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Every year we issue a CD retrospective of the singers who were the subjects of articles in the previous volume. In this way our readers can hear these singers at their best in rare, beautiful and often previously unavailable material. We believe TRC 43 (Volume 58 singers) to be one of our most ambitious issues to date. Not only are many of the items being issued on CD for the first time but several are receiving their first-ever reissue.
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What treasures lie in the records of Eidé Norena. These have hardly ever been reissued. We begin with her exquisite 'Nymphes et Sylvains', familiar from Melba's recording. Here are encapsulated all of Norena's virtues: pin-point accuracy, perfect tuning and great skill in coloratura, all wedded to a very beautiful voice. The 1911 Les Huguenots aria, one of the very rare Norwegian 78s, shows the unfinished singer, before her studies with von zur Mühlen in London.
The records of Mihály Szekely are little known in the West, even though he enjoyed a very long career in Budapest, Europe and at the Met. His Entführung recordings are among his best, showing a massive voice and his renowned organ-stop lower register. Yet, he could soften the voice to a cooing mezza voce in 'Heidenroslein': a lovely example of his skill in lieder.
Johannes Sembach is neglected by collectors, possibly because his most easily encountered records are his dimly-recorded Columbias of 1916/17. Here are two of his earlier Grammophon recordings, showing an attractive, flicker vibrato and a powerful middle register. His singing is full of nuance, showing a great intelligence at work. Few will be prepared for the superb, very rare electric Clangor records, made after more than thirty-years of career. The voice is still in superb condition. His 'Gott! Welch Dunkel hier!' is agonising in its intensity. For me it is one of the great recordings of this aria. Equally magnificent is the duet, with the wonderful Liselotte Ammermann, a superb Leonore and a real find.
Armida Parsi-Pettinella is another neglected artist, yet hers was an important international career. Here is one of the finest performances of 'O mio Fernando' on disc. The voice is impassioned and thrilling in its fearless handling of this difficult aria. I am especially fond of the arioso 'Son la vecchia Madelon', which was her last recording. Here, in this simple melody, she cleverly paints a picture of her despair, having lost her son. She still sounds in fine voice, even though she was beginning to wind down what had been a great career.
The recordings of Bessie Abott are disappointing and have rarely been reissued. Here are two of her best records for you, the listener, to decide for yourself. No mere coloratura she, here is a lyric soprano with a fine technique, but there is a pervading dullness to her singing. There is little sparkle, little verve in the tone and she usually eschews the highest notes. Perhaps she simply felt uncomfortable before the recording horn.
Galliano Masini's records have been reissued complete. Yet, we had to bring you one, as a reminder of this fine artist. His 'Se Franz dicesse il vero' is one of the great records, sung with spine-tingling intensity demonstrating how his was among the finest tenor voices of the 20th century. The way he easily eschews the difficulty of these long lines, many constantly around the passaggio, is quite thrilling.
Eleanora De Cisneros was a patrician singer, of great versatility with a superb technique. She is neglected possibly because, apart from her few, dull-sounding Columbias, most of her recordings were made by the hill-and-dale method. Her versatility is demonstrated by an amazing recording of Brünnhilde's 'Hojotoho! Hojotoho!', sung fearlessly with great fire and intensity.
Nobody would argue that Maurice D'Oisly possessed a great voice, yet he was able to encompass both the lyric and some lirico-spinto roles. He easily encompasses the tessitura of Cavaradossi's first aria, which is deceivingly difficult to sing. For the second, he is joined by his wife, the lovely Rosina Buckman, in a satisfying rendering of the duet.
Finally, we are proud to bring you the first reissue, anywhere, of the newly-discovered radio transcription of Josef Schmldt's 'Postillonlied'. Readers will recall that this transcription ran out almost immediately after the tenor's top D has been cleverly reconstructed here, using the wonders of modern technology, to produce a complete performance With far more time to spread himself than on his commercial 10-in. (25 cm.) recording of the aria, Schmidt gives us a wonderful rendition of the aria, with superb trills, as written, at the end of each verse. When one thinks of some of the mouth-watering roles he performed on the radio but did not record (see the issue devoted to the tenor in Vol. 45, no. 1), we may dream that similar discoveries are still to be made!
We believe that this is one of our most interesting issues to date. Most of the items are being issued on CD for the first time and some are receiving their first-ever issue.
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The three examples of Tano Ferendinos show his sweet tenore di grazia to perfection. The ‘Torna’ is especially significant as he never recorded this song commercially. The two songs are charming and appear to have been omitted from other reissues on CD.
Louis Graveure’s voice is not to everyone’s taste and it is ironic that some of his worst discs seem to be the ones which are found most commonly. Yet at their best Graveure’s records show an interpreter of songs who is a born communicator, whose enunciation of the text is always crystal-clear. The ‘Yeoman’s Wedding Song’ is sung in ringing tones and is as fine an example of virile baritone singing as one could hope to hear. In more intimate music his mastery of mezza voce, rubato and diminuendi is second to none and the personality of the singer is always to the fore. For me, the best of his recordings are well worth seeking out.
No-one would suggest that Olga Haley was of the first rank of contraltos. Yet she is a fine artist who enjoyed great popularity throughout her career. Her records are certainly well worth hearing. Her Vocalions are difficult to reproduce, often suffering from heavy surfaces and backward recording. In the lovely ‘Harvest of sorrow’ her singing is both heartfelt and impassioned. The Dido is a strange arrangement of the music but her legato is a pleasure and the delivery ardent.
Giuseppe Taccani was, without doubt, one of the great lirico-spinto tenors of the 20th century. His discs always demonstrate a youthful and incisive tone and a security of attack that is thrilling, so it is a pity that he made relatively few recordings. The Jana disc is from the first session for the Gramophone Company in 1907 and is accompanied by the composer. The 27-year-old tenor is in fine form, ending the aria on an exciting B flat. The acoustic ‘Di quella pira’ is much harder to find than the electrical version and it has the advantage that the aria is in C (the electric recording is transposed down a semitone).
Emil Pinta’s article about the all-but-forgotten Pilotone label (Vol. 59, no. 2) was a great surprise, particularly as it revealed hitherto unknown recordings of several singers, among them Anne Roselle. The great Hungarian soprano, though nearing the end of her career at the time, is hardly taxed by the relatively trite, though rhythmically infectious, music. However, it is an example which admirers of this fine singer will want to have somewhere in their collection.
We are pleased to bring you three examples of the great Swedish tenor Set Svanholm. The Mendelssohn is from his first recording session and was recorded while he was officially a baritone. ‘Ich grolle nicht’ and the Meistersinger are previously unpublished. The voice in the Lied is still very baritonal but the easy, clarion top ‘A’ in the phrase ‘die dir am Herzen frißt’ (which most baritones eschew) shows the wisdom of his decision to change vocal registers. The Meistersinger is the unpublished take 2.
While researching which of the many Miguel Villabella records to include on this CD, I was surprised at how few of the Pathés had been previously reissued. The answer is probably because, with some exceptions, the recordings are poor, sometimes strident, sometimes distorted and we have worked hard to show them at their best. But they are important because they contain arias and songs that he never otherwise recorded and they show him at his best, such as the charming ‘Assis au pied’, which illustrates his beautiful head voice and the demi-teintes for which he was famous. The two arias from L’Illustre Fregona are creator’s discs and both are very beautifully sung. The music repays repeated listening. Each of the examples here has much to offer and illustrates one of the most interesting ‘French’ tenors of his time.
This is the second volume to the very successful issue of Fonotipia Tenors. As for the previous issue this is also a 2-CD set. Here are even more of the superb tenors who recorded for this preeminent company, which set the standards for technical quality of recording.
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CD 1: ACOUSTIC TENORS
1. Mefistofele: Giunto sul passo estremo (Boito)
XPh 4968 16 Oct. 13 69167
2. Il Barbiere di Siviglia: Ecco ridente in cielo (Rossini)
XPh 49822 6 Nov. 13 69099
3. Il Barbiere di Siviglia: Se il mio nome (Rossini)
XPh 4984 8 Nov. 13 69100
4. Don Pasquale: Sogno soave e casto (Donizetti)
XPh 4989 11 Nov. 13 69102
5. La Traviata: De’ miei bollenti spiriti (Verdi)
XPh 4965 16 Oct. 13 69168
6. Don Pasquale: Com’ è gentil (Donizetti)
XPh 2321 15 Jan. 07 39966
7. Manon Lescaut: Donna non vidi mai (Puccini)
XPh 2338 17 Jan. 07 39959
8. Rigoletto: Questa o quella (Verdi)
XPh 2290 11 Jan. 07 39958
9. Rigoletto: La donna è mobile (Verdi)
XPh 2291 11 Jan. 07 39957
NARCISO DEL RY
10. I Puritani: A te, o cara (Bellini)
XPh 3678 26 Nov. 08 92375
11. Lucia di Lammermoor: Tu che a Dio spiegasti l’ali (Donizetti)
XPh 3694 28 Nov. 08 92370
12. Don Pasquale: Cercherò lontana terra (Donizetti)
XPh 3686 27 Nov. 08 92371
13. L’Africaine: Mi batte il cor .... O Paradiso (Meyerbeer)
XPh 3550 21 Oct. 08 92262
14. Mefistofele: Dai campi, dai prati (Boito)
XPh 3559 23 Oct. 08 92261
15. Die Meistersinger von Nürnberg: Nel verno al piè focolar (Wagner)
XPh 3854 23 Apr. 09 92487
16. Die Meistersinger von Nürnberg: Cominciam! Appena il mite april (Wagner)
XPh 3953 19 June 09 69054
17. Die Meistersinger von Nürnberg: Dell’alba tinto (Wagner)
XPh 3855 23 Apr. 09 92488
18. Donna vorrei morire (Franchetti)
XPh 3973 23 June 09 92593
19. Der Freischütz: Lieto il colle....La finestra s’apre (Weber)
XPh 1708/9 15 Mar. 06 39523/4
20. Die Walküre: Siegmund heiss ich (Wagner) (in Italian) w. Giuseppina Baldassare-Tedeschi
XXPh 5299 1 Dec. 22 74230
21. Loreley: Infranto ogni altro vinco (Catalani)
XXPh 5266 8 Dec. 21 74220
22. Loreley: Nel verde maggio (Catalani)
XXPh 5265 5 Dec. 21 74219
23. Andrea Chénier: Un dì all’azzurro spazio (Improvviso)
XXPh 5374 29 Oct. 23 74235
24. Nerone: Queste ad un lido fatal (Boito)
Pho 54462 ? Sep. 24 152594
25. Nerone: Decurione! e invan mi danni w. Ines Lombardi
Pho 54493 ? Sep. 24 152595
No exact recording date is specified in the Fonotipia registers for these last two matrices.
Playing time: 77 mins
Every year we issue a CD retrospective of the singers who were the subjects of articles in the previous volume. In this way our readers can hear these singers at their best in rare, beautiful and often previously unavailable material. We believe TRC 40 (Volume 58 singers) to be one of our most ambitious issues to date. Not only are many of the items being issued on CD for the first time but several are receiving their first-ever reissue.
Click for more information…
Who among us can resist the glorious voice of Pavel Lisitsian? His baritone was of a gorgeous tonal quality wedded to a perfect technique. It is difficult to believe that his Pagliacci ‘Prologue’ has hardly been reissued so, appropriately, it begins this CD. The live Aleko shows that, at 60, his voice was still in perfect shape. It is an important addition to our collections because Lisitsian never recorded the aria commercially. How marvellous that it has been preserved for our enjoyment! The Demon arias, also hardly ever reissued, are edgy, crude recordings typical of some Russian discs of the period. However, the magnificent singing always wins through.
Torsten Ralf’s acoustic Parlophons are of great rarity. They were intended only for the Swedish market and, even there, have not been reissued. They show a bright, youthful sound, but already with an incisive quality surely indicative of the direction in which his career would progress.
We thought collectors would want to hear Victor Maurel’s very rare take of ‘Era la notte’. This is take 2, whereas most reissues on LP or CD have used take 3. He is in slightly croakier voice here, but the long, dreamy mezza voce of ‘Desdemona soave! Il nostro amor s’asconda’ is sustained even more magically than on the third take. Collectors will compare the two versions for themselves. It was just a pity that there was not enough room on the CD to include both takes side by side.
Sydney Rayner is represented by three of his rare Sonabels. He was never a subtle singer and rarely modulated the voice, but the forthright, rock-solid technique and the sensational top are qualities to admire. The two Tosca arias are very well sung, while ‘Canta pe’ me’ shows him in a more relaxed mood. He brings a touch of real Mediterranean sunshine to this lovely song.
Perceval Allen’s large discography is full of material unworthy of her great talent, so it is a pleasure to bring you these three Elektra recordings, which show her at her best. They are historically important as they were recorded less than three months after the première of the opera in Dresden. They are surely the first recordings of the new work and would hardly have sold in great numbers. Hence, they are of great rarity. They show a real dramatic soprano, with an incisive, brilliant tone and perfect attack. These three of the four excerpts that she recorded from the opera have never been reissued anywhere. What a pity that we simply couldn’t find the fourth!
Here are four examples of Dino Borgioli which demonstrate what an elegant, musical singer he was. The two acoustic Columbias are among the best versions of these arias. The two acetates show that he was still in fine voice some 30 years into his career and it is remarkable to note how little the voice has changed. The lovely Falconieri song was a favourite recital choice of the tenor and it is beautifully sung. The Matrimonio Segreto is rather backwardly recorded but well worth hearing. He was surely an artist to treasure.
Joseph Jamet, a bass of the first importance, was born in 1832 and is one of the oldest singers to have left his voice to posterity. This extremely rare disc is something of a curiosity, but there is enough tonal quality left for the ear of faith to reconstruct how he might have sounded in his prime.
Few would suggest that Gösta Björling was as gifted as his older brother Jussi. Yet it is an attractive voice, so reminiscent of Jussi’s, which he uses well. Because he was largely content to stay in Sweden he is not as well known as his famous sibling and, hence, fewer collectors know his recordings. They are well worth hearing.
I could not resist ending this CD as it began, with the voice of Pavel Lisitsian. The song is about the well-known story of Don Juan serenading an attractive young woman with the intention of casting his usual amorous spell. With such a voice, few maidens could resist!
This is a 2-CD set of some of the superb tenors who recorded for the Fonotipia Company. Most collectors would agree that the company was far ahead of its rivals for the technical quality of its recordings and the range of singers who recorded for them was astonishing. One CD of the set is devoted to tenors who recorded acoustically; the second to those who made electrical recordings. Many of these artists have not previously been reissued on CD.
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1. Lohengrin: Di, non incantan (Atmest du nicht) (Wagner)
2. Lohengrin: Prova maggior (Höchstes Vertrau’en) (Wagner)
3. Germania: Studenti udite (Franchetti)
4. Andrea Chénier: Sì! fui soldato (Giordano)
5. Andrea Chénier: Come un bel dì di maggio (Giordano)
6. Tosca: Recondita armonia (Puccini)
7. Carmen: Il fior che avevi (Bizet)
8. Manon: O dolce incanto ... Chiudo gli occhi (Massenet)
9. Rigoletto: Giovanna ho dei rimorsi ...E il sol dell’anima (Verdi) with Maria Perosio
10. Werther: Ah! non mi ridestar (Massenet)
11. Fedora: Amor ti vieta (Giordano)
12. Cavalleria Rusticana: Addio alla madre (Mascagni)
13. Roméo et Juliette: Amor, amor....Deh, sorgi, o luce in ciel
(Ah! lève-toi, soleil) (Gounod)
14. Roméo et Juliette: Ah, ben sai (Ah! je te l’ai dit) (Gounod)
15. La Bohème: Che gelida manina (Puccini)
16. L’Elisir d’Amore: Una furtiva lagrima (Donizetti)
17. Mefistofele: Dai campi, dai prati (Boito)
18. Cavalleria Rusticana: O Lola ch’ai di latti la cammisa (Mascagni)
19. Manon Lescaut: Donna non vidi mai (Puccini)
20. Manon Lescaut: Ah! Manon mi tradisce (Puccini)
21. Pagliacci: Recitar!... Vesti la giubba (Leoncavallo)
22. Iris: Apri la tua finestra (Mascagni)
23. Otello: Sì, pel ciel (Verdi) w. Ferruccio Corradetti
Playing time: 75 minutes
1. Fedora: Vedi, io piango (Giordano) w. Etty Maroli
2. Turandot: Non piangere, Liù (Puccini)
3. Turandot: Nessun dorma (Puccini)
4. Norma: Va, crudele, al Dio spietato (Bellini) w. Lina Lanza
5. Norma: In mia man alfin tu sei (Bellini) w. Vera Amerighi-Rutili
6. Otello: Già nella notte densa (Verdi) w. Anna Marcangeli
7. Don Pasquale: Sogno soave e casto (Donizetti) w. Sante Canali
8. Don Pasquale: Tornami a dir (Donizetti) w. Pierina Bruschi
9. Manon: Chiudo gli’occhi (Massenet)
10. La Bohème: Che gelida manina (Puccini)
11. Fedora: Amor ti vieta (Giordano)
12. Mefistofele: Giunto sul passo estremo (Boito)
13. I Puritani: A te, o cara (Bellini)
14. Martha: M’appari tutt’amor (Flotow)
15. L’Amico Fritz: O amore, o bella luce (Mascagni)
16. Loreley: Nel verde maggio (Catalani)
17. Pagliacci: Recitar......Vesti la giubba (Leoncavallo)
18. Isabeau: Tu ch’odi lo mio grido (Canzone del Folco) (Mascagni)
19. Isabeau: Il sogno e Dio ... L’occhio è cieco (Mascagni)
Playing time: 76 minutes
It is our pleasure to present another compilation of the rare, the unpublished and the beautiful. As always, The Record Collector has avoided duplication with other reissues wherever possible.
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Conrad Thibault possessed, for me, one of the loveliest of baritone voices. It is always used with great sensitivity for both word and music. His singing displays all the graces of bel canto, wedded to a superlative technique. We are delighted to present here his test record for Victor. On the evidence of this gorgeous sound it is hardly surprising that Victor snapped him up quickly.
Maria Galvany’s style of singing probably, to modern ears, belongs to a bygone era. Here we present two titles which find her on her best behaviour. The Fado was written especially for her by the composer and is a most attractive example of her voice.
We have sought out the rarest of Charles Dalmorès’s output. Both of these titles belong to the earlier, and much rarer, Victor session of 1907. The Carmen is a fine recording, in which he sings with great passion, grace and style. One would have thought that the aria would have suited him but I confess that I found ‘Ah! lève-toi, soleil’ rather disappointing. The voice is in fine shape but the approach is muscular rather than romantic.
Edna Thornton is desperately underrated by collectors. If these recordings were in the original languages they would be highly sought-after as examples of great singing. The ‘Brindisi’ can vie with the best of them, with its superb coloratura technique and an excellent trill. In the ‘Ai nostri monti’ she moulds an exemplary legato line and it is also a fine example of the much undervalued tenor Walter Hyde. Thornton sang with all the greats at Covent Garden and her recordings more than repay careful listening.
I had not previously heard any recordings by Anton Moser owing to their great rarity. Hence, it is with great pleasure that we can represent this baritone in both opera and lieder. The voice has an attractive, bright, lyric sound. He deserves to be better known.
Nicola Zerola has been much ignored by collectors and we hope that these examples will redress that. The voice is trumpet-toned, with a superb top, but it is also a very attractive sound in its own right. The Otello aria shows why his interpretation of the role was so highly valued. His recording of ‘Meco all’altar’, with the cabaletta squeezed on to a 12-inch disc, is of great rarity and shows an important voice of great authority. His Aida recording is an object lesson in how to depict a hopeless situation by scaling down a large spinto voice to a caressing mezza voce.
Were it not for broadcasts the voice of the American bass-baritone Julius Huehn would have been lost to us forever. Thanks to this 1940 broadcast we can enjoy this heldenbariton, who sings with great beauty, tenderness and authority.
Finding excellent examples of the lovely voice of Eleanor Jones-Hudson gave us much difficulty. Her records usually turn up in poor condition, indicating the great enjoyment they have given their owners over the years. We feel we have done her justice with these three. Hers is a voice that is perfectly placed, of ethereal beauty and used with a fine technique. Her charm positively leaps from the grooves!
Most of César Vezzani’s recorded output has been reissued on LP or CD but here are three that have not yet been released on Marston’s ‘complete Vezzani’ project. They show the visceral excitement of that voice at its best with its thrilling vibrancy and ringing top. Outstanding among these is his recording of ‘Les millions d’Arlequin’. It was undoubtedly a voice that had to be worked, yet he sings this lovely song with a caressing half-voice throughout. The beautifully placed and held G with which he ends the piece lingers long in the memory after the music has faded.
The second 2-CD set in this series consists of examples of some of the fantastic sopranos and mezzos who recorded in Italy between 1938 and 1954. These are their Cetra recordings and many are of great rarity as they were available only in Italy, would have sold in minimal numbers because of the ravages of the war and were soon deleted. Very few of these discs have been transferred to CD.
Many of these artists would have been great singers in any age.
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1. La Traviata (Verdi): Addio del passato
Cetra PE 205 Mat. F053 14 Dec. 53
2. I Pescatori di Perle (Bizet): Siccome un dì
Cetra PE 205 Mat. F098 21 June 54
Loretta Di Lelio
3. La Bohème (Puccini): Sì, mi chiamano Mimì
Cetra PE 180 Mat. A 71545 15 Nov. 52
4. La Bohème (Puccini): Donde lieta uscì
Cetra PE 180 Mat. A 71546 15 Nov. 52
5. Suor Angelica (Puccini): Senza Mamma
Cetra BB 25193 Mat. 2-71076 7 July 47
6. Mefistofele (Boito) L’altra notte in fondo al mare
Cetra BB 25209 (RO3005) Mat. 2-71094 8 July 47
7. La Wally (Catalani): Ebben ne andrò lontana
Cetra CB 20458 Mat. 2-71176 7 Oct. 48
8. Oberon (Weber): Piangi mio cuor
Cetra BB 25088 (R30017) Mat. 2-70610 9 July 1941
9. Le Nozze di Figaro (Mozart): Porgi amor
Cetra BB 25142 Mat. 2-70609 9 July 1941
Maria Luisa Gemelli
10. Otello (Rossini): Canzone del Salice ….. Ave Maria
Cetra PE 195 Mat. F031/2 10 Nov. 53
11. Sansone e Dalila (Saint-Saëns): Amor! i miei sini proteggi
Cetra CB 20512 Mat. 2-71471 6 June 51
12. Don Carlo (Verdi): O don fatale
Cetra CB 20511 Mat. 2-71441 25 Apr. 51
13. Falstaff (Verdi): Sul fil d’un soffio etesio
Cetra BB 25093 (R30004) Mat. 2-70629 circa 1941
14. Otello (Verdi): Canzone del Salice ….. Ave Maria
Cetra CC 2201 Mat. 2-70362/3 25 Feb. 46
15 Andrea Chénier (Giordano): La mamma morta
Cetra CC 2324 Mat. 2-70395 16 May 40
16. Il Trovatore (Verdi): Stride la vampa
Cetra BB 25082 Mat. 2-70401 21 May 40
Nora de Rosa
1. Iris (Mascagni): Un dì, ero piccina
Cetra PE 198 Mat. 051-2 26 Jan. 54
2. La Forza del Destino (Verdi): Pace! Pace mio Dio
Cetra PE 198 Mat. 052 12 Dec. 53
Irene Fratiza Gasperoni
3. La Serva Padrona (Pergolesi): Stizzoso, mio stizzoso
Cetra AT 0325 Mat. 55408 FC 7 May 53
4. Così fan tutte (Mozart): Una donna a quindici anni
Cetra AT 0325 Mat. 55409 FC 7 May 53
5. La Traviata (Verdi): Addio del passato
Cetra BB 25193 Mat. 2-71065 19 June 47
6. Otello (Verdi): Ave Maria
Cetra BB 25197 Mat. 2-71068 30 June 47
7. Tosca (Puccini): Vissi d’arte
Cetra BB 25197 Mat. 2-71069 BC 30 June 47
8. Die Liebe hat gelogen, D 751 (Schubert)
Cetra TI 7077 Mat. 53797 28 June 49
9. (a) Schneeglöckchen, Op. 79 No. 26 (Schumann)
(b) Er ist’s, Op. 79 No. 23 (Schumann)
Cetra TI 7077 Mat. 53798 28 June 49
10. Lodoletta (Mascagni): Flammen, pietà
Cetra TI 7069 Mat. 53540 FC 13 Nov. 48
11. Adriana Lecouvreur (Cilea): Poveri fiori
Cetra TI 7065 Mat. 53328 FC 11 Sep. 48
12. Guglielmo Tell (Rossini): Selva opaca
Cetra BB 25060 Mat. 2-70190 7 Dec. 38
Orch. Sinfonica dell’EIAR, Cond. Ugo Tansini
13. Semiramide (Rossini): Bel raggio lusinghier
Cetra BB 25110 (R30015) Mat. 2-70766 circa 1942
14. Manon Lescaut (Giacomo Puccini): Sola, perduta, abandonata
Cetra CC2232 Mat. 2-70465 circa 1940
Orch. Sinfonica dell’EIAR, Cond. Ugo Tansini
15. Lohengrin (Wagner): Sola ne’ miei prim’anni
Cetra BB 25084 Mat. 2-70462 circa 1940
16. La Gioconda (Ponchielli): A te questo rosario
Cetra BB 25055 Mat. 70403 21 May 40
17. Don Carlo (Verdi): O don fatale
Cetra BB 25082 Mat. 2-70400 21 May 40
18. Cavalleria Rusticana (Mascagni): Voi lo sapete
Cetra BB 25055 Mat. 70402 21 May 40
19. L’Amico Fritz (Mascagni): Son pochi fiori
Cetra BB 25037 Mat. 2-70168 25 Aug. 41
20. L’Amico Fritz (Mascagni): Non mi resta che il pianto
Cetra BB 25037 Mat. 2-70169 25 Aug. 41