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CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet

CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet

CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated.

ROBERT BLASS [bs]. , 1867-Berlin, 1930. Born of German parents, Blass studied first as a violinist and then voice in Frankfurt with Julius Stockhau- sen. His debut was in Weimar, 1892, as King Henry in and he was soon heard in many of ’s leading houses. Covent Garden and the Metropolitan first heard him in 1900 and he sang in New York through 1910 and again the seasons of 1920-22. From 1913 to 1920 he was with Berlin’s Deutsche Opera and he taught in Berlin until his death. Blass made few recordings, these for Victor in 1903 and Edison in 1905. 9165. 2M Wax Edison B-48. MAGIC FLUTE: In diesen heil’gen Hallen (Mozart). Announced by Blass. OBT. Just about 1-2. $75.00.

ALOIS BURGSTALLER [t]. Holzkirchen, Germany, 1872-1945. Trained as a watchmaker, Burgstaller was heard by chance and encouraged by Cosima Wagner. He made his stage debut at Bayreuth in 1894 in a small role, and from 1896 to 1903 he appeared there in various principal parts such as Siegmund, , and Siegfried. In addition he sang at Covent Garden, in and Moscow, as well as in other major Euro- ROBERT BLASS pean operatic sites. He became a member of the roster in 1903, making his debut on February 12th as Sieg- mund. His Met repertoire was entirely Wag- nerian, although he was occasionally heard in music of other composers in Sunday Night Concerts and Galas. On Christmas Eve, 1903 he was Parsifal in the unauthorized American premiere of that opera. As a result, a furious Cosima Wagner banned him from Bayreuth, although they made up two years later and he returned as Siegfried. While Burgstaller was successful in New York, he missed a number of performances as a result of vocal problems stemming from the toll taken on his voice from his heavy repertoire and the New York winter weather. He sudden- ly departed from the Met mid-season, 1908-09. Joining him was Mrs. Lydia Hexa- mer, an heiress and “the wife of the well-to- do owner of the Hoboken (N.J.) Riding Aca- demy”. Burgstaller had originally come to America for the higher pay than would have been possible in , but the wealthy Mrs. Hexamer suggested that when they married, fees would no longer be a problem. After putting up with the situation for several years, Mr. Hexamer was glad to see them go. Likewise the Met was not unhappy as the had been able to sing only two of several scheduled performances in 1908, including missing the first Met Tristan to have been conducted by Mahler. Here he was ALOIS BURGSTALLER replaced by tenor Heinrich Knote, caught just as his ship was to depart from New York for Europe. Burgstaller’s only commercial recordings were three cylinders for Edison (1905) and one for Columbia (1907). 9158. 2M Wax Edison B-31. DER FREISCHÜTZ: Durch die Wälder (v. Weber). Announced by Burgstaller. OBT (tiny box top tear). Just about 1-2. $100.00.

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CYLINDERS GIUSEPPE CAMPANARI [b]. Venice, 1855-Milano, 1927. Campanari’s first musical success was as a cellist, playing in the Orchestra and from 1884 the Symphony. In 1893 he made his Amercan operatic debut with the Hinshaw Opera, and the following year he made his Metropolitan Opera debut where, in 1895, he created the role of Ford in the American premiere of Verdi’s . He appeared at the Met through 1912 in close to 500 performances of 28 roles, ranging from Mercutio in Roméo et Juliette through de Luna in Il Trova- tore. He later taught, his daughter and pupil Marina having had a career as a lyric-coloratura soprano and son Christopher having demonstrated potential as a dramatic tenor but a shorter career than his sister, preferring the world of business. The two children made test records for Victor in, respectively, 1923 and 1913, but extant copies are not known. Marina did make published records for Okeh in 1921. Giuseppe recorded for Bettini in 1898 (copies of a few known to exist), Victor (1903-1905), Edison (1906) and Columbia (1903; 1907-09). 9173. 2M Wax Edison B-54. IO SON L’AMORE (Tosti). OBT. Probably the scarcest of his three Edisons. Just about 1-2. $75.00. ELEONORA DE CISNEROS [c] 9191. 4M Blue Amberol 28180. O WERT THOU IN THE CAULD BLAST (Burns-Mendels- sohn). With PAOLO GRUPPE [cellist] and piano. Repro orange box & top. Just about 1-2. $35.00.

MARIE DRESSLER [comedi- enne-actress]. Ontario, 1869- Los Angeles, CA, 1934. Dressler had considerable success in vaudeville and in stage presentations. Her film career ran from silents (the earliest in 1910) through sound films the year of her death. In 1931 she won the Academy Award for Best Actress. Her only recordings were five 1910 Edison cylinders. 9187. 2M Wax Edison 10318. I’M A-GOIN’ TO CHANGE MY MAN (Dressler). “Coon song”. OBT (plain top). Cons. 2. $50.00.

FRANZ EGÉNIEFF [b] Niederwalluf, 1874-Gmund am Tegernsee, 1949. Born Marian Eberhard Franz Emil von Kleydorff, Egénieff’s father was a Prince and the son was officially a Baron. He was originally a Prussian hussar but left the military in 1900 to develop his voice. Being able to afford the best teachers, he studied with Lilli Leh- mann, Alfredo Cairati and . For his professional career, he MARIE DRESSLER became Franz Egénieff and was first a principal with the a touring opera company in America from 1904-06. He subsequently appeared in various theaters throughout Germany and neighboring countries, both in opera and concert, and occasionally in the U.S., as in 1917 with the touring Interstate Opera Company in Tristan und Isolde (with Rachael Frease-Green, Eleonora de Cisneros, Karl Jörn and Henri Scott). In 1920 he began a film career in Germany, appearing successfully from 1920 through 1927 in a number of German dramatic and comedic silent films. His operatic work continued as well, with performances at Bayreuth in 1927 (as Klingsor in Parsifal) and 1929-31 with the traveling Ger- man Opera Company in the U.S. He then retired to his villa in Gmund am Tegernsee. 9170. 4M BA 28154. TANNHÄUSER: O kehr Zurück (Wagner). OB (top missing). Includes orig. brochure. 2. $40.00. RALPH ERROLLE [t]. , Sept. 22, 1888 (most sources incorrectly list 1890)- , 1973. Born Errol Smith, Errolle studied at Racine College in Wisconsin. Upon graduation he decided to make singing his profession and made his debut at the age of 21 in the title role of Auber’s Fra Diavolo at the Marlowe Theater, Chicago. He was, as a result, offered a four-year scholarship to study at the Chicago Musical College with Hermann Devries. He was then engaged by the Chicago Opera where he made his debut as Lionel in Flotow’s .

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His subsequent work included a tour of Australia with the Williamson Grand Opera Company, the St. Louis Civic Opera, the New Orleans Opera and the Metropolitan (1924-26). At the Met his roles included Romeo, Almaviva (Barbiere di Siviglia), the Fisherman in Stravinsky’s The Nightingale, Paco in de Falla’s La Vida Breve and Gonzalve in Ravel’s l’Heure Espagnole. His last performances in opera seem to have been with the “Popular Priced Opera Company” in , 1941-42, as Turiddu in with soprano Herva Nelli. He was subsequently hired as head of the Music and Opera Department of Louisiana State University. His daughter, Martha, had a career in opera which appears to have ended upon her marriage in 1943. Errole’s own marriages totaled five. He recorded for Columbia, Edison and Gennett and one electrical disc for the American Institute of Music, Arts and Drama in Montclair, NJ, which he headed. 9179. 4M Wax Amberol 1061. CAVALLERIA RUSTICANA: Ave Maria [Intermezzo] (Mascagni). Short-lived wax issue which never appeared on Blue Amberol. OBT. Just about 1-2. $15.00.

FRITZ FEINHALS [b]. Cologne, 1869- , 1940. Feinhals’ early training was in engineering, followed by vocal studies in . He made his debut in Essen, 1895, as Silvio in . In 1898 he became a member of the Munich Opera and was last heard there in 1927. He was also heard at Covent Garden (1898 and 1907). At the Metropolitan, the season of 1908- 09, he created Sebastiano in the American pre- miere of d’Albert’s Tiefland, and throughout his career he appeared as a guest in many major European houses. One of his world creations was Pfitzner’s Palestrina in Munich, 1917. 9176. 4M BA 28119. TANNHÄUSER: O du mein holder Abendstern (Wagner). OBT. Just about 1-2. $60.00.

ORVILLE HARROLD [t] 9171. 4M BA 28129 [take 2]. MARY [KIND AND GENTLE IS SHE] (Richardson). OBT. Just about 1-2. $25.00.

OTTILIE METZGER [c]. Frankfurt, 1878-Auschwitz, 1943. A leading artist first at Cologne, then with the Opera and, 1916-21, with the Staats-oper, Metzger also appeared in a concert tour of the U.S. in 1914-15 and with the German Opera Company in New York, 1922-23. FRITZ FEINHALS 9190. 4M BA 26112. SAMSON ET DALILA: Mein Herz (Saint-Saëns). Reproduction orange box & top. Just about 1-2. $75.00.

VICTOR HERBERT and HIS ORCHESTRA. Dublin, 1859-New York City, 1924. Herbert studied cello in Germany and in 1886 was hired by the Metropolitan Opera as a cellist and his wife, Therese Förster, as a principal soprano. Herbert’s career was subsequently as a composer of serious works but mainly and as an able conductor. He led the Pittsburgh Symphony from 1898-1904 and guest directed other U.S. orchestras including the New York Philharmonic. After leaving the Pittsburgh, he formed his own orchestra that toured the U.S. for many seasons. With a repertoire of standard classics and lighter selections, Herbert’s Orches- tra brought to many communities a unique opportunity to hear live a first-rate symphonic group. 9189. 4M Blue Amberol 5270. ALGERIA: Rose of the World (Herbert). Repro. orange box & top. These late (1928) Blue Amberol cylinders are scarce and weren’t re-issued until almost twenty years after they were originally recorded and circulated in wax form. Just about 1-2. $40.00. 9193. 4M Blue Amberol 5319. OLD DUTCH: Selections (Herbert). Repro. orange box & top. Just about 1-2.

JOSEPHINE S. JACOBY [c]. New York City, 1875-New York City, 1948. Mrs. Jacoby studied in New York and first sang in public at Temple Emanu-El. A concert career then ensued, including performances with the Boston Symphony and New York Philharmonic. Her Met debut was as Rossweisse in Die Walküre on November 16th, 1903. The next day, a Thursday, General

30 CYLINDERS Director Conried asked if she would sing Maddelena the following Saturday afternoon. She stated that “she had never even heard of . On her way home [from a rehearsal at the Met] she bought a score of the opera, studied it and sang the part … without a rehearsal”. Hmm. Could this be?! By the time she departed from the Met in 1908, she had a repertoire of 30 roles. In 1910, she was Katisha in a Broadway revival of , in 1912 Ruth, again on Broadway, in The Pirates of Penzance and in 1914 in yet another Broadway Gilbert and Sullivan revival, this time H. M. S. Pinafore. She subsequently appeared in concert infrequently and taught in New York. Apparently she was prone to accidents. While at the Met, she suffered a couple of falls, one into the prompter’s box, which was left uncovered following a scenic rehearsal for . The stage was dimly lit and scattered with props. Mrs. Jacoby arrived for a rehearsal with the orchestra of Sullivan’s “The Lost Chord”, scheduled for a Sunday night concert. Not noticing the opening in the stage, “she stepped backward as she began to sing and, losing her balance, fell through. Her fall was broken by the electric switchboard below the stage.” She was “badly bruised and greatly frightened”, although she didn’t cancel that evening’s performance. Some weeks before, she had fallen through an opened trap door. Her eventual death was also caused by a fall resulting in a broken leg. She died suddenly after surgery to repair it. While Jacoby appeared in several ensemble recordings for Victor, her only solos were three Edison cylinders. 9166. 2M Edison B-29. ROMÉO ET JULIETTE: L’air de Stephano (Gounod). OBT. Just about 1-2. $75.00.

KARL JÖRN [t] 9175. 4M BA 28217. ELISIR D’AMORE: Una furtiva lagrima (Donizetti). Very attractive performance, for some odd reason never issued in the original Diamond-Disc form. OBT (index sticker on side of box and top fading). Just about 1-2. $40.00.

HEINRICH KNOTE [t]. 9156. 2M Wax Edison B-1. LOHENGRIN: Höchstes vertrauen (Wagner). Announced by Knote. OBT. Tiny tear on box top. Just about 1-2. $80.00. [s] 9180. 4M Blue Amberol 28162. LUCIA: Aria della follia (Donizetti). OBT and ori- ginal pamphlet. Minor top fade and wear, otherwise just about 1-2. $60.00.

ANTOINETTE LAUTE-BRUN [s]. Nimes, 1875- ? . A graduate of the Paris Conservatoire where she studied with Duvernoy, Melchissèdic and Mangin, she made her debut at the Paris Opéra in 1903 as the Page in Tannhäuser and remained with that house through 1927. She married composer Georges Brun in 1907, changing her professional name then from Laute to Laute-Brun. In addition to her work in Paris, Laute-Brun was heard in many of the French provincial houses. In 1907 she toured Belgium with baritone Jean Noté. 9162. 4M Edison BA 27111. : Parle- moi de ma mère (Bizet). With GASTON DU BOIS [t]. OBT. Orange (top some- what worn). Just about 1-2. $80.00. SELMA KURZ catching up on the sewing RICCARDO MARTIN [t]. Hopkinsville, KY, 1874-Bronx, NY, 1952. The first American tenor to sing principal roles at the Met, Martin (born Hugh Whitefield) appeared at the Met 1907- 1915 (and again in 1918 for one performance). While originally having studied at with MacDowell to be a composer, his voice was discovered and he was sponsored by Henry Flagler to study in France. His teacher there was Sbriglia, and he also worked with Léon Escalaïs, with whom he shared tenor repertoire at the New Orleans French Opera in 1906. His actual debut had been in Nantes, France, two years earlier as Richard Martin and he appeared in the following year, the Richard changed to Riccardo. He is listed on the earliest Fonotipia artist advertisements but records other than possible tests seem not to have actually been made. Following his Met career he was heard at Covent Garden and with the Chicago Opera. His first wife, Elfrida Klamroth, met Martin while they were students, and she gave up her career to support him. She prepared the principal female roles in all he sang so that he might have a rehearsal partner, selected his costumes, arranged his schedule 31 CYLINDERS and appears to have done just about everything except sing for him. The story is that Martin’s Met departure in 1914 was the result of the management not wishing to deal with Mrs. Martin’s de- mands as his agent. That year also marked their divorce. Two subsequent marriages were of shorter duration. During his last years he was an Italian correspondent for the Met’s Opera News magazine. His only issued recordings were a few Victor discs and Edison cylinders in the 1909-11 period. 9186. 4M Blue Amberol 28167. GOOD-BYE (Tosti). Martin’s solitary recording in English. OBT (orange). Just about 1-2. $35.00.

MARIE RAPPOLD [s]. , 1873-Los Angeles, CA, 1957. Born Marie Winterroth to German parents in London, she emigrated to Brooklyn as a child and studied voice with Oscar Saenger. She became a member of the Metropolitan Opera in 1905, making her debut as Sulamith in Goldmark’s Queen of Sheba. She had married Dr. Julius Rappold in Brooklyn in the 1890s and continued using Rappold as her professional name, although they separated in 1907 and divorced a few years later. Said Dr. Rappold, “My wife’s income is many times greater than mine, and we cannot live on the same footing without the sacrifice of pride on my part or of a career on the part of my wife.” In 1913, Rappold wed tenor Rudolf Berger, but their bliss was short-lived, as he died in 1915. Rap- pold remained on the Met roster through 1920, also appearing as a guest in Vienna and London. Following her Met departure, she was heard with various touring and local companies. In 1925 she appeared before an audience of 20,000 in New York’s Yankee Sta- dium with tenor Bernardo DeMuro singing one of her major roles, Verdi’s . In the later 1930s she retired to Los Angeles where she taught until MARIE RAPPOLD during play period. the year before her death. 9181. 2M Edison Wax B-33. LOHENGRIN: Euch lüften (Wagner). Announced. OBT. Just about 1-2. $35.00. [b] 9164. 2M Edison Wax B-20. PAGLIACCI: Prologo (Leoncavallo). Announced by Scotti. OBT. Just about 1-2. $100.00.

ELISA TROMBEN [s]. Tromben made her debut as Mimì in Puccini’s La Boheme at the Salò Teatro Sociale in 1902. Her career continued at least another twenty years, her repertoire including principal roles in operas such as Traviata, Fedora, , and Lohengrin. In 1905, at the Malta Royal , Tromben created the role of Susanna in Paolino Vassallo’s “best-loved opera”, Frazir, with tenor Giovanni Valls in the title role. It was successful enough to run nine performances. Her last traced performance was Cio-Cio-San at the Torino Politeama Chiarella in 1922. While her career was mainly centered in Italy, Tromben toured in North America with the Lombardi Opera Company and appeared as well in South America and Holland. She was Holland’s first and also their first Salome, the latter role having been sung under the composer’s baton. 9196. 4M Edison BA 22456. MADAMA BUTTERFLY: Un bel di (Puccini). OBT. Stkr. on lbl. (in patents area). Rare. Cylinder just about 1-2 except for a rim split that goes into the orchestra introductory chord (and clicks to that point). $50.00. [t] 9160. 4M Edison BA 28242. WENN DIE SCHWALBEN HEIMWARTS ZIEH’N (Abt). With MARIE RAPPOLD [s]. Only form of issue. OBT. Black. Just about 1-2. $60.00. 9159. 4M Edison BA 28243. O SCHÖNE ZEIT, O SEL’GE ZEIT (Goetze). Scarce. As with the item above, the only form of issue. OBT. Orange. Small index sticker on side of box. Just about 1-2. $60.00. 32 CYLINDERS ANTON VAN ROOY [b] 9177. 2M Wax Edison B-10. CARMEN: Chanson du Toréador (Bizet). In French. OBT. Just about 1-2. $75.00.

WILLIAM JENNINGS BRYAN [orator]. Salem, IL, 1860-Dayton, TN, 1925. A fascinating personality, Bryan studied law at Union College in Chicago. He was elected Con- gressman in 1891. Moving up the political ladder quickly, he became a Democratic Presidential candidate in 1896, his Cross of Gold speech having electrified the convention. He was unsuccessful in the national election, losing to McKin- ley, but he ran again in 1900 and 1908, again also losing. In 1913 he was appointed Secretary of State under Woodrow Wilson. One of his most famous trials as a lawyer was his last, in 1925, the Scopes “Monkey” case. Bryan took the prosecution side against John Scopes, a high school biology teacher who had been “accused of violating the state’s Butler Act that made it unlawful to teach evolution. Scopes was found guilty, but the verdict was overturned on a technicality and he was never brought back to trial.” The trial drew national attention. Bryan died in his sleep five days after it concluded. – Internet sources. 9265. 2M Wax Edison 9999. THE RIGHTS OF LABOR (Speech). Recorded for the 1908 Presidential Campaign. OBT. Cylinder in really perfect condition. Just about 1-2. $100.00.

Miss RAY COX [entertainer]. Baton Rouge, LA, 1881 - ? . A star in vaudeville in the early 1900s both in England and the U.S.A., Miss Cox attended high school in Chicago and then Vassar College. Her debut was in Peoria, 1903, and she opened later the same year at Tony Pastor’s in New York City. Her act (songs, stories, imperson- ations) made her a headline attraction. She also appeared as an actress in several Broadway theatrical productions. The Baseball Girl (her only recording, made for Edison in 1909) Miss RAY COX was one of her most popular vaudeville sketches. Miss Cox’s first husband was Henry Cox Fishel. She divorced him and in 1917 wed Harvey James Flint, who was an associate in the Goldwyn Pictures Corporation. 9180. 4M BA Edison 1747. THE BASEBALL GIRL (Sketch). With EDWARD MEEKER (as the Um- pire). OBT. Top a bit worn. Cylinder just about 1-2. $20.00.

MURRAY (or MURRY) K. HILL [comedian]. New York City, 1865-Chicago, 1942. A leading vaude- ville comedian and raconteur active from the late 1890s into the 1930s. 9188. 4M Blue Amberol 2112. A STRING OF LAUGHS (Hill). Repro. orange B & T. Cons. 2. $20.00.

WILLIAM HOWARD TAFT [U.S. President, 1909-13, later U.S. Supreme Court Chief Justice]. Cincinnati, OH, 1857-1930. See also 78 rpm Personality items. 9185. 2M Edison Wax 10002. ROOSEVELT POLICIES (Speech). OBT (sticker on side of box, plain top). Just about 1-2. $100.00. Pres. TAFT standing guard at the White House hotline

33 PATHÉ VERTICALLY CUT DISCS CS=center start (“etched center”), PL=paper label (outside start). All 11½” unless otherwise described.

PAUL ALTHOUSE [t]. Reading, PA, 1889-New York City, 1954. A student of Percy Aldrich and Oscar Saenger, Althouse was the first tenor to sing principal roles at the Met without prior European experience or training. His debut there was in 1913 as Grigory in the New York premiere of Boris Godounov, directed by Toscanini. He left the Met in 1920 and appeared for a few seasons more profitably as a concert singer, but after a visit to Bayreuth he decided to restudy as a Wagnerian tenor. Through the 1930s he was heard in major U.S. houses as a heldentenor, singing Tristan in San Francisco, 1933, and appearing as Siegmund with Flagstad at the Met in 1935 in her American debut as Sieglinde in Die Walküre. He retired in 1941 and taught in New York, his pupils having included , Eleanor Steber and Léopold Simoneau. 2387. 10½” Pathé 67016 [T66607/67072]. THE PIPES OF GORDON’S MEN (Glasgow- Hammond)/GOD BRING YOU SAFELY TO OUR ARMS AGAIN (Gibson-Shaw). Just about 1-2. $12.00.

AMADEO BASSI [t] 2338. CS Pathé 4238/4244. LA BOHÊME: In povertà mia lieta/LA BOHÊME: Chi son (Puccini). Cons. 2. $20.00.

AUGUSTE BOULLIEZ [b]. A Belgian -baritone, his name is spelled variously BOUILLEZ, BOULLIEZ or BOUILLIEZ. He was active in the ‘teens in Belgium, England and the U.S. with the Chicago Opera as well as in New York with various pickup operatic groups. Beecham notes having conducted conducted in Manchester peformances of Boris Godounov in which Bouillez was the Boris. 3985. 10½” PL Grey U.S. 27006 [E66454-1/E66455-1]. LA PÈRE DE LA VICTOIRE (Ganne)/ HYMNE DE MAMELI [FRATELLI D’ITALIA] (Novaro). Small lbl. stkrs. Harmless inner margin BOUILLIEZ singing for the Liberty Bond fund, 1918 broken bump, otherwise cons. 2. $8.00.

EMMA CALVÉ [s] 2382. PL Green No. 3195 [2367/2377]. LES OEIL- LETS [CLAVELITOS] (Valverde)/ COPLAS ANDALUZ [THREE UNACCOMPANIED SPANISH SONGS]. Probably the rarest of Calvé’s Pathés, side one is a very individual interpretation of Valverde’s Clavelitos (which is perhaps why the composer’s name is replaced by “Chanson Populaire” on the label). Side two is of three unaccompanied Spanish folk songs individually announced by Calvé. As the pianist’s only contribution here is a starting chord for the first song, it’s unclear as to what M. Mathé, who is given credit on the label as having harmonized [“harmonisé par”] the pieces, actually did. Gilt on label faded, otherwise cons. 2. $75.00.

LÉON CAMPAGNOLA [t] 1774. PL No. 3173 [2011/2014]. LE BEAU RÊVE (Flégier)/SI VOUS L’AVIEZ COMPRIS (Denza). With violin and piano acc. Small lbl. stkrs., LÉON CAMPAGNOLA as Cavaradossi cons. 2. $15.00.

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EDMOND CLÉMENT [t] Paris, 1867-Nizza, 1928. Among the foremost lyric of his time, Clément made his debut at the Paris Opéra-Comique in 1889 as Vincent in Gounod’s Mireille, subsequently appearing there in many roles, including the leading tenor part in the world premiere of Godard’s La Vivandière (1895). At Monte Carlo he created the principal tenor part in Massenet’s Thérèse, 1907. He was also Fenton in the first performance in France of Verdi’s Falstaff (1894) and Pinkerton in that country’s first Madama Butterfly (1906) His Metropolitan Opera debut was as Massenet’s Werther, 1909. He remained in New York two seasons, choosing to leave as the management wanted him to take over the Italian roles of Alessandro Bonci, who was leaving the Met for a concert tour. Clément had no interest in preparing an entirely new repertoire and accepted a more satisfying offer by the Boston Opera. He was active there two seasons and then in 1913 joined in a very successful concert tour of the U.S. and Canada. His last U.S. visit was as a recitalist in 1921. Clément’s career on the concert stage in France continued unabated through 1927. 3404. PL Pathé No.3098 [2984/2986]. IL NEIGE (Bemberg); BERGÈRE LÉGÈRE (Weckerlin)/ PLAISIR D’AMOUR (Martini). Piano acc. Just about 1-2. $15.00.

ADA CROSSLEY [c]. Tarraville, Australia, 1874- London, 1929. Crossley prepared in Melbourne and made her concert debut there in 1892. She studied further with Santley and Mathilde Marchesi (one of Madame’s few non- soprano pupils), making her mark as a remarkably popular concert singer, particularly in England and America. Crossley is remembered by record collectors as having been the first singer to make American Red Seal Victor Records. 2336. CS SS Pathé 20393. THE LOST CHORD (Sullivan). Cons. 2. $25.00. [bs] 2339. PL 54069 [E-68451-2A]. TWO FOLK SONGS OF LITTLE RUSSIA (Efrem Zimbalist). Just about ADAMO DIDUR 1-2. $15.00. MARY GARDEN [s] 3999. 9” CS Pathé 50088/50091. COMIN’ THRO’ THE RYE/ JOCK O’HAZELDEAN (Scottish Airs). 1903 recordings. Greyish surface but reproduces cleanly. 3-4. $40.00. FRANCO LO GIUDICE [t] 3787. Green PL No.12589 [86833/86834]. IL PICCOLO MARAT: Gran Duett 3o Atto (Mascagni). Two sides. With ANNA SASSONE-SOSTER [s]. LGTS, 2-3. $20.00.

ELVIRA MAGLIULO [s]. , 1880- ? . Her first major success appears to have been at La Scala in 1902 in von Weber’s Euryante. In addition to Portugal and Spain, and possibly the Western U.S. around 1905-06, Magliulo sang in major houses throughout Italy including Naples, Bari, Palermo, Firenze, Venice and Bergamo. She appears to have retired in 1922, singing as her last performance Fedora at ’s Teatro dal Verme. 3849. Blk. PL No.10282 [84392/86340]. LA NAVE ROSSA (Armando Seppilli)/FANCIULLA DEL WEST: Io non son che una povero fanciulla (Puccini). One TB, minor mks., 2. $20.00. MARIA MICHAILOVA [s] 3150. CS Russian Pathé 24032/27393. PARLA! (Arditi)/SERE- NATA (Braga). 1903/1906 recordings. Rare! Just about 1-2. $60.00. ELVIRA MAGLIULO 35 PATHÉ VERTICALLY CUT DISCS ROSALIE MILLER [s]. New York City (?), 1888- 1972. A concert singer active in the New York area in the ‘teens and ‘20s, Miller also occasionally appeared in opera, for example having sung Pamina in the 1925 Baden-Baden Mozart Festival. The same year she also appeared in five recitals in London and fifteen in Paris, as well as in Dresden and Berlin. Earlier, during the seasons of 1918-20, she had been on the Metropolitan Opera roster appearing only on two Sunday evening Concerts. In the first she sang an aria from Hérodiade and the second “Pleurez, mes yeux” from Le Cid, as well both evenings interesting groupings of songs. Miller taught at Juilliard (then the NY Institute of Musical Art), at the opera workshop program of the Henry Street Settlement in NYC and privately from her home on 68th Street. One of her pupils was soprano Anne Bollinger. 2386. 10½” PL 22327 [68 /68280]. MY LOVE IS A MULETEER (di Nogero)/MARION EVELYN COX [c]. MA LITTLE SUNFLOW’R, GOOD NIGHT (Vanderpool). Just about 1-2. $10.00. [s] 3988. PL Grey 54025 [E67165-1]. : Selva opaca (Rossini). Few lightest mks., cons. 2. $12.00. 3986. PL Grey 54030 [E67268-1]. : Gavotte (Massenet). Just about 1-2. $12.00. 3989. PL Grey 54038 [E67 ? ]. UNTIL (Sander- son). In English. Just about 1-2. $15.00. 3987. PL Grey 54043 [E68192-2]. SUOR ANGE- ROSALIE MILLER LICA: Senza Mamma (Puc- cini). Label has misspelled the title as “Sour Angelica”. Farrar was the original Suor Angelica although Muzio was busy the same evening cre- ating the role of Giorgetta in . Just about 1-2. $15.00. 3990. PL Grey 63021 [E66539-1/ E66540-1]. AIDA: Ritorna vincitor (Verdi). Two sides. Just about 1-2. $20.00.

EDMUND RAMBAUD [t] 3788. PL elec. Art-Label No. 7119 [201102/201103]. HÉRODIADE: Air de Jean (Massenet). Two sides. Rare late electric issue. Cons. 2. $20.00.

TITTA RUFFO [b] 2337. CS Pathé 4202/4203. HAM- LET: Brindisi (Thomas)/BAR- BIERE DI SIVIGLIA: Largo al factotum (Rossini). One harmless rub side two, other- MUZIO and DOGGIE ENJOYING A 1920 RADIO BROADCAST wise just about 1-2. $20.00.

TITO SCHIPA [t] 1718. PL Green No.13082 [80853/80855]. AMARILLI (Caccini)/AGNUS DEI (Bizet). Piano acc. Very scarce. Cons. 2. $25.00. 36 EDISON DIAMOND-DISCS SS=early “smooth surface” (laminated, 1912-1915); RC=Edison Re-Creation Paper Label (1921- 1924); ER=Edison Record Paper Label (1924-1929). All others (1915-1920) have various forms of “etched” black centers. All explanatory talks are by Harry E. Humphrey unless otherwise indicated. ALESSANDRO BONCI [t] 2345. SS 83023 [2098-B/2723-B]. SÉRÉNADE (Gounod)/EXPLANATORY TALK. Sung in French. Side one just about 1-2. Side two couple harmless inner area lams., cons. 2. $15.00. LUCREZIA BORI [s] 2342. SS 83003 [2107-B/2102-A]. DON PASQUALE: So anch’io la virtù magica (Donizetti)/ ALESSANDRO BONCI [t]. AIDA: Celeste Aida (Verdi). One cut in first groove side two, not into grooves and scarcely noticeable, otherwise just about 1-2. $25.00 2354. SS 82530 [2230-B/2994-A]. GITANA-CANCIÒN ANDALU- ZA (Serrano)/ EXPLANATORY TALK. Lovely and scarce. Side one cons. 2. Side two rim lam. crk. into grooves about ½” and few other mks. and one small stain, 3. $20.00. 2344. ER 82289 [2229-B/4876-B]. SONNAMBULA: Ah! non LUCREZIA BORI doing a last minute note check credea mirarti (Bellini)/ MARIE SUNDELIUS [s]. CARMEN: Je dis que rien ne m’épouvante (Bizet). IMs. Cons. 2. $15.00. 2355. RC 80102 [2225-A/3022-B]. MALAGUEÑA (Lorenzo Pagans)/CHARLOTTE KIR- WAN [s]. HARK! WHAT I HAVE TO TELL THEE (Haydn). IMs. Cons. 2. $15.00. MARIE DELNA [c] 2402. RC 83036 [2763-B/2999-A]. JOCELYN: Berceuse (Godard)/EXPLANATORY TALK. Cons. 2. $30.00. CARL FLESCH [violinist] 2445. RC elec. 80894 [18326-B/18327-B]. EL PAÑO MORUNO/JOTA (de Falla, arr Kochanski). Very rare, indeed. Both from “Suite popularire Espagnole”. Piano acc. Raymond Bauman. Just about 1-2. $200.00.

ADELAIDE FISCHER [s]. Brooklyn, 1889- ? . A student of Julius W. Meyer, Fischer made her debut in Aeolian Hall, New York City in January, 1915. Apparently shortly before this, her only recording (below) was made. She was a soloist in the U.S. premiere of Mahler’s 8th Symphony with Stokowski and the Philadelphia Orchestra and appeared as soloist with various groups including the Schola Cantorum. On a day’s notice she replaced in the same program she had been scheduled to sing with the Russian Symphony Orchestra. She was also active as a concert and church singer in New York into the 1930s. Fischer was 5’ 3” and very slender, so she said that in being “so small” she always had to “show people what I can do.” 2353. SS 80177 [3336-C/2576-B]. RINALDO: Leave Me to Languish (Händel)/CHRISTINE MILLER [c]. ABIDE WITH ME (Liddle). Few lightest mks., cons. 2. $15.00. JULIA HEINRICH [s] 2340. ER 83046 [4202-C/4563-B]. TROVATORE: Home To Our Mountains (Verdi). With HARDY WILLIAMSON [t] / MARIE RAPPOLD [s], KARL JÖRN [t], ARTHUR MIDDLETON [bs-b]. ATTILA: Praise Ye (Verdi). Cons. 2. $12.00. FRIEDA HEMPEL [s] 2343. ER 82134 [5937-J/5999-F]. THEME AND VARIATIONS (Proch)/EXPLANATORY TALK. Cons. 2. $15.00.

37 PATHÉ VERTICALLY CUT DISCS

HEINRICH HENSEL [t] 2351. SS 82051 [1410-A]. STÄNDCHEN (Schubert). Single-faced. Gen. 2. $35.00. 2352. SS 82061 [1408-A/2726-B]. AUF FLÜGELN DES GESANGES (Mendelssohn)/ EXPLANATORY TALK. Side one just about 1-2. Side two three patinas will click about ¾ through, otherwise cons. 2. $35.00.

UMBERTO MACNEZ [t]. , 1878-1939(?). Macnez sang in several Italian houses, working his way to leading roles, before making his Covent Garden debut in 1910. There he sang the Duke in Rigoletto and Count Almaviva in Il Barbiere di Siviglia. This was followed by appearances at the Costanzi in Rome and a season (1912-13) at the Metropolitan Opera, where he performed eight major roles, including the Met premiere of Offenbach’s Les Contes d’Hoffmann. Despite his critical and popular success, he never again appeared in America, the remainder of his career devoted to Italy and Spain. During the 1916-17 La Scala season, he created the title role in Rabaud’s Marouf with soprano Ninon Vallin. The only issued Macnez records are a few sides for Italian Gramophone in 1909 and one equally rare Edison disc from 1911. 2340. ER 82514 [383-?/987-?]. CAVALLERIA RUSTICANA: Siciliana (Mascagni)/ GIOVANNI POLESE [b]. LINDA DI CHAMOUNIX: Ambo nati in questa valle (Donizetti). Issued prior to the addition of take letters following matrix numbers. Very rare issue. Plays cleanly when checked here, but somewhat scuffy looking. A few half-moon rim laminations side two not into performance. 3. $50.00. SERGEI RACHMANINOFF [pianist and composer] 2384. ER 82187 [6742-C/6744-C]. PRELUDE IN C# MINOR / POLKA DE W. R. (both Rachmaninoff). Label side two autographed by Rach- maninoff. I note at the mo- ment on eBay an album leaf with just Rachmaninoff’s signature as on this label for sale at $1399. Just about 1-2. $300.00. ALBERT SPALDING [violinist] 3034. RC 82154 [5082-B/5759-B]. SOUVENIR (Drdla)/CAPRICE ESPAGNOL (Ketten, arr. Loeffler). Piano acc. André Benoist. Lt. rubs (mostly on rims), 2. $12.00. MAGGIE TEYTE [s] 2349. ER 82205 [6604-A/7503-A]. KASHMIRI SONG (Woodforde- Finden)/ARTHUR MIDDLE- TON [bs-b]. PALE MOON (Logan). Cons. 2. $15.00. [s] 2348. SS 82080 [3501-B/3635-B]. RIGOLETTO: Caro nome A youthful SERGEI RACHMANINOFF (Verdi)/EXPLANATORY TALK. Cons. 2. $15.00. [t] 2350. ER 82294 [4412-A/4867-A]. CARMEN: Romanza del fior (Bizet)/FAUST: Laissez-moi (Gounod). Side two, in French, with ALICE VERLET. Just about 1-2. $15.00. 2346. ER 82335 [4408-A/5025-A]. TRAVIATA: De’ miei bollenti spiriti (Verdi)/PAGLIACCI: Vesti la giubba (Leoncavallo). Few lightest mks., cons. 2. $15.00. EDISON LONG PLAYING RECORD 2347. ER 10005 [12010-B/12011-A]. AMOUREUSE [American Concert Orchestra]; DANSE HONGROISE [Rudy Wiedoeft, Saxophonist]; SERENADE [American Concert Orchestra]/IOLANTHE SELECTIONS (Sodero’s Band); BOHEMIAN GIRL (Edna White, Trumpeter). 2. $35.00. 38

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