CYLINDERS

2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol,

OBT = original box and top, OP = original descriptive pamphlet.
ReproB/T = Excellent reproduction orange box and printed top
Any mold on wax cylinders is always described.
All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All
grading is visual. All cylinders EDISON unless otherwise indicated. “Direct recording” means
recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for
cylinders in the lower 28200 series where there might be a question.

BLANCHE ARRAL [s]

4108. Edison BA 28125. MIGNON: Je suis Titania (Thomas). Repro B/T. Just about 1-2.
$40.00.
ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of
Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as
Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her
native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York
press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan
Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”.
At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911
the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she
retired to Buenos Aires and taught.
4113. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). ReproB/T. Includes
original pamphlet. Just about 1-2. $40.00.
ALESSANDRO BONCI [t]
9218. Edison BA 29001. RIGOLETTO:
Questa o quella; La donna è mobile
(Verdi). OBT. The Bonci cylinders
were originally listed as the highest
priced Blue Amberols ($1.00 each)
when first issued in 1913. When
Edison concluded adding new ad-
ditions to the (75¢) classical 28000
series in 1918, the Royal Purple
cylinders were introduced (numeri-
cally following the Bonci numbers in
the 29000 series). Bonci cylinders
and all new celebrity releases were
subsequently issued as Purple Am-
berols (at the former “Bonci” price of
$1.00 each). Once that series ended
in 1922, the Purples returned to Blue
Amberol format. The few later classi-
cal additions to the cylinder line were
in the 50¢ four-digit popular series,
the price finally lowered to 35¢ .
Cons. 2. $60.00.
4112. Edison BA 29004. LUCIA: Fra
poco (Donizetti). OBT. Purple ALLESANDRO BONCI
strip around box top (signifying
original 29000 series). Box has lt. wear. Cylinder is just about 1-2. $75.00.
ERNESTO CARONNA [b]
4102. Edison BA 28130. BALLO IN MASCHERA: Eri tu (Verdi). ReproB/T. Just about
1-2. $40.00.
LUIGI CILLA [t]. Rimini, 1885- ? . Beginning his career in provincial Italian houses, Cilla
was, by 1910, an important tenor specializing in comprimario roles and as such was heard often in
the leading Italian theaters including La Scala and the Costanzi. In addition, he sang with the
Boston Opera in 1910 and at Covent Garden from 1925-1934, and early in his career in Belgium.
4111. Edison BA 22454. LOHENGRIN: Da voi Lontano (Wagner). OBT (sticker on patents
area of lid). Light. box wear. Cylinder just about 1-2. $50.00.
FLORENCIO CONSTANTINO [t]
4101. Edison BA 28161. AIDA: Se quel guerrier … Celeste Aida (Verdi). Announced by the
singer. ReproB/T. Just about 1-2. $50.00.

7
 CYLINDERS
EMILIO DE GOGORZA (as FRANCISCO) [ba].
9204. 2M Brown Wax Edison 12???. CADIZ: Era una pobe nega [Tango de los Negritos]
(Federico Chueca). Few lightest tiny mold mks., otherwise clean, cons. 2. $75.00.
MARIA FARNETI [s]. Forlì, 1877-1955. A student at the Conservatory in Pesaro, Farneti
made her debut in Torino in 1899. That season she first sang Mascagni’s Iris, which proved to be a
signature role for her. Her particular strength was the verismo repertoire. She appeared in the U.S.
in 1902 under Mascagni’s direction and was a great success in Buenos Aires, where she created
Mascagni’s Isabeau in 1911. The principal houses of Italy, including La Scala, were the locations
of many of her triumphs. She retired from the stage in 1917 following performances of Puccini’s La
Rondine at the Teatro dal Verme but made a group of celebrated electrical recordings for Italian
Columbia in 1931 (one of which is listed further on in this catalogue).
4105. Edison BA 28139. OTELLO: Ave Maria (Verdi). ReproB/T. Just about 1-2. $75.00.
CARLO GALEFFI [b]
4106. Edison BA 28148. IL TROVATORE: Il balen (Verdi). ReproB/T. Just about 1-2.
$60.00.
MARIA GALVANY [s].
4100. Edison BA 28123. LA SONNAMBULA: Come per me sereno … Sovra il sen (Bellini).
ReproB/T. Just about 1-2. $75.00.
ARISTODEMO GIORGINI [t]
9223. Edison BA 28199. PEARL FISHERS: Mi par d’udire ancora (Bizet). OBT (top a bit
faded). With original pamphlet. Just about 1-2. $75.00.
ORVILLE HARROLD [t]
9210. Edison BA 28110. I HEAR YOU CALLING ME (Marshall). OBT. Just about 1-2.
$15.00.
9222. Edison BA 28182. FAVORITA: Spirto gentil (Donizetti). In English. OBT. With
original pamphlet. Just about 1-2. $25.00.
VICTOR HERBERT dir. HIS ORCH. Dublin, 1859-New York City, 1924. Victor
Herbert studied cello in Germany and in 1886 was hired by the Metropolitan Opera as a cellist
and his wife, Therese Förster, as a principal soprano. Herbert’s career was subsequently as a
composer of serious works, operettas and as an able conductor. He led the Pittsburgh Symphony
from 1898-1904 and guest directed other U.S. orchestras including the New York Philharmonic.
After leaving the Pittsburgh, he formed his own orchestra with which he toured the U.S. for many
seasons. With a repertoire of standard classics and lighter selections, Herbert’s Orchestra brought
to many communities a unique opportunity to hear live a first-rate symphonic group.
9209. Edison BA 1731. THE IDOL’S EYE: Selections (Victor Herbert). OBT. Just about
1-2. $25.00.
9208. Edison BA 2157. RUY BLAS: Overture (Mendelssohn). Repro. orange box. Just
about 1-2. $25.00.
9195. Edison BA 5376. MLLE. MODISTE: Ballet Mu-
sic (Herbert). Repro. orange box. Just about
1-2. $40.00.
ALLEN CARTER HINCKLEY [bs-b].
Gloucester, MA, 1877-Yonkers, NY, 1954. He began
his vocal studies at the age of 18 in Philadelphia while at
Amherst College and the University of Pennsylvania with
Carl Schachner, continuing with him for four years. He
subsequently studied repertoire with Oscar Saenger for
several months while appearing with The Bostonians. He
then left for Europe and made his debut in 1903 as King
Henry in Lohengrin with the Hamburg Stadttheater and
remained as a regular member of that company for five
years. He worked with Cosima and Siegfried Wagner and
was then heard at Bayreuth as Hagen, Hunding and King
Henry. He also participated in three Covent Garden
seasons as well as at the Met and with the Chicago
Opera. In later years he taught, lectured and directed in
New York the Village Light Opera Group.
9201. U.S. Everlasting 4-Minute 1299. THE LOST
CHORD (Sullivan). OBT. Cons. 2. Rare item
by this important singer and even rarer in original ALLEN C. HINCKLEY
box. $150.00.
8
 CYLINDERS
REDFERNE HOLLINGSHEAD [t]. 1885-1937. Born in England, Hollingshead and his
family migrated to Winnipeg, Canada, in 1892. He developed a singing career as a tenor, moving to
Toronto and appearing there and in the region as a leading church and oratorio artist. In 1912 he
went to England for vocal studies with Maestro Carboni. Two years later he successfully audi-
tioned for Edison and made several cylinders and discs in the 1914-15 period, returning again in
1928-29 for ensemble work. During and following this later period he was known for his radio
appearances in both the U.S. and in Canada. A 1931 Montreal newspaper article referred to him
as “one of the best radio artists of the day”.
9205. Edison BA 28201. PARTED (Tosti). OBT. Direct recording. Just about 1-2. $25.00.

AGNES KIMBALL [s]. Princeton, IL, 1881-Toledo,

OH, 1918. At the age of 17, Kimball (born Grigsby)
married Charles F. Kimball, an office clerk. A daughter
was born the next year. She then decided to pursue a
musical career and studied with Franz Bellinger, gaining
a position as a church singer in Pittsburgh. Mr. Kimball
secured employment there as a clerk-auditor with the
Andrew Carnegie Corporation, but soon Agnes decided to
go it on her own, leaving Mr. Kimball in Pittsburgh and
daughter Eloise with a sister in Indianapolis while she
moved to New York City, there becoming soloist with
three important religious organizations. She was also
featured artist on tour with Victor Herbert’s Orchestra
and a recording personality for Victor, Columbia, Edison,
Rex and Indestructible. She also gained a successful
reputation in the concert and oratorio fields. Mr. Kimball
secured an uncontested divorce from Agnes in 1913. Her
career continued another year and she then married a
wealthy businessman from Toledo, Edward T. Affleck,
Jr. At that point she appeared to have had enough of
AGNES KIMBALL
the life of a touring singer as she shortly after disap-
peared from the stage. Unfortunately her retirement
lasted only a short period. She became ill during Chrismas week of 1917 and died the following
January 5th, possibly from the flu.
9219. Edison BA 2057. MADAMA BUTTERFLY: Un bel di (Puccini). In English. OBT. With
original pamphlet (trimmed at bottom). Scarce. Just about 1-2. $20.00.
ADELE KRÄMER [s]
9204. Edison BA 26086. MIGNON: Kennst du
das Land (Thomas). Orange repro. box.
Just about 1-2. $40.00.
ERNST KRAUS [t]. Erlangen, Germany,
1863-Wörthsee, 1941. He first studied in Milan
with Cesare Galliera and then Munich with Anna
Schimon-Regan. 1893 marked his stage debut in
Mannheim as Tamino in The Magic Flute. The
following year he appeared in America with the
Damrosch Opera Company, returning to Germany
the next season. He then became principal tenor of
the Berlin Staatsoper, remaining there for 27
years. He also made his debut at Bayreuth in 1901
and the Metropolitan Opera in 1903, singing Sieg-
fried as his inaugural role with both companies.
After retirement in 1924, he taught. His voice was
“noted for its power and solidity”. Kraus’s reper-
toire covered most of the Wagner tenor parts as
well as leading roles in operas such as Fidelio and
Der Freischütz.
4114. Edison BA 26071. DIE WALKÜRE: Sieg-
munds Liebeslied (Wagner). ReproB/T..
Nice copy, cons. 2. $60.00.
9196. Edison BA 26089. DER FREISCHÜTZ:
Durch die Wälder (von Weber). OBT.
Very slight box top wear, otherwise
just about 1-2. $60.00. ERNST KRAUS

9
 CYLINDERS
THEODOR LATTERMANN [bs-b]. Frankfurt, 1886-Seechof, 1926. His stage debut was
in Barmen, 1907, after studies in German with tenor Andreas Dippel. Lattermann soon joined the
Hamburg Opera where he remained a principal artist until his death. Guest appearances and
seasons included la Monnaie in Belgium, the Vienna Staatsoper and touring with the German
Opera Company, 1922-24, including performances at the Metropolitan Opera. His wife, Ottilie
Metzger, was also among the noted artists who sang with this company. His retirement as a result
of illness came soon after returning to Germany. Lattermann’s repertoire included a number of
Wagnerian parts, Rocco in Fidelio, and principal roles in a number of primarily Germanic operas.
9202. Edison BA 26105. MAGIC FLUTE: In diesen heil’ gen Hallen (Mozart). Orange repro.
box. Cons. 2. $80.00.

ANTOINETTE LAUTE-BRUN [s].

Nimes, 1875- ? . A graduate of the Paris
Conservatoire where she studied with Duver-
noy, Melchissèdic and Mangin, Laute made her
debut at the Paris Opéra in 1903 as the Page in
Tannhäuser and remained with that house
through 1927. She married composer Georges
Brun in 1907, changing her professional name
then to Laute-Brun. In addition to her work in
Paris, Laute-Brun was heard in many of the
French provincial houses. In 1907 she toured
Belgium with baritone Jean Noté.
9221. Edison BA 27122. FAUST: Scène de
l’Église (Gounod). With GUSTAVE
HUBERDEAU [b]. Repro. orange
box. Just about 1-2. $75.00.

RICCARDO MARTIN [t]

4103. Edison BA 28167. GOOD-BYE
(Tosti). Martin’s only recording in
his native (but rather stilted)
English. Just about 1-2. $25.00.
CHRISTINE MILLER [c]. Glasgow,
Scotland, 1885-Pittsburgh, PA, 1956. The
Miller family emigrated to Pittsburgh when
Christine was a youth. She became interested
in singing through participation in a church
ANTOINETTE LAUTE-BRUN
choir where she was heard by and afforded the
opportunity of musical studies by an unknown
benefactor. His identity was eventually revealed “in true dramatic Victorian fashion” as Daniel
M. Clemson, a director of the Carnegie Steel Corporation and twenty-three years Miller’s senior.
They wed in 1918, shortly after the sudden death of the first Mrs.Clemson. At that point, Miller
retired to become a leading arts patroness in Pittsburgh. While active on stage earlier, she was a
highly regarded concert and oratorio artist and recorded for Edison and Victor. Edison frequently
used her for his “Tone-Test” programs, direct comparisons between Edison’s recording of the voice
and the human voice itself. ''It was impossible to distinguish between my own voice,'' wrote Miss
Miller, ''and Mr. Edison's recreation of it.'' She sang locally into the 1930s, mostly for charity
concerts, and continued her charity work in an area hospital.
9200. Edison BA 28211. THE NIGHTINGALE’S SONG (Nevin). Direct recording.
Uncommon. OBT. Just about 1-2. $25.00.

MARIE RAPPOLD [s]. London, 1873-Los Angeles, CA, 1957. Born Marie Winterroth in
London to German parents, she emigrated to Brooklyn as a child and studied voice with Oscar
Saenger. She became a member of the Metropolitan Opera in 1905, making her debut as Sulamith
in Goldmark’s Queen of Sheba. In the 1890s she had married Dr. Julius Rappold of Brooklyn and
continued using Rappold as her professional name, although they separated in 1907 and divorced
a few years later. Said Dr. Rappold, “My wife’s income is many times greater than mine, and we
cannot live on the same footing without the sacrifice of pride on my part or of a career on the part
of my wife.” In 1913, Rappold wed tenor Rudolf Berger, but their bliss was short-lived, as Berger
died in 1915. Rappold remained on the Met roster through 1920, also appearing as a guest in
Vienna and London. Following her Met departure, she was heard with various touring and local
companies. In 1925 she appeared before an audience of 20,000 in New York’s Yankee Stadium
(with tenor Bernardo DeMuro) singing one of her principal roles, Verdi’s Aida. In the later 1930s
she retired to Los Angeles, where she taught until the year before her death.

10
 CYLINDERS
9211. Edison BA 28171. AGNUS
DEI (Bizet). Just about
1-2. $20.00.
4116. Edison BA 28249. STILLE
NACHT [SILENT NIGHT]
(Gruber). OBT. Just
about 1-2. $20.00.
ANTONIO SCOTTI [b]
9220. 2M Edison B-5.
SONNAMBULA: Vi rav-
viso (Bellini). OBT. Just
about 1-2. $100.00.
9216. 2M Edison B-32. AIDA:
Sortita d’Amonasro (Ver-
di). OBT. Just about 1-
2. $100.00.
LEO SLEZAK [t]
4117. Edison BA 28146. TOSCA:
E lucevan le stelle (Puc-
cini). In Italian.
ReproB/T. Just about
1-2. $75.00. MARIE RAPPOLD

ALBERT SPALDING [violinist]

9198. Edison BA 28163. SOUVENIR OF MOSCOW (Wieniawski). Piano acc. André
Benoist. OBT. Light box top fade, otherwise just about 1-2. $40.00.
HELEN STANLEY [s]
4104. Edison BA 28215. ÉLÉGIE (Massenet). Just about 1-2. $25.00.
MARGUERITE SYLVA [s]. Brussels, 1875 –
Glendale, CA, 1957. Her father was a Belgian
physician of American parentage and she
was born Marguerite Alice Hélène Smith. After
studies in Paris, Sylva made her debut in London
as Carmen in 1892. She was with the Paris Opéra-
Comique, 1892-1907, and also sang in Berlin and
Vienna, as well as the Philadelphia and Chicago
Opera companies. She had sung the role of Carmen
at least 600 times over a forty year period. In
1911, Sylva temporarily entered the operetta world
and appeared in the New York premiere of Lehar’s
Gypsy Love. Unfortunately, she had been taken ill
for several days before the premiere and she had to
cede her role during the first act of the opening to
her understudy, Phyllis Partington. Partington did
so well that it was announced she would continue
in the part until Miss Sylva’s complete recovery and
then alternate performances with her. After Sylva
was back in form, she, along with two other mem-
bers of the original cast. the conductor and orches-
tra, were hired by Edison to record a series of
cylinder excerpts from the operetta. In later years
Sylva appeared as a character actress in a few
Hollywood films. Her death occurred when, while
driving to a voice lesson, she lost control of her
vehicle and crashed into a house. She had been
given the auto a year earlier while a guest on the TV
program “This Is Your Life”.
4118. Edison BA 28114. CAVALLERIA RUSTI-
CANA: Voi lo sapete (Mascagni).
ReproB/T. Just about 1-2. $60.00.
MARGUERITE SYLVA relaxing with her
4107. Edison BA 28151. PAGLIACCI: Ballatella potted plant.
(Leoncavallo). ReproB/T. Just about
1-2. $60.00.
11
 CYLINDERS
JACQUES URLUS [t]
4110. Edison BA 28204. LOHENGRIN: Mein lieber Schwan (Wagner). ReproB/T. Just
about 1-2. $40.00.

ALICE VERLET [s]

9215. Edison BA 28225. BALLO IN MASCHERA: Saper vorreste (Verdi). Mastered from an
unpublished Diamond-Disc. OBT. Just about 1-2. $40.00.

WILLIAM JENNINGS BRYAN [attorney, U.S. Presidental candidate/orator]

Salem, IL, 1860-Dayton, TN, 1925. A fascinating personality, Bryan studied law at Union
College in Chicago and was elected a Congressman in 1891. Moving up the political ladder quickly,
he became a Democratic Presidential candidate in 1896, his Cross of Gold speech having electri-
fied the convention. He was unsuccessful in the national election, losing to McKinley, but he ran
again in 1900 and 1908, again also losing. In 1913 he was appointed Secretary of State under
Woodrow Wilson. One of his most famous trials as a lawyer was his last, in 1925, the Scopes
“Monkey” case. Bryan took the prosecution side against John Scopes, a high school biology
teacher who had been “accused of violating the state’s Butler Act which made it unlawful to teach
evolution. Scopes was found guilty, but the verdict was overturned on a technicality and he was
never brought back to trial.” The trial drew national attention. Bryan died in his sleep five days
after it concluded. – Internet sources.
9213. 2M Edison 9920. IMPERIALISM (Speech). OB. Just about 1-2. $75.00.

PRESIDENTE PORFIRIO DIAZ

[President of Mexico, 1884-1911).
Oaxaca, Mexico, 1830-1915. Diaz “ruled Mexico
as a dictator. He quenched all opposition by
violence and intimidation.” Although under his
rule Mexico prospered economically and entered
the modern age, “the poor and indigenous suffered
enormously”. He was overthrown in 1911 and died
in exile. The cylinder below is the only recording of
his voice. – information from Internet sources.
9226. 2M Blue Amberol Edison 20315. EL
PRESIDENTE DIAZ AL SEÑOR EDISON
(Speech). A recording in the form of a
spoken letter to Thomas Edison, 15
Aug., 1909. Also included is a photocopy
of the original descriptive pamphlet
(with English translation of the text).
The cylinder is contained in an original
2-minute wax box (with correct top).
This is likely a unique Blue Amberol test
mastering. The inner core is flush (a
blackish carbon material) rather than
the standard ribbed inside. An
extraordinary rarity. Just about 1-2.
PRESIDENTE PORFIRIO DIAZ
$850.00.

MARIE DRESSLER [actress/comedienne]. Cobourg, Ontario, Canada, 1868-Santa

Barbara, CA, 1934. Born Leila Marie Koerber, Dressler adopted the name of an aunt as a stage
name. She left home at the age of 14, beginning a stage career that continued until her death (of
cancer). Most of her early work was in operetta and vaudeville, although she had made several
silent films beginning in 1914, most based on the character “Tillie Blobbs”, a poor working girl
whom she first presented on Broadway in Tillie’s Nightmare. Her greatest fame was via her work
in sound films from 1928 through 1934, when she was an Academy Award winner and considered
to be one of the most important screen personalities of the period. Her only recordings were five
cylinders for Edison in 1910.
9207. 2M Edison 10377. I’M A-LOOKING FOR A ANGEL [“Coon Song”] (Composer?). OBT.
2. $60.00.

WILLIAM HOWARD TAFT [U.S. President]

9225. 2M Edison 10000. UNLAWFUL TRUSTS (Speech). OB. New? Just about 1-2.
$100.00.
12
 EDISON DIAMOND-DISCS
SS=early “smooth surface” (laminated, 1912-1915); RC=Edison Re-Creation Paper Label (1921-
1924); ER=Edison Record Paper Label (1924-1929). All others (1915-1920) have various forms of
“etched” black centers. All explanatory talks are by Harry E. Humphrey unless otherwise indicated.

CLAUDE ALBRIGHT [s/c]. Albuquerque,

NM, 1879- ? . Albright was the daughter of
John G. Albright, owner of several newspapers in
the Albuquerque area. Her musical studies were
in Paris. She apparently appeared in small roles
at the Opéra-Comique before returning to the
U.S. around 1903. She was hired by Conreid at
the Met, but before she could make her debut
she was engaged by Savage for the “Parsifal”
touring company, 1905, alternating with Louise
Kirkby Lunn as Kundry, an interpretation of
“exceptionally high order”, according to one press
report. In 1910 she made her debut with the
Bremen Stadttheater, following this in 1911 with
the Carl Rosa Company in England, appearing in
Mignon, Carmen and The Queen of Sheba. Ano-
ther sighting was in 1916 in California with a
touring pickup group called the La Scala Grand
Opera Company. It’s probable that much of her
American career was in the Western U.S. As
Claude is an uncommon name for a woman, it
was likely changed by Edison (who had a pen-
chant for doing such things) to “Claudia” for
her four rare 1917 Edison sides (issued in 1924).
1012. ER 60023 [6046-G/6051-B]. LA PAR-
TIDA (Alvarez) / CLAVELITOS (Val-
verde). Just about 1-2. $30.00.
GIUSEPPE ANSELMI [t]. CLAUDE ALBRIGHT
1009. SS 83015 [1378-A/2555-B].
MIGNON: Ah, non credevi tu (Thomas) / EXPLANATORY TALK. Side one cons. 2-3.
Side two couple small patinas outside rim only, otherwise cons. 2-3. $10.00.
LUCREZIA BORI [s]
1010. SS 82517 [2226-A]. ROMÉO ET JULIETTE: Je veux vivre (Gounod). Early single-
sided pressing. Lt. rubs, 2. $15.00.
1892. SS 82528 [2228-B/3127-B]. GUARDAMI (Guagni-
Benvenuti) / EXPLANATORY TALK. Slight edge
curling but only about halfway into outer rim.
Otherwise few lt. mks., cons. 2. $15.00.
MARY CARSON [s]. Houston, 1876 - ? . A graduate of
the New England Conservatory of Music in 1899, Carson studied
subsequently in Italy for a year with Vannuncini. She returned to
Houston as director and soloist of the Women’s Choral Club. A
1905 article in a Washington newspaper article on Mary Carson
Kidd (she shortly dropped the professional use of “Kidd”) states
that she “had spent five years abroad in Florence, Paris and
London, where her voice was cultivated for the grand opera.” The
“five years” seems doubtful. Another source states that she
(again?) studied in Italy beginning in 1906 and made her debut in
Milan (theater not indicated) in 1910 as Amina in La Sonnambula.
Lucia was included among her other roles in Italy. She made
her debut with the Century Opera in New York, 1913, in a Sunday
night concert singing “Ah, fors’ è lui … Sempre libera” from La
Traviata. “Her voice was surpringly large in view of her slight
physique,” reported the New York Times reviewer, “and of
agreeable quality”. She sang in the New York area for several
subsequent years including a period with the Aborn Opera. There
she was Gilda in Rigoletto, 1916 with tenor Giuseppe Agostini
and baritone Richard Bonelli. The year before she had given a MARY CARSON
recital at Aeolian Hall with pianist André Benoist. Apparently

13
 EDISON DIAMOND-DISCS
Carson returned to Houston sometime in the later ‘teens. Houston publicity, date not provided,
indicated she was a radio singer there and that she “studied at La Scala in Milan” (perhaps
as an audience member?), that she had sung in all [!] the major cities of England, France,
Germany and Italy and was most recently with the Boston Opera.” The final fact was verified, as
she was Gretel in Humperdinck’s Hansel and Gretel opposite Maggie Teyte in 1915, a role she
had also sung with the Century and Aborn Operas. This must have been some time before her
Houston radio experiences. She made trial recordings for Victor in 1913 and issued discs and
cylinders for Edison from the same year to 1916, both as a soloist and an ensemble member. An
issued Pathé record also exists. The Mainspring Press blog site explains Carson’s sudden
disappearance from the Edison studio:
The reason recently became clear while we were researching the Tone Tests — Edison refused
to pay Carson for periods during which the company was unable to obtain Tone Test bookings
for her, while refusing to let her work for anyone else, effectively depriving her of a livelihood.
Carson sued the company and won; Edison appealed the ruling and lost. The company
never again hired Carson. (http://78records.wordpress.com/tag/mary-carson/]
1001. SS 82052 [2622-A/2824-C]. VILLANELLE (dell’ Acqua) / LA VERITABLE MANOLA
(Bourgeois). In English. Uncommon. Halfmoon rim patina side one just to first
groove, otherwise cons. 2. Side two just about 1-2. $15.00.
1002. SS 82054 [2637-B/2728-C]. EXTASY [VOCAL WALTZ] (Arditi) / LA FARFALLETTA
(Torry). In English. Likewise uncommon. Just about 1-2. $15.00.

ELEONORA DE CISNEROS [ms]. New York City, 1878-1934. On the roster of the
Metropolitan Opera the season of 1899-1900 under her maiden name, Eleanor Broadfoot, De
Cisneros was credited as having been the first American singer to have appeared at the Met in a
leading role without preliminary European training or experience. Of her Metropolitan experience,
she said, “When I joined the Metropolitan Company in 1900 at the age of nineteen [sic], I was paid
the salary of only twenty-five dollars a week, with an increase of ten when the company went on its
tour. I sang the usual aggregation of secondary parts. … Then one day I was called upon at the
very briefest notice to sing Amneris in Philadelphia to Eames’s Aida. They gave me no rehearsal,
not even the opportunity to get together the proper costumes for the part or to post myself on the
details of the stage business. Mme. Eames and several other persons congratulated me on my
performance. But do you think the papers made any mention of me whatsoever or that I received a
dollar extra by way of compensation? How different would it have been had I come from Europe!”
In 1901 she met in Cuba and married the tenor Count Francesco de Cisneros and from there on
used his name professionally. She then appeared in Italy in leading houses including La Scala, at
the Vienna Staatsoper and Covent Garden, and later at the San Carlo in Naples. Other American
venues included the Manhattan and the Chicago Operas. In 1911 she accompanied Melba on a
tour of Australia. Throughout her career, she was a strong spokesperson for the rights of
American singers and for women’s rights in general.
1004. 82519 [2133-A/2704-B]. FAUST: Faites-lui mes aveux (Gounod)/EXPLANATORY
TALK. Cons. 2. $15.00.

ODETTE LE FONTENAY [s] Born in Paris,

1885 [?], LeFontenay was early on a member of the
Opéra-Comique, singing Pousette in Manon and cre-
ating Une Chimère in Charpentier’s Julien. Likely she
left Paris in 1913 and the following year wed in New
York City Philip (Philippe) Coudert, a baritone and
voice teacher, with whom she appeared on occasion in
recital for the next fifteen years. Her New York vocal
debut was in 1915 in a joint recital with her husband
in New York. An interesting 1916 performance was in a
“Suffrage Opera” by Mrs. August Belmont and Elsa
Maxwell given at the grand ballroom of the New York
Waldorf Astoria. It incorporated quite an array of per-
sonalities, including Marie Dressler in the principal
comedy part and Frances Alda and Mlle. Le Fontenay
to do the “serious singing”. Her Met debut was the
same year, appearing there one season as The Dew-
fairy (Hänsel und Gretel), Barbarina (Le Nozze di
Figaro) and a Genie (Der Zauberflöte). Subsequent
performances included a number of charity and society
programs as well as radio appearances. She and her
husband, parents of three children, divorced in the
late 1930s. Her last known address was Pelham
Manor, NY.
1007. 82125 [5702-A/5703-C]. CHANT HINDOU
ODETTE LE FONTENAY
(Bemberg)/LE NIL (Xavier Leroux). Cons.
2. $12.00.
14
 EDISON DIAMOND-DISCS
HEINRICH HENSEL [t]
1888. SS 82045 [1411-A/2708-B]. AFRICAINE: O Paradis (Meyerbeer) / EXPLANATORY
TALK. In French. Very rare. Excellent pressing, few lightest mks. Cons. 2.
$60.00.
1890. SS 82061 [1408-A/2726-B]. AUF FLÜGELN DES GESANGES (Mendelssohn) /
EXPLANATORY TALK. Cons. 2. $50.00.
1891. SS 82061 [1408-A/2726-b]. Same as the previous listing (item #1890). Side one
just about 1-2 but side two has a heavy lamination crack probably making this side
unplayable. $30.00.
REED MILLER [t]
1006. SS 82031 [2011-B/2328-B]. PAGLIACCI: Vesti la giubba (Leoncavallo)/THOMAS
CHALMERS [b]. TANNHÄUSER: Evening Star (Wagner). In English. Slightly curled
edges (not affecting playing). Otherwise appears just about 1-2. $8.00.
GIOVANNI MARTINELLI [t]
1008. SS 82036 [1215-A/1216-A]. TOSCA: Recondita armonia/TOSCA: E lucevan le stelle
(Puccini). Patina side one through first half of side one will sound, otherwise 2 or
better. $7.00.
JEANNE MAUBOURG (née GOFFAUX) [ms]
Nemor, Belgium, 1875-Montréal, Canada, 1953.
Maubourg’s debut was at the Brussels la Monnaie,
1897, and she appeared there in roles such as
Musetta, Carmen and Hansel. Seasons at Covent
Garden (1900-04) were followed by a period with the
Metropolitan Opera (1909-14). She was next active in
operetta, particularly in Canada, settling in Montréal
in 1917 with her husband, conductor Albert Roberval.
An earlier husband, Paris Opéra-Comique tenor
Claude Bede Benedict, she had wed in 1911 and shed
in 1914, the reason, claimed Maubourg, his dislike of
Americans. “He is useless,” was her general opinion
of him. At the same time she was being sued by her
doctor’s wife, Mme. Op de Beek, for alienation of the
doctor’s affections. What became of her previous loves
isn’t known, but she seemed to have been content in
Canada. There, she was active in operetta from her
arrival in 1917 through the 1930s. She also taught
(one pupil having been Pierrette Alarie) and appeared
on the radio both in acting and singing capacities.
1011. ER 58013 [9588-C/8589-B]. AIR DU
ROSSIGNOL (Charles Zeller)/LE ROUET
[THE SPINNING WHEEL] (Albert Larrieu). JEANNE MAUBOURG
IMs. Just about 1-2. $35.00.

CLAUDIA MUZIO [s]

1003. ER (test, rough edges) matrices 8410/8419. ODORANDO LE ROSE (de Curtis)/
HÉRODIADE: Egli e bel (Massenet). Take letters not given on either side. Side one
unpublished. Typical of Muzio, the most beautiful pianissimi demonstrated on side one.
Cons. 2. $650.00.

PAUL REIMERS [t]

1005. 80639 [7810-B/7875-B]. LE PORTRAIT (Parkyns)/LA CHÈRE MAISON (Dalcroize).
In French. Cons. 2. $10.00.

PATHÉ VERTICALLY CUT DISCS

CS=center start (“etched center”), PL=paper label (outside start). All 11½” unless
otherwise described.

AGUSTARELLO AFFRE [t]

4082. 11½” CS Pathé APGA P1501-1/P1501-2. LES HUGUENOTS: Grand duo du IVe acte
(Meyerbeer). Two sides. With MATHILDE COMÈS [s]. Just about 1-2. $15.00.
15
 PATHÉ VERTICALLY CUT DISCS
CARLO ALBANI [t]
4054. 11½” Brown French Pathé No. 9 [4903/4904]. AFRICAINE: O paradis / HUGUE-
NOTS: Plus blanche (both Meyerbeer). Few LGTs, gen. 2. $8.00.
4057. 11½” Brown French Pathé No. 0175
[4905/4908]. LE PROPHÈTE: Roi du Ciel
(Meyerbeer) / LA JUIVE: Rachel, quand du
Seigneur (Halévy). Gen. 2. $8.00.
HUGH ALLAN [b]. Montréal, 1887- ? . Allan
was raised in Georgia and began his career as an
organist at age of 16 at the Trinity Church, Columbus,
GA. In 1903 he went to Berlin where he studied piano
with Scharwenka and organ with Franz Grunicke. He
also began vocal studies with Richard Lowe, to whom
he returned to work with annually for a number of
years. He was a member of the Montréal Opera for two
seasons and then appeared in opera in France and Italy
(although no information could be found as to where or
in what roles). In Italy he resided for a period in
Vormero, a suburb of Naples, and there studied Italian
and Neapolitan songs. His repertoire also included
Russian songs as well as French, German and English.
He seems to have been very busy in the period from
1915-1917, touring in Canada with Louise Edvina,
appearing at Carnegie Hall with Anna Fitziu, and as
soloist for a number of organizations. Serving as an
accompanist for Victor Maurel for a year, he also
studied voice with him and was advised that he might
well consider becoming a tenor, a similar opinion given
him by baritone Pasquale Amato. Whether this
happened or not doesn’t seem to be known, nor HUGH ALLAN
what became of Mr. Allan after 1917. That year he was
still singing successfully, one recital review mentioning
that he had “a wonderful talent for interpretation which raises him far above the level of the
average singer.” It also mentioned that he had appeared in concert with Gadski, Clement, Alda and
Rappold as well as with the “de Vally French Opera Company”. He was also credited as having
been a member of the Berlin Opera (probably 1914-15).
1745. 11½” Green Pathé 52004 [ ? / ? ]. ARIA FRESCA [FRESH AIR] /CANTA PA LUNA
[SONG TO THE MOON] (both Nardella). In Italian. Cons. 2. $15.00.
PAUL ALTHOUSE [t]
4072. 10½” Blk. U.S. Pathé 27025 [T67740-1/T67742-1]. TELL HER I LOVE HER SO (De
Faye) / DO NOT GO, MY LOVE (Hageman). Just about 1-2. $12.00.
4068. 11½” Grey U.S. Pathé 59053 [E66470-1/E66471-1]. THE CREATION: In Native
Worth (Haydn) / STABAT MATER: Cujus animam (Rossini). Just about 1-2.
$12.00.
MARIO ANCONA [b]
4083. 11½” CS Pathé 4308/4310. TANNHÄUSER: O tu bell’ astro (Wagner) / PAGLIACCI:
Prologo (Leoncavallo). Just about 1-2. $20.00.
4069. 11½” CS Pathé 4322/4326. RIGOLETTO: Cortigiani / RIGOLETTO: Pari siamo
(Verdi) Side one with orchestra, side two with piano. MGTs, cons. 2. $15.00.
AMADEO BASSI [t]
1893. 11½” CS Pathé 4237/4243. FEDORA: Amor ti vieta / ANDREA CHENIER: Si fui
soldato (both Giordano). Just about 1-2. $20.00.
4060. 11½” SS CS Pathé 4960. BOHÊME: O Mimì, tu più non torni (Puccini). With TITTA
RUFFO [b]. Piano acc. Cons. 2. $15.00.
GEMMA BELLINCIONI [s]. Monza, 1864-Naples, 1950. She made her debut in Naples
at the age of 15. She was first heard at the Rome Costanzi in 1885 and a year later at La Scala.
She and her husband, tenor Roberto Stagno, subsequently appeared together throughout Europe
in the major operatic centers. Her world creations included Santuzza in Cavalleria Rusticana, 1890
and Giordano’s Fedora, 1898. She was also the first to sing Strauss’s Salome in Italy, 1906. From
1911 on she taught and coached, one pupil having been Rosa Ponselle, who studied the roles of
Santuzza and Carmen with her. See the 78 rpm section for three G&T rarities of Bellincioni.
1541. 11½” CS Pathé 4396/4397. TRAVIATA: Ah! fors’ è lui / OTELLO: Ave Maria (both
Verdi). Cons. 2. $150.00.
16
 PATHÉ VERTICALLY CUT DISCS
GIUSEPPE BORGATTI [t]
4062. 11½” PL Orange Italian Pathé No.10330 [86690/86692]. LOHENGRIN: Racconto del
Graal / LOHENGRIN: Di’ non t’incantan (Wagner). Just about 1-2. $15.00.
ROSA CALIGARIS-MARTI [s]
4074. 11½” Blk. Italian Pathé No.10233 [86145/86155]. ERNANI: Ernani, involami
(Verdi) / LA GIOCONDA: Suicidio (Ponchielli). Quite a voice! She was evidently
not too comfortable recording as she wanders to and from the horn. As the
room is “live”, one gets an idea as to the size of the instrument. Side one
double labeled. Top label peeling. Side two label off-center. Surfaces 2-3/3-4 but
both play comparably. $15.00.
FLORENCIO CONSTANTINO [t]
4064. 11½” CS Pathé 4247/4256. CAVALLERIA RUSTICANA: Siciliana (Mascagni) /
BARBIERE DI SIVIGLIA: Ecco ridente (Rossini). Just about 1-2. $15.00.
4087. 11½” CS Pathé 4253/4254. AFRICAINE: O Paradiso (Meyerbeer) / AIDA: Celeste
Aida (Verdi). Just about 1-2. $15.00.
ERNA DENERA [s]. Near Posen, Germany,
1881-Berlin, 1938. Originally a pianist, she
became a vocal student in 1904 and made her
debut in 1906 as Senta. She then appeared a
season at Wiesbaden and in 1908 the Berlin
Imperial Opera. She was also a guest in many
European houses and was hired by the
Metropolitan Opera for the season of 1916-17, an
engagement prevented by World War I. Her
career continued another few years with the
Berlin Opera and in Italy. Denera’s main roles
were in the Wagnerian repertoire.
4063. 11½” PL Grey U.S. Pathé 60019
[15615/15621]. CAVALLERIA RUSTI-
CANA: Voi lo sapete (Mascagni) / LA
BOHÊME: Mi chiamano Mimì
(Puccini). In German. Few lt. mks.,
cons. 2. $12.00.
4065. 11½” PL Grey U.S. Pathé 62004
[15635/15635bis]. FLYING DUTCH-
MAN: Like a vision (Wagner). Two
sides. With BAPTIST HOFFMANN [b].
Just about 1-2. $15.00.
4067. 11½” PL Grey U.S. Pathé 62016
[15625/15629]. LOHENGRIN: Du
ärmste. With THALIA PLAI-
CHINGER [ms] / LOHENGRIN: Wenn
in im Kampfe (Wagner). With HANS
TANZLER [t]. Just about 1-2.
$15.00.
ERNA DENERA
ADAMO DIDUR [bs]
4076. 10½” PL Grey U.S. Pathé 27505 [T66142-2/T66143-1]. HYMN POLSKI (Pozaraw) /
O MATKO MOJA (Prusinowskiego). Small lbl. skrs. Just about 1-2. $12.00.
4075. 10½” PL Grey U.S. Pathé 27506 [T66610-1/T66640(?)-1]. TALES OF HOFFMANN:
Coppelius’ Song (Offenbach) / SONNAMBULA: Vi ravviso (Bellini). Small lbl. stkrs.
Just about 1-2. $12.00.
PAUL FRANZ [t]
4080. 11½ PL Green French Pathé No.0428 [1649/1650]. L’ATTAQUE DU MOULIN:
Adieux à la forêt (Bruneau) / HÉRODIADE: Air de Jean (Massenet). Few lightest
mks. side one, cons. 2. Side two just about 1-2. $12.00.
ARISTODEMO GIORGINI [t]
1806. 11½” Grey PL U.S. Pathé 60084 [84437/86259]. VOCE E’ NOTTE (de Curtis) / LA
BOHÊME: In poverta mia lieta (Puccini). Cons. 2. $12.00.

17
 PATHÉ VERTICALLY CUT DISCS
FANNY HELDY [s]
4059. 11½” Green PL Disque Pathé No.0317 [3386/3374]. ANTAR: Air de l’oasis (Dupont) /
MADAMA BUTTERFLY: Sur la mer calmée (Puccini). Side one creator performance.
Cons. 2. $15.00.
1726. 11½” Green PL Disque Pathé No.0317 [3386/3374]. Same as preceding listing (item
#4059). Side one 2. Side two few LGTs, 2-3. $10.00.
GUSTAVE HUBERDEAU [bs]
4085. 11½ CS Disque Aspir 5219 [11001/11002].
LE CARILLONNEUR DE BRUGES (Grizard)
/ CHANSON DES GARS D’IRLANDE
(Holmès). I wonder if Aspir didn’t record
directly rather than via dubbed cylinders à la
Pathé? There aren’t the sonic thumps and
bumps one associates with Pathé’s transfers
from cylinders. Few MGTs, otherwise cons.
2. $12.00.
PAOLA KORALEK [s]
4092. 11½” Blk. PL Italian Pathé No.10525
[86327/86328]. ISABEAU: Ah! questo solo.
With E. GARGIULO [ms] / ISABEAU: I tuoi
occhi (Mascagni). With GIUSEPPE DI BER-
NARDO [t]. White some sources credit the
assisting singer on side one as Assunta
Gargiulo, she was a lyric-coloratura. The
voice here sounds like, as the label indi-
cates, a mezzo. I can’t find any listings
during that period, however, for an E.
Gargiulio. Lt. rubs, 2. $15.00. GUSTAVE HUBERDEAU and
MARIETTE MAZARIN in Elektra
FRANCO LO GIUDICE [t]
4053. 11½” Green PL Italian Pathé No. 12589 [86833/86834]. IL PICCOLO MARAT:
Comprendi quallo che ho fatto [Act III duetto] (Mascagni). Two sides. With ANNA
SASSONE-SOSTER [s]. Cons. 2. $20.00.
JEAN MARNY [t]. 1885- ? . A leading tenor of the Paris Opéra-Comique, Marny was noted in
many roles, although perhaps particularly as Massenet’s Des Grieux (Manon ) and Werther (his
1917 Opéra-Comique debut role). After his stage retirement in 1945, he became director of the
Opera Theatre in Marseille until 1949. Excellent notes on Marny by Lewis M. Hall can be found on
the Internet on the Marston website. These accompany a Marston CD issue of tenors Cazette,
Marny and Friant, “Three Tenors of the Opéra-Comique”.
1761. 11½” Green PL French Pathé No. 3175 [2058/2007]. LA RÔTISSERIE DE LA REINE
PEDAUQUE: Rêverie de Jacques (Charles Lévadé)/CLAIR DE LUNE (Fauré). Side
one creator performance, Paris Opéra Comique, 1920. IMs. Just about 1-2.
$15.00.
JANE MÉREY [s]
4078. 11½” CS Pathé 1967/1987. THAÏS: Dis-moi que je suis belle / THAÏS: L’amour est
une vertu rare (Massenet). Just about 1-2. $15.00.
LUIGI MONTESANTO [b]
4095. 11½” PL Grey U.S. Pathé 62008 [84159/84160]. PAGLIACCI: Prologo (Leoncavallo).
Two sides. Excellent copy, few lightest rubs. Cons. 2. $12.00.
LUCIEN MURATORE [t]
4070. 11½” Grey U.S. Pathé 54008 [E66771-1]. ROMÉO ET JULIETTE: Ah, lève-toi, soleil!
(Gounod). Just about 1-2. $12.00.
4061. 11½” Grey U.S. Pathé 54023 [E66957-1]. LE CHANT DU DÉPART (Méhul). Just
about 1-2. $10.00.
CLAUDIA MUZIO [s].
4071. 11½” PL Grey U.S. Pathé 54016 [E66762-1]. MADAMA BUTTERFLY: Un bel di
(Puccini). Just about 1-2. $15.00.
4066. 11½” PL Grey U.S. Pathé 54026 [E67177-1]. TALES OF HOFFMANN: Barcarolle
(Offenbach). With KATHLEEN HOWARD [c]. One lt. rub. Just about 1-2. $12.00.

18
 PATHÉ VERTICALLY CUT DISCS
4091. 11½” PL Grey U.S. Pathé 54042
[E68193-2]. GIANNI SCHICCHI: O
mio babbino caro (Puccini). Just
about 1-2. $15.00.
1080. 11½” PL Canadian Pathé 54043
[E68192-1]. SUOR ANGELICA:
Senza Mamma (Puccini). Just
about 1-2. $15.00.
4081. 11½” PL Grey U.S. Pathé 63020
[E66494-1/E66495-2]. INNO DI
GARIBALDI (Italian National Air) /
CANZONE GUERRESCA (Gior-
dano). Small lbl. stkrs. Cons. 2.
$15.00.
AURELIANO PERTILE [t]
4079. 11½” Violet Italian Pathé No.10388
[87040/87042]. CARMEN: Ro-
manza del fiore (Bizet) / LOHEN-
GRIN: Cigno fedele (Wagner). Side
one cons. 2. Side two some rubs
and mks., cons. 2-3. $8.00.
4090. 11½” Violet Italian Pathé No.10410
[88159/88163]. STRIMPELLATA
AL TRAMONTO (Bettinelli) / CLAUDIA MUZIO and puppy enjoying radio,
TROVATORE: Ah si, ben mio 1920 style.
(Verdi). Rare. One very tiny bump.
Just about 1-2. $20.00.
ROSA RAISA [s]
4052. 11½ PL Grey U.S. Pathé 60070 [E66086-2/E66257-3]. AIDA: O patria mia /
TROVATORE: D’amor sull’ali rosee (both Verdi). Cons. 2. $12.00.
ANNA SASSONE-SOSTER [s]. 1896-Milano, 1969. A student of Venturina in Milan,
Sassone-Soster made her operatic debut at the Milan Teatro Lirico in 1918 in Mascagni’s Isabeau.
She appeared mainly in Italy in a number of major theaters including La Scala, the Torino Teatro
Regio and the Rome Opera, although she was heard at Covent Garden (1925) and a season in
South America (Teatro Colón in Buenos Aires and the Teatro Municipal in Rio de Janiero). Her last
performance traced was in 1940 as Lucieta in Wolf-Ferrari’s I quatro Rusteghi, a role she sang in a
number of theaters during her career. She recorded only for Pathé.
4086. 11½” Purple Italian Pathé No.12585 [86772/86773]. RIGOLETTO: Si, vendetta /
RIGOLETTO: Lassù nel ciel (Verdi). With FRANCISCO JZAL [b]. Spanish baritone
raised in Argentina, born Francisco Izal y Delgado (1890-1958). Small lbl. stkrs.
Just about 1-2. $15.00.
AUGUSTO SCAMPINI [t]
4094. 11½” Blk. Italian Pathé No.12534 [86431/86430].
ANDREA CHÉNIER: Ora soave / ANDREA CHÉ-
NIER: Duetto finale (Giordano). With GIUSEP-
PINA BALDASSARE-TEDESCHI [s]. Printing on
lbl. side two off-center. Just about 1-2. $15.00.
JOSEPH SCHWARZ [b]
4077. 10½ PL Blue U.S. Pathé 1069 [51153/55759].
MEISTERSINGER: Jerum, Jerum / OTTO WOLF
[t]. MEISTERSINGER: Am stillen Herd (Wagner).
Just about 1-2. $15.00.
4088. 11½” PL Green French Pathé No.34183
[51261/51264]. PAGLIACCI: Prologo (Leon-
cavallo) / FLYING DUTCHMAN: Wie aus der Ferne
(Wagner). Just about 1-2. $15.00.
4089. 11½” Brown French Pathé No.60017
[51150/51151]. THE QUEEN OF SHEBA: Blick
empor (Goldmark) / BALLO IN MASCHERA: Für JOSEPH SCHWARZ
dein glück (Verdi). Just about 1-2. $15.00.
19
 PATHÉ VERTICALLY CUT DISCS
VALENTIN ŠINDLER [t]. Cholina, Moravia,
1885-Prague, 1957. A pupil of Adolf Robinson,
Šindler made his debut in the title role of Offenbach’s
Tales of Hoffmann, 1909 according to one source,
although he had made cylinders for Edison as early as
1907. He subsequently was heard in a number of
houses in the Austro-Hungarian region.In 1921 he
created the role of Kudrjas in the 1921 world premiere
of Jana k’s Katyá Kabanová In 1925 Šindler began a
second career as a film actor which continued into the
1930s. He subsequently taught voice.
4084. 10½” PL Blue U.S. Pathé 4533 [56121/
56122]. ZMARENA SVADBA: Pise Tonika
(?) / HUGUENOTS: Pise Vojinu [Rata-
plan] (Meyerbeer). Both sides with chorus.
Couple LSSs (should be harmless), some
rubbing, lbl. and outer margin NS side two, VALENTIN ŠINDLER
3. $8.00.
ALBERT VAGUET [t]
4056. 11½” Blk. French Pathé No.3077 [637/708]. LE ROI DE THULÉ (Fragerolle) /
CHANSON (François Ruhlmann). Just about 1-2. $12.00.
FRIEDRICH WEIDEMANN [b]
4073. 11½” CS Pathé 19124/19125. DON GIOVANNI: Ständchen (Mozart) / QUEEN OF
SHEBA: Blick empor zu jenne Räumen (Goldmark). Just about 1-2. $20.00.
__________________________________________________________________________________________________
EDOUARD DERU [violinist]. 1875-1928. Deru, Violinist to the King and Queen of Belgium
and Professor at the Liège Conservatory, won many awards as a youthful pupil at the Conserva-
tory of Verviers. He toured France, Holland and Germany, and in 1906 taught violin to the then
future Queen Elizabeth of Belgium. He came to the United States in 1916 for a concert tour and
apparently remained there until his death.. One of many New York appearances was with Eugen
Ysaÿe at Aeolian Hall in which the two artists played the Bach Double Violin Concerto. Deru’s
widow established a violin competition in Belgium in 1928 that continues to this day.
4058. 11½” Green U.S. Pathé 52040 [E67287-1/E66150-1]. RONDINO (Beethoven-
Kreisler) / SÉRÉNADE (Pierné). One very tiny scr., cons. 2-3. $20.00.
E. LØVBERG [violinist], Fru FLAKSTAD [pianist]. These are apparently folk song
arrangements. I’ve heard that the pianist (despite the difference in spelling) is Kirsten Flagstad’s
mother, who was a pianist in Norway of some repute, but I can neither confirm or deny this.
4093. 11½” CS Norwegian Pathé 17875/17876. DAVIDSENS RHEINLÆNDER / GAMMEL
BONDEVALS (composers?). 2-3. $15.00.
_____________________________________________________________________________

ARISTIDE BRUANT [cabaret singer, comedian

and nightclub owner]. Courteney, France, 1851-
1925. An entertainer famous for Toulouse
Lautrec posters of him with black attire and red
scarf. Brunant was a noted café-concert perform-
er who eventually owned his own nightclub in
Montmartre. His vaudeville-inspired mix of song,
satire and entertainment developed into the
musical genre called chanson réaliste (realist
song). – Wikipedia
4096. 10½” Blue U.S. Pathé 505 [187/196]. SERREZ
VOUS RANGS /CHANSON DE LA FRANCE
(both Bruant). Few lt. mks., cons. 2.
$15.00.

20