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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 farther 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 in my own collection 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 (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. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. These figures do not indicate the “value” of the records but rather the lowest minimum bid I can accept. Some will sell for much more, although bids at any figure from the minimum on up are welcomed and appreciated. To avoid possible tie winning bids (which would otherwise be assigned to the earlier received bid), I’d suggest adding a cents amount to your bid. * * * “Text label on verso.” For a brief period (1912-1914), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or 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. While the grooving is similar (up and down or “hill and dale”), an Edison reproducer and its diamond point would ruin any other needle-cut vertical record. Emerson used the needle cut system early on but cut on a 45 degree angle, supposedly then playable either as a vertical or a lateral record. VINYL PRESSINGS. There are a number of vinyl pressings from various sources in this catalogue, mostly produced originally in extremely limited quantities (estimated from one to twenty). Red vinyl pressings were pressed as tests for the Victor Heritage Series in the late 1940s in quantities of three. The sound quality of vinyls is usually superior to any shellac issues. Those marked 10” (on 12”) are pressings of 10” records (or other smaller sizes) pressed on 12” format (likely because 10” record presses weren’t available). Some collectors will prefer the clean sound of most vinyl pressings, while others are attracted by the lure of original shellac pressings, which of course also provide excellent sound via clean copies. BESSIE ABOTT [s]. 1622. 12” Red GP ’07 Victor 89013. RIGOLETTO: Tutte le feste … Piangi fanciulla (Verdi). With MARIO ANCONA [b]. Excellent copy, few lightest mks. Cons. 2. $15.00. WANDA ACHSEL [s]. Berlin, 1886-Vienna, 1977. Her debut was in the Berlin Summer Opera, 1910, as Elsa in Lohengrin. This was followed by seasons with the Würzburg Stadttheater and the Cologne Opera (1912-1923). From 1923 to 1939 she was a leading artist with the Vienna Opera. Her repertoire included such varied parts as Rosalinda in Die Fledermaus, Mimi, Octavian in Der Rosenkavalier and Marie in Wozzeck. In 1923 Achsel created the title role in the premiere of Fredigundis by Franz Schmidt. She was wed to tenor Hans Clemens, but they divorced in 1933. 4706. 10” Plum PW Czech HMV AM 2181 [BA56-IITI/BA57-I]. KÖNIGSKINDER: Vater, Mutter hier will ich knien (Humperdinck) / ES IST ALLES WIE EIN WUNDER- BARER GARTEN (Max Ast). IMs. Just about 1-2. $12.00. SUZANNE ADAMS [s] 5101. 10” Red French press. London G&T 3293 [2037 nB]. ROMEO ET JULIETTE: Valse (Gounod). Piano acc. Small lbl. scr. Looks gen. 2-3, but while not particularly visible, there are sounding LGTs here and there throughout. $25.00. - 23 - VOCAL 78 rpm Discs LICIA ALBANESE [s] 4321. 10” Red late VdP DA 5391 [OBA4140-II/ OBA4141-I]. MANON LESCAUT: In quelle trine morbide (Puccini) / DICI- TENCELLO VUJE (Falvo). Orch. dir. Dino Oliveri. Early Albanese. Fine pressing. Just about 1-2. $8.00. 1421. 12” Red late RCA Victor 12-3277. BACHIANAS BRASILEIRAS, No. 5 FOR SOPRANO AND EIGHT ‘CELLOS (Villa- Lobos). Two sides. Dir. by LEOPOLD STOKOWSKI. FRANK MILLER [solo cello]. Scarce. $8.00. TOMMASO ALCAIDE [t] 4000. 10” Purple elec. It. Columbia DQ 1138 [WB-3723/WB-3375]. RIGOLETTO: La donna è mobile (Verdi) / MARIA CANIGLIA [s]. TOSCA: Vissi d’arte (Puccini). Excellent PoW pressing. Few lt. mks., cons. 2. $10.00. FRANCES ALDA [s] 4127. 10” Red Vinyl Victor 87096 [B-11151-2]. ROMANCE (Debussy). Rare and beau- TOMMASO ALCAIDE tiful. Just about 1-2. $20.00. 4587. 10” Red Vla 64716. SING ME LOVE’S LULLABY (Morse). Just about 1-2. $7.00. 5071. 10” Red Vla 64779. LADDIE O’ MINE (Krams). Just about 1-2. $7.00. 4579. 10” Red Vla 64960. AN OPEN SECRET (Woodman). Just about 1-2. $7.00. 4715. 10” Red Vla 66036. CARISSIMA (Arthur A. Penn). Just about 1-2. $7.00. 4181. 10” Red Vla 66134. WILLIAM TELL: Selva opaca (Rossini). VrBk. Just about 1-2. $8.00. 4305. 10” Red Orth. Vla 1474. MANON LESCAUT: In quelle trine morbide / MANON LESCAUT: L’ora, o Tirsi (Puccini). Scare original. Just about 1-2. $12.00 4885. 10” White lbl. vinyl acous. Vla mat. B-29491-5. MARTHA: The Last Rose of Summer (Moore-Flotow). Rec. 4 Apr. 1924. Unpublished. Just about 1-2. $25.00. 1598. 12” Red ’08 Pats. “B” plate Vla 88213. OTELLO: Ave Maria (Verdi). Just about 1-2. $10.00. 1599. 12” Red ’08 Pats. Vla 88214. OTELLO: Salce, salce (Verdi). Few lightest mks., cons. 2. $8.00. 1678. 12” Red Vla 88597. MADAMA BUTTERFLY: Tutti i fior (Puccini). With SOPHIE BRASLAU [c]. Just about 1-2. $7.00. 1961. 12” Red Vla 74651. MEFISTOFELE: L’altra notte (Boïto). Cons. 2. $6.00. CESARE ALESSANDRONI [b]. See: CESARE FORMICHI ALEXANDR D. ALEXANDROVICH [t]. See: EVGENI WITTING [t] 1533. 12” White lbl. vinyl HMV 022314 [2765c]. PENSÉE D’AUTOMNE (Massenet). Just about 1-2. $40.00. MARIA DE ALEXANDROWICZ [s]. Varsovie, Poland, 1894 (or 1890)- ? . She studied with Jean de Reszke and made her debut at the Paris Opéra in 1910 as Gilda, also portraying there such roles as Juliette, Ophelia (in Thomas’ Hamlet), Thaïs in 1922 and the following year Tosca. She also appeared at the Monte-Carlo Opera. She is listed as having been Norina in a 1906 performance in Italy of Donizetti’s Don Pasquale under Lorenzo Molajoli. If so, her birthdates above must be off as she would have been quite the prodigy, being either 12 or 16 at the time. 1014. 11” Brown acous. Italian Odeon 110103/110104 [XM ? /XM1545]. I PURITANI: Nel mirarti / I PURITANI: Vieni fra queste braccia (Bellini). With EDGARDO GHER- LINZONI [t]. IMs. One harmless long mk. side one, few lt. rubs. Cons. 2. $25.00. 4248. 10” Red PW elec. Disque Gram. DA 4806 [OG482-II/OG1017-I]. TOSCA: Vissi d’arte / MADAMA BUTTERFLY: Death Scene (both Puccini). Orch. dir. Joseph-Étienne. Szyfer. Few lightest mks., cons. 2. $20.00. - 24 - VOCAL 78 rpm Discs NORMAN ALLIN [bs] 4174. 10” Elec. PW Eng. Columbia DB 492 [WA11141/WA11142]. RICHARD OF TAUNTON DENE / THE CROCODILE (both Traditional). With chorus and piano. Few lightest rubs, cons. 2. $10.00. 1950. 12” acous. Eng. Columbia L1430 [74349/74362]. ASLEEP IN THE DEEP (Petrie) / THE DIVER (Loder). Fine pressing, few minor rubs. Cons. 2. $8.00. GITTA ALPAR [s] 4580. 10” Red PW Parlophon B.48053 [133199-2/133200]. DIE DUBARRY: Heut’ hab’ ich Glück / DIE DUBARRY: Arme kleine Jeanne (Millöcker-Theo Mackeben). Orch. dir. T. Mackeben. Includes orig. text sheet. Just about 1-2. $15.00. ELSA ALSEN [s] 1701. 12” Blk. Viva-Tonal Columbia 50083-D [W98564-2/W98565-1]. TRISTAN UND ISOLDE: Liebestod (Wagner). Two sides. Takes one and two of side two were supposedly issued. Just about 1-2. $8.00. IVAN ALCHEVSKY [t]. Kharkov, Russia, 1876-1917. He studied singing as a youth for enjoyment but entered Kharkov University as a natural sciences major. The bankruptcy and suicide of his father during this period required that he assist his mother and younger sister financially, so he went to St. Petersburg to attempt a career as a singer. Here he sang “The Song of the Indian Guest” for Mme. Abaza, a patroness of the arts and also in the presence of representatives of the Mariinsky Theater. They were so taken by his performance that he was accepted for that major company and made his debut there in 1901 as Gounod’s Faust. During the summers of 1902-1904 he took “study” trips to Paris for work with Jean de Reszke and then with Félia Litvinne. Litvinne recommended him to the Belgium Théâtre de la Monnaie where he was acclaimed as Lohengrin, Raoul (Les Huguenots), Roméo and, with Litvinne, the leading tenor roles in Alceste and Armide. He was applauded for his performances at the Manhattan Opera in New York City, London’s Covent Garden (which included Pique Dame with Battistini and Destinn), the Paris Opéra and most of the major Russian houses.
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