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Emma Carelli in Lorenza

A series of great early Opera performances: From 1902 G&Ts to 40s wartime German records:

I AM OFFERING A SERIES of HISTORIC MASTER VINYL PRESSINGS - Rare and unpublished recordings repressed in LP grade Noiseless vinyl 

Great Russian Born soprano FELIA LITVINNE

HMA HMA93 93Carelli,Emma Litvinne,FeliaMassenet WagnerManon LohengrinAncor son io tutt'attonita Elsas Traum       1906 1905Milan Paris Xph 1820 Xph 676 diseuse-soubrette w piano

 

 

 

Condition:

All Historic Masters are MINT condition. Any clicks or extraneous noises are contain in the stamper.

Félia Litvinne (October 11, 1860, Saint Petersburg – October 12, 1936, Paris) was a Russian-born, French-based dramatic soprano. She was particularly associated with Wagnerian roles, although she also sang a wide range of parts by other opera composers.

 

Young Felia Litvinne (Alexei Harlamov)
Born in Russia as Françoise Jeanne Schutz into a family of German and French Canadian origin[1] (her mother was born in the Province of Quebec), she came to Paris to study with Barthe-Banderali, Pauline Viardot and Victor Maurel.[2] She made her stage debut at the Théâtre-Italien in 1883, as Amelia in Verdi's Simon Boccanegra, as a last-minute replacement for Fidès Devriès.[3] Shortly afterwards, she made her official debut as Elvira in Ernani (also by Verdi).
Litvinne's career rapidly became international in scope. During the course of the next three decades she appeared at the Academy of Music in New York, at the Paris Opera, at La Scala in Milan, at the Rome Opera, at La Fenice in Venice, at the Royal Opera House, Covent Garden, in London and at the Théâtre de la Monnaie in Brussels.[4] Tsarist Russia's two main cities, Moscow and Saint Petersburg, experienced her vocal artistry as well.
Livinne first sang in New York in 1885-1886 with the Mapleson Company. She made her Metropolitan Opera debut in that city on November 25, 1896, as Valentine in Meyerbeer's grandest work, Les Huguenots. She sang at the Met for only one season, however. Her other roles there included Verdi's Aida, Mozart's Donna Anna, Massenet's Chimène, Meyerbeer's Sélika, and Wagner's Brünnhilde and Isolde.
Paris became Litvinne's base. She took part in the premieres of three works by Camille Saint-Saëns, Hélène, L'ancêtre and Déjanire, as well as of Camille Erlanger's Bacchus triomphant. Livinne also won acclaim for her splendid singing in revivals of two 18th-century operas by Gluck, namely Alceste and Armide.
In 1915, she sang Aida at Monte Carlo opposite Enrico Caruso. Her last operatic appearances were at Vichy in 1919 but she continued giving recitals until 1924. In retirement, she taught at the American Conservatory in Fontainebleau. Among her pupils were the sopranos Nina Koshetz and Germaine Lubin. She published a book of Conseils et exercices in 1924 while her autobiography, Ma vie et mon art, was released in 1933. She died in Paris three years later, just after her 76th birthday.
Litvinne was regarded widely as being one of the greatest dramatic sopranos of the late 19th century and the early 20th century. She possessed an excellent technique and a strong, flexible and resonant voice. Her low and middle registers had a mezzo-soprano like coloration and were particularly impressive but her top notes did not always ring out with total freedom, if her records are any guide. Litvinne was not famous in her lifetime as a singing-actress but she commanded a stately stage presence.

Emma Carelli (12 May 1877, Naples – 17 August 1928, near Rome) was an Italian operatic soprano who was particularly associated with the dramatic soprano roles of the verisimo repertoire and the works of Richard Wagner. After a singing career which lasted almost two decades, she managed the Teatro Costanzi in Rome for almost fifteen years. After studying with her father, Beniamino Carelli, at the Conservatorio San Pietro a Majella, she made her professional debut in 1895 in the title role of Mercadante's La vestale during the centenary celebrations at Altamura and went on to appear in the opera houses of many Italian cities. In 1898 she married the left-wing politician, self-made millionaire, and later impresario, Walter Mocchi.[1]

She sang in several world premieres including: Pietro Floridia's La Colonia libera (1899); Meryem in Cesare Galeotti's Anton (1900) and Rosaura in Mascagni's Le maschere at La Scala in 1901.[1] For several years she also sang in South America, primarily Argentina, as part of a touring troupe organized by her husband. In 1903, she sang the title role in Edoardo Mascheroni's opera Lorenza for its South American premiere in Buenos Aires.[2] She became particularly associated with the title role in Leoncavallo's Zazà and sang in several operas by Richard Wagner, including the roles of Kundry in Parsifal and Elisabeth in Tannhäuser. She also sang the title role in Puccini's Tosca, the title role in Giordano's Fedora, Santuzza in Mascagni's Cavalleria rusticana, and Margherita in Boito's Mefistofele among other roles.[3]

In 1908, Carelli's husband purchased the Teatro Costanzi. His company, Società Teatrale Internazionale,[4] produced the world premiere of Leoncavallo's Maia during its second season. Carelli took over the management from her husband in 1912 with a new company (Impresa Teatro Costanzi), while he concentrated on running the South American the touring troupe and the Teatro Municipal in Rio de Janeiro and the Teatro Colón in Buenos Aires. During her 14 year management of the theatre, several operas received their first Rome performances including Richard Strauss's Elektra (in which she sang the title role), La fanciulla del West, Turandot and Il trittico by Giacomo Puccini; Parsifal by Richard Wagner; Francesca da Rimini by Riccardo Zandonai; Boris Godunov by Modest Mussorgsky; Samson et Dalila by Camille Saint-Saëns. Apart from Elektra, her only other performance as a singer during that time was in the title role of Mascagni's Iris.[1] In 1926, Carelli and Walter Mocchi sold the Costanzi to the Rome City Council and withdrew from most of their other business interests in South America. Carelli died two years later in a car accident.[3] A few years after her death, Mocchi married Bidu Sayão, whose career Carelli had fostered.

 

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