GIGLI: PEARL FISHERS / LA GIOCONDA /12" 78 RPM SHELLAC RECORD /*RAREST*
  $   35

 


$ 35 Sold For
Nov 8, 2020 Sold Date
Oct 29, 2020 Start Date
1 Number Of Bids
  USA Country Of Seller
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Description

Here for your delectation is the SPECTACULAR AND RARE--------------GIGLI: PEARL FISHERS / LA GIOCONDA /12" 78 RPM RECORD /*RAREST*

Beniamino Gigli, Giuseppe De Luca (3) ?– Del Tempio Al Limitar / Enzo Grimaldo, Principe Di Santafior

Label: Victor ?– 8084 Format: Shellac, 12", 78 RPM
Country: US Released: 1928 Genre: Classical Style: Opera

Tracklist 

A Pescatore de Perle - Del Tempio Al Limitar Composed By – Bizet*
B Gioconda - Enzo Grimaldo, Principe Di Santafior Composed By – Ponchielli*

Credits

  • Baritone Vocals – Giuseppe De Luca (3)
  • Tenor Vocals – Beniamino Gigli

Notes

Duet in Italian with Orchestra
Recorded in New York, 28 Nov. 1927






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Beniamino Gigli (pronounced [benja?mi?no ?d?i??i]; 20 March 1890 – 30 November 1957)[1] was an Italian opera singer. He is widely regarded as one of the greatest tenors of his generation.

Les pêcheurs de perles (The Pearl Fishers) is an opera in three acts by the French composer Georges Bizet, to a libretto by Eugène Cormon and Michel Carré. It was premiered on 30 September 1863 at the Théâtre Lyrique in Paris, and was given 18 performances in its initial run. Set in ancient times on the island of Ceylon (Sri Lanka), the opera tells the story of how two men's vow of eternal friendship is threatened by their love for the same woman, whose own dilemma is the conflict between secular love and her sacred oath as a priestess. The friendship duet "Au fond du temple saint", generally known as "The Pearl Fishers Duet", is one of the best-known in Western opera.

At the time of the premiere, Bizet (born on 25 October 1838) was not yet 25 years old: he had yet to establish himself in the Parisian musical world. The commission to write Les pêcheurs arose from his standing as a former winner of the prestigious Prix de Rome. Despite a good reception by the public, press reactions to the work were generally hostile and dismissive, although other composers, notably Hector Berlioz, found considerable merit in the music. The opera was not revived in Bizet's lifetime, but from 1886 onwards it was performed with some regularity in Europe and North America, and from the mid-20th century has entered the repertory of opera houses worldwide. Because the autograph score was lost, post-1886 productions were based on amended versions of the score that contained significant departures from the original. Since the 1970s, efforts have been made to reconstruct the score in accordance with Bizet's intentions.

Modern critical opinion has been kinder than that of Bizet's day. Commentators describe the quality of the music as uneven and at times unoriginal, but acknowledge the opera as a work of promise in which Bizet's gifts for melody and evocative instrumentation are clearly evident. They have identified clear foreshadowings of the composer's genius which would culminate, 10 years later, in Carmen. Since 1950 the work has been recorded on numerous occasions, in both the revised and original versions.

La Gioconda is an opera in four acts by Amilcare Ponchielli set to an Italian libretto by Arrigo Boito (as Tobia Gorrio), based on Angelo, Tyrant of Padua, a 1835 play in prose by Victor Hugo (the same source Gaetano Rossi had used for his libretto for Mercadante's Il giuramento in 1837).

First performed in 1876, La Gioconda was a major success for Ponchielli, as well as the most successful new Italian opera between Verdi's Aida (1871) and Otello (1887). It is also a famous example of the Italian genre of Grande opera, the equivalent of French Grand-Opéra.

Ponchielli revised the work several times; the version that is played today was first given in 1880. There are several complete recordings of the opera, and it is regularly performed, especially in Italy. It is one of only a few operas that features a principal role for each of the six major voice types.

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This is the ORIGINAL 78 RPM 12" RECORD. Other than typical signs of age (@ 100 years old!), it is in very good (used) listening condition. Check my feedback to see that I sell exactly as I describe. So bid now for this magnificent, impossible-to-find AUDIO COLLECTIBLE.




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