Costa Milona (Tenor) (Crete, Greece 1897 – London, England 1949)

                                                         Cavaradossi

His real name was Konstantinos (Kostas) Mylonas. From 1908 to 1918 he studied singing at the Athens Conservatory and in 1917 started appearing in student concerts. He graduated in 1920 and went to Milan and perfected his vocal under the maestro Giuseppe Borghi.

Chronology of some appearances

1923 Monte Carlo Grand-Théâtre Tristan und Isolde (sailor)

1923 Monte Carlo Grand-Théâtre Tristan und Isolde (sailor)

1938 Berlin Deutsches Oper La Bohème (Rodolfo)
1938 Berlin Deutsches Oper Pagliacci (Canio)

RECORDINGS FOR SALE

Parlophon, Berlin 1922

Boheme (Puccini): Ebbene no no lo son P.1629-I 5944

Cavallleria rusticana (Mascagni): O Lola, ch'ai di latti  P.1629-II 5906

Favorita (Donizetti): Spirto gentil P.1631-II 5822

Gioconda (Ponchielli): Cielo e mar P. 1482-II 5839

Africana (Meyerbeer): Mi batte il cor…O paradiso P.1394-I 5940

Elisir d'Amore (Donizetti): Una furtiva lagrima P.1631-I 5818

Pagliacci (Leoncavallo): Vesti la giubba P1530-I aT5907

Pescatori di perle (Bizet): Mi par d’udire ancora  P. 1394-II aT 5941

Tosca (Puccini): E lucevan les stelle P. 1482-I 5821

Tosca (Puccini): Tu, di tua man l'uccidesti…O dolci mani P. 1630-II 5820

Traviata (Verdi): De miei bollenti spiriti P1530-II 5942

Homokord, Berlin 1924

Die Königin von Saba (Goldmark): Magische Note 3-51614 51516

Perche (Pennino-De Flaviis) 3-8531 51620
Don Sebastiano (Donizetti): Deserto in terra 3-8535 51619-I

Homokord, Berlin 1925

Cavalleria Rusticana (Mascagni): Addio a la madre B.8674 51899

Faust (Gounod): Salut, demeure chaste et pure 3-8676 51902

Manon (Massenet): Io son sol…Ah dispar vision B.8674 51903-1

Pagliacci (Leoncavallo): O Colombina 3-8667 51871-1

Puritani (Bellini): A te, o cara 3-8676 51902

Trovatore (Verdi): Ah sì, ben mio coll'essere 3-8667  51874

Vox, Berlin 1926

Trovatore (Verdi): Di quella pira 3573  3263-B
Forza del destino (Verdi) Solenne in quest'ora with Costa Milona 2745A H10218

Kristall, Berlin 1927

Mefistofele (Boito): Dai campi, dai prati 6039, 2143-BB

Pagliacci (Leoncavallo): Vesti la giubba 6039 2143-BB

Traviata (Verdi): Lun ge da lei...De miei bollenti spiriti 06003 1733-AAX

Odeon, Berlin 1928

Cavallleria Rusticana (Mascagni): O Lola, ch'ai di latti O.6991b 2-21069

Africana (Meyerbeer): Mi batte il cor…O paradiso AA.68098 20814

Pescatori di perle (Bizet): Mi par d’udire ancora AA.68098 20817

Ballo in maschera (Verdi): Di' tu se fedele O.6991a 20812-2

Parlophon, Berlin 1928

Ballo in maschera (Verdi): Di' tu se fedele 58506 A20812

Werther (Massenet): Ah non mi ridestar 58506 A20813

Elégie (Massenet) A.164365 36664

Ideale (Tosti) E.10888 20819

Parlophon, Berlin 1929

I proti  agápi (N. Chadziapostrolou) Parlophon B.21526-II 101015-1

Despo (arr. Nicolaos Skalkottas) Parlophon B.21519 101002

Diamantoula mou (arr.N. Skalkottas)  Parlophon B.21520-II 101011

Karáva aniyi ta ftera (Dyonisios Lavrangaas) Parlophon B.21518 101001

Markos Botsaris (Carrer) O yero dimos Parlophon B.21519 101008

Pos pantrevoun tin agápi mou   (arr.Nicolaos Lavd) Parlophon B.21521-II 101009

Ramona (Mabel Wayne) B.21517-II 101006

To mátia tu dimou (arr.Nicolaos Laudas)  B.21520-I 101004

Parlophon, Berlin 1930

Perche (Pennino-De Flaviis) B.12339-II 119054

Madama Butterfly (Puccini): Addio fiorito asil B.7794-I  29527

Kristall, Berlin 1930

Trovatore (Verdi): Ah sì, ben mio coll'essere 06003,1735-AA  

Sydney Rayner (Tenor) (New Orleans 1895 - New York 1981)

                                                                Faust

He studied in Paris and Milan. In  1921 he made his debut at the Teatro Adriano in Rome as Rodolfo in ‘’Boheme’’. Until 1929 he engaged in various Italian opera houses. In 1929 he appeared at the Staatsoper of Berlin. In 1930 Rayner made his Paris debut as Julien in "Louise" at the Opera-Comique, of which he was a member for 5 years; in the spring season of 1936 he sang at the Metropolitan Opera House (debut as Don Jose); guest appearances followed with the San Francisco and Los Angeles Operas; concert engagements in the US and Europe.

Chronology of some appearances

1930 San Francisco  Civic Auditorium Tannhauser (Tannhauser)

1930 San Francisco  Civic Auditorium Pagliacci (Canio)

1937 New York  Teatro Metropolitan Carmen (Don Jose)

1939 New York  Hippodrome Theater Rigoletto (Duke)

1939 New York  Hippodrome Theater Tosca (Cavaradossi)

1939 New York  Hippodrome Theater Traviata (Alfredo)

RECORDINGS FOR SALE

 

Decca

Werther (Massenet): J'aurais sur ma poitrine  K 685

Otello (Verdi): Ora e per sempre, addio T 204

A Vucchella (Tosti)  F3327 
Aïda (Verdi): Celeste Aida  T 204 
Au clair de la lune (Leoncavallo)  M 433
Carmen (Bizet): La fleur que tu m’avais jetée  K677 
L’Africaine (Meyerbeer): O Paradis M 453 
Manon (Massenet): Ah, fuyez, douce image K 685 
Mattinata (Leoncavallo) M 437 
Obstination Fontenailles  F 3327 
Otello (Verdi): Ora e per sempre, addio T 204
Paillasse (Leoncavallo): Recitar  T 203 
Première caresse (Cresenzo) M 437 
Rigoletto (Verdi):  La donna e mobile  M 453 
Roméo et Juliette (Gounod Ah, lève-toi, soleil)  K677 
Werther (Massenet):  j’aurais sur ma poitrine K 685 

Sonabel

Werther (Massenet): O nature 12172 14632
La Tosca (Puccini): Lamento (au piano Jean Doize) 12119 

Jose Mojica (Tenor) (Mexico City 1896 – Lima, Peru 1974)

                                                                     Pelleas

He made his debut in 1919 at Chicago Opera. In the beginning he sang there smaller parts like Rodrigo in Verdi’s ‘’Otello’’ or Beppe in ‘’Pagliacci’’. However, soon he started to appear as principal tenor with great success. He sang the role of Corentin in ‘’Dinorah’’ of Meyerbeer as a partner of Amelita Galli-Curci (1923), Narraboth in ‘’Salome’’ of  R. Strauss, count Almaviva in ‘’Il Barbiere di Siviglia’’ opposite Toti dal Monte as Rosina, Schuiski in ‘’Boris Godunov’’, Rinuccio in ‘’Gianni Schicchi’’ of  Puccini. He appeared on 30. 12. 1921 at Chicago Opera in the premiere of  Prokofiev’s ‘’L'amour des trois oranges’’. He was very successful there as a partner of Mary Garden in ‘’Pelléas et Mélisande’’. Almost annually he performed in the festival of the Ravinia Summer Opera near Chicago among other things appearing as Paco in ‘’La vida breve’’ of de Falla, Araquil in ‘’'La Navarraise’’ of Massenet and in ‘’Le Chemineau’’of Xavier Lweroux. He remained active till 1930 at Chicago Opera. Since 1930 he had big success in American films ('One mad Kiss') as well as in Spanish films, which were performed above all in South America. In 1940 he appeared again at Chicago Opera singing the role of Fenton in ‘’Falstaff’’ of Verdi. When his mother died in 1940, he promised her on the deathbed to become a Catholic priest. He entered into an order, received the priest's inauguration and went as a missionary to the Andes area of Peru. In 1963 he published his autobiography under the title " I pecador".

Chronology of some appearances

1919 Mexico City Teatro Arbeu Barbiere di Siviglia (Almaviva)

1919 Mexico City  Teatro Principal Rigoletto (Duke)

1920 Mexico City Teatro Esperanza Iris Rigoletto (Duke)

1924 Mexico City Teatro Arbeu Barbiere di Siviglia (Almaviva)

1924 San Francisco Civic Auditorium Boheme (Rodolfo)

1924 San Francisco Civic Madama Butterfly (Pinkerton)

1924 Los Angeles  Philarmonic Auditorium Tosca (Cavaradossi)

1924 Los Angeles  Philarmonic Auditorium Traviata (Alfredo)

1927 Chicago Civic Opera House Barbiere di Siviglia (Almaviva)
1928 Chicago Civic Opera House Barbiere di Siviglia (Almaviva)

1931 Barcelona  Teatro Liceo Barbiere di Siviglia (Almaviva)

COMPLETE OPERA RECORDINGS FOR SALE

Edison, New York 1925

Barbiere di Siviglia (Rossini): Ecco ridente in cielo 10391-A 82343

Pescatori di perle (Bizet): Mi par d'udir ancora 10398-B 82343

Elisir d'amore (Donizetti): Una furtiva lagrima 10999-A  82344

Lakme (Delibes): Fantaisie aux divins mensonges 11003-C 82344

Ugonotti (Meyerbeer): Bianca al par 11010-C 82347

Nino Martini (Tenor) (Verona, Italy 1905 – Verona, Italy 1976)

He was an Italian operatic tenor and actor. He began his career as an opera singer in Italy before moving to the United States to pursue an acting career in films. He appeared in several Hollywood movies during the 1930s and 1940s while simultaneously working as a leading tenor at the Metropolitan Opera in New York City. 

Martini possessed a warm lyric tenor voice that had a wide range and considerable amount of coloratura facility. He sang mostly within the Italian repertoire that encompassed the bel canto literature of Rossini, Donizetti, and Bellini, the grand operas of Giuseppe Verdi, and the verismo operas of Giacomo Puccini. 

Martini studied singing under Giovanni Zenatello and Maria Gay who were married and both well known opera singers. In 1925 he made his professional opera debut in Milan as the Duke of Mantua in Verdi's Rigoletto. Shortly thereafter he toured Europe as a concert artist appearing in many of the continent's major music centers. While in Paris he was discovered by the film producer Jesse Louis Lasky who engaged him for several Italian language speaking roles in short films. 

In 1929, under the influence of Lasky, Martini immigrated to the United States to pursue a film career. His first appearance was in the Paramount Pictures all-star revue film Paramount on Parade (1930), in which he sang the song "Come Back to Sorrento" in one of the film's Technicolor sequences. This film has been restored by the UCLA Film and Television Archive. 

Further forays into film were postponed, however, as Martini decided to continue to pursue an opera career. He made his U.S. opera debut in 1931 in Philadelphia. This was followed by several broadcasts of opera for radio. In 1933 Martini joined the roster at the Metropolitan Opera, making his debut on December 28 as the Duke of Mantua. He appeared in several more productions at the Met over the next thirteen years, singing the roles of Alfredo in La Traviata, Carlo in Linda di Chamounix, Edgardo in Lucia di Lammermoor, Ernesto in Don Pasquale, Rinuccio in Gianni Schicchi, Rodolfo in La Bohème, and Ruggero in La Rondine. His last performance at the Met was as Count Almaviva in Il Barbiere di Siviglia on April 20, 1946. 

While performing at the Met, Martini occasionally returned to Hollywood to appear in films, mostly appearing in pictures directed by Lasky. His film credits include Here's to Romance (1935), Music for Madame (1937), and The Gay Desperado (1936). The latter film featured Ida Lupino as his co-star, was directed by Rouben Mamoulian, produced by Mary Pickford, and released by United Artists. His last film appearance was in One Night With You in 1948. 

In the late 1940s and 1950s Martini continued to perform as a singer mostly on the radio. He eventually returned to Italy where he lived in Verona until his death in 1976.

  

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

Chronology of some appearances

Il duca di Mantova 1/28/1932, Nadir 2/4/1932, Alfredo Germont 12/14/1937, Il conte d’Almaviva 2/28/1939, Rodolfo 5/18/1943, Alfredo Germont 5/20/1943, Rodolfo 3/8/1944, 3/10/1944, 9/25/1944, Sir Edgardo di Ravenswood 9/29/1944, Rodolfo 10/7/1944, Sir Edgardo di Ravenswood 10/8/1944, Le docteur Faust 1/24/1945, 1/25/1945, Rodolfo 5/3/1945, Sir Edgardo di Ravenswood 5/7/1945, B. F. Pinkerton 5/16/1945, 11/15/1945, Le docteur Faust 2/4/1946, 2/21/1946, Alfredo Germont 3/7/1946, Rodolfo 4/3/1946, 5/26/1946, B. F. Pinkerton 10/4/1946, Alfredo Germont 10/6/1946, Rodolfo 1/8/1947, B. F. Pinkerton 3/19/1947, 1/7/1948, Rodolfo 2/27/1948, Le docteur Faust 10/9/1948, Rodolfo 1/24/1949, Alfredo Germont 1/5/1950, Il conte d’Almaviva 1/26/1950 (Filadelfia)

RECORDINGS FOR SALE

 

Columbia, New York 1939-12-18

'O sole mio (E. Di Capua) 17197-D CO-25600

Santa Lucia luntana (E.A. Mario) 17197-D CO-25601

Columbia, New York 1940-01-23

Rigoletto (Verdi): Questa o quella 292518A CO-25856

Rigoletto (Verdi): La donna e mobile 17191-D CO-25857

Boheme (Puccini): Che gelida manina 71343-D XCO-25858

Africana (Meyerbeer): O paradiso 71343-D XCO-25871

Columbia, New York 1940-05-01

Maria Marì (E. Di Capua) 17228-D CO-27248

Torna a Surriento (E. De Curtis)  17228-D CO-27249

Victor, New York 1933-09-13

La Cancion del Olvido (Serrano): Canzone di Marinela 4255 BS-77658

Victor, New York 1933-09-21

El trust de los tenorios (Serrano): Te quiero 4231 BS-77656

La Dolorosa (Serrano): Romanza di Rafael 4231 BS-77696

Victor, New York 1935-09-30

Mattinata (Leoncavallo)  B8411 95302

Victor, 1936?

Pagliacci (Leoncavallo): Vesti la giubba 90360 test

Manon (Massenet): En fermant les yeux  90361 test

Nino Martini by Stampanoni

Ester Toninello (Soprano) (Padova 1886 - ?)

Probably she made her debut in 1908. In 1909 she appeared at the Teatro Quirino of Rome as Leonora in ‘’Trovatore’’. In the 1911-12 season she made guest appearances in Buenos Aires appearing in ‘’Aida’’, ‘’Forza del Destino’’, ‘’Gioconda’’ and ‘’Tosca’’. In that time she guested also in San Paolo and Mexico City. From 1913 to 1916 Toninello performed with success at the Teatro Dal Verme in Milan, where she sang in ‘’Cassandra’’, ‘’Gioconda’’ and ‘’Poliuto’’. In 1914 she arrived in Spain where she sang at the Teatro Liceo of Barcelona in G. Verdi’s ‘’Ballo in maschera’’. Toninello continues to appear on the different italian opera stages (Brescia. Teatro Sociale ‘’Cavalleria rusticana’’ 1918, Verona. Teatro Ristori  ‘’Gioconda’’ 1919, Legnano. Asilo Sociale ‘’Norma’’ 1922, Novara. Teatro Coccia ‘’Tosca’’ 1925, Casalmaggiore. Teatro Sociale ‘’Norma’’ 1927, Sansevero. Arena Giardino ‘’Forza del Destino’’ 1930) up to 1934.

Chronology of some appearances

1909 Rome Teatro Quirino Trovatore (Leonora)

1911-1912 Buenos Aires Teatro Marconi Aida (Aida)

1913-1916 Milan Teatro Dal Verme Gioconda (Gioconda)

1914 Barcelona Teatro Liceo Ballo in maschera (Amelia)

1918 Brescia Teatro Sociale Cavalleria rusticana (Santuzza)

1919 Verona Teatro Ristori  Gioconda  (Gioconda)

1922 Legnano Asilo Sociale Norma (Norma)

1925 Novara Teatro Coccia Tosca (Tosca)

1927 Casalmaggiore Teatro Sociale Norma (Norma)

1930 Sansevero Arena Giardino Forza del Destino (Leonora)

RECORDINGS FOR SALE

 

Columbia, Milano 1913?
Aida (Verdi): Possente Fta D 4480 41967

Aida (Verdi): Nume, custode e vindice with Gaetano Tommasini and Vincenzo Bettoni  D 5562 41835

HMV, Milano 1923-02-14
Gioconda (Ponchielli): Gia ti vedo with Ernesto Badini, Giuseppe Quinzi-Tapergi and Bernardo De Muro DB555 2-054135

Toninello by Stampanoni

Antonio Melandri (Tenor) (Faenza, Italy 1891 - Reggio Emilia, Italy 1969)

Discovering his voice in his late twenties, he made his début in Novara in 1924. Melandri’s Scala début was as Calaf in Puccini’s ''Turandot'' in 1926 and the following year he sang in Buenos Aires. In addition to appearances in Holland in 1937-38, Melandri also sang in Germany, Belgium, and Switzerland and throughout Italy. His recordings included ''Cavalleria Rusticana'' and abridged versions of ''Ernani'' and ''Fedora''.

Chronology of some appearances

1926 San Paolo Teatro Municipal Ballo in maschera (Riccardo)

1926 Montevideo Teatro Solis Ballo in maschera (Riccardo)

1930 San Benedetto Po Teatro Sociale Carmen (Don Jose)

1930 Casalmaggiore  Teatro Sociale Carmen (Don Jose)

1930 Venezia  Teatro Malibran Carmen (Don Jose)

1931 Genova Teatro Carlo Felice Andrea Chenier (Andrea Chenier)

1931 Genova Teatro Carlo Felice Carmen (Don Jose)

1931 Vicenza  Teatro Verdi Carmen (Don Jose)

1932 Roma  Eiar Ballo in maschera (Riccardo)

1932 Torino  Eiar Ballo in maschera (Riccardo)

1933 Novara  Teatro Coccia Carmen (Don Jose)

1933 Valencia Viveros Municipales Carmen (Don Jose)

1936 Palermo Teatro Massimo Adriana Lecouvreur (Maurizio)

1938 Montecatini  Kursaal Andrea Chenier (Andrea Chenier)

1938 Noto Teatro del Littoriale Ballo in maschera (Riccardo)

RECORDINGS FOR SALE

 

Columbia, Milano 1930-12-05

Stabat mater (Rossini): Cujus animam GQX10092 WBX 938

Columbia, Milano  1932-05-18

Fanciulla del West (Puccini): Or son sei mesi GQ7174 WB 4668

Columbia, Milano  1932-05-19

Fanciulla del West (Puccini): Che'lla mi creda GQ7174 WB 4669

 

Columbia, Milano 1931

Complete Mefistofele (Boito) with Emilio Venturini,  Nazzareno de Angelis and Mafalda  Favero

 

Columbia, Milano 1930/1932

Carmen (Bizet):  La fleur que tu m'avais  GQX10592 WBX 1251

Melandri by Stampanoni

Giorgio Malesci (Tenor) (Palermo 1876 - Fiume/Croatia 1908)

He made his debut in 1900 at Comunale of Forlì in ''Cavalleria Rusticana''. He never sang in the most important houses and died in Fiume while was singing at the local Opera house.

Chronology of some appearances

1900 Lonigo Teatro Comunale Cavalleria Rusticana (Turiddu)

1901 Roma  Teatro Adriano Faust (Faust)

1902 Reggio Emilia Teatro Municipale Traviata (Alfredo)

1903 Pavia Teatro Fraschini Pagliacci (Canio)

1904 Brindisi Teatro Verdi Lucia di Lammermoor (Edgardo)

1905 Milano Teatro Lirico Pagliacci (Canio)

1906 Firenze Politeama Nazionale Cavalleria Rusticana (Turiddu)

1907 Milano Teatro Dal Verme Ernani (Ernani)

1908 Messina  Teatro Vittorio Emanuele Gloria di A. Catalani (Lionetto)

RECORDINGS FOR SALE

 

G&T, Milano 1902-03

Faust (Gounod): Salve dimora 52350 1740b

Pagliacci (Leoncavallo): Vesti la giubba  52352 1742b

Cavalleria Rusticana (Mascagni): Viva il vino spumeggiante 52353 1745b

G&T, Milano 1904-12

Boheme (Puccini): Mimì è una civetta 52141 2312L

Victor Milano 1904-12

Manon Lescaut (Puccini): Ah! Manon, mi tradisce 63421

Cavalleria Rusticana (Mascagni) : Addio alla madre 16089A

Malesci by Stampanoni

Giacomo Rimini (Baritone) (Verona 1887 - Chicago 1952)

He was an Italian-born, naturalized-American operatic baritone. He was most admired for his interpretations of the works of Giuseppe Verdi. Born and raised in Verona, Rimini studied at the Verona Music Conservatory with Conti Foroni. He began his operatic career in Italy in his early twenties. His first lead role was as Escamillo in Bizet's Carmen at the age of 22. In 1910 he sang the role of Albert in Massenet's Werther at the municipal theatre of Desenzano. He sang with many notable Italian opera houses over the next several years including the Teatro Regio (Turin), the Teatro Massimo in Palermo, and at the Teatro Costanzi in Rome. In 1915, Rimini was chosen by Arturo Toscanini to sing the title role in Verdi's Falstaff at the Teatro del Verme in Milan. He reprised the role later that year with Toscanini at La Scala in the presence of King Victor Emmanuel III. Also in 1915, Rimini met Polish opera singer Rosa Raisa and the two of them fell in love with each other. They married in 1916 and moved to Chicago, Illinois shortly thereafter where they would both establish a long association with the Chicago City Opera Company, the Chicago Civic Opera, and the Ravinia Festival. Rimini had been married once previously to a woman from Rome, Rafaelle Bettei. Rimini and Raisa became naturalized citizens of the United States a few years after moving to Chicago. Although Rimini primarily worked in Chicago, he and his wife did occasionally travel to other parts of the United States for performances, usually performing together. They also maintained a villa in Verona where they would spend their summers and occasionally appear in operas. Most notably, Rimini originated the role of Ping in Puccini's Turandot at La Scala in 1926 opposite his wife in the title role. He also was the first person to completely record the role of Falstaff, which he also did with La Scala forces in 1932. In addition to Falstaff and Escamillo, Rimini was admired for his portrayals of the title role in Verdi's Rigoletto, Iago in Verdi's Otello, Amonasro in Verdi's Aida, Renato in Verdi's Un ballo in maschera, Figaro in Rossini's Il barbiere di Siviglia, Tonio in Pagliacci, Barnaba in Amilcare Ponchielli's La Gioconda among others. In addition to frequently singing opposite his wife on the operatic and concert stage, Rimini also performed frequently with Amelita Galli-Curci. The two of them sang their first Figaro and Rosina in Il barbiere di Siviglia together with the Chicago Opera Company among many other performances. Rimini and his wife both retired from the operatic stage in 1938, deciding to dedicate their time to teaching the next generation of opera singers. They opened a voice/opera school in Chicago which they ran for two decades. As a part of the school, students would travel to Italy with Rimini and his wife to study in Verona, often staying at their teacher's villa. Rimini and Raisa had one daughter, Rosa Guilietta Segala, who was born in July 1931. Giacomo Rimini died in his sleep on March 6, 1952 at his home in Chicago.

Chronology of some appearances

1910 Pistoia  Politeama Mabellini Ballo in maschera (Riccardo)

1913 Stoccolma  Teatro Reale Barbiere di Siviglia (Figaro)

1913 Stoccolma  Teatro Reale Boheme (Marcello)

1915 Piacenza  Teatro Municipale Ballo in maschera (Riccardo)

1916 Roma  Teatro Costanzi Ballo in maschera (Riccardo)

1916 Roma  Teatro Costanzi Boheme (Marcello)

1916 Buenos Ayres  Teatro Colon Ballo in maschera (Riccardo)

1916 Roma  Teatro Costanzi Andrea Cheneir (Gerard)

1916 Buenos Ayres  Teatro Colon Andrea Cheneir (Gerard)

1916 Montevideo  Teatro Solis Andrea Cheneir (Gerard)

1916 San Paolo  Teatro Municipal Andrea Cheneir (Gerard)

1916 Chicago  Civic Opera House Andrea Cheneir (Gerard)

1916 Chicago  Civic Opera House Boheme (Marcello)

1917 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1918 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1918 Rio de Janeiro  Teatro Municipal Andrea Cheneir (Gerard)

1918 Rio de Janeiro Teatro Municipal Andrea Cheneir (Gerard)

1918 Buenos Ayres  Teatro Colon Ballo in maschera (Riccardo)

1919 Chicago  Civic Opera House Ballo in maschera (Riccardo)

1919 New York  Lexington Theater Barbiere di Siviglia (Figaro)

1923 Chicago  Civic Opera House Andrea Cheneir (Gerard)

1923 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1925 Chiacago Ravinia Park Barbiere di Siviglia (Figaro)

1925 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1926 Los Angeles  Shrine Auditorium Barbiere di Siviglia (Figaro)

1926 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1927 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1928 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1929 Buenos Ayres  Teatro Colon Barbiere di Siviglia (Figaro)

1930 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1931 Chicago  Civic Opera House Barbiere di Siviglia (Figaro)

1933 Treviso  Teatro Sociale Andrea Cheneir (Gerard)

1933 Modena  Teatro Municipale Ballo in maschera (Riccardo)

1933 Viareggio Teatro Eden Barbiere di Siviglia (Figaro)

RECORDINGS FOR SALE

 

Odeon, Milano 1911/1912

Rigoletto (Verdi): Lassu in cielo with Maria Alessandrovich  82556

Rigoletto (Verdi): Piangi, piangi fanciulla with Maria Alessandrovich 82487

Vocalion, New York 1920-02?

Gioielli della Madonna (Wolf-Ferrari): Apri, bella, la finistrella (Serenade) 55009   60012

Vocalion, New York 1920-03?

Don Giovanni (Mozart): Là, ci darem la mano with Rosa Raisa 30108 A60019

Vocalion, New York 1921-03?

Africana (Meyerbeer): Adamastor re dell’acqua profonda 52050 A70053

Crucifix (Faure) (Fr.) with Rosa Raisa 52031 A70032

Vocalion, New York 1922?

Allegro, Il Penseroso ed Il Moderato (Handel): Cme and trip it as you go 9035 30169

Two Grenadiers (Schumann) (in Italian) 52039 A70029

Vocalion, New York 1923?

Fedora (Giordano): La donna russa  10931 A60051

Danza (Tarantella Napolitana) 52049   B70029

Trovatore (Verdi): Mira d’acerbe lagrime  with Rosa Raisa 11095   A70030

Brunswick, New York 1927-04-15/16

Otello (Verdi): Era la notte   XE22448 50108

Brunswick, New York 1927-04-20

Barbiere di Siviglia (Rossini): Largo al factotum XE22552 50108A

Brunswick, New York 1929-02-08/11

Cavalleria Rusticana (Mascagni): Turiddu mi tolse l’onore  with Rosa Raisa 90004 XE 29230A

Trovatore (Verdi): Mira d’acerbe lagrime  with Rosa Raisa XE29231 90004

Amleto (Thomas): Brindisi15201 E29232

Rimini by Stampanoni