CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. ReproB/T = Excellent reproduction orange box and printed top Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. BLANCHE ARRAL [s] 4108. Edison BA 28125. : Je suis Titania (Thomas). Repro B/T. Just about 1-2. $40.00. ADELINA AGOSTINELLI [s]. , 1882-Buenos Aires, 1954. A student in of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s . She appeared with success in South America, Russia, Spain, England and her native and was on the roster of the Hammerstein , 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 4113. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). ReproB/T. Includes original pamphlet. Just about 1-2. $40.00. ALESSANDRO BONCI [t] 9218. Edison BA 29001. : Questa o quella; La donna è mobile (Verdi). OBT. The Bonci cylinders were originally listed as the highest priced Blue Amberols ($1.00 each) when first issued in 1913. When Edison concluded adding new ad- ditions to the (75¢) classical 28000 series in 1918, the Royal Purple cylinders were introduced (numeri- cally following the Bonci numbers in the 29000 series). Bonci cylinders and all new celebrity releases were subsequently issued as Purple Am- berols (at the former “Bonci” price of $1.00 each). Once that series ended in 1922, the Purples returned to Blue Amberol format. The few later classi- cal additions to the cylinder line were in the 50¢ four-digit popular series, the price finally lowered to 35¢ . Cons. 2. $60.00. 4112. Edison BA 29004. LUCIA: Fra poco (Donizetti). OBT. Purple ALLESANDRO BONCI strip around box top (signifying original 29000 series). Box has lt. wear. Cylinder is just about 1-2. $75.00. ERNESTO CARONNA [b] 4102. Edison BA 28130. BALLO IN MASCHERA: Eri tu (Verdi). ReproB/T. Just about 1-2. $40.00. LUIGI CILLA [t]. , 1885- ? . Beginning his career in provincial Italian houses, Cilla was, by 1910, an important specializing in comprimario roles and as such was heard often in the leading Italian theaters including La Scala and the Costanzi. In addition, he sang with the Boston Opera in 1910 and at Covent Garden from 1925-1934, and early in his career in Belgium. 4111. Edison BA 22454. : Da voi Lontano (Wagner). OBT (sticker on patents area of lid). Light. box wear. Cylinder just about 1-2. $50.00. FLORENCIO CONSTANTINO [t] 4101. Edison BA 28161. : Se quel guerrier … Celeste Aida (Verdi). Announced by the singer. ReproB/T. Just about 1-2. $50.00.

7 CYLINDERS EMILIO DE GOGORZA (as FRANCISCO) [ba]. 9204. 2M Brown Wax Edison 12???. CADIZ: Era una pobe nega [Tango de los Negritos] (Federico Chueca). Few lightest tiny mold mks., otherwise clean, cons. 2. $75.00. MARIA FARNETI [s]. Forlì, 1877-1955. A student at the Conservatory in , Farneti made her debut in Torino in 1899. That season she first sang Mascagni’s Iris, which proved to be a signature role for her. Her particular strength was the repertoire. She appeared in the U.S. in 1902 under Mascagni’s direction and was a great success in Buenos Aires, where she created Mascagni’s Isabeau in 1911. The principal houses of Italy, including La Scala, were the locations of many of her triumphs. She retired from the stage in 1917 following performances of Puccini’s La Rondine at the Teatro dal Verme but made a group of celebrated electrical recordings for Italian Columbia in 1931 (one of which is listed further on in this catalogue). 4105. Edison BA 28139. : Ave Maria (Verdi). ReproB/T. Just about 1-2. $75.00. CARLO GALEFFI [b] 4106. Edison BA 28148. : Il balen (Verdi). ReproB/T. Just about 1-2. $60.00. MARIA GALVANY [s]. 4100. Edison BA 28123. : Come per me sereno … Sovra il sen (Bellini). ReproB/T. Just about 1-2. $75.00. ARISTODEMO GIORGINI [t] 9223. Edison BA 28199. PEARL FISHERS: Mi par d’udire ancora (Bizet). OBT (top a bit faded). With original pamphlet. Just about 1-2. $75.00. ORVILLE HARROLD [t] 9210. Edison BA 28110. I HEAR YOU CALLING ME (Marshall). OBT. Just about 1-2. $15.00. 9222. Edison BA 28182. FAVORITA: Spirto gentil (Donizetti). In English. OBT. With original pamphlet. Just about 1-2. $25.00. dir. HIS ORCH. Dublin, 1859-, 1924. Victor Herbert studied cello in and in 1886 was hired by the as a cellist and his wife, Therese Förster, as a principal soprano. Herbert’s career was subsequently as a composer of serious works, and as an able conductor. He led the Pittsburgh Symphony from 1898-1904 and guest directed other U.S. orchestras including the New York Philharmonic. After leaving the Pittsburgh, he formed his own orchestra with which he toured the U.S. for many seasons. With a repertoire of standard classics and lighter selections, Herbert’s Orchestra brought to many communities a unique opportunity to hear live a first-rate symphonic group. 9209. Edison BA 1731. THE IDOL’S EYE: Selections (Victor Herbert). OBT. Just about 1-2. $25.00. 9208. Edison BA 2157. RUY BLAS: Overture (Mendelssohn). Repro. orange box. Just about 1-2. $25.00. 9195. Edison BA 5376. MLLE. MODISTE: Ballet Mu- sic (Herbert). Repro. orange box. Just about 1-2. $40.00. ALLEN CARTER HINCKLEY [bs-b]. Gloucester, MA, 1877-Yonkers, NY, 1954. He began his vocal studies at the age of 18 in Philadelphia while at Amherst College and the University of Pennsylvania with Carl Schachner, continuing with him for four years. He subsequently studied repertoire with Oscar Saenger for several months while appearing with The Bostonians. He then left for Europe and made his debut in 1903 as King Henry in Lohengrin with the Hamburg Stadttheater and remained as a regular member of that company for five years. He worked with Cosima and Siegfried Wagner and was then heard at Bayreuth as Hagen, Hunding and King Henry. He also participated in three Covent Garden seasons as well as at the Met and with the Opera. In later years he taught, lectured and directed in New York the Village Light Opera Group. 9201. U.S. Everlasting 4-Minute 1299. THE LOST CHORD (Sullivan). OBT. Cons. 2. Rare item by this important singer and even rarer in original ALLEN C. HINCKLEY box. $150.00. 8 CYLINDERS REDFERNE HOLLINGSHEAD [t]. 1885-1937. Born in England, Hollingshead and his family migrated to Winnipeg, Canada, in 1892. He developed a singing career as a tenor, moving to Toronto and appearing there and in the region as a leading church and oratorio artist. In 1912 he went to England for vocal studies with Maestro Carboni. Two years later he successfully audi- tioned for Edison and made several cylinders and discs in the 1914-15 period, returning again in 1928-29 for ensemble work. During and following this later period he was known for his radio appearances in both the U.S. and in Canada. A 1931 Montreal newspaper article referred to him as “one of the best radio artists of the day”. 9205. Edison BA 28201. PARTED (Tosti). OBT. Direct recording. Just about 1-2. $25.00.

AGNES KIMBALL [s]. Princeton, IL, 1881-Toledo, OH, 1918. At the age of 17, Kimball (born Grigsby) married Charles F. Kimball, an office clerk. A daughter was born the next year. She then decided to pursue a musical career and studied with Franz Bellinger, gaining a position as a church singer in Pittsburgh. Mr. Kimball secured employment there as a clerk-auditor with the Andrew Carnegie Corporation, but soon Agnes decided to go it on her own, leaving Mr. Kimball in Pittsburgh and daughter Eloise with a sister in Indianapolis while she moved to New York City, there becoming soloist with three important religious organizations. She was also featured artist on tour with Victor Herbert’s Orchestra and a recording personality for Victor, Columbia, Edison, Rex and Indestructible. She also gained a successful reputation in the concert and oratorio fields. Mr. Kimball secured an uncontested divorce from Agnes in 1913. Her career continued another year and she then married a wealthy businessman from Toledo, Edward T. Affleck, Jr. At that point she appeared to have had enough of AGNES KIMBALL the life of a touring singer as she shortly after disap- peared from the stage. Unfortunately her retirement lasted only a short period. She became ill during Chrismas week of 1917 and died the following January 5th, possibly from the flu. 9219. Edison BA 2057. : Un bel di (Puccini). In English. OBT. With original pamphlet (trimmed at bottom). Scarce. Just about 1-2. $20.00. ADELE KRÄMER [s] 9204. Edison BA 26086. MIGNON: Kennst du das Land (Thomas). Orange repro. box. Just about 1-2. $40.00. ERNST KRAUS [t]. Erlangen, Germany, 1863-Wörthsee, 1941. He first studied in Milan with Cesare Galliera and then with Anna Schimon-Regan. 1893 marked his stage debut in Mannheim as Tamino in The Magic Flute. The following year he appeared in America with the Damrosch Opera Company, returning to Germany the next season. He then became principal tenor of the Berlin Staatsoper, remaining there for 27 years. He also made his debut at Bayreuth in 1901 and the Metropolitan Opera in 1903, singing Sieg- fried as his inaugural role with both companies. After retirement in 1924, he taught. His voice was “noted for its power and solidity”. Kraus’s reper- toire covered most of the Wagner tenor parts as well as leading roles in such as Fidelio and Der Freischütz. 4114. Edison BA 26071. DIE WALKÜRE: Sieg- munds Liebeslied (Wagner). ReproB/T.. Nice copy, cons. 2. $60.00. 9196. Edison BA 26089. DER FREISCHÜTZ: Durch die Wälder (von Weber). OBT. Very slight box top wear, otherwise just about 1-2. $60.00. ERNST KRAUS

9 CYLINDERS THEODOR LATTERMANN [bs-b]. Frankfurt, 1886-Seechof, 1926. His stage debut was in Barmen, 1907, after studies in German with tenor Andreas Dippel. Lattermann soon joined the Hamburg Opera where he remained a principal artist until his death. Guest appearances and seasons included la Monnaie in Belgium, the Vienna Staatsoper and touring with the German Opera Company, 1922-24, including performances at the Metropolitan Opera. His wife, Ottilie Metzger, was also among the noted artists who sang with this company. His retirement as a result of illness came soon after returning to Germany. Lattermann’s repertoire included a number of Wagnerian parts, Rocco in Fidelio, and principal roles in a number of primarily Germanic operas. 9202. Edison BA 26105. MAGIC FLUTE: In diesen heil’ gen Hallen (Mozart). Orange repro. box. Cons. 2. $80.00. ANTOINETTE LAUTE-BRUN [s]. Nimes, 1875- ? . A graduate of the Conservatoire where she studied with Duver- noy, Melchissèdic and Mangin, Laute made her debut at the Paris Opéra in 1903 as the Page in Tannhäuser and remained with that house through 1927. She married composer Georges Brun in 1907, changing her professional name then to Laute-Brun. In addition to her work in Paris, Laute-Brun was heard in many of the French provincial houses. In 1907 she toured Belgium with Jean Noté. 9221. Edison BA 27122. : Scène de l’Église (Gounod). With GUSTAVE HUBERDEAU [b]. Repro. orange box. Just about 1-2. $75.00.

RICCARDO MARTIN [t] 4103. Edison BA 28167. GOOD-BYE (Tosti). Martin’s only recording in his native (but rather stilted) English. Just about 1-2. $25.00. CHRISTINE MILLER [c]. Glasgow, Scotland, 1885-Pittsburgh, PA, 1956. The Miller family emigrated to Pittsburgh when Christine was a youth. She became interested in singing through participation in a church ANTOINETTE LAUTE-BRUN choir where she was heard by and afforded the opportunity of musical studies by an unknown benefactor. His identity was eventually revealed “in true dramatic Victorian fashion” as Daniel M. Clemson, a director of the Carnegie Steel Corporation and twenty-three years Miller’s senior. They wed in 1918, shortly after the sudden death of the first Mrs.Clemson. At that point, Miller retired to become a leading arts patroness in Pittsburgh. While active on stage earlier, she was a highly regarded concert and oratorio artist and recorded for Edison and Victor. Edison frequently used her for his “Tone-Test” programs, direct comparisons between Edison’s recording of the voice and the human voice itself. ''It was impossible to distinguish between my own voice,'' wrote Miss Miller, ''and Mr. Edison's recreation of it.'' She sang locally into the 1930s, mostly for charity concerts, and continued her charity work in an area hospital. 9200. Edison BA 28211. THE NIGHTINGALE’S SONG (Nevin). Direct recording. Uncommon. OBT. Just about 1-2. $25.00. MARIE RAPPOLD [s]. , 1873-Los Angeles, CA, 1957. Born Marie Winterroth in London to German parents, she emigrated to as a child and studied voice with Oscar Saenger. She became a member of the Metropolitan Opera in 1905, making her debut as Sulamith in Goldmark’s Queen of Sheba. In the 1890s she had married Dr. Julius Rappold of Brooklyn and continued using Rappold as her professional name, although they separated in 1907 and divorced a few years later. Said Dr. Rappold, “My wife’s income is many times greater than mine, and we cannot live on the same footing without the sacrifice of pride on my part or of a career on the part of my wife.” In 1913, Rappold wed tenor Rudolf Berger, but their bliss was short-lived, as Berger died in 1915. Rappold remained on the Met roster through 1920, also appearing as a guest in Vienna and London. Following her Met departure, she was heard with various touring and local companies. In 1925 she appeared before an audience of 20,000 in New York’s Yankee Stadium (with tenor Bernardo DeMuro) singing one of her principal roles, Verdi’s Aida. In the later 1930s she retired to Los Angeles, where she taught until the year before her death.

10 CYLINDERS 9211. Edison BA 28171. AGNUS DEI (Bizet). Just about 1-2. $20.00. 4116. Edison BA 28249. STILLE NACHT [SILENT NIGHT] (Gruber). OBT. Just about 1-2. $20.00. ANTONIO SCOTTI [b] 9220. 2M Edison B-5. SONNAMBULA: Vi rav- viso (Bellini). OBT. Just about 1-2. $100.00. 9216. 2M Edison B-32. AIDA: Sortita d’Amonasro (Ver- di). OBT. Just about 1- 2. $100.00. [t] 4117. Edison BA 28146. : E lucevan le stelle (Puc- cini). In Italian. ReproB/T. Just about 1-2. $75.00. MARIE RAPPOLD ALBERT SPALDING [violinist] 9198. Edison BA 28163. SOUVENIR OF MOSCOW (Wieniawski). Piano acc. André Benoist. OBT. Light box top fade, otherwise just about 1-2. $40.00. HELEN STANLEY [s] 4104. Edison BA 28215. ÉLÉGIE (Massenet). Just about 1-2. $25.00. MARGUERITE SYLVA [s]. , 1875 – Glendale, CA, 1957. Her father was a Belgian physician of American parentage and she was born Marguerite Alice Hélène Smith. After studies in Paris, Sylva made her debut in London as in 1892. She was with the Paris Opéra- Comique, 1892-1907, and also sang in Berlin and Vienna, as well as the Philadelphia and Chicago Opera companies. She had sung the role of Carmen at least 600 times over a forty year period. In 1911, Sylva temporarily entered the world and appeared in the New York premiere of Lehar’s Gypsy Love. Unfortunately, she had been taken ill for several days before the premiere and she had to cede her role during the first act of the opening to her understudy, Phyllis Partington. Partington did so well that it was announced she would continue in the part until Miss Sylva’s complete recovery and then alternate performances with her. After Sylva was back in form, she, along with two other mem- bers of the original cast. the conductor and orches- tra, were hired by Edison to record a series of cylinder excerpts from the operetta. In later years Sylva appeared as a character actress in a few Hollywood films. Her death occurred when, while driving to a voice lesson, she lost control of her vehicle and crashed into a house. She had been given the auto a year earlier while a guest on the TV program “This Is Your Life”. 4118. Edison BA 28114. CAVALLERIA RUSTI- CANA: Voi lo sapete (Mascagni). ReproB/T. Just about 1-2. $60.00. MARGUERITE SYLVA relaxing with her 4107. Edison BA 28151. : Ballatella potted plant. (Leoncavallo). ReproB/T. Just about 1-2. $60.00. 11

CYLINDERS JACQUES URLUS [t] 4110. Edison BA 28204. LOHENGRIN: Mein lieber Schwan (Wagner). ReproB/T. Just about 1-2. $40.00. ALICE VERLET [s] 9215. Edison BA 28225. BALLO IN MASCHERA: Saper vorreste (Verdi). Mastered from an unpublished Diamond-Disc. OBT. Just about 1-2. $40.00.

WILLIAM JENNINGS BRYAN [attorney, U.S. Presidental candidate/orator] Salem, IL, 1860-Dayton, TN, 1925. A fascinating personality, Bryan studied law at Union College in Chicago and was elected a Congressman in 1891. Moving up the political ladder quickly, he became a Democratic Presidential candidate in 1896, his Cross of Gold speech having electri- fied the convention. He was unsuccessful in the national election, losing to McKinley, but he ran again in 1900 and 1908, again also losing. In 1913 he was appointed Secretary of State under Woodrow Wilson. One of his most famous trials as a lawyer was his last, in 1925, the Scopes “Monkey” case. Bryan took the prosecution side against John Scopes, a high school biology teacher who had been “accused of violating the state’s Butler Act which made it unlawful to teach evolution. Scopes was found guilty, but the verdict was overturned on a technicality and he was never brought back to trial.” The trial drew national attention. Bryan died in his sleep five days after it concluded. – Internet sources. 9213. 2M Edison 9920. IMPERIALISM (Speech). OB. Just about 1-2. $75.00. PRESIDENTE PORFIRIO DIAZ [President of Mexico, 1884-1911). Oaxaca, Mexico, 1830-1915. Diaz “ruled Mexico as a dictator. He quenched all opposition by violence and intimidation.” Although under his rule Mexico prospered economically and entered the modern age, “the poor and indigenous suffered enormously”. He was overthrown in 1911 and died in exile. The cylinder below is the only recording of his voice. – information from Internet sources. 9226. 2M Blue Amberol Edison 20315. EL PRESIDENTE DIAZ AL SEÑOR EDISON (Speech). A recording in the form of a spoken letter to Thomas Edison, 15 Aug., 1909. Also included is a photocopy of the original descriptive pamphlet (with English translation of the text). The cylinder is contained in an original 2-minute wax box (with correct top). This is likely a unique Blue Amberol test mastering. The inner core is flush (a blackish carbon material) rather than the standard ribbed inside. An PRESIDENTE PORFIRIO DIAZ extraordinary rarity. Just about 1-2. $850.00.

MARIE DRESSLER [actress/comedienne]. Cobourg, Ontario, Canada, 1868-Santa Barbara, CA, 1934. Born Leila Marie Koerber, Dressler adopted the name of an aunt as a stage name. She left home at the age of 14, beginning a stage career that continued until her death (of cancer). Most of her early work was in operetta and vaudeville, although she had made several silent films beginning in 1914, most based on the character “Tillie Blobbs”, a poor working girl whom she first presented on Broadway in Tillie’s Nightmare. Her greatest fame was via her work in sound films from 1928 through 1934, when she was an Academy Award winner and considered to be one of the most important screen personalities of the period. Her only recordings were five cylinders for Edison in 1910. 9207. 2M Edison 10377. I’M A-LOOKING FOR A ANGEL [“Coon Song”] (Composer?). OBT. 2. $60.00. WILLIAM HOWARD TAFT [U.S. President] 9225. 2M Edison 10000. UNLAWFUL TRUSTS (Speech). OB. New? Just about 1-2. $100.00. 12

EDISON DIAMOND-DISCS SS=early “smooth surface” (laminated, 1912-1915); RC=Edison Re-Creation Paper Label (1921- 1924); ER=Edison Record Paper Label (1924-1929). All others (1915-1920) have various forms of “etched” black centers. All explanatory talks are by Harry E. Humphrey unless otherwise indicated. CLAUDE ALBRIGHT [s/c]. Albuquerque, NM, 1879- ? . Albright was the daughter of John G. Albright, owner of several newspapers in the Albuquerque area. Her musical studies were in Paris. She apparently appeared in small roles at the Opéra-Comique before returning to the U.S. around 1903. She was hired by Conreid at the Met, but before she could make her debut she was engaged by Savage for the “” touring company, 1905, alternating with Louise Kirkby Lunn as Kundry, an interpretation of “exceptionally high order”, according to one press report. In 1910 she made her debut with the Bremen Stadttheater, following this in 1911 with the Carl Rosa Company in England, appearing in Mignon, Carmen and The Queen of Sheba. Ano- ther sighting was in 1916 in California with a touring pickup group called the La Scala Company. It’s probable that much of her American career was in the Western U.S. As Claude is an uncommon name for a woman, it was likely changed by Edison (who had a pen- chant for doing such things) to “Claudia” for her four rare 1917 Edison sides (issued in 1924). 1012. ER 60023 [6046-G/6051-B]. LA PAR- TIDA (Alvarez) / CLAVELITOS (Val- verde). Just about 1-2. $30.00.

GIUSEPPE ANSELMI [t]. CLAUDE ALBRIGHT 1009. SS 83015 [1378-A/2555-B]. MIGNON: Ah, non credevi tu (Thomas) / EXPLANATORY TALK. Side one cons. 2-3. Side two couple small patinas outside rim only, otherwise cons. 2-3. $10.00. LUCREZIA BORI [s] 1010. SS 82517 [2226-A]. ROMÉO ET JULIETTE: Je veux vivre (Gounod). Early single- sided pressing. Lt. rubs, 2. $15.00. 1892. SS 82528 [2228-B/3127-B]. GUARDAMI (Guagni- Benvenuti) / EXPLANATORY TALK. Slight edge curling but only about halfway into outer rim. Otherwise few lt. mks., cons. 2. $15.00. MARY CARSON [s]. Houston, 1876 - ? . A graduate of the New England Conservatory of Music in 1899, Carson studied subsequently in Italy for a year with Vannuncini. She returned to Houston as director and soloist of the Women’s Choral Club. A 1905 article in a Washington newspaper article on Mary Carson Kidd (she shortly dropped the professional use of “Kidd”) states that she “had spent five years abroad in , Paris and London, where her voice was cultivated for the grand opera.” The “five years” seems doubtful. Another source states that she (again?) studied in Italy beginning in 1906 and made her debut in Milan (theater not indicated) in 1910 as Amina in La Sonnambula. Lucia was included among her other roles in Italy. She made her debut with the Century Opera in New York, 1913, in a Sunday night concert singing “Ah, fors’ è lui … Sempre libera” from La Traviata. “Her voice was surpringly large in view of her slight physique,” reported reviewer, “and of agreeable quality”. She sang in the New York area for several subsequent years including a period with the Aborn Opera. There she was Gilda in Rigoletto, 1916 with tenor Giuseppe Agostini and baritone . The year before she had given a MARY CARSON recital at Aeolian Hall with pianist André Benoist. Apparently

13 EDISON DIAMOND-DISCS Carson returned to Houston sometime in the later ‘teens. Houston publicity, date not provided, indicated she was a radio singer there and that she “studied at La Scala in Milan” (perhaps as an audience member?), that she had sung in all [!] the major cities of England, , Germany and Italy and was most recently with the Boston Opera.” The final fact was verified, as she was Gretel in Humperdinck’s Hansel and Gretel opposite Maggie Teyte in 1915, a role she had also sung with the Century and Aborn Operas. This must have been some time before her Houston radio experiences. She made trial recordings for Victor in 1913 and issued discs and cylinders for Edison from the same year to 1916, both as a soloist and an ensemble member. An issued Pathé record also exists. The Mainspring Press blog site explains Carson’s sudden disappearance from the Edison studio: The reason recently became clear while we were researching the Tone Tests — Edison refused to pay Carson for periods during which the company was unable to obtain Tone Test bookings for her, while refusing to let her work for anyone else, effectively depriving her of a livelihood. Carson sued the company and won; Edison appealed the ruling and lost. The company never again hired Carson. (http://78records.wordpress.com/tag/mary-carson/] 1001. SS 82052 [2622-A/2824-C]. VILLANELLE (dell’ Acqua) / LA VERITABLE MANOLA (Bourgeois). In English. Uncommon. Halfmoon rim patina side one just to first groove, otherwise cons. 2. Side two just about 1-2. $15.00. 1002. SS 82054 [2637-B/2728-C]. EXTASY [VOCAL WALTZ] (Arditi) / LA FARFALLETTA (Torry). In English. Likewise uncommon. Just about 1-2. $15.00.

ELEONORA DE CISNEROS [ms]. New York City, 1878-1934. On the roster of the Metropolitan Opera the season of 1899-1900 under her maiden name, Eleanor Broadfoot, De Cisneros was credited as having been the first American singer to have appeared at the Met in a leading role without preliminary European training or experience. Of her Metropolitan experience, she said, “When I joined the Metropolitan Company in 1900 at the age of nineteen [sic], I was paid the salary of only twenty-five dollars a week, with an increase of ten when the company went on its tour. I sang the usual aggregation of secondary parts. … Then one day I was called upon at the very briefest notice to sing Amneris in Philadelphia to Eames’s Aida. They gave me no rehearsal, not even the opportunity to get together the proper costumes for the part or to post myself on the details of the stage business. Mme. Eames and several other persons congratulated me on my performance. But do you think the papers made any mention of me whatsoever or that I received a dollar extra by way of compensation? How different would it have been had I come from Europe!” In 1901 she met in Cuba and married the tenor Count Francesco de Cisneros and from there on used his name professionally. She then appeared in Italy in leading houses including La Scala, at the Vienna Staatsoper and Covent Garden, and later at the San Carlo in . Other American venues included the Manhattan and the Chicago Operas. In 1911 she accompanied Melba on a tour of Australia. Throughout her career, she was a strong spokesperson for the rights of American singers and for women’s rights in general. 1004. 82519 [2133-A/2704-B]. FAUST: Faites-lui mes aveux (Gounod)/EXPLANATORY TALK. Cons. 2. $15.00.

ODETTE LE FONTENAY [s] Born in Paris, 1885 [?], LeFontenay was early on a member of the Opéra-Comique, singing Pousette in and cre- ating Une Chimère in Charpentier’s Julien. Likely she left Paris in 1913 and the following year wed in New York City Philip (Philippe) Coudert, a baritone and voice teacher, with whom she appeared on occasion in recital for the next fifteen years. Her New York vocal debut was in 1915 in a joint recital with her husband in New York. An interesting 1916 performance was in a “Suffrage Opera” by Mrs. August Belmont and Elsa Maxwell given at the grand ballroom of the New York Waldorf Astoria. It incorporated quite an array of per- sonalities, including Marie Dressler in the principal comedy part and Frances Alda and Mlle. Le Fontenay to do the “serious singing”. Her Met debut was the same year, appearing there one season as The Dew- fairy (Hänsel und Gretel), Barbarina (Le Nozze di Figaro) and a Genie (Der Zauberflöte). Subsequent performances included a number of charity and society programs as well as radio appearances. She and her husband, parents of three children, divorced in the late 1930s. Her last known address was Pelham Manor, NY. 1007. 82125 [5702-A/5703-C]. CHANT HINDOU ODETTE LE FONTENAY (Bemberg)/LE NIL (Xavier Leroux). Cons. 2. $12.00. 14 EDISON DIAMOND-DISCS HEINRICH HENSEL [t] 1888. SS 82045 [1411-A/2708-B]. AFRICAINE: O Paradis (Meyerbeer) / EXPLANATORY TALK. In French. Very rare. Excellent pressing, few lightest mks. Cons. 2. $60.00. 1890. SS 82061 [1408-A/2726-B]. AUF FLÜGELN DES GESANGES (Mendelssohn) / EXPLANATORY TALK. Cons. 2. $50.00. 1891. SS 82061 [1408-A/2726-b]. Same as the previous listing (item #1890). Side one just about 1-2 but side two has a heavy lamination crack probably making this side unplayable. $30.00. REED MILLER [t] 1006. SS 82031 [2011-B/2328-B]. PAGLIACCI: Vesti la giubba (Leoncavallo)/THOMAS CHALMERS [b]. TANNHÄUSER: Evening Star (Wagner). In English. Slightly curled edges (not affecting playing). Otherwise appears just about 1-2. $8.00. [t] 1008. SS 82036 [1215-A/1216-A]. TOSCA: Recondita armonia/TOSCA: E lucevan le stelle (Puccini). Patina side one through first half of side one will sound, otherwise 2 or better. $7.00. JEANNE MAUBOURG (née GOFFAUX) [ms] Nemor, Belgium, 1875-Montréal, Canada, 1953. Maubourg’s debut was at the Brussels la Monnaie, 1897, and she appeared there in roles such as Musetta, Carmen and Hansel. Seasons at Covent Garden (1900-04) were followed by a period with the Metropolitan Opera (1909-14). She was next active in operetta, particularly in Canada, settling in Montréal in 1917 with her husband, conductor Albert Roberval. An earlier husband, Paris Opéra-Comique tenor Claude Bede Benedict, she had wed in 1911 and shed in 1914, the reason, claimed Maubourg, his dislike of Americans. “He is useless,” was her general opinion of him. At the same time she was being sued by her doctor’s wife, Mme. Op de Beek, for alienation of the doctor’s affections. What became of her previous loves isn’t known, but she seemed to have been content in Canada. There, she was active in operetta from her arrival in 1917 through the 1930s. She also taught (one pupil having been Pierrette Alarie) and appeared on the radio both in acting and singing capacities. 1011. ER 58013 [9588-C/8589-B]. AIR DU ROSSIGNOL (Charles Zeller)/LE ROUET [THE SPINNING WHEEL] (Albert Larrieu). JEANNE MAUBOURG IMs. Just about 1-2. $35.00. CLAUDIA MUZIO [s] 1003. ER (test, rough edges) matrices 8410/8419. ODORANDO LE ROSE (de Curtis)/ HÉRODIADE: Egli e bel (Massenet). Take letters not given on either side. Side one unpublished. Typical of Muzio, the most beautiful pianissimi demonstrated on side one. Cons. 2. $650.00. PAUL REIMERS [t] 1005. 80639 [7810-B/7875-B]. LE PORTRAIT (Parkyns)/LA CHÈRE MAISON (Dalcroize). In French. Cons. 2. $10.00.

PATHÉ VERTICALLY CUT DISCS CS=center start (“etched center”), PL=paper label (outside start). All 11½” unless otherwise described. AGUSTARELLO AFFRE [t] 4082. 11½” CS Pathé APGA P1501-1/P1501-2. : Grand duo du IVe acte (Meyerbeer). Two sides. With MATHILDE COMÈS [s]. Just about 1-2. $15.00. 15 PATHÉ VERTICALLY CUT DISCS CARLO ALBANI [t] 4054. 11½” Brown French Pathé No. 9 [4903/4904]. AFRICAINE: O paradis / HUGUE- NOTS: Plus blanche (both Meyerbeer). Few LGTs, gen. 2. $8.00. 4057. 11½” Brown French Pathé No. 0175 [4905/4908]. LE PROPHÈTE: Roi du Ciel (Meyerbeer) / LA JUIVE: Rachel, quand du Seigneur (Halévy). Gen. 2. $8.00. HUGH ALLAN [b]. Montréal, 1887- ? . Allan was raised in Georgia and began his career as an organist at age of 16 at the Trinity Church, Columbus, GA. In 1903 he went to Berlin where he studied piano with Scharwenka and organ with Franz Grunicke. He also began vocal studies with Richard Lowe, to whom he returned to work with annually for a number of years. He was a member of the Montréal Opera for two seasons and then appeared in opera in France and Italy (although no information could be found as to where or in what roles). In Italy he resided for a period in Vormero, a suburb of Naples, and there studied Italian and Neapolitan songs. His repertoire also included Russian songs as well as French, German and English. He seems to have been very busy in the period from 1915-1917, touring in Canada with Louise Edvina, appearing at Carnegie Hall with Anna Fitziu, and as soloist for a number of organizations. Serving as an accompanist for Victor Maurel for a year, he also studied voice with him and was advised that he might well consider becoming a tenor, a similar opinion given him by baritone Pasquale Amato. Whether this happened or not doesn’t seem to be known, nor HUGH ALLAN what became of Mr. Allan after 1917. That year he was still singing successfully, one recital review mentioning that he had “a wonderful talent for interpretation which raises him far above the level of the average singer.” It also mentioned that he had appeared in concert with Gadski, Clement, Alda and Rappold as well as with the “de Vally French Opera Company”. He was also credited as having been a member of the Berlin Opera (probably 1914-15). 1745. 11½” Green Pathé 52004 [ ? / ? ]. ARIA FRESCA [FRESH AIR] /CANTA PA LUNA [SONG TO THE MOON] (both Nardella). In Italian. Cons. 2. $15.00. PAUL ALTHOUSE [t] 4072. 10½” Blk. U.S. Pathé 27025 [T67740-1/T67742-1]. TELL HER I LOVE HER SO (De Faye) / DO NOT GO, MY LOVE (Hageman). Just about 1-2. $12.00. 4068. 11½” Grey U.S. Pathé 59053 [E66470-1/E66471-1]. THE CREATION: In Native Worth (Haydn) / STABAT MATER: Cujus animam (Rossini). Just about 1-2. $12.00. MARIO ANCONA [b] 4083. 11½” CS Pathé 4308/4310. TANNHÄUSER: O tu bell’ astro (Wagner) / PAGLIACCI: Prologo (Leoncavallo). Just about 1-2. $20.00. 4069. 11½” CS Pathé 4322/4326. RIGOLETTO: Cortigiani / RIGOLETTO: Pari siamo (Verdi) Side one with orchestra, side two with piano. MGTs, cons. 2. $15.00. AMADEO BASSI [t] 1893. 11½” CS Pathé 4237/4243. FEDORA: Amor ti vieta / ANDREA CHENIER: Si fui soldato (both Giordano). Just about 1-2. $20.00. 4060. 11½” SS CS Pathé 4960. BOHÊME: O Mimì, tu più non torni (Puccini). With [b]. Piano acc. Cons. 2. $15.00. GEMMA BELLINCIONI [s]. Monza, 1864-Naples, 1950. She made her debut in Naples at the age of 15. She was first heard at the Costanzi in 1885 and a year later at La Scala. She and her husband, tenor Roberto Stagno, subsequently appeared together throughout Europe in the major operatic centers. Her world creations included Santuzza in , 1890 and Giordano’s Fedora, 1898. She was also the first to sing Strauss’s in Italy, 1906. From 1911 on she taught and coached, one pupil having been Rosa Ponselle, who studied the roles of Santuzza and Carmen with her. See the 78 rpm section for three G&T rarities of Bellincioni. 1541. 11½” CS Pathé 4396/4397. TRAVIATA: Ah! fors’ è lui / OTELLO: Ave Maria (both Verdi). Cons. 2. $150.00. 16 PATHÉ VERTICALLY CUT DISCS GIUSEPPE BORGATTI [t] 4062. 11½” PL Orange Italian Pathé No.10330 [86690/86692]. LOHENGRIN: Racconto del Graal / LOHENGRIN: Di’ non t’incantan (Wagner). Just about 1-2. $15.00. ROSA CALIGARIS-MARTI [s] 4074. 11½” Blk. Italian Pathé No.10233 [86145/86155]. ERNANI: Ernani, involami (Verdi) / LA GIOCONDA: Suicidio (Ponchielli). Quite a voice! She was evidently not too comfortable recording as she wanders to and from the horn. As the room is “live”, one gets an idea as to the size of the instrument. Side one double labeled. Top label peeling. Side two label off-center. Surfaces 2-3/3-4 but both play comparably. $15.00. FLORENCIO CONSTANTINO [t] 4064. 11½” CS Pathé 4247/4256. CAVALLERIA RUSTICANA: Siciliana (Mascagni) / BARBIERE DI SIVIGLIA: Ecco ridente (Rossini). Just about 1-2. $15.00. 4087. 11½” CS Pathé 4253/4254. AFRICAINE: O Paradiso (Meyerbeer) / AIDA: Celeste Aida (Verdi). Just about 1-2. $15.00. ERNA DENERA [s]. Near Posen, Germany, 1881-Berlin, 1938. Originally a pianist, she became a vocal student in 1904 and made her debut in 1906 as Senta. She then appeared a season at Wiesbaden and in 1908 the Berlin Imperial Opera. She was also a guest in many European houses and was hired by the Metropolitan Opera for the season of 1916-17, an engagement prevented by World War I. Her career continued another few years with the Berlin Opera and in Italy. Denera’s main roles were in the Wagnerian repertoire. 4063. 11½” PL Grey U.S. Pathé 60019 [15615/15621]. CAVALLERIA RUSTI- CANA: Voi lo sapete (Mascagni) / LA BOHÊME: Mi chiamano Mimì (Puccini). In German. Few lt. mks., cons. 2. $12.00. 4065. 11½” PL Grey U.S. Pathé 62004 [15635/15635bis]. FLYING DUTCH- MAN: Like a vision (Wagner). Two sides. With BAPTIST HOFFMANN [b]. Just about 1-2. $15.00. 4067. 11½” PL Grey U.S. Pathé 62016 [15625/15629]. LOHENGRIN: Du ärmste. With THALIA PLAI- CHINGER [ms] / LOHENGRIN: Wenn in im Kampfe (Wagner). With HANS TANZLER [t]. Just about 1-2. $15.00. ERNA DENERA ADAMO DIDUR [bs] 4076. 10½” PL Grey U.S. Pathé 27505 [T66142-2/T66143-1]. HYMN POLSKI (Pozaraw) / O MATKO MOJA (Prusinowskiego). Small lbl. skrs. Just about 1-2. $12.00. 4075. 10½” PL Grey U.S. Pathé 27506 [T66610-1/T66640(?)-1]. TALES OF HOFFMANN: Coppelius’ Song (Offenbach) / SONNAMBULA: Vi ravviso (Bellini). Small lbl. stkrs. Just about 1-2. $12.00. PAUL FRANZ [t] 4080. 11½ PL Green French Pathé No.0428 [1649/1650]. L’ATTAQUE DU MOULIN: Adieux à la forêt (Bruneau) / HÉRODIADE: Air de Jean (Massenet). Few lightest mks. side one, cons. 2. Side two just about 1-2. $12.00. ARISTODEMO GIORGINI [t] 1806. 11½” Grey PL U.S. Pathé 60084 [84437/86259]. VOCE E’ NOTTE (de Curtis) / LA BOHÊME: In poverta mia lieta (Puccini). Cons. 2. $12.00.

17 PATHÉ VERTICALLY CUT DISCS FANNY HELDY [s] 4059. 11½” Green PL Disque Pathé No.0317 [3386/3374]. ANTAR: Air de l’oasis (Dupont) / MADAMA BUTTERFLY: Sur la mer calmée (Puccini). Side one creator performance. Cons. 2. $15.00. 1726. 11½” Green PL Disque Pathé No.0317 [3386/3374]. Same as preceding listing (item #4059). Side one 2. Side two few LGTs, 2-3. $10.00. GUSTAVE HUBERDEAU [bs] 4085. 11½ CS Disque Aspir 5219 [11001/11002]. LE CARILLONNEUR DE BRUGES (Grizard) / CHANSON DES GARS D’IRLANDE (Holmès). I wonder if Aspir didn’t record directly rather than via dubbed cylinders à la Pathé? There aren’t the sonic thumps and bumps one associates with Pathé’s transfers from cylinders. Few MGTs, otherwise cons. 2. $12.00. PAOLA KORALEK [s] 4092. 11½” Blk. PL Italian Pathé No.10525 [86327/86328]. ISABEAU: Ah! questo solo. With E. GARGIULO [ms] / ISABEAU: I tuoi occhi (Mascagni). With GIUSEPPE DI BER- NARDO [t]. White some sources credit the assisting singer on side one as Assunta Gargiulo, she was a lyric-coloratura. The voice here sounds like, as the label indi- cates, a mezzo. I can’t find any listings during that period, however, for an E. Gargiulio. Lt. rubs, 2. $15.00. GUSTAVE HUBERDEAU and MARIETTE MAZARIN in FRANCO LO GIUDICE [t] 4053. 11½” Green PL Italian Pathé No. 12589 [86833/86834]. IL PICCOLO MARAT: Comprendi quallo che ho fatto [Act III duetto] (Mascagni). Two sides. With ANNA SASSONE-SOSTER [s]. Cons. 2. $20.00. JEAN MARNY [t]. 1885- ? . A leading tenor of the Paris Opéra-Comique, Marny was noted in many roles, although perhaps particularly as Massenet’s Des Grieux (Manon ) and (his 1917 Opéra-Comique debut role). After his stage retirement in 1945, he became director of the Opera Theatre in Marseille until 1949. Excellent notes on Marny by Lewis M. Hall can be found on the Internet on the Marston website. These accompany a Marston CD issue of Cazette, Marny and Friant, “Three Tenors of the Opéra-Comique”. 1761. 11½” Green PL French Pathé No. 3175 [2058/2007]. LA RÔTISSERIE DE LA REINE PEDAUQUE: Rêverie de Jacques (Charles Lévadé)/CLAIR DE LUNE (Fauré). Side one creator performance, Paris Opéra Comique, 1920. IMs. Just about 1-2. $15.00. JANE MÉREY [s] 4078. 11½” CS Pathé 1967/1987. THAÏS: Dis-moi que je suis belle / THAÏS: L’amour est une vertu rare (Massenet). Just about 1-2. $15.00. LUIGI MONTESANTO [b] 4095. 11½” PL Grey U.S. Pathé 62008 [84159/84160]. PAGLIACCI: Prologo (Leoncavallo). Two sides. Excellent copy, few lightest rubs. Cons. 2. $12.00. LUCIEN MURATORE [t] 4070. 11½” Grey U.S. Pathé 54008 [E66771-1]. ROMÉO ET JULIETTE: Ah, lève-toi, soleil! (Gounod). Just about 1-2. $12.00. 4061. 11½” Grey U.S. Pathé 54023 [E66957-1]. LE CHANT DU DÉPART (Méhul). Just about 1-2. $10.00. CLAUDIA MUZIO [s]. 4071. 11½” PL Grey U.S. Pathé 54016 [E66762-1]. MADAMA BUTTERFLY: Un bel di (Puccini). Just about 1-2. $15.00. 4066. 11½” PL Grey U.S. Pathé 54026 [E67177-1]. TALES OF HOFFMANN: Barcarolle (Offenbach). With KATHLEEN HOWARD [c]. One lt. rub. Just about 1-2. $12.00.

18 PATHÉ VERTICALLY CUT DISCS 4091. 11½” PL Grey U.S. Pathé 54042 [E68193-2]. GIANNI SCHICCHI: O mio babbino caro (Puccini). Just about 1-2. $15.00. 1080. 11½” PL Canadian Pathé 54043 [E68192-1]. SUOR ANGELICA: Senza Mamma (Puccini). Just about 1-2. $15.00. 4081. 11½” PL Grey U.S. Pathé 63020 [E66494-1/E66495-2]. INNO DI GARIBALDI (Italian National Air) / CANZONE GUERRESCA (Gior- dano). Small lbl. stkrs. Cons. 2. $15.00. [t] 4079. 11½” Violet Italian Pathé No.10388 [87040/87042]. CARMEN: Ro- manza del fiore (Bizet) / LOHEN- GRIN: Cigno fedele (Wagner). Side one cons. 2. Side two some rubs and mks., cons. 2-3. $8.00. 4090. 11½” Violet Italian Pathé No.10410 [88159/88163]. STRIMPELLATA AL TRAMONTO (Bettinelli) / CLAUDIA MUZIO and puppy enjoying radio, TROVATORE: Ah si, ben mio 1920 style. (Verdi). Rare. One very tiny bump. Just about 1-2. $20.00. [s] 4052. 11½ PL Grey U.S. Pathé 60070 [E66086-2/E66257-3]. AIDA: O patria mia / TROVATORE: D’amor sull’ali rosee (both Verdi). Cons. 2. $12.00. ANNA SASSONE-SOSTER [s]. 1896-Milano, 1969. A student of Venturina in Milan, Sassone-Soster made her operatic debut at the Milan Teatro Lirico in 1918 in Mascagni’s Isabeau. She appeared mainly in Italy in a number of major theaters including La Scala, the Torino and the Rome Opera, although she was heard at Covent Garden (1925) and a season in South America (Teatro Colón in Buenos Aires and the Teatro Municipal in Rio de Janiero). Her last performance traced was in 1940 as Lucieta in Wolf-Ferrari’s I quatro Rusteghi, a role she sang in a number of theaters during her career. She recorded only for Pathé. 4086. 11½” Purple Italian Pathé No.12585 [86772/86773]. RIGOLETTO: Si, vendetta / RIGOLETTO: Lassù nel ciel (Verdi). With FRANCISCO JZAL [b]. Spanish baritone raised in , born Francisco Izal y Delgado (1890-1958). Small lbl. stkrs. Just about 1-2. $15.00. AUGUSTO SCAMPINI [t] 4094. 11½” Blk. Italian Pathé No.12534 [86431/86430]. ANDREA CHÉNIER: Ora soave / ANDREA CHÉ- NIER: Duetto finale (Giordano). With GIUSEP- PINA BALDASSARE-TEDESCHI [s]. Printing on lbl. side two off-center. Just about 1-2. $15.00. JOSEPH SCHWARZ [b] 4077. 10½ PL Blue U.S. Pathé 1069 [51153/55759]. MEISTERSINGER: Jerum, Jerum / OTTO WOLF [t]. MEISTERSINGER: Am stillen Herd (Wagner). Just about 1-2. $15.00. 4088. 11½” PL Green French Pathé No.34183 [51261/51264]. PAGLIACCI: Prologo (Leon- cavallo) / FLYING DUTCHMAN: Wie aus der Ferne (Wagner). Just about 1-2. $15.00. 4089. 11½” Brown French Pathé No.60017 [51150/51151]. THE QUEEN OF SHEBA: Blick empor (Goldmark) / BALLO IN MASCHERA: Für JOSEPH SCHWARZ dein glück (Verdi). Just about 1-2. $15.00. 19 PATHÉ VERTICALLY CUT DISCS VALENTIN ŠINDLER [t]. Cholina, Moravia, 1885-Prague, 1957. A pupil of Adolf Robinson, Šindler made his debut in the title role of Offenbach’s Tales of Hoffmann, 1909 according to one source, although he had made cylinders for Edison as early as 1907. He subsequently was heard in a number of houses in the Austro-Hungarian region.In 1921 he created the role of Kudrjas in the 1921 world premiere of Janak’s Katyá Kabanová In 1925 Šindler began a second career as a film actor which continued into the 1930s. He subsequently taught voice. 4084. 10½” PL Blue U.S. Pathé 4533 [56121/ 56122]. ZMARENA SVADBA: Pise Tonika (?) / HUGUENOTS: Pise Vojinu [Rata- plan] (Meyerbeer). Both sides with chorus. Couple LSSs (should be harmless), some rubbing, lbl. and outer margin NS side two, VALENTIN ŠINDLER 3. $8.00. ALBERT VAGUET [t] 4056. 11½” Blk. French Pathé No.3077 [637/708]. LE ROI DE THULÉ (Fragerolle) / CHANSON (François Ruhlmann). Just about 1-2. $12.00. FRIEDRICH WEIDEMANN [b] 4073. 11½” CS Pathé 19124/19125. DON GIOVANNI: Ständchen (Mozart) / QUEEN OF SHEBA: Blick empor zu jenne Räumen (Goldmark). Just about 1-2. $20.00. ______EDOUARD DERU [violinist]. 1875-1928. Deru, Violinist to the King and Queen of Belgium and Professor at the Liège Conservatory, won many awards as a youthful pupil at the Conserva- tory of Verviers. He toured France, Holland and Germany, and in 1906 taught violin to the then future Queen Elizabeth of Belgium. He came to the in 1916 for a concert tour and apparently remained there until his death.. One of many New York appearances was with Eugen Ysaÿe at Aeolian Hall in which the two artists played the Bach Double Violin Concerto. Deru’s widow established a violin competition in Belgium in 1928 that continues to this day. 4058. 11½” Green U.S. Pathé 52040 [E67287-1/E66150-1]. RONDINO (Beethoven- Kreisler) / SÉRÉNADE (Pierné). One very tiny scr., cons. 2-3. $20.00. E. LØVBERG [violinist], Fru FLAKSTAD [pianist]. These are apparently folk song arrangements. I’ve heard that the pianist (despite the difference in spelling) is Kirsten Flagstad’s mother, who was a pianist in Norway of some repute, but I can neither confirm or deny this. 4093. 11½” CS Norwegian Pathé 17875/17876. DAVIDSENS RHEINLÆNDER / GAMMEL BONDEVALS (composers?). 2-3. $15.00. ______

ARISTIDE BRUANT [cabaret singer, comedian and nightclub owner]. Courteney, France, 1851- 1925. An entertainer famous for Toulouse Lautrec posters of him with black attire and red scarf. Brunant was a noted café-concert perform- er who eventually owned his own nightclub in Montmartre. His vaudeville-inspired mix of song, satire and entertainment developed into the musical genre called chanson réaliste (realist song). – Wikipedia 4096. 10½” Blue U.S. Pathé 505 [187/196]. SERREZ VOUS RANGS /CHANSON DE LA FRANCE (both Bruant). Few lt. mks., cons. 2. $15.00.

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