1905 Russia Maria Michailowa Klavdia TUGARINOVA Rubinstein The Birds are Gayly78

$

27

WEEK 2 of two weeks of great auctions ending May 11.

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Marie Michailowa, first coloratura at the Imperial Opera St PEtersburg, was the first international recording star: Her first recordings for Gaisberg and Berliner were pressed worldwide, though she never left Russia. 

 10" one sided record

w piano

The birds are gaily singing (Primary title) Disc label
The little bird sang and sang (Alternate title) Bolig vol. 1
Pela, pela, ptashechka (Alternate title) Kelly files
Authors and Composers Notes
Anton Rubinstein (composer) 

M. A. Michailova (vocalist: soprano vocal) 
K. A. Tugarinova (vocalist: contralto) 
Description: Vocal duet (soprano and contralto), with piano

1905 (St. Petersburg, Russia) [1] Master Gramophone 3-4067

Great original issue pre-grand prize label with G&T Notice on top 10" 78 rpm record

Condition:

very good, DULL surface, fine scratches, plays w loud hiss

Marie Michailowa, soprano, was called "the first Gramophone Prima Donna", she was the first artist for whom the Gramophone created an international fame. Marie Michailowa made her first appearance in Charkow, Russia when she was a very young girl, in later years she held the position of chief prima donna with the Imperial Opera House in Petrograd.

Tugarinowa, Klavdia Alexeyevna, Old, * 1880 † (?), She was a member of the Marienskij theater, the Imperial Court Opera of St. Petersburg in the years 1902-17. She was there as an excellent interpreter of roles such as Olga in "Eugene Onegin," the Countess in "Pique Dame" of Feodor in "Boris Godunov" and dominated the entire Wagner repertoire in their field. In 1909 she was part of the ensemble of the St. Petersburg court opera at the Paris gave sensational performances of Russian operas at the Théâtre Sarah Bernhardt; while they sang the Feodor in "Boris Gounow" while Fedor Chaliapin appeared in the title role. After her retirement from the stage she was first singing teacher in Leningrad. In 1933, it moved its activities to Stalingrad, where in 1940 she taught.

By Collectors, it is particularly known for its eight superbly beautiful duets with Maria Mikhailova on G & T, whereas appeared at G & T, only solo recording of her voice, some others came out on Zonophone, including the aria of the Countess of "The Queen of Spades ". Opera and song title on Pathé cylinders and plates (St. Petersburg, 1905 and 1912).
Michailowa, Maria Alexandrowna, Sopran, * 3.6.1866 (nach anderen Quellen 1864) Charkow, † 18.1.1943 Perm (damals Molotow) im Ural; sie entstammte einer russisch-holländischen Familie, der Familienname ihrer Mutter war van Puteren. Sie begann ihre Ausbildung bei Mme Groewing-Wilde in Charkow und am Konservatorium von St. Petersburg, dann Schülerin von St. Yves-Bax in Paris und von Rauzzoni in Mailand. Debüt 1892 am Marienskij Theater (der Hofoper) von St. Petersburg als Königin Marguerite in den »Hugenotten« von Meyerbeer. Sie sang dort am 18.12.1892 in der Uraufführung von Tschaikowskys Oper »Jolanthe« eine kleine Rolle, am 29.10.1895 in der Uraufführung der Trilogie »Oresteia« von Tanejew die Partie der Elektra. Während ihrer gesamten Karriere blieb sie in St. Petersburg, wo sie von der Gesellschaft des zaristischen Rußlands gefeiert wurde. Sie gastierte in Moskau, Kiew, Charkow, Odessa und in anderen russischen Städten. Ihre großen Partien waren die Ludmilla in Glinkas »Ruslan und Ludmilla«, die Antonida im »Leben für den Zaren«, die Lakmé, die Micaela in »Carmen«, die Tamara in Rubinsteins »Dämon«, die Gilda im »Rigoletto«, die Juliette in »Roméo et Juliette«, die Nannetta in Verdis »Falstaff« (die sie 1894 in St. Petersburg für Rußland kreierte), die Amina in »La Sonnambula« und die Marguerite in den »Hugenotten«. Weltbekannt wurde sie durch ihre Schallplatten, die seit 1900 erschienen und allgemeine Bewunderung erregten. Dennoch gelang es nie, die Künstlerin zu bewegen, Rußland zu verlassen; nur 1903 gastierte sie in Prag. Oscar Hammerstein bemühte sich vergeblich, sie an das von ihm begründete Manhattan Opera House in New York zu verpflichten. Sie soll jedoch 1907 eine Konzert-Tournee durch Japan unternommen haben. 1912 verabschiedete sie sich am Marienskij Theater von St. Petersburg als Antonida in Glinkas »Leben für den Zaren« von der Bühne. 1913 oder 1914 soll sie nochmals eine Konzerttournee in Rußland unternommen haben. Sie lebte später in Leningrad. Anscheinend geriet sie nach der Oktoberrevolution in finanzielle Schwierigkeiten; 1921 richtete sie eine Bittschrift um Hilfe an die Direktion der Oper von Leningrad. Über ihre weiteren Lebensumstände ist nichts bekannt. Währemd der Belagerung von Leningrad durch die deutschen Truppen im Zweiten Weltkrieg wurde sie nach Perm im Ural evakuiert, wo sie 1943 starb. - Ihre Stimme gehört zum Schönsten, was aus der Frühzeit der Schallplatte erhalten ist; souveräne Beherrschung der Technik und stilsichere Vortragskunst halten sich in ihren Interpretationen die Waage.

Zahlreiche Schallplatten, die ältesten noch Berliner Records (1900-01), dann G & T (ebenfalls seit 1900), Columbia, Lyrophon, HMV und Pathé; eine Aufnahme auf Amour Records.

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