Romeo Boscacci (Tenor) (Rome 1875 - Milan 1945)

Probably he made his debut in 1905 as comprimario at the Teatro Costanzi, Roma in Mascagni’s ‘’Guglielmo Ratcliff’’. In Italy he always performed as comprimario and only in the early 1920s, when he was a mamber of the San Carlo Opera Company, started to sing in USA principal roles appearing in ‘’Otello’’, ‘’Martha’’, ‘’Madama Butterfly’’, ‘’Faust’’ etc. Approximately in 1938, after his retirement, he returned again to Italy and followed his original occupation as a jeweller and watchmaker.

Chronology of some appearances

1922 Philadephia Faust Richard Bonelli, Pietro de Biasi, Sofia Charlebois, Anita Klinova and Luigi de Cesare

1922 Philadephia Martha with Josephine Lucchese, Anita Klinova, Richard Bonelli and Natale Cervi 

1923 Los Angeles Madama Butterfly with Tamaki Miura, Richard Bonelli and Anita Klinova 

RECORDINGS FOR SALE

Gramophone 10-12-23

Norma (Bellini):  Deh! Non volerli vittime with Ezio Pinza and Tina Poli-Randaccio Disco DB-729 2-054139

Columbia, Milano 1926/28

Falstaff: So che se andiam Pt. 1 with Mariano Stabile and Aristide Baracchi  D12621, WB2874

Falstaff: So che se andiam Pt 2 with Mariano Stabile and Aristide Baracchi D12621 WB 2875

Juste Nivette (Bass) (Paris 1866 -?)

He studied at the Paris Conservatory. He made his debut in 1892 at the Opéra Comique in Paris as Sarastro in ‘’Magic flute’’. He had during the following years his first success in the French province, above all at the opera house of Monte Carlo. Here he appeared on 18. 2. 1902 in the premiere of Massenet’s ‘’Le jongleur de Notre Dame’’. From 1899-1908 he was a member of the Grand Opéra, Paris. In the famous performance of the ‘’Magic flute’’ at the Opéra-Comique under the direction of Reynaldo Hahn in 1909 he sang opposite Marguerite Carré, Lucette Korsoff, Edmond Clément and Lucien Fugère. In 1907 he made guest appearance at La Scala as Hagen in ‘’Gotterdammerung’’ under the direction of Arturo Toscanini. In 1909 he sang in the opening season of the new opera at Boston the role of Alvise in ‘’La Gioconda’’ of Ponchielli. Then he continued his career in France

Chronology of some appearances

1909 Boston Opera House Rigoletto (Sparafucile)

1909 Boston Opera House Gioconda (Alvise)

1910 Chicago  Auditorium Rigoletto (Sparafucile)

1910 Pittsburgh Nixon Theater Rigoletto (Sparafucile)

1910 St.Louis Odeon Theater Rigoletto (Sparafucile)

1910 Providence Opera Rigoletto (Sparafucile)

RECORDINGS FOR SALE

G&T, Paris 1904/1905

Juive (Halevy): Cavatine 34650 43320

Odeon, Paris 1906-08?

Guillaume Tell (Rossini):  Trio, pt 1 with Affre and Note 36729 XP2585

Guillaume Tell (Rossini): Trio, pt with Affre and Note 236730 XP2586

Odeon, Paris 1908 (early)

Le muletier de Tarragone (Henrion) 60719 XP3881

Huguenots (Meyerbeer): Dans la nuit toute seule with Amelia Talexis 60651  XP3882

Huguenots (Meyerbeer): Dans la nuit toute seule, pt 2 with Amelia Talexis  60644  XP3883

Robert le diable (Meyerbeer): Valse infernale 60652 XP3885

Odeon, Paris 1908-06?

Faust (Gounod): Anges purs, anges radieux with Demougeot and Agustarello Affre 60895 XP4267

Odeon, Paris
Stabat Mater (Rossini) Pro peccatis 97040 XP4297
O salutaris (Thomas) with Demougeot 97065 XP4366

Ideal/Aspir, Paris 1912

Faust (Gounod): A moi les plaisirs with Paolo Zocchi 5303 245201

A.P.G.A., Paris

Le pas d'armes du Roi Jean (Saint-Saëns, Camille) Parte 1 1160

Le pas d'armes du Roi Jean (Saint-Saëns, Camille) Parte 2 1161

Pierre Gailhard (Bass) (Toulouse 1848 – Paris 1918)

He began his education in Toulouse then tudied at the Paris Conservatoryunder Revial, Couderc and Duvernoy. He made his debut in 1867 at the Paris Opéra-Comique as a Falstaff in ‘’Le Songe d'une nuit d'été’’ of A. Thomas. In 1872 he came to the Grand Opéra in Paris (beginning role: Mephisto in ‘’Faust’’ of  Gounod); here his career reached the climax. Here he appeared in 17 opera premieres (among other things in 1882 at the Grand Opéra in ‘’Francoise de Rimini’’ of A. Thomas, in 1876 in ‘’Jeanne d'Arc’’ of A. Mermet, in 1878 in ‘’La pure Berthe’’ of V. Joncières). He was very successful in parts like the Leporello in ‘’Don Giovanni’’, Kaspar in ‘’Freischütz’’, Hamlet in the opera of the same name of A.Thomas, Pythéas in ‘’Sapho’’ of Gounod, Saint-Bris in ‘’Huguenots’’of Meyerbeer, Mephisto in ‘’Faust’’ of Gounod. He guested in Russia and from 1879-83 sang also at the Italian opera house in London, here among other things as Mephisto in ‘’Faust’’ of Gounod. In 1884 he was appointed manager of the Opera, a position he held jointly with Jean Eugene Ritt (1884–91) and then with Eug¨ne Bertrand (1893–9); on Bertrand's death in 1899 he became sole manager (until 1906). His regime was perhaps most distinguished for its excellent Wagner productions. He made only four recordings for Fonotipia. All are very rare.

Chronology of some appearances

1867 Paris Opéra-Comique
1872 Paris Grand Opéra

RECORDING FOR SALE

Fonotipia, Paris 1904

La Paloma (Yradier) 39092 XPh516
Africaine (Meyerbeer): Holа!, matelots 39093 XPh517

Fonotipia, Paris 1905
Faust (Gounod): Vous qui faites l'endormie 39229 XPh602

Léon Melchissédec (Baritone) (Clermont Ferrand 1843 - Paris 1925)

He studied at the Paris Conservatory, where in 1865 he won the first price. He made his debut in 1866 at the Opéra-Comique of Paris. Here he appeared till 1876 and sang in the premieres of the operas ‘’Le premier jour de bonheur’’ of Auber (1868) and ‘’L'Amour africain’’ of Paladilhe (1875) as well as in the premiere of Jacques Offenbach’s ‘’Fantasio’’ (18. 1. 1872). In 1876 he engaged by the Théâtre Lyrique in Paris. Here he sang on 15. 11. 1876 in the premiere of  ‘’Paul et Virginie’’ of Massé and on 23. 2. 1877 in the premiere of ‘’Le timbre d'argent’’ of Saint-Saëns. In 1879 he was engaged by the Paris Grand Opéra (beginning role: Nevers in Meyerbeer’s ‘’Huguenots’’). In this opera house where he performed till 1891 and again from the year 1905  to 1912 he had great success. On 1. 4. 1881 he sang at the Grand Opéra in the premiere of the opera ‘’Le Tribut de Zamora’’ of Gounod, on 30. 11. 1885 in the premiere of Massenet ‘’Le Cid’’, likewise in 1885 in ‘’Tabarin’’ of Emile Pessard (in the title part) and on 14. 4. 1882 in ‘’Francoise de Rimini’’ from A.Thomas. In 1888 he sang there in the première of opera ‘’Roméo et Juliette’’ of Gounod as a partner of Adelina Patti, Jean de Reszke and Édouard de Reszke. On 18. 2. 1893 he appeared at the opera house of Monte Carlo in the stage premiere of the opera ‘’Damnation de Faust’’ of Berlioz as a partner of Jean de Reszke, on 14. 3. 1897 in Isidore de Lara’s Opera ‘’Moina’’. On 21.3.1899 he sang in Monte Carlo where he appeared till 1902 in the premiere of the opera very successful at that time ‘’Messaline’’ of Isidore de Lara. Since 1894 he was a professor of the Paris Conservatory.

RECORDINGS FOR SALE

Berliner, Paris 1899-07-25

Le Caid (Thomas): Enfant cheri (Air du Tambour-Major) 32639 3069

Pathe cylinders (black wax), Paris 1902-11

Les Dragons de Villars (Maillart): Chanson a boire 3699

Zonophone, Paris 1902-11?

La Marseillaise (de Lisle) X-2060

A.P.G.A., Paris 1907-03

Africaine (Meyerbeer): Fille des rois, a toi l'hommage 1624

Africaine (Meyerbeer): Adamastor, roi des vagues profondes (Ballade) 1625

Ballo in maschera (Verdi): Et c'est toi qui dechires mon вme (Eri tu) 1626

Rigoletto (Verdi): Oh! Mes maоtres, ma voix vous implore (Miei signori) 1627

A.P.G.A., Paris 1908

Don Giovanni (Mozart): Je suis sous ta fenetre (Serenade) 1990

Romeo et Juliette (Gounod): Soyez les bienvenus...Allons! Jeunes gens! (Air de la Reine Mab) 1991

Rosa Raisa (Soprano) (Bialystok, Russia 1893 - Santa Monica / California 1963)

She was a Polish-born, Italian-trained, Russian-Jewish dramatic operatic soprano. In 1926 she created the role of Turandot at La Scala, Milan. She was born as Raitza Burchstein, daughter of Herschel and Frieda Leah (Constantanovsky) Burchstein, in Białystok in 1893. Her mother died in 1899 and Herschel remarried, Chaya. Along with her cousins (Sasha Vigdorchik and his family) she fled Poland when she was 14 due to the pogroms, emigrating to the Isle of Capri, Italy. There Raitza met Dario Ascarelli and his wife Ester,], who recognized her talent and potential and sponsored her at the Naples Conservatory (San Pietro a Majella). Her teacher at the conservatory, the contralto Barbara Marchisio (1833–1919), had been one of the most prominent Italian singers of the mid-19th century. (See Marchisio's entry in The Concise Oxford Dictionary of Opera, edited by Harold Rosenthal and John Warrack, Oxford University Press, second edition, 1980.)

Marchisio brought Raisa in 1912 to Cleofonte Campanini, a leading operatic conductor and impresario. After the audition, he engaged the 20-year-old singer for the 1913 Parma Verdi Centenary: "Oberto, Conte di San Bonafico" and "Un ballo in maschera," and also signed her for his Philadelphia-Chicago Opera. As she was under 21 years of age, her engagement was confirmed in a handshake. In her Chicago Aida debut (November 29, 1913) at the famous Auditorium, she revealed "a voice the like of whose power had never been heard on that stage."

Debuts and successes followed rapidly for Raisa: a 3-mmonth tour of North America, London and Paris. During the early period of World War I she made debuts at Rome, Milan (La Scala), Buenos Aires (Teatro Colãn) and Rio de Janeiro. She returned to the Chicago Opera in 1916 as a well-established dramatic soprano. Enrico Caruso, who sang with her in London and Buenos Aires, considered her the "greatest dramatic soprano in the world". Triumphs followed rapidly; she was acclaimed for her Aida, Norma, Maliella in I gioielli della Madonna, and Rachel in La Juive.

In 1924, Arturo Toscanini brought her back to La Scala for the creation of Boito's Nerone (in the role of Asteria). At that time Giacomo Puccini heard her again (he had first heard her sing in Zandonai's "Francesca da Rimini" in 1916; offering her the creation of his next opera "La Rondine" for 1917) and told her he wanted her to create the lead role in his new, as yet unfinished opera, Turandot. Puccini died in November of that year and left Turandot unfinished. Turandot had its world premiere at La Scala on 25 April 1926, under Toscanini's baton, with Raisa appearing as Turandot and Miguel Fleta as Calaf. It was at this performance that Toscanini stopped the performance at the exact point where Puccini had ceased composing; the finale, prepared by Franco Alfano from Puccini's musical sketches, was given at the second performance two nights later (27 April). Toscanini believed her to be the "most gifted of dramatic sopranos".

Rosa Raisa married the Italian baritone Giacomo Rimini (1888–1952) in 1920; the couple had first met five years earlier. Their careers merged and after retirement in 1938 they opened a voice/opera school together in Chicago. Their daughter Rosa Giulietta Frieda Rimini was born 7 July 1931. They sang hundreds of concerts together, especially in the United States, many of them sponsored by Jewish groups as Raisa had become a beloved ethnic icon. She often closed her recitals with the Yiddish song "Eili, Eili".

On 4 November 1929, she was awarded the honor of opening the new Chicago Civic Opera House in a performance of Aida (broadcast throughout the USA) with a stellar cast personally selected by Civic Opera president Samuel Insull, the Chicago industrialist who later ran foul of the law. Raisa and Rimini invested their considerable earnings in Insull securities (actually a ponzi scheme) and eventually lost their fortune, on paper estimated in the range of a million dollars. Rosa Raisa died in Los Angeles, California in 1963, aged 70, from undisclosed causes.

http://en.wikipedia.org/wiki/Rosa_Raisa

Chronology of some appearances

1913 Parma  Teatro Regio Ballo in maschera (Amelia)

1913 Baltimora  Opera House Boheme (Mimi)

1913 Chicago  Civic Opera House Boheme (Mimi)

1914 Minneapolis  St.Paul Theater Boheme (Mimi)

1915  Buenos Ayres  Teatro Colon Boheme (Mimi)

1915 Buenos Ayres  Teatro Colon Boheme (Mimi)

1915 Rio de Janeiro  Teatro Municipal Boheme (Mimi)

1916 Chicago  Civic Opera House Andrea Chenier (Maddalena)

1916 Buenos Ayres  Teatro Colon Ballo in maschera (Amelia)

1916 Rio de Janeiro  Teatro Municipal Ballo in maschera (Amelia)

1919 Chicago  Civic Opera House Ballo in maschera (Amelia)

1920 Chicago  Civic Opera House Andrea Chenier (Maddalena)

1925 Chicago  Civic Opera House Andrea Chenier (Maddalena)

1927 Chicago  Civic Opera House Ballo in maschera (Amelia)

1928 Milano  Teatro La Scala Andrea Chenier (Maddalena)
1930 Chicago  Civic Opera House Ballo in maschera (Amelia)

RECORDINGS FOR SALE

Pathe, USA 1917?

Africana (Meyerbeer): Figlio del sol 60055 66087

Norma  (Bellini): Casta Diva....Ah, bello a me ritorna 60055  66149

Capelli d'oro (Stornello) 60062  66223

Vocalion, USA 1920 - 1924

Eili, Eili (Trad)  30011 A692

Vespri Siciliani (Verdi):  Bolero 30115 5781

None But the Lonely Heart (Tchaikovsky)  30134 7093

Kalinka (Russian Folk Song) 30160 7033

Otello (Verdi): Ave Maria 52007 7098

Aida (Verdi): La fatal pietra with Giuilio Crimi 52023 7104

Aida (Verdi): Morir si pura e bella with Giuilio Crimi 52043  7106

Crucifix (Faure) with Rosa Raisa 52031 A70032

Aida (Verdi): O terra addio with Giulio Crimi 7106 52043

Cavalleria Rusticana (Mascagni): Voi lo sapete 70031

La Paloma (Yradier) 52051   10996

Norma (Bellini): Casta diva 55001 5508

Trovatore (Verdi): Miserere with Giulio Crimi 55007 5813

Trovatore (Verdi): Miserere with Armand Tokatyan A-0201

Aida (Verdi): O patria mia 70007 11035

Gioconda  (Ponchielli): Suicidio! 70034 5850

Mefistofele  (Boito): L'altra notte 70036 11157

Madama Butterfly (Puccini): Un bel di vedremo 70036 11190

Trovatore  (Verdi): Timor di me...D'amor sull'ali rosee 54007 A669

Brunswick, Chicago

Trovatore  (Verdi): Mira d’acerbe lagrime  with Giacomo Rimini 11095   A70030

Ernani (Verdi): Ernani! Ernani, involami 15174

Cavalleria Rusticana (Mascagni): Turiddu mi tolse l’onore  with Giacomo Rimini XE 29230-3 900

Trovatore (Verdi): Mira d’acerbe lagrime with Giacomo Rimini XE29231-3 90004

Don Giovanni (Mozart): La, ci darem la mano  with Giacomo Rimini  30108 A60019

HMV, Milano 1933

Tosca (Puccini): Vissi d'arte DB2122 2M 1442-2

Andrea Chenier (Giordano): La mamma morta DB2123  2M 1446-2

Maria Barrientos (Soprano) (Barcelona 1883 – Ciboure 1946)

She was a Spanish opera singer, a light coloratura soprano, one of the most eminent sopranos of her time. Barrientos was born in Barcelona, where she received a thorough musical education (piano and violin) at the Music Conservatory, before turning to vocal studies with Francisco Bonet. She made her debut at the Teatro Novedades in Barcelona, as Ines in L'Africaine, in 1898, aged only 15, quickly followed by the role of Marguerite de Valois in Les Huguenots.

She was immediately invited to all the major opera houses of Europe, singing in Italy, Germany, England, France, to great acclaim. It is however in South America, especially at the Teatro Colãn in Buenos Aires, that she enjoyed her greatest triumphs. Her career was temporarily interrupted in 1907 by her marriage and the birth of a son, the union did not prove a happy one and she returned to the stage in 1909.

Barrientos made her Metropolitan Opera debut on January 31, 1916, in the title role of Lucia di Lammermoor with Giovanni Martinelli as Edgardo, Pasquale Amato as Enrico, and Gaetano Bavagnoli conducting. She remained committed to that house through 1920 where her other roles included Adina in L'elisir d'amore, Amina in La sonnambula, Elvira in I puritani, Gilda in Rigoletto, Rosina in Il barbiere di Siviglia, and the title roles in Lakme and Mireille. She notably portrayed The Queen of Shemakha in Nikolay Rimsky-Korsakov's The Golden Cockerel for the opera's United States premiere on March 6, 1918. After a three year absence, she returned to the Met for one last performance on December 14, 1923 as Lady Harriet in Martha.

Barrientos continued appearing on stage in standard coloratura roles until 1924. She then restricted herself to recitals, and became an admired interpreter of French and Spanish songs.

Barrientos was a singer with a voice of almost instrumental limpidity. She made a valuable set of recordings for Fonotipia Records and Columbia Records.

She retired to the south-west of France, where she became an enthusiastic bridge player. She died at Ciboure.

Chronology of some appearances

1900  Milano  Teatro Lirico Barbiere di Siviglia (Rosina)

1900  Torino  Teatro Regio Barbiere di Siviglia (Rosina)

1900  Genova  Politeama Genovese Barbiere di Siviglia (Rosina)

1900 Firenze  Teatro Niccolini Barbiere di Siviglia (Rosina)

1900 Roma  Teatro Costanzi Barbiere di Siviglia (Rosina)

1900  Trento Teatro Sociale Barbiere di Siviglia (Rosina)

1901 Madrid  Teatro Reale Barbiere di Siviglia (Rosina)

1901 Milano  Teatro Lirico Barbiere di Siviglia (Rosina)

1901 Roma  Teatro Costanzi Barbiere di Siviglia (Rosina)

1901 Buenos Ayres  Politeama Argentino Barbiere di Siviglia (Rosina)

1901 Montevideo  Teatro Solis Barbiere di Siviglia (Rosina)

1902  Torino  Teatro Vittorio Emanuele Barbiere di Siviglia (Rosina)

1902 Rosario di Santa F¨  Teatro Olimpo Barbiere di Siviglia (Rosina)

1902 Trieste  Teatro Comunale Barbiere di Siviglia (Rosina)

1903 Madrid  Teatro Reale Barbiere di Siviglia (Rosina)

1903 Bilbao  Teatro Arriaga Barbiere di Siviglia (Rosina)

1903 Napoli  Teatro Verdi Barbiere di Siviglia (Rosina)

1903 Londra  Covent Garden Barbiere di Siviglia (Rosina)

1904 Madrid Teatro Reale Barbiere di Siviglia (Rosina)

1904 Palermo  Teatro Massimo Barbiere di Siviglia (Rosina)

1904 Genova Teatro Carlo Felice Barbiere di Siviglia (Rosina)

1904 Madrid  Teatro Reale Barbiere di Siviglia (Rosina)

1905   Napoli  Teatro San Carlo Barbiere di Siviglia (Rosina)

1905 Buenos Ayres  Politeama Argentino Barbiere di Siviglia (Rosina)

1905 Buenos Ayres  Politeama Argentino Don Pasquale (Norina)

1905 Montevideo  Teatro Solis Barbiere di Siviglia (Rosina)

1905 Lisbona  Teatro San Carlos Pescatori di perle (Leila)

1906 Citt  del Messico  Teatro Principal Barbiere di Siviglia (Rosina)

1911 Buenos Ayres Teatro Colon Barbiere di Siviglia (Rosina)

1911  Montevideo  Teatro Urquiza Barbiere di Siviglia (Rosina)

1912 Barcellona  Teatro Principal Barbiere di Siviglia (Rosina)

1913 Valencia  Teatro Principal Barbiere di Siviglia (Rosina)

1913 Siviglia  Teatro Cervantes Barbiere di Siviglia (Rosina)

1913 Buenos Ayres  Teatro Colon Barbiere di Siviglia (Rosina)

1913 Buenos Ayres  Teatro Colon Pescatori di perle (Leila)

1914 Havana  Politeama Grande Barbiere di Siviglia (Rosina)

1915 New York  Teatro Metropolitan Barbiere di Siviglia (Rosina)

1916  Philadelphia  Teatro Metropolitan Barbiere di Siviglia (Rosina)

1916 Boston  Opera House   Barbiere di Siviglia (Rosina)

1916 Bahia Blanca  Teatro Colon Barbiere di Siviglia (Rosina)

1916 Buenos Ayres  Teatro Colon Barbiere di Siviglia (Rosina)

1916 Montevideo  Teatro Solis Barbiere di Siviglia (Rosina)

1916 San Paolo  Teatro Municipal Barbiere di Siviglia (Rosina)

1916Rio de Janeiro  Teatro Lirico Barbiere di Siviglia (Rosina)

1917 Buenos Ayres Teatro Colon Barbiere di Siviglia (Rosina)

1917 Madrid Teatro Reale   Barbiere di Siviglia (Rosina)

1918 Havana Teatro Nacional Barbiere di Siviglia (Rosina)

1920 Philadelphia Teatro Metropolitan Barbiere di Siviglia (Rosina)

1921 Buenos Ayres Teatro Colon Barbiere di Siviglia (Rosina)

1921 Buenos Ayres Teatro Colon Don Pasquale (Norina)

1922 Madrid Teatro Reale Barbiere di Siviglia (Rosina)

RECORDINGS FOR SALE

Fonotipia, Milano 1904-10-21

Lakme (Delibes): Aria delle campanelle (Delibes) 39013 XPH 30

Voci di primavera (Strauss) 39012 XPH 31

Sonnambula (Bellini): Ah non giunge 39011 XPH 35

Fonotipia, Milano 1904-11

Puritani (Bellini): Son vergine vezzosa 39010 XPH 81

Fonotipia, Milano 1906-02-01

Sonnambula (Bellini): Come per mi sereno (Bellini)  39457 XPH 1608

Mignon (Thomas): Io son Titania (Thomas) 39461 XPH 1621

Fonotipia, Milano 1906-02-12

Rinaldo (Handel): Lascia ch'io pianga (Handel) 39465 XPH 1606

Sonnambula (Bellini): Come per me sereno 39457 XPh1608

Sonnambula (Bellini): Sovra il sen 39458 XPh1609

Canzone di Solveig (Grieg) 39462 XPH 1607

Fonotipia, Milano 1906-02-14

El cabo primero Yo quiero (Caballero) 39480 XPH 1614

Fonotipia, Milano 1906-02-17

Barbiere di Siviglia (Rossini): Una voce 39459 XPH 1619

Barbiere di Siviglia (Rossini): Io sono docile  39460 XPH 1620

Fonotipia, Milano 1906-02-20

Dinorah (Meyerbeer): Ombra leggera (Meyerbeer) 39503 XPH 1634

Fra Diavolo (Auber): Or son sola (Auber) 39538 XPH 1632

Fonotipia, Milano 1906-02-23

Lucia di Lammermoor (Donizetti): Sulla tomba with Zenatello Giovanni 39825 XPh1653

Rigoletto (Verdi):  Caro nome 39542 XPH 1654

Rigoletto (Verdi): Tutte le feste 39543 XPH 1652

Columbia, March 14, 1916

Lucia di Lammermoor (Donizetti): Ardon gl’incensi (Mad Scene)   68040D 48627

Lucia di Lammermoor (Donizetti): Regnava nel silenzio   68040D  48628

Columbia, March 23, 1916

Rigoletto (Verdi): Caro nome  68041D 48649

Mireille (Gounod): O légère hirondelle (Waltz)   68068D 48650

Nozze Di Figaro (Mozart): Deh vieni, non tardar  68057D 48651

Columbia, February 2, 1917

Perle du Bresil Charmant oiseau (David)  49112

Martha (Flotow): Qui sola 49113

Columbia, March 12, 1917

Lakmé (Delibes): Ou va la jeune Hindoue 68041 D 49151

Columbia, April 2, 1917

Voci di primavera (J. Strauss) 68068D 49171

Columbia, March 22, 1918

Traviata (Verdi): Parigi, o cara with Hipolito Lazaro 49354

Columbia, April 8, 1918

Puritani (Bellini): Qui la voce 68052D  49370

Puritani (Bellini): Vien diletto  69052D 493701

Columbia, April 29, 1918

Le Coq d’or (Rimsky-Korsakoff): Hymne au soleil   68053D 49386

Columbia, March 6, 1919

Dinorah (Meyerbeer): Ombra leggiera   68042D  49596

Columbia, March 13, 1919

Mignon (Thomas): Io son Titania (Polonaise)  49598

Columbia, March 20, 1919

Rigoletto (Verdi): Si vendetta with Riccardo Stracciari  4010M 78363

Rigoletto (Verdi): Tutte le feste al tempio ... Piangi, piangi with Riccardo Stracciari  71003D 49611

Barbiere di Siviglia (Donizetti): Dunque io son with Riccardo Stracciari 71003D 49612

Columbia, April 4, 1919

Rigoletto (Verdi): E il sol del ‘anima with Charles Hackett 71002D 49616

Columbia, April 10, 1919

Traviata (Verdi): Un di felice with Charles Hackett 71001D 49622

Columbia, March 5, 1920

Sonnambula (Bellini): Ah! non giunge  68053D 49763

Columbia, March 11, 1920

Lucia di Lammermoor (Donizetti): Verranno a te with Hackett 71002-D 49766

Columbia, March 18, 1920

Lucia di Lammermoor (Donizetti): Chi mi frena with Charles Hackett, Noe, George Meader, Riccardo Stracciari and Jose Mardones 74000-D 49768

Columbia, March 27, 1920

Rigoletto  (Verdi): Bella figlia dell’ amore with Charles Hackett, Riccardo Stracciari and Jeanne Gordon  74000D 49782

Columbia, April 23, 1920

Theme and Variations (Proch) 68079D  49803

Columbia

Amor Brujo (de Falla)  PFX2 WLX 1415

Asturiana (De Falla)  D11701 WLX309

Cancion (De Falla)  PFX1

El pano moruno (De Falla) D11701 LX308

Jota (De Falla) PFX1 WLX 310

Nana (De Falla)  PFX1 WLX 1368-2

Polo (De Falla)  PFX2

Seguidilla murciana (De Falla) D11701 LX308

Soneto A Cordoba (De Falla)   PFX2 WLX 1369

Medea Mei-Figner (Soprano) (Florence 1859 – Paris 1952)

She made her debut in Sinaluga, Italy as Azucena in ‘’Il Trovatore’’. She had a successful career in Europe and South America. During her appearances in Milan she met her future husband, Russian tenor Nicolai Figner (1856-1919). They both joined the Imperial Opera in St. Petersburg, where they had highly regarded careers. Tchaikovsky, a friend of the Figners, wrote part of his opera ‘’The Queen of Spades’’ at their residence. The couple appeared in the 1890 world premiere of that work, Medea as Lisa and Nicolai as Hermann. At the Imperial Opera she and her husband also created roles in ‘’Iolanthe’’ (1892), and Napravnik's ‘’Doubrovsky’’ (1895) and ‘’Francesca da Rimini’’ (1902). The Figners were divorced in 1904; and after the Revolution (1919) she left Russia and lived permanently in Paris. She sang opposite Julian Gayarre (1844 –1890).

Chronology of some appearances

1882 Nice Teatro Municipal Rigoletto (Gilda)

1882  Madrid Teatro Lirico Rigoletto (Gilda)

1884  Montevideo Teatro Solis Favorita (Leonora)

1885  Bergamo Teatro Riccardi Favorita (Leonora)

1903 Montevideo Teatro Solis Adriana Lecouvreur (Adriana)

1903 Buenos Ayres Teatro dell'Opera Tosca (Tosca) opposite Enrico Caruso

1910 San Pietroburgo Teatro Conservatorio Favorita (Leonora)

RECORDINGS FOR SALE

G&T, St Petersburg 1901

Penso (Tosti) 23122  296x-D-Z2

Night  (Rubinstein) 23123 297x 

Werther (Massenet): Air des larmes  23124 298x-F-Z2

Carmen (Bizet): Habanera 23125 299x

Carmen (Bizet): Chanson Boheme 23131 300x-F-22

Night love and moon (Davidov) 23132 338x-D-2z

Fior che langue (Rotoli) 23133 339x-D-2z 

Tosca (Puccini): vissi d’arte 23134 341x-D-2z 

Pique Dame (Tchaikovsky): Lisa’s aria 23135 342x-D-2z

Le Crucifix (J.-B. Faure) with Nikolai Figner 24057 369x

Do not tempt me needlessly (Glinka) with Nikolai Figner 24058 370x-No-2z

Seagull’s cry (Grodsky) with Nikolai Figner 24059 371x

Mefistofele (Boito): Lontano, lontano with Nikolai Figner 24060 372x

Dubrovski (Napravnik): Ne jamais la voir with Nikolai Figner 373x-No-2z

Harold (Napravnik): Cradle song 23146 436x

Tosca (Puccini): Vissi d’arte 23147 437x

Carmen (Bizet): Habanera  23125X 362z

Night love and moon (Davidov) 23132X 363z

Carmen (Bizet): Chanson boheme 23131X 364z

(Napravnik): Cradle song 23146X 365z-T2-2z

Carmen (Bizet): Seguedille 23080

In the morning I bring you violets (Meyer-Helmund) 23081

Muztrust

Folksongs: Ein Mannlein steht im Walde & unknown song 593b

E canta il grillo (Billi) 642 18246

Stornellatrice (Respighi) 643  18246

Stornellatrice (Respighi) 643A 18246

At the ball (Tchaikovsky) 654 18247

Pathe cylinders & discs, St Petersburg 1903?

Carmen (Bizet): Seguidilla 348505