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Feb 28, 2025

AUSTRIAN SOPRANO LUCIE WEIDT (1876-1940) CDR

LUCIE WEIDT (OPAVA, CZECH REPUBLIC, 11 MAY, 1876 – VIENNA, AUSTRIA, 28 JULY, 1940)

Marie Louise Charlotta Weidt (often referred to as Lucie or Lucy Weidt) was a renowned Austrian soprano. She was born to Heinrich Weidt (1828–1901), a conductor and composer, who likely influenced her early interest in music. She studied singing under Rose Papier-Paumgartner in Vienna, receiving exceptional training that paved the way for her successful operatic career.

Weidt made her professional debut in 1900 at the Leipzig Opera, where she performed until 1903. During her tenure there, she participated in the premiere of Felix Weingartner’s opera Orestes in 1902. In 1903, she joined the Vienna Hofoper (later the Staatsoper) and quickly became one of its leading sopranos. Her debut role in Vienna was Elisabeth in Wagner’s Tannhäuser.

She excelled in premieres and significant performances, demonstrating her versatility and dramatic prowess. In 1907, she created the role of Lisa in the Vienna premiere of Tchaikovsky’s The Queen of Spades. She also participated in the world premieres of two landmark operas: Richard Strauss’s Der Rosenkavalier (1911) and Die Frau ohne Schatten (1919), both at the Vienna Hofoper. Her portrayal of Kundry in Parsifal (1914) was another milestone, performed not only in Vienna but also in the opera’s La Scala premiere in Milan the same year.

Weidt’s talent extended beyond Vienna. She made acclaimed guest appearances at prestigious venues, including Covent Garden in London, the Grand Opéra in Paris, the Teatro Colón in Buenos Aires, and opera houses in Amsterdam and Brussels. Her powerful voice, nuanced interpretations, and stage presence were celebrated internationally.

In 1927, she retired from the stage and dedicated herself to teaching in Vienna, where she passed on her expertise to a new generation of singers.

Weidt was married to Austrian diplomat Johann Andreas Freiherr von Eichhoff, a partnership that added to her prominence in Viennese cultural and social circles.

Chronology of some appearances

1900-1903 Leipzig Oper

1903 Vienna Hofoper

1901 Hofoper in Dresden

1904 Prague German Theater

1906 Prague German Theater

1906-1907 Frankfurt a.M. Opernhaus

1909 Zurich Opera

1910 Munich Hofoper

1910-1911 New York Metropolitan Opera

1912 Zurich Opera

1914 Milan La Scala

1927 Vienna Hofoper

TRACKLIST

Fidelio (Beethoven) Abscheulicher!… Komm’, Hoffnung 43380 3494g G&T, Wien 1904-10

Fidelio (Beethoven) Komm’, Hoffnung 043048 339i G&T, Wien 1904-10

Freischütz (Weber) All’ meine Pulse schlagen 43641 2470h G&T, Wien 1904-10

Freischütz (Weber) Arie 43521 G54b G&T, Wien 1904

Freischütz (Weber) Und ob die Wolke 043140 01209v Gramophone, Wien 1909-09-28

Freischütz (Weber) Wie nahte mir der Schlummer 043053 341i G&T, Wien 1904-10

Götterdämmerung (Wagner) Zu neuen taten (w. Schmedes) 044143 01197v Gramophone, Wien 1909-09-16

Huguenots (Meyerbeer) Fragment aus dem Duett des 3 Aktes 43523 G58b G&T, Wien 1904

Lohengrin (Wagner) Du Ärmste kannst wohl nie ermessen 43360 G1022a G&T, Wien 1904

Lohengrin (Wagner) Euch Lüften 43528 G57b G&T, Wien 1904

Oberon (Weber) Ozean, du Ungeheuer! 043141 01210v Gramophone, Wien 1909-09-28

Siegfried (Wagner) Ewig war ich 043143 01206v Gramophone, Wien 1909-09-21

Tannhäuser (Wagner) Allmächt’ge Jungfrau 043131 01207v Gramophone, Wien 1909-09-21

Tristan und Isolde (Wagner) Mild und leise (Liebestod) 043132 01208v Gramophone, Wien 1909-09-28

Trovatore (Verdi) Duett Leonora-Luna (w. Weidemann) 044044 805f G&T, Wien 1904-08

Walküre (Wagner) Der Männer Sippe 043142 01205v Gramophone, Wien 1909-09-21

GERMAN BARITONE HANS MELMS (1869-1941) CDR

HANS MELMS (BERLIN, 17 JUNE, 1869 – BERLIN, 28 AUGUST, 1941)

Hans Melms was a distinguished baritone whose career spanned notable opera houses in Europe during the late 19th and early 20th centuries. He made his debut in 1892 at the Hoftheater in Altenburg, Thuringia, embarking on a journey that would take him to various prominent theaters and opera houses.

In the 1893–1894 season, he performed at the Stadttheater in Würzburg, followed by a stint at the Stadttheater in Olmütz during the 1894–1895 season. His rising reputation led him to engagements at the Stadttheater in Chemnitz (1895–1897) and the Opernhaus in Cologne (1897–1898). From 1898 to 1902, he graced the stage of the Stadttheater in Magdeburg, showcasing his growing repertoire and dramatic capabilities.

In 1902, he joined the Hofoper in Vienna, debuting as Tonio in Leoncavallo’s Pagliacci. He remained there until 1904, later appearing at the Nationaltheater in Berlin for the 1904–1905 season. He subsequently joined the Volksoper in Vienna from 1905 to 1907. Returning to the Hofoper in Vienna for the 1907–1909 seasons, he performed again at the Volksoper in 1909–1910 before concluding his Vienna engagements with another term at the Hofoper from 1910 to 1914.

Beyond his regular appointments, he made guest appearances at several prestigious venues, including the Opernhaus in Leipzig (1900), the Hofoper in Munich (1901), and the Deutschen Theater in Brünn (1903).

Repertoire Highlights

Renowned for his versatility, he excelled in roles ranging from the heroic to the dramatic. His repertoire included:

Pizarro in Fidelio

Hans Heiling in H. Marschner’s Hans Heiling

The Hunter in C. Kreutzer’s Das Nachtlager von Granada

Telramund in Lohengrin

Wotan in Die Walküre

Kurwenal in Tristan und Isolde

Rigoletto in Verdi’s Rigoletto

Count di Luna in Il Trovatore

Nelusco in Meyerbeer’s L’Africaine

Valentin in Gounod’s Faust

Wolfram in Wagner’s Tannhäuser

After 1917, he settled in Berlin, where he later transitioned into film appearances, demonstrating his adaptability and enduring presence in the performing arts.

Chronology of some appearances

1892 Altenburg Hoftheater

1893-1894 Wurzburg Stadttheater

1894-1895 Olmütz Stadttheater

1895-1897 Chemnitz Stadttheater

1897-1898 Cologne Opernhaus

1900 Leipzig Opernhaus

1901 Munich Hofoper

1898-1902 Magdeburg Stadttheater

1903 Brünn Deutschen Theater

1902-1904 Vienna Hofoper

1904-1905 Berlin Nationaltheater

1905-1907 Vienna Volksoper

1907-1909 Vienna Hofoper

1909-1910 Vienna Volksoper

1910-1914 Vienna Hofoper

TRACKLIST

Odeon, Wien 1906/1907

Carmen (Bizet): Torerolied 38347Africana (Meyerbeer): Ballade des Nelusco 38353

Traviata (Verdi): Di Provenza 22016

Tannhäuser (Wagner): Wohl wusst’ ich 51441

Guillaume Tell (Rossini): Terzett (w. Maikl & Wissiak) 38357

Pathé, Wien 1907?

Africaine (Meyerbeer): Ballade des Nelusko 38265

Pathé, Wien 1908?

Tannhäuser (Wagner): Wohl wusst’ ich 38665

Trovatore (Verdi): Befreit, o welche Seligkeit (w. Jeritza) 38656

Mignon (Thomas): Schwalbenduett (w. Jeritza) 38666

Gramophone, Wien 1908

Traviata (Verdi): Hat dein heimatlches land 22853 12839u

Trovatore (Verdi): Ihres Auges 228541 2835u

Zonophone, Wien 1908

Tannhäuser (Wagner): O kehr’ zurück X-22843

Tannhäuser (Wagner): Dir hohe Liebe X-22844

FRENCH BARITONE LOUIS NUCELLY CDR

LOUIS NUCELLY

In the 1908–1909 season, he appeared at the Grand Opéra in Paris, making his debut as Leuthold in G. Rossini’s Guillaume Tell. His repertoire included the Army Caller in Lohengrin, Alberich in Götterdämmerung, and Capulet in Roméo et Juliette. In October 1910, he performed at the Opera in Nantes once again in Rossini’s Guillaume Tell, opposite Silva, Gérard, Milhau, Sylvestre, and Baer. In 1919, he made a guest appearance at the Paris Opéra-Comique as Scarpia in Tosca. He also sang in Monte Carlo and Brussels.

Chronology of some appearances

1908-1909 Paris Grand Opéra

1910 Nantes Opera

1919 Paris Opéra-Comique

TRACKLIST

Traviata (Verdi): Lorsqu’à de folles amours BA 27117 4M-17158 Edison 4-min cylinders, Paris 1912

Les sapins (Dupont) BA 27165 4M-17161 Edison 4-min cylinders, Paris 1912

Jongleur de Notre-Dame (Massenet): Légende de la sauge BA 27124 4M-17166 Edison 4-min cylinders, Paris 1912

Favorite (Donizetti): Viens, Léonore BA 27152 4M-17012 Edison 4-min cylinders, Paris 1909

La voix des chênes (Gustave Goublier) Aérophone, Paris

Le clairon 641 Aérophone, Paris

Le crédo du paysan (Goublier) Aérophone, Paris

Les Vieilles de chez Nous (Levadé) 232928 K 853 Gramophone

Ballo in maschera (Verdi) Alla vita che t’arride 6049 Gath y Chaves

Carmen (Bizet) Toreador song 6016 Gath y Chaves

Carmen (Bizet) Aria di Escamillo 6016 Gath y Chaves

Carmen (Bizet) Toreador song 642 Aérophone, Paris

Jongleur de Notre-Dame (Massenet) Légende de la sauge 1247 Aérophone, Paris

La voix des chênes (Goublier) 5167 Idéal – Aspir

La voix des chênes (Goublier) 644 Aérophone, Paris

Le clairon (Déroulède) 5051 Disque Idéal

Le Dieu Allemand 1382 Aérophone, Paris

Le mendiant d’amour (Goublier) BA 27112 4M-17153 Edison 4-min cylinders, Paris 1912

Le soir (Gounod) BA 27125 4M-17167 Edison 4-min cylinders, Paris 1912

Pandore (Nadaud) 5056 Disque Idéal

Patrie (Paladilhe) Pauvre martyr obscure 643 Aérophone, Paris

Samson et Dalila (Saint-Saëns) Maudite à jamais soit la race 4-32364 Gramophone

Traviata (Verdi) Lorsqu’a de folles amours 1246 Aérophone, Paris

JEWISH BARITONE VITTORIO WEINBERG THE COMPLETE RECORDINGS 2 CDR

VITTORIO WEINBERG (JERUSALEM, ISRAEL, 1895 – ?)

Born Chaim Weinberg to a family of pioneer settlers in Israel, he was sent as a young man for religious studies at Yeshiva Chayei Olam and Yeshiva Etz Chaim. Discovered to have a beautiful voice, he left for Cairo, where, while studying at the University, he performed several concerts at the Royal Palace. In 1920, he moved to Milan to study for two years at the Conservatory with Maestro Giuseppe Mandolini.

He made his operatic debut in 1922 at the Teatro Sociale in Brescia, performing in Cavalleria Rusticana and Pagliacci. For the next decade, he maintained an intense performance schedule across Italy and internationally, appearing in Sweden, Finland, the Baltics, Poland, Chile, Argentina, Portugal, Spain, Austria, and Egypt.

In 1932, he returned to Israel, where he directed the schools of singing in Jerusalem, Tel Aviv, and Haifa, as well as the Jerusalem Theater. In 1936, he sang on the radio and performed at the Hebrew University of Jerusalem.

In 1939, he relocated to the United States and was appointed cantor of Congregation Beth Sholom in San Francisco for several years. In 1948, he performed at the San Francisco Opera House in Rigoletto.

Chronology of some appearances

1922 Brescia Teatro Sociale Cavalleria Rusticana (Alfio)

1923 Como Politeama Lariano Amico Fritz (David)

1924 Scandiano Teatro Sociale Favorita (Alfonso)

1925 Il Cairo Teatro Kedivhiale Adriana Lecouvreur (Michonnet)

1926 Trieste Teatro Verdi Cavaliere Della Rosa (Faninal)

1927 Parma Teatro Regio Turandot (Ping)

1928 Piacenza Teatro Municipale Manon (Lescaut)

1929 Lisbona Coliseo Recrejos Barbiere di Siviglia (Figaro)

1930 Milano Teatro alla Scala La Via Della Finestra di R. Zandonai (Marchese)

TRACKLIST

Madama Butterfly (Puccini)

Baritone Vocals – Antonio Gelli, Vittorio Weinberg

Bass Vocals – Guglielmo Masini

Chorus – Coro Del Teatro Alla Scala

Chorus Master – Vittore Veneziani

Conductor – Carlo Sabajno

Mezzo-soprano Vocals – Elena Lomi, Ida Mannarini

Orchestra – Orchestra Del Teatro Alla Scala

Soprano Vocals – Margaret Sheridan

Tenor Vocals – Lionello Cecil, Nello Palai

HMV, 78 RPM

Recorded in 1929 on October 24-25, 28-31; November 4, 6, 11, 13-14, 19, 22, 26, 29; December 2 & 4.

Recorded in 1930 on January 2, 4, 6-7; March 24 & 27; April 1.

Recorded in Milan, Italy

HMV, Milano 5-11-29

La Traviata (Verdi) Di Provenza 100-820 R10348

HMV, Milano 28-11-29

Il Barbiere di Siviglia (Rossini) All’idea di quel metallo with Agostino Casavecchi CM1272 S10165

Il Barbiere di Siviglia (Rossini) Numero quindici with Agostino Casavecchi CM1273 S10165

FRENCH SOPRANO ROSE HEILBRONNER CDR

ROSE HEILBRONNER (PARIS, 1884 – ?)

Her family hailed from Alsace. She studied singing under Mme Martini and Rose Bauer in Paris. She made her debut in 1907 at the Opéra-Comique in Paris as Diana in Gluck’s Iphigénie en Aulide. She remained a member of the Opéra-Comique until 1912, performing roles such as Eurydice in Gluck’s Orpheus, Micaëla in Carmen, Rozenn in Lalo’s Le Roi d’Ys, Pamina in The Magic Flute, and Donna Elvira in Don Giovanni.

In 1911, she made a guest appearance at the Teatro Colón in Buenos Aires, performing in Massenet’s Grisélidis. After 1912, she appeared at various French opera houses, especially in Nice and at the Monte Carlo Opera. On December 3, 1912, she sang in the premiere of Guy Ropartz’s opera Le Pays at the Nancy Opera House.

With the outbreak of World War I, she paused her career to work as a nurse. Nevertheless, in 1917, she resumed singing in Bordeaux, Marseille, Geneva, and Nantes. In 1918, she appeared in Algiers and Tunis. From the 1919 to 1922 seasons, she was engaged by the Théâtre de la Monnaie in Brussels, where she participated in the premiere of H. Rabaud’s opera La Fille de Roland.

In 1922, she made guest appearances in Toulouse, singing in the premiere of Rousseau’s opera La Hulla, as well as in Vichy, San Sebastián, and Deauville. She achieved great success with the Concerts Lamoureux in Paris and continued giving recitals until 1930. During the 1930s, she retired from the stage.

Chronology of some appearances

1907-1912 Paris Opéra-Comique Debut Iphigénie en Aulide (Diana)

1911 Buenos Aires Teatro Colón Grisélidis (Grisélidis)

1912 Nancy Opera House Le Pays

1919-1922 Brussels Théâtre de la Monnaie

1922 Toulouse Opera House La Hulla (-)

TRACKLIST

Bohème (Puccini): On m’appelle Mimì 17124, BA 27097 Edison, Paris 1910?

Galathee (Masse): Aimons, il faut aimer (w. Payan) 17128 BA 27098 Edison, Paris 1910?

Manon (Massenet): Adieu, notre petite table Unpubl. Edison, Paris 1910?

Tosca (Puccini): Vissi d’arte 97562 Odeon, Paris 1910-01-01

Cavalleria Rusticana (Mascagni): Voi lo sapete 97564 Odeon, Paris 1910-01-01

Faust (Gounod): Le jour va luire (w. Beyle & Payan) 034092 01818v Gramophone, Paris 1911-01-10

Faust (Gounod): Oui, c’est toi, je t’aime (w. Beyle) 034090 01816v Gramophone, Paris 1911-01-10

Faust (Gounod): Divine pureté (w. Beyle & Payan) 034091 01817v Gramophone, Paris 1911-01-10

Mireille (Gounod): Voici la saison mignonne (w. Brohly) 034125 02219v Gramophone, Paris 1911-11-21

Le Jour et la Nuit (Lecocq) Duo du rossignol et de la fauvette (w Brohly (as Martell)) 34296 16959½u Gramophone, Paris 1911-11-25

Fille du Régiment (Donizetti): Salut à la France, pt 1 033146 02239½v Gramophone, Paris 1911-12-02

Fille du Régiment (Donizetti): Pt 2 033147 02240v Gramophone, Paris 1911-12-02

Hérodiade (Massenet): Air de Salomé 5468 Idéal, Paris 1912?

Manon (Massenet): Les regrets 5469 Idéal, Paris 1912?

Pré aux Clercs (Hérold) Les rendez-vous (w. Dupouy) 17120, BA 27094 Edison 4-min cylinders, Paris 1910

Fauvette du Temple (Messager) Duo des chameliers (w. Payan) 97777 Odeon, Paris

Contes d’Hoffmann (Offenbach): C’est une chanson d’amour (w. Beyle) 034176 02608½v Gramophone, Paris 1912-12-03

Galathée (Massé): Aimons, il faut aimer (w. Cerdan) 034173 02628v Gramophone, Paris 1912-12-17

Galathée (Massé): Et maintenant de toi j’implore (w. Cerdan) 034190 02629v Gramophone, Paris 1912-12-17

Cendrillon (Massenet): Viens, nous quitterons cette ville (w. Payan) 111585 Odeon, Paris 1913?

Manon (Massenet): Toi… Vous (w. Vezzani) 111594 XP6074 Odeon, Paris 1913?

Noces de Jeannette (Masse): Cours, mon aiguille 6194 Idéal, Paris 1913?

GERMAN BASS-BARITONE WALTER SOOMER (1878-1955) CDR

WALTER SOOMER (LIEGNITZ, POLAND, 12 MARCH, 1878 – LEIPZIG, GERMANY, 6 AUGUST, 1955)

The artist initially studied philosophy before turning to music, receiving vocal training under Hermann Stoeckert and Anna Uhlig in Berlin. He made his operatic debut in 1902 at the Stadttheater in Colmar. After World War I, he shifted to performing bass roles, gaining recognition as a skilled interpreter of Richard Wagner’s operas.

In 1927, he became the manager of the Gesang- und Opernschule in Leipzig, contributing to vocal and operatic education. Following World War II, he expanded his career to include directing, further solidifying his influence in the opera world.

Chronology of some appearances

1903-06 Halle Stadttheater

1906 Bayreuth Festival

1906 Vienna Volksoper

1906-1910 Leipzig Opernhaus

1907 Berlin Hofoper

1907 Prague German Theater

1908 Vienna Volksoper

1908-1911 New York Metropolitan Opera

1908-1914 Bayreuth festival

1909 Zurich Opernhaus

1909 Prague German Theater

1910-1916 Vienna Hofoper

1911-1914 Dresden Hofoper

1912 Frankfurt a. M. Opernhaus

1912 Zurich Opernhaus

1914 Brussels Théâtre de la Monnaie

1914-1927 Leipzig Opernhaus

1916 Stuttgart Hoftheater

1917 Zurich Opernhaus

1924-1925 Bayreuth Festival

TRACKLIST

G&T, Berlin 1907-06/07

Guillaume Tell (Rossini): Ha, wohin?… O, Mathilde (w. Urlus) 2-44231 3127r

Carmen (Bizet): Eine Linie tiefer (w. Urlus) 2-44232 3128r

Tannhäuser (Wagner): Lied an den Abendstern 042147 209s

Tannhäuser (Wagner): Wohl wusst’ ich hier sie im Gebet 042146 208s

Edison 4-min cylinders, New York 1909-10?

Tannhäuser (Wagner): Blick’ ich umher BA 28152

Gramophone, Berlin 1913-08-20

Walküre (Wagner): Nicht straf’ ich dich erst 042415 1130s

Meistersinger von Nürnberg (Wagner): Ein Kind war hier geboren 042426 1131s

Fliegende Holländer (wagner): Wie aus der Ferne 042425 1135s

Walküre (Wagner): Loge, hör’ 042416 1132s

GERMAN BASS WILHELM WISSIAK (1878-1960) CDR

WILHELM WISSIAK (BRÜNN, GERMANY, 1878 † HANNOVER, GERMANY, 7 JANUARY, 1960)

He studied singing at the Vienna Konservatorium and made his operatic debut in 1902 at the Stadttheater in Elberfeld as Lohengrin. His early career included engagements at the Stadttheater of Colmar, the Nationaltheater in Berlin (1904–1905), and the Hofoper in Vienna (1905–1908). From 1909 to 1914, he was a member of the Stadttheater in Strasbourg, before joining the Hoftheater (later Landestheater) in Hannover, where he remained a prominent figure.

During this time, he also made notable guest appearances, such as at the Hofoper in München in 1910 and the Hofoper in Dresden in 1912 and 1917. His repertoire showcased his versatility in roles including Osmin in Die Entführung aus dem Serail, Sarastro in Die Zauberflöte, Kaspar in Der Freischütz, Cardinal Brogni in La Juive, King Philip in Don Carlo, Landgraf in Tannhäuser, and Baron Ochs in Der Rosenkavalier.

In Hannover, he also participated in several world premieres:

1927: Herrn Dürers Bild by J.G. Mraczek

1931: Der Freikorporal by G. Vollerthun

1934: Blondin im Glück by Hans Grimm

1937: Die Fasnacht von Rottweil by W. Kempf

He was also a distinguished performer at the Internationale Händel-Festspiele Göttingen, appearing in Handel’s Radamisto in 1927.

His older brother, Richard Wissiak, also pursued a career as a bass after studying in Vienna. Richard performed at the Komische Oper in Berlin from 1905 to 1911 and at the Kurfürsten-Oper in Berlin from 1911 to 1913.

Chronology of some appearances

1902 Elberfeld Stadttheater

1904-1905 Berlin Nationaltheater

1905-1908 Vienna Hofoper

1909-1914 Strasbourg Stadttheater

1910 München Hofoper

1912 Dresden Hofoper

1914 Hannover Hoftheater

1915 Hannover Landestheater

1917 Dresden Hofoper

TRACKLIST

Odeon, Wien 1906-05/07

Favorite (Donizetti): Hell schon des Himmels Sterne X25726 Vx1191

Robert le diable (Meyerbeer): Nonnen, die ihr hier ruht X38289 Vx1362

Entführung aus dem Serail (Mozart): Wer ein Liebchen hat gefunden X38344 Vx1359

Entführung aus dem Serail (Mozart): Solche hergelauf’ne Laffen X38323 Vx1399

Faust (Gounod): O Nacht, verbreitehier dein schatt’ges Reich X38300

Guillaume Tell (Rossini): Terzett with Maikl & Melms X38357

Odeon, Wien 1907

Huguenots (Meyerbeer): Die Klöster brennt alle ab X38492

Odeon, Wien 1907/1908

Wenn ich einmal der Herrgott wär’ (Binder) X25605 Vx2587

RUSSIAN SOPRANO MARIA KURENKO (1890-1980) CDR

MARIA KURENKO (ALSO KURENKOVA, KURENKO-GONTSOVA) (TOMSK, 16 AUGUST, 1890 – NEW YORK, 17 MAY, 1980)

She began her vocal training at the Moscow Conservatory under the renowned pedagogue Umberto Masetti. She made her operatic debut in 1914 at the Kharkov Opera House, performing as Antonida in A Life for the Tsar. Subsequently, she became a prominent performer at S. Zimin’s Opera House in Moscow.

From 1918 to 1922, she was a soloist with the Moscow Bolshoi Theatre, further solidifying her reputation. In the 1922–1923 season, she performed at the National Opera of Ukraine in Kiev and made guest appearances in Nijni Novgorod (1917), Saratov (1923), and the Latvian National Opera (1924–1926).

Her international career took off in 1926 when she began performing extensively across Latvia, Poland, Czechia, Germany, and France. That same year, she relocated to France and expanded her career to the United States, singing at major opera houses in Los Angeles, Chicago, New York, San Francisco, Washington, Philadelphia, and Boston. Additionally, she appeared in Prague, Finland, and Scotland, earning acclaim for her versatile performances.

Chronology of some appearances

1914 Kharkov Opera House

1918-1922 Moscow Bolshoi Theatre

1922-1923 Kiev National Opera of Ukraine

TRACKLIST

Artistotipia, Kiev 1914/1915

Traviata (Verdi): Parigi, o cara with Slovtsov 602

Faust (Gounod): Laisse-moi, laisse-moi contempler with Petr Slovstov 603

Columbia, New York 1926-04-14

Manon (Massenet): Voyons, Manon, plus de chimиre 7110-M 98257

Columbia, New York 1926-04-15

Vкpres Siciliennes (Verdi): Merce, dilette amiche 7127-M 98257

Columbia, New York 1926-04-28

Barbiere di Siviglia (Rossini): Una voce poco fa 7127-M 98254

Columbia, New York 1926-05-07

Sadko (Rimsky-Korsakov): Song of India 7020-M 142110

Columbia, New York 1926-05-21

Mireille (Gounod): O legere hirondelle 2048-M 142144

Columbia, New York 1927-05-18

Traviata (Verdi): Addio del passato 2062-M 144173

Columbia, New York 1928-03-17

Boheme (Puccini): Mi chiamano Mimi 50082-D 98495

Columbia, New York 1928-05-11

Madama Butterfly (Puccini): Un bel di vedremo 50082-D 98506

FRENCH CONTRALTO MARIE DELNA (1875-1932) 2 CDR

MARIE DELNA (MEUDON, FRANCE, 1875, 3/4 – PARIS, FRANCE, 1932, 24/6)

Marie Delna, a celebrated French contralto, achieved great success at the Opéra-Comique in Paris, where she created no fewer than nine roles and became a favorite among audiences. Her debut at the Opéra-Comique came in 1892, when she performed as Dido in Berlioz’s Les Troyens. At just eighteen years old, she became the first French soprano to perform the role of Charlotte in Massenet’s Werther. She also held the distinction of being the Opéra-Comique’s first Dame Quickly in Verdi’s Falstaff.

Among her notable creations for the Opéra-Comique were:

Marion in La Vivandière (1895)

The title role in Orphée (1896)

Zerline in Don Juan (1896)

Fée Grignotte in Hänsel et Gretel (1900)

Marianne in L’Ouragan (1901)

Vieille Tili in La Lépreuse (1912)

Delna also created the role of Marcelline in the world premiere of Alfred Bruneau’s L’attaque du moulin, a role she reprised for the Covent Garden premiere in 1894 and the Metropolitan Opera premiere in 1910.

Beyond the Opéra-Comique, Delna made acclaimed appearances at major venues such as the Monte Carlo Opera, La Monnaie in Brussels, La Scala in Milan, and the Grand Théâtre de Parme. Despite her credentials, her brief 1910 appearances at the Metropolitan Opera were overshadowed by the intense competition of talent in New York at the time.

Delna announced her retirement in 1902 following her marriage to M.A.H. de Saône. However, she returned to the stage a year later to reprise her signature role as Marcelline at the Opéra-Comique.

Despite her illustrious career, Delna’s later years were marked by hardship. She tragically passed away in poverty and was buried by the State in recognition of her contributions to French opera.

Chronology of some appearances

1892 Paris Opéra-Comique Les Troyens (Dido)

1895 Paris Opéra-Comique La Vivandiere (Marion)

1896 Paris Opéra-Comique Orphée (Orphée)

1896 Paris Opéra-Comique Don Juan (Zerline)

1900 Paris Opéra-Comique Hänsel et Gretel (Fee Grignotte)

1901 Paris Opéra-Comique L’Ouragan (Marianne)

1912 Paris Opéra-Comique La Lépreuse (Vieille Tili)

TRACKLIST

Pathé cylinders & discs, London 1903/1904

Prophète (Meyerbeer): Ah, mon fils 50071 3500

Carmen (Bizet): Près des remparts 50072 3501

Vivandière (Godard): Viens avec nous, petit 3504

Pathé cylinders & discs, Paris 1903/1904

Carmen (Bizet): L’amour est enfant de Bohème (Habanera) 3502

Les enfants (Massenet) 3503

Carmen (Bizet): Air des cartes 3514

Werther (Massenet): Air des larmes 3512

Troyens (Berlioz): Chers Tyriens (Air de Didon) 3513

Jocelyn (Godard): Berceuse 3515

Le vierge à la crèche (Clérice) 3516

Pathé, Paris 1905?

Prophète (Meyerbeer): Duo, act 5 with Albert Alvarez 0235

Favorite (Donizetti): Duo, act 4 with Albert Alvarez 0236

Pathé, Paris 1907?

O sole mio (di Capua) (It) 4870

Favorite (Donizetti): O mon Fernand 4875

Orphée et Euridice (Gluck): J’ai perdu mon Euridice 4878

Werther (Massenet): Air des lettres 4879

Samson et Dalila (Saint-Saëns): Mon coeur s’ouvre 4876

Samson et Dalila (Saint-Saëns): Printemps qui commence 4877

Vivandière (Godard): Hymne à la liberté 4873

Attaque du Moulin (Bruneau): Ah, la guerre 4872

Miarka (Georges): Hymne au soleil 4874

Cavalleria Rusticana (Mascagni): Romance de Santuzza 4871

Edison 4-min cylinders, USA? 1910?

Samson et Dalila (Saint-Saëns): Mon coeur s’ouvre 40015 BA 28151

Orfeo ed Euridice (Gluck): Che farò BA 28135

Favorita (Donizetti): O mio Fernando 40023

Prophète (Meyerbeer): Ah, mon fils 40022 BA 28126

Gioconda (Ponchielli): Voce di donna 40029

Edison, USA 1913?

Prophète (Meyerbeer): Ah, mon fils 83019 2762-A

Jocelyn (Godard): Berceuse 83036 2763-A

Samson et Dalila (Saint-Saëns): Mon coeur s’ouvre 83024 2766-B

Pathé, Paris 1918?

Carillon de guerre (Rohand) 3139

Espérance (Rohand) 3139

GERMAN BARITONE KARL SCHEIDEMANTEL (1859-1923) CDR

KARL SCHEIDEMANTEL (WEIMAR, 29 JANUARY, 1859 – WEIMAR, 26 JUNE, 1923)

The son of a Weimar court artist, Scheidemantel found great success in various roles in the operas of Richard Wagner. Among his supporters were Bodo Borchers in Weimar, well known voice teacher Julius Stockhausen in Frankfurt, and composer Franz Liszt. At the age of 25 he joined the ensemble of the Dresden Hofoper where he was named Kammersänger, “Chamber Singer to the Saxon Grand Duke” in 1884. He sang at the 1886, 1888, 1891, and 1892 Bayreuth festivals. He frequently corresponded with Cosima Wagner about the happenings of the stage. He then sang at most of the great European opera houses, especially the Vienna State Opera, where in April and May 1890 he sang the rolls of Heiling, Renato, Zampa, Wolfram, Luna and, Sachs. He was a guest singer at La Scala in 1892. His closest friend was singer Karl Perron. He married Hedwig Lehnert in June 1897 at the Dresden Annankirche. His final career appearance was on 8 June 1911 as Hans Sachs. Scheidemantel sang over 170 roles in his career. Notably, he created the role of Herr von Faninal in Richard Strauss’s Der Rosenkavalier in 1911. His German singing translation of Mozart’s Don Giovanni was widely used. He also edited a song anthology for music publisher Eulenberg. After his stage career he returned to Weimar where he taught singing. His students included Hermann Uhde and Herbert Heyner. He returned to Dresden as director of the Dresden Opera in from 1920-1922. Scheidemantel is buried in Dresden-Tolkewitz. Dresden named a road in his honor.

Chronology of some appearances

Debut Weimar (1878) as Wolfram. Sang mostly in Weimar (1878 – 1886), Bayreuth (1886 – 1892), Munich (1882), Dresden (1886 – 1911), Vienna (1890), La Scala (1892) and London’s Covent Garden (1884). Created Urok (Paderewski: Manru), Kunrad (Strauss: Feuersnot), and Faninal (Strauss: Rosenkavalier). Translated two works into German, Don Giovanni and Cosi fan tutte (Dame Kobold).

TRACKLIST

Ich liebe dich (Grieg) 42843 796x G&T, Dresden 1902

Tannhäuser (Wagner): Als du in kühnem Sange… O kehr’ zurück 42844 797x G&T, Dresden 1902

Nun die Schatten dunkeln (Franz) 42751 2318B G&T, Dresden 1902

Nozze di Figaro (Mozart): Ich soll ein Glück entbehren 3-42936 5868L G&T, Dresden 1907

Don Giovanni (mozart): Champagnerlied 3-42937 5871L G&T, Dresden 1907

Guillaume Tell (Rossini): Sohn knie’ nieder (Gebet) 3-42821 5869L G&T, Dresden 1907

Tannhäuser (Wagner): Als du in kühnen Sange 3-42822 5870L G&T, Dresden 1907

NORWEGIAN TENOR ERLING KROGH (1888-1968) CDR

ERLING KROGH (KRISTIANIA (NOW OSLO), SEPTEMBER 12, 1888 – OSLO, OCTOBER 28, 1968)

After a brief initial education, he debuted as a concert singer in 1915. He later refined his craft with further studies under Ellen Schytte-Jacobsen in Oslo, Peter Cornelius in Copenhagen, and Jean de Reszke in Paris.

From 1918 to 1921, he was part of the ensemble at the Komische Opera in Oslo. In the 1923-1924 season, he joined the Norwegian Opera Society. The following year, during the 1924-1925 season, he founded and led his own opera troupe.

Though his primary focus was Scandinavia, he also made guest appearances in Berlin and Barcelona. From 1927 to 1937, he performed extensively in the United States, solidifying his reputation as a versatile and accomplished artist.

Chronology of some appearances

1918-1921 Oslo Komische Opera

1923-1924 Norwegian Opera society

1924-1925 Tour Own opera troupe

1927-1937 Tour USA

TRACKLIST

Meistersinger von Nürnberg (Wagner) Prissang Gramophone 7-82049, V35

Meistersinger von Nürnberg (Wagner) Ved arnens ild Gramophone 7-82048, V35

Caro mio ben (Giordani) X1543 Bm443-1 Gramophone, København 1922-05-02

Med røde roser (Haarklou) V102 535Am Gramophone, Kristiania 1920-08-09

Sommersol til siste stund (Danks) Odeon D-4152 (A180142)

Når fjordene blåner (Paulsen) Odeon D-4203 (A180207)

Stenka Rasin (trad) HMV X2946 BN260

Mustalainen (Merikanto) Gramophone X2959 BN196

Mot kveld (Backer-Grøndahl) Odeon D-4053 Nw692

Du grønne glitrende tre Odeon D-4181 (A180172)

Jeg er så glad hver julekveld Odeon D-4181 (A180172)

SWEDISH SOPRANO LILLY HAFGREN-WAAG (1884-1965) CDR

LILLY HAFGREN-WAAG (STOCKHOLM, SWEDEN, 7 OCTOBER, 1884 – BERLIN, GERMANY, 27 FEBRUARY, 1965)

Born on 7 October 1884, Lilly Johanna Maria Hafgren was the second child of the theatre director Johan Erik Hafgran (1834–1913) and his wife Maria née Malmgren (1859–1913), a concert singer. Her brother, Lill-Erik Hafgren (1881-1959), was a composer, conductor, pianist, and music pedagogue. Initially aspiring to become a pianist, she shifted her focus to singing upon the advice of Siegfried Wagner. She began her vocal studies at the conservatory in Frankfurt am Main in 1898 and later studied with Max Fleisch in Stuttgart. After further training in Milan, she perfected her vocal technique.

Her operatic debut came in 1908 at the Bayreuth Festival, where she performed as Freia in Wagner’s Das Rheingold. From 1908 to 1910, she sang at the Hoftheater in Mannheim. Between 1912 and 1920, she was a principal artist at the Hofoper in Berlin. During her tenure there, she participated in several significant premieres, including singing Elisabetta in the belated Berlin premiere of Verdi’s Don Carlo (1913) and originating roles in Richard Strauss’s operas: the title role in the first version of Ariadne auf Naxos (1913) and the role of the Nurse in Die Frau ohne Schatten (1920). She also performed in the revised version of Ariadne auf Naxos in 1916.

Her guest appearances included performances at major European venues such as La Scala in Milan, the Grand Opéra in Paris, the Teatro Costanzi in Rome, and stages in Stockholm (1926), Madrid, Bucharest, Warsaw, and Prague. In 1912, she appeared at the Frankfurt Opera, singing Eva in Wagner’s Die Meistersinger von Nürnberg.

At Bayreuth, she earned acclaim for her portrayals of Freia (Das Rheingold, 1908), Elsa (Lohengrin, 1909), and Eva (Die Meistersinger von Nürnberg, 1911-1912, 1924).

From 1933 to 1935, she was engaged by the Staatsoper in Dresden. Throughout her career, she maintained her residence in Berlin.

Hafgren was married twice, first in 1905 to the architect and theatre director Hans Waag with a divorce in 1919. From 1919, for the remainder of her life she was married to the art dealer Georg Dinkela from Berlin.

Lilly Hafgren died in Berlin on 27 February 1965, aged 81.

Chronology of some appearances

1908 Bayreuth Festival

1908-1910 Mannheim Hofheater

1912 Frankfurt a. M. Opera

1912-1920 Berlin Hofoper

1926 Stockholm Royal Opera

1933-1935 Dresden Staatsoper

TRACKLIST

Odeon, Berlin 1910?

Africaine (Meyerbeer): Dir, o Selika (w. Vogelstrom) 99657 xB5148

Africaine (Meyerbeer): Das Schiff Don Pedros liegt drunten (w. Vogelstrom) 99656 xB5149

Grammophon, Berlin 1921-01?

Tannhäuser (Wagner): Dich teure Halle 65644 329as

Fliegende Holländer (Wagner): Senta-Ballade 65644 339as

Africaine (Meyerbeer): Unter dem Manzanillobaum 65595 337as

Africaine (Meyerbeer): Blumen so schön und rot 65595 338as

Walküre (Wagner): Der Männer Sippe 65677

Grammophon, Berlin 1922?

Meistersinger von Nürnberg (Wagner): Quintett (w. Olszewska, Soot, Henke & von Manowarda) 78543 746av

GREAT SPANISH BARITONES GRAMOPHONE RECORDINGS ULTRA RARE! 10 CDR

This set includes the following CDRs:

Vicente Ballester (1887-1927) – 2 CDRs

Ramon Blanchart (1860-1934) – 2 CDRs

Francisco Izal (1886-1956) – CDR

Inocencio Navarro – CDR

Luis Almodovar (1888-1961) – CDR

Emilio Sagi-Barba (1876-1949) – 2 CDRs

Nestore Della Torre (1875-1933) – CDR

Celestino Sarobe (1892-1952) – CDR

This exceptional collection features the voices of Spain’s most influential baritones, showcasing their unique interpretations and remarkable vocal qualities. From the lyrical tones of Francisco Izal to the powerful and resonant voice of Vicente Ballester, these recordings honor their contributions to the operatic stage. Their performances capture the essence of Spanish operatic tradition in the early 20th century, making this a treasure for collectors and music lovers alike.

GREAT SPANISH SOPRANOS GRAMOPHONE RECORDINGS ULTRA RARE! 10 CDR

This set includes the following CDRs:

Giuseppina Huguet (1871-1951) – 5 CDRs

Graziella Pareto (1889-1973) – 2 CDRs

Maria Galvany (1875-1949) – 2 CDRs

Maria Barrientos (1884-1946) – 2 CDRs

Elvira de Hidalgo (1888-1980) – CDR

Mercedes Capsir (1895-1969) – CDR

Esperanza Clasenti (1882-1935) – CDR

Avelina Carrera (1871-1939) – CDR

This remarkable collection features the voices of Spain’s finest sopranos, capturing their extraordinary talents and diverse vocal artistry. From Giuseppina Huguet’s grand operatic roles to the lyric beauty of Maria Barrientos, these recordings preserve the legacy of these influential Spanish singers, offering a glimpse into the rich operatic history of Spain in the late 19th and early 20th centuries.

GERMAN BARITONE RICHARD BREITENFELD (1869-1944) CDR

RICHARD BREITENFELD (REICHENBERG, AUSTRO-HUNGARIAN EMPIRE (NOW IN THE CZECH REPUBLIC), 13 OCTOBER, 1869 – GHETTO THERESIENSTADT, 16 DECEMBER, 1944)

He studied singing under Johannes Ress in Vienna and made his operatic debut in 1897 at the Opera House of Cologne as Count di Luna in Verdi’s Il Trovatore. During his time in Cologne, he participated in the 1902 premiere of Emanuel Moor’s opera Die Pompadour. After leaving Cologne in 1902, he joined the Opera House of Frankfurt am Main, where he performed for approximately 30 years.

He made guest appearances at prominent German opera houses and collaborated with the Wagner-Verein in Amsterdam. Notably, in 1905, he sang Amfortas in the Dutch premiere of Wagner’s Parsifal. He further distinguished himself in Amsterdam by creating the role of the Minstrel in the 1912 premiere of Humperdinck’s Königskinder. In 1913, he achieved great success as Wolfram in Tannhäuser and as Jochanaan in Richard Strauss’s Salome, performing alongside the celebrated soprano Aino Ackté.

In 1899, he made a guest appearance at the Vienna Court Opera as Tonio in Leoncavallo’s Pagliacci. From 1901 to 1911, he was a regular performer not only at the Munich Court Opera but also in Karlsruhe, Stuttgart, and Wiesbaden. His performance as Kurwenal in Tristan und Isolde at the Municipal Theatre of Zurich in 1917 was highly regarded.

In Frankfurt, he participated in several important premieres, including Hermann Wolfgang von Waltershausen’s Oberst Chabert (January 18, 1912, in the title role), Zemlinsky’s Das Spielwerk und die Prinzessin (March 15, 1913), and Rudi Stephan’s Die ersten Menschen (July 1, 1920, as Kajin). In 1927, he performed the title role in Verdi’s Rigoletto at Frankfurt, and his final appearance there was as Tonio in Pagliacci in 1932.

Tragically, his life ended in the Theresienstadt concentration camp during World War II. His artistry and legacy, however, remain a testament to his contributions to the operatic world.

Chronology of some appearances

1897 Cologne Opera House Trovatore (Count di Luna)

1899 Vienna Court Opera Pagliacci (Tonio)

1902 Cologne Opera House Die Pompadour (-)

1905 Amsterdam Opera House Parsifal (Amfortas)

1912 Amsterdam Opera House Königskindern (-)

1913 Amsterdam Opera House Tannhäuser (Wolfram)

1913 Amsterdam Opera House Salome (Jochanaan)

1917 Zurich Municipal Theatre Tristan und Isolde (Kurwenal)

TRACKLIST

Odeon, Berlin 1911-03?

Trovatore (Verdi): Ihres Auges himmlisch’ Strahlen 99645 xB5119

Traviata (Verdi): Hat dein heimatliches Land 99646 xB5121

Gramophone, Berlin 1913-11-26

Don Carlos (Verdi): Schon seh’ ich den Tag 042440 1268s

Don Carlos (Verdi): Froh’ scheid’ ich aus diesen Leben 042441 1269s

Parsifal (Wagner): Wir geleiten ihn heut’ 042433 1270½s

Parsifal (Wagner): Tod! Sterben! 042434 1271s

Tannhäuser (Wagner): Wie Todesahnung 042448 1273s

GERMAN BARITONE THEODOR BERTRAM (1869-1907) CDR

THEODOR BERTRAM (STUTTGART, 12 FEBRUARY, 1869 – BAYREUTH, 24 NOVEMBER, 1907)

The son of baritone Heinrich Bertram (1825–1903) and dramatic soprano Marie Bertram-Mayer (1838–1882), he studied singing under his father and made his debut in 1889 at the Stadttheater in Ulm as the Hermit in Weber’s Der Freischütz. In 1891, he joined the Stadttheater in Hamburg, and the following year, he was engaged by the Kroll Opera in Berlin. From 1893 to 1899, he was a member of the Hofoper in Munich, where he gained acclaim, particularly for his performances during Richard Wagner’s festivals. His portrayals of Hans Sachs and Wotan were especially celebrated.

In Munich, he participated in significant operatic premieres, including Alexander Zemlinsky’s Sarema and Ludwig Thuille’s Theuerdank (both in 1897) and Siegfried Wagner’s Der Bärenhäuter in 1899. That same year, he joined the Metropolitan Opera in New York, where he performed until 1901. His repertoire at the Met included roles in Wagner’s operas as well as Mr. Fluth in Nicolai’s Die lustigen Weiber von Windsor and Pizarro in Beethoven’s Fidelio. He also made guest appearances in Philadelphia, Chicago, and Boston.

In 1892, he made his Bayreuth Festival debut in Die Meistersinger von Nürnberg. From 1901 to 1906, he was a central figure at Bayreuth, where he was much admired for his interpretations of Wotan, the Flying Dutchman, Amfortas in Parsifal, and Wolfram in Tannhäuser. Cosima Wagner especially valued his performances, considering his Wotan exemplary.

From 1902, he was engaged by the Vienna Hofoper and continued to make guest appearances in Berlin, Hamburg, Munich, Stuttgart, Prague (at the Deutsches Theater, 1901–1905), Zurich (1903–1905), Stockholm (Royal Opera, 1904), and London (Covent Garden, 1900, 1903, and 1907). He also performed regularly at the Frankfurt Opera from 1901 to 1906.

He was married to soprano Fanny Moran-Olden (1855–1905), who tragically passed away due to mental illness. His second wife, singer Lotte Wetterling, died in a shipwreck on February 21, 1907. Overwhelmed by grief, he succumbed to alcoholism and eventually took his own life by hanging in Bayreuth. According to his last wish, he was buried in Holland beside Lotte Wetterling.

His extensive repertoire included Don Giovanni, Papageno in Die Zauberflöte, Count Almaviva in Le nozze di Figaro, Alfonso in Così fan tutte, Kühleborn in Lortzing’s Undine, Kurwenal in Tristan und Isolde, Méphistophélès in Gounod’s Faust, Klaufe in Max von Schillings’s Ingwelde, Lothario in Thomas’s Mignon, Dapertutto in Les Contes d’Hoffmann, Kezal in Smetana’s The Bartered Bride, and Tonio in Pagliacci.

Chronology of some appearances

1889 Ulm Stadttheater

1891 Hamburg Stadttheater

1892 Berlin Kroll-Oper

1892 Bayreuth Festival

1893-1899 Munich Hofoper

1900 London Covent Garden

1899-1901 New York Metropolitan Opera

1901-1906 Frankfurt am Main Oper

1902 Vienna Hofoper

1903 London Covent Garden

1903-1905 Zurich Stadttheater

1904 Stockholm Royal Opera

1901-1905 Prague Deutschen Theater

1901-1906 Bayreuth Festival

1907 London Covent Garden

TRACKLIST

Still wie die Nacht (Bohm) 42800 717x G&T, Berlin 1902

Carmen (Bizet): Euren Toast (Torerolied) 42691 2228B G&T, Berlin 1902

Waffenschmied (Lortzing): Auch ich war ein Jüngling 42692 2229B G&T, Berlin 1902

Still wie die Nacht (Bohm) 42800 717x G&T, Berlin 1902

Siegfried (Wagner): Auf wolkigen Höh’n X50383 xB2801 Odeon, Berlin 1907-06?

Tannhäuser (Wagner): Wie Todesahnung 42802 719x G&T, Berlin 1902

Freischütz (Weber): Hier im ird’schen Jammertal (Trinklied des Caspar) 1-15406 2058-f Favorite, Berlin 1905/1906

Meistersinger von Nürnberg (Wagner): Jerum, Jerum! 42804 721x G&T, Berlin 1902

Pagliacci (Leoncavallo): Schaut her, ich bin’s (Prolog) 42806 G&T, Berlin 1902

Rheingold (Wagner): Abendlich strahlt 2-42917 G&T, Bayreuth 1904

Rheingold (Wagner): Abendlich strahlt 1-15049 Mpt86-f+ Favorite, Berlin 1904 (late)?

Siegfried (Wagner): Auf wolkigen Höh’n 1-15403 2054-f Favorite, Berlin 1905/1906

Don Giovanni (Mozart): Champagnerlied 1-15405 2057-f Favorite, Berlin 1905/1906

Fliegende Holländer (Wagner): Weit komm’ ich her X50011 XPh1032 Odeon, Berlin 1905-02?

Faust (Gounod) Ja, das Gold regiert die Welt (Rondo) Derby 1632

Fliegende Holländer (Wagner): Abschied X50007 XPh1027 Odeon, Berlin 1905-02?

Lohengrin (Wagner): Dank, König dir 1-15402 2053-f Favorite, Berlin 1905/1906

Fliegende Holländer (Wagner): Nur eine Hoffnung X50377 xB2802 Odeon, Berlin 1907-06?

Walküre (Wagner): Wotans Abschied 15967 Edison 2-min cylinders, Berlin 1907

Meistersinger von Nürnberg (Wagner): Fliedermonolog 2-15018 507-g Favorite, Berlin 1905/1906

Zar und Zimmermann (Lortzing): Sonst spielt ich mit Szepter X50006 XPh1026

Pagliacci (Leoncavallo): Prolog X50015 XPh1037 Odeon, Berlin 1905-02?

Goldene Kreuz (Brüll): Wie anders war es (Bombardonlied) Mammut 32258

Tannhäuser (Wagner): Blick’ ich umher Mammut 32259

Rheingold (Wagner): Abendlich strahlt Mammut 32266

FRENCH BARITONE EUGÈNE DATHANÉ CDR

EUGÈNE DATHANÉ (1880 ? – AFTER 1948)

Probably he had a short career. His father, Lucien Dathané, was the conductor of the Theatre des bouffes du nord Bordeaux. He studied singing in Paris and made his debut at the Grand Opéra (1908). After WWI he settled at Biarritz and taught singing.

Chronology of some appearances

1908 Paris Grand Opéra (Debut)

1909 Paris Grand Opéra Das Rheingold (Wotan)

1909 Paris Grand Opéra Faust (Valentin)

1909 Paris Grand Opéra Aida (Amonasro)

1909 Paris Grand Opéra Sigurd (Gunther)

1909 Paris Grand Opéra Thaïs (Athanaël)

1909 Paris Grand Opéra Salammbo (Hamilcar)

1910 Paris Grand Opéra Das Rheingold (Wotan)

TRACKLIST

Crucifix (Faure) (w. Sardet) 17927 Edison 2-min cylinders, Paris 1907?

Favorite (Donizetti): Pour tant d’amour 17968 Edison 2-min cylinders, Paris 1907?

Mule de Pedro (Massé): Ma mule qui chaque semaine 18007 Edison 2-min cylinders, Paris 1907?

L’angelus de la mer (Goublier) 17945 Edison 2-min cylinders, Paris 1907?

Noces de Jeannette (Massé): Margot, lève ton sabot 18084 Edison 2-min cylinders, Paris 1908?

Messaline (de Lara): Elle m’avait pris (Grand air d’Harès) XX73517 xxP4126 Odeon, Paris 1908-06?

La Marseillaise (de Lisle) 660 787 Disque A Saphir, Paris

Le Chant du départ (Mehul) 676 787 Disque A Saphir, Paris

GERMAN BARITONE EDUARD ERHARD CDR

EDUARD ERHARD (VIENNA, AUSTRIA 1879 – STARNBERGER, GERMANY ?)

Initially active as an actor, he later pursued vocal studies at the Vienna Music Academy. He perfected his vocal technique under Giovanni Scarneo in Berlin. His operatic debut likely occurred during the 1903–1904 season at the Stadttheater in Nürnberg.

His repertoire included notable roles such as Wolfram in Tannhäuser, Count di Luna in Il Trovatore, Germont in La Traviata, Silvio in Pagliacci, and Papageno in Die Zauberflöte. In 1908, at the Stadttheater in Hamburg, he appeared in the premiere of Siegfried Wagner’s opera Sternengebot.

Later in his career, he became a respected pedagogue and professor in Karlsruhe, where he taught many students, including the soprano Clara Ebers. He was married to the soprano Josefine Sedlmayer. In his later years, he resided in Starnberger.

He also left behind a recorded legacy, making records for labels such as Gramophone, Beka, and Parlophon.

Chronology of some opera appearances

1904-1905 Strasbourg Stadttheater

1905-1907 Essen Stadttheater

1907-1908 Hamburg Stadttheater

1908-1909 Magdeburg Stadttheater

1909 Leipzig Opernhaus

1909 Berlin Hofoper

1909-1910 Hamburg Stadttheater

1926 London Covent Garden

Chronology of some concert appearances

1908 Vienna

1920 Norway

1920 Switzerland

1921 Hungary

1921 Holland

1925 Rome

1925 Venice

1926 USA

1927 Monte Carlo

1927 Nice

1934 Vienna

TRACKLIST

Beka

Geheimes (Schubert): Lied Op. 14 No. 2 B 6362-I 34559

Gramophone, Berlin 1908-11-25

Carmen (Bizet): Liebst du mich treu und innig with Metzger 2-44496 6669h

Gramophone, Berlin 1909-08-18

Faust (Gounod): Mephisto-Serenade 4-42351 1571ab

Faust (Gounod): Rondo vom goldenen Kalb 4-42352 1572ab

Gramophone, Berlin 1910-09-17

Nachtlager von Granada (Kreutzer): Die Nacht ist schön 042285 501s

Ballo in maschera (Verdi): Ja, du warst’s 042286 502s

Parlophon, Berlin 1928-01-20

Memnon (Schubert): Den Tag hindurch P9222 2-20580

An Schwager Kronos (Schubert): Spute dich, Kronos P9222 2-20581

ITALIAN SOPRANO MARIA GENTILE (1902-1993) CDR

MARIA GENTILE (CATANIA, 17 NOVEMBER, 1902 – CATANIA, 7 MAY, 1993)

She likely made her operatic debut in 1923. In 1925, she appeared at the Teatro Verdi in Pisa as Gilda in Rigoletto, returning in 1929 to perform in Rigoletto, Lucia di Lammermoor, and Il Barbiere di Siviglia. That same year, she performed with the Italian Opera in Holland and subsequently appeared on major Italian provincial stages.

In 1928, she made a guest appearance at the Teatro Regio in Parma and, in 1929, at the Teatro San Carlo in Naples. Her artistry was highly admired in Latin America, where she performed at prominent opera houses, including those in Havana, Mexico City, Rio de Janeiro, and the Teatro Colón in Buenos Aires.

During the 1930s, she extended her career internationally, with opera and concert engagements in Germany and Sweden. She was married to the conductor Rotondo. After retiring from the stage, she devoted herself to teaching singing in Catania.

Chronology of some appearances

1924 Berna Opera Rigoletto (Gilda)

1925 Torino Politeama Chiarella Barbiere di Siviglia (Rosina)

1925 Pisa Teatro Verdi Rigoletto (Gilda)

1925 Milano Teatro Carcano Rigoletto (Gilda)

1925 ‘S-Gravenhage Gebouw Voor Kunsten en Wetenschappen Rigoletto (Gilda)

1926 Amsterdam Paleis Voor Volksvlijt Barbiere di Siviglia (Rosina)

1926 ‘S-Gravenhage Gebouw Voor Kunsten en Wetenschappen Barbiere di Siviglia (Rosina)

1926 Bergamo Teatro Donizetti Barbiere di Siviglia (Rosina)

1926 Bologna Teatro Duse Barbiere di Siviglia (Rosina)

1926 Parma Politeama Reinach Barbiere di Siviglia (Rosina)

1926 Trieste Politeama Rossetti Rigoletto (Gilda)

1926 Fiume Teatro Verdi Rigoletto (Gilda)

1928 Cremona Teatro Ponchielli Barbiere di Siviglia (Rosina)

1928 Lisbon Coliseo Recrejos Barbiere di Siviglia (Rosina)

1929 Montagnana Arena del Littorio Barbiere di Siviglia (Rosina)

1929 Parma Politeama Reinach Barbiere di Siviglia (Rosina)

1929 Pisa Teatro Verdi Barbiere di Siviglia (Rosina)

1930 Merano Teatro Civico Barbiere di Siviglia (Rosina)

1930 La Spezia Politeama Duca di Genova Barbiere di Siviglia (Rosina)

1930 Casalmaggiore Teatro Sociale Barbiere di Siviglia (Rosina)

1931 Marsiglia Teatro del Casinò Barbiere di Siviglia (Rosina)

1931 Biella Teatro Sociale Barbiere di Siviglia (Rosina)

1937 Lugano Teatro Apollo Barbiere di Siviglia (Rosina)

TRACKLIST

Rigoletto (Verdi) E l’ami… La donna è mobile (w. Granda & Galeffi) L2310 WBX303 Columbia, Milano 1928-05-16

Lucia di Lammermoor (Donizetti) Chi mi frena (w. Borgioli, Vanelli, Baccaloni, Nessi, Mannarini & chorus) Columbia D 18016 WBX 104

Rigoletto (Verdi) E’ il sol dell’anima (w. Borgioli) Columbia D18055 BX99

Sonnambula (Bellini) D’un pensiero (w. Pedroni, Mannarini & Borgioli) Columbia M 7129 WBX 105

Sonnambula (Bellini) Son geloso, pt 2 (w. de Muro Lomanto) Columbia D12563 WB1636 D12563 WB1637

Lucia di Lammermoor (Donizetti) Alfin son tua Columbia L1971 BX136

Lucia di Lammermoor (Donizetti) Regnava nel silenzio Columbia D12538 WB1283

Lucia di Lammermoor (Donizetti) Spargi d’amaro pianto Columbia D18025

Puritani (Bellini) Qui la voce sua soave Columbia D12556 WB1498

Traviata (Verdi) Brindisi (w. Granda, Nessi, Baracchi & chorus) Columbia D18031 WBX132

Rigoletto (Verdi) Bella figlia dell’amore (w. Stignani, Granda & Galeffi) Columbia L2310 WBX301

Rigoletto (Verdi) Caro nome Columbia BX103 L2050

Rigoletto (Verdi) Caro nome Polydor 25852B

Traviata (Verdi) Addio del passato Polydor 25852A

Rigoletto (Verdi) Tutte le feste Columbia WB1500 5147

Lucia di Lammermoor (Donizetti) Quando rapita in estasi Columbia D12538 WB1294

Lucia di Lammermoor (Donizetti) Quando rapita in estasi Fonit 81024-A

Don Pasquale (Donizetti) So anch’io Fonit 81024-B

Traviata (Verdi) Addio del passato Fonit 81025-A

Rigoletto (Verdi) Caro nome Fonit 81025-B

DANISH BASS-BARITONE HOLGER HANSEN CDR

HOLGER HANSEN

9 January 1920 Concert: Odd Fellow Palace Grand Ballroom, Copenhagen. Holger is one of the singers at a benefit concert for an influenza-stricken singer; he sings songs and also Gluntarne (the latter with Lauritz Melchior).

February 1920 Provincial Concert Tour, Sjaelland. Melchior and Holger Hansen; they sing opera arias & duets, and Gluntarne.

6 April 1921 Concert: Wigmore Hall, London. Gluntarne, Wennerberg’s comedic Swedish song cycle with Lauritz Melchior

8 June 1921 Concert: Wigmore Hall, London. Melchior gives a repeat performance of Wennerberg’s Gluntarne song cycle, again with Lauritz Melchior, and Harold Craxton at the piano.

TRACKLIST

Polyphon, København 1920-12

Gluntarne (Wennerberg): Slottsklockan with Lauritz Melchior 84316 742½ar

Gluntarne (Wennerberg): Avskedet på Flottsund with Lauritz Melchior 84317 743ar

Gluntarne (Wennerberg): Dagen därpå with Lauritz Melchior 84307 772ar

Gluntarne (Wennerberg): En solnedgång i Eklundshofsskogen with Lauritz Melchior 084031 314as

Gluntarne (Wennerberg): Glunten på föreläsning with Lauritz Melchior 84318 744ar

Gluntarne (Wennerberg): Magisterns misslyckade serenad with Lauritz Melchior 084032 313as

Gluntarne (Wennerberg): Nattmarschen i Sankt Eriks gränd with Lauritz Melchior 84320 746ar

Gluntarne (Wennerberg): Uppsala är bäst with Lauritz Melchior 84319 745ar

Forgotten Opera Singers

Feb 28, 2025