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Wonderful !

The usual vocal magic of Fernando de Lucia and the wonderful singing of Madame Boninsegna.

Brilliant it's a shame there's no electric recordings of him

I also have a copy of this wonderful old disc. It always surprised me that Madame Jones-Hudson increased the tempo so markedly in the first part of the second verse.

Sir Beecham es genial.

Impressive noise reduction, the sound comes through really well without any of those annoying side-effects of 'quick fix' digital approaches! It's a fine recording by Vaguet, too. Thanks!

Such a beautiful voice. He doesn't so much sing as caress the melodies he preforms. I remember reading an quote from Enrico Caruso upon Evan Williams' passing in 1918 that his was the most beautiful voice in the world. Caruso was not generally known to heap that sort of praise on other singers.

Hi , thanks for posting this , a great labour of love and lovely sound produced after all your hard work , you have inspired me to start a similar project to try and improve my gramophone listening experience ... I made note of a comment regarding your moulding framework , just to point out , in my simple calculations I think , the flare on your horn is slightly off . your diameters placed a foot apart , 30 to 20 is 33% next 36% next 35.29% . .. I presume the rate of flare should either increase or decrease in the same direction . I maybe wrong but thanks again for posting this video .

This is a fascinating document of style at the turn of the century.

This looks like a great effort so it is quite an achievement. I have a couple of comments though. The first is that there's a whole area of physics devoted to horns - under the field of acoustics. Formulae for the construction of finite dimensions horns can be found fairly easily on the internet along with the associated performance characteristics. So the frequency response of the horn is exactly determined by its dimensions - in essence the horn acts as an acoustic filter (as well as a three-dimensional wave director). The second is that even though the weight of the horn, as seen by the needle, can be adjusted by means of a sliding counterweight, this still doesn't change the moment of inertia of the horn when moving laterally (or vertically in case of replaying the older gramophone records) with respect to the record's surface. Besides, it's too much of a risk in case of structural failure or if someone/something touches it. I would not fix the tube coming off the needle sound-box fixed to the horn's throat but instead leave the tube free to rotate even though that introduces another bend to the horn. This would greatly decrease the amount of wear suffered by the records as well as the risk of damage to them. Besides, the way the neck of the horn is attached already introduces two bends anyway. To reduce the amount of distortion caused by the bends, one can judiciously place the bends so that the direction of one bends is opposite to the one that follows, that is, they form a meandering sound path rather than a spiral.

Beautiful and fresh performance! Thanks for the upload.

I might not be british but did enjoyed the song though

great sound!

Muriel Brunskill wrote that this Beecham recording of Messiah was revolutionary in its time as he took a dramatic approach to the work. Gone was the slow , stately progress of the oratorio tradition folks were used to. Some years later he was conducting a performance with the soprano Victoria Sladen, I believe in the Royal Albert Hall. She had a large voice , more often heard as Tosca or the soprano soloist in the Verdi Requiem. Sensing that she was holding back her voice in her opening ' Angel' recitatives he reminded her that Messiah is about the greatest and most dramatic story ever told. He encouraged her to sing it that way and not hold back. That dramatic approach might not please modern day Baroque specialists, but it clearly led to some powerful renditions of Messiah. A fine illustration of that approach is Harold Williams ' Thus saith the Lord' and 'But who may abide.' Known to concert goers as ' Elijah' for his famous interpretation of Mendelssohn's work, here he brings out every ounce of drama and nuance from the text and music.

The voice, while impeccably trained, does have a cold" white" quality to it.....a more succesful voice as Elsa in Lohengin , than the passionate Tosca.

This is my maternal great grandfather. Such a timeless penetrating voice. ps Wish I could carry a tune

When men sang like men!

At almost 60 after a long and demanding operatic carreer she is singing far better than most singers today. Beautiful line, amazingly homogenous timbre and emission; perfect register blending.

Sembrich's career overlapped those of Adelina Patti and Nellie Melba, yet she was capable of holding her own and then some against these two vocal giants, with her beautiful voice and superb technique.

Ponselle ou Farrar. Não sei qual das duas é a pior cantando Sempre Libera.

What a gem to find this 116 year old recording of the anthem I sung this morning

Boninsegna was no doubt one of the finest spinto/dramatic sopranos ever recorded despite the fact she never quite achieved superstardom. Her voice, like Galli-Curci's, was "phonogenic" and bright, and she had an admirable technique.

Awful performance. Better suited to a countertenor. Too feminine sounding.

Ah this is sooo great! I love that they use proper English, "Her iniquity is Par-do-ned" "Her war fare is Accomplish ED" ... warms my heart.

What a voice so beautiful and effortless

Amazing

Amazing, I had no idea this recording existed! A song by Piatti, performed by his student Whitehouse. Thanks for posting this!

Very nice! I have been wanting to build a large horn for a gramophone, and worried about how perfect everything needs to be in order to sound good. Thank you for your series of videos, which show what can be done with very little, and how this horn, even with its visual flaws on the surface, is still a good performer acoustically!

This just gave me the chills. Absolutely incredible. I wish there was a full recording of this, stumbled across this opera at work and now it’s one of my favourites

The singer and the accompaniment existed almost independently of each other, but this did not prevent the voice from sounding great.

I found this record many years ago when clearing my mothers effects although the label was I think Zonaphone (?) I was very impressed by the singers who complemented each other perfectly.The words of the song are fantastic and were obviously of the period when the whole world revolved around differents values than thoe of today.

I have this one the later double sided hmv

That sounds almost live. Wonderful experiment. Should have been done 120 years ago.

Lesson for everyone to not cutting off the note values and to the gutsy and noticeable omissions of passing notes. I think this rendition is well true to the text to Handel and the spirit of the message of Comfort ye. I do think the tempo is slower and almost to a fault

Must be the only world famous opera singer whose father was a Major League Baseball player. Her father Sid Farrar played first base for the Philadelphia Phillies for about 10 years.

Amazing voice! So dark ❤

I’m part British and Italian and more

11min.20sec to 15min, a fair olde melody, indeed!

I believe that the should be speeded up by at least 20%.

This melody also found its way to Germany and was used in a song about imperial nostalgia th-cam.com/video/RiJhTzdG6XA/w-d-xo.html You have an excellent collection of early records and your “EMGs” are marvels of gramophone engineering. Very well done

Bravissimo!

GERALDINE FARRAR Nos idos de 1901, em Berlim, fez a estreia No papel de Marguerite, da ópera Fausto, De Gounod, conquistando imensa plateia De fãs, depois veio um repertório fausto. Nos idos de 1907, na primeira montagem Madama Butterfly, em NY - Met. Opera, Foi prestigiada pela presença de Puccini, O célebre compositor desta linda ópera. Amores Geraldine Farrar teve aos montes, Um príncipe herdeiro alemão e o Maestro Toscanini e lendas surgiram com fontes Wikipedia, fizeram-na uma das maiores Celebridades, reconhecida por seu estro, Na cena lírica, relembrada pelos amores. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - GERALDINE FARRAR (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.

A voice from a Century ago. Remarkable.

As good as a electric record player or. CD

Love these good record players

Love these good record players

I wasn't expecting that clarity and quality, amazing

My wife is related to Kate Cove. She visited the farm house in Devon where she lived to find it in a very poor state. The family believed she sang with Caruso. Do you know any more please? Thank you for putting this up.

th-cam.com/video/3CYetKGvLIA/w-d-xo.html

Wow! What a beautiful voice!