FORGOTTEN OPERA SINGERS

HELLO AND WELCOME TO MY BLOG. MY NAME IS ASHOT ARAKELYAN, AND I'M A RECORD COLLECTOR. FORGOTTEN OPERA SINGERS IS THE MOST COMPREHENSIVE AND THE ONLY ONLINE ENCYCLOPEDIA DEDICATED TO THIS SUBJECT. IT FEATURES BIOGRAPHIES, CHRONOLOGICAL INFORMATION, AND RARE PHOTOS OF OVER 2,500 OPERA SINGERS. HERE, YOU CAN ALSO ORDER UNIQUE CDS FEATURING FORGOTTEN OPERA SINGERS AND INSTRUMENTALISTS. THE RECORDINGS ARE ALSO AVAILABLE FOR ONLINE DOWNLOAD. THANK YOU FOR VISITING, AND ENJOY EXPLORING THE SITE!

Feb 28, 2025

GREAT HUNGARIAN VIOLINISTS 78 RPM ERA ANTHOLOGY ULTRA RARE! 15 CDR

This set includes the following CDRs:

Hungarian Violinist Adila Fachiri (1886-1962) – CDR

Hungarian Violinist Dajos Béla (1897-1978) – CDR

Hungarian Violinist Carl Flesch (1873-1944) – 3 CDRs

Hungarian Violinist Duci de Kerekjártó (1900-1962) – CDR

Hungarian Violinist Emil Telmányi (1892-1988) – CDR

Hungarian Violinist Francis Ákos (1922-2016) – CDR

Hungarian Violinist Franz von Vecsey (1893-1935) – CDR

Hungarian Violinist Ibolyka Zilzer (1906-1971) – CDR

Hungarian Violinist Jelly d’Arányi (1893-1966) – 2 CDRs

Hungarian Violinist László Szentgyörgyi (1910-1973) – CDR

Hungarian Violinist Licco Amar (1891-1959) – 2 CDRs

Hungarian Violinist Mary Zentay The Complete Recordings – CDR

This collection brings together the distinguished work of some of Hungary’s most celebrated violinists. From the technical brilliance of Carl Flesch, whose pedagogical influence is immeasurable, to the emotive depth of Jelly d’Arányi, known for her interpretations of Elgar, this set is a comprehensive exploration of Hungarian violin artistry. Duci de Kerekjártó, Emil Telmányi, and Ibolyka Zilzer bring their own unique styles to the mix, while the complete recordings of Mary Zentay offer a rare insight into a lesser-known but highly talented performer. With gems like Licco Amar and Francis Ákos, this compilation is a true testament to Hungary’s rich contribution to the violin world.

THE ART OF FORGOTTEN HUNGARIAN PIANISTS ULTRA RARE! 15 CDR

This set includes the following CDRs:

István Nádas (1922-2000) – 2 CDRs

Etelka Freund (1879-1977) – CDR

Pál Kadosa (1903-1983) – CDR

Lívia Rév (1916-2018) – 2 CDRs

Lajos Hernádi (1906-1986) – 2 CDRs

Imre Ungár (1909-1972) – CDR

István Nádas (1922-2000) – CDR

Imre Ungár (1909-1972) – CDR

Alexander László (1895-1970) – CDR

Ernst von Dohnányi (1877-1960) – CDR

Yolanda Mero (1887-1963) – CDR

Anatol von Roessel (1877-1967) – CDR

This exceptional collection showcases the remarkable talents of Hungarian pianists spanning multiple generations, offering a fascinating window into Hungary’s rich musical legacy. The set includes major figures like István Nádas and Pál Kadosa, whose artistry and technical prowess are captured in these rare recordings. From the expressive interpretations of Lajos Hernádi and Lívia Rév to the historical contributions of Ernst von Dohnányi and Anatol von Roessel, this compilation is a must-have for connoisseurs of Hungarian pianism. These recordings present a dynamic range of emotions and technical brilliance, making it a valuable addition to any classical music collection.

GOLDEN AGE PIANISTS PLAYS FOR AMPICO PIANO ROLLS ULTRA RARE! 15 CDR

This set includes the following CDRs:

Ferruccio Busoni (1866-1924) – CDR

Marguerite Volavy (1886-1951) – CDR

Desider Vecsei (1882-1966) – CDR

Erwin Nyiregyházi (1903-1987) – CDR

George Copeland (1882-1971) – CDR

Josef Lhevinne (1874-1944) – CDR

Julius Chaloff (1892-1979) – CDR

Leopold Godowsky (1870-1938) – CDR

Leo Ornstein (1895-2002) – CDR

Mieczysław Munz (1900-1976) – CDR

Mischa Levitzki (1898-1941) – CDR

Moriz Rosenthal (1862-1946) – CDR

Richard Buhlig (1880-1952) – CDR

Victor Wittgenstein (1886-1961) – CDR

This collection offers an invaluable listen to some of the most celebrated pianists of the early 20th century, captured through the technology of Ampico piano rolls. From the imposing elegance of Ferruccio Busoni and the lyrical charm of Marguerite Volavy to the stunning virtuosity of Mischa Levitzki, this set is a true gem for lovers of the “Golden Age” of piano playing. Featuring rare performances by legends like Leopold Godowsky, Moriz Rosenthal, and Josef Lhevinne, these recordings serve as a testament to their enduring influence on piano technique and interpretation. Whether you’re an audiophile or a historian, this collection is an exceptional snapshot of a bygone era in classical music.

GREAT RUSSIAN PIANISTS PLAYS FOR WELTE-MIGNON PIANO ROLLS ULTRA RARE! 15 CDR

This set includes the following CDRs:

Russian Pianist Anna Yesipova: Welte-Mignon Piano Rolls – CDR

Russian Pianist Josef Lhevinne: Welte-Mignon Piano Rolls – 2 CDRs

Russian Pianist Konstantin Igumnov: Welte-Mignon Piano Rolls – CDR

Russian Pianist Leff Pouishnoff: Welte-Mignon Piano Rolls – CDR

Russian Pianist Vladimir Drozdov: Welte-Mignon Piano Rolls – CDR

Russian Pianist Alexander Glazunov: Welte-Mignon Piano Rolls – CDR

Russian Pianist Alexander Scriabin: The Complete Welte-Mignon Piano Rolls – CDR

Russian Pianist Ossip Gabrilowitsch: Welte-Mignon Piano Rolls – CDR

Russian Pianist Sandra Droucker: Welte-Mignon Piano Rolls – CDR

Russian Pianist Irène Eri-Gorainoff: Welte-Mignon Piano Rolls – CDR

Russian Pianist David Schorr: Welte-Mignon Piano Rolls – CDR

Russian Pianist Wassily Sapellnikoff: Welte-Mignon Piano Rolls – CDR

Russian Pianist Alexander Goldenweiser & M. Douloff: Welte-Mignon Piano Rolls – CDR

Russian Pianist Arthur Friedheim: Welte-Mignon Piano Rolls – CDR

Russian Pianist Mark Hambourg: Welte-Mignon Piano Rolls – CDR

This extraordinary collection of Welte-Mignon piano rolls celebrates the virtuosity of Russia’s most accomplished pianists, showcasing their exceptional skills and interpretative brilliance. Featuring legendary artists like Anna Yesipova, Josef Lhevinne, Konstantin Igumnov, and Alexander Scriabin, the set offers a rare and valuable opportunity to hear their artistry preserved in a unique, historical format. From the expressive lyricism of Scriabin to the technical precision of Lhevinne and Friedheim, these piano rolls are a treasure for anyone interested in the rich tradition of Russian pianism.

GREAT RUSSIAN PIANISTS PLAYS FOR PIANO ROLLS ANTHOLOGY ULTRA RARE! 20 CDR

The anthology includes the following CDRs:

ALEXANDER GOLDENWEISER WELTE-MIGNON 2080 MOZART – Piano Sonata, K. 330, C 2nd mvt.

ALEXANDER GOLDENWEISER WELTE-MIGNON 2081 SCRIABIN – Mazurka, Op. 40, No. 2, F#

NICOLAI MEDTNER WELTE-MIGNON 3809 MEDTNER – “Forgotten Melodies”. Op. 38, No. 3 Canzona Festiva

LEOKADIA KASCHPEROWA WELTE-MIGNON 2036 BALAKIREV – Gondollied (Boat Song), b

LEOKADIA KASCHPEROWA WELTE-MIGNON 2162 BALAKIREV – Piano Sonata, b-b lst mvt

LEOKADIA KASCHPEROWA WELTE-MIGNON 2163 BALAKIREV – Piano Sonata, b-b 2nd mvt.

LEOKADIA KASCHPEROWA WELTE-MIGNON 2164 BALAKIREV – Piano Sonata, b-b 3rd mvt.

WASSILY SAPELLNIKOFF WELTE-MIGNON 939 J. STRAUSS,JR. – TAUSIG-Nachtfalter (The Moth) Op. 157, E

WASSILY SAPELLNIKOFF WELTE-MIGNON 951 LISZT – Liebestraum (Nocturne) No. 1, Ab “ Hohe Liebe” (Exalted Love)

WASSILY SAPELLNIKOFF WELTE-MIGNON 953 ROSSINI-LISZT – Overture to the Opera “William Tell”

IRÈNE ENERI-GORAINOFF 2000 MENDELSSOHN – Rondo Capriccioso, Op. 14, E

IRÈNE ENERI-GORAINOFF 2159 CHOPIN – Piano Concerto No. 1, e, Op. 11 1st mvt.

IRÈNE ENERI-GORAINOFF 2160 CHOPIN – Piano Concerto No. 1, e, Op. 11 2nd mvt. Romanza

IRÈNE ENERI-GORAINOFF 2161 CHOPIN – Piano Concerto No. 1, e, Op. 11 3rd mvt.

MARK HAMBOURG WELTE-MIGNON 931 CHOPIN – Mazurka, Op. 17, No. 4, a

MARK HAMBOURG WELTE-MIGNON 934 A. RUBINSTEIN – Le bal (The Ball)-Valse de concert, Op. 14, No. 4, Ab

MARK HAMBOURG WELTE-MIGNON 936 LISZT – Polonaise No. 2, E

DAVID SCHORR WELTE-MIGNON 2086 SCHUMANN – Schlummerlied (Slumber Song) Op. 124, No. 16, Eb

DAVID SCHORR WELTE-MIGNON 2088 C.P.E. BACH – Rondo, b

DAVID SCHORR WELTE-MIGNON 2089 BACH-SAINT-SAENS – Gavotte from the Violin Concerto #2, b 2nd mt.

SERGEI LYAPUNOV WELTE-MIGNON 1975 LIAPOUNOV – Transcendental Etudes, Op. 11, No. 12 Elégie

JOSEF LHEVINNE 1296 WELTE-MIGNON DE SCHLOZER – Etude de concert, Op. 1, No. 1, Eb

JOSEF LHEVINNE 1297 WELTE-MIGNON CHOPIN – Etude, Op. 25, No. 10, b

JOSEF LHEVINNE 1298 WELTE-MIGNON GODARD – En route (On the Way) Op. 107, No. 12, Bb

JOSEF LHEVINNE 1299 WELTE-MIGNON MENDELSSOHN – Characterstucke, Op. 7, No. 7, E

JOSEF LHEVINNE 1300 WELTE-MIGNON SCRIABIN – Etude, Op. 9, No. 2, Db (For the Left Hand Alone)

JOSEF LHEVINNE 1301 WELTE-MIGNON SCHUMANN – Toccata, Op. 7, C

JOSEF LHEVINNE 1302 WELTE-MIGNON LISZT – Die Lorelei (The Loreley)

JOSEF LHEVINNE 1303 WELTE-MIGNON GLUCK-BRAHMS – Gavotte from the Opera “Iphigenie en Aulide”

JOSEF LHEVINNE 1304 WELTE-MIGNON A. RUBINSTEIN – Le bal (The Ball), Fantasie, Op. 14, No. 6

JOSEF LHEVINNE 1305 WELTE-MIGNON J. STRAUSS, JR.-SCHULZ-EVLER – “Blue Danube” Arabesques

JOSEF LHEVINNE 2430 WELTE-MIGNON CZERNY – Octave-Study, Op. 740, No. 5

JOSEF LHEVINNE 2431 WELTE-MIGNON A. RUBINSTEIN – Kamennoi-Ostrow, Op. 10, No. 22, f# Reve angelique

JOSEF LHEVINNE 2433 WELTE-MIGNON SGAMBATI -Vecchio minuetto, Op. 18, No. 2, Db

JOSEF LHEVINNE 2434 WELTE-MIGNON BEETHOVEN-SAINT-SAENS – Chorus of Dervishes from “Ruins Athens

JOSEF LHEVINNE 2435 WELTE-MIGNON MOSZKOWSKI – Dance Form Pieces, Op. 17, No. 2, G Menuett

JOSEF LHEVINNE 2436 WELTE-MIGNON A. RUBINSTEIN – Barcarolle No. 6, Op. 104, No. 4, c

JOSEF LHEVINNE 2437 WELTE-MIGNON A. RUBINSTEIN – “Album de Peterhof”, Op. 79, No. 9, D Prelude

JOSEF LHEVINNE 2438 WELTE-MIGNON CHOPIN – Mazurka, Op. 33, No. 2, D

JOSEF LHEVINNE 2439 WELTE-MIGNON WEBER – Piano Sonata No. 1, Op. 24, C 4th mvt. “Perpetual Motion”

JOSEF LHEVINNE 2440 WELTE-MIGNON CHOPIN – Etude, Op. 25, No. 12, c “Arpeggios”

JOSEF LHEVINNE 2441 WELTE-MIGNON MEYERBEER-LISZT – Fantasie on Themes from Opera “Robert le Diable”

JOSEF LHEVINNE 4060 WELTE-MIGNON SCHUMANN – Symphonic Etudes, Op. 13, Part Two

JOSEF LHEVINNE 4061 WELTE-MIGNON SCHUMANN – Symphonic Etudes, Op. 13, Part One

ANNA YESIPOVA 1075 WELTE-MIGNON SCHUMANN – Variations on a Theme by Clara Wieck, Op. 5, f

ANNA YESIPOVA 1076 WELTE-MIGNON CHOPIN – Barcarolle, Op. 60, F#

ANNA YESIPOVA 1077 WELTE-MIGNON CHOPIN – Prelude, Op. 28, No. 17, Ab

ANNA YESIPOVA 1078 WELTE-MIGNON CHOPIN – Mazurka, Op. 33, No. 4, b

ANNA YESIPOVA 1082 WELTE-MIGNON D’ALBERT – Scherzo, Op. 16, No. 2, F#

ANNA YESIPOVA 1083 VERDI-LISZT – Paraphrase on Themes from the Opera “Rigoletto”

ANNA YESIPOVA 1084 WELTE-MIGNON BELLINI-THALBERG – Fantasie on Themes from Opera”La Sonnambula”

SHURA CHERKASSKY 6691 DUO-ART MOSZKOWSKI – Liebeswalzer (Love-Waltz), Op. 57, No. 5

SHURA CHERKASSKY 6692 DUO-ART CHERKASSKY – Prélude pathétique

SHURA CHERKASSKY 6713 DUO-ART RACHMANINOFF – Polka de W. R. (Wassily Rachmaninoff)

SHURA CHERKASSKY 7130 DUO-ART VERDI-LISZT – Paraphrase on Arias from the Opera “Rigoletto”

SHURA CHERKASSKY 7154 DUO-ART TCHAIKOVSKY – Chant sans paroles (Without Words), Op. 2, No. 3

SHURA CHERKASSKY 7200 DUO-ART SCHUMANN-LISZT – Frühlingsnacht (Spring Night)

ALEXANDER SILOTI 6600 DUO-ART BACH-SILOTI – Prelude to Cantata No. 29 “Wir danken Dir, Gott”

ALEXANDER SILOTI 6636 DUO-ART LISZT – Bénédiction de Dieu dans la Solitude (Abbrieviated by Siloti)

ALEXANDER SILOTI 6657 DUO-ART RIABININ-SILOTI – Russian Folk Song

ALEXANDER SILOTI 6875 DUO-ART LIADOV – Cradle Song

ARTHUR FRIEDHEIM HUPFELD ANIMATIC 50259 LISZT – Ungarische Rhapsodie Nr. 2

ARTHUR FRIEDHEIM HUPFELD ANIMATIC 50606 LISZT – Rhapsodie espagnole

ARTHUR FRIEDHEIM HUPFELD ANIMATIC 53596 Polonaise Op. 53 (Chopin)

ARTHUR FRIEDHEIM HUPFELD ANIMATIC 51890, 51891 LISZT – Sonata B Minor Andante sostenuto – Quasi Adagio – Grandiose – Allegro energico – Presto – Andante sostenuto Quasi Adagio

ARTHUR FRIEDHEIM HUPFELD ANIMATIC 53778A, 53778B LISZT – Années de Pélerinage No. 7. Apres une lecture du Dante. Fantasia quasi Sonata

KONSTANTIN IGUMNOV WELTE-MIGNON 2061 RACHMANINOFF – Prelude, Op. 23, No. 1, f#

KONSTANTIN IGUMNOV WELTE-MIGNON 2062 RACHMANINOFF – Prelude, Op. 23, No. 6, Eb

KONSTANTIN IGUMNOV WELTE-MIGNON 2063 SCRIABIN – Sonata-Fantasie, Op. 19, No. 2, g#

KONSTANTIN IGUMNOV WELTE-MIGNON 2064 BRAHMS – Intermezzo, Op. 118, No. 6, eb

VLADIMIR HOROWITZ DUO-ART 7250 BIZET-HOROWITZ – Variations on Seguidillas from Opera “Carmen”

VLADIMIR HOROWITZ DUO-ART 7281 TCHAIKOVSKY – Doumka (Scene in a Russian Village) Op. 59

VLADIMIR HOROWITZ DUO-ART 7282 SCHUBERT-LISZT – Liebesbotschaft (Love’s Message)

VLADIMIR HOROWITZ DUO-ART 7287 CHOPIN – Etudes, Op. 10, No. 6, b-b; Op. 25, No. 12, c “Arpeggios”

VLADIMIR HOROWITZ DUO-ART 7360 HOROWITZ – Valse, e

VLADIMIR HOROWITZ DUO-ART 7447 SAINT-SAENS-LISZT-HOROWITZ – Danse macabre, Op. 40

VLADIMIR HOROWITZ DUO-ART 7450 RACHMANINOFF – Preludes, Op. 32, Nos. 8, a; 10, b

SANDRA DROUCKER 266 WELTE-MIGNON CHOPIN – Nocturne, Op. 37, No. 2, G

SANDRA DROUCKER 270 WELTE-MIGNON SCHUMANN – Arabesque, Op. 18, C

SANDRA DROUCKER 271 WELTE-MIGNON TCHAIKOVSKY – Momento lirico (Lyrical Moment)

SANDRA DROUCKER 274 WELTE-MIGNON LISZT- Gnomenreigen (Gnomes’ Round Dance) – Concert Etude No. 2, f

VLADIMIR DROZDOV WELTE-MIGNON 1955 TCHAIKOVSKY – Meditation, Op. 72, No. 5, D

VLADIMIR DROZDOV WELTE-MIGNON 1957 LIAPOUNOFF – Transcendental Etudes, Op. 11, No. 3 Carillon

VERA TIMANOVA WELTE-MIGNON 1379 PADEREWSKI – Theme and Variations, Op. 16, No. 3, A

VERA TIMANOVA WELTE-MIGNON 1382 A. RUBINSTEIN – Serenade Espagñole, Op. 16, No. 3, g

VERA TIMANOVA WELTE-MIGNON 1383 SAPELLNIKOFF – Berceuse (Cradle Song) Op. 11, No. 3, Eb

VERA TIMANOVA WELTE-MIGNON 1386 LISZT – Hungarian Rhapsody No. 1, E

TINA LERNER 5979 DUO-ART SCHUMANN-TAUSIG -El Contrabandista (The Smuggler) Op. 85, No. 6

TINA LERNER 6213 DUO-ART LISZT – Concerto Pathétique. Arranged for Two Pianos (w. Shavitz)

TINA LERNER 6854 AMPICO CHOPIN – Etude, Op. 10, No. 4, c

TINA LERNER 6946 AMPICO CHOPIN – Ballade No. l, Op. 23, g

TINA LERNER 7038 AMPICO CHOPIN – Andante spianato & Grande Polonaise, Op. 22, Eb

TINA LERNER 7072 AMPICO CHOPIN – Tarantelle, Op. 43, a

VLADIMIR DE PACHMANN Ballade In A Flat Major (Chopin) Welte-Mignon 7227

VLADIMIR DE PACHMANN Impromptu In Flat Major Op. 36 (Chopin) Welte-Mignon 7204

VLADIMIR DE PACHMANN Italian Concerto In F Major (Bach) 1st 2nd 3rd Movements Welte-Mignon 7244, 7245, 7246

VLADIMIR DE PACHMANN Mazurka In A Flat Major Op. 50 No. 2 (Chopin) Welte-Mignon 7206

VLADIMIR DE PACHMANN Mazurka in A Minor Op. 67 No. 4 (Chopin) Welte-Mignon 1222

VLADIMIR DE PACHMANN Mazurka In C Major Op. 56 No. 2 (Chopin) Welte-Mignon 1221

VLADIMIR DE PACHMANN Minute Waltz In D Flat Major Op. 64 No. 1 (Chopin) Welte-Mignon 1220

VLADIMIR DE PACHMANN Moment Musical In F Minor Op. 94 No. 3 (Schubert) Welte-Mignon 1211

VLADIMIR DE PACHMANN Nocturne In B Minor Op. 32 No. 1 (Chopin) Welte-Mignon 7263

VLADIMIR DE PACHMANN Nocturne in C Sharp Minor Op. 27 No. 1 (Chopin) Welte-Mignon 7202

VLADIMIR DE PACHMANN Prelude In F Major Op. 28 No. 23 (Chopin) Welte-Mignon 1214

VLADIMIR DE PACHMANN Rigoletto Paraphrase (Verdi – Liszt) Welte-Mignon 7201

VLADIMIR DE PACHMANN Rondo A La Turk K.331 (Mozart) Welte-Mignon 1206

VLADIMIR DE PACHMANN Songs Without Words No. 25 In G Major Op. 62 No. 1 (Mendelssohn) Welte-Mignon 1209

VLADIMIR DE PACHMANN Waltz In C Sharp Minor Op. 64 No. 2 (Chopin) Welte-Mignon 7209

VLADIMIR DE PACHMANN Waltz In F Major Op. 34 No. 3 (Chopin) Welte-Mignon 7228

MISCHA LEVITZKI Aufschwung. Fantasiestücke Op. 12 No 2. (Schumann) 1923 on Ampico 62221

MISCHA LEVITZKI I. Vivacissimo from Sonata Op. 22 Gm. (Schumann) 1922 on Ampico 61163

MISCHA LEVITZKI Un Sospiro (Liszt) 1927, on Ampico 68013

MISCHA LEVITZKI Sonata in F Minor Op. 57 «Appassionata» (Beethoven) 1927-28 on Ampico OP57

MISCHA LEVITZKI Sonata in F Minor Op. 57 «Appassionata» I. All. assai (Beethoven) 1927 Ampico 68373

MISCHA LEVITZKI Sonata in F Minor Op. 57 «Appassionata» III. All.ma non troppo (Beethoven) 1928 Ampico No.68463

MISCHA LEVITZKI Etude in Gb ‘Black Key’ Op. 10 No 5 (Chopin) 1920 Ampico 57982

MISCHA LEVITZKI Valse Brillante Ab Op.34 No 1 (Chopin) 1928, Ampico 69453

MISCHA LEVITZKI Fantasie fm Op.49 (Chopin) 1924, Ampico 636233

MISCHA LEVITZKI Ballade No 3 in Ab Op. 47 (Chopin) 1921 Ampico 59273

MISCHA LEVITZKI Rondo Capriccioso Op. 14 (Mendelssohn) 1929

MISCHA LEVITZKI Barcarolle No 4 G Major (Rubinstein) 1926 Ampico 66723

MISCHA LEVITZKI Arabesque No 1 E Major (Debussy) 1929 Ampico 69901

MISCHA LEVITZKI Valse de Concert Op 1 (Levitzki) 1923 Ampico 62453

MISCHA LEVITZKI Valse op. 2 (Levitzki) 1922 Ampico 61051

MISCHA LEVITZKI La Jongleuse Op. 52 No 4 (Moszkowski) 1921 Ampico 59901

MISCHA LEVITZKI Erlkönig (Schubert – Liszt) 1930 Ampico 70833

OSSIP GABRILOWITSCH Intermezzo In Octaves (Leschetizky) Duo-Art 5670

OSSIP GABRILOWITSCH Spinning Song In C Major Op. 67 No. 4 (Mendelssohn) Duo-Art 6673

OSSIP GABRILOWITSCH Dance Of The Elves Op.3 (Sapelnikov) Duo-Art 6211

OSSIP GABRILOWITSCH Etude In F Major Op. 10 No. 8 (Chopin) Duo-Art 6414

OSSIP GABRILOWITSCH Fantaisie-Impromptu In C-Sharp Minor, Op. 66 (Chopin) Duo-Art 7074

OSSIP GABRILOWITSCH Etude In F Major, Op. 10, 8 (Chopin) Duo-Art 6414

OSSIP GABRILOWITSCH Etude In F Minor Op.25 No.2 (Chopin) Duo-Art 6349

OSSIP GABRILOWITSCH Novelette In B Minor Op. 99 No. 9 (Schumann) Duo-Art 7284

OSSIP GABRILOWITSCH Waltz In E Minor Op. Post (Chopin) Duo-Art 6273

OSSIP GABRILOWITSCH Romances Sans Paroles, Op. 17 No. 3 (Fauré) Duo-Art 5659

OSSIP GABRILOWITSCH Moment Musicale In F Minor Op. 94 No. 3 (Schubert) Duo-Art 5841

OSSIP GABRILOWITSCH Prelude In C Sharp Minor Op.3 No.2 (Rachmaninoff) Duo-Art 5804

OSSIP GABRILOWITSCH WELTE-MIGNON 295 TCHAIKOVSKY – “The Months”, Op. 37a, No. 10, d October

OSSIP GABRILOWITSCH WELTE-MIGNON 296 RAFF- Rigaudon, Op. 204, No. 3, D

OSSIP GABRILOWITSCH WELTE-MIGNON 297 GABRILOWITSCH – Caprice Burlesque, Op. 3, No. 1, Gb

OSSIP GABRILOWITSCH WELTE-MIGNON 298 CHOPIN – Mazurka, Op. 33, No. 4, b

OSSIP GABRILOWITSCH WELTE-MIGNON 301 CHOPIN – Nocturne, Op. 15, No. 1, F

ALEXANDER SCRIABIN 2067 WELTE-MIGNON SCRIABIN – Preludes, Op. 11, No. 1, C; No. 2, a

ALEXANDER SCRIABIN 2068 WELTE-MIGNON SCRIABIN – Poème, Op. 32, No. 1, F#

ALEXANDER SCRIABIN 2069 WELTE-MIGNON SCRIABIN – Preludes, Op. 11, No. 13, Gb; No. 14, eb

ALEXANDER SCRIABIN 2071 WELTE-MIGNON SCRIABIN – Désir (Desire) Op. 57, No. 1

ALEXANDER SCRIABIN 2072 WELTE-MIGNON SCRIABIN – Prelude, Op. 22, No. 1; Mazurka, Op. 40, No. 2, f#

ALEXANDER SCRIABIN 2073 WELTE-MIGNON SCRIABIN – Etude, Op. 8, No. 12, d# “Pathétique”

ALEXANDER GLAZUNOV WELTE-MIGNON 1937 GLAZOUNOV – Prelude, 49, No. 1

ALEXANDER GLAZUNOV WELTE-MIGNON 1938 GLAZOUNOV – Prelude, Op. 25, No. 1, D

ALEXANDER GLAZUNOV WELTE-MIGNON 1939 GLAZOUNOV – Piano Sonata No. 1, Op. 74, Bb 2nd mvt.

ALEXANDER GLAZUNOV WELTE-MIGNON 1940 GLAZOUNOV – Prelude / Romanesca et al. from ballet “Raymonda”

ALEXANDER GLAZUNOV WELTE-MIGNON 1941 GLAZOUNOV – Valse fantastique; Hymne from “Raymonda”

ALEXANDER GLAZUNOV WELTE-MIGNON 1942 GLAZOUNOV – Entracte; Variation #3 from “Raymonda”, Op. 57

ALEXANDER GLAZUNOV WELTE-MIGNON 1944 GLAZOUNOV – Recitative; Gavotte; etc.from”Ruses d’amour”Op.61

ALEXANDER GLAZUNOV WELTE-MIGNON 1945 GLAZOUNOV – Barcarolle; Baccanale etc. from”The Seasons”Op. 67

ALEXANDER GLAZUNOV WELTE-MIGNON 1946 GLAZOUNOV – Petit adagio from the ballet “The Seasons” Op. 67

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 POLISH PIANISTS PLAYS FOR GRAMOPHONE 78 RPM ERA ULTRA RARE! 12 CDR

This set includes the following CDRs:

Polish Pianist Josef Hofmann: The Complete Brunswick Recordings – CDR

Polish Pianist Josef Hofmann: The Complete Columbia Recordings – 2 CDRs

Polish Pianist Karol Szreter (1898-1934) – 3 CDRs

Polish Pianist Leopold Godowsky 1921-1926 Brunswick Recordings – 2 CDRs

Polish Pianist Moriz Rosenthal (1862-1946): Complete Edison Recordings – CDR

Polish Pianist Moriz Rosenthal (1862-1946): Complete Parlophone Recordings – CDR

Polish Pianist Raoul von Koczalski 1924-1939 Recordings – CDR

Polish Pianist Xaver Scharwenka (1850-1924) – CDR

This compilation highlights the virtuosity and legacy of Poland’s most distinguished pianists, including Josef Hofmann’s comprehensive Brunswick and Columbia recordings, offering listeners a deep insight into his masterful technique and artistry. Moriz Rosenthal’s Edison and Parlophone recordings reflect his unparalleled command of the keyboard, while Leopold Godowsky’s Brunswick sessions capture his unique approach to piano repertoire. Other gems include Raoul von Koczalski’s 1924-1939 recordings and Karol Szreter’s works. A must-have for fans of historical Polish pianism and classical music collectors.

Forgotten Opera Singers

Feb 28, 2025