2012-2013 List Corrections & ADDENDA A problem occurred by my apparently not having saved a quantity of work in the computer after it was entered. As a result, all records originally intended for this catalogue from items 2828 through 2908 do not actually appear. These records will be re- listed next year. This would not have been a problem, except that you will find some label photos for a few of these missing numbers and possibly some sound clips as well. This has already led to some obvious confusion for collectors trying to locate the listings via the photos. Again, these records will appear next year. I’m indeed sorry for this confusion. * * * * * LABEL PHOTOS LOUISE HOMER item label (IRCC 114) is given as catalogue number 1114. The record listing for this (as with a few in the above mentioned group) is missing in error and will appear next year. – noted by Michael Jarnes CYLINDERS Page 12, Item 9215. ALICE VERLET. Edison catalogue number should be 28255. – James Cartwright PATHÉ Page 15. JEANNE MAUBOURG. She and her conductor husband were with the New Orleans Opera the 1919/20 season where she was scheduled to sing dugazon roles (“young mothers and women past their first youth”) . After the departure of other artists she was called upon to perform a variety of parts, including Lola, Maddalena (Rigoletto), Suzuki, Carmen and Mercedes, Azucena and a number of others. “They hardly gave the poor girl a day’s rest!” – Jack Belsom Page 20, Item 4093. E. LØVBERG [violinist], Fru FLAKSTAD [pianist]. The violinist’s first name is ENOK [1869-1950] and the pianist’s name is misspelled on the disc. It is correctly MARIE (MAJA) FLAGSTAD [1871-1958], mother of Kirsten. – Tom Valle 78 rpm VOCALS Page 22. AGUSTARELLO AFFRE. Affre did not remain in New Orleans past the 1913/14 season. In addition to his managerial duties that final season, he appeared as Lohengrin, Radames, Samson, Edgardo and Vasco da Gama. – Jack Belsom Page 40, Item 3157. ENRICO BERRIEL. Berriel was born in Nürnberg on July 26, 1872, as Henri Seligmann Bernsteil, son of American citizen Charles Bernstiel and wife, née Neuberger. The family seems to have later settled in Paris, where Henri attended the Conservatoire 1893-94 (not a prize winner) and was soon singing in every salon, working his way up to the Opéra-Comique by making as many connections as he could (including concerts with and for Massenet). His debut at the Comique was in May, 1896, as Pompadour, a minor part in the world premiere of Messager’s Le Chevalier d’Harmental. No other roles followed. Moving on to Nice, he met Amélie (actually Jeanne-Christine-Victorine) Talexis. They wed in Paris in 1899 and then sang with the New Orleans Opera, 1900-01, Berriel as the Manager of the troupe and Talexis as the première falcon. He appeared as Valentin, Amonasro and Ourrias in Mireille. According to the New Orleans papers, Berriel hoped then to take the company to Havana and Mexico after the New Orleasns season ended, and perhaps he did. Following this period were engagements in Montréal, Bordeaux, Liège and Le Havre (when he may have run away with the money) . Apparently Talexis had enough of him by 1905 and they separated. This connection might have deprived him of his main income. Although not an incompetent singer, he was never asked back anywhere, when he was not thrown out: too many indiscretions, too many bankruptcies … too much of a crook. He lost his suit to Sonzogno and Gatti-Casazza [mentioned in the catalogue biographical sketch] in 1914 along the lines that it was just a promise that Giordano did his best to keep but was not in a position to make in the first place, and that neither Gatti nor Sonzogno could be bound by it. In the late 1920s he was active in Milano as a music publisher as well as an agent for the theater and movies. On the whole, he was a pretty unpleasant character though rather colorful, and seems to have pestered any artistic celebrity within reach. - Luc Bourrousse (with Jack Belsom providing the New Orleans details). Page 43, Item 2225. JUSSI BJÖRLING. This disc, the Eugen Onegin aria, is actually a recording by AKSEL SCHIÖTZ (in Danish) and was issued (in Scandinavia only) as DB 10523. – Nils-Göran Olve; John Bolig, etc. Page 73, Item 9304. M. DATHANÈ. His first name was Eugène, son of Lucien Dathané, conductor at the Bouffes theatre in Bordeaux. He studied in Paris and secured a contract with the Paris Opéra in January, 1908, the year he recorded his seven sides for Odéon. He was also listed on the roster in 1909, but he doesn’t seem to have ever made his debut. His first documented appearance was as Donner in a Feb. 21, 1909 concert performance of Das Rheingold with Nivette, Van Dyck and Croza directed by Lamoureux. He is also traced the following year as having sung Wotan in Das Rheingold excerpts conducted by Pierné. During the 1913-14 period, he concentrated on live singing at the movies, that is, not as an act between movies, but as a participant in the artistic extravaganzas taking place at the Gaumont-Palace with full orchestra, soloists and chorus. All in all he doesn’t seem to have trodden the stage much. After WWI he settled at Biarritz, where he taught singing until at least 1948. - Luc Bourrousse 1 Pate 77, Item 9414. GIUSEPPE DE LUCA. The Fonotipia numbers should be 39955 / 39956. The first two digits for both sides were erroneously reversed. – Ward Marston. Page 80, Item 3590. ZÉLIE DE LUSSAN. The MIGNON excerpt is the Styrienne, “Je connais un pauvre enfant” and is not “Connais-tu le pays” as listed – Howard Sanner Page 80, Item 4015. VERA VLADIMIROVNA DE LUZE. Lublin, April 15 (28), 1879-Moscow, Oct. 4, 1977. Daughter of Vladimir von Luze (probably von Lutz originally) and opera singer Sofia Konarskaya, her first and only teacher (excepting a few lessons with Mishuga). She left the stage after her marriage in 1919. From 1934 she taught at the Guesin School of Music (later the Guesin Institute). – Luc Bourrousse Page 84, Item 9404. ADAMO DIDUR. Fonotipia numbers should be 39537 / 39595. The first two digits for both sides were erroneously reversed. - Ward Marston Page 89, Item 3401. KARL ERB. Blue Odeon 52595/52596. Listing number should be 9401, NOT 3401. Page 90, Item 9436. LÉON ESCALAÍS. Pressing error. The side from LE PROPHÉTE, according to the label (correctly listed as matrix XPh466), turns out in error to be a pressing of 39428, “Rachel, quand du Seigneur” from Halévy’s LA JUIVE, also sung by Escalaïs. Page 108, Item 1406. FERRUCCIO GIANNINI. This is a 7” U.S. Berliner, NOT 10”. There are no 10” U.S. Berliners. – John Wolfson Page 117. CARLOS GUICHANDUT. He appeared opposite Callas in MEDEA, not Norma – César A. Dillon Page 133, Item 1414. IDA HIEDLER. Hiedler’s Columbia recordings date from 1904. – Raoul Konezni. Page 134, Item 2188. PAUL KÖTTER. He also recorded for Homocord in 1926. – Raoul Konezni Page 138, Item 3743. THORVALD LAMMERS. Side two, correctly spelled I DJUPA KAELLAREN is sung by HALFDAN RODE [bs] and not by LAMMERS. – Russ Geschke Page 140, Item 4212. GIACOMO LAURI-VOLPI. The Odeon catalogue number should correctly read JXX 82907. – Maurizio Tiberi Page 149, Item 3460. ÉMILE MARCELIN. This item is listed twice (the 3rd and 5th listings down from the top of the page). It is the same record duplicated in error. - Ward Marston Page 162. MARIA MICHALOWA. Pruzhansky spells her teacher’s name as Renning-Vilde (not Grenning)-Vilde. - Doug Fox Page 174, Item 1578. REGINA PACINI. The composer of Paquita is Napoleone Zardo – César A. Dillon Page 184, Item 1615. POL PLANÇON. Listed here as 91016 but it is correctly 91018. – Howard Sanner Page 184, Item 7225. POL PLANÇON. White Victrola 85018. Auction number should be 4279, NOT 7228. Page 186. SALVATORE PUMA. He also appeared in the U.S., making his debut in New Orleans in March 16, 1961 as Andrea Chenier, replacing the originally announced Giuseppe di Stefano. – Jack Belsom Page 190. MAURICE RENAUD. Reference to his having sung in New Orleans is a long-standing error that likely stems from the presence of an artist whose name “sounds like” Renaud – the fort tenor François Reynaud. He made his debut on the opening night of the 1892/93 season as Eleazar in La Juive, remaining there until Feb., 1893, never to return. – Jack Belsom Page 195, Item 3513. Mme. J. ROUSSELIÈRE. I’ve repeated an old wife’s tale (or more appropriately old collector’s tale) that Mme. Rousselière is Jeanne Leclerc. Mme. Rousselière was actually Jeanne-Suzanne Huchet, born Paris, Aug. 30, 1878, dying there Nov 29, 1953. She won first prize in singing and opera-comique [Paris Conservatoire] and made her Opéra-Comique debut on Oct. 28, 1953, as Colette in La Basoche. She and Charles were wed two weeks later (Nov. 16, 1901). She sang a number of small parts, the biggest of which was Sophie in Werther, then seems to have retired. - Luc Bourrousse Page 204, Item 3948. ERIK SCHMEDES. The opera Die Templar und die Juden (Marschner) from which Schmedes sings an excerpt here, is based on Sir Walter Scott’s novel, Ivanhoe, and is possibly the only work to make use of the novel before Arthur Sullivan’s grand opera of the same name. - John Wolfson. Page 212, Item 3862. LEO SLEZAK. Title side two should correctly read “Umsonst befrag ich die Sterne”.