Luca, Scotti, Basiola, Ruffo and later Tibbett. In his first year he was especially praised for his portrayal of Carlo Gérard in the Met premiere of ANDREA CHÉNIER (with Muzio and Gigli). In 1922 he again stepped in for Titta Ruffo, this time as Carlo V in a new production of ERNANI (with Ponselle, Martinelli and Mardones), which had been absent from the Met for a long time. When Lucrezia Bori sang her first TRAVIATA in 1923, Danise was her Germont-père. and on 5 January of the same year he appeared in the title role of GUGLIELMO TELL in a revival with Martinelli, Ponselle and Mardones. With great success he sang Nelusco in L´AFRICANA and David in L´AMICO FRITZ (with Bori and Fleta), he appeared in the Met premieres of Catalani´s LORELEY and Lalo´s LE ROI D’YS and in the New York premiere of Laparra´s LA HABANERA (with Easton and Tokatyan) and was an excellent Athanael to Maria Jeritza as Thaïs. He bade farewell to the Met on 16 January, 1932, as Count Luna in IL TROVATORE. In 1947 he married the soprano Bidú Sayão and he also taught singing in New York, one of his most famous students having been Regina Resnik. Probably one of the main reasons why Danise has fallen a into oblivion nowadays is that most of his records were made for Brunswick who stopped their production of classical music in 1930 and were not well presented in Europe. Without a doubt Danise ranks among the best Italian baritones of his generation: he combined the lyricism of de Luca and the dramatic temperament of Scotti with Stracciari´s sonority. Among collectors his records are considered to be relatively rare. From 1921 on he made both acoustic and electric recordings exclusively for Brunswick in Chicago (presumably during his Ravinia seasons). He was the record company´s star-baritone and recorded many arias from his big operatic roles as well as Italian, Spanish and French songs, all of them quite excellent. The Spanish songs are sung much in the style of Emilio de Gogorza - in all languages Danise´s diction was exemplary.” - Laura Wagner-Semrau, OPERA VIVA J1024. MARIO FILIPPESCHI, w.Morelli Cond.: PAGLIACCI – Vesti la giubba / TOSCA – Recondita armonia. 10” plum LVDP HN 2362, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs, barely visible & inaud. MB 35 “Filippeschi is the example of metal in the voice and he has the quality which can generate so much excitement in Italian tenors: the higher the voice goes, the more beautiful and impressive it sounds.” - Jan Neckers J1025. MARIO FILIPPESCHI, w.Morelli Cond.: RIGOLETTO – La donna è mobile / MADAMA BUTTERFLY – Addio fiorito asil. 10” plum LVDP HN 2376, only form of issue, 1948. M-A, gleaming copy has 2 faintest pap.rubs, barely visible & inaud. MB 35 “La Scala beckoned to Mario Filippeschi and record companies paid him increasing attention – many will know him best from his NORMA with Callas. Nevertheless he was not seduced by the prospect of radically upgrading his repertoire to meet international opportunities; he deliberately kept it small but retained works that he knew suited the voice. As Lauri Volpi wrote to him in 1978 – ‘Today you would be the King of Tenors’.” - Jonathan Woolf, musicweb-international J1026. KAROLINA PIETRASZEWSKA (as CAROLINA PIETRACEWSKA): BALLO – Re dell’abisso. 12” V 76005 (1479¾c), POM-1908, Never Doubled. A to M-A, exceptional copy has wee pressing bump & faintest rubs, inaud. [Carolina Pietracewska made her 1906 début at the Warsaw Opera House in DIE WALKÜRE. In 1908 she appeared at La Scala where under the baton of Toscanini.] MB 35 J1027. NIKOLAI & MEDEA MEI FIGNER: Le Crucifix (in French) (J. B. Faure) / Do not tempt me needlessly (Glinka). 10” black St Petersburg Angel Gram. G.C. 24057/58 (369/70x), POM-1901. A-, lovely copy has few faintest scrs, positively inaud. MB 395 "The thing that distinguished Figner right from the beginning was his presentation of recitative, something that was uncommon in Italian `opera of that period. There was not a single word that didn’t have the maximum bearing on the musical line and not a single note that was not linked with the word. Figner was convinced that a well sung recitative prepared the ground for the following monologue, aria or verses, even ensemble….The second characteristic of Figner’s singing was his accurate gauging of light and shade, of the difference a rich sound on a note and a covered tone, the effect of vivid contrasts. As though anticipating the genius of Chaliapin in his economical use of tonal quality, Figner knew how to captivate an audience by means of the delight in a word uttered as though for the first time." - Sergei Levik, THE LEVIK MEMOIRS, p.168 “Medea Mei-Figner’s voice is warm and attractive. The registers are equalised but she frequently tends to separate off her chest voice. Tschaikowsky was often invited by the couple Figner to their residence in Italy. The great soprano Oda Slobodskaya admired her very much. Medea Mei-Figner is certainly one of the best sopranos from the Russian acoustical era and her voice got on well with the recording process.” - Andrea Shum-Binder, subito-cantabile J1028. MARIA DMITRYEVNA TURTSCHANINOVA: A LIFE FOR THE TSAR – I do not grieve about that, dear friend (Glinka). 10” flush black Moscow G& T G.C. 23156 (571x), only form of issue, 1901. A-B, lovely copy has very lt.rubs & occasional minuscule scr, positively inaud.; microscopic nd & faint ndl run at very beginning, well before performance. A tiny pressing bump is very faintly audible, merely a few turns. Excellent copy of this ultra-rare disk. MB 295 J1029. KAPITON ZAPOROZHETS: LES HUGUENOTS - Lutheran chorale / Piff, paff, piff (in Russian) (Meyerbeer). 10” black ‘Art’ Label Serena 10021/22, only form of issue, c.1910. A-B, lovely copy has lt.rubs, a few superficial mks & wee pressing bumps, only very occasionally and minimally audible. MB 95 “Kapiton Denisovich Zaporozhets made his operatic début as a member of the Zimin Private Opera Company, performing there from 1909 to 1920. While there, on 7 October 1909, he created the role of General Polkan in the world premiere of Rimsky-Korsakov’s LE COQ D’OR. He toured with the Royal Opera in 1909 and performed the role of Pimen at the Paris Opéra in a production of BORIS GODUNOV. From 1910 to 1914 he sang at the Bolshoi Opera. In 1913 he appeared in two famous productions of KHOVANTSCHINA, one at the Théàtre des Champs Elysées and again at the Drury Lane Opera in London, in both instances singing Khovansky to Chaliapin’s Dosifei. He made further guest appearances in Rome and in the United States before WW I. After this and during the Russian Revolution he left Russia to reside in Paris. He sang repeatedly at the Monte Carlo in such roles at Kontchak in PRINCE IGOR, Ramfis, Sparafucile, Colline and Gudal in Rubinstein’s THE DEMON. He made guest appearances at the Teatro Colón in 1924, most notably in their premiere of PIQUE DAME. In 1926 he became closely associated with the Opéra Russe Ensemble and was heard in Paris as Sparafucile, Varlaam and in a celebrated production of Rimsky-Korsakov’s THE LEGEND OF THE INBVISIBLE CITY OF KITEZH”. – Harold Bruder, Program Notes for the VRCS 2006 Issue J1030. LYDIA LIPKOVSKA: Lipkovska Waltz (Troilin) / ROMÉO - Je veux vivre. 12” Tri-Color Col.A5294, POM-8 / 5 April, 1911. A to M-A, a glorious copy has 2 minuscule pressing bumps, very faintly audible, albeit noisy surfaces. MB 20 J1031. LYDIA LIPKOVSKA: RIGOLETTO - Caro Nome / LUCIA - Ardon gl'incensi. 12” Tri-Color Col.A5295, POM-5 April, 1911. A to M-A, a glorious copy, albeit noisy surfaces. MB 20 "Lipkowska's voice was a light lyric soprano of wide compass and if her coloratura technique hardly rivalled Nezhdanova never mind Tetrazzini, the tone was notably pure and smooth. Her records reflect her wide-ranging musical taste." - Michael Scott J1032. LYDIA LIPKOVSKA & RAMÓN BLANCHART: DON GIOVANNI – La ci darem la mano / BARBIERE – Dunque io son. 12” Tri-Color Col.A5297, POM-5 April, 1911. A-, fine copy has very lt.rubs, inaud, albeit noisy surfaces. MB 20 J1033. LYDIA LIPKOVSKA & RAMÓN BLANCHART: LA TRAVIATA – Pura siccome un angelo / LYDIA LIPKOVSKA & GEORGE BAKLANOV: RIGOLETTO – Figlia! Mio padre! 12” Tri-Color Col.A5296, POM-5 April / 3 Jan., 1911. A to M-A, a glorious copy, albeit noisy surfaces. MB 20 “Lipkovska made her début in 1904 at St. Petersburg singing the role of Gilda in RIGOLETTO opposite Nikolai Figner. From 1906 to 1917 season, Lipkovskaya performed at the St. Petersburg Mariinsky Theatre. In 1908, 1911 and in 1929 she made guest appearances at the Moscow Bolshoi Theatre. In the 1915-1916 season she appeared in Kiev. In 1909 she sang with great success at La Scala, Milan where she appeared in LAKMÉ, LA TRAVIATA and I PURITANI. The same year she also performed in Paris (Grand Opera), London (Covent Garden) and Boston, where she sang in LUCIA DI LAMMERMOOR opposite her husband, Georgy Baklanov. From 1908 to 1912 she sang at the MET where she made her début as Gilda in RIGOLETTO. In the same period (1910-1911) she appeared at the Théâtre National de l'Opéra-Comique, Paris. In 1910 she sang at the Rome Opera and then at La Scala in LA SONNAMBULA and in other operas under Arturo Toscanini. She had a beautiful silvery, but warm voice and an amazing vocal range (she could easily sing F in the 3 rd octave). Her technical ability was perfect and allowed her to perform even the most difficult passaggi with ease.” - Ashot Arakelyan J1034. NINA TARASOVA: Vniz po matushke po Volge / Solovushko (both Russian Folk). 10” black V 78928, POM-29 Jan., 1924 / 4 Feb., 1925. A to M-A, superb copy has, Sd.1 label only, wee identification mk. [Intriguing renditions from this popular Russian artist from the WW I period who garnered rave reviews.] MB 10 J1035. THALILA SABANIEVA & ANNA CRIONA: At the seashore (Grodsky) / PIQUE DAME – Alas my chosen swain (Act II) (Tschaikowsky). 12” Orth Vla 9303, only form of issue, 14 Nov., 1928. A to M-A, lovely copy has very sl.grainey surface, positively inaud.; Sd.2 only has minuscule internal pressure patina, of absolutely no consequence. [A most appealing and charming record by two little-known artists.] MB 15 “The lyrico-colortura soprano Sabanieva, at the beginning of her career and without great experience, had this power to reach an audience’s feelings through her silvery voice, something that is not always given to more famous and experienced arists, later to become an outstanding singer and actess, she was enchanting…..” - Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, p.237 J1036. JAN KIEPURA, w.Otto Herz (Pf.): On your lips of coral (Marczewski) / Prayer for Poland (Chopin). 12” PW Col.71412-D, only form of issue, 1 / 2 Aug., 1941. A to M-A, choice copy has, Sd.2 only, tiny label sticker & faintest rubs, inaud. MB 15 J1037. VERA MANSINGROVÁ (Vera Mansinger), w.Jiri Singer (Pf.): Ej, Hory / Tece Voda, tece
A-B, very decent copy has faint rubs & lt grey on peaks & few minuscule scrs, ltly audible; very faded label. [Marák ends this lovely song with a heavenly diminuendo!] MB 12 J1039. OTTOKÁR MARÁK: Jako andél ty jsi krasná / Andulko safärocá. 10” black Prague G & T G.C.-72208/07, POM-1906. A-B, very decent copy has faint rubs & lt scuffs, just barely ltly audible. MB 12 J1040. OTTOKÁR MARÁK: Caro mio ben (Giordani) / LA BOHEME – Che gelida manina (in Italian). 10” black Prague Gram.Concert G.C. 2-52655/59, POM-1908. A-, very decent copy has lt rubs & cosmetic mks, inaud. MB 10 J1041. OTTOKÁR MARÁK: O sole mio (di Capua) / Mattinata (Leoncavallo) (both in German). 10” black Gram.Concert G.C.-4-42455/54, POM-16 May, 1910. A-, lovely copy has faint rubs, inaud. MB 10 J1042. OTTOKÁR MARÁK: Tece voda proti vode / Hájku, hájku (Czech Folksongs). 10” dark-green Concert Gram. 272294/95, POM-1906. A-/A+, beautiful copy has, Sd.1 only, tiny ltly audible scr. MB 10 J1043. OTTOKÁR MARÁK: LOHENGRIN – Atmest du nicht / O Elsa nur ein Jahr (Bridal Chamber scene, end) (in Czech). 10” dark-green Concert Gram. 272251/52, POM-1907. A-, beautiful copy has lt rubs & tiny ltly audible scrs.; minor label scrs. [What a poetic Lohengrin Marák must have been!] MB 12 J1044. OTTOKÁR MARÁK: PAGLIACCI – Vesti la giubba / BOHUMIL BENONI: OTELLO – Credo (both in Czech). 10” black Pat.’10 [5 line] V 16623, POM-1907/’06, resp. A to M-A, beautiful copy has faintest rubs; Sd.1 only has few entirely superficial scrs, positively inaud. MB 12
G & T G.C.-72542/46, POM-1907. A-B, very decent copy has faint rubs & few minuscule scrs, ltly audible. MB 12 J1046. OTTOKÁR MARÁK: MANON LESCAUT – Donna non vidi mai / TOSCA – E lucevan le stelle (both in German). 10” dark-green Concert Gram. G.C.-4-42347/48, POM-12 Oct., 1909. A-, beautiful copy has lt rubs, inaud. MB 12 J1047. OTTOKÁR MARÁK: MANON – Ah! fuyez (1911 Version) / L’ELISIR – Una furtiva lagrima (both in German). 12” Pat.’12 blue V 55037, POM-26 Aug., 1911, Original ‘A’ Plate Issue Issue. A to M-A, choice copy has faintest rubs, inaud. MB 15 J1048. OTTOKÁR MARÁK: MANON – Ah! fuyez (1907 Version, (in German) [Marák must have been so beautiful as Des Grieux!] / Prazsky Elitno Orch.: Kde domov muj (Skroup); Hej sliovane, Narodni hymny. 10” black V 16628, POM-1907/’06, resp. A-, a quite wonderful copy with lt.grey on peaks, positively inaud.; this plays as M-A. MB 10 J1049. OTTOKÁR MARÁK: CAVALLERIA – Brindisi / OTOKAR MARÁK & ADELAIDE ANDREJEWA [VON SKILONDZ]: LA TRAVIATA – Brindisi (both in German). 10” blue Victor 45088, [Victor pantograph], RRs, 4 sept., 1912. A to M-A, lovely copy has occasional faintest pap. rub, inaud. MB 8 J1050. OTTOKÁR MARÁK: RIGOLETTO – Parmi veder le lagrime / La donna è mobile (1905 Version) (both in Czech). 10” plum Czech Concert Gram. 872, POM-1905. A to M-A, fabulous copy has faintest rubs, inaud. MB 15 J1051. OTTOKÁR MARÁK: RIGOLETTO – Questa o quella / La donna è mobile (1910 Version) (both in Czech). 10” plum Austrian Concert Gram. AM 262, POM-1910. A to M-A, beautiful copy has, end Sd.1, minuscule scr, barely visible – certainly only very faintly audible. MB 15
10” plum Czech HMV 1807, POM-1907. A to M-A, lovely copy has faintest rubs, inaud. MB 15 J1053. OTTOKÁR MARÁK: PRODANÁ NEVESTA – Jak mozna verit (1933 Version) / OTTOKÁR MARÁK & MILA KOCOVÁ: Verné nase milováni (Smetana). 10” red PW Czech Ultraphon B 10718, POM-1 July, 1933. A to M-A MB 20 J1054. OTTOKÁR MARÁK: HUBICKA – Kdybych vedel jak svou vinu smyt / DALIBOR – Kdyz Zdenek muj (1933 Version) (both Smetana). 10” red PW Czech Ultraphon B 10717, POM-1 July, 1933. A to M-A MB 20 J1055. OTTOKÁR MARÁK: CARMEN – Air de la fleur (in Czech) / DALIBOR – Kdyz Zdenek muj (1929 Version) (Smetana). 10” red Czech Parlophon B 13572, only form of issue, 1929. A-B, fine copy has few lt.scrs & minuscule pressing bumps, very ltly audible; seriously faded & illegible labels. MB 10
B-, very decent unworn copy has lt. rubs & various scrs, very faintly audible. MB 10 J1057. OTTOKÁR MARÁK & EMIL POLLERT: MARTHA – Wie das schnattert / OTTOKÁR MARÁK, EMIL POLLERT & MARIE SLECHTOVÁ: PRODANÁ NEVESTA – Utis se, Matenko (Smetana). 12” plum Czech HMV AN 257, POM-1911. A+, lovely copy has faintest rubs, inaud. 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….” - Michael Scott, THE RECORD OF SINGING J1058. EMIL POLLERT: EUGEN ONÉGIN - Ein jeder kennt (Prince Gremin's Aria, Act 3) (Tschaikowsky) / DALIBOR – Ctyricet let jiz tom u bude (Smetana). 10” plum Austrian Concert Gram. 302, POM-1905-06. M-A MB 20 J1059. EMIL POLLERT: JAKOBIN – Beurgrave’s Aria (Act I) (Dvorák) / DALIBOR – Ach, jak tézky zalárnika zivot (Smetana). 10” plum Czech HMV AM 2176. B/A-, lovely copy has lt.rubs, inaud.; Sd.1 only has 1 ‘stressed’ groove requiring sl.heavier stylus to pass. MB 20 J1060. EMIL POLLERT: NA STARÉM BĚLIDLE - Kvetou, Kvetou / EMIL POLLERT, KOCOVÁ, KOZLIKOVÁ, KRÁSOVÁ, SCHUTZ & VÁVRA: - PSOHLAVCI - Má hanci zlatá [‘one of the most popular Czech operas of its time, evidence that sentimental Czech nationalism was still very much alive’ – John Tyrrell] (both Karel Kovarovic; both set to Karel Sipek). 10” Mezinárodni Diskotéka Divadla Hudby 5012 (SW2703/2670) (BW2705-2/2670-2). M-A MB 20 J1061. EMIL POLLERT: RUSALKA – Beda, beda (Dvorák) / PRODANÁ NEVESTA – Kazdy jen tu svou (Smetana). 12” plum Czech HMV AN 323, POM-1930, [the latter not to be confused with the 1933 Complete Recording]. M-A, as New! MB 20
12” plum Czech HMV AN 322, POM-1930, [the latter not to be confused with the 1933 Complete Recording]. M-A, as New, (w.Gramola half-label affixed). MB 20
(all Hungarian Folksongs, arr. Béla Bartók). 10” plum PW Czech HMV AM 1690, only form of issue, 1928. A ro M-A, lovely copy has mended hlc, inaud.; Sd.2 only has faint rubs; offered due to importance & rarity. MB 15
10” plum PW Czech HMV AM 1672, only form of issue, 1928. A to M-A, choice copy has very occasional pap. mk, inaud. MB 45 J1066. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Rossz feleség / Elkiáltom magamat; Egy nagy orrú bóha (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1673, only form of issue, 1928. A to M-A, choice copy has faintest rubs, positively inaud. MB 45
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