Discover releases, reviews, credits, songs, and more about Caruso* - Immortal Performances at Discogs. Complete your Caruso* collection.4/5(5). COVID Resources. Reliable information about the coronavirus (COVID) is available from the World Health Organization (current situation, international travel).Numerous and frequently-updated resource results are available from this liehageludedownfumetheamegilern.coinfo liehageludedownfumetheamegilern.coinfo’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus. Details about ENRICO CARUSO "AIDA - CELESTE AIDA (HEAVENLY AIDA!)" A 78RPM VINYL RECORD Enrico Caruso Immortal Performances Brand New Sealed SS RCA Vic $ shipping: IMMORTAL PERFORMANCES VINYL LP ENRICO CARUSO THE INK SPOTS BILLIE HOLIDAY MORE. $ Free liehageludedownfumetheamegilern.coinfo date: Mar 26,
I hope to be able to answer that question. This was the perfect part for Pavarotti. With superb comic timing, he played the character straight, as a big, warmhearted teddy bear of a guy hopelessly in love with Adina, the most popular girl in town.
He would pick the most popular girl as the object of his affection! Near the middle of the act, the eligible lasses of the village all crowd around a stunned and clueless Nemorino.
But as the girls shamelessly flirt about him, Nemorino catches sight of Adina gazing sadly over her shoulder. Out of the corner of her eye, he sees a tear well up and run down her face. I see it now. Oh, heaven, if I could die right now I would not ask for more.
Pavarotti wrings every ounce of pathos from this piece. Needless to say, Nemorino wins the day and the girland all ends happily for them. Indeed, Pavarotti earned repeated praise for this part every time he performed it — and with good reason. During his long professional career Pavarotti sang most everything an Italian tenor could conceivably sing, and a whole lot more besides: from the intricate bel cant o masterworks, to his rare forays into Mozart territory; from the major roles of the master Verdi, to the best of the Puccini repertoire.
He appeared on numerous late-night talk shows, in dozens of magazine ads and TV commercials — most famously for American Express. He sang on the radio and in live television broadcasts, recorded a variety of operas and song recitals, in addition to giving numerous charity benefits, wherein he shared the limelight with such iconic pop figures as Sting, Bono, Elton John, Michael Bolton, Cyndi Lauper, Eric Clapton, Andrea Bocelli, Zucchero, and many, many others.
What was so unusual about that? The film was supposed to have mirrored the happy-go-lucky, jet-set lifestyle of a famous opera star talk about typecasting! Still, whatever Luciano did for his art, and wherever he went, the fans were sure to follow. Speaking of Beijing, it was said that while en route to that distant, faraway land Pavarotti took along entire sets of cooking utensils, pots, pans, fresh fruits and vegetables, all sorts of meat and an untold number of homemade dishes, all on the unsubstantiated rumor of how miserable the eating and living conditions were there.
After a while, most of the food had to be thrown away. A pity! He had no trouble at all being heard at Caracalla, what with all the microphones and camera equipment lying about, when, in July ofon the eve of the World Cup Soccer Finals in Rome, The Three Tenors franchise was formally launched. It was Carreras who, after recovering from a five-year battle with cancer, hit upon the innovative idea of doing a benefit concert for his leukemia foundation.
With a billion and a half viewers worldwide, it was the most-watched classical-music program in history. In addition, the subsequent compact disc made of the much-hyped media event became the best-selling classical album of all time. Bravo, Luciano! Many suspected that, at this point in his career, he was only in it for the money. For all his fame and notoriety, near or away from the concert platform, the charismatic primo tenore did not start out in life with the notion of conquering the world of grand opera.
Oh, no. He was born in the Northern Italian city of Modena, on October 12, — Columbus Day, to be exact, a national holiday. Pavarotti at first trained as an elementary school teacher before settling upon a full-time singing career.
Like any red-blooded, Italian native son, he loved soccer and harbored an unfulfilled ambition of one day becoming a professional athlete. When that failed to materialize — no doubt due to his inability to turn away generous helpings of the local cuisine — he turned instead to selling insurance to make ends meet, before taking up his musical studies with former tenor Arrigo Pola in his hometown, then moving on to vocal coach Ettore Campogalliani, who also taught his childhood friend, the soprano Mirella Freni.
The opera itself is a paean to young love. It follows the time-tested, tried-and-true formula of boy meets girl, boy loses girl, boy gets girl — girl dies. A happy ending? Nevertheless, it was good enough to serve as the premiere showcase for the first of the Live From the Met series of telecasts, broadcast on Public Television, in Marchwhich Pavarotti played a historic part in. This little tidbit of information was not lost on Luciano, who made a conscious effort thereafter to use television and the infant CD and home video market to advance his newfound celebrity status — a wise move on his part.
Before that groundbreaking event took shape, he had taken the lovesick poet Rodolfo all over the operatic world. Most of his initial appearances in Europe, South America, and the U. These two supremely gifted individuals would go on to form a friendly rivalry of sorts — well, not always so friendly. At its climax, Luciano takes a full-voiced high C easily and quite comfortably, holding on to the note for dear life but with enough breath left over to complete the phrase.
Renata Scotto as Mimi, with Luciano as Rodolfo. Try doing that on a regular basis! In his tell-all book, The King and Imanager Herbert Breslin noted that, as physically big as Luciano was back then — and he only got bigger over time — he was still able to cavort about the stage with complete abandon.
He had to do something to stand out from the crowd. Two of the very best, Australian soprano Joan Sutherland, his co-star in Daughter of the Regimentand her husband, conductor Richard Bonynge, along with mezzo Marilyn Horne and soprano Beverly Sills, formed the major contingent of the bel canto revival at the Met and elsewhere.
Legend has it they were enticed not only by his beautiful sound, but by his imposing height: being close to six-feet herself in her high-heel shoes, of course Dame Joan was tired of tenors a foot shorter than she was. She wanted a partner who could stare down into her eyes instead of up into her neck. She took one look at Luciano, and he was hired on the spot. Instead, he opted to branch out into more accessible projects in order to accommodate the vast majority of patrons still clamoring to see him.
He not only repeated it a total of 60 times at the Met alone, he made all his farewell appearances in it, the last of which took place on March 13, Pavarotti photo poet-in-residence.
That date was the unfortunate culmination of the final phase of his once illustrious career, the so-called era of self-indulgence: that of the cork-died hair and painted-on eyebrows; the inability, or just plain laziness, to learn new roles; the last-minute cancellations; the struggles with his weight; the heavy use of cue cards to bolster his faulty memory; the highly publicized battles with ex-wife Adua; the marriage to his former secretary Nicoletta, a woman 35 years his junior; the assorted physical ailments, that took their inevitable toll on his health and well-being, ending in knee and hip replacement surgery; and so on, and so forth.
As Rodolfo once marked the beginning of his good fortune, Cavaradossi now marked the end of it, most presciently at Lyric Opera of Chicago: inafter canceling over half of his scheduled appearances there, the tenor was dropped from the cast, as well as being declared persona non grata at the house, a bad omen indeed, LP). He tried doing it again, at the Metropolitan of all places, in a series of benefit performances penciled in for May The role?
You guessed it: Cavaradossi. His excuse? Two years later, both Volpe and the Fat Man agreed to make peace with each other, as Luciano finally sang his last in the role that got him into all the trouble in the first place: Cavaradossi!
Only now, because of the physical limitations imposed on his movements, his late-career re-assumptions of the role were fairly static ones. Whatever the director, producer, or prompter, had in mind for the singer to do, photographs from that period show an all-but immovable Pavarotti practically glued to the furniture.
In the last act, however, Cavaradossi is awaiting his execution by firing squad. We mourned his death, but celebrated his life.
He won our hearts Aida: Celeste Aida - Caruso* - Immortal Performances 1904-1906 (Vinyl moved us with his talent and charm; his joie de vivre and embrace of all humanity; his virtues and his faults; his triumphs and his failures. I shall succeed! I believe he did. He did, of course, by just being himself. By doing the thing he loved best: by singing everything and everywhere. He truly was all-things to all-people.
And the best thing to happen to the art of Italian song since pizza. It was to be called, appropriately enough, The Great Caruso. But if Mario had had his way, it would have been titled The Great Lanza. It helped that he Aida: Celeste Aida - Caruso* - Immortal Performances 1904-1906 (Vinyl an established pop idol who sold millions of hit records all over the world. Remarkably, even during the silent-film era, opera on the screen was a widely accepted form of diversion, rivaling the Western, slapstick comedy, and serious melodrama in popularity and appeal.
This may strike modern-day viewers as a bit of an oxymoron given that most silent films had voice track to speak ofbut that was the attitude back then, in the burgeoning days of silent cinema where sight was more precious than sound.
Opera, for better or worse, was a regular part of musical life in just about every one of these whistle-stop stages, mostly throughout the latter part of the nineteenth and into the early-twentieth centuries. Wherever there was a rough and ready theater available, one could typically find opera coexisting nearby.
Thus, a long-established performance tradition of opera had already been established just as the fledgling film industry began making its way across the country. The logical leap from stage to screen, and from music drama to movie melodrama, seemed not only plausible but well-nigh inevitable. As a result, opera singers became frequent participants in a fairly large number of modest film productions. And nothing could be more incongruous to moviegoers than to have opera performed within the structural confines of celluloid or nitrate, as the case may be.
For opera, as an art form, is by its nature a thoroughly theatrical endeavor. It demands — no, it insists — upon the presence of a live audience to be fully effective and appreciated. Nevertheless, both silent and sound films starring famous opera singers in scenes, acts, arias, concerts, and ensembles were a common occurrence — a case of the art transcending the medium in which it originated.
Often, it was the only way for audiences to enjoy opera performances. For many, it would be their first, if not only, exposure to this singular entertainment form. On a personal note, opera is a subject I am well versed in. What has always attracted me about this under-appreciated but most fascinating of cinematic sub-genres, however, is the singing, in addition to the incredibly larger-than-life personalities who gave their all in helping to shape it.
But talk is cheap, as they say, and the proof is always in the pudding or singing. Oh, and no talking during the performance. Thank you! There is some controversy among historians and scholars as to which piece of film was the first to feature an operatic performance. All the same, they both share the honor of being the earliest of such historical records. Shown inFaust incorporated a rudimentary form of pre-recorded, synchronized sound that, if eyewitnesses from that era can be deemed reliable sources, proved quite a novelty around the turn of the century.
Other, more elaborate productions soon followed, some with live orchestral accompaniment, others with simultaneous vocal arrangements added to live screenings. They might even have detracted from and caused a few cracks in his established legacy. My Cousin proved such a dismal flop that his second feature went unreleased. But the failure of so celebrated a stage figure as Caruso led to doubts as to the merits of the whole inflated enterprise from its very inception.
It was directed by movie mogul Cecil B. Farrar worked on five more features for the demanding Mr. But the bulk of her studio output was unrelated to opera. She left Hollywood for good in Still, the pleasures and pitfalls of a career in moviedom left many a hit-or-miss affair for singers great and small.
She gave the genre one last try, in the unsuccessful The Splendid Singerand then promptly bid farewell to Hollywood for the stage. Cavalieri starred in prior to Despite her obvious good looks and seductive charm, her lack of acting talent forced Cavalieri to abandon the cinema for the remainder of her career. There are many such examples of both the fortuitous and the egregious nature of opera stars in the silent era.
These backstage machinations did not prevent the film from becoming a massive hit with the public if not the criticsdespite the obvious lack of operatic talent.
It brought to the screen the delicate and fragile Mimi of the lovely Lillian Gish, in her highly-publicized MGM film debut. Gish was singled out for her fine screen work. Indeed, her heart-rending death scene was particularly poignant. But unlike his contemporary Caruso before him who passed away inthe formidable Chaliapin was nearing the end of his operatic career when he was lured out of retirement for a chance to capture for posterity his striking persona in one his most vibrant stage portraits.
Chaliapin even got to deliver four new songs composed especially for the film, which introduced viewers to his mellifluous yet elongated vocal style. With the European community thriving as a cultural magnet for international talent, opera stars in other words, tenors in particular continued to dominate musical films in the period between the two world wars.
These films served to introduce a bevy of lyrical voices to the silver screen. Polish tenor Jan Kiepura was another favorite who enjoyed a high degree of popularity away from the proscenium. He succeeded only in perpetuating the stereotype of the dimwitted foreigner who stumbles onto the American dream through dumb luck and his own latent musical talent.
You could say that Martini was the Forrest Gump of his generation. Moving to our own shores, Hollywood can boast of the wavy-haired presence and stalwart tenor voice of the late, great Allan Jones, the son of a Pennsylvania coal miner.
He went on to team with comics Bud Abbott and Lou Costello in their hastily thrown together screen debut, One Night in the Tropics Thankfully, tenors were not the only talents to attain celebrity status on the screen. Women opera stars were also part of the vogue.
Two of the best loved were the blonde Tennessee-born soprano Grace Moore, and the diminutive French singing sensation Lily Pons. Moore, too, began on Broadway; only later on did she migrate to the stage of the Metropolitan Opera before Hollywood beckoned. She made several pictures for MGM, where she was initially teamed with another budding young screen talent, the baritone Lawrence Tibbett, in a lavish version of New Moonset in pre-revolutionary Czarist Russia instead of the original eighteenth-century New Orleans.
Moore was eventually picked up by Columbia Pictures where she went on to do her best work, even earning an Oscar nomination for her film, One Night of Love It was to be her last screen appearance. She perished in a plane crash over Denmark, inwhile on tour in Europe.
Unfortunately for RKO and for Ponsher movie roles were mostly mediocre efforts. Pons was never able to captivate movie audiences with her acting as she had in the theater with her warbling.
She appeared in several beautifully mounted productions, many of which capitalized on her captivating stage charm and classically trained voice. A real find, for once! The czar tosses a bouquet, which happens to land on the podium where Offenbach is conducting his work.
C harmante, charmante! Despite several return trips to the States, Printemps never achieved the kind of meteoric rise in North America as she had in France and Europe. She remained an attractive performer nonetheless, with an effervescent screen presence.
Less successful was New Yorker Mary Ellis, who started at the top and worked her way down to the bottom. She debuted at the Metropolitan Opera, continuing on to the Broadway stage and eventually to Paramount Studios, where she made several unsuccessful attempts at challenging the reign of Grace Moore and Jeanette MacDonald. Ellis left filmdom for England, where she continued to appear on the London stage, and on British television, for years thereafter.
She died on January 30, at the ripe old age of no thanks to Hollywood. A gifted actor and charismatic stage performer in his own right was the American baritone Lawrence Tibbett the son of a San Francisco deputy sheriff, believe it or notpreviously mentioned in connection with Grace Moore.
It was the first Technicolor talkie, and featured the comic duo of wonder of wonders Stan Laurel and Oliver Hardy, with direction by stage and screen star Lionel Barrymore, a fanatical opera buff. Film preservation being what it was, the work has been all-but lost. A star of the first magnitude! His works for other studios included Metropolitan and Under Your Spell Sadly diminished vocal resources, augmented by heavy drinking, led to later disillusionment with his singing career.
Tibbett died in poverty in after a long battle with alcoholism — a tragic end to a superb artist. Another great singing-actor of the stage, who gravitated more to the movies than to the operatic stage, was American bass-baritone Paul Robeson. His impeccable athletic skills Rutgers University and academic credentials Columbia University Law School should have guaranteed him a comfortable living, but did not because of his skin color and leftist-leaning attitudes.
Robeson was popular in both Europe and New York, and made a few memorable appearances in the cinema. He would sing the number at many of his concerts, often changing or adapting the lyrics to fit the times or the venue. Robeson became a political activist for social causes in the late thirties, and was involved in many domestic and international movements for peace, racial equality and better working conditions for the poor and oppressed.
His liberal political stance and constant contacts with Communist Russia, however, earned him the enmity of the U. State Department. He never appeared in opera, but his natural cello-like voice had the quality and resonance of a truly one-of-a-kind instrument. Robeson enjoyed working in films, and frequently said that it afforded him a more natural and relaxed way of singing, freeing him up from the worry of having to pump his voice up for volume in order to be heard.
Robeson remains an enigmatic figure, full of unrealized potential. As he was a completely self-taught artist incapable of reading music, Pinza suffered greatly as a result of his inability to keep up with the cast. It also served as a springboard to a relatively brief dalliance with the silver screen. His two major film contributions, Mr. Imperium with the platinum blonde Lana Turner, and Strictly Dishonorable bothwere strictly minor affairs, while an earlier cameo role as himself, in Carnegie Hallwas decidedly better, as was his later guest shot in Tonight We Singthe film biography of impresario Sol Hurok David Wayne.
In this one, he played the cantankerous Russian basso Feodor Chaliapin, albeit with a distinctly Italianate touch and accent. The studio thought it had found the perfect type in romantic leading man Rossano Brazzi, who turned out to have the same chiseled features, mild Mediterranean temperament, and salt-and-pepper coif as the debonair Signor Pinza. Why Tozzi, who was appearing opposite Mary Martin at the time — and in the same South Pacific musical — was not hired on-the-spot for the role remains an impenetrable mystery.
Even more irksome to Tozzi was the fact that Rossano Brazzi later claimed to have actually sung most of his role, with only a few high notes doctored in for good measure. Nothing could be further from the truth. It was in the late s that Philadelphia-born Mario Lanza real name Alfred Arnold Coccozza came to the forefront as the reigning king of celluloid opera performers and reasserted the dominance of the tenor in motion pictures. In the aptly named Toastthe boorish Mr.
He shared many an off-screen temper tantrum with his leading lady; in fact, there was no love lost between these two artists. Only his sterling vocals remain intact on the soundtrack, mouthed in uncomfortably stilted fashion by the stiff-as-a-board Edmund Purdom. Ann Blyth was his main love interest. That film was noteworthy for its abundance of opera excerpts, in addition to being packed to the rafters with opera luminaries, among them sopranos Dorothy Kirsten and Jarmila Novotna, mezzo Blanche Thebom, baritone Giuseppe Valdengo, soprano Lucine Amara, basso Nicola Moscona, and coloratura Marina Koshetz, all of them regulars with the Met Opera — a place Lanza would never set foot in.
Because of his emotional instability, high-flying lifestyle, and prodigious eating binges, Lanza was put out to pasture by MGM. Shortly afterward, he left the States for European fields of gold. He made three more films, the melodramatic Serenade for Warner Bros. Arrivederci, Roma!
Not everyone was able to make the successful transition to the screen, or arrived there with as much fanfare as Lanza. Stevens also displayed her lush singing voice in Carnegie Hall as well as other minor features, but there were no stampedes to the ticket office where she was concerned.
Lauritz Melchior, seated at left heroictenor. Wagnerian tenor Lauritz Melchior born in Denmark was another prime example. A hugely proportioned man, with an exceptionally rotund exterior and a jolly sense of humor to match, Melchior made a name for himself, first on the radio, and then in motion pictures with Thrill of a RomanceTwo Sisters from BostonThis Time For Keepsand Luxury Liner Along with the equally hefty S.
He had even taken acting classes in his native land. But a major film star? Not likely. Then-general manager of the Met, Rudolf Bing punished Merrill for having abandoned his duties at the house for such a ridiculous endeavor. With hat in hand, and tail planted firmly between his legs, Merrill returned to the company the following year and resumed his contractual obligations.
And that ended that! Not to be outdone, tenor Sergio Franchi was a rising star with the voice and looks of a young Franco Corelli. Franchi not only participated in opera, but had a thriving crossover career in the theater, appearing frequently on Broadway the musical Ninefor instancein cabarets, nightclubs, and such.
He sang and recorded show tunes, along with operatic selections and hit songs, and was a frequent guest performer on The Ed Sullivan Showin addition to appearances on game shows, talk shows, variety and other programs.
In such highfaluting company, Franchi vanished into the woodwork. His stillborn film career floundered as a result. Another one-shot-wonder was the beautiful American soprano Anna Moffo. Not surprisingly, it was a notorious disaster for the former opera star. Callas died, alone and in poor health, in But the most disreputable debut of the lot involved one of the Three Tenors: Luciano Pavarotti. There is precious little to recommend in Yes, Giorgiohis fiasco of a feature film debut, which was commandeered by his manager, the late Herbert Breslin.
Schaffner PattonPlanet of the Apesit had all the makings of a lemon before it was even ripe. The plot, such as it was, involved an ailing tenor Signor Pavarotti, naturally who happens to fall in love with an American throat specialist Dr.
Not to mince words, but the whole project was just plain awful. This leads us into the next cycle of films: that is, operas or opera-like works created specifically, and exclusively, by and for the film medium. Herrmann did Welles one better: he wrote an unbelievably difficult air that flirted with the highest registers of the female voice, sung to annoying imperfection by an unidentified member of the San Francisco Opera Company.
Welles was a rabid opera buff who had personally seen Mary Garden in the flesh, along with other famous stars of the day. No complaints there. However, the brief operatic sequence featured in that production was curiously not by Korngold, but composed instead by one Aldo Franchetti. It was called The Duchess of Ferrara. Although the film is supposed to take place during the Napoleonic Era, the opera sounds like a mishmash of the worst works of Jules Massenet, but with a perfectly charming melody quite out of place on the early nineteenth-century stage.
Olivia de Havilland is Madame Georges, the mistress of Napoleon, and the former lover of the title hero, played by the noble Fredric March. Lest we recall, too, the incongruously titled Charlie Chan at the Operawhich called for horror-movie icon Boris Karloff to play a bass named Gravelle suspected of committing murder and mayhem at the matinee.
The opera sequence of the title, Carnivalwas composed by none other than iconoclastic musical misanthrope and perpetual hypochondriacOscar Levant.
Talk about a throwaway! Anything to save a buck. A second Phantom of the Operafromproduced by Hammer Studios released through Universal International and starring Herbert Lom and Michael Gough, had better makeup effects and provided more chills, pound for pound, than the dull old Rains version.
The main highlight happened to be a modern-sounding to our ears, anyway interpretation of the Joan of Arc story scored by Edwin T. Our Phantom seems to bring out the originality bug in film composers. Va bene! He did not, however, incorporate the delightfully quaint Neapolitan light opera Senza Mamma into the mix. The entire sequence features young Vito Corleone played by a characteristically stoic Robert De Niro enjoying a night out with his friend Genco Abbandando Frank Siveroby watching a performance, in authentic Neapolitan dialect, of a local melodrama in a crowded theater.
The part of the singer who holds a pistol to his forehead was sung by tenor Livio Giorgi. So much for play-acting. Speaking of play-acting, the persistently annoyed fellow with the hair-trigger temper who played the vocal coach in Citizen Kanethe Spanish-born Fortunio Bonanova, was, in fact, an actual opera singer earlier in his career, as well as a novelist, a playwright, and a composer of several operettas.
Another actor, Basil Ruysdael, held leading bass-baritone status at the Metropolitan Opera for a number of years. He appeared alongside Caruso and Farrar at one time, and even coached Lawrence Tibbett for a spell. The menacing stage and screen villain Eduardo Ciannelli Marked WomanGunga Din obtained a medical degree in his native Italy, before pursuing a career in opera as a baritone, primarily in Italy, then throughout Europe.
He emigrated to the U. He began his long association with the cinema in ethnic character parts, and was usually cast as the heavy due to his harsh features. But he was such a nice guy …. Walter Slezak, son of the portly Wagnerian tenor Leo Slezak, was never a singer to begin with, but more of a romantic lead in silent films.
Because of his inability to control his weight, he switched to character parts and enjoyed a prolific career in films for many years. Slezak appeared in a variety of roles, both comic and villainous, throughout the forties, fifties and sixties, acting with everyone from Abbott and Costello and Douglas Fairbanks, Jr. His only operatic excursion was in a production of Johann Strauss Jr. He played the pig farmer Zsupan, and was surrounded by such notables as tenor Nicolai Gedda and soprano Lisa Della Casa.
Bravo, Walter! Salvatore Baccaloni periodicolabarra. Baccaloni found a new source of income in films of the fifties and sixties. Curiously, Baccaloni never sang a note on the screen. How rude! Finally, another character actor well known for his repertory of Italians, Greeks, Poles, Native Americans, criminals, priests, good-guys, fall-guys, tough-guys, and the like was the late Anthony Caruso.
Don Carlos, Verdi: Domingo c. Manon Lescaut, Puccini: Domingo c. Turandot, Puccini: Domingo c. Fiedler Cavalleria Rusticana, Mascagni: intermezzo c. Fiedler Faust, Gounod: waltz c. Fiedler Ha"nsel und Gretel, Humperdinck: dream c.
Fiedler Samson et Dalila, Saint-Saens: bacchanale c. Fiedler Eugene Onegin, Tchaikovsky: polonaise c. Fiedler Les Contes d'Hoffmann, Offenbach: barcarolle c. Fiedler Mlada, Rimsky-Korsakov: procession c. Fiedler Lohengrin, Wagner: prelude c. Fiedler Le Cid, Massenet: aragonaise c. Fiedler Sadko, Rimsky-Korsakov: c. Fiedler Die Fledermaus, JStrauss: waltz c. Fiedler Prince Igor, Borodin: polovtsian dances c. Fiedler Guillaume Tell, Rossini: overture c. Fiedler Goyescas, Granados: intermezzo c.
Fiedler Carmen, Bizet: march c. Fiedler Die Walku"re, Wagner: c. Gamba Cavalleria Rusticana, Mascagni: intermezzo c. Gamba Cleopatra, Mancinelli: overture c. Gamba Les Vepres Siciliennes, Verdi: overture c.
Gamba La Gioconda, Ponchielli: dance c. Gamba Non-opera Martucci: c. Valli: Giordano Valli Carmen, Bizet arr. Valli: Giordano Valli Norma, Bellini arr. Hammerstein Das Land des La"chelns, Lehar: c. Hammerstein Frederica, Lehar: c. LP) Der Graf von Luxembourg, Lehar: c. Hammerstein Walzerstraum, O. Hammerstein Der Opernball, Heuberger: c. Hammerstein Orphee aux Enfers, Offenbach: c. Karajan Anacreon, Cherubini: overture c.
Karajan Der Freischu"tz, Weber: overture c. Karajan Notre Dame, Schmidt: intermezzo c. Karajan Manon Lescaut, Puccini: intermezzo c. Karajan L'Amico Fritz, Mascagni: intermezzo c. Karajan Ha"nsel und Gretel, Humperdinck: overture c. Karajan Cavalleria Rusticana, Mascagni: intermezzo c. Karajan Pagliacci, Leoncavallo: intermezzo c.
Karajan Khovanshchina, Mussorgsky Rimsky-Korsakov: intermezzo c. Karajan Thais, Massenet: intermezzo c. Karajan Fedora, Giordano: intermezzo c. Karajan Adriana Lecouvreur, Cilea: intermezzo c. Klemperer Euryanthe, Weber: overture c. Klemperer Oberon, Weber: overture c. Klemperer Ha"nsel und Gretel, Humperdinck: overture ballet c. Klemperer Die Fledermaus, JStrauss: overture c. Mantovani Faust, Gounod: waltz c. Mantovani The Bartered Bride, Smetana: dance c. Mantovani Eugene Onegin, Tchaikovsky: waltz c.
Condie c. Ormandy Cavalleria Rusticana, Mascagni: chorus d. Ormandy Faust, Gounod: chorus d. Ormandy Tannha"user, Wagner: chorus d. Ormandy Madama Butterfly, Puccini: chorus d.
Ormandy Il Trovatore, Verdi: chorus d. Ormandy Pagliacci, Leoncavallo: chorus d. Ormandy Lohengrin, Wagner: Aida: Celeste Aida - Caruso* - Immortal Performances 1904-1906 (Vinyl d. Ormandy Der Freischu"tz, Weber: chorus d. Ormandy Aida, Verdi: chorus d. Ormandy Orphee aux Enfers, Offenbach: c. Ormandy Mignon, Thomas: c. Ormandy Die Scho"ne Galatea, Suppe: overture c.
Conductors deduced from Best Of. Bellini Durante Giordani Rossini: Pavarotti c. Bass: Peerce Winterhalter Non-opera traditional meyerke arr. Reiner The Bartered Bride, Smetana: overture c.
Reiner Non-opera Tchaikovsky Liszt Dvorak: c. Royer Fra Diavolo, Auber: overture c. Royer The Two Savoyards, Offenbach: overture c. Royer Le Deux Aveugles? Non-opera Small orch suite Bizet: c. Original release of record 1 of 2-lp reissue above. Original release of record 2 of 2-lp reissue above. Miller Non-opera song Mozart: Smith pf. Solti Il Barbiere di Siviglia, Rossini: overture c.
Solti Fidelio, Beethoven: overture no. Solti Orfeo ed Euridice, Gluck: ballet c. Solti Prince Igor, Borodin: c. Solti Carmen, Bizet: prelude c. Solti Non-opera Rossini arr. Stokowski Non-opera Bizet: c. Toscanini Don Pasquale, Donizetti: overture c. Toscanini Oberon, Weber: overture c. Toscanini Euryanthe, Weber: overture c. Toscanini Ha"nsel und Gretel, Humperdinck: prelude c. Toscanini Mignon, Thomas: overture c.
Toscanini La Wally, Catalani: prelude c. Toscanini Loreley, Catalani: c. Toscanini Dichter und Bauer, Suppe: overture c.
Toscanini La Damnation de Faust, Berlioz: c. Toscanini Non-opera Glinka Berlioz: c. Durante Torelli Pergolesi Ciampi? Whitehall arr.
Savino Rigoletto, Verdi: c. Savino Madama Butterfly, Puccini: c. Savino Don Giovanni, Mozart: c. Savino Aida, Verdi: c. Savino Lucia di Lammermoor, Donizetti: c. Savino Il Trovatore, Verdi: c. Savino Norma, Bellini: c. Savino La Tosca, Puccini: c.
Savino La Boheme, Puccini: c. Savino Manon Lescaut, Puccini: c. Savino Gianni Schicchi, Puccini: c. Konwitschny Wunderlich, Fritz: Lyric Tenor.
Album 3. In Memoriam. Buckley Casas Noguera Allers gtr. Karajan Khovanshchina, Mussorgsky Rimsky-Korsakov: c. Karajan Prince Igor, Borodin: c. Karajan La Gioconda, Ponchielli: c. Karajan Tannha"user, Wagner: c. Mottl: ballet c. Mahler Platee, Rameau arr. Mahler Les Fetes d'Hebe, Rameau arr. Mahler Don Juan balletGluck arr. Mahler Iphigenia en Aulide, Gluck arr.
Mahler Orfeo ed Euridice, Gluck arr. Mahler Armide, Gluck arr. Mahler Alceste, Gluck arr. Mahler Paride ed Elena, Gluck arr. Previtali Donna Diana, Reznicek: overture c. Scherchen Zampa, Herold: overture c. Scherchen Orphee aux Enfers, Offenbach arr.
Scherchen Mignon, Thomas: overture c. Scherchen Barbe-bleue, Offenbach: overture c. Don Giovanni, Mozart: Schwartzkopf Furtwangler? Don Giovanni, Mozart: Grummer Furtwangler? Don Giovanni, Mozart: Siepi Furtwangler? Die Zauberflo"te, Mozart: Greindl Furtwangler? Die Zauberflo"te, Mozart: Lipp Furtwangler? Die Zauberflo"te, Mozart: Seefried Furtwangler? Sanzogno Il Barbiere di Siviglia, Rossini: overture c. Topolo Guillaume Tell, Rossini: overture c. Rossi Libuse, Smetana: overture c.
Rossi Fidelio, Beethoven: overture c. Solti Die Leichte Kavallerie, Suppe: overture c. Martinon Le Calife de Bagdad, Boieldieu: overture c. Martinon Zampa, Herold: overture c. Madama Butterfly, Puccini:? Pagliacci, Leoncavallo:?
La Boheme, Puccini:? Rigoletto, Verdi:? Tannha"user, Wagner:? Wolff Donna Diana, Reznicek: overture c. Wolff Zampa, Herold: overture c. Wolff Die Leichte Kavallerie, Suppe: overture c. Drumm: introduction c. Gabriel The Bartered Bride, Smetana arr. Safranek: overture c. Gabriel Mignon, Thomas arr. Odom: overture c. Gabriel Candide, Bernstein arr. Beeler: overture c. Gabriel La Forza del Destino, Verdi arr. Lake: overture c. Conte Fra Diavolo, Auber: overture c. Conte Le Cheval de Bronze, Auber: overture c.
Conte Zampa, Herold: overture c. Conteoverture c. Le Calife de Bagdad, Boieldieu: overture c. Conte La Dame Blanche, Boieldieu: overture c.
Muti Macbeth, Verdi: c. Muti Otello, Verdi: c. Barbirolli Il Trovatore, Verdi: c. Schippers Aida, Verdi: c. Muti Der Freischu"tz, Weber: c. Heger Tannha"user, Wagner: c. Konwitschny Faust, Gounod: c. Pretre Carmen, Bizet: c. Burgos Turandot, Puccini: c. Lombard Madama Butterfly, Puccini: c. Ancerl Il Barbiere di Siviglia, Rossini: overture c. Lang Die Meistersinger von Nu"rnberg, Wagner: overture c.
Scholz Aida, Verdi: overture c. Conta The Bartered Bride, Smetana: overture c. Kovats Non-opera Tchaikovsky: overture c. Kovats Non-opera Beethoven: Coriolan overture c. Stein Donna Diana, Reznicek: overture: c.
Stein Orphee aux Enfers, Offenbach arr. Binder: overture: c. Stein Dichter und Bauer, Suppe: overture: c. Giulini Lohengrin, Wagner: c. Marriner Non-opera song Mozart requiem: c. Linz Tannha"user, Wagner: c. Linz Die Zauberflo"te, Mozart: c. Linz Die Meistersinger von Nu"rnberg, Wagner: c. Linz Fidelio, Beethoven: c. Linz Le Prophete, Meyerbeer: c. Mattos LP) Butterfly, Puccini:???
Mattos La Boheme, Puccini:??? Mattos La Traviata, Verdi:??? Mattos Aida, Verdi:??? Boult La Forza del Destino, Verdi: overture c. Orphee aux Enfers, Offenbach arr. Binder: galop c. Swarowsky Samson et Dalila, Saint-Saens: c. Swarowsky Aida, Verdi: march c.
Swarowsky Die Zauberflo"te, Mozart: overture c. Swarowsky Il Barbiere di Siviglia, Rossini: overture c. Swarowsky Non-opera Liszt Schumann: c. Collins La Forza del Destino, Verdi: overture c. Solti Ha"nsel und Gretel, Humperdinck: ballet c. Collins The Bartered Bride, Smetana: overture c. Woss Il Barbiere di Siviglia, Rossini: overture c. Ghiglia Carmen, Bizet: prelude c. Fricsay Le Calife de Bagdad, Boieldieu: overture c.
Paulik Boccaccio, Suppe: overture c. Paulik Czardasfu"rstin, Kalman: c. Paulik Die Lustige Witwe, Lehar: c. Die Leichte Kavallerie, Suppe: overture c. Agoult Zampa, Herold: overture c. Agoult Les Diamants de la Couronne, Auber: overture c. Swarowsky Die Walku"re, Wagner: c. Swarowsky The Bartered Bride, Smetana: overture c. Gru"ner-Hegge Carmen, Bizet: suite c. Braithwaite Guillaume Tell, Rossini: ballet c.
Braithwaite La Gioconda, Ponchielli: ballet c. Braithwaite Aida, Verdi: ballet c. Braithwaite Lakme, Delibes: ballet c. Braithwaite Non-opera L'Arlessienne Bizet: ballet c. Ludwig Prince Igor, Borodin: c. Malko Non-opera Gliere Tchaikovsky: c. Munih The Bartered Bride, Smetana: c. Munih Prince Igor, Borodin: c. Lowell Pagliacci, Leoncavallo: c. Lowell Il Trovatore, Verdi: c. Lowell Rigoletto, Verdi: c. Lowell Martha, Flotow: c.
Lowell Carmen, Bizet: march of the toreadors c. Lowell Cavalleria Rusticana, Mascagni: c. Lowell Aida, Verdi: c. Lowell Faust, Gounod: c. Have a Listen. Metropolitan Opera tour. Adler Guillaume Tell, Rossini: overture c. Adler Fra Diavolo, Auber: overture c. Adler Die Fledermaus, JStrauss: overture c. Aida, Verdi: Stuarti Rigoletto, Verdi:? Carmen, Bizet Yradier:? Faust, Gounod:? Le Nozze di Figaro, Mozart:? Tristan und Isolde, Wagner:?
Lohengrin, Wagner:? Proarte label? Don Pasquale, Donizetti: chorus c. Anner Stephans? Cavalleria Rusticana, Mascagni: prelude c.
Pagliacci, Leoncavallo: chorus c. Il Trovatore, Verdi: chorus c. Nabucco, Verdi: chorus c. Aida, Verdi: march c. Lohengrin, Wagner: chorus c. Prince Igor, Borodin: c. Messiah oratorioHandel: chorus c. Non-opera song Beethoven: ode to joy c. Bernstein Morley motet Gibbons Mahler Miller c.
Szell Wozzeck, Berg: c. Bernstein Non-opera song Gould spirituals? Shchedrin: c. Issler Dr. Marriner Don Giovanni, Mozart: overture c. Piastro Die Fledermaus, JStrauss: overture c. Piastro Cavalleria Rusticana, Mascagni: prelude c.
Modiste, Herbert: c. Piastro Barbe-Bleu, Offenbach: overture c. Piastro The Fortune Teller, Herbert: c. Piastro La Traviata, Verdi: c. Piastro Clari, Bishop: c. Piastro Naughty Marietta, Herbert: c. Basile La Forza del Destino, Verdi: overture c. Basile Il Barbiere di Siviglia, Rossini: overture c. Basile Carmen, Bizet: prelude c. Basile Non-opera Rimsky-Korsakov: c. See audio flash for mp3s. An Ode on the Death of Mr. Henry Purcell, Blow: c. Greenberg Non-opera song Handel cantata Morley madrigals Banchieri festino: c.
Greenberg Non-opera Handel: c. Lehan Non-opera Stabat Mater Palestrina: c. Boyling: c. Menuhin The Indian Queen, Purcell arr. Menuhin Non-opera Purcell arr.
Wagner: overture c. Klemperer Der Freischu"tz, Weber: overture c. Klemperer Orphee aux Enfers, Offenbach arr. Monge Fru"hbeck de Burgos Goyescas, Granados: pf. Munch Boris Godunov, Mussorgsky arr. Three little happy pigs are we three little maids The Mikado, Sullivan: 2. O we're the three bears tit-willow The Mikado, Sullivan: 8. We are two little friendly elves if you want to know who we are The Mikado, Sullivan: We'll make them pretty clothes from ev'ry kind of man The Mikado, Sullivan: Mirror mirror on the wall I mean to rule the earth as he the sky H.
Pinafore, Sullivan: O snow white we are so glad when a felon's not engaged The Pirates of Penzance, Sullivan: Now on my way poor wand'ring one The Pirates of Penzance, Sullivan: 26, If there's a wolf in this vicinity behold the lord high executioner Star-Bright Classics, Cinderella note all 3 Mikado tunes used previously The Mikado, Sullivan: 30,33,29 organ.
I scrub all day from ev'ry kind of man The Mikado, Sullivan: I'll spare no time or cost my object all sublime The Mikado, Sullivan: Freeman Non-opera song Bach: c. Lockyer avalon p Norma, Bellini: Mouskouri c.
E Innkeeper of Tordesillas, Torroba: pavana c. Albert Las Hijas del Zebedeo, Chapi: carcelera c. Albert La Verbena de la Paloma, Breton: preludio c. Albert La Dolores, Breton: jota c. Gloriana, Britten arr. Huerta: gtr. Power Biggs Treemonisha, Joplin: org.
Ward: Susanna? Allende Blin: c. Brown c. Atenaide, Tirindelli: Toffoli. Se la terra ha il suo sorriso. Prelude Philip Glass spoof. Rigoletto, Verdi: Tumagian or Ramiro? La donna e mobile. Semiramide, Rossini arr. Huerta: gtr Stuart Green. Overture fantasia. Carmina Burana, Orff: c. O Fortuna. Clari, Bishop arr. Gottschalk: pf Alan Feinberg. Home Sweet Home. Turandot, Puccini: gtr Steve Turley.
Nessun dorma. Die Walku"re, Wagner: c. The Ride of the Valkyries. Russlan and Ludmilla, Glinka arr. Palevich: gtr Oleg Timofeyev. Carmen, Bizet: Alperyn Rahbari. No performers named. Have mono and stereo copies. Pinafore, Sullivan: overture?
Rosenthal: galop c. Ormandy Le Prophete, Meyerbeer: c. Ormandy Guillaume Tell, Rossini: dance c. Ormandy La Gioconda, Ponchielli: c. Ormandy Carmen, Bizet: c. Ormandy Babes In Toyland, Herbert: c. Bernstein Dichter und Bauer, Suppe: overture c. Ormandy El Amor Brujo, Falla: c. Bernstein Zampa, Herold: overture c. Fiedler The Bohemian Girl, Balfe: overture c. Strauss La Damnation de Faust, Berlioz: march c. Glazunov: march c. Bennett Prince Igor, Borodin: dance c. Bennett Tannha"user, Wagner: overture c.
Handford Thais, Massenet: c. Muck Lohengrin, Wagner: prelude c. Toscanini Gaite Parisienne, Offenbach arr. Fiedler Salome, RStrauss: dance c. Chagrin Le Nozze di Figaro, Mozart: overture spoof c. Chagrin Belshazzar's Feast, Walton: excerpt c. Clark Guillaume Tell, Rossini: overture c. Clark Carmen, Bizet: prelude c. Clark Die Walku"re, Wagner: c.
Clark Die Leichte Kavallerie, Suppe: overture c. Clark Lohengrin, Wagner: prelude c. Clark Die Zauberflo"te, Mozart: overture c. Clark Dichter und Bauer, Suppe: overture c. Clark Il Barbiere di Siviglia, Rossini: overture c. Clark Turandot, Puccini: c. Clark Aida, Verdi: c. Clark Samson et Dalila, Saint-Saens: c. Clark The Bartered Bride, Smetana: dance c. Clark Il Barbiere di Siviglia, Rossini: c.
Munroe Jr. Last: c. Olof Les Contes d'Hoffmann, Offenbach: introduction c. Olof Cavalleria Rusticana, Mascagni: intermezzo c. Monteux Salome, RStrauss: c. Cornwall Die Scho"pfung, Haydn: d. Ormandy Serse, Handel: d. Ormandy Judas Maccabaeus, Handel: d.
Ormandy Ein Deutsches Requiem, Brahms: d. Ormandy Lohengrin, Wagner: d. Ormandy Ha"nsel und Gretel, Humperdinck: d. Ormandy Otello, Verdi: d. Binder: overture org. Foort Non-opera Handel Reubke: org. Foort Die Leichte Kavallerie, Suppe: overture org. Foort Il Trovatore, Verdi: org. Foort F E. Power Biggs, Handel, Purcell Samson oratorioHandel: org. Biggs Non-opera Handel Mozart Buxtehude: org. Fox Non-opera song Bo"hm Grieg: org.
Miller The Fairy Queen, Purcell: org. Miller Tannha"user, Wagner: org. Murray Thais, Massenet: org. Murray Tannha"user, Wagner: march org. Murray Mignon, Thomas: gavotte org. Murray Non-opera song Bach: org. Murray Non-opera Mendelssohn Tchaikovsky Sousa: org. Leibert Non-opera Leibert Sousa: org. Stanley Der Graf von Luxembourg, Lehar: c. Stanley Zigeunerprimas SariKalman: c. Foort Faust, Gounod: org. Foort Guillaume Tell, Rossini: overture org.
Waltzing couple on pink cover. Die Fledermaus, JStrauss: c. Dorati Non-opera Smetana Creston Tchaikovsky: c. Swarowsky La Gioconda, Ponchielli: c. Mohaupt: Les Contes d'Hoffmann, Offenbach arr. Mohaupt: OWOW c. Swarowsky Orphee aux Enfers, Offenbach arr. Mohaupt: "vn concerto", galop c.
Swarowsky Robinson Crusoe, Offenbach arr. Swarowsky Mme. Swarowsky Barbe-bleue, Offenbach arr. Swarowsky La Belle Helene, Offenbach arr. Swarowsky La Vie Parisienne, Offenbach arr. Swarowsky Non-opera Liszt Saint-Saens: c. Swarowsky Non-opera Mendelssohn: c. Boris Godunov, Mussorgsky: c. Beethoven Tchaikovsky Rubinstein Brahms Ivanovici? Dragon The Bartered Bride, Smetana: dance c.
Dragon Eugene Onegin, Tchaikovsky: polonaise c. Dragon Die Fledermaus, JStrauss: overture c. Timmens arrrangement. Dragon Gaite Parisienne, Offenbach arr. Szell Don Giovanni, Mozart: minuet c. Tang Nabucco, Verdi: c. Ormandy Non-opera Rimsky-Korsakov Tchaikovsky: c.
Welton Non-opera Dvorak MacDowell: harm. Weaver arr. Jones-Weaver La Gioconda, Ponchielli: ballet speak. Fiedler Aida, Verdi: march c. Fiedler La Vida Breve, Falla: intermezzo dance c. Armengol Cavalleria Rusticana, Mascagni: c.
Armengol F Bolero! Andre Kostelanetz Guillaume Tell, Rossini: overture c. Kostelenatz Guillaume Tell, Rossini: ballet c. Kostelenatz Samson et Dalila, Saint-Saens: c. Kostelenatz La Damnation de Faust, Berlioz: c.
Kostelenatz Faust, Gounod: c. Kostelenatz Non-opera Ravel Rimsky-Korsakov: c. Paul J. Christiansen Die Meistersinger von Nu"rnberg, Wagner: c. Christiansen Requiem, Mozart etc. Newsome Jocelyn, Godard: trombone Berry c. Newsome Pineapple Poll, Sullivan arr. Mackerras Brand: c. Cavallaro Dreigroschenoper Die, Weill: pf.
Mooney Non-opera song Yradier Foster various: c. Mooney Non-opera song various: c. Carle Carousel, Rodgers: pf. Carle South Pacific, Rodgers: pf. Carle Oklahoma, Rodgers: pf. Ormandy Non-opera Gliere Khachaturian Brahms: c. Ormandy F Fireworks! Eugene Ormandy see F Ormandy Samson et Dalila, Saint-Saens: c. Ormandy Lohengrin, Wagner: c. Wolff Non-opera Ravel Weber: c. Wolff F Borodin - Polovetsian Dances, etc. Szell Non-opera Tchaikovsky Rimsky-Korsakov: c. Toscanini La Gioconda, Ponchielli: c.
Toscanini Benvenuto Cellini, Berlioz: roman carnival c. Toscanini Non-opera egmont Beethoven: c. Toscanini Non-opera Brahms-Dvorak Sibelius: c.
Toscanini F Karajan Favorites see F Karajan Non-opera Tchaikovsky Grieg: c. Bernstein Orphee aux Enfers, Offenbach: c. Bernstein Die Walku"re, Wagner: c. Bernstein West Side Story, Bernstein: c. Bernstein Guillaume Tell, Rossini: overture c. Dragon Thais, Massenet: meditation c.
Charles or E. The Bartered Bride, Smetana: c. Pourcel Sadko, Rimsky-Korsakov: c. Pourcel Prince Igor, Borodin: c. Santiago Non-opera song Herbert Marchetti greensleeves Ponce: c. Waring South Pacific, Rodgers: c. Waring Music Man, Willson: c. Waring Side 5 Non-opera song spiritual: Goodman c. Waring Side 6 Non-opera song spiritual: Goodman c.
Waring South Pacific, Rodgers: Forgione c. Waring Side 9 Non-opera song Christmas Berlin: c. Waring Side 10 Non-opera song guadeamus: c. Waring Babes In Toyland, Herbert: c. Waring Show Boat, Kern: Davis c. Waring Naughty Marietta, Herbert: c. Waring Roberta, Kern: c. Waring Das Land des La"chelns, Lehar: c. Waring Non-opera song Kreisler: c. Waring Side 14 Non-opera song hymns: c.
Waring Side 15 Non-opera song hymns all through night: c. Waring Side 16 Non-opera song hymns Malotte: c. Waring Carousel, Rodgers: c. Last The Firefly, Friml: donkey serenade c. Bourdon 14 Les Contes d'Hoffmann, Offenbach: c. Bourdon 15 Tannha"user, Wagner: org. Courboin 16 Non-opera song Schubert: org. Courboin Non-opera Chaminade: c.
Deiro columbia grafonala 85c 90c canada Non-opera My Florence Drigo: acc.
A Treasury Of Immortal Performances. B1 Aïda: Celeste Aïda (Heavenly Aïda). RCA Victor Red Seal LCT USA. The cover and contents suffer from folding, . Up for auction is a copy of Caruso – Immortal Performances LP, Aus, Vinyl MINT The record has been cleaned using a Loricraft Record Cleaning Machine. This is a vacuum record cleaning system which has been around for many years and works incredibly well. A TREASURY OF IMMORTAL PERFORMANCES: CARUSO (LCT ) is an early release in the series. It was later reissued on the '64 Red Seal label with color "His Master's Voice" logo, minus the "NEW ORTHOPHONIC" HIGH FIDELITY" printed below that symbol and with the addition of "RED SEAL COLLECTORS" at the right corner.5/5(1).
A Treasury Of Immortal Performances. B1 Aïda: Celeste Aïda (Heavenly Aïda). RCA Victor Red Seal LCT USA. The cover and contents suffer from folding, .
enrico caruso aida - cleste aida - (verdi) forza del destino - atucheseno angeli Victor - - A - B - Aug. 11, Aug. The Art Of Caruso - Volume One A1 – Celeste Aida A2 – Libiamo A3 – Di Quella Piral A4 – Ai Nostri Monti A5 – Solenne In Quest’Ora A6 – Questa O Quella A7 – La Donna È Mobile Golden Treasury Of Immortal Performances, His Master's Voice. Format name: Vinyl. Genres: Classical.
Introduction to my Opera Record Collection It doesn't seem that there would be much call for a catalog of my opera record collection. Still, you can't anticipate the all the reasons for every web search till the end of time, and the information here might answer somebody's question, such as whether a certain opera artist ever recorded a certain opera, or if various artists ever recorded together.
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