Mario Chamlee


Picture of Mario Chamlee as Marouf
Mario Chamlee as Mârouf

Picture of Mario Chamlee with Aida Favia Artsay &  husband
Mario Chamlee with Aida Favia Artsay & husband

Picture of Mario Chamlee

Picture of Mario Chamlee in Tosca
Mario Chamlee in Tosca
Archer Ragland Cholmondeley Chamlee was born in Los Angeles, California, on the 29 of May of 1892. He was the son of a Los Angeles physician Mr. Samuel Chamlee (descendent of an immigrant English family which had settled in Tennessee in 1700) and Mrs. Clara Hausteib Cholmondeley.

Like most Americans he was educated in the public schools. His musical gift was evident at an early age, but his interest was centered on the violin, which he studied under Schonstgein from the age of eight until he was twenty. He continued his studies at the University of Southern California but all this time it never occurred to him that he could sing. His voice was discovered when he stood for an indisposed soloist while touring with the U.S.C. Minstrels. It was apparent that the young man's voice was of unusual calibre and encouraged by his friends, on returning to Los Angeles he auditioned for the Maestro Achille Alberti who had once studied with the noted Italian baritone Antonio Cotogni. He studied voice and repertoire, during five years, with Alberti.

At 23 years old, on January 12th, 1916, he made his operatic debut as Edgardo in "Lucia di Lammermoor" at the National Grand Opera Company (also called "Lombardi Opera Company"). Such was his success htat he decided to go to New York for further studies with Gabriele Sibella and Riccardo Dellera. In March, 1917 he made a second debut in San Francisco, as the Duke in "Rigoletto". It was also in 1917 that Mario met the soprano Ruth Miller while on tour with the Aborn Opera Company. The company included the baritone Richard Bonelli.

He had to interrupt his career when the United States entered into the First World War and served as a member of the 77th Division of the American Expeditionary Forces in France for 18 months (1917-1919).

One day, while singing in a church, in France, his voice attracted the attention of some officers who immediately assigned him to sing with the Argonne Players, to entertain the soldiers.

Back in America he started to sing again with some minor companies and also in vaudeville acts in which he sang opera arias. Appearing in his vaudeville sketch, he was heard by Antonio Scotti and engaged for his own touring "Scotti Grand Opera Company". Chamlee made his debut with this company in October 1919 at the Whiting House Theatre in Syracuse as Turiddu in "Cavalleria rusticana" with Florence Easton and Millo Picco. He sang in the eight cross-country tours of the U.S.A. and Canada between 1919 and 1922. He added to his repertoire the roles of Cavaradossi in "Tosca", Win-San-Lay in "L'oracolo" and Edgardo in "Lucia" with the Spanish soprano Ángeles Ottein and the Italian baritone Mario Laurenti.

It was also in 1919 that he met again his future wife, the soprano Ruth Miller (1892–1983), who was singing with the Cosmopolitan Opera Company at the Garden Theatre. They appeared together with the troupe, in Detroit, singing "Faust". They married on October 2nd, 1919, though the wedding was kept in secret during a month until the news appeared on The New York Times, in November. (The couple had a son, Dr. Archer Mario Chamlee Jr., born in 1921).

On reaching New York, Scotti took Chamlee to audition for Giulio Gatti-Casazza. He was engaged on the spot, despite the fact that the Metropolitan was well stocked with excellent tenors: Martinelli, Gigli, Lázaro, Lauri-Volpi, Schipa, Crimi, Hackett, Harrold, Zerola... and, of course, Caruso. He made his Metropolitan debut on November 22, 1920 as Cavaradossi in "Tosca" with Geraldine Farrar and Antonio Scotti. He was enthusiastically received and it was instantly noticed that the youthful tenor's voice bore a striking resemblance to the tones of the great Caruso. The following day, the critic W. J. Henderson of lthe "New York Sun" wrote about his "fresh" and "lyric qualitites of merit" voice. Pitts Sanborn of the "New York Globe" wrote: "Mr. Chamlee ... revealed a voice which in its purity of timbre, combined with a well recognizable warmth and richness, actually suggested the super-tenor of the great Enrico ... he showed surprinsingly good command of his resources, including his breath, and manfully refrained from forcing tones or indulging in sobs and shrieks and other cheap devices for capturing the favor of the thoughtless. He sang sincerely, honestly, musically, and with techinical skill and soundness of taste that became steadily more manifest as the evening advances ... Beauty of voice, a true legato, a fine respect for the musical phrase were revealed ... the achievement crowned a really very promising debut. Today the most cordial wishes of all lovers of opera go both to Mr. Gatti-Casazza and to his "young Caruso".

Chamlee remained for 14 seasons at the Met, singing 23 different roles and a totla of 219 performances. A curiosity, his second performance at the Met was not an opera, but the tenor solo in Verdi's "Requiem" with Emmy Destinn, Jeanne Gordon and Léon Rothier. He sang from 1920 to 1928, and his other operas included "Rigoletto", "Madama Butterfly" (with Farrar and Scotti), "Lucia di Lammermoor", Win-San-Lay in "L'oracolo", Christian Brehm in the American première of "The Polish jew" (Der polnische Jude) by Leon Weiss, "Faust" (with Easton, De Luca and Rothier), "Mefistofele" (with Easton and Didur), "Il barbiere di Siviglia" (with Ottein, Ruffo and Mardones), "La bohème" (with Bori, Scotti and Rothier), "Manon" (with Farrar, De Luca and Rothier), "Cavalleria rusticana" (with Maria Jeritza), "La traviata" (with Bori and De Luca), Grigory in "Boris Godunov" (sung in Italian!) with Fedor Chaliapin, José Mardones and Margaret Matzenauer), Vasco de Gama in "L'africana" (with Ponselle, Queena Mario, De Luca and Didur), "La Gioconda" (with Rosa Ponselle, Jeanne Gordon, Giuseppe De Luca and José Mardones), "Les contes d'Hoffmann" (with Lucrezia Bori, Marion Talley, Mary Lewis, Giuseppe De Luca, Adamo Didur and Léon Rothier) and Wilhelm Meister in "Mignon" (with Bori, Talley and Whitehill). Then he left the Met, due to differences over repertoire, but returned again in 1936.

In 1923, Mario Chamlee sang in Europe at the Deutsches Theater in Prague and at the Volksoper in Vienna singing in "La bohème", "Tosca", "Rigoletto", "Faust", "Lucia" and "La traviata". The reviewer of the Neuigkeits-Welt-Blatt wrote: "Chamlee is a singer of extraordinary vocal culture, from whose throat float effortless, brilliant sparkling tones which caress the ears of his audience. It was one of those evenings never to be forgotten." Though he did not sing at Covent Garden, he was heard at London's Royal Albert Hall in 1925, when the quality and power of his voice drew enthusiastic response from the press which characterised him as a great singer. After leaving the Met in 1928, Chamlee returned to Europe and made his debut at the Opéra in Paris in the title role of Henri Rabaud's "Mârouf" on 5 April, 1929, when the beauty of his voice and the sweetness of his singing and cultured style brought down the house. Less than a week later the tenor made another debut, now at the Opéra-Comique as Des Grieux in Massenet's "Manon". He obtained excellent reviews from the French press which thought his singing and acting quite brilliant. Later, in the same year, he appeared as "Mârouf" at La Monnaie in Brussels, whre a reviewer wrote that his singing "was on parallel in every way with the greatest singers of all time". He also sang in Liége, Lille and Bordeaux.

In America, Chamlee sang during nine Summer Seasons at Ravinia Park on the shores of Lake Michigan (Chicago). At that time, music critc Edward Moore wrote: "Mario Chamlee has the best tenor voice of any living American." In these summer seasons, Chamlee had the opportunity to sing some new roles, like Lionello in Flotow's "Martha" (29 June 1927) with Florence Macbeth and Virgilio Lazzari; Araquil in Massenet's "La Navarraise" (6 July 1927) with Ina Bourskaya and Léon Rothier; the title role in Auber's "Fra Diavolo" (9 July 1927) with Florence Macbeth, Virgilio Lazzari and José Mojica; the title role in Rabaud's "Mârouf" (1st August 1928) with Yvonne Gall and Léon Rothier; Gennaro in Wolf-Ferrari's "I gioielli della Madonna" (10 August 1928) with Florence Easton and Mario Basiola; Pedro in Vittadini's "Anima allegra" (21 July 1930) with Lucrezia Bori and Florence Macbeth; Jenik in Smetana's "The bartered bride" (sung in German, in 1930) with Elisabeth Rethberg and Count Gil in Wolf-Ferrari's "Il segreto di Susanna" (18 July 1931) with Lucrezia Bori. The role of Count Gil was assigned to Chamlee though it is usually sung by a baritone. Of course he also sang his usual repertory: Rigoletto, Cavalleria rusticana, Manon, Il barbiere di Siviglia, Lucia di Lammermoor, Les contes d'Hoffmann, La traviata, La bohème and Tosca.

He sang in San Francisco and Los Angeles in 1927, 1931, 1932 and 1934 making his debut in Gounod's "Roméo et Juliette" (October 3rd, 1927) with Florence Macbeth, Desière Defrère and Ezio Pinza. The reviewer of Los Angeles said: "Mario Chamlee sings with freedom and ardor. In appearance, Chamlee is no prepossessing Romeo, but histrionically this California artist, too, has advanced so that he could fascinate his audience." During those Californian seasons he was also heard in "La bohème", "Tosca" (with Yvonne Gall and Giuseppe Danise), "Cavalleria rusticana", "La traviata" (with Claudia Muzio and Richard Bonelli), "The bartered bride" (1934, in German, with Rethberg) and as Don José in "Carmen", perhaps for the first time in his career, with Ninon Vallin and Ezio Pinza (8 and 17 November 1934).

In San Francisco, Chamlee made his first excursion into the Wagnerian field in October 1932 as Lohengrin and as Walther in "Die Meistersinger".

On January 15, 1931 he returned to London singing as a soloist in Verdi's "Requiem" conducted by Arturo Toscanini.

On 27 December 1932 Chamlee sang for the first time at the Chicago Opera in "Madama Butterfly" with Elisabeth Rethberg. He sang there from 1932 to 1936 and he was also heard in "Cavalleria rusticana", "La Gioconda", "Pagliacci" (probably for the first time in his career), and "La bohème". On November 12th, 1935 he sang "Lohengrin" with Lotte Lehmann, Eleonora La Mance, Schiffeler and Chase Baromeo, and on 4th December 1936 he sang "The bartered bride". His last appearance in Chicago was in a single performance of "The bartered bride" on 15 December 1939.

In 1936, after an absence of eight years he returned to the Metropolitan Opera as Jenik in "The bartered bride" (sung in English) on May 15th, 1936 (with Muriel Dickson and Lucielle Browning). On February 4th, 1937 he was chosen for the title role in the world premiére of "Caponsacchi" by Richard Hageman (with Helen Jepson, Lawrence Tibbett and Norman Cordon). On May 21st, 1937 he sang "Mârouf" (with Norman Cordon), and on March 3rd he took the role of the lover in the Metropolitan premiére of "Amelia goes to the ball" (Amelia al ballo) by Giancarlo Menotti. The opera was sung in English and in the cast were Muriel Dickson, John Brownlee and Norman Cordon (7 performances). His last performances at the Met was in that same opera, "Amelia goes to the ball", on 30 January, 1939. He retired though he was only 47 years old.

However, he continued to appear in opera until 1942, when he was last seen in "La traviata" in Seattle with Jarmila Novotná and Richard Bonelli. He also appeared in concert, often with his wife Ruth and Richard Hageman at the piano, and also during the '30s and '40s, he sang frequently on the radio and participated in the "Tony and Gus Radio Talk-Show".

Leaving the stage, he returned to Los Angeles and opened a successful singing academy with his wife in 1940, "Casa Chamlee", from which singers like soprano Mary Costa and baritone Theodore Upmann emerged.

During the Second World War, Mario Chamlee sang for the soldiers as a member of the USO (United Services Organization).

Chamlee received many honours in life, such as "Master of Music" of the University of Southern California (1924) and member of the Music Faculty of the same University, in 1948, where he taught for a time.

He returned to the Metropolitan stage as a guest, in two more opportunities late in his life. On November 20, 1963 for a gala performance commemorating the 50th anniversary of Giovanni Martinelli's debut at the Met. And on April 16, 1966 for the gala farewell from the Old Met at Broadway and 39th Street.

Mario Chamlee died in Hollywood, on October 13th, 1966 at 74 years old. His wife, Ruth Miller, survived him for 17 years and died in 1983.


Mario Chamlee singsDon Pasquale: Com'è gentil

Mario Chamlee singsMartha: Solo, profugo, with Richard Bonelli
In RA format

Mario Chamlee singsFra Diavolo: On yonder rock reclining
In RA format

Mario Chamlee singsPaquita
In RA format

Mario Chamlee sings L'alba separa dalla luce l'ombra
In RA format

Mario Chamlee sings Dreams of long ago
In RA format

Mario Chamlee singsLa forza del destino: Solenne in quest'ora, with Richard Bonelli

Mario Chamlee singsMoon dream shore (Lockhart)

Mario Chamlee singsTosca: E lucevan le stelle
Notes to the discography by Juan Dzazópulos:
Is is said that Chamlee's first records were for a long forgotten company, "Lyraphone", in 1917. I have my doubts, since from 1917 to 1919 the tenor was in France with the American Expedionary Force. The most probable date could be 1919. I have been able to trace 4 sides for this company, under the fictitious name of MARIO RODOLFI, including his first version of "Solenne in quest'ora" with a certain Enrico Martini. The late researcher and collector William R. Moran, who owned the record, confirmed that the baritone was John Charles Thomas, also recording with a fictitious name. From 1920 to 1928 Mario Chamlee recorded exclusively for "Brunswick" label. His first single-sided records were issued under the name of ARCHER CHAMLEE. From 1922 his records had his real name, Mario Chamlee on the labels. He recorded 65 faces in the acoustical process and 36 sides in the electrical system. That makes a total of 101 published sides, some of them repeated several times on different color labels (green, golden and plum). Besides, he left some 32 sides unpublished. They included the "Forza del destino" duet, once with Giuseppe Danise (1922) and twice with John Charles Thomas (1925). It seems this duet was one of Chamlee's favourite pieces as he recorded it five times. It was finally issued in 1928, with Richard Bonelli. The unissued sides also included some unusual titles, such as "La favorita: Spirto gentil", "Salvatore Rosa: Mia piccirella", "La spagnola" by Di Chiara, and "Liebestraum" by Liszt. Michael Scott (The Record of Singing, Volume Two) writes:"In many of Chamlee's recordings the influence of Caruso is very striking; Barthélemy's 'Triste ritorno', Geehl's 'For you alone' and the Serenade from 'Don Pasquale', for example. It is not simply a matter of copying the externals of the interpretation – tempo, phrasing, rubato and so forth – but the production of the voice itself, the attack, the way of launching ascending phrases and general conception of tone is all amost a carbon print of Caruso..." I am sure had he recorded for a bigger record company with international distribution, such as Victor or Columbia, his name would be still remembered as one of the greatest American tenors of all times.
"LYRIC RECORD" LABEL (vertical cut) (1918) as MARIO RODOLFI
7102 Tosca: E lucevan le stelle (Puccini)
7102 L'elisir d'amore: Una furtiva lagrima (Donizetti)
7106 Carmen: Il fior che avevi a me tu dato (Bizet)
7106 La forza del destino: Solenne in quest'ora (Verdi) with Enrico Martini (John Charles Thomas)
10" (1920-1924) Green-White Label, as ARCHER CHAMLEE/MARIO CHAMLEE
Gold/White Plum
10000 For you alone (P. J. O'Reilly/Henry Ernest Geehl) 15012 10105 1920
10001 Absent (Catherine Young Glen/John W. Metcalf) 15011 10104 1920
10002 A perfect day (Carrie Jacobs-Bond) 15011 10104 with Male Trio 1920
10003 Elégie (Louis Gallet/Jules Massenet) never doubled 1920
10005 Pagliacci: Vesti la giubba (Leoncavallo) 15007 1920
10006 Who knows (Dunbar/Ball) never doubled July 1920
10008 Cavalleria rusticana: Siciliana (Mascagni) 15008 1920
10014 Rigoletto: Questa o quella (Verdi) never doubled 1920
10016 Marta: M'apparì (Flotow) never doubled July 1920
10018 Your eyes have told me so (F. G. Bowles/Geoffrey O'Hara) never doubled Aug. 1920
10020 Tosca: Recondita armonia (Puccini) 15008 Sep. 1920
10024 Tosca: E lucevan le stelle (Puccini) 15007 Dec. 1920
10026 Thank God for a garden (Teresa Del Riego) never doubled Dec. 1920
10030 Santa Lucia (Teodoro Cottrau) 15010 10103 July 1920
10033 Love is mine (Edward Teschemacher/Clarence G. Gartner) never doubled
10040 Dreams of long ago (Earl Carroll/Enrico Caruso) 15012 10105 May.1921
10042 O sole mio (Giovanni Capurro/Eduardo Di Capua) 15010 10103 May,1921
10045 O holy night (Adolphe Adam) never doubled Oct. 1921
10049 Rigoletto: La donna è mobile (Verdi) never doubled Nov. 1921
12" Green/White Label
30018 Carmen: Air de la fleur (Bizet) never doubled
30103 When my ships come sailing home (Stewart-Dorel) 30103
30103 In a Persian garden: Ah, moon (Omar Khayyam/Liza Lehmann) 30103
of my delight
30104 O dry those tears (Teresa Del Riego) 50046 29 July 1924
30110 Hosanna (J. Didié/Jules Granier) 30110 6 February 1925
30110 Open the gates of the temple (Fanny Crosby/Phoebe Palmer Knapp) 30110 6 February 1925
10" Golden/White Label (double side) (1920-1924) Orig.single № Plum №
15007 Pagliacci: Vesti la giubba (Leoncavallo) 10005 1920
Tosca: E lucevan le stelle (Puccini) 10024 1920
15008 Tosca: Recondita armonia (Puccini) 10020 1920
Cavalleria rusticana: Siciliana (Mascagni) 10008 1920
15010 Santa Lucia (Teodoro Cottrau) 10030 10103 1920
'O sole mio (Giovanni Capurro/Edoardo Di Capua) 10042 10103 1921
15011 A perfect day (Carrie Jacobs-Bond) 10002 10104 1920
Absent (Catherine Young Glenn/John W. Metcalf) 10001 10104 1920
15012 For you alone (P. J. O'Reilly/Henry Ernest Geehl) 10000 10105 1920
Dreams of long ago (Earl Carroll/Enrico Caruso) 10040 10105 1921
15023 Parted (Frederick W. Weatherly/F. Paolo Tosti) 10107 March 1922
My dreams (Frederick W. Weatherly/F. Paolo Tosti) 10107 Feb.1922
15037 Lolita (Arturo Buzzi-Peccia) 10109 Dec. 1922
Mattinata (Ruggiero Leoncavallo) 10109 Dec. 1922
15040 L'africana: O paradiso (Meyerbeer) Jan. 1923
Manon: Le rève (Massenet) Jan. 1923
15056 La Gioconda: Cielo e mar (Ponchielli) 28 March 1923
Cavalleria rusticana: Brindisi (Mascagni) 28 March 1923
15065 Dreams dimly lying (Baker/Emanuele de Roxas) 10115 1923
Last hour (Brown/A. Walter Kramer) 10115 1923
15071 Out of the dusk to you (Arthur J. Lamb/Dorothy Lee) 10117 1923
Moon dream shore (Gretchen Dick/Eugene Lockhart) 10117 1923
15077 The old refrain (Mattullath/Fritz Kreisler) 10121 1923
Moonlight shining bright (Serenade) (Riccardo Drigo) 10121 1923
15084 Paquita (Martens/Arturo Buzzi Peccia) 10126 4 August 1924
Ideale (Carmelo Errico/F. Paolo Tosti) 10126 4 August 1924
15093 Il trovatore: Ai nostri monti (Verdi) with Sigrid Onégin 5 March 1924
Il trovatore: Mal reggendo (Verdi) with Sigrid Onégin 5 March 1924
12" Golden/White Label (double side) 1922
50003 La bohème: Racconto di Rodolfo (Puccini) 1922
Manon: Ah! fuyez douce image (Massenet) 1922
50020 L'alba separa della luce l'ombra (Gabriele D'Annunzio/F. Paolo Tosti) October 1922
Triste ritorno (L. Forzati/Richard Barthélemy) October 1922
50021 Ave Maria (Percy B. Kahn) November 1922
Agnus Dei (Georges Bizet) November 1922
50030 L'elisir d'amore: Una furtiva lagrima (Donizetti) 15 February 1923
Faust: Salut demeure (Gounod) 15 March 1923
50046 O dry those tears (Teresa Del Riego) 29 July 1924
10" Purple Label
10101 Marcheta (Victor L. Schertzinger) 14 August 1924
Memory lane (Buddy Gard De Sylva) 19 September 1924
10103 'O sole mio (Giovanni Capurro/Edoardo Di Capua) 10042 15010 1921
Santa Lucia (Teodoro Cottrau) 10030 15010 1920
10104 Absent (Catherine Young Glen/John W. Metcalf) 10001 15011 1920
A perfect day (Carrie Jacobs-Bond) 10002 15011 16 Feb.1923
10105 For you alone (P. J. O'Reilly/Henry Ernest Geehl) 10000 15012 28 September 1923
Dreams of long ago (Earl Carroll/Enrico Caruso) 10040 15012 28 September 1923
10107 My dreams (Frederick W. Weatherly/F. Paolo Tosti) 15023 February 1922
Parted (Frederick W. Weatherly/F. Paolo Tosti) 15023 March 1922
10109 Mattinata (Ruggiero Leoncavallo) 15037 December 1923
Lolita (Arturo Buzzi-Peccia) 15037 December 1923
10111 Your voice (Warwick F. Williams/Conal Quirke) 15051 24 April 1923
Call me no more (Nelle R. Eberhart/Clarence W. Cadman) 15051 24 April 1923
10115 Dreams dimly lying (Baker/Emanuele de Roxas) 15065
Last hour (Brown-A. Walter Kramer) 15065 with Fred Fradkin, violin 1923
10117 Moon dream shore (Gretchen Dick/Eugene Lockhart) 15071 1923
Out of the dusk to you (Arthur J. Lamb/Dorothy Lee) 15071 1923
10121 Moonlight shining bright (Serenade) (Riccardo Drigo) 15077 29 July 1924
The old refrain (Mattullath/Fritz Kreisler) 15077 with Fred Fradkin, violin & orch. 1923
10123 At night (Engel/Rachmaninov) 15080 with Fred Fradkin, violin & piano
Tell me why (Petr I. Tchaikovsky) 15080 with Fred Fradkin, violin & piano
10124 The vagabond king: Only a rose (Hooker/Rudolph Friml)
My dearest enemy: Here in my arms (Lorenz Hart/Richard Rodgers) 4 August 1924
10126 Paquita (Martens/Arturo Buzzi Peccia) 15084 25 April 1928
Ideale (Carmelo Errico/F. Paolo Tosti) 15084 25 April 1928
10158 Dream on (An Indian lullaby) (Victor Herbert) 30 January 1925
Me neenyah (Spanish love song) (Fleta Jan Brown/Herbert Spencer)
10188 Mother! O my mother (Prodigal) (Ernest R. Ball) 30 January 1925
My desire 18 April 1925
10201 Give me one rose to remember (Grey) 27 April 1925
I look into your garden (Wilmott/Haydn Wood) 27 April 1925
10218 Crucifix (Jean Baptiste Faure) with John Ch. Thomas 23 April 1925
10224 E'en as the flower (Passion flower) (Blackburn/Logan) 23 February 1926
Pleading (Hesse/A. Walter Kramer) 23 February 1926
10227 Fra Diavolo: On yonder rock reclining (Daniel François Auber) 1927
The Bohemian girl: When other lips (Michael William Balfe) 1927
and other hearts
10230 My dreams (Frederick W. Weatherly/F. Paolo Tosti) 1927
Parted (Frederick W. Weatherly/F. Paolo Tosti) 1927
10272 Cavalleria rusticana: Siciliana (Mascagni) 10272 with Arthur Jones, harp 26 April 1928
Cavalleria rusticana: Brindisi (Mascagni) 10272 26 April 1928
10" Golden Label (1926-1928)
15111 Manon: Le rêve (Massenet) 1926
L'africana: O paradiso (Meyerbeer) 1926
15134 Tosca: E lucevan le stelle (Puccini) 15130 10 June 1927
Pagliacci: Vesti la giubba (Leoncavallo) 15130 10 June 1927
15162 A perfect day (Carrie Jacobs-Bond) with Young, Readon & Chalmers 26 April 1928
Absent (Catherine Young Glen/John W. Metcalf) 25 April 1927
15161 For you alone (P. J. O'Reilly/Henry Ernest Geehl) 10290 10 June 1927
Dreams of long ago (Earl Carroll/Enrico Caruso) 10290 29 April 1927
15175 Cavalleria rusticana: Siciliana (Mascagni) 10272 with Arthur Jones, harp 26 April 1928
Cavalleria rusticana: Brindisi (Mascagni) 10272 26 April 1928
15178 Mon gentil Pierrot (Sérénade française) (E. Collet/Ruggiero Leoncavallo) 15136 with Fredric Fradkin, violin 26 April 1928
Si vous l'aviez compris (Stephen Bordese/Luigi Denza) 15136 with Fredric Fradkin, violin 5 April 1928
15192 Tosca: Recondita armonia (Puccini) 27 April 1927
La Gioconda: Cielo e mar (Ponchielli) 5 April 1928
15194 Rigoletto: La donna è mobile (Verdi) 10275 28 October 1928
Don Pasquale: Com'è gentil (Donizetti) 10275 19 October 1928
15207 Lolita (Arturo Buzzi-Peccia) 10 April 1928
Mattinata (Ruggiero Leoncavallo) with Fredric Fradkin, violin 18-May-28
15213 Ideale (Carmelo Errico/F.P. Tosti) 10 April 1928
Paquita (Martens/Arturo Buzzi-Peccia) 25 April 1928
12" Golden Label
50075 La bohème: Racconto di Rodolfo (Puccini) 1926
Manon: Ah, fuyez douce image (Massenet) 1926
50141 Mignon: Adieu, Mignon (Thomas) 15 May. 1928
Mignon: Elle ne croyait pas (Thomas) 15 May. 1928
50142 La forza del destino: Solenne in ques. (Verdi) 50112 with Richard Bonelli 15 May. 1928
Marta: Solo profugo (Flotow) 50112 with Richard Bonelli 15 May. 1928
50155 Ave Maria (Bach/Gounod) with Fred Fradkin, violin, organ & piano 4 May. 1928
Elégie (Louis Gallet/Jules Massenet) with Fred Fradkin, violin, organ & piano 4 May.1928
50157 La traviata: Parigi o cara (Verdi) with Florence Easton 8 Oct. 1928
Faust: Laisse-moi (Gounod) with Florence Easton 8 Oct. 1928
MAY, 2008
I wish to thank Juan Dzazópulos for the biographical notes, discography, and recordings (Dreams of long ago, Don Pasquale, Fra Diavolo, Martha, Paquita, L'alba separa dalla luce l'ombra).
I wish to thank Thomas Silverbörg for the pictures (Tosca, private), and the recording (Forza).
I wish to thank Anton Bieber for the Moon dream shore and Tosca recordings and label scans.

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