78 RPM - Galli-Curci, Egener, Caruso, De Luca, Journet, Bada - Lucia–Sextette (Chi Mi Frena–What Restrains Me?) (Act 2) / Rigoletto–Quartet (Bella Figlia Dell' Amore) (Fairest Daughter Of The Graces) (Act 3) - Victrola - USA

78 RPM Record

Artist:	Galli-Curci, Egener, Caruso, De Luca, Journet, Bada
Label:	Victrola
Country:	USA
Catalogue:	10000
Date:	21 Sep 1923
Format:	12"
Collection:	I Own It I Want It
Community:	4 Own
Price Guide:	Valuation Page
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Track	Artist	Title	Composer	Rating
A	Galli-Curci, Egener, Caruso, De Luca, Journet, Bada	Lucia–Sextette (Chi Mi Frena–What Restrains Me?) (Act 2)	Donizetti	Rate
B	Galli-Curci, Perini, Caruso, De Luca	Rigoletto–Quartet (Bella Figlia Dell' Amore) (Fairest Daughter Of The Graces) (Act 3)	Verdi	Rate

Notes

10000-A "Lucia di Lammermoor" sextet, acoustical recording, Camden, NJ, January 25, 1917 (from Victrola 95212)
Amelita Galli-Curci, soprano
Minnie Egener, contralto
Enrico Caruso, Angelo Bada, tenors
Giuseppe de Luca, baritone
Marcel Journet, bass

10000-B "Rigoletto" quartet, acoustic recording, Camden, NJ, January 25, 1917 (from Victrola 95100)
Amelita Galli-Curci, soprano
Flora Perini, contralto
Enrico Caruso, tenor
Giuseppe de Luca, baritone

A runout: 2 ⁶ ᴶ 10000A; B runout: 2 ⁵ ᴼ 10000B.
A side matrix: C-19133-2; B side matrix: C-19132-2.
(DAHR)

The Talking Machine World, September 15, 1923, page 185: Advance Record Bulletins for October, 1923: List for September 21.

Reissued (this coupling) as RCA Victor Red Seal 10000.

Images

Number: 2843379

THUMBNAIL
Uploaded By: historyofcountrymusic
Edited By: scrough
Description: A-side

Number: 2843380

Uploaded By: historyofcountrymusic
Description: B-side

Number: 2044522

Uploaded By: annaloog ●
Description: Victrola 10000 A side label, stamped mx: 6 J 10000A

Number: 2044523

Uploaded By: annaloog ●
Description: Victrola 10000 B side label, stamped mx: 5 O 10000B

Comments and Reviews


historyofcountrymusic 30th Dec 2021		added clearer label images {Mod comment. Moved up.}



xiphophilos 30th Oct 2019		@annaloog: What you record as an "Ⓢ at 9 o'clock" or "➂ ... at 9 o'clock" should really be a small 2, i.e., take 2. That small 2 should appear on both runouts in the same position because both recordings are take 2s, at least according to (DAHR). A take 3 of the B side (Rigoletto Quartet) was recorded, but destroyed.



annaloog ● 22nd Oct 2019		I have another copy of this, with slightly different runout stampings: Ⓤ 10000A ➂ Ⓢ ... the ➂ is at 3 o'clock, the Ⓢ at 9 o'clock ➁Ⓐ 10000B ➂ ... the ➂ is at 9 o'clock The circled letters/numerals indicate the very tiny stamps. Bat-wing label design is the same on both copies.



xiphophilos 23rd Sep 2019		The small numbers that you usually, but not always, find in the 9 o'clock position on Victor records are the take numbers. They would definitely be worth reporting since different pressings and reissues can sometimes be identified because they use a different take than the original release. If possible, everything stamped into the runout should be reported in the Notes. The even more minuscule number and letter combinations in front of the catalog numbers on 1920s Victors probably identify different stampers. Norman Fields, who is a member of this site too, has written a couple of excellent articles on the production process and the runout markings of 78 rpm records in general. The monthly trade journal The Talking Machine World received lists of new releases from the major record producers each month and published them as "Advance Record Bulletins" or "Latest Record Bulletins". These listings are not exhaustive (for example, they rarely include niche releases such as foreign-language recordings) because the companies probably had to pay for them. Usually, though, it is safe to say that a record was released during the month in which it was listed in The Talking Machine World, which always came out on the 15th of the month. Sometimes, the companies even listed the exact release date on which the record would appear. One word of caution: A record listed in, say, the September TMW issue as part of "Advance Record Bulletins for October" would have actually been released at some point in mid- or late September.



annaloog ● 23rd Sep 2019		Quote: ... Do the runouts by chance show a little 2 in the 9 o' clock position? On side A, yes; on side B, it's at 3 o'clock (with 10000B at 6 o'clock) ... had I been aware these numerals were significant I would have mentioned them. FWIW, there is a near-microscopic '6 J' to the left of the 10000A stamp, and a similar '5 O' to the left of 10000B. So, Talking Machine World indicates actual release dates, then?



Mike Gann 23rd Sep 2019		Release date found here: https://www.americanradiohistory.com/Archive-Talking-Machine/20s/Talking-Machine-1923-09.pdf [Thanks, Mike! Now added above. Mod.]



xiphophilos 23rd Sep 2019		By the way, even though both of these tracks were recorded in 1917, this cannot be a 1917 release. Victor didn't start releasing Classical recordings as double-sided records until 1923, and this record was then released as the first offering in the new 10000-series. Question: Do the runouts by chance show a little 2 in the 9 o' clock position?



xiphophilos 23rd Sep 2019		This version of the "Lucia Sextette" was probably intended as a remake of Victor / Victrola 96200 from 1908. As early as 1912, Irving Berlin had written a parody, recorded by Billy Murray and friends on Victor 17119.



annaloog ● 23rd Sep 2019		DAHR page. On a pop culture note, the sextet was featured in two Three Stooges short films, although with changed lyrics in one of them.

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Linked Releases

USA - RCA Victor Red Seal - 1947