1926 Greek ULYSSE LAPPAS Tenor GIOCONDA Cielo e Mar AIDA Celeste Aida 78
  $   30

 


$ 30 Sold For
Jun 2, 2019 Sold Date
May 26, 2019 Start Date
1 Number Of Bids
  USA Country Of Seller
eBay Sold at
 
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Description

Please wait for me to send you an invoice. DO NOT USE EBAY CHECKOUT if you want the lowest possible postage.

 

Welcome to my auctions of great records

This is my FIRST WEEK of 2 weeks of great auctions – I WILL PACK AND BILL YOUR RECORDS after the close on JUNE 9.

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International shipping: approx postage 1x10"=$25: 1x12"=$25 to $35: 10"Album 4 Rec=50$: 12" Album 2 Rec=50$
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About 30% less to Canada. Pls ignore international postage displayed in Ebay, rates are too high

Please wait for me to send you an invoice. DO NOT USE EBAY CHECKOUT if you want the lowest possible postage.

 

I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels:

Great Greek Tenor ULYSSE LAPPAS in his early electric record

GIOCONDA Cielo e Mar AIDA Celeste Aida

12" columbia record
Condition: VERY GOOD PLUS PLUS, unworn but rubbed and several light scratches, 2cm scratch end of Gioconda, faint lam crack first 3cm on Gioconda NAP, plays very quiet light crackle, few clicks

 

Ulysse Lappas

Greek tenor internationally active late teens-30s-La Scala, Chicago etc. Columbia records 


appas, Ulysses, Tenor, * 1881 Athens, å 26.7.1971 Athens; trained at the Conservatory of Athens. After his Debnt 1913 in Athens, he continued his singing studies in Italy and developed there then also a first successful stage career. He sang in 1917 at the MailSnder Scala in the premiere of the opera + Il Macigno½ by Victor de Sabata, 1918 at the Teatro Reinach of Parma and at the Teatro Grande of Brescia in performances of Puccinis + La Fanciulla del West½. At the Opera of Monte Carlo in 1919 he began his actual international career as Canio im + Bajazzo½ with Elvira de Hidalgo as a partner. In 1919 he made his first guest appearance in England, at the Covent Garden Opera London, in 1920 at the Cairo Opera. In 1925 he was again at the Covent Garden Opera, now as a partner of Maria Jeritza in + Fedora½ of Giordano to find, in 1933 he sang at this house the Don Carlos in the same Verdi opera. In the seasons 1921-22 and 1928-29 he was engaged at the Opera of Chicago. As a star performer he sang the Ramirez in + La Fanciulla del West½ by Puccini, then Julien in Charpentiers + Louise½ and the Canio in + Bajazzo½. He also appeared as a guest at the great Italian theaters, in 1928 at the Teatro Donizetti Bergamo and at the Teatro Massimo Palermo (as JosT in + Carmen½), in 1932 in Naples again as Ramirez in + La Fanciulla del West½. In 1934 he sang at the Scala in the premiere of the opera + Don Giovanni½ by Felice Lattuada. From 1935-52 he was with the Royal Opera of Athens, since then vocal saga in the Greek capital.

The recordings of the singer, whose starring role was the Ramirez (Dick Johnson) in + La Fanciulla del West½, appeared exclusively at Columbia, almost all in acoustic recording.

[Addendum] Lappas, Ulysses; he first appeared in 1918 at the Opera of Monte Carlo as Ramirez in Puccinis + La Fanciulla del West½ (also 1919-21, 1926, 1935); 1919-21, 1923, 1928, 1931, 1933, 1935 and 1950-51 he sang the Canio in + Bajazzo½, 1919 the title role in + Ruy Blas½ by Marchetti, 1921 the Parsifal (!), 1931 the Cavaradossi in + Tosca½. At the Covent Garden Opera London he guested in 1919 as Cavaradossi in + Tosca½ (his debut role), as Canio and as Pinkerton in + Madame Butterfly½, 1920 as Canio, 1925 as Loris in + Fedora½ by Giordano and as Pinkerton, 1933 as Don Carlos of Verdi. At the Teatro Costanzi in Rome he was heard as Enzo in + La Gioconda½ by Ponchilelli in 1915, in 1919 as JosT in + Carmen½, at the Teatro Politeama Genoa in 1918 as Oronte in Verdis + I Lombardi½, at the Grand OpTra Paris 1920 once again in his great shine, the Canio im + Bajazzo½.

 

 

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The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately

When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
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