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Violinist Jascha Heifetz:  Estrellita (1928)
 
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Violinist Jascha Heifetz (1901-1987) / Estrellita (Ponce) / Recorded: 1928-- Jascha Heifetz (January 20, 1901 -- December 10, 1987) ~ Violinist born in Vilnius, regarded by many as the most important and influential violinist of the twentieth century. A child prodigy, he moved with his family to the United States where his Carnegie Hall debut won rapturous reviews. He had a long and successful recording career; after an injury to his right (bowing) arm, he focused on teaching.(wikipedia) ******************************
Views: 40753 CurzonRoad
Soprano Rosa PONSELLE:  La vergine degli angeli  (1928)
 
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Soprano Rosa Ponselle (1897-1981) / La vergine degli angeli / La Forza del Destino (Verdi) / with basso Ezio Pinza (1892-1957) and chorus / Orchestra: G. Setti / Recorded: January 23, 1928 --
Views: 26127 CurzonRoad
British Contralto Clara Butt:  Ombra mai fu (1917)
 
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British contralto Clara Butt (1872-1936) / Ombra mai fu / Serse (Handel) / Recorded: 1917 -- CLARA BUTT (via wikipedia) Clara Butt was born in Southwick, Sussex. Her father was Henry Albert Butt who was a sea captain and who was born in 1848 in Saint Martin, Jersey, Channel Islands. He married Clara Hook in 1869, who was born in Shoreham, the daughter of Joseph Hook, mariner (1861 and 1871 census, in 1881 in New Shoreham workhouse). In 1880 the family moved to Bristol and Clara was educated at South Bristol High School, where her singing talent was recognised and encouraged. At the request of her headmistress, she was trained by the bass Daniel Rootham and joined the Bristol Festival Chorus, of which he was musical director. In January 1890 she won a scholarship to the Royal College of Music. In her fourth year she spent three months studying in Paris at the expense of Queen Victoria. She also studied in Berlin and Italy. She made her professional début at the Royal Albert Hall in London in Sir Arthur Sullivans The Golden Legend on December 7, 1892. Three days later she appeared as Orfeo in Glucks Orfeo ed Euridice at the Lyceum Theatre. Bernard Shaw wrote in The World that she far surpassed the utmost expectations that could reasonably be entertained (December 14, 1892). She returned to Paris and made further studies with Jacques Bouhy (the teacher of Louise Homer and Louise Kirkby Lunn) and later with the soprano Etelka Gerster in Berlin. Camille Saint-Saëns wanted her to study Dalila, but due to laws then extant forbidding the representation of biblical subjects on the British stage, nothing came of it. Soon she had acquired an excellent reputation, aided by her physical presence - she was 6 feet 2 inches tall. She made many gramophone recordings, often accompanied by the (uncredited) pianist Miss Lillian Bryant. She was primarily a concert singer and only ever appeared in two opera productions, both of Gluck's Orfeo ed Euridice, in 1892 and 1920. Edward Elgar composed his Sea Pictures for contralto and orchestra with Clara Butt in mind as the soloist, and she sang at the first performance at the Norwich Festival on October 5, 1899, with the composer conducting. In 1900 she married the baritone Kennerley Rumford, and thenceforth often appeared with him in concerts. The couple eventually had three children, two sons and a daughter. Besides singing in many important festivals and concerts, she was honoured with royal commands from Queen Victoria, King Edward VII, and King George V. She made tours to Australia, Japan, Canada, the United States and to many European cities. During the First World War she organised and sang in many concerts for service charities, and for this she was appointed Dame Commander of the Order of the British Empire (DBE) in the 1920 civilian war honours. That year she sang four performances of Gluck's Orphee at Covent Garden under the baton of Sir Thomas Beecham. According to The Times she 'played fast and loose with the time and spoilt the phrasing' and it appears not to have been a success. Butt's three sisters were also singers. One of them, Ethel Hook, became a famous artist in her own right and made some superb solo recordings. In later life Clara Butt was dogged by tragedies. Her elder son died of meningitis while still at school, and the younger committed suicide. During the 1920s she became seriously ill of cancer of the spine, but her faith gave her the strength to continue working. She made many of her later records seated in a wheelchair. She died in 1936 at the age of 63 at her home in North Stoke, Oxfordshire, as a result of an accident she suffered in 1931. Sir Thomas Beecham once said, jokingly, that "on a clear day, you could have heard her across the English Channel". Not all serious musicians admired her booming contralto, which can be mistaken for a man's voice on some recordings, or her rather 'populist' approach to her art. In his autobiography Sir Adrian Boult recounts an anecdote about two young music students going for a bicycle ride one afternoon. After a while they stopped and sat making idle conversation on a piece of grass. One looked at his bicycle and mused 'I am going to call it Santley because it is a Singer'. Charles Santley, a veteran baritone, was the most noted British singer of the day, and Singer was the maker of the bicycle. The other responded 'I am going to call mine Clara Butt because it is not.' He then noticed as they rode home that a rather frosty atmosphere had developed. He realised why, when a short time afterwards he read that his companion, Kennerly Rumford, was engaged to Clara Butt. ******************************************** For Maya Mikolajczyk ~ MayTatyana ********************************************
Views: 54217 CurzonRoad
Soprano Frances ALDA: O mio babbino caro (1919)
 
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By request from "Delifine" / Soprano Frances Alda (1883-1952) / O mio babbino caro / Gianni Schicchi (Puccini) / Recorded: February 11, 1919--
Views: 15780 CurzonRoad
The Rev. J.M. Gates:  Death's Black Train is Coming (1926)
 
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Rev. J.M. Gates / Death's Black Train is Coming / Recorded: 1926 -- "Recording the Twenties: The Evolution of the American Recording Industry, 1920-29" by Allan Sutton (Mainspring Press - 2008): "Rev. Gates' first release on Columbia 'Death's Black Train' and 'Need of Prayer' issued in July 1926 sold so well that by the time Columbia decided to release its two remaining Gates sides in October, the initial pressing for that disc was increased to 34,052 copies, ten times the initial order for Gates' first disc. In Georgia, the Atlanta Phonograph Company announced that it was selling 1,000 of "Death's Black Train" per week and was finding it impossible to keep the record in stock. Sensing a lucrative and untapped market, talent scout Polk Brockman lost no time in signing Gates away from Columbia, passing him around to any label that could pay his fee." "Death's Black Train" surfaces not infrequently on both quality pressings from the major labels, and again on the inferior shellac of the smaller, shoe-string operations. DEATH'S BLACK TRAIN IS COMING There's a little black train a-comin Set your business right There's a little black train a-comin And it may be here tonight Go tell that ball room lady All dressed in the worldly pride That death's dark train is coming Prepare to take a ride God sent to Hezikai A message from on high You better set your house in order For you must surely die He turned to the wall in weeping We see and hear his tears He got his business fixed all right God spared him fifteen years We see that train with engine And one small baggage car Your idle thoughts and wicked deeds Will stop at the judgment bar That poor young man in darkness Cares not for the gospel light Til suddenly he hears the whistle blow And the little black train in site Have mercy on me lord Please come and set me right Before he got his business fixed The train rolled in that night ******************************
Views: 18663 CurzonRoad
Italian Coloratura Soprano Amelita GALL-CURCI: Lo, here the gentle lark (1919)
 
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Italian Coloratura Soprano Amelita Galli-Curci (1882-1963) / Lo, Here the Gentle Lark (Bishop) / Manuel Berenguer - flute / Recorded: October 4, 1919 Lo, here the gentle lark ~ William Shakespeare (1564-1616), from "Venus and Adonis" / set to music by Henry Rowley Bishop (1785-1855) Lo, here the gentle lark, weary of rest, From his moist cabinet mounts up on high, And wakes the morning, from whose silver breast The sun ariseth in his majesty; Who doth the world so gloriously behold That cedar-tops and hills seem burnish'd gold. Venus salutes him with this fair good-morrow: 'O thou clear god, and patron of all light, From whom each lamp and shining star doth borrow The beauteous influence that makes him bright, There lives a son that suck'd an earthly mother, May lend thee light, as thou dost lend to other.' ******************************
Views: 17148 CurzonRoad
Baritone Reinald WERRENRATH & Soprano Olive KLINE:   Hello Frisco! (1915)
 
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A light love ballad, the song also celebrates the first US coast-to-coast long-distance telephone call, ceremonially inaugurated on January 25, 1915 by A.G. Bell in New York City and his former assistant Thomas Augustus Watson in San Francisco, California. American Baritone Reinald Werrenrath (1883-1953) as Edward Hamilton / American soprano Olive Kline (1887-1976) as Alice Green / Hello Frisco! (I Called You Up To Say "Hello!") / from "Follies of 1915" / (Gene Buck - Louis A. Hirsch) / Recorded: July, 22, 1915 -- WERRENRATH, REINALD (1883-1853). His father, George Werrenrath, was a Danish tenor who taught singing in the United States. The son first studied with Percy Rector Stephens in New York City. In 1907 he made his concert debut at the Worchester Festival, and he then had a highly successful career as a concert and oratorio singer. After 1912 he was for many years the director of the University Heights Choral Society. In 1919 he made his stage debut at the Metropolitan Opera as Silvio in I Pagliacci. He remained a member of the Metropolitan until 1921. He appeared on Broadway in The School for Scandal (1923), The Beaux Stratagem (1928) and Music in the Air (1932). He visited England (1921-24; 28) where he sang chiefly on the radio. In 1932 was was awarded an honorary doctorate by New York University. He composed several works for male chorus. (A Concise Biographical Dictionary of Singers, by K.J. Kutsch / Leo Reimens [translated by Earl Jones] / The Chilton Book Company, 1969; Internet Broadway Database) -- American concert soprano Olive Kline recorded exclusively for Victor, often as a solo artist, Lyric Quartet member, and Victor Light Opera member, beginning in 1906 and ending in 1935. In contrast to many singers invited to make records after they had already established themselves as concert artists, she used a successful recording career as a springboard for a concert career. She sang opera arias in concert but not in operatic productions. Her concert engagements were often reviewed in Musical America and Musical Leader. On a number of Victor discs she appears as "Alice Green". (The Encyclopedia of Popular American Recording Pioneers ~ 1895-1925 by Tim Gracyk / http://victor.library.ucsb.edu/) ********************************************************* *********************************************************
Views: 37755 CurzonRoad
DIE WALKURE (Wagner) ~ Frida Leider  ~ Hojotoho! (1927)
 
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DIE WALKURE (Wagner) / with Frederich Schorr (baritone) / Berlin State Opera Orchestra / conducted by Leo Blech / Recorded: 1927 ******************************
Views: 20223 CurzonRoad
Soprano Alma Gluck ~ Have You Seen but a Whyte Lillie Grow?  (1913)
 
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By request from "Labienus" / Soprano Alma Gluck (1884-1938) / Have You Seen but a Whyte Lillie Grow? / Traditional English; words by Ben Jonson / Recorded: January 23, 1913 HAVE YOU SEEN BUT A WHYTE LILLIE GROW? Have you seen but a whyte lillie grow Before rude hands have touched it? Have you marked but the fall of snow Before the earth hath smutched it? Have you felt the wool of beaver, Or swan's down ever? Or have smelt o' the bud o' the brier, Or the nard in the fire? Or have tasted the bag of the bee? O so whyte, O so sweet, O so soft is she! ******************************
Views: 8787 CurzonRoad
British Contralto Clara Butt ~ Love's Old Sweet Song (1923)
 
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For "raymo51" / British contralto Clara Butt (1872-1936) / Love's Old Sweet Song (Molloy) / Recorded: April 25, 1923 (take 4) / Dame Clara Butt Complete Discography : www.trevormidgley.com/ClaraButt --
Views: 26037 CurzonRoad
(DEBUSSY) Soprano Mary Garden: Beau soir (1929)
 
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Soprano Mary Garden (1874-1967) / Beau Soir (Debussy) / Recorded November 4, 1929 -- Mary Garden (20 February 1874 – 3 January 1967), was a Scottish-American operatic soprano with a substantial career in France and America in the first third of the 20th century. She spent the latter part of her childhood and youth in the United States and eventually became an American citizen, although she lived in France for many years and eventually retired to Scotland, where she died.[1] Described as "the Sarah Bernhardt of opera", Garden was an exceptional actress as well as a talented singer. She was particularly admired for her nuanced performances which employed interesting uses of vocal color. Possessing a beautiful lyric voice that had a wide vocal range and considerable amount of flexibility, Garden first arose to success in Paris during the first decade of the 20th century. She became the leading soprano at the Opéra-Comique; notably portraying roles in several world premieres, including Mélisande in Claude Debussy's Pelléas et Mélisande (1902). She worked closely with Jules Massenet, in whose operas she excelled. Massenet notably wrote the title role in his opera Chérubin (1905) for her.[2] http://en.wikipedia.org/wiki/Mary_Garden *********************************************
Views: 38478 CurzonRoad
DRINKING SONG:  New Zealand Bass Oscar Natzke ~ Captain Stratton's Fancy (1940)
 
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New Zealand Bass Oscar Natzke (1912-1951) / Captain Stratton's Fancy / Recorded: 1940 -- Captain Stratton's Fancy Oh some are fond of red wine, and some are fond of white, And some are all for dancing by the pale moon-light But rum alone's the tipple, and the heart's delight Of the old bold mate of Henry Morgan Oh some are fond of Spanish wine, and some are fond of French And some'U swallow tay and stuff fit only for a wench But I'm for right Jamaica till I roll beneath the bench Says the old bold mate of Henry Morgan Oh some are for the lily, and some are for the rose But I am for the sugar-cane that in Jamaica grows For it's that that makes the honny drink to warm my copper nose Says the old bold mate of Henry Morgan Oh some are fond of fiddles, and a song well sung And some are all for music for to lilt upon th' tongue But mouths were made for tankards, and for sucking at the bung Says the old bold mate of Henry Morgan Oh some that's good and godly ones they hold that it's a sin To troll the jolly bowl around, and let the dollars spin But I'm for toleration and for drinking at an inn Says the old bold mate of Henry Morgan ******************************
Views: 6367 CurzonRoad
Soprano Lily PONS:  Estrellita (1974)
 
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Soprano Lily Pons (1898-1976) / Estrellita (Ponce) / Recorded: December 1974 (at age 76, her last public appearance) -- French-American coloratura soprano Lily Pons (April 12, 1898 February 13, 1976), was born Alice "Lili" Joséphine Pons in Draguignan near Cannes. She first studied piano at the Paris Conservatory, winning the First Prize at the age of 15. At the onset of World War I, in 1914, Lili moved to Cannes with her mother and younger sister Juliette (born 22 December 1902) where she played piano and sang for soldiers at receptions given in support of the French troops and at the famous Hotel Carlton that had been transformed into a hospital, and where her mother, Marie Pons, worked as a volunteer nurse orderly. In 1925, encouraged by soprano Dyna Beumer, she started taking singing lessons from Alberto de Gorostiaga in Paris. She successfully made her operatic debut in the title role of Léo Delibes' Lakmé at Mulhouse in 1928 and went on to sing several coloratura roles in French provincial opera houses. She was discovered by the impresario Giovanni Zenatello, who took her to New York where she auditioned for Giulio Gatti-Casazza, the general manager of the Metropolitan Opera.The Met needed a star coloratura after the retirement of Amelita Galli-Curci in January 1930. On January 3, 1931, Pons, unknown in the US, made an unheralded Met debut as Lucia in Donizetti's Lucia di Lammermoor and on that occasion the spelling of her first name was changed to "Lily". Against all odds, her performance received tremendous acclaim. She became a star overnight and inherited most of Galli-Curci's important coloratura roles. She also signed a recording contract with RCA Victor Records. Pons was a principal soprano at the Met for thirty years, appearing 300 times in ten roles from 1931 until 1960. Her most frequent performances were as Lucia (93 performances), Lakmé (50 performances), Gilda in Verdi's Rigoletto (49 performances), and Rosina in Rossini's The Barber of Seville (33 performances). Other roles in her repertoire included Olympia in Offenbach's The Tales of Hoffman, Philine in Ambroise Thomas's Mignon, Amina in Bellini's La Sonnambula, Marie in Donizetti's The Daughter of the Regiment, the title role in Delibes' Lakme,the Queen in Rimsky-Korsakov's The Golden Cockerel, and the title role in Donizetti's Linda di Chamounix, (a role she sang in the opera's Met premiere on March 1, 1934). The last major new role Lily Pons performed (she had actually learned the role during her first season at The Met) was Violetta in Traviata, which she sang at the San Francisco Opera. In her last performance at the Met, on December 14, 1960, she sang "Caro nome" from Rigoletto as part of a gala performance. She also made guest appearances at the Opéra Garnier in Paris, Covent Garden in London, La Monnaie in Brussels, Teatro Colón in Buenos Aires, the Chicago Opera and the San Francisco Opera. After her Met farewell, she continued to sing concerts until 1973. She starred in three RKO films: I Dream Too Much (1935) with Henry Fonda, That Girl From Paris (1936) and Hitting a New High (1937). In 1940, she became a naturalized citizen of the United States. Her first husband was August Mesritz, a man some twenty years her senior. From 1938 to 1958, she was married to the conductor André Kostelanetz. During World War II, she toured the battlefields of North Africa and East Asia. Her country of birth awarded her the Croix de Lorraine and the Légion d'Honneur. She died of pancreatic cancer in Dallas, Texas at the age of 77, and her remains were brought back to her birthplace to be interred in the Cimetière du Grand Jas in Cannes on the French Riviera. Her nephew, John de Bry (son of her sister Juliette), an archaeologist living in Florida, is her only surviving relative in the United States. A village in Frederick County, Maryland, 10 miles south of Frederick, Maryland is called "Lilypons" in her honor. The town is known for its commercial tropical fish ponds. George Gershwin was in the process of writing a piece of music dedicated to her when he died in 1937. The incomplete sketch was found among Gershwin's papers after his death and was eventually revived and completed by Michael Tilson Thomas and given the simple title 'For Lily Pons'. In the late 1930s she made three movies for RKO; there is a large legacy of recordings, mostly on the RCA Victor and Columbia labels, many of which are available on CD. (wikipedia) ****************************** For Maya Mikolajczyk ~ MayaTatyana ******************************
Views: 25345 CurzonRoad
French Soprano Ninon Vallin:  Depuis le jour (1920s-1930s)
 
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French Soprano Ninon Vallin (1886-1961) / Depuis le jour / Louise (Charpentier) / Recorded: late 1920s - early 1930s -- The following is from "A Concise Biographical Dictionary of Singers" / K.J. Kutsch & Leo Riemens (Chilton Book Company - 1969) Ninon Vallin studied first at the Lyon Conservatory, then with Meyriane Heglon in Paris, appearing first as a concert singer. In 1911 she sang in Paris in performances of Le Martyre de Saint Sebastien and La Damoiselle Elue by Claude Debussy, and in 1914 gave song recitals accompanied by Debussy at the piano. In 1912 she made her stage debut as Micaela in Carmen, under the name Mme. Vallin-Pardo, since she had married the Spanish violinist Pardo, though she was soon separated from him. At the Opera-Comique she was very successful and sang there in the world premiere of La Sorciere (1912) and Les Cadeaux de Noel (1915). In 1916 she sang as a guest at the Teatro Colon, and she was so successful in South America that in the 1920s she sang there more often than in France. In 1917 she sang at La Scala in the local premiere of Il Segreto di Susanna and Marouf. In 1926 she wasapplauded at Opera-Comique in La Vida Breve and in 1934 in the premiere there of Maria Egiziaca. After 1930 she lived on her estate near Lyons, and travelled from there on her guest appearance and concert tours. She appeared in public until after World War II. She was the professor at the Conservatory in Montevideo (1956-59). Ninon Vallin was the most famous French singer of her generation. Her complete mastery of singing technique and her mature, intelligent handling of characterizations were demonstrated in a wide repertory, of which the starring specialities were held to be Manon, Carmen, and Mignon. ******************************
Views: 25042 CurzonRoad
Soprano Adelina Patti:  La Serenata (1906)
 
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(By request from "meltzerboy") Soprano Adelina Patti (1843-1919) / La Serenata (Tosti) / piano accompaniment by Patti's nephew Alfredo Barili / Recorded June 1906 at Patti's Craig-y-Nos Castle in Wales *********************************
Views: 21006 CurzonRoad
French Tenor Edmond Clement ~ Ça fait peur aux oiseaux (1911)
 
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French Tenor Edmond Clement (1867-1928) / Ça fait peur aux oiseaux, Op 108 - The Frightened Birds (Bernard) / Frank La Forge - piano / Recorded: November 6, 1911. Ça fait peur aux oiseaux Ne parlez pas tant Lisandre Quand nous tendons nos filets; Les oiseaux vont vous entendre Et s'enfuiront des bosquets. Aimez-moi sans me le dire, Aimez-moi sans me le dire, A quoi bon tous ces grands mots ? Calmez ce bruyant délire Car ça fait peur aux oiseaux, Calmez ce bruyant délire, Car ça fait peur aux oiseaux. Bon ! Vous m'appelez cruelle, Vraiment vous perdez l'esprit; Vous me croyez infidèle... Ne faites pas tant de bruit. Quoi ! vous parlez de vous pendre, Quoi ! vous parlez de vous pendre Aux branches de ces ormeaux !... Mais vous savez bien, Lisandre Que ça f'rait peur aux oiseaux; Mais vous savez bien, Lisandre, Que ça f'rait peur aux oiseaux. Vous tenez ma main ,Lisandre, Comment puis-je vous aider ? Il faudrait, à vous entendre, Vous accorder un baiser. Ah ! prenez-en deux bien vite, Oui, prenez-en deux bien vite, Et retournez aux pipeaux Mieux vaut en finir de suite, Car ça fait peur aux oiseaux; Mieux vaut en finir de suite, Car ça fait peur aux oiseaux. ******************************
Views: 6897 CurzonRoad
Italian Baritone Umberto Urbano ~ Occhi di fata (1929)
 
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By request from "meltzerboy" / Italian baritone Umberto Urbano (?-1969) / Occhi di fata (Denza) / Recorded: May 23, 1929 -- The Kutsch & Riemens Concise Biographical Dictionary of Singers states Urbano was born on October 16, 1894 in Livorno, Italy, though more recent information places his birth as early as 1885. There apparently is very little known about the career of this artist. K&R continues: "About 1920 he first appeared on Italian stages, including among others, La Scala in Milan, where he sang Herald in Lohengrin. In 1927 he sang as guest at the Vienna State Opera and also appeared at Covent Garden and on South American stages. In the 1930s he sang a great deal at the National Theatre in Prague and made guest appearances in both Bratislava and Brno. One of the most beautiful baritone voices of his time, both in the rich dark timbre of his vocal material and in the deeply moving expressiveness of his voice." He died in 1969 in Rome. ******************************
Views: 5626 CurzonRoad
Tenor Giovanni Martinelli & Soprano Rosa Ponselle ~   AIDA Tomb Scene (1926)
 
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Italian tenor Giovanni Martinelli (1885-1969) / American soprano Rosa Ponselle (1897-1981) / Tomb Scene / Aida (Verdi) / La fatal pietra / O terra addio / Orchestra: Rosario Bourdon / Recorded: May 17, 1926 --
Views: 16866 CurzonRoad
Soprano Amelita Galli-Curci ~ My Old Kentucky Home (1928)
 
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Italian Soprano Amelita Galli-Curci (1882-1963) / My Old Kentucky Home (Stephen Foster) / Recorded: December 12, 1928 --
Views: 5286 CurzonRoad
AulicExclusiva Wins ~   "Mystery Soprano" is Margaret Truman (c.1950)
 
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Soprano Margaret Truman (1924-2008), daughter of US President Harry S. Truman / Beneath A Weeping Willow's Shade / Francis Hopkinson - composer (1737-1791) / arranged by Oliver Daniel / Recorded: c. 1950 -- Mary Margaret Truman Daniel, widely known throughout her life as Margaret Truman, was an American singer who later became a successful writer. She was the only child of Harry S. Truman, 33rd President of the United States, and Bess Truman. Born in Independence, Missouri, she was christened Mary Margaret Truman (for her aunt Mary Jane Truman and her maternal grandmother Margaret Gates Wallace) but was called Margaret from early childhood. In 1944 Truman christened the battleship USS Missouri, which was named after her home state (when the ship was recommissioned in 1986 she was a featured speaker at the ceremony). Truman pursued a singing career in the late 1940s. After graduating from George Washington University and receiving some operatic vocal training, she debuted with the radio broadcast of a vocal recital in March 1947. After a performance in December 1950, Washington Post music critic Paul Hume wrote she was extremely attractive on the stage... [but] cannot sing very well. She is flat a good deal of the time. Her father, then President, wrote to Hume, "I have never met you, but if I do you'll need a new nose and plenty of beefsteak and perhaps a supporter below." Years later she recalled, I thought it was funny. Sold tickets. Truman's singing career was widely publicized during her father's presidency and the February 26, 1951 cover of Time Magazine carried her image with a single musical note floating by her head. She performed on stage, radio and television until the mid 1950s. Truman's place in pop culture was confirmed by her appearances as a Guest Panelist on the popular game show What's My Line?, replacing Dorothy Kilgallen several times and also appearing as a Mystery Guest. In 1957, she guest starred on an episode of NBC's variety show, The Gisele MacKenzie Show, joining Gisele MacKenzie in a duet of "I Only Have Eyes For You" playing the piano together in a version of "Sisters". Truman married New York Times reporter (and later editor) Clifton Daniel (1912 - 2000) on April 21, 1956 at Trinity Episcopal Church in Independence, Missouri. They had four sons: Clifton Truman Daniel (born 1957) - has written and spoken publicly about his grandfather and his experiences as the grandchild of a president; William Wallace Daniel (1959 - 2000) - who died in a New York City taxi cab collision; Harrison Gates Daniel (born 1963); Thomas Washington Daniel (born 1966). She wrote several non-fiction and fiction books. Harry S. Truman (1972) was a critically acclaimed, full length biography of her father drawn from extensive resources at the Truman Library, published shortly before his death. Bess W. Truman (1986) was a detailed personal biography of her mother. She also wrote books on White House first ladies and pets, the history of the White House and its inhabitants, along with a critically successful series of fictional murder mysteries set in various locations in and around Washington, DC. There have been claims these murder mysteries were ghost-written, perhaps by Donald Bain, but he denies this. She continued to write and publish regularly into her eighties. In later life Mrs. Daniel resided in her Park Avenue home in Manhattan and served on the Board of Directors for the Harry S. Truman Presidential Library and Museum along with the Board of Governors for the Franklin and Eleanor Roosevelt Institute. Margaret Truman-Daniel died in Chicago on January 29, 2008, following a brief illness during which she was on a respirator and living in an assisted care facility. On February 23, following a private memorial service, her ashes and those of her husband E. Clifton Daniel were interred in her parents' burial plot at the Truman Library and Museum in Independence, Missouri. (wikipedia) ******************************
Views: 22150 CurzonRoad
Theme From The Movie "Laura"
 
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Morton GOULD and his Orchestra (David Raksin - composer) / Violin Solo: Max Pollikoff / Recorded: 1947 -- Laura is a 1944 American film noir classic produced and directed by Otto Preminger. It stars Gene Tierney, Dana Andrews and Clifton Webb along with Vincent Price and Judith Anderson. The screenplay by Jay Dratler, Samuel Hoffenstein and Betty Reinhardt is based on the 1943 novel Laura by Vera Caspary. In 1999, Laura was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Once principal photography was completed, Preminger hired David Raksin to score the film. The director wanted to use "Sophisticated Lady" by Duke Ellington for the main theme, but Raksin objected to the choice. Alfred Newman, music director for Fox, convinced Preminger to give Raksin a weekend to compose an original tune. Inspired by a Dear John letter he had once received from a girlfriend, Raksin wrote the haunting theme[10] for which Johnny Mercer later wrote lyrics. It eventually became a jazz standard recorded by more than four hundred artists, including Stan Kenton, Dick Haymes, Woody Herman, Nat King Cole, The Four Freshmen, Charlie Parker, and Frank Sinatra.[11] Even Spike Jones did a parody version of the song. Preminger was so pleased with Raksin's score the two collaborated on four additional films.[9] (refer to "Laura (1945 song)") https://en.wikipedia.org/wiki/Laura_(1944_film) ********************************************
Views: 13364 CurzonRoad
Soprano Alma Gluck ~  The Lass with the Delicate Air  (1913)
 
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By request from "Bivolari" / Soprano Alma Gluck (1884-1938) / The Lass with the Delicate Air / (Arne) / Recorded: December 31, 1913 -- THE LASS WITH THE DELICATE AIR by Thomas Arne Young Molly who lived at the foot of the hill, Who's fame every virgin with envy doth fill, Of beauty is blessed with and so ample a share Men call her the lass with the delicate air. With the delicate air. Men call her the lass with the delicate air. One evening last May as I traversed the grove In thoughtless retirement, not dreaming of love. I chanced to espy the gay nymph, I declare And really did have a most delicate air. A most delicate air. She really did have a most delicate air. By a murmuring brook on a green mossy bed A chaplet composing, the fair one was laid. Surprised and transported I could not forbare With rapture to gaze on her delicate air On her delicate air With rapture to gaze on delicate air A thousand times ore I repeated my suit But still the tormentor affects to be mute. Then tell me ye swains who have conquered the fair How to win the dear lass with the delicate air. With the delicate air. How to win the dear lass with the delicate air. ******************************
Views: 6896 CurzonRoad
British Contralto Cara Butt ~ Caro mio ben (1910)
 
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British contralto Clara Butt (1872-1936) / Caro mio ben (Giordano ) / Recorded: December 19, 1910
Views: 17077 CurzonRoad
Italian Soprano Amelita Galli-Curci ~ Long, Long Ago (1928)
 
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By request from "meltzerboy" and "pax41" / Italian soprano Amelita Galli-Curci (1882-1963) / Long, Long Ago / (Haynes; Bayley) / Recored: May 17, 1928 --
Views: 3057 CurzonRoad
Die Meistersinger Quintet : Schumann, Melchior, Schorr,  Parr, Williams, Barbirolli, LSO (1931)
 
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The quintet from Die Meistersinger von Nürnberg (Wagner) / Schumann-Melchior-Schorr-Parr-Williams / London Symphony Orchestra conducted by John Barbirolli / Recorded: May 16, 1931 -- The following is from Tristanissimo: The Authorized Biography of Heroic Tenor Lauritz Melchior by Shirlee Emmons (Schirmer Books - 1990): "Before leaving London. Melchior did four days of recording with the London Symphony under several conductors. The works performed with Sir John Barbirolli included the Meistersinger quintet (from the role Melchior had thought he would never sing) and yielded Barbirolli's most famous story about Melchior. At the recording session of May 16th Lauritz ruined one take after another. He could not manage to come in correctly, and the constant repetitions were making Elisabeth Schumann hoarse. Barbirolli was forced to come up with a creative solution to avoid a postponement of the session. The final take was done with Barbirolli's eyes riveted on Melchior. He held one hand over his mouth. Lauritz was bid to to keep his mouth shut until Barbirolli removed his hand. By the time Barbirolli managed to get a reasonably correct reading everyone in the house knew the right notes. Despite all the trouble, Barbirolli often told how immensely fond of Melchior he was and that, in his opinion, this 78-rpm 'classic' recording had turned out wonderfully." *************************************************************** ***************************************************************
Views: 4019 CurzonRoad
British Contralto Carmen HILL:  The Green Hills o' Somerset  (1913)
 
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British Contralto Carmen Hill (1883-1952) / The Green Hills o' Somerset (Eric Coates) / Recorded: 1913) -- THE GREEN HILLS 'O SOMERSET (Eric Coates) Oh the green hills o' Somerset Go rolling to the shore; `Twas there we said that we'd get wed, When spring came round once more. `Twas there we kissed and said goodbye Beside the kirkyard wall, And the song the blackbird sang to us Was the sweetest song of all. Green hills o' Somerset! Green hills o' Somerset! When shall we walk by you, Green hills, once more! Oh the green hills o' Somerset Go rolling to the sea, And still today the violets Are blooming there for me. The shadows kiss the waving grass, Beside the kirkyard wall, But the song the blackbird sings to me Is the saddest song of all. Green hills o' Somerset! Green hills o' Somerset! No more we'll walk by you, Green hills, once more! ****************************** The Record of Singing by Michael Scott (Holmes & Meier Publishers, Inc. - 1979) We need to look no further than one of her many records to find an eloquent advocate for the inclusion of Carmen Hill (1883---) in these pages. Born in Aberdeen, Scotland, she came to London to study with Frederick King at the Royal Academy of Music. Her first important engagement was as a supporting artist to Emma Albani on one of the diva's, as it seemed, endless tours in search of solvency after the ravages her fortune sustained as a result of the financial adventures of her husband. Hill ventured on stage only once, in Beecham's season of opera-comique at His Majesty's Theatre in 1910, as the Dewman in Hansel and Gretel with Maggie Teyte and Ruth Vincent. Thereafter she was busy with various activities ; as a soloist in oratorio and choral works, with Lieder recitals and ballad concerts -- she was a regular artist at the Chappell series over many years -- and she was often heard in arias and songs at the Promenade concerts. She 'sang the part of the Angel (in the Dream of Gerontius) with great charm' in cities throughout Great Britain. In Dublin she appeared in a programme of Irish music with Agnes Nicholls, Ben Davies and Robert Radford. She joined Percy Grainger in an evening of folk music, to which he added a few numbers of his own composition to help strengthen the diet. As a ballad singer she was in great demand, introducing some particularly treasured items, including several by Dorothy Forster; like Eleanor Jones-Hudson she often programmed that great favorite 'Rose in the Bud', but in this they were both trumped by Clara Butt. In journeys around the country she 'futher established her claims as a Lieder singer of high rank'. Ezra Pound heard her sing Mignon's 'Connais-tu le pays?' 'in French, quite good French for an English singer. She sang with clear enunciation and delicacy'. At the Grosvenor Room of the Great Eastern Hotel in 1923, in an after-dinner recital she included songs by Hugo Wolf, Brahms, Hart and Peel; could British rail provide such classy far today? When Hubert Bath's 'Look at the Clock' was introduced at a Queen's Hall Choral Society concert, she was one of the 'excellent' soloists; it was conducted by Leoni, the composer of L'Oracolo. For a special charity affair at the Albert Hall in 1919 she matched her tones with Edna Thornton, Ethel Hook and Clara Butt in an all-contralto programme; the four came together for Liza Lehmann's 'Birth of the Flowers'. Though she appeared at the Albert Hall, Carmen Hill's voice was the sort better suited to smaller, more modest auditoriums, for she had off to perfection the fine art of modulating her tones so as to give an appropriate intimacy to the light music she so often sang. The limpid production, correctly blended and equalized registers, the range and especially soft and mellow tone remind us of Julia Culp. For all that Eric Coates's 'Green Hill o' Somerset' and 'Fairy Tales of Ireland' are much the same song, in either the utter simplicity of Hill's singing is telling. The works of Mme. Guy d'Hardelot are an acquired taste, and there will be some for whom 'Roses of Forgiveness' is too strong to stomach. Those, however, who enjoy a little nostalgia will appreciate the perfect manners, unsentimental delivery and eloquence with which Hill puts the piece in its best light. ***************************************************************
Views: 8213 CurzonRoad
Elisabeth SCHUMANN ~ Auf Flugeln des Gesanges (1934)
 
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Soprano Elisabeth Schumann / Auf Flugeln des Gesanges, op. 34, no. 2 (Heine - Mendelssohn) / Recorded: June 23, 1934 ******************************
Views: 10959 CurzonRoad
Australian Soprano Nellie Melba ~ Voi che sapete (1910)
 
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Australian soprano Nellie Melba (1861-1931) / Voi che sapete / Le Nozze di Figaro (Mozart) / Recorded: July 23, 1910 --
Views: 14955 CurzonRoad
Soprano Elisabeth Rethberg : Die Fledermaus: Klänge Der Heimat ~ Czardas (1931)
 
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By request from "meltzerboy" / German Soprano Elisabeth Rethberg (1894-1976) / Klänge Der Heimat (Czardas) / Der Fliedermaus (Strauss II) / Recorded: May 30, 1931 The German soprano Elisabeth Rethberg (September 22, 1894 June 6, 1976) was an opera singer of international repute active from the period of the First World War through to the early 1940s. Some hailed her as the greatest soprano of her day. (Her chief contemporary rival at the New York Metropolitan Opera was the Italian-American soprano Rosa Ponselle, who possessed a bigger and darker-hued voice.) While she did not break any new ground dramatically or vocally, Rethberg was just as much at home singing in Italian or German. She employed her pure, stunningly beautiful and good-sized lyric voice with such focus that she never seems obscured in old recordings by either loud orchestras or larger-voiced partners. She slotted ideally into delicate Mozartian roles yet was perhaps the greatest Amelia in Verdi's Un Ballo in Maschera that the Metropolitan Opera has ever known. Her singing of the more lyrical Wagnerian soprano parts such as Sieglinde, Eva, Elsa and Elisabeth was unsurpassed in its day and probably since. Rethberg was born Elisabeth Sättler in Schwarzenberg. She studied at Dresden's conservatory with Otto Watrin and made her operatic debut in that German city in the operetta Zigeunerbaron by Johann Strauss in 1915. Rethberg sang with the Dresden Opera until 1922. In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name. She moved to the USA and remained with the Metropolitan for 20 seasons, singing some 30 roles on stage and in the recording studio opposite such famous tenor colleagues as Beniamino Gigli, Giovanni Martinelli and Giacomo Lauri-Volpi. She also was engaged by London's Royal Opera House, Covent Garden, where she sang in 1925 and in 1934-1939. The Salzburg Festival in Austria heard her too, as did audiences in Milan and elsewhere in Europe. Rethberg returned often to Dresden where, in 1928, she created the title role in Strauss's Die ägyptische Helena. The brilliantly dynamic if dictatorial Italian conductor Arturo Toscanini was a particular admirer of Rethberg's vocal talent. During the latter-half of the 1930s Rethberg's voice lost its bloom due to the repeated singing of Aida and other heavy roles. She retired from the stage in 1942. Yet even at her least impressive (for example, in a 1942 recording of Verdi's Otello), she remained a well-schooled singer and a classy reminder of the Metropolitan Opera's great period during the 1920s and early '30s, when her powers were at their peak. In her magnificent prime, Rethberg was remarkable for the combination of a seemingly delicate, feminine sound with a capacity for great vocal intensity, to which she added impressive breath control and dynamic light and shade (from piano to forte notes). She made many splendid recordings of arias and ensemble pieces in Germany and the United States between 1921 and the outbreak of the Second World War. Many of these are available on modern CD transfers. The most fascinating records of her art, however, may be the live Met recordings that capture her (admittedly, past her zenith) in complete operas by Mozart, Verdi and Wagner. These recordings are somewhat difficult to obtain in America because the Met forbids their sale in the United States owing to royalty concerns. They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Un Ballo in Maschera, Simon Boccanegra and Otello. Rethberg was married to the Russian-born Met comprimario singer George Cehanovsky (1892-1986). She died in Yorktown Heights, New York in 1976 at the age of 81. (wikipedia) ******************************
Views: 6861 CurzonRoad
Soprano Alma Gluck ~ Home, Sweet Home (1911)
 
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Soprano Alma Gluck (1884-1938) / Home, Sweet Home (Bishop; Payne) / Recorded: October 21, 1911 -- "Home! Sweet Home!" (also known as "Home, Sweet Home") is a song that has remained well-known for over 150 years. Adapted from American actor and dramatist John Howard Payne's 1823 opera Clari, Maid of Milan, the song's melody was composed by Englishman Sir Henry Bishop with lyrics by American John Howard Payne. The opening lines: Mid pleasures and palaces though we may roam, Be it ever so humble, there's no place like home; have become famous. It is also used with Sir Henry Wood's Fantasia on British Sea Songs and in Alexandre Guilmant's Fantasy for organ Op. 43, the Fantaisie sur deux mélodies anglaises, both of which also use "Rule, Britannia". More recently, in 1909, it was featured as being played in the silent film The House of Cards by Thomas A. Edison. In the particular scene, a frontier bar was hurriedly closed due to a fracas. A card reading "Play Home Sweet Home" was displayed, upon which an on-screen fiddler promptly supplied a pantomime of the song. This may imply a popular association of this song with the closing hour of drinking establishments. This song is famous in Japan as "Hanyū no Yado" ("埴生の宿"?) ("My Humble Cottage"). It has been used in such movies as The Burmese Harp and Grave of the Fireflies. It is also used at Senri-Chūō Station on the Kita-Osaka Kyūkō Railway. (wikipedia) ******************************
Views: 20654 CurzonRoad
MADAMA BUTTERFLY: Gigli & Dal Monte ~ Love Duet  II (1939)
 
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Italian tenor Beniamino Gigli (1890-1957); Italian soprano Toti Dal Monte (1893-1975) / Bimba daghli occhi pieni di malia.... Vogliatemi bene, un bene piccolino... Quanti occhi, quanti stelle / Madama Butterfly (Puccini) / Orchestra e Coro del Teatro dell'Opera di Roma / Oliviero De Fabrtis - conductor / Recorded: July 1939 -- Italian opera singer Beniamino Gigli, (March 20, 1890 - November 30, 1957). The most famous tenor of his generation, he was renowned internationally for the great beauty of his voice and the soundness of his vocal technique. Critics sometimes took him to task, however, for what was perceived to be the over-emotionalism of his interpretations. Nevertheless, such was Gigli's talent that he is considered to be one of the very finest tenors in the recorded history of music. ( the full wikipedia article can be found here: http://en.wikipedia.org/wiki/Beniamino_Gigli ) Antonietta Meneghel (June 27, 1893 January 26, 1975), better known by her stage name Toti Dal Monte, was a celebrated Italian operatic soprano, and a favourite of Arturo Toscanini. Born in Mogliano Veneto, in the Province of Treviso, she made her debut at La Scala, Milan at the age of seventeen as Biancofiore in Riccardo Zandonais Francesca da Rimini. She was an immediate success, and her clear nightingale-like voice came to be highly appreciated throughout the world. Her best-known roles included Amina (in Bellinis La sonnambula), Lucia (in Donizettis Lucia di Lammermoor) and Gilda (in Verdis Rigoletto). She is perhaps best-known for her performances as Cio-cio-san (in Puccinis Madama Butterfly), and her recording of this role (with Beniamino Gigli as Pinkerton) is an interesting souvenir of her interpretation. In 1924, fresh from triumphs in Milan and Paris, but before her debut in London or New York, Nellie Melba engaged her as a star for her second opera company to tour Australia. She was a popular and critical success and there was no rivalry between the ageing Melba and Dal Monte. Rather they threw bouquets after each other's performances. In 1928, on her third visit to Australia, Dal Monte married the tenor Enzo de Muro Lomanto in St Mary's Cathedral, Sydney. The following year she sang the role of Rosalina, which was specifically written for her, in the world premiere of Umberto Giordano's Il re on the 12 January at La Scala. She retired from the operatic stage in 1943 at the age of fifty. However, she continued to work in the theatre (as well as to make the occasional recording) and appeared in a number of films, of which the best known is perhaps her last, Enrico Maria Salernos Anonimo veneziano, a 1970 story about a musician at La Fenice. She was also active as a singing teacher. Among her notable pupils was Canadian soprano Dodi Protero. La Toti died at the age of 81, in Pieve di Soligo, as a result of circulatory disorders. ********************
Views: 22092 CurzonRoad
Julia Wolfe, 85, talks about her son, American author Thomas Wolfe (1945)
 
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A curiosity of sorts.... Julia Wolfe, 85, mother of American author Thomas Wolfe (1900-1938), speaks in 1945 with Hollywood radio host Tom Breneman about her late son. Julia Wolfe, so the story goes, appears as Eliza Gant in her son's early autobiographical novels. A sound recording of Thomas Wolfe, if one actually exists, has yet to surface. Many consider Wolfe America's best... and worst writer. The label has a handwritten dedication to a friend (James F. Mark? Monk?) and is signed by Wolfe's sister, Mabel Wolfe Wheaton. Thomas Clayton Wolfe (October 3, 1900 -- September 15, 1938) was a major American novelist of the early 20th century. Wolfe wrote four lengthy novels, plus many short stories, dramatic works and novellas. He is known for mixing highly original, poetic, rhapsodic, and impressionistic prose with autobiographical writing. His books, written and published from the 1920s to the 1940s, vividly reflect on American culture and mores of the period, albeit filtered through Wolfe's sensitive, sophisticated and hyper-analytical perspective. He became very famous during his own lifetime. (wikipedia) Thomas Breneman Smith (June 18, 1901 -- April 28, 1948) was a popular 1940s American radio personality known to his listeners as Tom Breneman. Born in Waynesboro, Pennsylvania, Breneman was host of the show Breakfast in Hollywood which aired on the Blue Network, ABC, NBC and Mutual at various times from 1941 to 1948. Breneman's program went through numerous title changes but was best known as Breakfast in Hollywood (1948-49). By the mid-1940s, Breneman had ten million listeners. The popularity of the radio program was such that he created his own magazine, and in 1945 he opened his own establishment, Tom Breneman's Restaurant, located on Vine Street off Sunset Boulevard. He died in Encino, California in 1948. Breneman has a star on the Hollywood Walk of Fame. (wikipedia) ******************************
Views: 6191 CurzonRoad
Italian Coloratura Soprano Luisa TETRAZZINI:  I Vespri Siciliani (1910)
 
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For [email protected] / Italian Coloratura Soprano Luisa Tetrazzini (1871-1940) / Merce, dilette amiche / I Vespri Siciliani (Verdi) / Recorded: November 2, 1910 / Tetrazzini is seen in her famous free Christmas Eve concert in 1910 at Lotta's Fountain in San Francisco (special thanks to Zack for sharing!) ******************************
Views: 8734 CurzonRoad
Coloratura Soprano Miliza Korjus ~ Liebe kleine Nachtigall  (1936)
 
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Soprano Miliza Korjus (1909-1980) / Liebe kleine Nachtigall (Moszkowski) / Recorded: 1936 -- Miliza Elizabeth Korjus (August 18, 1909 - August 26, 1980) was a coloratura soprano opera singer, who later appeared in Hollywood films. Miliza Korjus's father was Arthur Korjus, an Estonian lieutenant colonel in the Imperial Russian Army and later Chief of Staff to the War Minister of Estonia. Her mother was Anna Gintowt, who was descended from Lithuanian-Polish nobility. Miliza was born in Warsaw, Poland (then part of the Russian Empire) during her father's military posting there in 1909; later the family moved to Moscow. She was the fifth of six children (she had one brother, and four sisters). Her mother and father separated during the Russian Revolution of 1917 and in 1918 she moved from Moscow to Kiev with her mother and sisters where she began her musical training. While a teenager, Korjus toured the Soviet Union with the Dumka Choir. In 1927, while performing in Leningrad, she managed to cross the border into Estonia, where she was reunited with her father. She then began touring the Baltic countries and Germany, and, in 1929, married Kuno Foelsch, a physicist. Korjus continued her concert career as a soprano in Germany and was eventually engaged by the Berlin State Opera in 1933. Her operatic appearances and recordings quickly propelled her to the forefront of European singers and earned her the nickname "The Berlin Nightingale". Film producer Irving Thalberg heard her recordings and signed her to a ten year film contract, sight unseen. Korjus' first Hollywood film was The Great Waltz (1938), which Frank Nugent of the New York Times called "a showcase for Miliza Korjus" while also noting her resemblance to Mae West. She was nominated for the Academy Award for Best Supporting Actress for the role. Korjus was scheduled to star in a film version of the novel Sandor Rozsa in 1940, but an automobile accident caused her leg to be crushed, and, although she avoided amputation, she required extensive recuperation, causing the film to be cancelled. By 1941 she had healed well enough to begin a tour of South America. During her tour, the United States became involved in World War II, and she decided to stay in Mexico for the duration. While living there, she made a Spanish language film, Caballería del Imperio. In 1944, Korjus returned to the United States, where she performed at Carnegie Hall. She toured the country for several more years, eventually settling in Los Angeles, California. She later founded Venus Records to release many of her earlier recordings. In 1952, she married Walter Shector, a physician, and retired from the concert stage, preferring to concentrate on making records. She died of heart failure in 1980 at Culver City, California, USA and was interred in the Westwood Village Memorial Park Cemetery in Los Angeles. Korjus daughter Melissa F. Wells was born in Estonia in 1932 and for over forty years was a career member of the US foreign service. Notably, she served as US Ambassador to Estonia between 1998-2001. (wikipedia) ******************************
Views: 14035 CurzonRoad
THE "SEVEN-DOLLAR SEXTET" from LUCIA:  Caruso, Journet, Sembrich, Daddi, Scotti, Severina (1908)
 
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Lucia di Lammermoor (Donizetti) / Chi mi frena in tal momento? / Recorded: February 7, 1908 -- Victor released the single-sided disc in 1908 at the price of US $7.00, earning it the nickname it has carried ever since: the "Seven-Dollar Sextet." In terms of buying power, seven 1908 dollars would have purchased roughly US $170 worth of goods in 2010. (Wikipedia / NPR) Enrico Caruso - tenor Marcel Journet - bass Marcella Sembrich - soprano Francesco Daddi - tenor Antonio Scotti - baritone Gina Severina - mezzo-soprano ******************************
Views: 2657 CurzonRoad
Italian Baritone Umberto Urbano ~ Il balen  (c.1928)
 
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Italian baritone Umberto Urbano (?-1969) / Il balen / Il trovatore (Verdi) / Recorded: c.1928 -- The Kutsch & Riemens Concise Biographical Dictionary of Singers states Urbano was born on October 16, 1894 in Livorno, Italy, though more recent information places his birth as early as 1885. There apparently is very little known about the career of this artist. K&R continues: "About 1920 he first appeared on Italian stages, including among others, La Scala in Milan, where he sang Herald in Lohengrin. In 1927 he sang as guest at the Vienna State Opera and also appeared at Covent Garden and on South American stages. In the 1930s he sang a great deal at the National Theatre in Prague and made guest appearances in both Bratislava and Brno. One of the most beautiful baritone voices of his time, both in the rich dark timbre of his vocal material and in the deeply moving expressiveness of his voice." He died in 1969 in Rome. ******************************
Views: 3359 CurzonRoad
American Baritone Reinald WERRENRATH:  My Lovely Celia (1929)
 
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(New transfer) / Baritone Reinald Werrenrath (1883-1953) / My Lovely Celia (Old English) / (George Monro - arrangement by H. Lane Wilson) / Recorded: June 21, 1929 -- MY LOVELY CELIA (obsure Scottish air / lyrics anonymous / set to music by George Monro (1680?-1731?) My lovely Celia, heav'nly fair, As lilies sweet, as soft as air; No more then torment me, but be kind, And with thy love ease my troubled mind. O, let me gaze on your bright eyes, Where melting beams so oft arise; My heart's enchanted with thy charms, O, take me, dying, to your arms. WERRENRATH, REINALD (1883-1853). His father, George Werrenrath, was a Danish tenor who taught singing in the United States. The son first studied with Percy Rector Stephens in New York City. In 1907 he made his concert debut at the Worchester Festival, and he then had a highly successful career as a concert and oratorio singer. After 1912 he was for many years the director of the University Heights Choral Society. In 1919 he made his stage debut at the Metropolitan Opera as Silvio in I Pagliacci. He remained a member of the Metropolitan until 1921. He appeared on Broadway in The School for Scandal (1923), The Beaux Stratagem (1928) and Music in the Air (1932). He visited England (1921-24; 28) where he sang chiefly on the radio. In 1932 was was awarded an honorary doctorate by New York University. He composed several works for male chorus. (A Concise Biographical Dictionary of Singers, by K.J. Kutsch / Leo Reimens [translated by Earl Jones] / The Chilton Book Company, 1969; Internet Broadway Database) -- ******************************
Views: 6859 CurzonRoad
Italian Tenor Giuseppe ANSELMI:  Spirto gentil (1913)
 
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Italian tenor Giuseppe Anselmi (1876-1929) / Spirto gentil / La Favorita (Donizetti) / Recorded: 1913 -- (from wikipedia) Giuseppe Anselmi (November 16, 1876, Nicolosi - May 27, 1929, Zoagli), an Italian operatic tenor. He became famous throughout Europe during the first decade of the 20th century for his stylish performances of lyric roles. He never sang in the United States. Anselmi came from the Catania area on the east coast of Sicily. He studied violin and piano at the Naples Conservatory as a teenager, and then joined an operetta troupe with which he toured Italy and the Middle East. The music publisher Giulio Ricordi allegedly heard him and advised him to undergo vocal instruction with Luigi Mancinelli, one of Italy's leading conductors. According to some sources, Anselmi's first appearance on stage in an operatic role happened as early as 1896, when he sang Turiddu (Cavalleria rusticana) in Greece. His Italian operatic debut took place in Genoa in 1900, and his career took off quickly from there. He appeared initially at the Teatro San Carlo, Naples, in late December of that year and, in 1901, at the Royal Opera House, Covent Garden, London. Engagements at La Scala, Milan, and the Monte-Carlo Opera ensued in 1904 and 1908, respectively. He was much admired at the Teatro Colón in Buenos Aires, and also sang in Brussels, Berlin and Vienna prior to World War I. His greatest triumphs, however, occurred in the cities of St Petersburg (often opposite lyric soprano Lina Cavalieri), Warsaw and, in particular, Madrid, where he even eclipsed the famous tenor Enrico Caruso in popularity. Although his style of singing was not liked at first by the London critics, he soon became a favorite with audiences in the British capital, and he sang intermittently at Covent Garden until 1909. Anselmi's operatic career tailed off at the end of World War I. He spent his remaining years teaching and composing in Italy. He also gave the odd concert. Anselmi died in 1929 of pneumonia, at Zoagli in the Italian province of Liguria. He had retained a deep affection for Madrid, and he bequeathed his heart to that city, where it was exhibited inside an urn at the Teatro Real museum. Commentators often describe Anselmi (and his famous contemporary Alessandro Bonci) as being among the last exponents of the old bel canto method of Italian singing, which was largely supplanted in Italy during the early 1900s by a more forceful mode of vocalism associated with Wagner's music dramas and verismo opera. Michael Scott (in the Record of Singing, published in London in 1977) notes, however, that if Anselmi were a exponent of bel canto it must have been when that school was in decline. Anselmi's treatment of much of the bel canto repertoire has relatively sketchy runs and ornaments (compared with the accuracy displayed by such exceptional vocalists as Adelina Patti, Nellie Melba, Pol Plançon, Mario Ancona, Mattia Battistini, and the great Handelian Peter Dawson—all of whom were genuine remnants of the bel canto tradition). Indeed, Anselmi was as capable of agitation as any true-blue verismo tenor (listen, for example, to his recording of the aria Vesti la giubba from Pagliacci.) Anselmi was a good-looking man with an arresting stage presence, which made him extremely popular with many opera-goers. He was sometimes referred to as Il tenore di donne (the tenor of/for women) which apparently had a double meaning; details of his personal life have never emerged. He possessed a sweet-toned if rather throaty and fluttery lyric tenor voice, which he employed with memorable grace and elegance when on his best behaviour. His upper range extends upwards to a high B on disc but his lowest notes are not so secure. There is a clear division between the registers. Anselmi often clears his throat at the beginning of his recordings (famously in the Fonotipia recording of Amor ti vieta) and even during phrase (as in the Fonotipia recording of Apri la tua finestra). Anselmi's intonation is sometimes suspect, too—most notably in the recitative to his famed Fonotipia recording of Quando al sere al placido from Verdi's Luisa Miller, where his forced top notes are pushed sharp. (See: Scott, Steane, et al.). Anselmi was noted for his performances as Almaviva and Don Ottavio, but he also excelled in the roles of Edgardo, Ernesto (in Don Pasquale), Duca di Mantua, Alfredo, Faust, Enzo, Cavaradossi, Loris and Lensky, among others. His recordings were made between 1907 and 1913 for Fonotipia Records in Milan, and then Edison Records in London. ******************************
Views: 10093 CurzonRoad
German Soprano Frieda Hempel ~ Auf dem Wasser zu singen (1935)
 
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German soprano Frieda Hempel (1885-1955) / Auf dem Wasser zu singen (Schubert) / Piano: Bruno Seidler-Winkler / Recorded: 1935 -- FRIEDA HEMPEL (June 26, 1885, Leipzig - October 7, 1955, Berlin). She studied at the Stern Conservatory in Berlin with Selma Nicklass-Kempner and made her debut (1905) in Breslau; she then sang in Schwerin (1905-07). As early as 1905 she appeared in the Bayreuth Festival. In 1907 she was engaged by the Berlin Imperial Opera, where she had great success. After 1907 she made brilliant guest appearances at Convent Garden. In 1912 she went to the Metropolitan Opera where she remained until 1920. There she sang the Marschallin in the first New York performance of Der Rosenkavalier in 1913; in 1916 she was highly admired in Elisir de L'Amore opposite Enrico Caruso. Guest appearances in Berlin, London, Hamburg and Paris brought her the greatest success. In 1920-21 she sang at the Chicago Opera. Thereafter she dedicated herself entirely to concert work and became famous for her "Jenny Lind" concerts in which she sang in costume and with the repertory of the unforgettable Swedish singer; she made these appearances in all the important centers of American musical life, as well as in England, France, Belgium and Holland. Her memoirs were published under the title Mein Lebem dem Gesang (Berlin, 1955). Her coloratura soprano was admired for its virtuoso management, for the clarity of tonal production, and for the musical maturity of her conceptions. (A Concise Biographical Dictionary of Singers / K.J. Kutsch & Leo Riemens / translated by Harry Earl Jones / Chilton Book Company / 1969) ******************************
Views: 4364 CurzonRoad
Tenor Henry Burr ~ I Found A Million Dollar Baby (1926)
 
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For "althazarr" / Tenor Henry Burr (1882-1941) / I Found A Million Dollar Baby (In a Five and Ten Cent Store) / song written by Fred Fisher (music) and Billy Rose (lyrics) / Recorded: September 16, 1926 / special thanks to "mickeyfender" for his helpful, friendly information! -- Henry Burr (January 15, 1882 - April 6, 1941) was a Canadian singer of popular songs from the early part of the early 20th century, early radio performer and producer. He was born Harry Haley McClaskey and used Henry Burr as one of his many pseudonyms, in addition to Irving Gillette, Henry Gillette, Alfred Alexander, Robert Rice, Carl Ely, Harry Barr, Frank Knapp, Al King, and Shamus McClaskey. He was one of the first singers to make popular acoustic recordings and one of the most prolific recording artists of all time, with more than 12,000 recordings by his own estimate. A tenor, he performed as a soloist and also in duets, trios and quartets. His most famous collaboration was the Peerless Quartet. (the full wikipedia article can be found here: http://en.wikipedia.org/wiki/Henry_Burr) ******************************-
Views: 3550 CurzonRoad
Soprano Alma Gluck  ~  L'Heure Exquise  (1917)
 
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Soprano Alma Gluck (1884-1938) / L'Heure Exquise (Hahn) / Recorded: September 18, 1917 / AulicExcusiva writes in comments: "Her daughter, the miscellaneous writer Marcia Davenport, who once wrote a standard popular biography of Mozart as well as a novel based on her mother's life, relates how she saw Alma Gluck in retirement, listening to one of her records, covering her face with both hands and weeping. Hahn's "L' heure exquise," Alma Gluck's favorite among her recordings, was on the turntable." ******************************
Views: 9920 CurzonRoad
"The World's Most Beautiful Woman" /  Soprano  Lina Cavalieri  ~  Mari, Mari (1910)
 
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Italian soprano Lina Cavalieri (1874-1944) / Mari, Mari (Di Capua) / Recorded: February/March 1910 -- Some observers, aware of the abundant documentation regarding her physical beauty, will also attest to her vocal artistry.... but I shall leave that up to you! Most should find the footnote far, far below of good, comic interest! Italian operatic soprano Lina Cavalieri (December, 25, 1874 - February 7, 1944), known for her great beauty. Born Natalina Cavalieri in Viterbo, Latium, Italy, she lost her parents at the age of fifteen and became a ward of the state, sent to live in a Roman Catholic orphanage. The vivacious young girl was extremely unhappy under the strict raising of the nuns, and at the first opportunity she ran away with a touring theatrical group. Blessed with a good singing voice, a young Cavalieri made her way to Paris, France, where her stunning good looks opened doors and she obtained work as a singer at one of the city's café-concerts. From there she performed at a variety of music halls and other such venues around Europe while still working to develop her voice for the opera. A soprano, Cavalieri took voice lessons and made her opera debut in Lisbon, Portugal, in 1900, the same year she married her first husband, the Russian Prince Bariatinsky. Eventually she followed in the footsteps of Hariclea Darclée as one of the first stars of Puccini's Tosca. In 1904 she sang at the Opéra de Monte-Carlo then in 1905, at the Sarah Bernhardt Theatre in Paris, Cavalieri starred opposite Enrico Caruso in the Umberto Giordano opera, Fedora. From there, she and Caruso took the show to New York City, debuting with it at the Metropolitan Opera on December 5, 1906. Cavalieri remained with the Metropolitan Opera for the next two seasons performing again with Caruso in 1907 in Puccini's Manon Lescaut. Renowned as much for her great beauty as for her singing voice, she became one of the most photographed stars of her time. Frequently referred to as the "world's most beautiful woman," she was part of the tightlacing tradition that saw women use corsetry to create an "hour-glass" figure. During the 1909-1910 season she sang with Oscar Hammerstein's Manhattan Opera Company. Her first marriage long over, she had a whirlwind romance and marriage with Robert Winthrop Chanler (1872-1930), a member of New York's prominent Astor family. However, this marriage lasted only a very short time (1) and Cavalieri returned to Europe where she became a much-loved star in pre-Revolutionary St. Petersburg, Russia, and in the Ukraine. During her career, Cavalieri sang with other opera greats such as the Italian baritone Titta Ruffo and the French tenor Lucien Muratore, whom she married in 1913. After retiring from the stage, Cavalieri ran a cosmetic salon in Paris. In 1914, on the eve of her fortieth birthday — her beauty still spectacular — she wrote an advice column on make-up for women in Femina magazine and published a book, My Secrets of Beauty. In 1915, she returned to her native Italy to make motion pictures. When that country became involved in World War I, she went to the United States where she made four more silent films. The last three of her films were the product of her friend, the Belgian film director Edward José. Married for the fourth time to Paolo d'Arvanni, Cavalieri returned to live with her husband in Italy. Well into her sixties when World War II broke out, she nevertheless worked as a volunteer nurse. Cavalieri was killed in 1944 during an Allied bombing raid that destroyed her home in the outskirts of Florence. La Cavalieri's discography is slim. In 1910, for Columbia, she recorded arias from Faust, Carmen, Mefistofele, La bohème, Manon Lescaut and Tosca, as well as the song, "Maria, Marì! (Ah! Marì! Ah! Marì!)." In 1917, for Pathé, the soprano recorded "Le rêve passé," with Muratore. She was painted by the Italian artist Giovanni Boldini (acquired by Maurice Rothschild) and by the Swiss-born American artist Adolfo Müller-Ury (1862-1947). The latter is now the property of the Metropolitan Opera House in New York, the gift of Nicholas Meredith Turner in memory of his wife the soprano Jessica Dragonette. Hers is the face that appears repeatedly, obsessively in Piero Fornasetti's designs. In 1955, Italian actress Gina Lollobrigida portrayed Cavalieri in the film The World's Most Beautiful Woman. In 2004, a book was published authored by Paul Fryer and Olga Usova titled Lina Cavalieri -The Life of Operas Greatest Beauty, 18741944. (wikipedia) (1) During her brief marriage, Cavalieri, so the story goes, managed to cajole Chanler out of his entire considerable fortune. Chanler's brother, committed to a mental institution in Virginia, sent a short and highly publicized telegram reading "Who's looney now?" (NYT) ********************************************* For Maya Mikolajczyk ~ MayaTatyana *********************************************
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(FIRST VICTOR RED SEAL):  Australian Contralto Ada CROSSLEY: Caro mio ben (1903)
 
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Australian contralto Ada Crossley (1874-1929) / Caro mio ben (Giordano) / Recorded: April 30, 1903 -- Contralto Ada Crossley studied in Melbourne and made her debut there as a concert singer (1892). In 1894 she came to London for further training and became a pupil of Sir Charles Santley; she later studied with Mathilde Marchesi in Paris. In 1895 she gave her first concert in London and thereafter had great success in the concert hall. In 1897 she sang at the English court for Queen Victoria and in 1903 she made a long American tour. In Amsterdam she sang under William Mengelberg, and in 1912 gave a concert in London under the direction of Henry J. Wood for the benefit of victims of the "S.S. Titanic" disaster. Later she expanded her teaching activities in the English metropolis. She never appeared on stage. She had a dark-timbred and melodic contralto voice. (from "A Concise Biographical Dictionary of Singers" by K.J. Kutsch & Leo Riemens / Chilton Book Company - 1969) ******************************
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American Soprano Geraldine Farrar:  Midnight Bells ~ Im chambre séparée (1927)
 
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American soprano Geraldine Farrar (1882-1967) / Midnight Bells (Im chambre séparée) / The Opera Ball (Der Opernball) / Heuberger; Kreisler) / Recorded: January 13, 1927 / (one of Farrar's unpublished electricals) ******************************
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Dolores PEREZ ~ Maria La O (1950s)
 
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Dolores Perez (1928-1983) / Maria La O / Recorded: circa 1955-1956 / she was also known as Lily Berchman / ITEM: Please also see the very fine website devoted to Dolores Perez: http://lilydolores.tripod.com/ MARIA LA O ~ Lyrics MULATA INFELIZ, TU VIDA ACABO. DE RISA Y GUARACHA SE HA ROTO EL BONGO QUE OIAS AYER TEMBLANDO DE AMOR, Y CON ILUSION JUNTO A UN HOMBRE CRUEL. SU AMOR YA SE FUE DE MI CORAZON. QUE HOY YA LE ABORRECE PORQUE MI PASION QUE HIRIO SU TRAICION YA TAN SOLO ES. SED DE VERLE AL FIN TENDIDO A MIS PIES. {Chorus} : MARIA LA O, YA NO MAS CANTAR. MARIA LA O, HORA ES DE LLORAR Y DE RECORDAR EL TIEMPO FELIZ DE SUS BESOS QUE FUGAZ YA VOLO. MARIA LA O, TODO SE ACABO. MARIA LA O, TU AMOR YA SE FUE Y JAMAS EL VOLVERA. MARIA LA O, SUEÑA EN MORIR. == English == WRETCHED MULATA, YOUR LIFE IS ENDED. THE BONGO DRUM FROM WHICH ALL THE LAUGHTER AND DANCING EMANATED JUST YESTERDAY AND WHICH YOU HEARD TREMBLING WITH LOVE BESIDE A CRUEL MAN IS NOW BROKEN HIS LOVE IS GONE FROM MY HEART WOUNDED BY HIS TREASON, MY PASSION HAS NOW BECOME A THIRST TO EVENTUALLY SEE HIM LIEING LIFELESS AT MY FEET {Chorus} : MARIA LA O, THERE WILL BE NO MORE SONG. MARIA LA O, NOW IT IS TIME TO CRY, AND TO REMEMBER THE HAPPY MOMENTS OF HIS TENDER KISSES WHICH ARE ALL GONE NOW. MARIA LA O, EVERYTHING IS FINISHED. MARIA LA O, YOUR LOVE HAS LEFT YOU AND WILL NEVER AGAIN RETURN, MARIA LA O, ALL THAT IS LEFT IS DEATH. *********************************
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Italian Soprano Amelita Galli-Curci ~ The Last Rose of Summer (1917)
 
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By request from "meltzerboy" / Italian soprano Amelita Galli-Curci (1882-1963) / The Last Rose of Summer / Martha (Flotow) / Francis Lapitino - harp / Recorded: June 15, 1917 --
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British Contralto Clara Butt ~ Abide With Me (1930)
 
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British Contralto Clara Butt (1872-1936) / Abide With Me (Lyte; Liddle) / Recorded August 8, 1930 -- ABIDE WITHE ME is a Christian hymn by Scottish Anglican Henry Francis Lyte, most often sung to William Henry Monk's tune "Eventide" (though please note the music in this presentation is by Samuel Liddle). Lyte wrote the poem in 1847 and set it to music while he lay dying from tuberculosis; he survived only a further three weeks after its completion. The hymn is a prayer for God to remain present with the speaker throughout life, through trials, and through death. The opening line alludes to Luke 24:29, "Abide with us: for it is toward evening, and the day is far spent". (wikipedia) Abide with me; fast falls the eventide; The darkness deepens; Lord with me abide. When other helpers fail and comforts flee, Help of the helpless, O abide with me. O Thou who changest not, abide with me. I need Thy presence every passing hour. What but Thy grace can foil the tempter's power? Who, like Thyself, my guide and stay can be? Through cloud and sunshine, Lord, abide with me. I fear no foe, with Thee at hand to bless; Ills have no weight, and tears no bitterness. Where is death's sting? Where, grave, thy victory? I triumph still, if Thou abide with me. Hold Thou Thy cross before my closing eyes; Shine through the gloom and point me to the skies. Heaven's morning breaks, and earth's vain shadows flee; In life, in death, O Lord, abide with me. ******************************
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Austrian Soprano Selma Kurz ~ Caro Nome (1923)
 
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Austrian soprano Selma Kurz (1874-1933) / Caro Nome / Rigoletto (Verdi) Recorded: 1923 -- SELMA KURZ (b. November 15, 1874, Biala, Galicia, Austria; d. May 10, 1933, Vienna). Her voice was discovered by Cantor Goldmann as she sang in his synagogue in Biala and a patron then financed her study of singing with Johannes Ress in Vienna; she completed her studies with Mathilde Marchesi in Paris. In 1895 she made her debut at the Hamburg Opera as Mignon in Thomas' opera. In 1896 she came to the Frankfurt Opera where she stayed until 1899. Although she sang lyric soprano roles at the beginning of her career, she soon became a celebrated coloratura. In 1899 she was engaged by Gustav Mahler for the Vienna Imperial Opera, where she had sensational successes and where she sang until the end of her career in 1929. She had great triumphs in her guest appearances: Covent Garden (1904-07), where she was again a guest in 1924, the Paris Opera and the opera houses in Monte Carlo, Budapest, Prague, Ostend, Amsterdam, Warsaw and Cairo. In 1921 she travelled to America, but gave only a single concert in New York before returning to Europe. In 1922 she sang Konstanze in Die Entfubrung aus dem Sereil at the Salzburg Festival. She was married to the Viennese gynecologist Professor Joseph Halban; her daughter, Desi Kurz-Halban, also appeared as a soprano and is especially remembered for her recording of Mahler's Fourth Symphony. Selma Kurz was one of the greatest coloratura sopranos of all time. She demonstrated an effortless mastery of the most difficult passages, a delicacy of feeling for style, and entirely unsurpassed minute-long trills. (Source: Kutsch & Riemens Concise Biographical Dictionary of Singers / Chilton Book Company - 1969) ******************************
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Italian Coloratura Soprano Luisa Tetrazzini ~ Una voce poco fa (1904)
 
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For "transformingArt" / Italian coloratura soprano Luisa Tetrazzini (1871-1940) / Una voce poco fa / Il Barbiere di Siviglia (Rossini) / Recorded: August 8, 1904 -- ******************************
Views: 2217 CurzonRoad
Oscar Saenger Singing Lesson No. 20 for Tenors ~ Vocalise (1915)
 
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(Uncredited) American tenor Paul Althouse (1889-1954) / Oscar Saenger Singing Lesson No. 20 for Tenor ~ vocalise / spoken introduction by Oscar Saenger / William Falk - piano / Recorded: September 2, 1915. The Oscar Saenger Singing Lessons appeared on Victor records for soprano, mezzo-soprano, tenor, baritone, and bass. These are 10 double-sided 12" discs, with 20 different lessons for each category. Although the labels do not identify any of the singers, this is clearly Paul Althouse, (pictured here), confirmed in Victor ledgers and published in THE VICTOR DISCOGRAPHY: GREEN, BLUE AND PURPLE LABELS by Mainspring Press (2006). Among Saenger's more famous pupils were Althouse, Josephine Jacoby, Marie Rappold, Mabel Garrison, Orville Harold. Henri Scott. The following is from the Kutsch & Riemens Concise Biographical Dictionary of Singers (1969) PAUL ALTHOUSE (b. Dec. 2, 1889, Reading, Pennsylvania; d. February 6, 1954, New York) His teachers in New York were Perley Dunn Aldrich and Percy Rector Stevens, as well as Oscar Saenger. He made his debut at the Metropolitan Opera (1913) as Dmitri in the first American production of Boris Godonouv, and he remained a member of that company until 1921; there he sang in the first performances of, among others, Mme. Sans-Gene (1915), The Canterbury Pilgrims (1917), and Shanewis (1918). He appeared as Faust in San Francisco (1925) and sang as a guest star in Berlin, Stuttgart, and Stockholm (1929). A visit to the Bayreuth Festival led him to become interested in Wagner roles. He sang Tannhauser and then Siegmund in 1930 at the Chicago Opera and Tristan at the 1935 Salzburg Festival. From 1934-41 he was again at the Metropolitan Opera, appearing during this time particularly as a Wagner tenor. During these years he also had an important career as an oratorio singer. In 1941 he bade farewell to the stage and became one of America's most important voice teachers, numbering among his pupils Richard Tucker, Eleanor Steber, and Irene Dalis. He recorded on Edison cylinders, Victor and Pathe discs. He made an electric recording of Schoenberg's Gurrelieder under Stokowski (1933); he also made private recordings for the Metropolitan Opera. ******************************
Views: 12864 CurzonRoad