Auction 148 auction closing Date: Wednesday, 12 April, 2017
vinyl Pressing of Unpublished
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| vinyl Pressing of Unpublished Victor Matrix C 6196-2, POM-15 May, 1908. MINT MB 25
J0837. GINA C. VIAFORA: IL TROVATORE –Tacea la notte. 12” Pat.’08 [5 line] V 74116, only form of issue,15 May, 1908, Never Doubled. M-A MB 10 “Gina Ciaparelli-Viafora began her career in Italy under her real name Gina Ciaparelli. Her début probably occurred in 1894 at the Teatro Nuova Fenice in Osimo. In 1907 she moved to the USA where she married the conductor Viafora, then she began to appear on stage as Gina Viafora. In 1910 she guested at the Metropolitan opera as Mimi in LA BOHÈME with Enrico Caruso as Rodolfo.” - Ashot Arkelyan J0838. ENRICO CARUSO: Noche feliz (in Spanish) (Pasadas) / A Granada (Álvarez). 10” PW Victor ‘Picture Record’ 17-5001, POM-14 Sept., 1920 / 26 Sept, 1918. A to M-A, a superb copy! MB 275 J0839. ENRICO CARUSO: Luna fedel (with false start after first stanza) (Zardo). 10” flush red Milano G & T G.C.-52442 (2882), Original Stamper, POM-1 Dec., 1902, Never Doubled in any regular series. A to M-A, bright, unworn copy with uncommonly bright label has 2 insignificant tiny scrs, very ltly audible a few turns. MB 195
POM-30 Nov., 1902, Never Doubled, USA. A-, bright, unworn copy has faint rubs, a few insignificant minuscule scrs, positively inaud.; large pressing bump seriously thumps; incipient minuscule edge patina; very sl.rubbed label. MB 145 J0841. ENRICO CARUSO: Première caresse (de Crescenzo) / AMADIS DE GAUL – Bois épais (Lully). 10” Orth Vla 1437, RRs-9 Sept., 1919 / 16 Sept., 1920. No pressings from the original masters were published. Never listed in a pre-1931 U.S. catalogue. A to M-A, beautiful copy has faintest rubs, inaud. MB 20 J0842. ENRICO CARUSO: Tiempo antico (Sung by the Composer). 12” V 88472, POM-20 March, 1916. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J0843. ENRICO CARUSO: La mia canzone (Tosti). 10" Victor Monarch 91010 (2879), POM-1 Dec., 1902, Never Doubled, USA. A-, lovely copy has faintest rubs & 2 very lt. scrs, inaud. MB 35 J0844. ENRICO CARUSO: Mattinata (Leoncavallo, Acc. by the Composer; sung by the dedicatée, the first song ever written expressly for the Gramophone Company). 10" red Milano G & T G.C.-52034, (2181) Stamper VI, POM-8 April, 1904, Never Doubled, USA. A-, lovely copy has faintest rubs & hint of grey on peaks, inaud. MB 45 J0845. ENRICO CARUSO: Tu non mi voi più ben (Antonio Pini-Corsi) / GLI UGONOTTI – Qui soto in ciel (Meyerbeer). 11½" H & D center-start etched label Pathé 84003/08 [63091/63034], recorded 1903 in Milano by Anglo-Italian Commerce Co. - announced. M-A, a glorious copy! MB 65 J0846. ENRICO CARUSO: Tu non mi voi più ben (Antonio Pini-Corsi) / TOSCA – E lucevan le stelle. 11½" H & D center-start etched label Pathé 84003/04 [10918/43271], recorded 1903 in Milano by Anglo-Italian Commerce Co. - announced. M-A, a glorious copy! MB 65 J0847. ENRICO CARUSO: Addio (Tosti) / L’AFRICAINA – Deh, ch’io ritorni (Meyerbeer). 12” Vla 7156, RRs-29 Dec., 1910 / 16 Sept., 1920. A to M-A , lovely copy has faint rubs, inaud. MB 20 J0848. ENRICO CARUSO: LA BOHEME - Vecchia zimarra (Coat Song) / FRANCES ALDA; Speaking, w.Wally Butterworth: Why Caruso recorded the Coat Song (Butterworth had been a pupil of Pasquale Amato). 10" vinyl RCA D9-QB-7758/2234, RR-1916/'49, Sd.1 dubbed by RCA from only known copy. M-A, appears unplayed. MB 20 “During a 1916 Met performance of LA BOHEME in Philadelphia, de Segurola, the basso who was about to sing the ‘Coat Song’ (‘Vecchia Zimarra), turned to Caruso and whispered ‘I’ve lost my voice’. Caruso replied, ‘You just stand still and move your lips and I’ll sing it for you’. And so, with his back turned to the audience, Caruso sang the aria for de Segurola. de Segurola then acknowledged the cheers from the audience, who didn’t realize that it was Caruso who had done the singing. Alda (the Mimi) and de Segurola persuaded Caruso to record this aria in the Victor studio, and the above recording is the result (albeit unpublished until 1949)!” www.enricocaruso.dk J0849. ENRICO CARUSO: IRIS - Apri la tua finestra. 10” flush red Milano G & T G.C.-52368 (1791) – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), Stamper IIIII, only form of issue, 11 April, 1902. A to M-A, glorious copy has 2 barely visible nr, inaud., terminating with 1 wee mk which ticks lltly 3 times (albeit noisy surface, endemic to all copies); uncommonly bright label. MB 125 J0850. ENRICO CARUSO: GERMANIA – Studenti! udite (Presentazione di Federico) (Franchetti) (Creator Record, 11 March 1902, La Scala, Milano). 10” flush red Milano G & T G.C.-52378 (1782), Stamper IIIII – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), POM-11 April, 1902, Never Doubled, USA. A to M-A, lovely copy has various minuscule pressing bumps, very occasionally just barely audible. MB 195 J0851. ENRICO CARUSO: GERMANIA – No, non chiuder gli occhi vaghi (Franchetti) (Creator Record, 11 March 1902, La Scala, Milano). 10” flush red Milano G & T G.C.-52370 (1788), Stamper IIII – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), POM-11 April, 1902, Never Doubled, USA. A, lovely copy has faint rubs & mere hint of nr, barely visible, most certainly inaud.; barely audible pressing bump; tiny numeral penned on label. MB 95
10” flush red Milano G & T G.C.-52349 (1790), Stamper IIII, POM-11 April, 1902, Never Doubled, USA. A-, lovely copy has faint rubs, inaud.; very sl.rubbed label. MB 95
10” flush red Milano G & T G.C.-52440 (2875), Stamper III, POM-30 Nov., 1902, Never Doubled, USA. A to M-A, lovely copy has wee pressing indents, hint of grey on peaks & microscopic edge scr, inaud. MB 65
10” flush red Milano G & T G.C.-52418 (2876), Stamper IIII, POM-30 Nov., 1902, G.C.-52418 (2876), Never Doubled, USA. A to M-A, lovely copy has 1 long very lt.scr, positively inaud. MB 95
10” flush pale-blue Milano Zonofono X-1556, Stamper II, only form of issue, 19 April, 1903, (pressed by the G & T Company, this has ‘Zonofono’ embossed twice, at right angles, on the verso). A to M-A, extraordinarily bright copy has 2 superficial mks, barely visible & inaud.; microscopic scr at very beginning is ltly audible during spoken announcement. MB 795 J0858. ENRICO CARUSO: LA GIOCONDA – Cielo e mar. 10” flush red Milano G & T G.C.-52417 (2874), Stamper IV, POM-30 Nov., 1902, G.C.-52418 (2874), Never Doubled, USA. A to M-A, lovely copy has few faint rubs, inaud.; tiny incipient ipc from label, barely into grooves, visible topside only & inaud. MB 95
10” flush red Milano G & T G.C.-52369 (1784), Original Stamper, only form of issue, 11 April, 1902. A to M-A, choice copy has faint rubs & a few superficial mks, inaud.; uncommonly bright label. MB 95
10" Victor Monarch 91007 (2873), Original Stamper, only form of issue, 30 Nov., 1902, Never Doubled, USA. A to M-A, choice copy has faint rubs & a few superficial mks, inaud. & hardly worth mention. MB 95
10” flush red Milano G & T G.C.-52344 (1783) – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), Stamper V, only form of issue, 11 April, 1902. B-, very decent copy has lt.grey briefly audible only on peaks, primarily at the beginning, yet the performance comes through brilliantly. MB 75
10” flush pale-blue Milano Zonofono X-1555, Original Stamper, only form of issue, 19 April, 1903, (plain verso). A-, lovely copy has minor scrabble near beginning, ltly audible a few turns; audible pressing bump. MB 395
– John Bolig, CARUSO RECORDS, p.34), Stamper IIII, only form of issue, 11 April, 1902. A to M-A, beautiful, bright copy has 2 infinitessimal nr, inaud.; 1 minuscule scr at beg. which ticks lltly 3 times; uncommonly bright label has faintest nr. MB 95 J0865. ENRICO CARUSO: MANON – Le rêve (in Italian). 10” flush red Milano G & T G.C.-52345 (1785) – CO (‘the quality of remastered stampers is vastly superior to the ones remastered from the April recordings’ – John Bolig, CARUSO RECORDS, p.34), Stamper VI, only form of regular issue, 11 April, 1902 (issued otherwise only in ‘Archive’ reissue). A, lovely copy has faint rubs, inaud. MB 95 J0866. ENRICO CARUSO: MEFISTOFELE – Dai campi, dai prati (1st 1902 Version) (Caruso starts two beats early, commonly described as ‘false start’). 10” flush red Milano G & T G.C.-52348 (1789), Stamper II, only form of issue, 11 April, 1902. A to M-A, superlative bright copy has 2 barely visible mks & ltly rubbed label. MB 295 J0867. ENRICO CARUSO: MEFISTOFELE – Dai campi, dai prati (2nd 1902 Version). 10” flush red Milano G & T G.C.-52348 (2871) Stamper X, only form of issue, 30 Nov., 1902. A to M-A, outstanding, bright copy has microscopic mk, hardly worth mention, & ltly rubbed label. MB 145
10” flush red Milano G & T G.C.-52347 (1787), Stamper V, only form of issue, 11 April, 1902. A, lovely copy has faint rubs & 3 wee just barely audible pressing bumps, hardly worth mention; uncommonly bright label. MB 245
POM-7 Nov., 1909 / 10 Jan., 08, only form of issue, Sd. 2 (from previously Unpublished Master). M-A, as New! MB 25 J0870. ENCRICO CARUSO: LES PÊCHEURS DE PERLES – Je crois entendre (in Italian) / CARUSO & GERALDINE FARRAR: LA BOHEME – O soave fanciulla. 12" silver Victor IRCC 61, POM-8 April, 1904 / 30 Dec., 1912, resp., Sd.2 from Unpublished Mx.C-12751. Numbered Copy #37 of an Limited Edition. Each Label has artist’s Photo affixed. M-A MB 65 J0871. ENRICO CARUSO & FRANCES ALDA: IL TROVATORE - Miserere (Unpublished 1909 Version, without chorus). 12” S/S vinyl special pressing of Unpublished Victor Mx C-8506-1 (an unusually ‘forward’ recording), POM-27 Dec., 1909. MINT MB 65 J0872. ENRICO CARUSO & FRANCES ALDA: CARMEN – Parle-moi de ma mère (Unpublished). 12” S/S special heavy acetate professional dubbing of Unpublished Victor Mx C-15483-3 (another unusually ‘forward’ recording), POM-10 Dec., 1914, (assigned Victor #89083, but never issued as such – that number was used for Caruso & de Gogorza Michelena duet, four years later). M-A MB 65 J0873. GIUSEPPE BORGATTI: MYRTEN - Die Lotusblume; Du bist wie eine Blume (both Schumann, both in Italian) / TOSCA – E lucevan le stelle. 10½” Milano Fonotipia 39409/06 [XPh 1525/16], only form of issue, 14 / 13 Dec., 1905. A, lovely copy has faint rubs & minuscule pressing indents; Sd.1 shows infinitessimal edge patina, inaud. MB 85 J0874. GIUSEPPE BORGATTI: LOHENGRIN – Atmest du nicht / DIE MEISTERSINGER - Am stillen Herd (both in Italian). 10½” Milano Fonotipia 39407/08 [XPh 1517/24], only form of issue, 13 / 14 Dec., 1905. M-A, glorious copy has, Sd.1 only, faintest rubs, inaud. & hardly worth mention. MB 95
10” brown PW Eng.Col. D 6073 (B 1925/2589), POM-1 May, 1928. M-A, superlative copy has minuscule label spot, Sd.2. MB 45 “Giuseppe Borgatti was an Italian dramatic tenor with an outstanding voice. The creator of the title role in Giordano's ANDREA CHÉNIER, he subsequently earned renown for his performances of the music of Wagner, becoming in 1904 the first Italian tenor to appear at the Bayreuth Festival. He sang a variety of leading roles at La Scala, Milan, from 1896 until 1914, but deteriorating eyesight caused by glaucoma put a premature end to his stage career, after which he turned successfully to teaching. Although Borgatti continued to appear in a number of Italian operas after 1896, earning particular renown for his performances in works by Verdi, Puccini and the various verismo composers, he fell strongly under the spell of Wagner's music dramas. From 1898 through into the early 1900s he worked closely with La Scala's principal conductor, Arturo Toscanini, and proceeded to master all the main tenor parts of the Wagnerian repertoire, namely, Lohengrin, Tannhäuser, Walther, Tristan, Siegmund, Siegfried and, finally, Parsifal. The important Wagnerian conductor Hans Richter praised Borgatti's voice and artistry. In 1906, he made a different venture into the field of German opera when he sang Herod in the La Scala premiere of SALOME by Richard Strauss. In 1898, he toured South America with a first-class troupe of Italian singers which included his fellow tenor Francesco Tamagno, the soprano Luisa Tetrazzini and the baritones Mario Sammarco and Eugenio Giraldoni. He also visited Spain and Russia. Good-looking and solidly built - as photographs attest - Borgatti is described in contemporary reviews of his performances as having possessed abundant reserves of stamina and strong histrionic ability in addition to a smooth, well-schooled voice of robust size. His last public performance occurred in Bologna in 1928. He taught singing in Milan following the curtailment of his opera house career. His best known pupils were the English lyric tenor Heddle Nash and the German lyric baritone Willi Domgraf-Fassbaender. In 1928, he recorded several rare sides electrically for the Columbia company. Overall, Borgatti's recordings did not sell well and are major rarities in the record collecting world. The general view is that Borgatti's art was too subtle for commercial success on record.” - Michael Scott J0876. EDOUARDO CASTELLANO: LA GIOCONDA - Cielo e mar. 12” Tri-Color Col. 30093, Original 1907 Issue. A to M-A, superlative copy has faded label. MB 12 J0877. EDOUARDO CASTELLANO: TOSCA – E lucevan le stelle. 12” Tri-Color Col. 30064, Original 1906 Issue. A to M-A, lovely copy has faintest rubs, inaud. MB 12 J0878. EDOUARDO CASTELLANO: LA BOHEME - Mimi è una civetta. 12” Col. 30085, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A, lovely copy has lt. rubs, inaud. MB 12 J0879. EDOUARDO CASTELLANO: RIGOLETTO – Questa o quella. 12” Col. 30094, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A, lovely copy has faintest rubs, inaud. MB 12 J0880. EDOUARDO CASTELLANO: IRIS – Apri la tua finestra. 12” Col. 30120, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A-, lovely copy has rubs, inaud.; infinitessimal incipient edge patina only on verso, inaud. MB 10
“Salvarezza’s voice was that of a true lirico-spinto, possessing a phenomenal upper register that was produced with ease and brilliance. Mario del Monaco was overheard saying that he thought Salvarezza was ‘the best tenor in Italy’, with another colleague expressing the view that ‘Salvarezza’s acuti (top notes) were the finest to be heard anywhere’.” - Alan Bilgora J0882. EUGENIA BURZIO: Ave Maria (Bach-Gounod) / L’AFRICAINE – Figlio del sol. 10” red Eng.Col. D 8076 (11052/44), POM-1911. A-, lovely copy has lt.rubs, inaud. MB 12 J0883. EUGENIA BURZIO: NORMA – Deh! non volerli vittime, 2s. 10” dark-brown Eng. Col. D 4387 (11393/94), POM-1913. A, lovely copy has faint rubs, inaud. MB 20 “The intensity of [Burzio’s] performance of Norma's ‘Deh! non volerli vittime’ stretches the emotional force of the drama to the breaking point….Burzio's excesses tumble out with extraordinary power to produce a touchingly human interpretation. Surely Bellini would not have complained.” - Harold Bruder, THE OPERA QUARTERLY J0884. EUGENIA BURZIO: NORMA – Qual cor tradiste / RAMÓN BLANCHART: BALLO – Alla vita che t’arride. 10” buff Brazilian Col. S51 (11392/4437), POM-1913/1910. A to M-A, beautiful copy has faint rubs, inaud. MB 20 J0885. EUGENIA BURZIO: ADRIANA LECOUVREUR – Io son l’umile ancella / Poveri fiori. 10” buff Brazilian Col. S46 (11355/61), POM-1913. A to M-A, exceptional copy! MB 25 J0886. EUGENIA BURZIO: OTELLO – Ave Maria / MEFISTOFELE – L’altra notte. 12” buff Brazilian Col. S5052 (74715/16), POM-1913. A to M-A, choice copy has faintest rubs, inaud.; Sd.1 only has wee internal patina, inaud. & of no consequence. MB 25 J0887. EUGENIA BURZIO: AÏDA – O cieli azzurri / MEFISTOFELE – Spunta l’aurora pallida. 10” pink Eng. La Cigale D 9260 (11043/49), POM-1911. A, lovely copy has faint rubs, inaud. MB 20 J0888. EUGENIA BURZIO: ZULMA– Da tanto tempo / Oh! Si, ricordiamo (Romani). 10” pink Eng. Grand Opera D 4293 (11050/51), POM-1911. [Creator Record, 30 Nov., 1909, Livorno / Goldoni]. A to M-A, superb copy has faint rubs, inaud.; extremely minor writing mentioning alaternate release number on labels. MB 35
A to M-A, lovely copy has, Sd.1 only, faintest rubs & 1 very light nr, positively inaud. MB 25 J0890. EUGENIA BURZIO: FORZA – Ma pellegrino ed orfana / LA FANCIULLA DEL WEST – Laggiu nel Soledad. 10” dark-blue Brazilian Col. H45 (11362/68), POM-1913. A to M-A, lovely copy has faint rubs, inaud.; Sd. 1 only has partially cloudy spot on shellac surface, positively inaud.; Sd.2 has tiny label nr. [This is a gem – you’ll never hear a Minnie like this today!] MB 25 J0891. EUGENIA BURZIO: FORZA – Ma pellegrino ed orfana / ADRIANA LECOUVREUR – Io son l’umile ancella 12” plum Eng. La Cigale D 6001 (74724/23), POM-1913. A to M-A/M-A, superlative copy has, very beg. Sd.1, microscopic dust scr, positively inaud. MB 35 J0892. EUGENIA BURZIO: FORZA – Pace, pace mio Dio! / EUGENIA BURZIO & GIUSEPPE de LUCA: LA GIOCONDA – Cosi mantieni il patto? 12” green Italian Odeon F 5513 (XPh 2279/XXPh2391), POM-18 Dec., 1906 / 31 Jan., 1907. A to M-A, beautiful copy of preferred late pressing has, Sd.1 only, very faint rubs, inaud. MB 20 “Eugenia Burzio’s recorded legacy is one of the most revealing of any Italian soprano of her generation. Her emphatic use of the open chest voice—ugly to some ears, exciting to others—harkens back to the nineteenth century, when large-voiced Italian sopranos emphasized the ‘voce di petto’ register for dramatic and emotional effect, and were expected to do so. What to some listeners sounds like an unevenly equalized scale is for a singer of Burzio’s effusive temperament just one of many colors in a rich palette. Burzio’s recording of Minnie’s ‘Laggiù nel Soledad’ from FANCIULLA is of particular interest. As reported above, she participated in the Italian premiere, conducted by Toscanini, who had also led the world premiere at the Met the previous December. One of the most regrettable lacunae in phonograph history is the relative scarcity of examples from this score by the first generation of its interpreters. Burzio’s performance is a marvel of variegated details, particularly in the expansive tenderness she lends to the phrase, ‘S’amavan tanto!’ Listening to this endearing performance with the elastic way she contours certain phrases, one cannot help wondering if this really reproduces the way she sang it at the Costanzi with the formidable martinet Toscanini in the pit. The odds and ends of musicians recruited into a recording studio were there to accompany a vocal star, not necessarily to serve a composer scrupulously. It is this resulting sense of untrammeled interpretative freedom that makes Burzio’s records such a particularly engrossing experience because she involved herself so intensely in the emotions of the characters she was representing. She was not a perfect singer with her lack of a trill and her occasional glottal bump or some attenuated portamenti, but such blemishes can easily be forgiven in a singer who, in my estimation, never made an uninteresting recording and also bequeathed us some unforgettable ones.” - William Ashbrook, Marston Program Notes J0893. UMBERTO SORRENTINO: DON PASQUALE – Cerchero lontana terra / RIGOLETTO – Parmi veder le lagrime. 10” black Pat.’08 V 63324, POM-20 / 21 June, 1911. A to M-A, an exceptional copy! MB 15 “In Italy, critics delighted to tell their readers that Sorrentino is an artist who has the power to thrill one evening as Canio in PAGLIACCI; on a second evening as Cavaradossi in TOSCA, or as Nemorino in ELISIR D’AMORE; again, on another occasion, to appear calmly on the unadorned platform of the concert hall and uplift the assemblage by his poetic rendition of songs. Sig. Sorrentino sings with dramatic fervour, his voice, ample in volume, has a suave quality and a legato that few tenors can boast of. He toured America from coast to coast, in opera and recital and appeared as a soloist with many leading orchestras. He was also a great friend of Enrico Caruso. He claimed to be able to relieve the tightness in his throat by squeezing the lateral aspect of his forefinger and the thumb, as these points helped and governed the vocal cords.” - Dr. Fitzgerald, History and Theory of Hand Reflexology, Ontario College of Reflexology J0894. VITTORIO ARIMONDI: Mia sposa sarà la mia bandiera (Rotoli) / EDOUARDO CASTELLANO: PAGLIACCI – Ridi Pagliacco. 12” Tri-Color Col. A5002 (30111/30118), POM-1907. M-A MB 20 J0895. VITTORIO ARIMONDI: FAUST – Vous qui faites l’endormie / DAVID BISPHAM: Avant de quitter ces lieux (both in Italian). 12” Col. A5010, POM-13 April, 1907 / 14 June, 1906. M-A MB 20 J0896. VITTORIO ARIMONDI: SIMON BOCCANEGRA – Il lacerato spirito. 12” Tri-Color Col. 30090, Original 1907 Issue with ‘Manhattan Record’ label superimposed. A to M-A, superlative copy has a few faintest rubs, inaud. MB 25 J0897. VITTORIO ARIMONDI: MARTHA – Chi mi dirà (Porter Song) (Flotow) / EDOUARDO CASTELLANO:
10” LVDP DA 997, 27 April, 1928. M-A MB 8 J0901. BERNARDO de MURO: LA FANCIULLA DEL WEST – Ch’ella mi creda libero / Or son sei mesi (1928 Versions). 10” Orth Vla 1331, Original Issue, 27 April, 1928. Never listed in a North American Catalogue. M-A MB 10 J0902. BERNARDO de MURO: LA FANCIULLA DEL WEST – Or son sei mesi (1922 Version, mis-labelled as ‘Sono Ramerrez’!) / BERNARDO de MURO & ANNA GRAMEGNA: AÏDA – Di lei non più … Misero appien mi festi. 12” Vla 6422, POM-17 / 20 May, 1922. Never listed in a North American Catalogue. M-A MB 15 "De Muro was praised as a ‘tenore di forza’ by no less than Giacomo Lauri-Volpi. De Muro's is a stupendous sound with enormous thrust, natural color and, in the earlier recordings, great beauty." - Albert Innaurato, OPERA NEWS, Oct., 1996 J0903. BERNARDO de MURO: IRIS – Or dammi il braccio tuo / BERNARDO de MURO & INES VIGANÒ: IL PICCOLO MARAT – Va, nella tua stanzetta (both Mascagni). 12” Vla 6553, POM-4 April, 1914 / 27 May, 1922. Never listed in a North American Catalogue. [Thrilling renditions; Sd 2 is an unusually ‘forward’ recording!] A, lovely copy has faint rubs, inaud.; Sd.2 has wee label tear. MB 12 J0904. BERNARDO de MURO: CARMEN – Air de la fleur (1917 Version) I BERNARDO de MURO & ROBERTO JANNI: Je suis Escamillo (both in Italian). 12” Vla 6385, POM-19 May, 1917 / 30 March, 1914. Never listed in a North American Catalogue. M-A MB 12 J0905. BERNARDO de MURO: CARMEN – Air de la fleur (1928 Version, in Italian) I IL TROVATORE, Ah, sì, ben mio. 12” Orth Vla 6891, POM-2 May / 27 April, 1928. [Very convincing renditions; Sd 2 is an unusually ‘forward’ recording!] Never listed in a North American Catalogue. A to M-A/A-, lovely copy has, Sd.2 only lt.rubs, inaud. MB 12 J0906. BERNARDO de MURO: ANDREA CHÉNIER – Sì, fui soldato. 12” Vla 74641, POM-2 May, 1917. M-A MB 12 J0907. BERNARDO de MURO: ANDREA CHÉNIER – Sì fui soldato / Un dì all’azzurro spazio (Improvviso) (1912 Version). 12” LVDP DB 553, POM-2 May, 1917 / 1 March, 1912. Never listed in a North American Catalogue. M-A MB 12 J0908. BERNARDO de MURO: ANDREA CHÉNIER – Credo a una possanza arcano I BERNARDO de MURO & AUGUSTA OLTRABELLA: Vedi? La luce incerta … La nostra morte. 12” Vla 6551, POM-10 / 12 Feb., 1923. Never listed in a North American Catalogue. M-A MB 15 J0909. BERNARDO de MURO & AUGUSTA OLTRABELLA: ANDREA CHÉNIER – Ora soave; Vicino a te, 2s. 10” PW Disco Grammofono DA 495, POM-12 Feb., 1923. A to M-A, lovely copy has faintest rubs, inaud. MB 12 J0910. BERNARDO de MURO: ISABEAU - Tu ch'odi lo mio grido / E passerà la viva creatura (Mascagni). 12” LVDP DB 557, POM-7 March, 1912. M-A, pristine copy of preferred late pressing. MB 15 J0911. BERNARDO de MURO: ISABEAU - Fu vile l'Editto / BERNARDO de MURO & INES VIGANÒ: IL PICCOLO MARAT – Va, nella tua stanzetta (both Mascagni). 12” LVDP DB 558, POM-8 March, 1912 / 27 May, 1922. M-A, pristine copy of preferred late pressing. MB 15 J0912. BERNARDO de MURO: DON CARLOS – Io l’ho perduto / BERNARDO de MURO, ESTER TONINELLO, ERNESTO BADINI & GIUSEPPE QUINZI-TAPERGI: LA GIOCONDA - Già ti veggo. 12” Vla 6552, POM-30 March, 1914 / 14 Feb., 1923. Never listed in a North American Catalogue. M-A MB 15 J0913. BERNARDO de MURO: IL TROVATORE - Di quella pira / BERNARDO de MURO & ELVIRA CASAZZA: Ai nostri monti. 12” LVDP DB 562, POM-2 May, 1917. M-A MB 15 J0914. BERNARDO de MURO: IL TROVATORE - Di quella pira / BERNARDO de MURO & ELVIRA CASAZZA: Ai nostri monti. 12” Vla 6529, POM-2 May, 1917. Never listed in a North American Catalogue. M-A MB 15 J0915. BERNARDO de MURO: OTELLO - Esultate! / Ora e per sempre addio. 12” LVDP DB 559, POM-19 May / 25 April,1917. M-A MB 15 J0916. BERNARDO de MURO: OTELLO - Esultate! / Ora e per sempre addio. 12” Vla 6528, POM-19 May / 25 April,1917. Never listed in a North American Catalogue. M-A MB 15 J0917. BERNARDO de MURO: OTELLO – Niun mi tema / Dio! mi potevi scagliar. 12” LVDP DB 560, POM-30 March, 1914 / 9 May,1917. M-A, superb copy has, Sd.1 only, faintest rub, inaud. MB 12 J0918. BERNARDO de MURO & MARIA ROGGERO: IL TROVATORE – Miserere / BERNARDO de MURO, MARIA ROGGERO & ERNESTO BADINI: Prima che d’altre vivere. 12” Vla 6412, POM-28 April / 19 May, 1917. Never listed in a North American Catalogue. M-A MB 15 J0919. BERNARDO de MURO: OTELLO – Niun mi tema / Dio! mi potevi scagliar. 12” Vla 6386, POM-30 March, 1914 / 9 May,1917. Never listed in a North American Catalogue. M-A MB 15 J0920. BERNARDO de MURO & ELVIRA CASAZZA: IL TROVATORE - Mal reggendo al aspro / Perigliarti ancor laguente. 12” Vla 6411, POM-2 / 9 May, 1917. Never listed in a North American Catalogue. M-A MB 15 J0921. BERNARDO de MURO & INES VIGANÒ: AÏDA - Fuggiam gli ardori / BERNARDO de MURO, ANNA GRAMEGNA, INES VIGANÒ & ARISTIDE BARACCHI: Sì: fuggiam da queste mura. 12” Vla 6421, POM-22 / 24 May, 1922. Never listed in a North American Catalogue. A, lovely copy has faintest rubs, inaud. MB 12 “Despite the power and penetration of the voice, de Muro could also sing with much subtlety and commanded a wide dynamic range….this diminutive tenor amazed all who heard him by the sheer size and power of his Tamagno-like voice.” - Vivian A. Liff, AMERICAN RECORD GUIDE, Jan./Feb., 2004 J0922. NICOLA ZEROLA: L’alba nascente (Parelli). 10” Pat.’08 V 64207, POM-10 March, 1911. M-A MB 10 J0923. NICOLA ZEROLA: ANDREA CHÉNIER – Un dì all’azzurro spazio (Improvviso). 12” Pat.'08 V 74216, POM-14 March, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 12 J0924. NICOLA ZEROLA: ANDREA CHÉNIER – Un dì all’azzurro spazio (Improvviso) / PAGLIACCI - No, Pagliaccio non son! 12” blue Victor 55134, POM-19 Nov., 1909 / 14 March, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 12 J0925. NICOLA ZEROLA: PAGLIACCI - No, Pagliaccio non son! 12” Pat.'08 V 74247, POM-14 March, 1911. M-A MB 10 J0926. NICOLA ZEROLA: PAGLIACCI – Vesti la giubba. 10” Pat.’08 V 64169, POM-3 March, 1910, Never Doubled. M-A MB 10 J0927. NICOLA ZEROLA: PAGLIACCI – Un tal giocco. 10” Pat.’08 V 64206, POM-10 March, 1911, Original ‘A’ Plate Issue Issue, Never Doubled. M-A MB 10 J0928. NICOLA ZEROLA: OTELLO – Niun mi tema. 10” Pat.’08 [5 line] Vla 88202, POM-1 Nov., 1909, Never Doubled. A to M-A, lovely copy has faintest rubs, inaud. MB 10 J0929. NICOLA ZEROLA: OTELLO – Ora e per sempre addio. 10” Pat.’12 V 64168, POM-19 Nov., 1909, Never Doubled. M-A, choice copy. MB 10 J0930. NICOLA ZEROLA: AÏDA - Final Scene (Sung as a Solo). 12” Pat.’12 V 74225, POM-17 Dec., 1909. M-A MB 10 J0931. NICOLA ZEROLA: BALLO – La rivedrà nell’estasi. 10” Pat.’08 [5 line] Vla 87037, POM-1 Nov., 1909, Never Doubled. M-A MB 10 J0932. NICOLA ZEROLA: BALLO – Di’ tu se fedele (Barcarola). 10” Pat.’08 V 87036, POM-1 Nov., 1909, Never Doubled. M-A, choice copy has label tear. MB 10 J0933. NICOLA ZEROLA: IL TROVATORE – Di quella pira. 10” Pat.’08 V 64170, POM-20 Oct., 1909, Never Doubled. M-A, choice copy. MB 10 J0934. NICOLA ZEROLA: IL TROVATORE – Deserto sulla terra. 10” V 64172, POM-17 Dec., 1909, Never Doubled. M-A, choice copy. MB 10 J0935. NICOLA ZEROLA: SAMSON ET DALILA – Figlia miei v’arrestate. 10” Pat.’08 V 64173, POM-3 March, 1910, Never Doubled in any regular series (other than as rare HRS reissue). A to M-A, lovely copy has lt.rubs, inaud. MB 10 “[Zerola] possessed a true tenore di forza which, in spite of its baritone origins, infused a fullness of tone to his middle register that did not at any time make him sound like a baritone who was singing in a higher register. The recordings, that would appear to reflect his basic repertoire closely, capture his bright, plangent and heroic tone very clearly, and therefore make it comparatively easy to analyse his method and basic technique, which seem to be very sound indeed….He was thought to be one of the best tenors engaged by Hammerstein for his New York opening season….He was gifted with a voice of considerable natural and virtually elemental quality, honed by numerous performances….” - Alan Bilgora, THE RECORD COLLECTOR, 2013 J0936. ENRICO MOLINARI & AIDE MUSSINI: GUGLIELMO RATCLIFF – Padre nostro / Venturi Cond.: CAVALLERIA – A casa, a casa. 10” blue Pat.’08 Victor 45014, POM-3 / 2 May, 1910. M-A, a superlative copy! MB 8 “Molinari made his début in 1916 as a baritone in Palermo in LA FAVORITA starting a brilliant and long career which lasted for 47 years, until the early 1950s. In 1924 he made important débuts at La Scala (ANDREA CHÉNIER) and the Rome Opera House (GÖTTERDÄMMERUNG), roles which he repeated in the following decade.” - Wikipedia J0937. FRANCO di GREGORIO: MANON LESCAUT – Tra voi belle / EUGENIA LÓPEZ-NUNES: Sulla vetta, madrigale. 10” blue Victor 45015, POM-16 / 11 April, 1910. M-A MB 8 J0938. FRANCO di GREGORIO: ZAZÀ - Mai più Zazà / ERNESTO BADINI: LA BOHEME – Bella dama, da questi. 10” blue Victor 45034, POM-2 Dec. / 30 Nov., 1910. M-A, superb copy has wee white ink numeral, Sd.2 label. MB 8 J0939. FRANCO di GREGORIO & MARIA BRONZONI: LA BOHEME – Sono andati / LEOPOLDO da GRADI & ERNESTO BADINI: O Mimi, tu più non torni. 10” blue Pat.’12 Victor 45013, POM-23 / 13 April, 1910. M-A MB 8 J0940. FRANCO di GREGORIO, ERNESTO BADINI & FANNY LOTTI: LA GIOCONDA – Già ti veggo / AMLETO GALLI: Si, morir ella de’. 12” blue Pat.’12 Victor 55019, POM-17 / 9 Dec., 1910. A to M-A MB 12 J0941. ERNESTO BADINI: LA CENERENTOLA – Miei rampolli (Cavatina Don Magnifico), 2s. 10” red & gold Milano Fonotipia M 6059 (pho 6390/91), POM-18 Oct., 1928. M-A, a pristine copy! MB 15
10” blue PW Eng. Col. D 1522, POM-c.1923. [Sd.2 is priceless!] M-A, a pristine copy! MB 15 J0943. ERNESTO BADINI: CRISTOFORO COLOMBO – Aman lassu le stelle (Franchetti) / VINCENZO BETTONI, GINO GIOVANELLI, GINO LUSSARDI & di ANNA: LUCIA – Chi mi frena (Sextet, as sung by a Quartet). 12” blue Victor 55043, POM-1 March / 16 Feb., 1910. A, lovely copy has faintest rubs, inaud. MB 10 J0944. ERNESTO BADINI: ANDREA CHÉNIER – Un dì m’era di gioia / Sabajno Cond.: Pastorelle addio. 10” dark-green HMV Concert Gram. R 5001, POM-30 May, 1917/----. A to M-A, lovely copy has hint of grey on peaks. MB 10 J0945. ERNESTO BADINI: BARBIERE – Largo al factotum (1909 Version) / OTELLO – Inaffia l’ugola! 10” blue Victor 45035, POM-24 April / 8 Nov., 1909. M-A, lovely copy has, Sd.1 only, faintest rub, inaud. MB 8 J0946. ERNESTO BADINI: BARBIERE – Largo al factotum (1928 Version) / GAETANO AZZOLINI: Manca un foglio. 12” black US-Odeon 86030 [XXPh 6371/6026], POM-15 Oct., 1928 / 12 Oct., 1927. A to M-A, superlative copy of a superb pressing! [If only we might hear Rossini sung in this manner today! A delightful idiomatic style by now long-abandoned!] MB 15 J0947. ERNESTO BADINI: LA GEISHA – Strofe di Hun-Ci / GAETANO PINI-CORSI: O mia Mimosa (Sidney Jones). 10” black Pat.’12 Victor 62091, POM-1907. A-B, fine copy has various very lt. scrs, momentarily ltly audible, Sd.2 only. MB 10 J0948. ERNESTO BADINI: LA MASCOTTE - Un jour le diable (Audran) (in Italian) / FRANCO di GREGORIO: Canti notturni (Mazucchi). 10” black Victor 65906, POM-14 April, 1910 / 21 March, 1913. M-A MB 10 J0949. ERNESTO BADINI: LA MASCOTTE - Un jour le diable (Audran) (in Italian) / FRANCO di GREGORIO: Canti notturni (Mazucchi). 10” black Victor 65906, POM-14 April, 1910 / 21 March, 1913. A to M-A, beautiful copy has nasty nd at very beg, audible during initial turns, not affecting voice. MB 8 J0950. ERNESTO BADINI: LA MASCOTTE - Andiamo - Son saltarelllo / R. PRIMAVERA: Un certo giorno (Audran) (in Italian). 10” green Col. E2701, POM-1914. M-A, a superlative copy! MB 12 J0951. ERNESTO BADINI: LA TRAVIATA – Di Provenza il mar / ERNESTO BADINI & GIULIETTA BATTAGLIOLI: Pura siccome un angelo. 10” blue Victor 45001, POM-2 / 5 April, 1909. M-A MB 8 J0952. ERNESTO BADINI: LA GIOCONDA – Ah, pescator affonda l’esca / Feste, pane (Badini’s name does not appear on label). 10” blue Victor 45010, POM-8 / 12 Nov., 1909. M-A, appears unplayed! MB 8 J0953. ERNESTO BADINI & GINO CONTI: LA GIOCONDA – Enzo Grimaldo, Principe di Santafior / Sabajno Cond.: Furlana. 10” blue Victor 45033, POM-22 Nov. / 10 May, 1910. M-A MB 8 J0954. ERNESTO BADINI & ADALGISA ROSSI-MURINO: LA GIOCONDA – Vo’ farmi più gaia / ERNESTO BADINI, ROSSI-MURINO, BETTONI, & LÓPEZ-NUNES: Figlia che reggi. 12” blue Pat.’12 Victor 55017, POM-4 / 11 April, 1910. M-A, a superlative copy! MB 12 J0955. ERNESTO BADINI & LINA LANZA: NERONE – Sento che ascende / ERNESTO BADINI & FERNANDO AUTORI: Guarda quaggiù. 10” green Directory: lib lib -> Security Survey lib -> Strategic Plan South Sudan Country Office Context lib -> The World Order of Bahá’u’lláh Selected Letters lib -> 1. naclo 2015 – North American Computational Linguistics Olympiad lib -> Ieee/iee electronic Library (iel) lib -> Lnpa wg position on Porting of Telephone Numbers Used by Voip service Providers lib -> 1. naclo 2017 – North American Computational Linguistics Olympiad lib -> [0] B. Hardware [2] lib -> [1] B. Hardware [1] lib -> Chem I honors Unit 2 Notes: Numbers in Chemistry Measurement Download 1.56 Mb. Share with your friends:
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