Treasures of the St. Petersburg State Museum

Note by Alan Bilgora











Although the Russian catalogue was initially perhaps the least known listing of gramophone recordings, its contents has finally proved to be one of the most fascinating for devotees of Recorded Vocal Art. The first records that went on sale in 1897 were stamped “Pressed in Hanover” where Russian artists went initially to record their voices. By 1899 the brothers Berliner had issued discs actually recorded in St. Petersburg, and by 1900 Fred Gaisberg, the recording agent for the Gramophone Company, had begun his series of recordings there. However, not all singers approved of the results, and some took quite a while before being tempted into the recording studio. Nonetheless, by 1901 and with a factory under construction in Riga, many of the most noted singers, including Chaliapin and Sobinov, were making recordings. The Pathé Company had also begun to record and distribute their centre start recordings; these required a unique ball-point needle to track the signal which was located at the bottom of the groove, as opposed to the side walls of the grooves on the Berliner discs which rapidly become the dominant technology. The Gramophone Company was also busy recording in Warsaw, and such was public demand for both the established singers and the rising stars of Eastern European that the recording industry could offer significant fees.

As in Western Europe the domestic phonograph was an expensive luxury and individual records relatively even more so. Those fortunate, and wealthy, enough to indulge themselves could hear artists of national repute but they also wanted even more to hear those international singers who had achieved star status on the worlds operatic stages, and who (as guest artists) remained the mainstay of the Russian Operatic Seasons. Productions in Imperial Russia were dominated by the popular Italian, French and German repertoire. Until the second half of the 19th Century, and the emergence of a national Russian school, singing in the Bel Canto style was essentially the method of vocalism most admired. Many Russian singers had indeed undertaken vocal studies in Italy in order that they too could hold their own in this genre against their internationally renowned colleagues.

It was the Fonotipia Company, a highly energetic and commercially astute early label, who had many of the international voices under contract, and who found their discs being eagerly imported from Western Europe. What is however the most important factor regarding the domestic Russian recorded legacy is, that with few exceptions, most of them received only domestic distribution. Of course, when a Russian artist had an international cachet like Chaliapin, Sobinov or Smirnov, their records, pressed by the Gramophone Company, found their way onto a wider market, but regrettably so many examples of singing by superb Russian singers were only to be heard in Russia itself.

A relatively few Russian records did make their way into Western Europe in the baggage of emigrants fleeing the 1917 Revolution, but until recently, not only because of commercial or demographic reasons but also certain political pressures, many wonderful discs have existed only in collections in the Soviet Union. This has resulted in some domestic recordings (and a number of those imported selections) achieving an almost legendary reputation among the avid vocal collector.

Prima Voce has enjoyed a special relationship with the St. Petersburg State Museum for many years. From their archives it has been possible to assemble for this double CD set a selection of early recordings that were pressed by both the Gramophone and Fonotipia Companies. In their original form (and in any condition) these discs would require many thousands of pounds to possess. Preserved in such immaculate condition, as they have been by the archive, they are priceless treasures adding uniquely to the incredible history of recorded sound. These performances bear witness to the excellence of the artistic and technical abilities of so many now forgotten singers who once graced the Imperial Russian and international operatic stages.

Leonid Sobinov (1868-1934) - Tenor

Sobinov was one of a number of fine lyric Russian tenors, and enjoyed an international career being thought the logical successor to his world famous countryman Nicolai Figner (1856-1919). Sobinov completed his training in law before deciding on an operatic career, eventually graduating from the Moscow Conservatory with a Gold Medal. He made his debut at the Bolshoi in 1897 as Sinodal in the Demon, followed by appearances as Bayan in Ruslan and Lyudmila, Vladimir in Prince Igor, the title role in Gounod’s Faust, Alfredo in La Traviata, the Duke in Rigoletto and Lensky in Eugen Onegin. In this last role he was considered to be outstanding, gaining critical acclaim, and being hailed as even greater than Figner. His technique was based on the Italian school although his voice had a distinctive Russian timbre. He joined Mamontov’s company, where particular emphasis was given to works by contemporary Russian composers. He visited Italy for the first time in 1904, appearing successfully at La Scala as Ernesto in Don Pasquale in a distinguished cast that included Rosina Storchio, Giuseppe de Luca and Antonio Pini-Corsi. He returned the following year as Fra Diavalo, Alfredo in La Traviata with Storchio as Violetta and Riccardo Stracciari as Germont père, and in 1906 he sang Des Grieux in Massenet’s Manon.

Using his Russian connections Raoul Gunsbourg secured Sobinov for the 1907 season at Monte Carlo where he sang Don Pasquale, with Titta Ruffo, Mefistofele with Chaliapin, Rigoletto with Selma Kurz and Maurice Renaud. He also appeared in the Berlin performances given by the same distinguished Company. From this time Sobinov appeared at both the Bolshoi and Marinsky, widening his repertoire to include Gerald in Lakmé, the Prince in Rusalka, Nadir in Pescatori di Perle, the title role in Werther, Berendey in The Snow Maiden and Dimitri in Boris Godunov. Later he added Gluck’s Orphée, Rodolfo in La Bohème, Wilhelm Meister in Mignon, Lohengrin, and Nápravník’s Dubrovsky.

He remained in Russia after the revolution, performing in opera and concert, and was briefly Director of the Bolshoi. He continued to sing as a guest artist and recitalist in Warsaw, Helsinki, Berlin and Paris until his farewell which took place in 1933 at the Bolshoi. On retirement he joined the staff of Stanislavsky’s Opera Theatre Studio where he remained until his death in 1934.

Sobinov’s records have always been admired by for their stylish delivery, evenness of scale, and well controlled dynamics. Although famous for his performance of the standard western European operatic roles, he was equally important as a leading Russian artist contributing to a consolidation of a national musical identity.

The Records: As expected from this highly regarded tenor the tone in the aria from Dobrïnya Nikitich is smooth and unforced and Lensky’s aria receives a classical rendition. The Pearl Fishers aria is sung in the usual downward transposition to A flat minor and with excellent high B flats in each verse. Note that the closing bars are sung as written, without an interpolated high note. The sentimental and lively Waltz from Raphael sounds suitably passionate.

Lev Mikhailovitch Klement’yev (1868-1910) - Tenor

Klement’yev was born in St. Petersburg and studied at the Conservatoires there and in Karkov, beginning his theatrical career in operetta. He was a talented amateur boxer and possessed a physique that was to stand him in good stead when singing romantic or heroic roles. His proper operatic debut was in Karkov in 1887 and thereafter in Tiflis (Tbilisi) during the 1889-90 season, and at the Bolshoi in 1892. In 1893 he sang in the première of Rakhmaninov’s Aleko and in the Moscow premières of Rimsky-Korsakov’s The Snow Maiden and the now forgotten Angelo by César Cui. By 1903-4 he was a favourite singer with both the Mamontov Company and with the Zimin Company. Klement’yev was a successful recitalist he appeared in many Russian theatres and was a particular favourite at the Narodny Dom where his Manrico in Il Trovatore was much admired. Although he was an occasional guest in a number of European houses in popular French or Italian operas he is best remembered for his Russian roles: Lensky in Eugen Onegin, the title roles in Rubenstein’s Nero and Rimsky-Korsakov’s Sadko, Hermann in Pique Dame, King Charles II in the Maid of Orleans, Raoul in Les Huguenots and Berendey in The Snow Maiden. He was in his vocal prime in 1910 when he became ill. Ignoring what would have been, even in the early 20th century, a routine appendicitis operation, he insisted on singing and before an operation could be performed peritonitis set in. Klement’yev died 30 October 1910.

The Records: The dramatic outburst ‘Forgive me bright celestial vision’ comes from a man who has become quite demented: tormented by love Hermann is also consumed by the need to know the secret of the successful card sequence which will restore his finances. The piece ends with a thrilling high B flat and a sustained final top A flat that is very effective.

Oscar Kamionsky (1869-1917) - Baritone

Born in Kiev Kamionsky studied voice production in St. Petersburg with Camillo Everadi, who was a former pupil of Manuel Garcia the younger, the most noted teacher of the 19th century. He also studied with Dadeli and Paletchek before going to Italy where he completed his education with Rossi. He made his debut in Naples at the Teatro Bellini in 1892 and appeared in Florence and Athens in 1893. Kamionsky returned to Russia in 1894 to become a member of the opera in Kharkov. Over the next few years he appeared in Kiev, Rostov and Tiflis (Tbilisi) singing a wide variety of roles including Renato in Ballo in Maschera, Figaro in Nozze di Figaro and Il Barbiere di Siviglia. He gained a huge reputation, especially in those contemporary Russian operas then gaining popularity. His singing in the title role of Eugen Onegin and Kochubey in Mazeppa was considered outstanding. He was a member of a private company in St. Petersburg in 1904 and between 1905-8 and after 1913 he sang with Zimin’s Company in Moscow. He gave up his theatrical career in 1915.

It was said that his singing was externalised and that he never really got into the heart of a role, nonetheless his studies with some of the finest teachers, combined with a considerable natural talent, ensured the development of a superb technique which gained for him the sobriquet of ‘The Russian Battistini’. Since the Italian baritone was universally considered to be the greatest of his era, this was praise indeed, and to Kamionsky’s enormous advantage when he became, for the last two years of his rather short life, a much admired teacher. Oscar Kamionsky died in Yalta 15 August 1917.

The Records: Igor’s aria is difficult to characterise but Kamionsky’s high baritone manages the varying moods well. He is also quite moving in Onegin’s plea for Tatiana’s forgiveness, regretting that he originally spurned her and is now married to another.

Maximilian Karlovich Maksakov (1869-1936) - Baritone

The possessor of a huge dramatic baritone voice he was a pupil of Camillo Everadi in St. Petersburg and also studied in Milan. Like a number of other distinguished opera singers in Russia he commenced his theatrical career in operetta. He made his operatic debut in Rostov on Don in 1889 singing the title role in Rubenstein’s Demon and for some years was a member of the opera company in Tiflis (Tbilisi). He was a welcome guest in various regional houses throughout Russia, reaching in St. Petersburg in 1910. He excelled as Amonasro in Aida and Tonio in Pagliacci and was successful in other Italian roles. Although short of stature, even the most demanding critics praised his dramatic gifts, and he was highly regarded as the tormented Tsar in Boris Godunov; one critic comparing his emission of tone as being like a ‘battering ram’.

Hoping for financial gain as well as for artistic kudos, Maksakov assumed that knowledge of singing and stagecraft would enable him to produce opera on a commercial basis. Unfortunately as so many before and since, Maksakov was doomed to failure. Nevertheless over the years he continued to mount performances in Russia with supportive colleagues; in 1920 he was based in Tashkent three seasons. In 1925 he began to teach in Leningrad and Moscow and continued to occasionally promote concert and opera performances until shortly before his death in Moscow in 1936.

The Records: Maksakov’s tone maybe dry but it is nevertheless authoritative, and in Kochubey’s aria from Mazeppa he maintains a fine musical line. The music from Rubenstein’s Die Maccabäer (1875) is rarely heard, but Judas’s aria ‘What orders, Lord’ is both tuneful and possessed of the required air of gravitas.

David Chistopherovitch Yuzhin (1874-1923) - Tenor

This much admired singer was born in Russia of Greek parentage, his real surname being Pisitko. The young David trained to be a priest in the Russian Orthodox Church his natural talent coming to light in the church choir. A short period in the local Conservatoire was followed by private study and in 1901 his successful debut at the Moscow Bolshoi. In 1906 he married the outstanding dramatic soprano Natalia Yermolenko (1881-1937) and together they sang at the Bolshoi in the standard international repertoire and a number of Russian works. Yuzhin also appeared with the Zimin Company in Moscow and sang frequently with great success in St. Petersburg. After his retirement from the stage he taught singing for a while, and died in Moscow in 1923

Natalia Yermolenko-Yuzhina (1881-1937) - Dramatic Soprano

Without doubt Natalia Plugovskaya Yermolenko was one of the greatest dramatic sopranos in Russia during the turn of the century, and always compared to her more famous colleague Félia Litvinne (1860-1936). Her initial voice lessons were undertaken with Zotova in Kiev, a teacher noted for developing both dramatic and technical abilities in her pupils. Natalia then went to Paris where she completed her studies with Paul Vidal and under the name of Yermolenko made her theatrical debut in Kiev as Lisa in Pique Dame. She was equipped to sing a wide variety of dramatic roles from the classical French and Italian repertoire to Wagner. She appeared with the Marinsky Company in St. Petersburg with great success in 1901-1905, and thereafter at the Bolshoi in Moscow until 1908. In 1906 she married the tenor David Yuzhin and from 1908 appeared with him under the name of Yermolenko-Yuzhina which she continued to do for the remainder of her career.

Yermolenko-Yuzhina appeared as Marina in the 1908 local première of Boris Godunov as part of the Diaghilev Company alongside Chaliapin, Smirnov and Kastorsky. The French critics were very enthusiastic, praising not only her glorious voice, but also her imperious manner. She was re-engaged at the Bolshoi 1910-15 but divided her time between Moscow and guest appearances in St. Petersburg until 1920. Yermolenko-Yuzhin’s fame encompassed a number of difficult roles including Brünnhilde, Valentine in Les Huguenots, Gutrune in Götterdämmerung, Violetta in La Traviata, Margherita in Mefistofele, Norma, Marina, Yaroslavna in Prince Igor, Lisa in Pique Dame, Tamara in the Demon, Masha in Dubrovsky, and the tile role of Serov’s Judith. Following the death of her husband in 1923 she moved to Paris and simply disappeared. That such a situation could exist with an artist of this importance, and one who had been so successful in the French capital barely a decade earlier, is almost unbelievable and remains one of life’s mysteries.

The Records: Although heavily truncated this version of the final section of the great love duet from Les Huguenots is thrillingly sung, with wonderfully supported high B naturals from both singers. In Samson Yuzhin evocation to the Israelites to throw off their bonds of Philistine oppression is truly heroic.

Vasily Damayev (1878-1932) - Tenor

Apparently a shepherd and from very humble stock his early training was received in the Singing Class of the Moscow Philharmonic in 1905. By 1906 he had commenced his theatrical career with the Zimin Opera Company in Moscow, was singing major roles with them by 1908, and an established major talent. He sang Hermann in Pique Dame, Sobinin in Ivan Susanin the title role in Sadko and Don José in Carmen. His easy top notes made for an especially successful interpreter of the romantic tenor roles in the Rimsky Korsakov operas, and he sang in the première of Le Coq d’Or in 1909. He appeared with the Diaghilev Company introducing Russian composers to Western Europe and was part of the ensemble including Chaliapin who in 1913 gave the first performances of Boris Godunov in Paris and London. He was a member of the Bolshoi in Moscow 1917-1920 and 1921-24 once again sang with the Zimin Company. Damayev was active until 1930 on stage and in recital, he became a noted teacher and one of the curators of the Moscow Theatre Museum. Damayev died 11 October 1932.

The Records: The hero of May Night Levko, makes a lively accusation against the mayor (his own father) for trying to poach his girlfriend: the pace of the music and the ringing top A naturals are exciting. In his plea of innocence from Oprichnik his tone is suitably solemn.

Yevgeniy Eduardovich Vitting (1884-1959) - Tenor

Born in Riga (Latvia) Yevgeniy’s intended career in commerce was put aside for vocal studies first in St. Petersburg and later in Italy with Del Fiume. Vitting made his theatrical debut in 1909 at the Marinsky and remained a contract artist there until 1918. He appeared at the Narodny Dom, a theatre that proved over the years of its existence to be a fine stepping off point for a number of major careers. His voice was quite large and of an attractive timbre, (classified as mezzo-carratere) which ensured his success in a wide variety of roles. The Verdi roles, in particular Radames in Aida was ideally suited and he became an admired Pinkerton in Puccini’s Madama Butterfly. Naturally he made a first class impression in the Russian dramatic repertoire where his singing of Hermann in Pique Dame and Sinodal in the Demon were considered outstanding. His solid middle register and easy top notes enabled him to sing Sobinin in Ivan Susanin, Raoul in Les Huguenots, Vladimir in Prince Igor, the Indian guest in Sadko, Lïkov in The Tsar’s Bride and to undertake Tannhäuser and Die Meistersinger with equal success.

Vitting returned to Latvia at the end of the Great War and became an important figure in the musical life of the nation. He helped to establish an Opera company, he was appointed professor at the Riga Conservatoire, and trained singers at the Minsk Conservatoire. He made occasional guest appearances at the Marinsky and he undertook tours of Germany and France, but his interest in developing the talents of his pupils took precedence, and for nearly 40 years he was active as a teacher until his death in Riga in 1959.

The Records: Although not possessing a particularly beautiful natural vocal tone Vitting nevertheless sings these two attractive songs by Grechaninov and Dargomïzhsky with style and fine control over the top of the stave, demonstrating a sound and well schooled technique.

Nikolay Shevelyov (1874-1929) - Baritone

This distinguished baritone (whose name was actually Nikolay Artemyewitch Shevukin) was born in Tiflis (Tbilisi) 18 December 1874, the son of a tailor, and as a boy sang in his church choir. His vocal studies took him to Milan and the renowned Italian tenor Leopoldo Signoretti. He had a naturally beautiful voice, well focussed so that it seem larger than it really was, and a delivery so unforced that any faults that might be observed did not seem to matter.

Shevelyov was genuinely admired by his countrymen for his dedication to popularising contemporary Russian operas. His Italian training, which had influenced so many national artists, was not allowed to override the development of a style more suited to an emerging national school. He was a member of the Mamontov Opera Company in Moscow 1896-1899, and in 1899, at the Solodovnikov Theatre he sang Gryaznoy in the première of Rimsky- Korsakov’s The Tsar’s Bride. In the same house in 1900 he also appeared in the title role at the première of Tsar Saltan. He sang in Kiev 1901-2, became a member of the Gvidy Opera company in St. Petersburg for two years and in 1905 he sang in Nishni-Novgorod before returning to Moscow and the Zimin company where he remained on staff until the end of his career. He appeared in the revival of Mussorgsky’s Khovanshchina (1910) and from 1914-21 made appearances at various regional houses including the Tiflis Opera. He was eventually appointed Professor of vocal studies at the Tiflis Conservatoire. Nikolay Shevelyov died 12 December 1929.

The Records: Shevelyov’s smooth lyric baritone voice is heard to advantage in this lovely song by Arensky, which contains a high G natural that is vocalised with satisfying ease.

Dimitri Alexeyevich Smirnov (1881-1944) - Tenor

At the beginning of the 20th century the two outstanding Russian lyric tenors were Sobinov, and Dimitri Smirnov his junior by some nine years who was born in Moscow 7 November 1881. Both singers achieved national and international fame, but Smirnov was perhaps the more controversial artist. He was blessed with a voice of a highly individual timbre, and his technical expertise enable him at will to demonstrate an excellent mezza-voce (half-voice) an ability to produce a messa di voce (the gradual swelling and diminishing of tone), diminuendi and morendi (the dying away of tone to create a filar di voce (thread of sound) that fascinated his audiences – and caused his severest critics to complain that he was just showing-off. His education at the Imperial School of Commerce was followed by vocal studies with E.K. Pavlovskaya in Moscow and later with Mieczylaw Hoborovsky in Warsaw. He made his theatrical debut in 1903, under the name of Dimitri Solojov, with the Mamontov Operetta Company in St. Petersburg as Gigi in a long forgotten work by Esposito called Camorra. A further short period of study followed before his return to the stage, this time at the Bolshoi, as Bayan in Ruslan and Lyudmila conducted by the young Sergei Rakhmaninov, after which he was engaged at both Imperial theatres singing a wide variety of roles.

Like many other Russian artist of the time he went to Paris and was heard by Raoul Gunsbourg who contracted him for performances at Monte Carlo. Over the next five years he sang there regularly becoming very popular, and appearing with Chaliapin, Chenal, Ruffo, Kurz and Lipkowska. In 1908 he was part of the illustrious company (including Chaliapin, Altchevsky, Yuzhina, and Kastorsky) who presented Boris Godunov for the first time at the Paris Opéra and created a sensation. Otto Kahn, Chairman of the Metropolitan Opera Board of Directors was present and immediately instructed Gatti-Cassaza his Opera House manager to offer Smirnov a contract. He made his New York debut on 30 December 1910 as the Duke in Rigoletto with Amato as the Jester, Lipkowska as Gilda and Andrés de Segurola as Sparafucile. On 13 January 1911 he sang Romeo et Juliette with the beautiful Geraldine Farrar, and on 18 January sang Rodolfo in La Bohème with Alice Nielsen as Mimi. Sadly the critics were only moderately pleased, and, with no Russian operas mounted during his two seasons with the company, Smirnov had no opportunity to impress in his most famous roles. In cannot have helped that his tenure coincided with some of the greatest tenors in the world: Caruso, the big voices of Hermann Jadlowker, Leo Slezak, the colourful Spaniard Constantino, the American Ricardo Martin, an elegant and popular young John McCormack and the stylish French tenor Edmond Clément.

Back in Europe he was much more successful singing at the Monnaie with the Monte Carlo Company, and at Madrid in Mefistofele with Chaliapin. In 1914 Sir Thomas Beecham conducted a series of Russian operas at Drury Lane, and London audiences heard Smirnov for the first time as Levko in Rimsky-Korsakov’s May Night. Paris heard him frequently in Russian seasons at the Théâtre du Châtelet and the Théâtre Sarah Bernhaardt where he was heard in performances of Prince Igor, Rusalka, Ruslan and Lyudmila and Serov’s Judith. For some years after the Great War he was heard in Geneva, at the Opéra Comique in Paris, and in Monte Carlo. There in 1924 he sang Pinkerton in Madama Butterfly to the Cio Cio Sans of the Irish soprano Margaret Sheridan and the noted Italian Gilda Dalla Rizza. He gave numerous recitals in Europe, the Far East and the USA and (having fled the 1917 Revolution) revisited Russia for the first time in 1926.

His concerts were well received, and his voice retained those qualities which for some critics made him seem unmusical, but to others were the epitome of a great vocal technique. In 1928 he took a cameo role in a film about Peter the Great and in the mid 1930’s evidently lived in London where he gave concerts and sang on the radio. Between 1937 and 1941 he was a successful teacher at the Athens Conservatoire and during the last years of the war he went to Riga where he died 27 April 1944.

The Records: As always Smirnov’s plangent and very distinctive tone is heard to advantage with a number of floated head-tones, lovely mezza-voce effects and dynamics that help to colour the timbre. In the evocative aria from Dubrovsky, he ends with a beautiful top B natural sung on a messa-da-voce. His Lensky was famous and his ardent singing here is a fine memento of his reading of the role.

Alexandr Alexandrovich (1881- ?) - Tenor

Biographical details of this tenor are sketchy. He was a principal tenor at the Marinsky, he was also a distinguished recitalist noted for unusual programming. He and the bass Kruznev occasionally gave joint recitals, including in them many new compositions. In his recorded legacy the choice of repertoire is also unusual but it is obvious from the timbre of the voice alone that his was a considerable talent.

The Records: Why this voice is not better known is a mystery. This tenor has a lovely lyric tone, used with taste and fine control .The aria from the Maid of Pskov is not often recorded and well worth hearing, and the songs by Glinka and Dargomïzhsky are sung with the refinement of an artist admired as a recitalist. His tenor Orfeo, sung in classical style, makes a good contrast to the more familiar Contralto or Mezzo-soprano assumptions of the role.

Pyotor Ivanovich Slovtsov (1886-1934) - Tenor

Born in 1886 in Ustianskoye a province in Siberia the young Pyotor was enrolled in the local academy at Krasnoyarsk. His vocal talent was apparent early, and he began studies with P.I. Ivanov-Radkevich a noted teacher and composer. Slovtsov was at Warsaw University Law Faculty in 1909, but unable to deny the call of the stage entered the Moscow Music Conservatoire under I.Y Gordi, eventually making his operatic debut in 1912 with the Kiev Opera Company. He was freely compared with the finest Russian tenors of the day, and the public considered him a serious rival to Sobinov, Smirnov, Alchevsky, Davidov, Vitting, the Latvian Petrauskas,(who sang in Russia under the name of Piotrovsky), Rosing, Labinsky and Figner. He remained at Kiev until 1915 when he joined the Petrograd People’s House Theatre and appeared alongside Chaliapin and other international artists in such operas as Faust, Rusalka, Prince Igor and Mozart and Salieri. In 1920 he and his wife, the singer M.N Rioli-Slovtsova moved to Krasnoyarsk where they taught and sang together. In 1928 he was appointed professor of music at the Moscow Conservatoire, but continued his career appearing at the Bolshoi in a wide variety of popular roles. He was heard as a guest in a number of regional houses and at the Mariinsky, St Petersburg (now Kirov). Active until his early death in 1934 at the age of 48, his refined art has been preserved on what have proved to be extremely elusive records to find in good condition.

The Records: Yet another voice that is not too familiar to collectors: Slovtsov’s lovely lyric quality is heard to advantage in two lesser known but easily assimilated melodies. Dargomïzhsky’s Hide me stormy night and Amani’s Oh! God. What a wonderful cool evening are sung with ingratiating tone and fine style.

Vladimir Rosing (1890-1963) – Tenor. Rosing was born in St. Petersburg 11 January 1890, and became one of the most colourful artists on the operatic stage. His was a prosperous family, his father was a barrister, and he was well educated and interested in the theatre, producing plays for his class mates. Hearing the great Italian baritone Titta Ruffo in a performance of Pagliacci inspired the young Vladimir and he began to study voice with Joachim Tartakov in St. Petersburg. He made his concert debut in 1910 in a joint recital with the violin prodigy Jascha Heifetz (1901-87). Rosing took further vocal instruction with George Power in London, with Jean de Reszke in Paris, and finally with Giovanni Sbriglia. He made his operatic debut in 1912 as Lensky in Eugen Onegin. In 1915 he was living in London, acting and directing operas, and he sang in the London première of Pique Dame as Hermann. In the winter season of 1917-18, the public interest in Russian Art and Music having been stimulated by Diaghilev, Rosing gave the unprecedented number of 40 sold out recitals. He relocated to the USA in 1921, and became director of the Eastman School of Music in Rochester, he also formed the American Opera Company in 1927 and toured for some years with this troupe. Back in London in the mid 1930’s he organised the British Music-Drama Opera Company under the musical direction of Albert Coates, and legion are the stories of him as leading singer, dancer and producer in their performances. He returned to America in 1939, directed operatic sequences in movies, and established a singing studio. Among his pupils was Sylvia Fisher, who later starred at Covent Garden in the post war seasons, Thelman Votipka, and the well known tenor Charles Kullman, both stalwarts of the New York Metropolitan Opera. Rosing organized gala fétes in various centres, founded the California Opera Association and also in his later years was associated with the New York City Opera Company. He was indeed a man of many parts, much admired and loved by all who knew him. Active to the end in various musical enterprises he died in Los Angeles, 24 November 1963.

The Records: Of the first rate tenors Russia produced in this period Rosing’s voice was perhaps the least beautiful but one of the most musically cultured. His singing of the Petrov song Do not believe is moving, and in the Grechaninov Lullaby he ends on a poised soft high A flat that indeed would send any child to sleep.

Léonce-Antoine (Leon) Escalaïs. (1859-1941) - Tenor

Leon Escalaïs was in a direct line of descent from his countryman Gilbert-Louis Duprez (1806-1896) who had stunned his audiences by emitting his Ut de Poitrine (high C from the chest) thereby significantly altering the role of the dramatic tenor for future generations. Previously tenors had vocalised these high notes in a voce mista (mixed voice) which preserved their flexibility, but now, as they emerged from the dominance of the Castrato, they were expected to be more dramatic and to generate greater tone to balance heavier orchestrations. Opera was becoming a more visceral entertainment with the brilliant and trumpeting tones of the new style Dramatic tenor leading the way.

Escalaïs was born on 8 August 1859 at Cuxac d’Aude near Toulouse He studied with Crosti at the Toulouse Conservatoire and later with Obin at the Paris Conservatoire eventually wining a prize to sing at the Opéra. His debut was in one of the most testing tenor roles in all opera - Arnold in Rossini’s Guillaume Tell - and because of the brilliance of his acuti (high notes) he created a sensation. Despite his lack of a physique du role, (he was just over five feet tall), or good looks, or even a voice that was conventionally beautiful in timbre, he become a star. His eminent teachers had supplied him with a well schooled technique and he became famous for his spectacular top notes. Naturally he exploited this capability for dramatic effect, and in consequence often upset the musical purists. He was noted for singing the title roles in Robert le Diable, Le Prophète, Raoul in Les Huguenots, Vasco da Gama in L’Africaine, Sigurd, Eléazar La Juive and Samson. In 1890 at l’Académie Nationale de Musique in Paris he created the role of Lusignan in the now neglected opera Zaïre by Veronge de la Nux with Emma Eames in the title role. He had great success in Italy making his La Scala debut on 31 January 1888 as Eléazar in La Juive, and subsequently appearing throughout Italy in regional houses, being especially admired as Manrico in Il Trovatore. He also sang this role at his only American appearance at the French Opera in New Orleans where he was made to encore the stretta Di quella pira five times, a feat which (due to his habit of interpolating the high C’s in the middle and end of each verse), meant fifteen top C’s at the end of the Act.

He was heard in various centres in Western Europe although an unfortunate difference of opinion created a hiatus with the Paris opera, which was amicably resolved in 1908. Enjoying a triumphant return he sang Radames in Aida, a number of his favourite roles and a reprise of Le Mage by Massenet an opera in which his wife Maria Lureau-Escalaïs had created the role of Anahita in 1891. In 1927 he was made Companion of the Legion of Honour. He was an admired teacher and numbered among his many pupils the fine American tenor Ricardo Martin (1874-1952) Escalaïs died in 1941 in Paris.

The Records: Eléazar is a principal tenor role that differs from practically all others: rather than a young romantic or heroic leading man, we have an elderly Jew, consumed by a longing to revenge the death of his two sons. He has brought up Rachel as his own, she being in fact the daughter of the Cardinal responsible for the death of his sons. The truth is revealed only after Rachel has been put to death, on the Cardinal’s orders. Dramatic delivery of both text and music are essential, and in the prayer Dio m’ispira Escalaïs is thrilling and full of religious and martial fervour. He naturally takes the opportunity of interpolating one of his famous top C’s into the final cadences. Eléazar was a role for which he was justly admired and he recorded excerpts in both French and Italian. In the Monologue from Act III of Otello we hear a voice in the same mould as that of the role’s creator - the legendary Francesco Tamagno. There have perhaps been more introspective interpretations, but none more vocally effective.

Antonio Magini-Coletti. (1855-1912) - Baritone

The final decades of the 19th and the first of the 20th centuries saw a remarkable number of outstanding Italian baritones whose voices were capable of filling leading roles in the world’s opera houses. They had the background and training of the older Bel Canto traditions, but possessed also the weight and projection of tone to satisfy the demands of the Verismo style and were able to sustain the big Wagnerian roles. Magini-Coletti was a leading member of this group.

He was born in Iesi near Ancona in 1855 and began his vocal studies at the Accademia di Santa Cecilia in Rome with the famous teacher Persichini who numbered among his many pupils three of the most renowned singers from the era euphemistically called the ‘Golden Age of Singing’ - Francesco Marconi, Fernando de Lucia and Titta Ruffo. He extended his knowledge of vocal technique by studying with other noted teachers; Graziani, Fagotti, and Cinna, gaining something from each of them. Armed with an impressive voice and a sound technique his career began in 1880 with performances in a number of major regional opera houses and by 1882 he was heard at Livorno in La Promessa Sposi conducted by the composer Ponchielli. That year he also made his Rome debut at the Teatro Costanzi as Valentine in Faust and over the next twenty five years sang there in the company of many of the finest singers of his generation. In 1885 he appeared in Lisbon as Aliprando in Rossini’s Matilde di Shabran, Severo in Poliuto and Amonasro He had made his La Scala debut on 26 December 26 1886 in Aida and was heard as Aldefiord in the now long forgotten opera Flora Mirabilis by the Greek composer Samara. In 1889 he sang Telramund in Lohengrin, Barnaba in La Gioconda and appeared as Frank in the world première of Puccini’s Edgar.

Essentially his career was centred in Italy, but he did make tours of South America and was a guest in St. Petersburg, Moscow, Warsaw and New York. He appeared at the Metropolitan with great success in 1891 as Capulet in Roméo et Juliette with Jean de Reszke and Emma Eames also making their house debuts. He sang Nevers in Les Huguenots with Lillian Nordica and the De Reszke brothers, Di Luna in Trovatore with the legendary Lilli Lehmann. He sang Amonasro in Aida and Pizarro in an Italian version of Fidelio, Alfio in Cavalleria Rusticana, Turridu, and Escamillo in Carmen. In 1899 he appeared at the Teatro Argentina in Rome in Barbiere di Siviglia and in Dinorah with the sensational Luisa Tetrazzini.

He was present in the first performances at La Scala of Tristan in 1900 under Toscanini, singing Kurwenal with Amelia Pinto and Giuseppe Borgatti (a fine Italian Wagnerian tenor whose career was cut short by blindness). For the same conductor he sang Solomon in Goldmark’s Regina di Saba, Belcore in Elisir d’Amore, Lysiart in Weber’s Euryanthe, and Mefistofele in Berlioz’s Damnation de Faust. In 1902 he sang Renato in Un Ballo in Maschera with Giovanni Zenatello

Magini-Coletti made occasional tours to Eastern Europe, including Russia where he was a popular stage and recording artist. Back in Italy performances in Rome, Venice and Regio Emilia kept him very busy. He appeared in the local première of Tubi’s Benvenuto Cellini at the Teatro Regio di Parma, where on 26 February 1906 the evening was combined with a special staging of the 3rd Act of Un Ballo in Maschera given in his honour. Magini-Coletti, one of the most gifted baritones of his generation, died in Rome on 7 July 1912

The Records: Rivedrai le foreste is a vital section of the Nile scene in Aida in which the aspect of filial duty gives both singers opportunities of displaying their beauty of tone and mastery of the Verdi line. Magini-Coletti’s dark tone is authoritative and consoling in his exchanges with Russ, (who was a much admired Aida of her day), and when he demands that she obeys him in betraying Radames he is vocally overwhelming.

Emile Scaramberg. (1863-1938) - Tenor

Born in 1863 in Besançon, Scaramberg’s recordings have always been much prized as being the epitome of the French heroic style. He initially studied singing in the studio of Pellini in Paris and later became a horn player in a military band. On demobilization, and after more study, he made his debut in 1893 at the Opéra Comique in Gretry’s Richard Coeur-de-Lion. He sang with distinction, and slowly built a reputation in the French provincial houses - Nantes, Nice, Marseille, Bordeaux and Vichy. In 1894 he was heard in Monte Carlo but confined to singing Turridu in Cavalleria Rusticana, which was hardly surprising since three of the most renowned dramatic tenors of the time - Tamagno, Saleza, and Van Dyck - were in the Company that season. Scaramberg made a few appearances in Russia, and then his Paris Opéra debut on 23 May 1903 in Lohengrin, followed by Roméo et Juliette, the Duke in Rigoletto and the title role in Gounod’s Faust.

At the end of the 1904 season he sang at Covent Garden as Bar-Kokéba, taking part in what was to prove the last performances of Camille Erlanger’s le Fils de l’Etoile. His other roles included Shahabarim in Reyer’s Salammbo, Ottavio in Don Juan and in 1905 he sang Chevalier Danois in Gluck’s Armide with Lucienne Breval in the title role, and (in 1906) Radames in Aida. He evidently sang in 1893 in Bruneau’s L’Attaque du Moulin and shared performances with Jean de Reszke in Roméo et Juliette and Les Huguenots, but strangely this is not noted in the Covent Garden annals.

After an accident involving falling scenery he retired from the stage before he could become established internationally, leaving us only his recordings to judge what might have been. He became a singing teacher in Besançon and died there on 26 February 1938.

The Records: Vasco da Gama, one should note, is a nobleman as well as an intrepid explorer. In O Paradis he surveys the newly discovered land, claiming it for his own country. He must sound full of wonder, excited and proud. Scaramberg manages all facets of this characterisation, singing elegantly and heroically, his top B flats are attacked cleanly and ring out powerfully. It is a fine example of the classical French tenor-fort tradition now sadly no more.

Fiorello Giraud (1868-1928) - Tenor

The son of the distinguished tenor Lodovico Giraud (1846-1882) Fiorello was born in Parma on 22 October and commenced his vocal studies with Barbacini in Parma, making his debut in 1891 at the Teatro Civico, Vercelli in Lohengrin. In a distinguished career he would go on to create several important role, starting in 1892 when he created operatic history as the first Canio in Leoncavallo’s Pagliacci at the Teatro dal Verme in Milan. From 1894 he sang regularly in Bologna and at the Teatro La Fenice in Venice, where his roles included Fenton in Falstaff, Roberto in Puccini’s Le Villi, Walter von Stolzing in Die Meistersinger, Tartini in the Venice première of Falchi’s Tartini, o il Trillo del diavalo, Osaka in the Venice première of Iris, and Lohengrin. He also sang in Spain at the Teatro Real Madrid, the Liceo in Barcelona and in Lisbon at the Teatro San Carlos. South America heard him in 1898 in Santiago Chile. He sang a wide variety of roles at this time including Manon Lescaut, La Bohème, the title role in Verdi’s Ernani, Jean Gaussin in Massenet’s Sapho, Canio in Pagliacci with Mario Ancona as Tonio, and Don José in Carmen. In the 1902-3 season he appeared in Giordano’s Fedora with the legendary Angelica Pandofini (the creator of Adriana Lecouvreur), in Franchetti’s Germania when he sang the principal role of Frederico Lowe with Amelia Pinto as Ricke, and repeated his by now famous Canio in Pagliacci. In 1906 he created the role of Giasone in the world première of Tammasini’s Medea at Trieste, and in 1907 at the Teatro Massimo in Palermo he gave the world première of Donaudy’s Sperduti nel buio. Under Toscanini he sang Siegfried in Götterdämmerung and in 1908 he sang Pelléas in the La Scala première. He was universally recognised as an ideal interpreter of all of Puccini’s romantic tenor roles. After a long and extremely successful career he died ‘the favourite son’ of his home town, Parma, on 23 March 1928.

The Records: Although famed for his Italian roles, Giraud undertook a number of the more lyrical Wagner tenor heroes as well. His version of Sia lode a te from Tannhäuser is redolent of his Italianate style - relaxed and unforced. The voice has a vibrato which enables the tone to ride easily over any accompaniment. He bears out the often quoted reports that Wagner himself regarded those singers trained in the Bel Canto method as ideally suited to his music.

Adam Didur (1874-1946) - Bass

He was born on 24 December 1874 in Wola, Sçkova near Sanok in Silesia. In spite of fierce competition from the genetic gifts of the native bass voice Adam Didur was one of a very few singers to achieve success in Russia. His initial vocal training was at the Lvov Conservatoire with Wysocki and later in Milan he studied with Emmerich making his theatrical debut in 1894 in Rio de Janeiro as Méphistophélès in Gounod’s Faust. From 1899-1903 he was active at the Warsaw Opera where he sang in Les Huguenots, Faust, Aida, La Bohème and Boito’s Mefistofele.

He made his La Scala debut on 7 January 1903 as Sparafucile in Rigoletto with Ruffo as the hunchback jester. He made his debut at Covent Garden on 5 October 1905 in La Bohème alongside an ‘all star cast’ including Melba as Mimi and Emilio de Marchi (1861-1917 the creator of Cavaradossi) as Rodolfo and Mario Sammarco (1867-1930 creator of Gerard in Andrea Chenier) as Marcello. He was also heard in Rigoletto Mefistofele and as Leporello in Don Giovanni where his comic acting gained approval from the critics.

His New York Metropolitan Opera debut was opening night of the 1908 season as Ramfis in a gala performance of Aida conducted by Toscanini with Caruso, Destinn, Scotti and Homer. He was a regular member of the Company for the next twenty five years, and appeared in a very wide variety of roles including Colline, Sparafucile, the devil in both Gounod’s and Boito’s Faust, as King Philip in Don Carlos, in Barbiere di Siviglia, Le Nozze di Figaro, Pique Dame, as Kezal in the Bartered Bride, Pagliacci, Klingsor in Parsifal Oberthal in Le Prophète, Mustafa in L’Italiana in Algeri and in Boris Godunov he was considered a genuine rival to Chaliapin. On his retirement from the stage Didur returned to Poland, where he became Director of the Cracow Opera and later was appointed a Professor of Singing at the Academies of Lvov and Katowice where he died on 7 January 1946

The Records: Mefistofele was a role with which this magnificent basso cantante was widely associated. In Ave Signor Mefistofele mocks the Creator and here Didur’s tone is full of derision. In Son lo Spirito he reveals himself to Faust as the spirit of evil who denies everything and with the repeated spoken word ‘No’, and wild satanic whistling, he vents his hatred on the Universe. In the duet Fin da stanotte Mefistofele promises Faust (Zenatello) that he will fulfil his desires. In his final disdainful monologue Ecco il mondo he mockingly states that ‘this is the way of the world’. Didur’s voice captures all the varying moods required: his recordings are a fine legacy of a great interpretation in which Didur was always favourably compared to his extraordinary contemporary, Fyodor Chaliapin.

Francisco Signorini (1860-1927) - Tenor

This dramatic tenor was born in 1860,in Rome where he studied music and voice at the Accademia di Santa Cecelia. After his debut at the Teatro Politeama in Florence he took a little time to emerge from the group of tenors just then creating outstanding careers for themselves. His first big success came in 1890, again at the Politeama, as Turridu in Cavalleria Rusticana On 6 May 1897 he made his La Scala debut in Don Carlos, and this opened the doors to the larger regional opera houses. In 1907 in the USA he appeared with a touring Company in San Francisco and Los Angeles and that year he also completed a tour of South America where his big voice was appreciated in the heroic roles. He abandoned his career in 1910 aged fifty, and became a teacher in Rome where he died in 1927.

The Records: The winning melody is sung here by a tenor, as originally conceived by Leoncavallo. Even though he would be categorised as a tenore di forza Signorini’s tone is very attractive and smoothly produced, in spite of the demanding tessitura. The vocal line is beautifully held and the top notes including a high B flat easily vocalised.

Francesco Viñas (1863-1933) - Tenor

Viñas was born 23 March 1863 at Moya near Barcelona and is counted in a long line of superb tenors of Iberian origin, beginning with the amazing Manuel García (1735-1832): composer, teacher, and tenor. He created an astonishing number of Rossini and Meyerbeer roles, and was the father of mezzo-sopranos Maria Malibran, and Pauline Viardot, and the baritone Manuel García, who became the pre-eminent singing teacher of the 19 century.

Viñas studied with Vidal, Tintoren and Goula at the Barcelona Conservatoire. His debut opera in 1888 was Lohengrin, which he performed with great success in Barcelona, repeated in Valencia and again at La Scala in 1889. After building a reputation in a number of Italian regional houses and singing Turridu at the Shaftesbury Theatre in the 1891 London première of Cavalleria Rusticana he was invited to Covent Garden where in 1893 he made his debut also as Turridu. In this role he was actually preferred to the creator Fernando de Lucia. Viñas sang the eponymous hero in some performances of L’Amico Fritz with Emma Calve, and shared Lohengrin with Jean de Reszke. His high standing in the UK was confirmed with a command to perform at Windsor Castle for Queen Victoria.

His New York debut was at the Metropolitan in 1893 in the local première of Cavalleria Rusticana, with Emma Calvé also making her house debut. He was particularly successful as Don José to Calvé’s Carmen and as Edgardo in Lucia di Lammermoor with Melba. He sang Radames in Aida with Lilian Nordica, and was acclaimed in Italian versions of Lohengrin and Tannhäuser again with Melba. The Wagner roles were to be associated with him throughout his career and he sang them worldwide. From 1893-1910 he sang in Genoa and at the Teatro Costanzi in Rome where he was much admired as Radames and Lohengrin. He was a popular and regular visitor to Spain and to South America where he toured over a period of twenty years. In 1904 at La Scala Viñas took over the role of Frederico in Franchetti’s Germania from its creator - Caruso. He maintained a full schedule of performances until 1913 when he retired to Barcelona and, for the remaining twenty years of his life became a much sought after teacher. Viñas died on 14 July 1933.

The Records: In Di Pescatoe ignobile from Lucrezia Borgia Viñas covers his usually open vocal production (especially in the passaggio: the ‘bridge’ tones around F) with great skill and lyricism. His singing of Ma se m’e forza perderti from Ballo in Maschera is a model of Verdi singing, saving a thrilling (but unwritten) top B natural for the final cadenza. The dramatic declaiming of Ora per sempre makes him an ideal Otello voice, plangent, heroic, and yet sympathetic. In the Wagner excerpts Viñas follows tradition by tapping into that extra lyricism in the music apparently reserved only for Latin tenors.

Giuseppe de Luca (1876-1950) - Baritone

Being possessed of neither the largest voice nor an instrument of special beauty de Luca could not compete vocally with many of his baritone contemporaries. But his genial personality, musicianship, histrionic ability and excellent technique, enabled him to score in a number of ways over his bigger voiced colleagues, so that throughout his long career it would be de Luca that was chosen to create the important roles. Born in Rome on the 25 December 1876 his first lessons in voice production were with Ottavio Bartolini, then with Vencelao Persichini at the Accademia Santa Cecilia, and later with Antonio Cotogni, one of the most highly regarded vocal teachers in the world. He made his debut in 1897 at Piacenza as Valentine in Gounod’s Faust and for a number of years performed in Genoa roles including Massenet’s Le Cid, Pescatori di Perle and Leoncavallo’s La Bohème. He appeared in Trieste singing La Traviata and I Puritani, also at the San Carlos, Lisbon singing Marcello in La Bohème with Bonci, in Werther, Manon Lescaut, Il Barbiere di Siviglia, Caoudal in Sapho, Ford in Falstaff with Mario Sammarco in the title role, and De Siriex in Fedora with the famous Gemma Bellincioni in the title role.

De Luca was a regular visitor to the Teatro San Carlo in Naples, appearing in 1902-3, 1906-7 and 1911-12 and, (following his long association with the Metropolitan Opera New York) returning there as a guest for the 1935-6 season. In 1902 at the Teatro Lirico in Milan he created the role of Michonnet in the world première of Adriana Lecouvreur with Angelica Pandolfini and at La Scala on 19 December he sang Gleby in the world première of Giordano’s Siberia. On 17 February 1904 he took the role of Sharpless in the première of Puccini’s Madama Butterfly - an event recorded as one of the greatest disasters in operatic history, causing the composer to make a thorough revision of the work.

De Luca went to South America in 1905 and was regularly heard in Buenos Aires from 1906- 1910. He sang in Bucharest in 1907 and two years later at the Vienna Opera. In 1912 he sang in the première of Humperdinck’s Königskinder under Toscanini and appeared almost continually at La Scala and the Teatro Costanzi in Rome as well as many of the larger regional centres in Italy. His 1907 Covent Garden debut was opposite Luisa Tetrazzini in Lucia di Lammermoor when her coloratura created a local sensation.

The Metropolitan Opera invited him to New York in 1915 and there he remained, a member of the Company and mainstay of the baritone wing, for the next thirty years. He sang Paquiro in the première of Granados’ Goyescas on 28 January 1916 and on the 14 December took the title role in the première of Puccini’s Gianni Schicchi. Such was his reputation that he was contracted to create roles in the local premières of Rabaud’s Marouf (1917), Forza del Destino (1918) with Enrico Caruso, and Rosa Ponselle making her operatic debut, Eugen Onegin and Don Carlos (1920), Cosi fan Tutte (1922), the title role in William Tell (1923) which he sang to great acclaim with Giovanni Martinelli, and Sancho Panza in Massenet’s Don Quixote in 1926.

De Luca became one of the best known operatic singers of his time, enjoying regular appearances at the Metropolitan Sunday night concerts, and a hugely successful career in the studio partnering Caruso, Martinelli, Gigli, Lauri-Volpi, Galli-Curci, Elizabeth Rethburg and the charismatic bass Ezio Pinza. In November 1947 he celebrated his Golden Jubilee as a singer by giving a gala concert and a performance as Figaro in Rossini’s Barbiere and Sharpless in Butterfly. Once retired he taught in New York, where he died on 28th August 1950, leaving instructions that he should be buried in Rome.

The Records: One need listen no further than De Luca’s soulful singing of Oh! Tu bell’astro to appreciate what a refinement vocal manner he possessed. Of the other recordings - Come il romito fior from Hamlet in spite of being sung in Italian retains an elegant French style; the three songs show a sunny nature and a natural sense of humour; De Leva’s Pastorale is beautiful controlled, especially the final diminuendo and in his own charming composition Dolce Madonna he is passionate in describing the lady’s attributes. One can say that De Luca’s recordings all stand as testimony to, and justification for, his position of eminence, maintained throughout a long career.


© 2004 Alan Bilgora

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