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A series of great OPERA Records from early G&Ts to World War II recordings on 78 rpm Victrola RecordsClick this link for more great Opera and Vocal Records in my other listings!Click this link for more great Vinyl and Test Pressings by IRCC, RCA Heritage, Historic Masters Click this link for more great Classical and Popular V DISCs in my other listings! 1895 portrait of De Lucia from "Freund's Weekly" magazineThe greatest of all tenors: Fernando De Lucia here in one of his late Phonotype recordings. This is a vinyl pressing from the original masters, from some markings on the sleeve they were produced 1987 in England, most likely by Symposium. Phonotype, Napoli 1921-01-23-- C2507 Vorrei (Tosti) unpubl- C2511 Oblio! (Tosti) unpublVinyl Pressing with Picture Label made by Symposium UK from original masters12" 78 rpm record Condition:Condition:Mint unplayedThese pressings are mint , any clicks and pops are in the original master. Pls read below on these pressings from the Historic Masters website It was in 1917, shortly after Fernando De Lucia had been enticed from the virtual retirement of several years to make some farewell performances at the T. San Carlo, Naples, that his old friend Raffaele Esposito, proprietor of the small Neapolitan recording house of Phonotype, offered him the opportunity of making records for his company. It would be a resumption of a recording career which had started in 1902, with the first of his 69 published titles made for G&T up until 1909, but to which the 30 published Fonotipias of 1911 had seemed to write finis. It would also be the most prolific period of that career, for over the period May 1917 – 1922 De Lucia recorded 301 titles for Phonotype: they embraced operas that he had never sung on the stage, religious pieces, a great variety of songs, both Neapolitan and otherwise, and much of his operatic repertoire (including ‘complete’ versions of Rigoletto and Il Barbiere di Siviglia). Phonotypes had little circulation outside Naples, and they are rare even in that war-ravaged city. Most are known in only a handful of copies. Many collectors may never have seen one. Although the late Ron Phillips sponsored direct shellac pressings of two of the titles from I Puritani (M 1764 & M 1810) it was a false dawn, for no others appeared. Thus, it was a cause for celebration among enthusiasts when, in 1967, it was learned that some two thirds of the De Lucia masters had survived fifty years and a World War (during which, to preserve them from scrap metal drives, they had been concealed in a concrete bunker under the garden behind the Phonotype plant). From tentative beginnings many of these survivors – some showing visible and audible scars of their precarious history – have since been pressed on vinyl and thus made available, probably to a wider audience than they had ever enjoyed when they were current. Benvenuto Franci (Baritone) (Pienza 1891 – Roma 1985)As a youngster, he was fascinated by the musical instruments of the town band: large and small instruments, woodwinds and brass - he played them all but preferred the euphonium. He studied the viola and performed in a trio with the band-master on the violin and the town barber on the cello. As he grew up, people noticed that he not only had great talent with musical instruments but that he also sang with an easy and sonorous voice. In 1910 his parents decided to send him to study voice in Rome at the Academy of Santa Cecilia where he attended the famous school of the great Maestro Antonio Cotogni. Fellow students, Beniamino Gigli and Giacomo Lauri Volpi, shared with him all their anxieties, hopes and fears.In 1917, he brazenly requested an audition with Emma Carelli, who was then running the Teatro Costanzi. After hearing the baritone, Carelli said: "A beautiful voice, a great voice. I would like to discipline and release it. This season the new opera Lodoletta by Mascagni will be performed. I will prepare you myself and will put you on the stage.”The day after Christmas of 1917 he debuted in Rome to great acclaim. This success at the Costanzi immediately earned him a contract with the San Carlo in Naples, where, working with Maestro Franco Capuana, he expanded his repertoire: Un Ballo in Maschera, Aida, Rigoletto, Il Barbiere di Siviglia, La Gioconda, Andrea Chenier, Cavalleria, Pagliacci, La Bohème, La Traviata, Don Pasquale, all operas that he would continue to sing throughout his career.His great success opened the doors to La Scala. Toscanini wanted him for Aida, Tristan, Carmen, Traviata, affirming his faith and esteem for Franci over a ten year period. He premiered a number of important works: Boito’s posthumous work Nerone, Zandonai's Francesca da Rimini and I Cavalieri di Ekebù, directed by the composer himself, Umberto Giordano's La Cena delle beffe, Il piccolo Marat by Mascagni, and Marinuzzi's Palla dé Mozzi, directed by the composer.For twenty years he sang in the most important Italian and foreign theatres, all the while expanding his repertoire: I Puritani, Tosca, La Fanciulla del West, Guglielmo Tell, Gianni Schicchi, La forza del destino, Fidelio, Otello, Nabucco, Die Meistersinger, and Lohengrin (Franci is one of the few Italian singers to embrace the Wagnerian repertoire). In Bologna, on the occasion of the premiere of Il Tabarro, he met Puccini who advised him to study Gianni Schicchi, a role he subsequently performed many times. The list of theatres in which Benvenuto Franci performed is long and glorious including, among many, Rome, Naples and Milan, Bologna, Genoa, Verona, Torino, Parma, Palermo, Trieste, Florence, etc.Abroad, he was regularly invited to perform at Covent Garden in London, at the Paris Opéra, in Madrid, Barcelona, Vienna, Berlin, and Lisbon.In the summer of 1924 he set sail for South America with the Company of Ottavio Scotto and Claudia Muzio, and the director Marinuzzi. The sixteen performances he was scheduled to sing became forty. He returned regularly to Brazil, Chile, and Argentina for ten years.In 1956, he retired from the stage where he had performed for forty years. "At the end of the opera, Toscanini called me into his dressing room, hugged me and spoke to me in a way that filled me with emotion and joy. Never will I forget that hug – I consider it the ultimate prize of my career.” Phonotypes had little circulation outside Naples, and they are rare even in that war-ravaged city. Most are known in only a handful of copies. Many collectors may never have seen one. Although the late Ron Phillips sponsored direct shellac pressings of two of the titles from I Puritani (M 1764 & M 1810) it was a false dawn, for no others appeared. Thus, it was a cause for celebration among enthusiasts when, in 1967, it was learned that some two thirds of the De Lucia masters had survived fifty years and a World War (during which, to preserve them from scrap metal drives, they had been concealed in a concrete bunker under the garden behind the Phonotype plant). From tentative beginnings many of these survivors – some showing visible and audible scars of their precarious history – have since been pressed on vinyl and thus made available, probably to a wider audience than they had ever enjoyed when they were current. Without a single operatic piece to which to relate speed and pitch the choice is between 75 and 79 rpm; the writer inclines to 75 rpm, at which the three songs are given in D flat min/major, E flat and E flat, respectively. ‘L’ultima canzone’ exhibits that rare phenomenon the De Lucia aspirate. Playing condition: Although the masters have been stored for many years under adverse conditions the voice is, in all cases, forward and resonant over whatever surface crackles (usually at the beginning of a side) there may be. Such noise may often be mitigated by the use of a narrower stylus. It is hoped that listeners will agree that these defects should not prevent the use of what, in the Committee’s view, truly are Historic Masters. Fernando De Lucia (b. Naples, 11 October 1860[1] or 1 September 1861, died there, 21 February 1925) was an Italian tenor opera singer and teacher who was famous in his lifetime as a performer and interpreter, and acquired a great posthumous reputation among record-collectors as a leading exponent of a particular style of singing. Early careerDe Lucia studied at the Naples Music Conservatory with Vincenzo Lombardi and Beniamino Carelli.[2] He made his debut at the Teatro di San Carlo, Naples, as Gounod's Faust.[3] Over the next two or three years he sang in Spain, South America and in the smaller Italian opera houses, in Linda di Chamounix, Dinorah, L'elisir d'amore, Fra Diavolo and La sonnambula.[4] While in Madrid he was procured by Augustus Harris and Herman Klein for his first London appearances in the Drury Lane season of 1887,but although Klein liked his Alfredo, he went comparatively unnoticed owing to the London debut of Jean de Reszke.[5] His Almaviva in Il barbiere di Siviglia (a role later closely associated with him) was described as 'truly detestable' by The Times.[6] [edit] Mascagni, Rome and FlorenceIn 1891 he took part in the world premiere of L'amico Fritz (Fritz Kobus) (31 October 1891, with Emma CalvT, Synnemberg and Lherie), by Pietro Mascagni, at the Costanzi Theatre, Rome.[7] For a singer later upheld (by some) as the model of bel canto style[8] it was originally quite otherwise, as the creator of Mascagni's original verismo roles that de Lucia was famous, and he was at the centre of the European Mascagni craze of the early 1890s.[9] (L'amico Fritz had its Covent Garden premiere on 23 May 1892.[10]) In November de Lucia was at Florence opera house creating the lead in Mascagni's third opera, I Rantzau[11] [edit] Verismo firsts in London, 1893De Lucia's verismo career continued with the first England performance (19 May 1893), conducted by Enrico Bevignani, of Leoncavallo's I pagliacci, with Melba, Victor Maurel and Mario Ancona (Tonio), taking the role of Canio first created at Milan a year earlier by Giraud.[12] Klein describes an audience breathless with excitement, and de Lucia's burning intensity in the role, a triumph of realism.[13] Mascagni made his own London debut at Covent Garden conducting L'amico Fritz on June 19 1893 with CalvT, de Lucia, Pauline Joran and Dufriche.[14] Soon afterwards, with CalvT, and accompanied by Paolo Tosti, de Lucia sang excepts from Cavalleria for Queen Victoria at Windsor. On July 7 of that year, with Melba, Ancona, David Bispham and Castelmary he gave the first England (Covent Garden) performance of I Rantzau. This was not a great success.[15] [edit] London and MilanIn 1893 de Lucia sang in New York. He performed his Canio with Melba and Ancona, and this was esteemed: but he was not admired as Don Ottavio in Don Giovanni nor as the Duke of Mantua. He did not repeat the experience.[16] In London in 1894 he was performing both Cavalleria rusticana and I pagliacci (together) at Covent Garden with Ancona, and Shaw admired the 'altogether exceptional dramatic force' which their performances gave to the works.[17] That season he was also in a bilingual (French-Italian) Faust, with Melba, Ancona and Bauermeister. Shaw thought the role of Faust too heavy for de Lucia: his 'dramatic instinct helped him well through a part in which he seemed likely to be overweighted. Several times in the garden scene he found the right musical treatment with exceptional success.'[18] That was also his verdict of his Duke in a Rigoletto with Melba, Ancona and Giulia Ravogli, though he got through the music 'adroitly and pluckily'.[19] De Lucia made a debut at La Scala in 1895 with the world premiere of Mascagni's Silvano, and he also appeared in the first Milan performances of Puccini's La bohFme (Rodolfo) and La Navarraise of Massenet.[20] At Covent Garden in that year, the first for nearly a decade in which Jean de Reszke did not appear, he shared the principal tenor work with Francesco Tamagno and Albert Alvarez.[21] David Bispham thought him admirable in Fra Diavolo that year, with Bispham and Mme Amadi (Lord and Lady Allcash), Marie Engle (Zerlina), Vittorio Arimondi and Antonio Pini-Corsi (brigands).[22] In 1896 in Milan he appeared as Cavaradossi in Tosca, and again as Almaviva.[23] In 1897 he sang in a State Concert at Buckingham Palace for the Royal Jubilee.[24] At the Costanzi Theatre, Rome on 22 November 1898 he gave the first performance of Osaka in Mascagni's Iris,[25] and at Covent Garden on 12 July 1900 he played Cavaradossi in the first performance of Tosca in England, supporting the Floria Tosca of Milka Ternina, with Antonio Scotti as Scarpia and Luigi Mancinelli conducting.[26] De Lucia was admired in Carmen, in I pescatori di perle, and for his singing of Rossini, Bellini and Verdi.[27] His last London season was in the 1905 company assembled by Henry Russell for the Waldorf Theatre (now the Strand Theatre), together with Alessandro Bonci, Ancona and Pini-Corsi.[28] His Milan La Scala farewell was as Rodolfo in 1916, and at the San Carlo in Napoli in 1917. His final appearance before the public was at the funeral of Enrico Caruso in 1921.[29] In his later years he lived in his home town of Naples and taught at the Conservatory there, in which he himself had been trained.[30] [edit] Vocal techniqueAlthough de Lucia's stage career was particularly associated with the work of Mascagni and the performance of the verismo operas (including the key moment of the Cavalleria rusticana premiere), the vocal technique projected in his recordings is not the strenuous, declamatory or histrionic style associated with the verismo movement in opera, but the converse. He had a lighter than usual voice for heroic roles, and his delivery was studied, measured, and in some ways artificial. In particular his Barber of Seville recordings, 'Ecco ridente', 'Se il mio nome', 'Numero quindici', etc., show a studied display of fioritura, ornament, portamento and breath control which appear to be a deliberate statement of the so-called bel canto style, or at least of its mannerisms which were being displaced by the different vocal resources demanded of the verismo tenor.[31] Shaw wrote of him in June 1892, having seen his l'amico Fritz with Calve, 'Signor de Lucia succeeds Valero and Lubert as artificial tenor in ordinary to the establishment. His thin strident forte is in tune and does not tremble beyond endurance; and his mezza voce, though monotonous and inexpressive, is pretty as prettiness goes in the artificial school.'[32] In 1894 Shaw speaks of de Lucia and Beduschi both as tenors 'of the Gayarre school, without the goat-bleat of its extreme disciples,'[33] and this comment gives the clue.[34] Like Valero (and Francesco Vignas), Gayarre was taught by Melchiorre Vidal in Madrid. Vidal's pupil Rosina Storchio was also closely associated with verismo premieres. De Lucia, in Spain in the 1880s, had imbibed this example. As a tenor d'artifice, Shaw is associating him with other tenors using a similar vocal method (such as Alessandro Bonci, Giuseppe Anselmi, Fiorello Giraud and Aristodemo Giorgini), in which a fast, narrow vibrato seems to be integral with the breath control used to sustain the portamenti and ornaments of the style. It is debated whether this is a true inheritance of the bel canto tradition of the age of Rubini or whether it is a product of flawed breath control in the method of the later 'tenor d'artifice'. [edit] Recording careerGramophone Company Recordings. De Lucia had a long relationship with the gramophone, which among later collectors acquired an almost legendary status. He recorded the following titles for the Gramophone Company between 1902 and 1908.[35] The dates are the issue dates: more than one date indicates two separate recordings. All are 10" records unless otherwise shown. The partners in duets are Antonio Pini-Corsi (bar), Maria Galvany (sop), Giuseppina Huguet (sop), Celestina Boninsegna (sop) and Ernesto Badini (bar). 'Stradella': Aria di chiesa (Pieta, Signore!) 1907. Mozart, Don Giovanni: Il mio tesoro, 1908. Dalla sua pace, 1908. Rossini, Il barbiere di Siviglia: Ecco ridente, 1902; 1904 (12"); 1908 (12"). Se il mio nome, 1908. Numero quindici (w. Pini-Corsi), 1906. Ah, qual colpo inaspettato (w. Galvany), 1908; (w. Huguet and A. Pini-Corsi), 1906 (12"). All'idea di quel metallo (w. Pini-Corsi), 1906 (12"). Bellini, La sonnambula: Ah! perchF non posso odiarti?, 1908. Son geloso del zeffiro (w. Galvany), 1908 (12"). Prendi, l'anel ti dono (w. Galvany), 1908 (12"). Donizetti, La favorita: Una vergine, un'angiol di dio, 1904. L'elisir d'amore: Obbligato obbligato (w. Badini), 1907. Verdi, Luisa Miller: Quando le sere al placido, 1908 (12"). Rigoletto: La donna e mobile, 1902. La traviata: Un d8, felice, 1904. Dei miei bollenti spiriti, 1906 (12"). Parigi, o cara, noi lasceremo (w. Huguet), 1906 (12"). Wagner, Lohengrin: Cigno gentil, 1902. Deh, non t'incantan, 1906. S'ei torna alfin, 1906. Cigno fedel, 1907 (12"). Cessarono i canti alfin (w. Huguet), 1907 (12"). Mai deve domandarmi (w. Huguet), 1907 (12"). Bizet, Carmen: Il fior che avevi 1902; 1907 (12"). La tua madre (w. Huguet), 1907 (12"). Pearl fishers: Della mia vita, 1906. Mi par d'udir ancora, 1906. Non hai compreso (w. Huguet), 1906 (12"). Gounod, Faust: Salve dimora, 1906. Tardi si fa (w. Boninsegna), 1904 (12"); (w. Huguet), 1907 (12"). Romeo e Giulietta, Deh sorgi, o luce, 1908. Thomas, Mignon: La tua bell'alma, 1906. Ah non credevi tu, 1906. Addio, Mignon, 1905 (12"). Massenet, Manon: Il sogno, 1902; 1907. Werther: Ah! non mi ridestar, 1902. Mascagni, Cavalleria rusticana: Siciliana, 'O Lola', 1902. Giordano, Fedora: Amor ti vieta, 1902. Mia madre, 1904. Vedi, io piango, 1904. Puccini, Tosca: Recondita armonia, 1902. Cilea, Adriana Lecouvreur: L'anima ho stanca, 1904. Lontananza, 1904. Neapolitan. Anon: Fenesta che lucive, 1902. Baldelli: A suon di baci, 1902. Barthelemy: Sulla bocca amorosa, 1908. Triste ritorno, 1908. Serenamente, 1909. Cannio: Carmela sua, 1909. di Capua: O sole mio! 1908. Costa: Napulitanata, 1902. Tu sei morta nella vita mia, 1902. Era di maggio, 1908. Oil8, oila, 1909. de Curtis: A Surrentina, 1909.Denza: Occhi di fata, 1904. Gambardella: Nun me guardate, 1909. Ricciardi: Luna l·, 1909. Tosti: Serenata, 1904. Ideale, 1902. Marechiare, 1902. Fonotipia Records. De Lucia also recorded 30 Neapolitan songs for the Fonotipia label (later subsumed under Odeon Records). This company began recording exclusively celebrities in October 1904, having been founded for that purpose by Baron d'Erlanger as the Societa Italiana di Fonotipia, Milano.[36] The de Lucia titles had the catalogue numbers 92695 to 92724: the 92000 sequence was cut between 1907 and 1914 on the characteristic ten and three-quarter inch Fonotipia record, and these were probably made after cessation of work for Gramophone Co.: some duplicate the HMV songs. Phonotype Records.[37] Not to be confused with Fonotipia, de Lucia later established his own recording company, the Phonotype Company, mainly to ensure that his art was suitably immortalized. These include many operatic titles, including a near-complete Barber of Seville. More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS - VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise."EXCEPTIONALLY QUIET" is close to noiseless, like a vinyl pressing."VERY QUIET" is an above average quiet record for a given pressing."Quiet" is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit's eCommerce Solution
Price: 22.99 USD
Location: San Francisco, California
End Time: 2024-11-29T00:13:42.000Z
Shipping Cost: 7.49 USD
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Restocking Fee: No
Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 30 Days
Refund will be given as: Money Back
Artist: CLICK RIGHT ARROW > FOR CONDITION, FERNANDO DE LUCIA, Benvenuto Franci
Release Title: Gioconda Enzo Grimaldo!/ O grido di quest'anima
Material: Vinyl
Genre: Classical, Opera
Record Label: PHONOTYPE
Record Size: 12"
Speed: 78 RPM
Catalog Number: C2340/1, C2340, C2341
Sub-Genre: Opera
Language: Italian
Style: Aria, Ars Nova, Cantata, Canzona, Chorale, Elegy, Film Score/Soundtrack, Lied, Lullaby, Madrigal, Mass, Motet, Musical/Original Cast, Oratorio, Vocal, A Capella, Ballad, Barcarolle, Canon, Duet, Eastern European Music, France & Belgium, French Music & Chansons, Germany & Austria, German music, Italian Music, Requiem, Russian Music, Spanish Music, Traditional & Vocal
Format: Record
