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029I-HMVCX1924XXX-0000A0.Pdf
This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
Enrico Caruso
NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’. -
03-05-2019 Falstaff Eve.Indd
GIUSEPPE VERDI falstaff conductor Opera in three acts Richard Farnes Libretto by Arrigo Boito, based on the production Robert Carsen plays The Merry Wives of Windsor and Henry IV by William Shakespeare set designer Paul Steinberg Tuesday, March 5, 2019 costume designer 7:30–10:10 PM Brigitte Reiffenstuel lighting designers Robert Carsen and Peter Van Praet revival stage director The production of Falstaffwas made possible by Gina Lapinski generous gifts from the Betsy and Ed Cohen/ Areté Foundation Fund for New Productions & Revivals, and Harry and Misook Doolittle Additional funding was received from The Gilbert S. Kahn & John J. Noffo Kahn Foundation, and Mr. and Mrs. William R. Miller The revival of this production is made possible by a gift from Edwin C. Holmer III general manager A co-production of the Metropolitan Opera; Peter Gelb Royal Opera House, Covent Garden, London; the jeanette lerman-neubauer Canadian Opera Company, Toronto; and music director Yannick Nézet-Séguin De Nederlandse Opera, Amsterdam 2018–19 SEASON The 189th Metropolitan Opera performance of GIUSEPPE VERDI’S falstaff conductor Richard Farnes in order of vocal appearance dr. caius fenton Tony Stevenson* Francesco Demuro sir john fal staff ford Ambrogio Maestri Juan Jesús Rodríguez bardolfo Keith Jameson pistol a Richard Bernstein meg page Jennifer Johnson Cano* alice ford Ailyn Pérez mistress quickly Marie-Nicole Lemieux nannet ta Golda Schultz Tuesday, March 5, 2019, 7:30–10:10PM KAREN ALMOND / MET OPERA Ambrogio Maestri Chorus Master Donald Palumbo in the title role of Assistant to the Costume Designer Zeb Lalljee Verdi’s Falstaff Musical Preparation Donna Racik, John Keenan, Dan Saunders, and Jonathan C. -
A Strenuous Operatic Season in New York
A Strenuous Operatic Season in New York cult still, to make the claim of the enor¬ power than any opera or combination of invite«* to the competition then in progresa mous losses suffered the managers due singers, thut the management decided that among American authors and composers The Performances Were Given at Three by lan¬ Metropolitan Company Brought to increase in the cost of it could throw artistic integrity and prom¬ for an original opera in the English giving opera been agree with certain well-known facts. Least ises to the winds, even in the department guage, for which a prize of $10,000 had a in Houses, at Cost of Two of all does it seem wise or righteous to on which it had laid considerable stress In offered by the Metropolitan company Forward Many Novelties and charge this increase to the rapacity of the prospectus. The ballet programme December, 1908. The story of that compe¬ to relate Million Dollars singers, Mr. Grau made money enough in went largely by the board. "Vienna tition and the award I purpose Revived Gluck's "Orfeo" where it can bo the last three or four years of his admin- Waltzes," which had figured in the pre¬ in a subsequent chapter, other ii"-<- istration to retire with a fortune, though liminary announcement, was performed but brought into perspective with vernacular Jean do Reszke at the last cost him as once, and then only because the German dents in the campaign for is as old in New By H. E. KREHBIEL much as Caruso has ever cost the Metro¬ Press Club, which had bargained for it for opera, a campaign that "Orfeo" is the oldest opera in the current panionship with Mascagni's. -
Irving Ritterman Collection of Autographs and Musical Memorabilia
http://oac.cdlib.org/findaid/ark:/13030/kt9m3nd0xq No online items Finding Aid for the Irving Ritterman Collection of Autographs and Musical Memorabilia 1901-1961 Processed by Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2007 The Regents of the University of California. All rights reserved. 112-M 1 Descriptive Summary Title: Irving Ritterman Collection of Autographs and Musical Memorabilia, Date (inclusive): 1901-1961 Collection number: 112-M Creator: Ritterman, Irving Extent: 2 boxes Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: The majority of the collection consists of autographs and autographed photographs of famous composers, conductors, and vocalists from the early 20th century. Language of Material: Collection materials in English Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
Brochure: Madama Butterfly
Madama BU TT E R F L Y Madama Butterfly A glimpse into the Archivio Storico Ricordi 1 Madama Butterfly 1904: A Perfect Perception of Theatre Conversation with Riccardo Chailly page 7 2 Madama Butterfly in the Archivio Storico Ricordi by Maria Pia Ferraris page 13 3 Two distinct Butterflies by Gabriele Dotto page 15 4 One-way Trip to Japan by Vittoria Crespi Morbio page 23 Greeting At an international media company like Bertelsmann, the ideas and creativity of our artists, writers and journalists form the heart of our value creation. They are the ones who constantly reinvent our offers by continuing to tell new sto- ries, every day, that inform, entertain and inspire people. In this brochure, we tell you the story of Puccini’s Madama Butterfly and its connection to the treasure trove of the world-famous Ricordi Archive. Like Puccini, Ricordi is a name of great resonance – in Italy, throughout the music world, and also at Bertelsmann. The Archivio Storico Ricordi in Milan, which provides near-com- plete documentation of the rise of the music publisher Casa Ricordi and today gives us unique insights into the world of opera, is regarded as the most important privately- owned collection of Italian opera history. Bertelsmann acquired Casa Ricordi in 1994, but later relinquished most of the company again. However, the associated Archivio Storico Ricordi remained part of Bertelsmann. For us, the extraordinary scope of the collection and its outstand- ing importance for the history of Italian opera were more than reason enough to safeguard the many thousands of scores, libretti, letters, and photographs and preserve them for posterity. -
Tosca-Programme-2015.Pdf
An opera in three acts by Giacomo Puccini. Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou. Tosca was first performed on 14 January 1900 at Teatro Constanzi in Rome. The Puccini ― 1900 performance lasts approximately 2 hours and 15 minutes, including an interval of 20 minutes. Sung in Italian with English surtitles. A New Zealand Opera production. AUCKLAND ASB Theatre, Aotea Centre 17, 19, 23, 25 September 2015, 7.30pm 27 September, 2.30pm Accompanied by the Auckland Philharmonia Orchestra WELLINGTON St James Theatre 10, 15, 17 October 2015, 7.30pm 13 October, 6pm Accompanied by the New Zealand Symphony Orchestra 2015 season P.3 Welcome Welcome to New Zealand Opera’s second Auckland and Wellington offering for the year … Puccini’s monumentalTosca . Whose spine doesn’t tingle to the opening chords of this glorious melodrama? The great Russian composer Shostakovich said of Puccini: “He wrote marvellous operas but dreadful music”. Lucky for us Puccini never pretended to do anything else. Towards the end of his life he said God had touched him with His little finger and said “Write only for the theatre” and so he did. Puccini has been responsible for more real, and yet theatrical ‘heart on the sleeve’ emotion than any other operatic composer. And his Tosca is the opera that conquered the world. This passionate story of lust, revenge and sacrifice has become one of the most loved operas in the repertoire. Tosca is the fire that burns throughout this musical thriller. She is the ultimate Diva. To bring this lady to life we are thrilled to welcome Orla Boylan, who stunned audiences in our 2013 season of The Flying Dutchman. -
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. -
Volume 28, Number 01 (January 1910) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1910 Volume 28, Number 01 (January 1910) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 28, Number 01 (January 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/554 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ew Publications THE ETUDE Musical Kindergarten The Very First Pieces Melodic Studies TO OUR READERS THE EDITOR’S COLUMN for the PIANOFORTE For Equalization of the Hands Mpfhnrf SOME NEW YEAR RESOLUTIONS. KINDLY ADDRESS YOUR MAIL . 1UCUIUU Price C nt5 for the Pianoforte The publisher resolves: To make the PROPERLY. For the Nursery &nd the Gl&ss Room 1 gy ^ sartorio numbers of The Etude for 1910 even better In sending letters to The Etude it is highly A MONTHLY JOURNAL FOR THE MUSICIAN, THE than those for 1909. To the skeptical we important that they should be addressee MUSIC STUDENT, AND ALL MUSIC LOVERS. would say that The Etude has never failed to simply thus: Edited by JAMES FRANCIS COOKE “make good” its promises during the entire Theodore Presser Co., Subscription,.$1.50 per year. -
03-16-2019 Falstaff Mat.Indd
Synopsis Act I In and around Royal Windsor, England. Dr. Caius bursts into Sir John Falstaff’s room in the Garter Inn, accusing him of unseemly behavior the previous night. He further accuses Falstaff’s two henchmen, Bardolfo and Pistola, of having robbed him while he was drunk. Falstaff contemplates the large bill that he has run up. He informs Bardolfo and Pistola that, in order to repair his finances, he plans to seduce Alice Ford and Meg Page, both wives of prosperous Windsor citizens. When the men refuse to deliver the letters that Falstaff has written to the two ladies, he ridicules their newly discovered sense of honor, before throwing them both out. Alice and Meg laugh over the identical love letters that they have received from Falstaff. They share their amusement with Alice’s daughter Nannetta and their friend Mistress Quickly. Ford arrives, followed by four men all proffering advice: Dr. Caius, whom Ford favors as Nannetta’s future husband; Bardolfo and Pistola, who are now seeking advantageous employment from Ford; and Fenton, who is in love with Nannetta. When Ford learns of Falstaff’s plan to seduce his wife, he immediately becomes jealous. While Alice and Meg plan how to take revenge on their importunate suitor, Ford decides to disguise himself in order to pay a visit to Falstaff. Unnoticed in the midst of all the commotion, Nannetta and Fenton manage to steal a few precious moments together. Act II Feigning penitence, Bardolfo and Pistola rejoin Falstaff’s service. They show in Quickly, who informs Falstaff that both Alice and Meg are madly in love with him. -
Milton Cross Born in Manhattan on 16 April 1897, Milton Cross Was One of Radio’S First Full- Time Announcers, and Remained So Until His Death on 3 January 1975
1 Milton Cross Born in Manhattan on 16 April 1897, Milton Cross was one of radio’s first full- time announcers, and remained so until his death on 3 January 1975. His association with the Saturday afternoon radio broadcasts of the Metropolitan Opera’s matinee performances began literally with the first such broadcast: a performance of Hänsel and Gretel that aired on Christmas afternoon, December 25, 1931. Although Christmas Day fell on a Friday that year, the National Broadcasting Company decided to continue broadcasting Metropolitan Opera performances over its Blue Network (which later became the American Broadcasting Company, the corporate name of the ABC network) every Saturday afternoon, a holiday from work for most American men and women. In addition to his 43 consecutive seasons as radio’s Voice of the Metropolitan Opera,” Milton Cross served as an announcer for a variety of other radio programs including “The Magic Key of RCA” (a music program sponsored by RCA Victor), “Information Please” (an early quiz show), “Coast to Coast on a Bus” (a children’s show featuring child performers), and “The Chamber Music Society of Lower Basin Street” (a highly popular jazz-and-blues program). He also narrated a number of film shorts (five- to fifteen-minute sound films that were shown between feature films in movie theaters), as well as educational and entertainment recordings for children, including “Peter and the Wolf” (Musicraft Records, 1949) and “The Magic of Music” (Cabot Records, 1964). Were either of your parents, or any of your siblings, involved in music? Not professionally, no. My father, Robert Cross, and my mother, Margret, who was called “Maggie” within the family, had six children, and I was the fifth of their brood of six.