DOCSLIB.ORG

THIS DOCUMENT IS COMPILED by ROBERT JOHANNESSON, Fader

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THIS DOCUMENT IS COMPILED by ROBERT JOHANNESSON, Fader THIS DOCUMENT IS COMPILED BY ROBERT JOHANNESSON, Fader Gunnars väg 11, S-291 65 Kristianstad, Sweden and published on my website www.78opera.com It is a very hard work for me to compile it (as a hobby), so if you take information from it, mention my website, please! The discographies will be updated about four times a year. Additions and completitions are always welcome! Contact me: [email protected] TABANELLI, Pedro 1885, Torino – 1956, 3/2, Cordoba, Artgentina. Tenor. Debut 1914 Buenos Aires. Fonografia Nazionale, Milano 1042 Madama Butterfly (Puccini): Bimba dagli occhi pieni (w. Agostinelli) D1042 1043 Madama Butterfly (Puccini): Vogliatemi bene (w. Agostinelli) D1043 1044 Madama Butterfly (Puccini): Via dall'anima in pena (w. Agostinelli) D1044 4611 Faust (Gounod): Tardi si fa (w. Agostinelli) C4611 4612 Faust (Gounod): Sempre amar (w. Agostinelli) C4612 (Agostinelli was Tabanelli's wife.) TABUYO, Ignazio 1863, Renteria - 1947, San Sebastian. Baritone. Debut 1888 Brescia. Societa Fonografica Española, date? Tannhäuser (Wagner): Aria della stella Falstaff (Verdi): Quand'ero paggio Africaine (Meyerbeer): Ballata Africaine (Meyerbeer): Aria, act 2 Hamlet (Thomas): Brindisi Roi de Lahore (Massenet): O casto fior Favorita (Donizetti): Aria Puritani (Bellini): Aria Apri (Tosti) O meus amores Vous êtes si jolie Guernikako Arbola (Iparraguirre) Charmangarria Nere Andrea Nere Amao Balegui Egun batiam loyolan Ume eder bat Adios (Iparraguirre) Gramophone, Madrid 1911-11-16 1537ah Dulce sôno, Canción gallega (Tabuyo) 3-62011 1538ah D'aqui vexo os seus campos, Melodia gallega (Tabuyo) 3-62012 1539ah Nere Amao Balegui (Iparraguirre) 3-62212, AG150 Gramophone, Madrid 1911-11-20 1573ah Mi pobre reja, Canción andaluza (Tabuyo) 262096 1574ah Nere Andrea (XXIa)(Echevarria y Guirnón), Canción vascongada 3-62213, AG150 1575ah Egun Catian Loyolan de Echevarria y Guirnón, Zortzico 3-62214, AE760 Gramophone, Madrid 1911-11-23 1590ah El Panuelo Rojo, Zortzico a Bilbao (Tabuyo) 3-62216 1591ah Laurak - Bat, Zortzico (Larreyla) 3-62240 1592ah Adio Euskal Errari, Zortzico (Iparraguirre) 3-62217, AG149 1593ah As i son Aonos, Canción (Tabuyo) 3-62218, AG149 1594ah Guernikako Arbola (Iparraguirre), en Castellano y en Vascuence 3-62215, AE760 TACCANI, Giuseppe 1882 (1885?), Milano – 1959, 10/5, Milano. Tenor. Debut 1904 Lecco. Fonotipia, Milano 1907-01-23 - XPh2354 Andrea Chénier (Giordano): Un dì all'azzurro spazio (Improvviso) unpubl - XPh2354-2 d:o unpubl Fonotipia, Milano 1907-01-24 1. XPh2361 Germania (Franchetti): Studenti! Udite, o voi 39998 2. XPh2362 Pagliacci (Leoncavallo): Recitar!... Vesti la giubba 39997 Fonotipia, Milano 1907-03-21 - XPh2521 Aida (Verdi): Pur ti riveggo (w. de Macchi) unpubl - XPh2522 Aida (Verdi): Fuggiam gli ardori inospiti (w. de Macchi) unpubl 3. XPh2523 Germania (Franchetti): No, non chiuder gli occhi' vaghi 62100 G&T, Milano 1907 4. 10628b Albatro (Pacchierotti): Romanza di Erik (orch: Pacchierotti) 2-52591, X-92402, Vic 52505 5. 10629b Albatro (Pacchierotti): Serenata interna di Erik (orch: Pacchierotti) 2-52590, X-92401 6. 10635b Hermes (Parelli): Miriam, fa core (orch: Parelli) (CR) 2-52588, Vic 52503 7. 10637b Hermes (Parelli): Se alcuna tregua (orch: Parelli) (CR) 2-52589, Vic 52504 8. 10672b Jana (Virgilio): Sì, dannato morrò (orch: Virgilio) 2-52587, X-92397, Vic 52502 9. 1247c Albatro (Pacchierotti): L'albatro teco (w. Melis) (orch: Pacchierotti) 054136, Vic 58389 10. 1253c Hermes (Parelli): Si, io t'amo (w. Melis) (orch: Parelli) (CR) 054138, Vic 58387, 68307 11. 1254c Hermes (Parelli): Finale ultimo (w. Giacomelli & Cigada) (orch: Parelli) (CR) 054140 12. 1255c Albatro (Pacchierotti): La fata sei (w. Melis) (orch: Pacchierotti) 054137, Vic 58388 13. 1266c Jana (Virgilio): Geddu alla triste casa (w. Melis) (orch: Virgilio) 054139, Vic 58390 Fonotipia, Milano 1909-06-01 - XPh3868 Andrea Chénier (Giordano): Colpito qui m'avete (Improvviso) unpubl (Xph3869 is Amato) 14. XPh3870 Manon Lescaut (Puccini): Ah! Manon, mi tradisce 92491 (XPh3871 is Amato) - XPh3872 Tosca (Puccini): Recondita armonia unpubl Fonotipia, Milano 1909-06-02 15. XPh3873 Pagliacci (Leoncavallo): No, Pagliaccio non son! 92490 (XPh3874 is Amato) 16. XPh3875 Manon Lescaut (Puccini): Guardate! pazzo son' io (w. Amato) 92492 17. XPh3876 Forza del destino (Verdi): Le minaccie (w. Amato) 92495 18. XPh3877 Forza del destino (Verdi): Se I rimorsi (w. Amato) 92496 Fonotipia, Milano 1909-06-04 19. XPh3883 Germania (Franchetti): Syudenti! Udite, o voi 92493 20. XPh3884 Germania (Franchetti): No, non chiuder gli occhi vaghi 92494 21. XPh3888 Pagliacci (Leoncavallo): Vesti la giubba 92489 Edison 2-min cylinders, 1912? - 44604 Mefistofele (Boito): Giunto sul passo estremo test, unpubl HMV, Milano 1921-05-23 - CA7-1 Ernani (Verdi): O sommo Carlo (w. Battistini, de Witt & chorus) unpubl 22. CA7-2 d:o 2-054118, (2-052205), DB216, Vic 89135, 8037 Columbia, Milano 1924/1925 (ac) B625 Lucia di Lammermoor (Donizetti): Hai tradito il ciel D5362 B626 Bohème (Puccini): Che gelida manina D5304 B628 Trovatore (Verdi): Di quella pira D5361 B639 Fanciulla del West (Puccini): Or son sei mesi D5363 B640? (Marcocci) Fanciulla del West (Puccini): Ch'ella mi creda D5363 B640? (Sergio) Carmen (Bizet): Romanza del fiore D5362 B641 Manon Lescaut (Puccini): Donna non vidi mai D5364 B646 Trovatore (Verdi): Ah! Si ben mio D5361 Columbia, Milano 1927-09? WB1549 Guglielmo Ratcliff (Mascagni): Ombra escorata D12278 WB1550 Silvano (Mascagni): S'è spento il sol D12278 WBX163 Carmen (Bizet): Duetto finale act 4, parte finale (w. Capuana) D18043 Columbia, Milano 1928 - WB1976-1 Trovatore (Verdi): Di quella pira unpubl WB1976-2 d:o 1958-M - WB1977-1 Trovatore (Verdi): Deserto sulla terra unpubl WB1977-2 d:o 1958-M WBX273 Carmen (Bizet): Duetto finale act 4, pt 2 (w. Capuana) CQX16554 WBX275 Carmen (Bizet): Duetto finale act 4, pt 1 (w. Capuana) CQX16554 WBX277 Guglielmo Ratcliff (Mascagni): Quando fanciulla ancora D14464 WBX279 Guglielmo Ratcliff (Mascagni): Come avvenisse non so D14464 WBX282 Andrea Chénier (Giordano): Improvviso D14466 WBX283 Gioconda (Ponchielli): Cielo e mar D14466 TADDEI, Giuseppe 1916, 26/6, Genova - Baritone. Debut 1936 Roma. HMV, Milano 1941-11? 2BA4791-1 Andrea Chénier (Giordano): Per stasera pazienza! (w. Caniglia, Simio- nato & Zagonara) unpubl 2BA4791-2 d:o DB5424 2BA4795-1 Andrea Chénier (Giordano): Passiam la sera allegramente (w. Zago- nara) unpubl 2BA4795-2 d:o unpubl 2BA4795-3 d:o unpubl 2BA4795-4 d:o DB5424 2BA4796-1 Andrea Chénier (Giordano): Signor, Chénier... (w. Simionato, Gigli, Zagonara & Caniglia) unpubl 2BA4796-2 d:o DB5425 2BA4811- Andrea Chénier (Giordano): Gravier de Vergennes... Si fui soldato (w. Conti, Bechi, Caniglia & Gigli) DB5433 2BA4812-1 Andrea Chénier (Giordano): Udiamo! Testimoni (w. Conti, Bechi, Ca- niglia & Gigli) unpubl 2BA4812-2 d:o DB5433 Cetra, Torino 1955-03-17 11634 Fanciulla del West (Puccini): Minnie della mia casas AT0403?? (wrong number) 11635 Falstaff (Verdi): L'onore AT0403 (55-03-15) 11636 Don Giovanni (Mozart): Deh, vieni alla finestra AT0403 (55-03-15) 11637 Guillaume Tell (Rossini): Resta immobile AT0403?? (wrong number) TAFURO, Franco 1891, Lecce - 1943. Tenor. Debut 1912 Palermo. Excelsius Record 25M/1208 Andrea Chénier (Giordano): Improvviso, pt 1 M7231 25M/1209 d:o, pt 2 M7231 TAGGART, Jenny Soprano. Pathé, London 1910? 78740 Tom Jones (German): Waltz song 78740 78741 Il bacio (Arditi) 78741 78742 April morn (Batten) 78742 78752 Faust (Gounod): Jewel song 78752 HMV, London 1911-01-25 ab13145e Cam’ ye by Atholl? (trad) 3876 ab13146e d:o unpubl ab13147e Jock o’ Hazledean (-) unpubl ab13148e d:o unpubl ab13149e My heart is sair for somebody (-) 3895 ab13150e Coming through the rye (trad) 3878, B333 ab13151e O whistle and I’ll come tae ye my lad (trad) unpubl ac4766f Angus MacDonald (Roeckel) test, unpubl HMV, London 1911-02-27 y13263e O whistle and I’ll come tae ye my lad (arr Bruce) 3877 z4833f Angus MacDonald (Roeckel) unpubl z4834f d:o unpubl TAGLIABUE, Carlo 1898, 13/1, Mariano Comense – 1978, 5/4, Monza. Baritone. Debut 1922 Lodi. Fonografia Nazionale, Milano 1925? (ac) HMV, Milano 1933-04-18 2M1291-1 Mistica (Tirindelli) S10429 (102-839) Cetra, 1937-10-21 2-70068 Rigoletto (Verdi): Pari siamo! CB20217 Cetra, 1939-07-19 2-70269 Rigoletto (Verdi): Pari siamo BB25064, Pol 67769 2-70270 Trovatore (Verdi): Il balen BB25051, CB20198, CC2155, Pol 67831, Parl-Od R30031 2-70271 Pagliacci (Leoncavallo): Prologo BB25064, Pol 67769 2-70272 Ballo in maschera (Verdi): Eri tu? BB25051, CB20198, CC2155, Pol 67831 Cetra, 1941-05-21 2-70566 Forza del destino (Verdi): Morir tremenda cosa unpubl 2-70566-2 d:o CB20114 Cetra, 1941-05 2-70568 Forza del destino (Verdi): In nomine Patris et filii (w. Caniglia, Stig- nani, Nessi & Caselli) CB20107 2-70569 Forza del destino (Verdi): Viva la buona campagnia!... Son pereda (w. Stignani, Nessi & Caselli) CB20108 2-70570 Forza del destino (Verdi): Là e dovunque narrár... Sta bene (w. Stig- nani, Nessi & Caselli) CB20108 2-70575 Forza del destino (Verdi): Padre eterno, Signor (w. Caniglia, Stignani, Nessi & Caselli) unpubl 2-70575-2 d:o CB20107 Cetra, 1941-05-24 2-70576 Forza del destino (Verdi): E s'altra prova... Egli è salvo! CB20115 Cetra, 1941-05-25 2-70580 Forza del destino (Verdi): Al tradimento... Amici in vita... All'armi! (w. Masini & Dominici) CB20113 Cetra, 1941-05 2-70583 Forza del destino (Verdi): Piano qui posi... approntisi il mio letto (w. Masini & Dominici) unpubl Cetra, 1941-05-26 2-70584 Forza del destino (Verdi): Fratello... Don Carlo voi vivente (w. Masini)
Load more

Recommended publications
  • THE POETIC MUSE: GOETHE, SCHUBERT and the ART of SONG Lorraine Byrne Bodley Anyone Who Ventures Into the Vast Regions of The
    THE POETIC MUSE: GOETHE, SCHUBERT AND THE ART OF SONG Lorraine Byrne Bodley Anyone who ventures into the vast regions of the 19th-century Lied meets a powerful presence almost immediately. Time and again the text is by Goethe, whose lyric imagination left an indomitable imprint on European music history. Even a cursory glance at Friedlaender’s Das deutsche Lied bears testimony to multiple settings of Goethe’s poems and the range and variety of this abundant repertoire is immediately striking. Ernst Challier’s Grosser Lieder-Katalog gives further evidence of the musicality of Goethe’s language and its location of meaning at the cradle of the Lied. Schubert’s first masterpiece, ‘Gretchen am Spinnrade’, was a setting of a dramatic scene from Goethe’s Faust. The earliest songs of Reichardt, Spohr, Loewe, Brahms and Wagner were to texts by Goethe, which raises the question as to the reasons for the poet’s influence. Yes, Goethe was a supreme lyric poet. The binding force of form and meaning, or rhythm and sense, that characterizes Goethe’s lyric poetry offered composers a wealth of material with which to cut their compositional cloth. Yes, Goethe was an object of admiration, even veneration, throughout the 19th century and the sheer quantity and variety of music his poetry has inspired signals the huge fascination exerted by his writing and his personality. Yet the steadfastness of his occupancy of the Lied goes beyond these explanations. Deeper currents must explain why Goethe’s poetry goes hand in glove in our musical heritage. From the time he burst onto the literary scene with the publication of Die Leiden des jungen Werther in 1774 until long after his death in 1832, Goethe was a catalyst for many composers who wanted to challenge what song could be.
    [Show full text]
  • A Psychoanalytic Reading of the Character Mignon on Her Journey Through Nineteenth Century Lieder
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro ALBERT, ANNE E., D.M.A. Fragments: A Psychoanalytic Reading of the Character Mignon on Her Journey Through Nineteenth Century Lieder. (2009) Directed by Dr. Robert Wells. 58pp. The songs of Mignon from Goethe’s novel Wilhelm Meister’s Apprenticeship (Wilhelm Meisters Lehrjahre) have been set hundreds of times by dozens of composers from the late 18th century onward. Though most frequently set by composers from the German School, Mignon’s songs have also been popular with many non-Germans including works by French, Russian, and Italian composers. Mignon’s mysterious persona has long fascinated song composers and many have been compelled to set her songs multiple times. The purpose of this study is to explore the character of Mignon from Goethe’s novel, Wilhelm Meister’s Apprenticeship through the lens of a psychoanalytic literary critic. I will examine six different composer’s settings of Mignon’s first song in the novel, “Kennst du das Land?” in order to understand how each composer portrays her character differently as seen through their unique compositional styles, their own psychology, and the style periods in which they wrote. The method of literary criticism applied to the song settings becomes psychoanalytic reader-response criticism as we move from merely analyzing Goethe’s depiction of Mignon to each composer’s depiction and reception of Goethe’s character in addition to our own reception of that persona. One of the goals of this research is to show how Mignon’s character is transformed as she makes her way through history in the development of Lieder.
    [Show full text]
  • THIS DOCUMENT IS COMPILED by ROBERT JOHANNESSON, Fader
    THIS DOCUMENT IS COMPILED BY ROBERT JOHANNESSON, Fader Gunnars väg 11, S-291 65 Kristianstad, Sweden and published on my website www.78opera.com It is a very hard work for me to compile it (as a hobby), so if you take information from it, mention my website, please! The discographies will be updated about four times a year. Additions and completitions are always welcome! Contact me: [email protected] SAABYE, Christian F. 1875, 13/8 – 1954, 18/5. Baritone. Pathé, 1905/1906 17264 Nærmere Gud til dig (Mason) 17264 17265 Vi vil os et land (Sinding) (?) 17265 17266 Sønner af Norge (?) 17266 17267 Jeg vil værge mit land (Tischendorf) 17267 17268 Husmandssang 17268 17269 Eg elskar dei voggande toner (Lepsøe) 17269 17270 Millom bakkar og berg utmed havet (Lindeman) 17270 17271 Jerusalem (Adams) 17271 17272 Lover den Herre 17272 17273 Kirken den er et gammelt hus 17273 Pathé, 1909? (many remakes) 17264 Nærmere Gud til dig (Mason) 17264 17265 Vi vil os et land (Sinding) 17265 17266 Sønner af Norge 17266 17267 Jeg vil værge mit land (Tischendorf) 17267 17268 Ja vi elsker (Nordraak) 17268 17269 Eg elskar dei voggande toner (Lepsøe) 17269 17270 Millom bakkar og berg utmed havet (Lindeman) 17270 17272 Lover den Herre 17272 17273 Kirken den er et gammelt hus 17273 17274 Glade jul (Gruber) 17274 17275 Jeg synger julekvad (In dulci jubilo) 17275 17276 Vor Gud har er saa fast en borg (Luther) 17276 17277 Mens Nordhavet bruser 17277 17278 Hvor herligt er mit fødeland 17278 17298 Gluntarne (Wennerberg): Här är gudagodt att vara (w.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • 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 the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time 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. * * * 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 with a translation 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 recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • Revisiting Zero Hour 1945
    REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs.
    [Show full text]
  • Hitler's Germania: Propaganda Writ in Stone
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
    Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor;
    [Show full text]
  • ARSC Journal
    THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued.
    [Show full text]
  • Guglielmo Ratcliff (Act III, Sc. 2, Intermezzo: Radcliffe's Dream): Full
    Guglielmo Ratcliff (Act III, Sc. 2, Intermezzo: Radcliffe's Dream): Full Score (Qty 2) [A5509] Epub Downloads • All Kalmus Orchestra Library items (except "Study Scores" and "Vocal Scores") are large-format (either 10x13 or 9x12 inches) printed on high-quality offset stock. Individual parts and sets do not come with covers and are normally saddle-stitched or sewn.• Work: Guglielmo Ratcliff• Subsection/Subtitle: Act III, Sc. 2, Intermezzo: Radcliffe's Dream• Item Description: Full Score• Composer: Pietro Mascagni• Quantity: 2 copies• PML SKU: 03266-001• Publisher: E.F.Kalmus (Kalmus Orchestra Library)• Work Instrumentation: 2+1, 2+1, 0+2bssthn, 2+1 - 4, 3, 3, 1, timp, perc, 2hp, str Series: Kalmus Orchestra Library (Book 5509) Sheet music Publisher: E.F.Kalmus (1933) ASIN: B00UJ1NHAK Shipping Weight: 2 pounds Average Customer Review: Be the first to review this item Best Sellers Rank: #12,629,225 in Books (See Top 100 in Books) #21 in Books > Humor & Entertainment > Sheet Music & Scores > Composers > Mascagni #3223 in Books > Humor & Entertainment > Sheet Music & Scores > Historical Period > Late Romantic #148150 in Books > Arts & Photography > Music > Songbooks • All Kalmus Orchestra Library items (except "Study Scores" and "Vocal Scores") are large-format (either 10x13 or 9x12 inches) printed on high-quality offset stock. Individual parts and sets do not come with covers and are normally saddle-stitched or sewn.• Work: Guglielmo Ratcliff• Subsection/Subtitle: Act III, Sc.
    [Show full text]
  • [T] IMRE PALLÓ
    VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. 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.
    [Show full text]