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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. -
Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms. -
Il Trovatore
Synopsis Act I: The Duel Count di Luna is obsessed with Leonora, a young noblewoman in the queen’s service, who does not return his love. Outside the royal residence, his soldiers keep watch at night. They have heard an unknown troubadour serenading Leonora, and the jealous count is determined to capture and punish him. To keep his troops awake, the captain, Ferrando, recounts the terrible story of a gypsy woman who was burned at the stake years ago for bewitching the count’s infant brother. The gypsy’s daughter then took revenge by kidnapping the boy and throwing him into the flames where her mother had died. The charred skeleton of a baby was discovered there, and di Luna’s father died of grief soon after. The gypsy’s daughter disappeared without a trace, but di Luna has sworn to find her. In the palace gardens, Leonora confides in her companion Ines that she is in love with a mysterious man she met before the outbreak of the war and that he is the troubadour who serenades her each night. After they have left, Count di Luna appears, looking for Leonora. When she hears the troubadour’s song in the darkness, Leonora rushes out to greet her beloved but mistakenly embraces di Luna. The troubadour reveals his true identity: He is Manrico, leader of the partisan rebel forces. Furious, the count challenges him to fight to the death. Act II: The Gypsy During the duel, Manrico overpowered the count, but some instinct stopped him from killing his rival. The war has raged on. -
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. -
110266 Bk Gigli5 EU 19/05/2004 01:53Pm Page 5
110266 bk Gigli5 EU 19/05/2004 01:53pm Page 5 BIZET: Les pêcheurs de perles: 6 Tu che a Dio spiegasti l’ali (Act 3) 4:27 VERDI: Rigoletto: THOMAS: Mignon: ADD 1 Del tempio al limitar (Act 1) 4:27 Ezio Pinza, bass; Metropolitan Opera Chorus ! Bella figlia dell’amore (Act 3) 4:12 % Ah, non credevi tu (Act 3) 4:04 THE GIGLI EDITION • 5 Giuseppe De Luca, baritone Recorded 12th December 1927 Amelita Galli-Curci, soprano; Recorded 30th November 1928 8.110266 Recorded 28th November 1927 in Liederkranz Hall, New York Louise Homer, contralto; at 16 West 64th Street, New York in Liederkranz Hall, New York Matrix: CVE-41226-1 Giuseppe De Luca, baritone Matrix: CVE-45121-3 Matrix: CVE-41071-2 First issued on Victor 8096 Recorded 16th December 1927 First issued on Victor 6905 First issued on Victor 8084 in Liederkranz Hall, New York 7 Tombe degl’avi miei (Act 3) 4:46 Matrix: CVE-41233-1 ^ Addio, Mignon, fa core (Act 2) 3:07 PONCHIELLI: La Gioconda: Recorded 12th December 1927 First issued on Victor 10012 Recorded 30th November 1928 Beniamino 2 Enzo Grimaldo, Principe di Santafior! 4:30 in Liederkranz Hall, New York at 16 West 64th Street, New York (Act 1) Matrix: CVE-41227-2 VERDI: Rigoletto Matrix: CVE-45119-4 Giuseppe De Luca, baritone Unpublished on 78 rpm @ Bella figlia dell’amore (Act 3) 4:26 First issued on Victor 6905 GIGLI Recorded 28th November 1927 8 Giusto cielo, rispondete (Act 3) 3:54 Amelita Galli-Curci, soprano; in Liederkranz Hall, New York Ezio Pinza, bass; Metropolitan Opera Chorus Louise Homer, contralto; MEYERBEER: L’africaine: -
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’. -
10-06-2018 Aida Mat.Indd
Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead. -
Eljnral Mtttntt £>*Rt?0 3
UNIVERSITY- MUSICAL-SOCIETY (Eljnral Mtttntt £>*rt?0 3 Forty-Seventh Season Seventh Concert Vo* ?S —————No. CCCCXXXXII Complete Series — p « Detroit Symphony Orchestra •* OSSIP GABRILOWITSCH, Conducting •HUl Aufcttnrtam. Atm Arbor, IHirtjigan /^ MONDAY, MARCH 8, 1926, AT EIGHT O'CLOCK PROGRAM J| as Overture to the Opera "Oberon" Weber Fifth Symphony in C minor, Op. 67 Beethoven Allegro con brio Andante con moto 8$ Allegro (Scherzo); Trio Allegro Prelude and Love Death from the Opera "Tristan and Isolde"... Wagner <*§ Capriccio Espagnol, Op. 34 Rimsky-Korsakov J§i Alborada Jj£$ Variazioni Rfo Alborada j*g Scena e conto gitano c™ Fandango asturiano 85 (OVER) $£ raffftfft K^ AR Sa ON G A'VITA'BREVI S j ^^5^t^«^^5 THIRTY-THIRD ANNUAL MAY FESTIVAL EARL V. MOORE, Musical Director Six Concerts Four Days May 19, 20, 21, 22 ARTISTS, ORGANIZATIONS, AND PROGRAMS (Subject to Change) First Concert—Wednesday Evening, May 19 SOLOISTS LOUISE HOMER Contralto Metropolitan and Chicago Civic Operas CHICAGO SYMPHONY ORCHESTRA Frederick Stock, Conductor PROGRAM OVERTURE, "Im Fruhling" Goldmark ARIA MMU. HOMSR SYMPHONY IN B MINOR Chausson Intermission ARIA MME. HOMER "THE PLANETS" .Hoist ARIA MME. HOMER DANCES FROM "PRINCE IGOR" Bbrodine Second Concert—Thursday Evening, May 20 SOLOISTS MARIE SUNDELIUS Soprano Metropolitan Opera JEANNE LAVAL Contralto American Oratorio Singer CHARLES STRATTON Tenor Distinguished American Artist THEODORE HARRISON Baritone Authoratative "Elijah" UNIVERSITY CHORAL UNION ) _ . ,7 „ r , . CHICAGO SYMPHONY ORCHESTRA f hMl W' Moore> Conductor PROGRAM ELIJAH Mendelssohn An Oratorio with words from Holy Script CAST Theodore Harrison Elijah Marie Sundelius The Widow Charles Stratton Obadiah Jeanne Laval An Angel Third Concert—Friday Afternoon, May 21 SOLOISTS ALBERT SPAULDING Violinist CHILDREN'S FESTIVAL CHORUS J. -
Sidney Homer, Song Composer
The Woman's College of The University of North Carolina LIBRARY C-9 „ COLLEGE COLLECTION Gift of 1 SIDNEY HOKKR, SCO COMPOSER Dorothy T. McDonald ' '/-'/ A Thesis Submitted to the Faculty of the Graduate School at The Woman's College of the University of North Carolina in Partial Fulfillment of the Requirements for the Degree Master of Education Greensboro April, 1963 Approved by Lirector j APPROVAL SHEET This thesis has been approved by trie following committee of the faculty of the Graduate School at the Woman's College of trie University of N'orth Carolina, Greensboro, \Torth Carolina. /• Thesis Direc tor -7 /) Oral examination Committee Members Ofa^J.^ IT'S /Tare of Examination o^3682 TA3LE OF CONTENTS Chapter Pago I. i II. BIOGRAPHY . h III. THE SONGS OF SIDNEY HOI^R . 3h IV. CONCLUSIONS . , . , . 88 . 101 ACKMOWL ,'DG iXhNTS I am grateful to the family of Sidney Homer for their letters and assistance. I wish to extend special thanks to Mrs* Douglas Fryer, Dr. Homer's daughter, for her letters and for making available to me tne songs which were previously unobtainable, and to Sidney h'o.ner, Jr., for his comments and suggestions on the biographical portion of the paper. I wish to thank Mrs. -most Stires and Mrs. Robert E. -ienry for their letters, and Mrs. Richard alas for her letters and generous help. Gratitude is extended to the following for their letters: Max Levine, Alumni Secretary, Boston Latin School, Mrs. Waters Kellogg, Associate Arcnivist, Phillips Academy, and Samuel Barber. The generous assistance of Mrs. iili Lay, Assistant Arc livist, Rollins College, Winter Park, Florida, is gratefully acknowledged. -
Forgotten Splendour
FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death. -
£/ <^Vv3< the SONGS of SIDNEY HOMER, with THREE RECITALS
2 79 //£/ <^vv3< THE SONGS OF SIDNEY HOMER, WITH THREE RECITALS OF SELECTED WORKS BY VERDI, HANDEL, BRAHMS, POULENC, IVES, LOEWE, FAURE, FLOYD AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Jeffrey Snider, B. Mus., M. Mus. Denton, Texas December, 1996 2 79 //£/ <^vv3< THE SONGS OF SIDNEY HOMER, WITH THREE RECITALS OF SELECTED WORKS BY VERDI, HANDEL, BRAHMS, POULENC, IVES, LOEWE, FAURE, FLOYD AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Jeffrey Snider, B. Mus., M. Mus. Denton, Texas December, 1996 Snider, Jeffrey, The Songs of Sidney Homer. Doctor of Musical Arts (Performance), December, 1996, 91 pp., 39 musical examples, appendix, bibliography, 32 titles. Now all but forgotten, the songs of Sidney Homer (1864-1953) were at one time well-regarded and often performed. Married to the great American contralto Louise Homer, he was in a unique position to have his songs performed by the great artists of the time. Unlike the cloying "parlor songs" of many of his contemporaries, his works consistently demonstrate a respect for both the great poets as well as the European art-song tradition. One of the most cosmopolitan of the American composers of his day, his involvement with Louise's career brought him into contact with many of the great composers and performers of the day including Massenet, Puccini, Humperdinck, Mahler, Toscanini and Caruso. -
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.