Aug 21, 2014

Edgardo De Marco (Baritone)



Probably he made his debut in 1905 at the Teatro Umberto I ° Oneglia in ‘’Carmen’’. During his career he made guest appearances in Alessandria (1910), Athens (1910), Barcelona (1910/1911), Odessa (1911), Constantinopol (1911), St. Petersburg (1912) and Lisbon (1914). In 1922 he went to São Paulo, Brazil, where he continued his career. He made two records for Phonodisc Mondial.

Chronology of some appearances

1905 Oneglia Teatro Umberto I° Carmen (Escamillo)
1910 Alessandria d'Egitto Teatro Alhambra  Carmen (Escamillo)
1910 Atene Teatro Arniottis Ballo in Maschera (Renato)
1910 Barcellona Teatro Liceo La Vestale
1911 Barcellona Teatro Liceo Boheme (Marcello)
1911 Odessa Teatro Municipale Aida (Amonasro)
1911 Costantinopoli Teatro Petit Champs Aida (Amonasro)
1912 San Pietroburgo  Nuovo Conservatorio  Stagione
1914 Lisbona  Coliseo Recrejos Aida (Amonasro)
1932 San Paolo Teatro Santana Boheme (Marcello)

COMPLETE RECORDINGS FOR SALE








Phonodisc, Milano 1907/1908?
Rigoletto (Verdi): Tutte le feste al tempio with Linda Brambilla 163
Rigoletto (Verdi): Si vendetta, tremenda vendetta with Linda Brambilla 164















Nina Koshetz (Soprano) ( Kiev 1894 - Santa Anna, California 1965)



She was born into a family of intellectuals in Kiev then moved to Moscow and became an opera singer. In 1908—13 she studied in the Moscow State Conservatory (professor of solo singing U. Mazetti), her piano teachers were N. Shishkin, K. Igumnov, S. Taneev). Having received voice lessons in France from the retired dramatic soprano Felia Litvinne, she sang leading roles in opera and performed in principal opera houses across Russia and Europe. In the late 1910s she performed at the Petrograd Conservatory and was accompanied by then-unknown Vladimir Horowitz . She had initially resisted being accompanied by the unknown student, but afterward insisted that only he could accompany her there; she subsequently programmed some of Horowitz's songs. In 1920 she went to America and joined the Chicago Opera Association where she sang in the premiere of Prokofiev's ‘’The Love for Three Oranges’’ (1921). She later performed for the Russian Opera Company in New York and on tour in South America. At the end of the 1920s she was active in France, where she appeared in the French premiere of ‘’Sadko’’. Known for her overly-extravagant life style, her vocal powers declined in the 1930s and in 1940 she retired to Hollywood where she made a living as a voice teacher and restaurateur (a venture that ended in bankruptcy in 1942). She also appeared in bit parts in several Hollywood movies. 

Chronology of some appearances

1913-1917 Moscow S. Zimin's Opera House
1913 St. Petersburg Mariinsky Theatre

RECORDINGS FOR SALE








Artistopia, 1916
Demon (Rubinstein): In the Quiet of the Night 221
Sadko (Rimsky-Korsakov): Berceuse 222

Brunswick, 1922/1923
The Fair at Sorochyntsi (Mussorgsky): Parassia's Reverie 50036 X. 8956-6
The Queen of Spades (Tchaikovsky): It is Midnight 50036 X. 8959-2

Victor, 1928/1930
Prince Igor (Borodin): Yaroslavna's aria 9233A CVE43726-2
Sadko (Rimsky-Korsakov): Berceuse 9233B CVE43727-3
Dobrynia Nikitich (Grechaninov): The Flowers Were Growing in the Fields 7111B CVE 51104-2


Aug 20, 2014

Jules-Célestien Devoyod (Bass-Baritone) (Lyon 1841 - Moscow 1901)




He studied at the Paris Conservatoire by Nicolas Levasseur and Joseph Couderc. In 1867 he made his debut at the Grand Opéra in Paris as Nelusco in G. Meyerbeer's ''Africaine''. In 1870 he left the Grand Opéra, because he was occupied there insufficiently. Now he appeared at the famous French provincial theatres (Lyon, Marseille, Bordeaux, Toulouse) and also undertook foreign guest performances. In 1873 he was engaged by the Opera House in New Orleans, USA. In the 1874-78 seasons he appeared at the Théâtre de la Monnaie in Brussels and in 1888 sang at the Teatro de l'Opera in Buenos Aires. Since 1875 he had big success at the Court Opera of St. Petersburg like generally in Russia. At the Covent Garden in London he sang in 1883, 1884, 1887 and in 1891 and created there the role of Ivan Susanin in the English première of Glinka's ''A Life for the Tsar'', a part which he also reported in 1890 in the French première of the opera in Nice and in 1896 in the Paris première. At the Teatro Alla Scala in Milan he sang in 1893 the role of Wotan in the ''Walkure'' by R. Wagner. The artist had his biggest success, nevertheless, at the Court operas of St. Petersburg and Moscow as well as at the guest performances and concerts in the centers of the Russian music life. He passed away quite suddenly during a performance of G. Verdi's ''Rigoletto''at the Moscow Hermitage Theatre.

Chronology of some appearances

1867 Paris Grand Opéra
1873 New Orleans Opera House
1874-1878 Brussels  Théâtre de la Monnaie
1875 St. Petersburg Court Opera
1883 London Covent Garden
1884 London Covent Garden
1887 London Covent Garden
1888 Buenos Aires Teatro de l'Opera
1890 Nice Opera House
1891 London Covent Garden
1893 Milan  Teatro Alla Scala
1896 Paris Grand Opéra?

RECORDING FOR SALE








Private Cylinder, 1890's
Traviata (Verdi): Di Provenza il mar, il suol


Ottokar Mácha (Tenor) (Celovec, Czechoslovakia 1895 - ?)



He been descended from a Czech family and received the first singing education at the conservatoire in Prague from K. Burian, then he continued with August Iffert in Dresden. His debut took place in 1915 at the Municipal Theatre of Pilsen to which he belonged till 1918. Then he joined to the Vinohradské Divadlo (Theatre in Weinbergen) in Prague. In 1920 he was engaged as a heroic tenor by the German Land Theatre in Prague, where he sang mostly R. Wagner's repertoire. In the 1927-29 seasons he was active at the Theatre in Saarbrücken, in the 1929-30 season at the Municipal Theatre of Münster, in the 1930-33 seasons at the German Theatre in Teplitz-Schönau, in the 1933-34 season at the German Theatre of Aussig (Ustí nad Labem). From 1934-37 he appeared as a guest in different Czech theaters, also at the National Theatre in Prague. In 1939-42 again he was a member of the German Theatre in Brünn (Brno). His repertoire included roles like Florestan in ‘’Fidelio’’, Max in the ‘’Freischütz’’, Lohengrin, Tannhäuser, Otello of Verdi, Canio in ‘’Pagliacci’’, José in ‘’Carmen’’, Samson in ‘’Samson et Dalila’’ of Saint-Saëns etc. He was married with dancer Maria Klimesch. He spent his old age in Baden, near Vienna.   

Chronology of some appearances

1915-1918 Pilsen Municipal Theatre
1920 Prague German Land Theatre
1927-1929 Saarbrücken Theatre
1929-1930 Münster Municipal Theatre
1930-1933 Teplitz-Schönau German Theatre
1933-1934 Aussig German Theatre
1939-1942 Brünn German Theatre

RECORDINGS FOR SALE








Gramophone
Tannhäuser (Wagner): Auch ich darf mich so glücklich nennen B42069 14668
Der fliegende Holländer (Wagner): Steuermannslied B42070 14668


Roberto Turrini (Tenor) (Arco 1913 - Arco 2001)



He studied in Milan with the tenor Alfredo Cecchi and made his debut in April 1947 as Pinkerton at the Teatro Sociale di Asola in Mantua. He followed that with further appearances in ‘’Madama Butterfly’’ in Naples, and in 1948 went on to sing in Turin and Florence (‘’Aida’’), in Parma in 1949 and Milan and Rome in 1950. His performances in London were in ‘’Aida’’ (Stoll Theatre, 1957), ‘’La forza del destino’’ (Drury Lane, 1958) and ‘’Aida’’ (Covent Garden, 1958 and '59). He appeared as widely as Portugal, Switzerland, the United States, Brazil, Argentina, Venezuela, Egypt, Turkey and Iran, and ended his career in 1961 singing Otello in Antwerp. Other roles included Don Carlos, Macduff, Gabriele Adorno, Arrigo, Cavaradossi, Calaf, Dick Johnson, Don Jose, Enzo Grimaldi, Andrea Chenier, Turiddu and Canio. He sang in the first modern performance of Cherubini's ‘’Lodaska’’ (Milan, 1950), in a new edition of Alfano's ‘’Sakuntala’’ (Rome, 1952) and in the premiere of Chailly's ‘’La riva delle Sirti’’ (Monte-Carlo, 1959). He was a dramatic tenore di forza with a voice of burnished and penetrating tone that took him to many major international operatic centres. He was heard at London’s Drury Lane Theatre in ‘’Aida’’, underlining his reputation as a singer who could thrill by the sheer power of his voice.

Chronology of some appearances

1947 Mantua Teatro Sociale di Asola Madama Butterfly (Pinkerton)
1957 London Stoll Theatre Aida (Radames)
1958 London Drury Lane La forza del destino (Alvaro)
1958 London Covent Garden Aida (Radames)
1959 London Covent Garden Aida (Radames)

RECORDINGS FOR SALE








Cetra
La fanciulla del West (Puccini): Ch'ella mi creda AT0292 55202
Iris (Mascagni): Apri la tua finestra AT0292


Gaston Rye-Jean (Tenor) (1900 Mauguio - 1961?)



He studied singing under Mme Mellot-Joubert and made his debut (probably at the Opéra Comique) as Eleazer in ‘’Juive’’ by Halevy (1934). Sang in premiere of  ''Samaritaine'' by D'Olonne.

Chronology of appearance 

1934 Opéra Comique? Juive (Eleazar)

RECORDING FOR SALE








Private Record
Guillame Tell (Rossini): Asile héréditaire


Aug 19, 2014

Hans Schlitzer (Tenor) (Köln 1869 - Hamburg 1945?)




Probably he made his debut in 1893 at the Municipal Theatre in Lübeck, then sang in the 1894-96 seasons at the Municipal Theatre in Essen, after guested in the 1896-98 seasons at the Municipal Theatre of Zurich and from 1898-99 at the Opera House in Cologne. In the 1899-1904 seasons he belonged to the Municipal Theatre in Strasbourg, in the 1905-06 season to the Opera House of Leipzig, from 1906-08 to the Municipal Theatre of Hamburg and in the 1908-09 season  the Municipal Theatre of Magdeburg. He made guest appearances at the Court Operas of Munich, Stuttgart, Karlsruhe and Gotha, also at the Opera Houses of Frankfurt a. M., Wroclaw and Riga like at the Municipal Theatre of Bern, Switzerland. At the beginning of his career he sang lyric tenor parts like the Lyonel in Flotow’s ‘’Martha’’, Faust in Gounod’s ‘’Faust’’ and Edgardo in ‘’Lucia di Lammermoor’’, then also the roles of José in ‘’Carmen’’, Vasco in Meyerbeer’s ‘’Africaine’’, Werther in Massenet’s ‘’Werther’’, Radames in ‘’Aida’’, Tannhäuser and Walther von Stolzing in ‘’Die Meistersinger von Nürnberg’’. He lived later in Hamburg, where he was occupied after the First World War as a pedagogue at the Bernuth-Konservatorium.

Chronology of some appearances

1893 Lübeck Municipal Theatre
1894-1896 Essen Municipal Theatre
1896-1898 Zurich Municipal Theatre
1898-1899 Cologne Opera House
1899-1904 Strasbourg Municipal Theatre
1905-1906 Leipzig Opera House
1906-1908 Hamburg Municipal Theatre
1908-1909 Magdeburg Municipal Theatre

 RECORDINGS FOR SALE








Star Record
Lohengrin (Wagner): Höchstes vertrauen 3023

Beka
Lohengrin (Wagner): Schwanenlied 11255
Lohengrin (Wagner): Gralserzählung 11254