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Comisión directiva Presidente / Director general Frank Marmorek Secretario César Luis A. Garay Tesorero Enrique Rebagliati Vocales Juan Archibaldo Lanús Gabriel Wiegers Fernando Romero Carranza Revisor de cuentas Horacio C. M. Fernández Director de relaciones institucionales Horacio Oyhanarte Director de elencos Claudio Ratier Gerente de administración y finanzas Cecilia Cabanne Gerente de producción Alejandro Farías Gerente de comunicación y marketing Carla Romano Atención de socios Lorena Mangieri Edición de publicaciones Graciela Nobilo Prensa y difusión Patricia Casañas Buenos Aires Lírica es una asociación civil sin fines de lucro. Buenos Aires Lírica es miembro de OPERA America. Círculo de Amigos Amigos Protectores J.B y A.B Frank Marmorek y Sra. Alejandro Cordero Hedy Ritter Rafael Galanternik Juan Patricio O´Farrel Carlos González y Sra. Amalia Sanjurjo de Vedoya IES Abroad Buenos Aires Alfredo E Tiscornia Biaus Harry Ingham y Sra. Gabriel Wiegers y Sra. Felix Lanusse Beatriz von Buch Amigos Martín Abarrategui y Sra. Luisa Atucha Mirta Adamovsky Magdalena Avendaño Carlos Adjoyan Inés Bacigalupo Lucila Agnese Eliana Badessich Beatriz Albert de Prudent Diana Bajdacz de Gradel Edgardo Marcelo Alberti Rosendo Luis Baliarda Jorge Álvarez Daniel Barindelli Ana Álvarez Judith Barugel Isabel María de Alvear Susana de Bary Alicia Sara Andriuolo Renée Behar Alicia Angió Daniel Benisek Jorge Angió María Teresa Berhongaray Eduardo Arabia Juan Carlos Bernsau Meik Arango Osvaldo Besasso Augusto Araoz Blas Biondic Manuela Araujo de Asencio Miriam Biondic María Antonieta Arauz Leda Bohcalie Kragozlu María Marta Arauz Zelmira Bollini Marcelo Arias Elizabeth Boote Norberto Rafael Armando Rosemary Boote de Cavanagh Asbed Aryan Monica Bort María Susana Arzeno Osvaldo Héctor Bort Amalia Ascarza de Benisek Elida Bragado Carlos Atan Beatriz Brailovsky Cedric Bridger Lily De Benedetti Marta Beatriz Gerosa Jorge Landau Graciela Bridger Alberto De Caro Carlota I. Gershanik Juan Archibaldo Lanús Beatriz Brinckmann Hugo De Francesco Zully Gianakis Jacqueline Lariviere Juan Carlos Burghardt Alba De La Torre Mireia Girona Espi Juan Santiago Lasheras Shine Marisa Burghardt Malena De Paula Agustina González Balcarce Isabel Llavallol de Pacheco Susana Haydeé Cabrera Edgardo De Simone Estela González Bergez Isabel López Almendros Gabriel Carlos Cabrera Hilda S. Della Bianca Adela González de Rojas Marta Lugo de Palacio Elsa Cacchione Cecilia Devoto Teresa González Fernandez Pablo Luiz Francis Cahn Julia Di Iorio Irene González Godoy José Macaya Margarita Cahn Eliana Díaz Prebisch Javier Goñi Marga Macaya Cecilia Camargo Néstor Dondero Sara Gorodich Gloria Mackinlay Daniel Camdessus Dycasa S.A. Angélica Gowland Francisco Maradei Liliana Camdessus Beatriz E. Enz de Usarralde Tomás Gowland Nélida Marchese Marcelo Candegabe Mónica Erize Martha Greco Clara Margulis Marta Candegabe Ramiro Esteverena Alicia Grevet Adolfo Martignone Ana Cane Judith V. Faifman María Inés Grosso Soto Beatriz Martignone Octavio Caraballo Horacio Fernández Elsa Guedes Marta Martineau Octavio Caraballo Josué Fernández Escudero Blanca Gulland René Martineau Norma Carregal Alicia Amalia Ferreirós Carlos Luis Herrera Inés Mendez María Elena Casasnovas Aldo Ferrer Marta Herrera Irene Mendiondo Luis Mario Castro Mario Félix Ferreyra Carina Herrera Gayol Elena Mignaquy Juan Cavalieri Héctor Fiori María Irene Herrero Muriel Miller Renee Chaher de Chediack Guillermo Fiorito Mary Hohenlohe María Elena Mitre Susana Charlin Soldati Ana María Firpo Ezequiel Holodovsky Patricia Moche Celina Cofone Reni Fliess Monique Hoschet Nicole Moenaert Martha Colombo Aníbal Forchieri Beatriz de Ingham Renée Molina Pablo Colombo Beatriz Forte Dona Ini Ana María Montanaro Carlos Coppola Luis Cesar Forte Elena Isabelo Víctor Hugo Morales y Sra. Marta Cordero Adriana Freyvogel Guillermo Jacovella Rosa Moreda Alfredo Corti Marlene Fuchs Cintia Keledjian de Ferrer Pedro Moss Pedro Ramón Cossio Rosa María Gaddini de Armando Eduardo Luis Kennel Olga Muro de Nadal María de G. de Cossio Miguel Angel Gallardo Cristina Khalouf Annabelle Nelson Agustín Costa César Luis Alberto Garay Roberto M. Kinsella Pablo Nersessian María Costa Susana García Vega Julián Daniel Koslovsky Cristina Nitka Carlos Cougnet Alfredo Garofano Jasna Kostelac Alejandra María Nóbrega Philippe Cristelli Karin Gasser Laura Labate Adela María Noel Marcela Cuan Juan Raul Emilio Gear María Labougle Carlos Nojek y Sra. Miguel Ángel Damiano Alberto Gelly Cantilo y Sra. Miguel Laharrague Andrea O´Connor Miguel Ortiz Basualdo Leda Stachnik Rosa Otaño Beatriz Stein José María Pedraza Alicia Josefina Stratta Ana Pellegrini Eduardo Suárez Battan Juan Carlos Peña Noemi Sujov Daniel Perazzo Supet S.A. Silvina Pérez Moreno Jorge Tanoira Silvia Pérez San Martín Marcelo Tournon Juan José Luis Piana Robert W Trammell Silvia E. Piana Luisa Elena Ugarte Mario Alberto Portela Delia Ugarte de Riglos Jorge Pozzo José Antonio Urgell Jorge L. Propato Ethel Uribe Angélica Quintana Juan Carlos Ursi Adriana Reil de Gamba Juan M. Vacchino Celia Rial Alejandra Valsecchi María Zulma Riccitelli Hipólito Valverde y Sra. Miguel Riglos Rubén Alberto Varan y Sra. Susana Riva Mario Eduardo Vázquez María Luisa Rivera Sorron Tute Vázquez Enrique Rodríguez Hidalgo Susana Velazco de Kennel Alejandro Rojas Lagarde Mónica Villalobos Adriana Romero José Héctor Villalva Fernando Romero Carranza Patricia Vita María Sanclemente Andrés von Buch Magdalena Santamarina de Moss Dorotea von Erb Susana Santillan Emilio Weinschelbaum Alicia Savanti Sofia.G. Wyrouboff Mónica Susana Schang Ricardo Yomha Bárbara Schmidt Horacio Zanelli Carlos O. Schmidt Jorge Zarattini Liliana Pinto de Schmidt Silvia Zartmann Marina Lucila de Scornik Maud Zemborain Weinschelbaum Juan Ramón Zimmermann Oscar Secco Miguel Zimmermann Esteban Sorter Abel Zubizarreta Susana Spada Estela Zweifel Ian Stachnik Reparto Carmen, una gitana Adriana Mastrángelo PRESENTA Don José, cabo de dragones Martin Muehle Escamillo, toreador Leonardo Estévez la opéra-comique en cuatro actos con música de Micaela, una muchacha del pueblo Oriana Favaro Georges Bizet Zúñiga, teniente de dragones Walter Schwarz Morales, cabo de dragones Ricardo Crampton y libreto de Frasquita, amiga de Carmen Cecilia Pastawski Henri Meilhac y Ludovic Halévy Mercedes, amiga de Carmen Victoria Gaeta El Dancairo, un contrabandista Sebastián Sorarrain El Remendado, un contrabandista Santiago Bürgi Lillas Pastia, posadero Mario Filgueira Soldados, hombres del pueblo, Erika Flores cigarreras, contrabandistas Antonio Leandro Hair Dirección musical Alejo Pérez (23, 25, 31/3 y 2/4) Ariel Gustavo Juin Annunziata Tomaro (27/3) Paula Jurafsky Puesta en escena Marcelo Lombardero Nahuel Javier Leguizamon Laura Silvana Monge Diseño de escenografía Diego Siliano Martin Peirano Diseño de vestuario Luciana Gutman Maria Cecilia Rivas Diseño de iluminación Horacio Efron Dirección del coro Juan Casasbellas Dirección del coro de niños Mónica Dagorret Coreografía Ignacio González Cano Preparadora musical Eduviges Picone Asistentes de régie Violeta Zamudio, Marina Mora Puesta en escena de acuerdo a la versión original de la obra, con diálogos hablados. Stage manager Marina Mora Buenos Aires Lírica agradece especialmente a la Pianistas acompañantes y maestros internos Eduviges Picone, Gustavo Aciar, Fundación Szterenfeld su contribución a esta producción. Clotilde Ovigne, Guillermo Salgado, Alejandra Ochoa Funciones Adaptación de textos y dramaturgia Violeta Zamudio Miércoles 23, viernes 25, jueves 31 de marzo y sábado 2 de abril a las 20. Preparación idiomática María Rosa Hourbeigt Domingo 27 de marzo a las 18. Maestra de luces Gabriela Battipede Duración total aproximada del espectáculo: 3 horas 25 minutos Asistente de escenografía Noelia González Svoboda Acto I: 60 minutos Intervalo: 25 minutos Asistente de vestuario Mercedes Nastri Acto II: 45 minutos Sobretitulado Mariana Nigro Intervalo: 15 minutos Actos III y IV: 60 minutos Asistente de sobretitulado Javier Giménez Zapiola Orquesta Mezzosopranos Carla Bendersky, Guadalupe Maiorino, Marcela Marina, Violines I Grace Medina, Serdar Geldymuradov, María Luisa Merino Ronda, Cecilia Barraquero, Alfredo Wolf, Marta Pereyra, Patricia Salanueva, Florencia Argañaraz, Lucía Herrera Liliana Taboada Violines II Lucrecia Herrero, Sebastián Masci, Liliana Bao, Tenores Martín Benítez, Claudio Brea, Andrés Magula, Leonardo Descalzo Leonardo Bosco, Gabriel Capurro, Violas Gabriel Falconi, Claudio Medina, Fabián Frías, Ulises Hachen, Rubén Jurado Federico Herrera, Pablo Manzanelli, Violoncellos Edgardo Zollhofer, Verónica Almerares, Julio Napoli, Leandro Kyrkiris Pablo Quintanilla Maldonado, Contrabajos Daniel Falasca, Fernando Fieiras Pablo Scaiola Flauta I / Flautín Claudio Barile Bajos y barítonos Sergio Araya, Jorge Blanco, Flauta II / Flautín Horacio Massone Gonzalo Castro Santillan, Oboe I Rubén Albornoz Cristian Duggan, Juan Feico, Luis Pinto, Oboe II / Corno inglés Carla Dipp Germán Rúa, Cristian Sommer, Clarinetes Matías Tchicourel, Mariano Zemborain Carlos Trujillo, Gabriel Vacas Fagotes Daniel La Rocca, Diego Armengol Cornos Luis Martino, Cristian Morabito, Integrantes del coro de niños Álvaro Suarez Vázquez del Teatro Argentino de La Plata Trompetas Daniel Crespo, Dante Daniel Vargas Maitena Andrade, María Sol Barchine, Trombones Pablo Fenoglio, Laura Molina, María Cecilia Campagnone, Jorge Ramírez Cáceres Federico Gabriel Conzonno, Timbal Martín Diez Micaela Valeria Demetrio, Olivia Farello, Percusión Gonzalo Pérez, Pablo La Porta
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  • September-2016-Auction.Pdf

    September-2016-Auction.Pdf

    78 CLASSICAL GALLERY CLASSICAL RECORD AUCTION No. 2 CLOSING DATE: SEPTEMBER 30, 2016 NEW AUCTION AUCTION CLOSING DATE: SEPTEMBER 30, 2016 Here you will find a list of early 78 rpm recordings of interest to every level of collector. Most items are focused on Classical selections from the 1898- 1940 period, some a bit more common but of really nice condition. The condition of grading employed here is: CONDITION GRADING: 1: UNPLAYED 1-2: TOP CONDITION 2: VERY FINE COPY- A FEW RUBS OR MARKS, NO NEEDLE WEAR 2-3 SOME RUBS, NON-SOUNDING BLEMISHES, NO NEEDLE WEAR. 3: SOME HEAVIER RUBS, MARKS, NO-SOUNDING BLEMISHES. AN AVERAGE COPY 3-4: LIGHT-SOUNDING WEAR (GREYING), RUBS. 4: SOUNDING WEAR, RUBS, MARKS 4-5: WEAR, RUBS, MARKS 5: OBVIOUS SOUNDING WEAR, HEAVY RUBS, MARKS 5-6: HEAVY WEAR, RUBS, MARKS 6: A WRECK! ONLY LISTED FOR EXTREME RARITY. As you can see, I’ve used Larry Holdridge’s grading scale as it seems to be the most universally accepted and understood system. However, if there are any questions, please feel free to call or e-mail for more clarification. This list is also posted on my website: www.78classicalgallery.com. Please submit bids either electronically through the website, or via USPS mail. Either are welcome. In the meantime, enjoy your perusal of these items. Good luck! Best wishes, David Schmutz # Image Name Artist Selection Min. Bid CLYINDERS FRENCH PATHE #3496 AFFRE: HUGUENOTS- PLUS PATHE SALON BLANCHE (MEYERBEER).- 1902 BLACK WAX, WRITING ON CYLINDER: AFFRE- RIM A BIT FADED AND RUBBED. IN ORIGINAL CASE WITH 1 AFFRE $200.00 HUGUENOTS ARIA ORIGINAL LID.
  • Comunicato Stampa

    Comunicato Stampa

    COMUNICATO STAMPA I Shardana di Ennio Porrino, inno nuragico di pace e libertà, in un nuovo, maestoso, allestimento del Teatro Lirico di Cagliari Dopo la pausa estiva, la Stagione lirica e di balletto 2013 riprende, venerdì 20 settembre alle 20.30 (turno A), con il quarto appuntamento: I Shardana - Gli uomini dei Nuraghi, il dramma musicale in tre atti di Ennio Porrino (Cagliari, 20 gennaio 1910 - Roma, 25 settembre 1959), su libretto proprio, che ritorna al Teatro Lirico di Cagliari ad appena tre anni dalla sua ultima esecuzione, ma, questa volta, in una nuova, maestosa, forma scenica. Infatti il giovane regista torinese Davide Livermore, che debutta al Teatro Lirico di Cagliari, insieme alle scenografie di GIÒ FORMA production design, al videodesign di D-wok, al costumista cagliaritano Marco Nateri ed alle luci di Loïc Hamelin, firmano un nuovo e monumentale allestimento scenico, dai colori primitivi e naturali, in un’atmosfera nuragica, sicuramente unica e magica. La direzione musicale è, invece, affidata ad Anthony Bramall, apprezzato direttore d’orchestra inglese ed abituale presenza nelle stagioni musicali cagliaritane, che dirige l’Orchestra e il Coro del Teatro Lirico. Il maestro del coro è Marco Faelli. Protagonisti dell’opera sono giovani ed, in alcuni casi, affermati cantanti che si alternano nelle recite quali: Manrico Signorini (20, 24, 27)/Nicolò Ceriani (22, 26, 28) (Gonnario), Angelo Villari (20, 24, 27)/Sebastian Ferrada (22, 26, 28) (Torbeno), Gianpiero Ruggeri (20, 22, 24, 27)/Alessandro Senes (26, 28) (Orzocco), Domenico Balzani (20, 22, 24, 27)/Nicola Ebau (26, 28) (Norace), Paoletta Marrocu (20, 24, 27)/Rossana Cardia (22, 28)/Nila Masala (26) (Bèrbera Jonia), Alessandra Palomba (Nibatta), Gabriele Mangione (20, 22, 24, 27)/Moreno Patteri (26, 28) (Perdu), Nicola Ravarino Guagenti (Un guerriero, Una voce), Enrico Zara (Un altro guerriero, Un pastore sardo, La vedetta), Vittoria Lai (Prima dolorante), Francesca Pierpaoli (Seconda dolorante), Caterina D’Angelo (Terza dolorante).
  • MARIO DEL MONACO Mario Del Monaco Belongs

    MARIO DEL MONACO Mario Del Monaco Belongs

    MARIO DEL MONACONACO – A CRITICAL APPROACH BY DANIELE GODOR, XII 2009 INTRODUCTION Mario del Monaco belongselongs to a group of singers whoho aare sacrosanct to many opera listeners.listene Too impressive are the existingexisti documents of his interpretationsations of Otello (no other tenor hasas momore recordings of the role of Otello than Del Monaco who claimed to haveha sung to role 427 times1), Radamdames, Cavaradossi, Samson, Don Josésé and so on. His technique is seenn as the non-plus-ultra by many singersgers aand fans: almost indefatigable – comparable to Lauritz Melchiorlchior in this regard –, with a solid twoo octaveocta register and capable of produciroducing beautiful, virile and ringing sound of great volume. His most importmportant teacher, Arturo Melocchi,, finallyfina became famous throughh DDel Monaco’s fame, and a new schoolscho was born: the so-called Melocchialocchians worked with the techniqueique of Melocchi and the bonus of the mostm well-established exponent of his technique – Mario del Monaco.naco. Del Monaco, the “Otello of the century”” and “the Verdi tenor” (Giancarlo del Monaco)2 is – as tthese attributes suggest – a singer almost above reproach and those critics, who pointed out someme of his shortcomings, were few. In the New York Times, the famous critic Olin Downes dubbed del MonacoM “the tenor of tenors” after del Monacoonaco’s debut as Andrea Chenier in New York.3 Forr manmany tenors, del Monaco was the great idoll and founder of a new tradition: On his CD issued by the Legato label, Lando Bartolini claims to bee a sinsinger “in the tradition of del Monaco”, and even Fabioabio ArmilA iato, who has a totally different type of voice,voi enjoys when his singing is put down to the “tradititradition of del Monaco”.4 Rodolfo Celletti however,wever, and in spite of his praise for Del Monaco’s “oddodd elelectrifying bit of phrasing”, recognized in DelDel MMonaco one of the 1 Chronologies suggest a much lower amount of performances.
  • High-Fidelity-1957-J

    High-Fidelity-1957-J

    The Beethoven Symphonies on Microgroove Reappraised a discagaphy by C. G. BURKE 4.; liNUaRT - _=-..'a: ea __ _, === ;__.._z__._. ---I MI `. a: i:M i S www.americanradiohistory.com now you can meet every tape recording need with this AÖMPLE 1L LI E ,.....1... 1. PLASTIC -BASE AUDIOTAPE on 11/2-mil cel- 6. COLORED AUDIOTAPE on green or blue 1'/2- 12. AUDIO HEAD DEMAGNETIZER removes all lulose acetate meets the most exacting require- mil plastic base provides fast, easy color cueing permanent magnetism from recording and re- ments of the professional, educational and home and color coding, at no extra cost. producing heads in a matter of seconds. recordist at minimum cost. Known the world over for matchless performance and consistent 7. COLORED AUDIOTAPE REELS - 7" and 5" 13. AUDIO HEAD CLEANER, especially formu- uniform quality. Series 51, in the red box. reels in jewel -tone colors - red, yellow, green lated for use on magnetic recording heads - and blue - for color coding, at no extra cost. superior to carbon tetrachloride. 2. AUDIOTAPE ON 11/2-MIL MYLAR* - a pre- mium- quality professional tape with maximum 8. HEAD ALIGNING TAPE pre -recorded with 14. ADHESIVE REEL LABELS provide positive mechanical strength and immunity to heat and precise head alignment, giving a highly ac- identification of your tapes right on the reel. humidity. Will not dry out or embrittle with curate reference for aligning recording heads. Press to apply, pull off to remove. age. Series 71, in the green box. 9. TYPE "EP" AUDIOTAPE provides extra pre- 15.
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.
  • THE RECORD COLLECTOR MAGAZINE Given Below Is the Featured Artist(S) of Each Issue (D=Discography, B=Biographical Information)

    THE RECORD COLLECTOR MAGAZINE Given Below Is the Featured Artist(S) of Each Issue (D=Discography, B=Biographical Information)

    PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, BIOGRAPHIES; RECORD CATALOGUES & SUPPLEMENTS Books are all in good, used condition (no damage unless described). DJ = includes Paper Dust Jacket This year’s book list includes a number of important and desirable items. The minimum bids have been kept very low, considering the scarcity of some items and the cost of others which still might be in print. While bargains are indeed possible, I’d suggest, as usual, to bid realistically for those items of particular interest. Bids of any amount are, of course, welcomed. MUSICIAN BIOGRAPHIES/AUTOBIOGRAPHIES 3574. [FRANCES ALDA]. MEN, WOMEN AND TENORS. Autobiography. Riverside Press, Cambridge, MA. 1937. 307 pp. Illustrated. Quite candid jottings for the period. Fun and informative reading. Blank front page removed. Cons. 2. $7.00. 3622. MARIAN ANDERSON – A PORTRAIT (Kosti Vehanen). Whittlesey House, NY. 1941. 270 pp. Blank book plate on inside cover. Just about 1-2. $10.00. 3535. [MARIAN ANDERSON]. MY LORD, WHAT A MORNING. Autobiography. Viking Press, NY. 1956. DJ. Illustrated. 312 pp. Light DJ wear. Book gen. 1-2. $7.00. 3581. MARIAN ANDERSON – A SINGER’S JOURNEY (Allan Keiler). Scribner, NY. 2000. 447 pp. DJ. Just about 1-2. $10.00. 3542. [Sir THOMAS] BEECHAM – A CENTENARY DISCOGRAPHY (Michael Gray). Duckworth, Norwich. 1979. DJ. 129 pp. Light signs of use on DJ. Book is just about 1-2 except for numerous pencil check marks. $6.00. 3550. THE ACCOMPANIST – AN AUTOBIOGRAPHY OF ANDRÉ BENOIST (ed. John Anthony Maltese). Paganiniana Pub., Neptune City, NJ. 1978. 383 pp. Profusely illustrated. A fascinating and extremely candid look at dozens of the vocal and instrumental celebrities with whom Benoist was associated.
  • GEORGE HAMLIN [T] 3941

    GEORGE HAMLIN [T] 3941

    VOCAL 78 rpm Discs CHARLES HACKETT [t] 1974. 10” Purple acous. Columbia 4013-M [79287-2/79879-2]. A DREAM (Bartlett)/ BECAUSE (d’Hardelot). Just about 1-2. $12.00. 3078. 10” Purple elec. Columbia 4034-M [W140985-7/140939-4]. TOSCA: Recondita armonia (Puccini)/BAR- BIERE DI SIVIGLIA: Se il mio nome (Rossini). Just about 1-2. $8.00. 2280. 10” Purple elec. Columbia 4034-M [W140985-7/140939-4]. Same as previous listing (#3078). Small harmless mk. (rub) side two, few lightest rubs. Cons. 2. $7.00. 3316. 12” TC Columbia 49666. FORZA DEL DESTINO: Solenne in quest’ ora (Verdi). With RICCARDO STRAC- CIARI [b]. Label autographed by Hackett. Couple small PBs. 3. $12.00. 3318. 12” TC Columbia 98003. PARTED (Tosti). Excellent quiet pressing, cons. 1-2. $12.00. 1685. 12” Purple acous. Columbia 9016-M [49604-4/98045-3]. BARBIERE DI SIVIGLIA: Ecco ridente (Rossini)/ ROMÉO ET JULIETTE: Ah! lève-toi CHARLES HACKETT soleil (Gounod). Wonderful pressing. Just about 1-2. $20.00. 1775. 12” Purple acous. Columbia 9017-M [49645-1/49895-10]. BOHÊME: Che gelida manina (Puccini)/ELISIR D’AMORE: Una furtiva lagrima (Donizetti). 1” crk. side one from rim into grooves, likely superficial. Otherwise just about 1-2. $8.00. 1776. 12” Purple acous. Columbia 9018-M [49947-7/98047-2]. CARMEN: Air de la fleur (Bizet)/DON GIOVANNI: Il mio tesoro (Mozart). Just about 1-2. $15.00. 3255. 12” Purple acous. Columbia 9020-M [98094-3/98095-3]. FAVORITA: Spirto gentil (Donizetti)/MANON: Ah, fuyez, douce image (Massenet). Just about 1-2.
  • 191 VOCAL 78 Rpm Discs 2398. 11” Brown Praha Odeon 38539/38519

    191 VOCAL 78 Rpm Discs 2398. 11” Brown Praha Odeon 38539/38519

    VOCAL 78 rpm Discs 2398. 11” Brown Praha Odeon 38539/38519 [XV62/Vx497]]. FRÜHLINGSZEIT (Becker) / WLADISLAV FLORIJANSKY [t]. EUGEN ONEGIN: Air (Tschaikowsky). Piano acc. Rare. Speeds 89.7/81.8 rpm, (presuming the key of A). Side one 4-5. Remarkably forward and the graying sounds only a bit. Side one 3-4 (although hardly any graying). Looks considerably worse than it sounds. $50.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses. He also appeared in Mexico and the Phil- lipines. Among the leading baritones of his era, Pacini’s only records were a few for Fonotipia. 9024. 11” Gold SS Fonotipia 39005 [XPh2]. LE ROI DE LAHORE: O casto fior (Massenet). Few MGTs, just about 2. $50.00. REGINA PACINI [s]. Lisbon, 1871-Buenos Aires, 1965. Born of a musical family, Pacini made her debut in 1888 at the San Carlo in Lisbon as Amina in Bellini’s La Sonnambula. She also appeared at La Scala, Covent Garden (with Caruso), Rome, Warsaw and St. Petersburg. In Buenos Aires, 1907, Pacini wed the Argentine Diplomat Marcelo de Alvear and then retired from the stage. From 1922 through 1928 she was first lady of Argentina, her husband having been elected President. Pacini was still living during the reign of another more recognized Argentine presidential wife, Evita Peron.
  • 18.2 Vocal 78S. Abott-Fuentes, Pp 23-72

    18.2 Vocal 78S. Abott-Fuentes, Pp 23-72

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just minor marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks acquired years ago and others the result of having improved copies in my own collection (which is gradually being listed) via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those records marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best surface material (produced in the later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated PW Columbia pressings (1923-1940) offer similarly fine sound. Vinyl pressings usually provide superb results. Needless to say, top copies of original pressings should provide superb results. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to many collectors. These figures do not necessarily indicate the “value” of the items but rather the lowest minimum bid I can accept. Some will sell for much more, although bids at any figure you deem appropriate from the minimum on up are welcomed and appreciated.
  • Kenneth Goldsmith

    Kenneth Goldsmith

    6799 Kenneth Goldsmith zingmagazine 2000 for Clark Coolidge 45 John Cage 42 Frank Zappa / Mothers 30 Charles Ives 28 Miles Davis 26 James Brown 25 Erik Satie 24 Igor Stravinsky 23 Olivier Messiaen 23 Neil Young 23 Kurt Weill 21 Darius Milhaud 21 Bob Dylan 20 Rolling Stones 19 John Coltrane 18 Terry Riley 18 Morton Feldman 16 Rod McKuen 15 Thelonious Monk 15 Ray Charles 15 Mauricio Kagel 13 Duke Ellington 3 A Kombi Music to Drive By, A Tribe Called Quest M i d n i g h t Madness, A Tribe Called Quest People’s Instinctive Travels and the Paths of Rhythm, A Tribe Called Quest The Low End Theory, Abba G reatest Hits, Peter Abelard Monastic Song, Absinthe Radio Trio Absinthe Radio Tr i o, AC DC Back in Black, AC DC Dirty Deeds Done Dirt Cheap, AC DC Flick of the Switch, AC DC For Those About to Rock, AC DC Highway to Hell, AC DC Let There Be R o c k, Johnny Ace Again... Johnny Sings, Daniel Adams C a g e d Heat 3000, John Adams Harmonium, John Adams Shaker Loops / Phrygian Gates, John Luther Adams Luther Clouds of Forgetting, Clouds of Unknowing, King Ade Sunny Juju Music, Admiral Bailey Ram Up You Party, Adventures in Negro History, Aerosmith Toys in the Attic, After Dinner E d i t i o n s, Spiro T. Agnew S p e a k s O u t, Spiro T. Agnew The Great Comedy Album, Faiza Ahmed B e s a r a h a, Mahmoud Ahmed E re Mela Mela, Akita Azuma Haswell & Sakaibara Ich Schnitt Mich In Den Finger, Masami Akita & Zbigniew Karkowski Sound Pressure Level, Isaac Albéniz I b e r i a, Isaac Albéniz Piano Music Volume II, Willy Alberti Marina, Dennis Alcapone Forever Version, Alive Alive!, Lee Allen Walkin’ with Mr.
  • Catalogo Discos Victor

    Catalogo Discos Victor

    CATALOGO DISCOS VICTOR Pag? SS: .j..<f»ssa VICTOR TALKING MACHINE COMPANY CAMDEN, N. J., E. U. dc A. Biblioteea 1114 de < -t i.iJ • 111 i fill GeneraftaKJe Catakjnya IUI Departarnertt de Oitm 5 Catalogo de Discos Victor 1927 con MATERIAL BIOGRAFICO, ANOTACIONES SOBRE OPERAS, FOTOGRAFIAS DE ARTISTAS Y OTRA INFORM ACION DE INTERES VICTOR TALKING MACHINE COMPANY Camden, New Jersey E. U. de A. ;Lease Cuidadosamente la Introduccion! DISCOS VICTOR ESTE catalogo de discos es el primer catalogo completo que ha sido pu- blicado por la Compania Victor desde los extraordinarios descubrimientos cientincos que han traido la produccion de los Nuevos DISCOS VICTOR (Impresion Ortofonica) AUNQUE actualmente usamos unicamente el proceso electrico en la im­ presion de la musica, hemos retenido en este catalogo una gran cantidad de discos grabados por el sistema antiguo de mera aciistica, incluyendo todos los Discos de Sello Rojo que aparecieron en la edicion anterior del catalogo. Estos discos antiguos continuan recibiendo el favor de millones de favorece- dores, que no nos permitiran echarlos al olvido. Ciertos discos—los de Caruso por ejemplo—grabados por el antiguo procedimiento, son monu- mentos en la historia de la musica que no pueden ser reemplazados. Con el fin de distinguir los discos de nueva impresion de los antiguos. cada disco Victor de impresion antigua esta marcado en el catalogo con un aste- risco. * Se notara que este catalogo esta arreglado alfabeticamente y es interesante saber que la idea de un catalogo de discos en orden estrictamente alfabetico tuvo origen con la Victor Talking Machine Company, estableciendo asi un nuevo sistema en pubhcaciones de esta clase.
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s). * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommend- dation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth.