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AULIKKI RAUTAWAARA [S] ANTENORE

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VOCAL 78 rpm Discs AULIKKI RAUTAWAARA [s] 1580. 12” Blue Telefunken E1795 [020549/020550]. PEER GYNT: Solvejgs Wiegenlied/ PEER GYNT: Solvejgs Lied (Grieg). Orch. dir. Hans Schmidt-Isserstedt. Few rubs, 2. $8.00. ANTENORE REALI [b] 1824. 12” Green Cetra 25130 [2-70930/2-70968]. ARLESIANA: Come due tizzi ardenti (Cilèa)/ ZAZÀ: Zazà, piccolo zingara (Leoncavallo). Orch. dir. Arturo Basile. Just about 1-2. $12.00. GEORGES RÉGIS [t] 2946. 10” Blue Pats. Victor 45025 [14122u/6013h]. ILLUSION- SÉRÉNADE (Barbirolli)/ PARAIS À TA FENÊTRE-SÉRÉNADE (Gregh). IMs. Minor rubs, 2-3. $10.00. HEINRICH REHKEMPER [b]. Schwerte, 1894- Munich, 1949. After working for a period as a machinist, Rehkemper studied singing in Hagen, Düsseldorf and finally Munich. His debut was in Colberg, 1919, and then he sang as a leading baritone at Stuttgart. From 1925 he was with the Munich Staatsoper where he achieved great popularity and musical success. He was equally at home on the con- cert stage and was considered as one of the great lieder interpreters of his era. During World War II, in addition HEINRICH REHKEMPER to singing, Rehkemper taught at the Mozarteum in Salzburg. 2694. 10” PW Green elec. Polydor 23148 [1689BH/1690½BH]. NICHT MEHR ZU DIR ZU GEHEN, Op. 32, No. 2/DIE BOTSCHAFT, Op. 47, No. 1 (both Brahms). Piano acc. Michael Raucheisen. IMs. Just about 1-2. $15.00. 2395. 10” PW Green elec. Polydor 23150 [1686BH/1687BH]. ZUR JOHANNISNACHT, Op. 60, No. 5 (Grieg)/IM KAHNE (Grieg). Piano acc. Michael Raucheisen. Just about 1-2. $15.00. HANS REINMAR [b] 3700. 10” PW Dk. Blue Odeon O-6599 [XXB7779/7782]. AFRICAINE: Dir, o Königin (Meyerbeer)/OTELLO: Credo (Verdi). Few lt. rubs, 2. $12.00. ALBERT REISS [t] 3157. 12” Red Pats. Victor 74235. SIEGFRIED: Zwangevolle Plage! (Wagner). Early “B” plate. Text label pressed on verso. Just about 1-2. $15.00. MAURICE RENAUD [b] 3681. 10” Large Red Lbl. Flush Disque Gram. Paris G&T 32076 [711g]. FAVORITA: Léo- nore viens (Donizetti). Beautiful bright 1901 label. Record is in superb condition excepting some greying first inch. Very clear thereafter excepting just a few LGTs. Cons. 2 except for mentioned greying. $90.00. 2783. 10” Large Red Lbl. Flush Disque Gram. Paris G&T 32077 [712g]. DAMNATION DE FAUST: Voici des roses (Berlioz). Beautiful copy. Cons. 2. $125.00. 3682. 10” Red Paris G&T 2-2702 [2113 FG]. TANNHÄUSER: Romance de l’étoile (Wagner). This is the side that should have appeared on the Monarch issue below (item #2107). Minor lbl. stain in center hole area. Few inherent surface depressions (three of which will cause some sound), otherwise very clean 2. $60.00. 3664. 10” Blk. Paris G&T 2-2713 [2112 n.b.]. DAMNATION DE FAUST: Sérénade (Berlioz). Bright copy & clean lbl. Inherent surface depressions, few MGTs, gen. 2. $75.00. 2107. 10” Red Monarch 5036 [2114 n.b.]. TANNHÄUSER: Romance de l’Étoile (Wagner). This is mislabeled as all Monarch pressings turn out to be de Lara’s RONDEL DE L’ADIEU. Bright label. Some LGTs but surface otherwise a clean 2-3. $50.00. 2172. 10” White lbl. Victrola 91068 [5731o]. WILLIAM TELL: Sois immobile (Rossini). Minor lbl. tear, surface just about 1-2. $12.00. 173 VOCAL 78 rpm Discs 2974. 10” Red ’12 Pats. Victrola 91072 [5780o]. LE SOIR (Gounod). As new. Just about 1-2. $10.00. 3405. 12” Blk. Dog Disque Gram. W117 (032093/032099) [865i/873i]. TANNHÄUSER: Romance de l’étoile (Wagner)/WILLIAM TELL: Sois immobile (Rossini). Excellent heavy (raised rim) pressing. One TB, few lighest mks., cons. 2. $15.00. 3406. 12” Red Hist. HMV D857 [871i/ 872i]. FAVORITA: Léonore viens (Donizetti)/HAMLET: Comme un pâle fleur (Thomas). Just about 1-2. $15.00. 3392. 12” PW Silver Victor IRCC 38. LE ROI DE LAHORE: Promesse de mon avenir (Massenet)/ HÉRO- DIADE: Vision fugitive (Masse- net). From orig. 1906 Paris G&T masters. Just about 1-2. $15.00. CARL RENNER [b]. 1886-Vienna, 1929. For a number of seasons a baritone of the Cologne Opera, Renner created there the role of Fritz in one of two simultaneous premiere performances of Korngold’s Die MAURICE RENAUD tote Stadt in 1920, this conducted by Otto Klemperer. The other was in Hamburg. In 1923 Renner sang with the Vienna State Opera and 1925-26 at Salzburg as the Count in Mozart’s Marriage of Figaro. His repertoire was varied and he was also noted for his lieder and oratorio per- formances. Renner’s few records were made for Vox while he was with the Vienna Opera. 3822. 12” Blue acous. Vox *3097 [301A/302A]. FAUST: Valentins Gebet (Gounod)/ QUEEN OF SHEBA: Blick’ empor zu jenen Räumen (Goldmark). Some lbl. damage and mks. but surface cons. 2. $15.00. EMILIO RENZI [t]. Faenza i. d. Romagna, 1908-1990. A noted tenor with a “light lyrical and incisive timbre that not only is attractive but also projects well” [Alan Bilgora], Renzi was at home in lighter musical fare (which he often sang as ALDO VISCONTI) as well as opera. One of his recorded portrayals was Flavio in the complete late 1930s Norma with Gina Cigna and Ebe Stignani. 2372. 10” Red Cetra AA 494 [52308/52309]. SERENATA (Umberto Giordano)/LINA DE FERRARI [s]. I FIORI PRIGIONIERI (Riccardo Pick-Mangiagalli). Orch. dir. Arturo Basile. Rare. Few lt. rubs, cons. 2. $25.00. GIUSEPPE RESCHIGLIAN [t]. Padova, 1875-Amsterdam, 1949. Giuseppe was the younger brother of Vincenzo Reschiglian, a baritone who had a lengthy career at the Met. Giuseppe’s debut was in the title role in Marchetti’s Ruy Blas at Pordemone, 1895, continuing to be heard in various provincial Italian houses into 1905. He appears to have then temporarily ended his career, resuming it again in 1913 as Almaviva in Rossini’s Barbiere di Siviglia. He included several theaters in the Netherlands in his schedule from 1915-1918. The U.S. was a base for a number of his performances in the 1920s, including the Chicago Civic Opera and the Phila- delphia Grand Opera (where late in 1925 he was the leading tenor in Faust and Rigoletto). In 1930, Reschiglian appeared in recital in New York’s Town Hall, an unnamed reviewer in Musical America stating that the tenor was “adept in bel canto. His animated interpretations and ringing high notes won much admiration”. He was also with the Cincinnati Opera that year in Mascagni’s Iris and in Carmen, singing secondary roles in both pieces. The only recordings traced by him are the item below and four later sides for Fonotipia-Odeon (two released in the U.S. on Okeh). 9286. 11” Fonotipia 69369/69368 [XPh5264/5263]. LODOLETTA: Ah! ritrovarla nella sua capanna (Mascagni)/MARGHERITA MIGLIACCI [s]. GIANNI SCHICCHI: O mio babbino caro (Puccini). Rare item. Few rubs, gen. 2. $25.00. ELISABETH RETHBERG [s] 3177. 12” acous. Gold English Brunswick 50065. TOSCA: Vissi d’arte/MADAMA BUTTER- FLY: Un bel di (both Puccini). Minor lbl. wear near center. Cons. 2. $8.00. 174 VOCAL 78 rpm Discs 1633. 12” Purple Viva-Tonal Columbia G-9050-M [XXB8486/8487]. CARMEN: Je dis que rien (Bizet)/MADAMA BUTTERFLY: Un bel di (Puccini). In German. Orch. dir. Frieder Weissmann. Looks fresh off the press. Just about 1-2. $15.00 3709. 12” Red Orth. “Z” surface Victrola 8194. ATTILA: Te sol quest’ anima/I LOMBARDI: Qual voluttà (both Verdi). With BENIAMINO GIGLI [t] and EZIO PINZA [bs]. Gorgeous pressing. One small mark side two. Otherwise just about 1-2. $8.00. 1745. 12” Red Scroll “Z” surface Victor 8195 [takes 2/2]. MEISTERSINGER: Sieh’ Ev’chen (Wagner). Two sides. With FRIEDRICH SCHORR [b]. Just about 1-2. $15.00. AURELIE RÉVY [s]. Kaposvár, Hungary, 1879-Toronto, 1957. Révy studied singing in Budapest, where she made her debut in 1897. Further studies took place in London, and she then appeared there with the Carl Rosa Opera and at Covent Garden. She was later a guest at La Scala and she was heard throughout Europe as (among other roles) Marguerite in Faust, Nedda, Elisabeth in Tannhauser, Carmen and Aida, the last two somewhat surprising considering her voice on records. She was also successful in operetta roles. 9283. 11” Brown Odeon 34665/34851 [Bx1586/ Bx1182]. NACHTIGALLENLIED (Wilhelm Ganz)/ADELHEID RUBENS [s]. HAB’ ICH NUR DEINE LIEBE (von Suppe). Effective birdie doings side one, excellent trills, couple of attractive pianissimi and so on. Lt. lbl. fade side two, small IMs side one. Surface side two cons. 2, side one lt. rubs, 3. $40.00. THEODORE RITCH [t]. Odessa, 1894-En route to Poland, 1943. Born Rabinowitz, he first appeared outside of Russia (which he left during the Revolution) as “Reich” and then “Ritch”. He was engaged by the Chicago Opera in 1921 and also appeared at Monte Carlo and the Paris Opéra. Ritch joined with Maria Kuznetsova in forming the Opera Russe in Paris, 1927, which continued AURELIE RÉVY through 1939. Ritch died in a Nazi transport train en route to a Polish concentration camp in 1943. 2843. 10” PW Blue Eng. Col. D1590 [WA5508/WA5523]. TOSCA: E lucevan le stelle (Puccini)/MANON: Le rêve (Massenet). Small lbl. stkr. Just about 1-2. $25.00. PAUL ROBESON [bs] 2203. 10” Blk. PW (gold print) Victor 19824. LI’L GAL (Dunbar-Johnson)/WATER BOY (Robinson). Piano acc. Lawrence Brown. Excellent pressing. Just about 1-2. $7.00. 2560. 10” Blk. EE Victor 20013. SOMETIMES I FEEL LIKE A MOTHERLESS CHILD (arr. Brown)/ON MA JOURNEY (arr. Edward Boatner). Piano acc. Lawrence Brown. Just about 1-2 (i.e. as new). $8.00.
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  • Bellini's Norma

    Bellini's Norma

    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
  • Julius Stockhausen's Early Performances of Franz Schubert's

    Julius Stockhausen's Early Performances of Franz Schubert's

    19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16.
  • [T] IMRE PALLÓ

    [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.