VOCAL 78 rpm Discs Minimum bid as indicated per item. -A FEW HELPFUL NOTES - Imported (to the U.S.) Polydors had the upper portion of the label (trademark area) very neatly blacked out (probably from the period Opera Discs ended, 1923, up to the electric era). Those that appear in this list are in uniformly extraordinarily clean condition, many appearing as unplayed. “Z” shellac is the highest grade surface material, used by Victor in the 1934-38 period. Usually a small “Z” appears in the inner margin but sometimes not. Where “Z” shellac is used and there is no “Z” indication, I have stated “Z”-type shellac. Close in terms of superior surfaces would be PW pressings, particularly those in the 1938-39 period. Columbia used consistently superior shellac from 1923 until 1941. Radio station copies. These records were stored in climate controlled situations and generally have not become noisy as a result. It would seem to me that most of the “crackly” sound on HMVs and post-laminate English Columbias is a result of humidity. Records affected by humidity and played with a fibre stylus are even more noisy. There shouldn’t be many of these in this catalogue. Crayon markings on radio station copies (usually filing numbers and timing information) can be easily removed (most simply with a product called “Goo-Gone”). Russian records. It can be assumed that all Russian records are sung in Russian unless otherwise stated. A word about grading. While a good percentage of the records in each catalogue are less than very rare, the condition of most is unusually clean and as such the records are particularly desirable. Many may appear to be original store stock and are graded “just about 1-2” (just about new, scarcely any difference), cons. 2 (a few lt. mks. or rubs). Copies graded 2 through 3 can be presumed to be excellent listening copies, the differences between these and the higher gradings being superficial rubs and lt. mks. This is all outlined in the grading at the opening of the booklet, but I wanted to be certain that all collectors are sure of what they’re bidding on and (hopefully) will be receiving. See Introduction for further details, abbreviations, etc. BESSIE ABOTT [s] 2619. 12” PW Victor IRCC 78 [C-6237-1/C- 4991-2]. MIGNON: Io son Titania (Thomas)/ RIGOLETTO: Tutte le feste (Verdi). Side two with MARIO ANCONA [b]. From orig. 1908 Victor matrices. Just about 1-2. $20.00. LUIGI ABRATE [t]. Abrate made his debut in operetta in 1912 and appeared in opera apparently beginning in 1919 at houses such as the Teatro dal Verme, Milano, and the Parma Teatro Regio. He was thought of highly enough to have been hired to create the leading tenor role in Lualdi’s Figlia del Re at the Turin Teatro Regio with Ester Mazzoleni and Ezio Pinza, conducted by Tullio Serafin. His more frequent- ly heard operatic repertoire included such roles as Ernani, Canio, Rhadames, Admento in Cata- lani’s Dejanice and Puccini’s Des Grieux. Despite his success in opera, Abrate chose to return to operetta around 1925. 1491. 10” Purple acous. La Cigale [It. Col.]. D 9394 [70438/70441]. IL PIC- COLO MARAT: Ah! se tu m’ami Mariella/CESARE FORMICHI [b]. IL PICCOLO MARAT: Si, l’amante piû bella (Mascagni). This wonderful opera (1921) had its American premiere only this year. Excellent surface material. Side two has three short rubbed lines which are harmless. Cons. 2. $20.00. SUZANNE ADAMS [s] BESSIE ABOTT 1601. 10” Red Victor Monarch 91006 [2037 n.B]. ROMÉO ET JULIETTE: Valse Aria (Gounod). Bright lbl. and very clean surface. Couple minor PBs. Little wear (first piano chords noisy but voice only shows occasional minor, incidental greying). Best copy of this I’ve come across. Two PBs, few LGTs (previously mentioned), just about 2. $60.00. 33 VOCAL 78 rpm Discs AGUSTARELLO AFFRE [t]. Saint-Chinian, 1858-Cagnes-sur-Mer, 1931. Affre studied at the conservatoires of Toulouse and Paris, having graduated from the latter with first prize. His Paris Opéra entry was in 1890 as Edgardo in Lucia, the title role taken by Melba, also making her Paris debut. Affre remained a leading tenor there for close to two decades. He also appeared with success in New Orleans, San Francisco, and London’s Covent Garden. 1447. 10” Blk. Paris G&T 2-32607 [1231-F]. RIGOLETTO: Comme la plume au vent (Verdi). Piano acc. Some wear, gen. 4. $6.00. 1828. 10” Blk. Paris G&T 2-32679 [1467-F]. ASTARTE: Adieux d’Hercule (Leroux). Inherent pressing indentations (i.e. in all first pressing copies), but otherwise 2 or better. $20.00. 1445. 10” Blk. Paris G&T 2-32686 [1454-F]. PARAIS Á TA FENÊTRE (Gregh, although label states “Grieg”). Piano acc. Inherent harmless surface indentations. Cons. 2. $12.00. 1446. 10” Blk. Paris G&T 2-32968 [2352 CS]. FAUST: Salut ô mon dernier matin (Gounod). Piano acc. One harmless inherent surface wrinkle. Two LGTs, otherwise cons. 2. $12.00. 1013. 11” Pantophone 1856/1749. ARMIDE: Air (Gluck)/CARMEN: Air de la fleur (Bizet). Piano acc. Announced. Matrices signed by Affre. Affre was leading tenor in the Paris Palais Garnier first performance of Armide, 1905. The extraordinary cast also included Emile Scaremberg, Jean Riddez, Dinh Gilly, Delmas, Breval, Jane Lindsay, Alice Verlet, Vix, Demougeot, and Agussol, among others. Cons. 2. $400.00. 2620. 12” Blk. Paris G&T 032000 [2290p]. QUAND L’OISEAU CHANTE (Tagliafico). One LSS. Bright label. Just about 2. $30.00. ADELINA AGOSTINELLI [s]. Near Bergamo, 1882-Buenos Aires, 1954. She studied in Milano with Giuseppe Quiroli and made her debut in 1903 as Giordano’s Fedora. This was followed by appearances in a number of Italian theaters and then a 1904-05 tour with the Castellano Opera Company. She was a member of Hammerstein’s Manhattan Opera, 1909-10, and then she appeared at La Scala, first in Simone Boccanegra with Battistini and then creating the Marschallin in the Italian premiere of Der Rosenkavalier. Her first Covent Garden appearance was in 1912. Agostinelli’s career continued principally in Italy and South America through the 1920s. Her husband was tenor Pedro Tabanelli (1885-1956). 1097. 11” Fonografia Nazionale D1042/D1045. MADAMA BUT- TERFLY: Bimba dagli occhi pieni (Puccini). With PEDRO TABANELLI [t]/IDA ABRY [s], GIUSEPPE KRISMER [t]. TOSCA: Qual occhio al mondo (both Puccini). “Marca di edizione” stamps signed (not facsimile signatures) by Tabanelli, Agostinelli and Abry (Krismer’s torn). Side one 2-3. Side two few LGTs, 3-4. $15.00. GIUSEPPE AGOSTINI [t]. Verona, 1870- Abington, PA, 1951. Having studied in Rome with Mo. Sangiorgi, Agostini made his debut in 1895, replacing tenor Gaetano Pini-Corsi as Alfredo in a performance of La Traviata. He soon became active throughout Italy, as well as in South and North America. He made his debut at the Metropolitan Opera in 1903, replacing an indisposed Caruso as Rodolfo in ADELINA AGOSTINELLI La Boheme, also singing there the Duke in Rigoletto the following day. In South America he appeared at the Buenos Aires Teatro Colón, then returned to the U.S., sang with various touring companies in the U.S. and Canada and settled in the Pennsylvania area. He taught there privately and at Temple University. 1091. 10” Brown Odeon 37015/37042 [Xm59/64]. MANON LESCAUT: Donna non vidi mai/MANON LESCAUT: Oh, non v’avvincinate … Pazzo son (Puccini). Piano acc. Cons. 2. $20.00. 34 VOCAL 78 rpm Discs CHARLOTTE AGUSSOL [s] 1448. 10” Berliner 33141 [671g]. HUGUENOTS: Noble Seigneur (Meyerbeer). Extremely rare pressing (“etched” Berliner center). Plays 61.5 rpm (key of B flat). Amazingly good recording considering the vintage (1901). Few LGTs, otherwise very clean 2. $100.00. CARMELO ALABISO [t]. Nicosia, 1886-Milano, 1966. He left medical studies to study voice, first in Pesaro with Joseph Bracci and then in Milano with Raffale Tenaglia. His debut took place at the Sociale of Asola as Rodolfo in La Boheme, following this in 1913, singing Folco in one of the first performances of Mascagni’s Isabeau. In 1916 he created Mameli in Leoncavallo’s Goffredo Mameli, which he sang in a number of Italian houses. The War interrupted his career but he returned to the stage in 1919, appearing at the Rome Teatro Costanzi and many other theaters through 1933. He favored verismo operas such as Fanciulla del West, Andrea Chenier, Isabeau, Francesca da Rimini, Resurrezione, Fedora and Il Tabarro, although he also took the principal tenor roles in earlier works such as Norma, Carmen, and Un Ballo in Maschera. While popular and active throughout Italy, he apparently never ventured beyond that country’s borders. In later years he taught and was head of the La Scala claque. 1449. 10” Purple Viva-Tonal Regal (Spanish Col.) D.6012 [WB2444/2460]. LOHENGRIN: Prova maggiore/LOHENGRIN: Racconto, Atto III (Wagner). Few MGTs and lt. rubs. Side one 2. Side two 3. $20.00. LICIA ALBANESE [s] 2957. 12” Late Red RCA Victor 12-3277. BACHIANAS BRASILIERAS, No. 5 (Villa-Lobos). Two sides. With LEOPOLD STOKOWSKI [conductor] and FRANK MILLER [solo cello]. Just about 1-2. $10.00. CARLO ALBANI [t] 1450. 10” Mauve HMV AGSA 13 [B-4890/B-4897]. ANDREA CHENIER: Come un bel dì di maggio (Giordano)/TOSCA: Recondita armonia (Puccini). First and only editions from original 1907 Victor matrices. Just about 1-2. $15.00. 2621. 12” Mauve HMV AGSB 65 [C-4887/C-4898]. LUCREZIA BORGIA: Di pescatore ignobile (Donizetti)/ANDREA CHENIER: Un di all’ azzurro spazio (Giordano). From orig. 1907 Victor matrices.