Stracciari Shows Advance in His Art Opera Stars Dazzle
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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. -
Choral Union Concert Series HILL AUDITORIUM ANN ARBOR, MICHIGAN BENIAMINO GIGLI, Tenor ASSISTED by Edith Browning, Dramatic Soprano Vito Carnevali, Accompanist
UNIVERSITY SCHOOL OF MUSIC CHARLES A. SINK. PRESIDENT EARL V. MOORE, MUSICAL DIRECTOR First Concert 1927-1928 Complete Series 1616 FORTY-NINTH ANNUAL Choral Union Concert Series HILL AUDITORIUM ANN ARBOR, MICHIGAN BENIAMINO GIGLI, Tenor ASSISTED BY Edith Browning, Dramatic Soprano Vito Carnevali, Accompanist Friday Evening, October 7, 1927, at 8:00 PROGRAMME ARIA ((0 PARADISO" from "L'AFRICAINE" Meyerbeer BENIAMINO GIGU O BEI NIDI D'AMOR Donaudy TRE GIORNI SON CHE NINA Pergolesi O DEL MIO DOLCE ARDOR— Ghtck BtfNIAMINO GlGU ARIA "PLEUREX, PLEUREX MES YEUX" from "LE CID" Massenet CHANSON TRISTE Duparc CHERE NUIT Bachclct EDYTHS BROWNING ARIA "M'APPARI" from "MARTHA" Flotow BKNIAMINO GIGLI INTBRMISSION COME LOVE WITH ME (English) Carhevali LIFE (English) Curran TES YEUX (French) Rabey UN REVE (French) Grieg BfiNIAMINO GlGLI A FEAST OF LANTERNS Granville Bantock MY LOVE 0"ER THE WATER BENDS DREAMING Vito Moscato ARIA, "PEACE, PEACE" from "LA FORZA DEL DESTINO" Verdi EDYTHE BROWNING ARIA "VESTI LA GIUBBA" from "I PAGLIACCI" Leoncavallo BENIAMINO GIGLI Mr. Gigli uses the Hardman Piano Exclusively. Furnished by courtesy of the University Music House. Management, R. B. Johnston, New York City. (Over) J ARS LONGA VITA BREVIS L NINTH ANNUAL EXTRA CONCERT SERIES HILL AUDITORIUM 5-All Star Concerts-5 OCT. 28, ROSA RAISA and GIACOMO RIMINI Leading Dramatic Soprano and Baritone of The Chicago Civic Opera Nov. 21, FLONZALEY STRING QUARTET Adolfo Betti, First Violin Alfred Pochon, Second Violin Nicholas Moldovan, Viola Iwan D'Archambeau, Violoncello Dec. 12, DETROIT SYMPHONY ORCHESTRA Ossip Gabrilowitsch, Conductor Jan. 26, ST. OLAF LUTHERAN CHOIR F. Melius Christiansen' Conductor Feb. -
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. -
Gianni Schicchi Puccini Il Trittico 2000-2001
3 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA PUCCINI IL TRITTICO 2000-2001 GIANNI SCHICCHI PUCCINI IL TRITTICO 2000-2001 direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Progetto Puccini nel Novecento 1999-2002 Progetto Puccini nel Novecento 1999-2002 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA IL TRITTICO 2000-2001 Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto opera in un atto di Giovacchino Forzano musica di GIACOMO PUCCINI Edizioni Casa Ricordi, Milano personaggi e interpreti Gianni Schicchi Bruno De Simone Lauretta Anna Carnovali Zita Adele Cossi Rinuccio Roberto Iuliano Gherardo Carlo Bosi Nella Daniela Schillaci Gherardino Matteo Ciccone Betto di Signa Giovanni Mele Simone Marco Spotti Marco Arturo Cauli La Ciesca Dionisia Di Vico Maestro Spinelloccio Armando Gabba Ser Amantio di Nicolao Fabio Bonavita Pinellino Marco Pauluzzo Guccio Daniele Tonini Direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Mise en space di GILBERTO TOFANO in collaborazione con ROSANNA MONTI - luci UGO BENEDETTI Fin dalla mia elezione a Sindaco della città di Lucca, ho manifestato il mio impegno personale e quello dell’Amministrazione a porre al centro del programma culturale la figura e l’opera di Giacomo Puccini. -
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. -
Il Trittico Pucciniano
GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami. -
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’. -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht. -
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.