Label: Fono Oxilia (Marca Otello - Incisione Braga) (Green & White "Photo" Label) (Monosided record)
Made in: ITALY, (Recorded in Milano Ca. 1915)
Serial Number: 33-4 (30) (Handwritten in black ink)
Side A: Ora e per sempre addio from "Otello" (Verdi) - Tenore Giuseppe Oxilia with piano Acc.
Side B: Blank
Condition: VG (Lightly greyed grooves a sectors, superficial marks, play loud and clear providing you use an appropriate stylus)
Giuseppe Oxilia (Tenor) (Montevideo, Uruguay 1865 - Montevideo, Uruguay 1919) --
José Nicolás Oxilia was born in Montevideo (Uruguay) on 3 June 1861 from Italian parents. In 1881, he went to Italy to study singing with Felice Pozzo. In 1884, he is engaged as "tenore comprimario" for the opera company of Marino Mancinelli. He made his debut on 21 november 1884 as Laerzio in "Hamlet" by Thomas, at Teatro del Liceo in Barcelona with Giuseppe Kaschmann and Victor Maurel alternating in the main role. On December 11, he sang Arturo in "Lucia di Lammermoor" with Sembrich and Gayarre and then the role of Rambaldo in "Roberto Il Diavolo" by Meyerbeer. When Gayarre fell ill, Oxilia sang Fernando in "La Favorita" at the Liceo, in January 1885. Back in Italy, he made his debut at Teatro La Fenice in Venice, again as Fernando and then as the Duke in "Rigoletto", in July and August 1886 . From October 1886 to March 1887, he sang at Teatro Real in Madrid, Enzo in "La Gioconda", Radames in "Aida", Fausto in "Mefistofele", and Rodolfo in "Luisa Miller". Back in Italy, he sang in Padova "Gli Ugonotti" and "Don Carlo", "Mefistofele " in Naples and "Fausto" in Turin. In August 1887, he sang for the first time the main part in "Otello" at the Teatro Grande in Brescia, with Adalgisa Gabbi and Paul Lherie conducted by Franco Faccio. With the same cast, he sang Otello at the Teatro Regio in Parma. In 1888, he took part in the premiere of "Asrael" by Franchetti and "Otello" with Victor Maurel. He made his debut at La Scala in december 1888 with "Asrael" (17 performances) and in February next year, "Otello" (13 performances) again with Maurel. In 1889, he sang "Lohengrin" at the Carlo Felice in Genoa and in May 1890 returned to Montevideo, making his debut at the Teatro Solís with "La Favorita". Later he sang there "Mefistofele", "Lucrezia Borgia" and "Otello". The same year, in August, he sang in Montevideo but at the Teatro Nuevo Politeama : "Lucia di Lammermoor", "La Favorita" , "Lucrezia Borgia", "La Gioconda", "La Traviata", "Gli Ugonotti", "Fausto" and "Carmen". In November, he sang "Otello" in the first performance ever at the Teatro Argentino de La Plata. Back in Italy, in January and February 1891, Oxilia sang five performances of "Cavalleria Rusticana" at La Fenice in Venice. His voice, not yet 30 years old, in 1891 showed deterioration and that year he could not sing in Italy. In Rio de Janeiro his "Otello" was a total failure. He started singing opera and zarzuela in minor theaters in Argentina and Uruguay. He returned to Italy, singing "Lucrezia Borgia" at the Teatro Coccia in Novara, in 1897, "Mefistofele" at the Teatro Piccini in Bari, in 1898 ; and "Lucia", "Traviata" and "La Forza del Destino" at the Teatro Carcamo in Milan, in 1903. But his days of glory were over. He retired around 1904 in total poverty. He opened a School of Singing in Milan. Among his pupils were the tenors Italo Cristalli and Walter Kirchoff. He married in 1910 and had five children. In 1916, suffering from diabetes and because of a wound in the finger of a hand, not properly cared for, degenerating in gangrene, he lost his left arm. Bitterness and poverty during the years of the Firs
t World War forced the tenor to sell his most precious belongings, gold medals and crowns that he had received durings his days of glory. Early in July 1918, Oxilia and his family left Milan for ever. Thirty days later, they arrived to Montevideo. This is the worst period in the life of the tenor. He intended to commit suicide throwing himself into a well, but he was miracously saved. Some time later, and because of his diabetes, he suffered now the amputation of his left leg and his life was now unbearable. In the most terrible misery and almost totally forgotten, Giuseppe Oxilia died in Montevideo on 18 May 1919, few days before his 58 birthday.
Biography by Juan Dzazopulos Elgueta.
This particular record is his only title known for this obscure Italian company, being this the 3rd. time we've found it in the lapse of over 30 years, making it probably the rarest of his discography. The serial number is hand-written what make us think there existed only a handful and that these were brought by him to Uruguay and then given to friends or commercialized here before returning to Europe, since as far as we know this particular record has never been seen other than here in Uruguay. If you collect rare operatic records by the top operatic stars of the time, this is a once-in-a-life opportunity to get it.
This is part of a very eclectic collection of 78 rpm records we've acquired. These pertained to a long time collector that took great care of his records. Most of them are in excellent condition showing minimum trace of use. As we are not collectors, these are not second copies or lesser condition duplicates, so you'll get the best of the best from us. Check our feedback comments for peace of mind. Bid confidently, you won't be disappointed. SHIPPING CHARGES VIA REGISTERED AIR MAIL (approximate arrival time after delivery: 15 working days):
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All records are visually graded; we strive for accurate and honest grading in all instances, but we also believe that grading is quite subjective with 78's.
If you need further details on any particular item, please write us and we'll get back to you with as much additional details as possible.
Condition is displayed for both sides independently (that's why you'll actually find two condition grades for each record: side "A" and side "B", i/e: VG/GD.
Particular flaws such as needle runs or skips, heat or moisture damage, etc., will be added.
- NEAR MINT (NM)
As close as new as a vintage item could be.
- EXCELLENT (EX)
Almost no trace of groove wear, with just minor surface rubs or marks (mostly from handling).
- VERY GOOD (VG)
A well cared record, which shows visible signs of use, such as surface marks and light groove wear.
- GOOD (GD)
A well worn record, showing moderate groove wear, such as light greying (might lightly disrupt quiet playing) or surface marks and rubs that might cause minor problems with playing, such as ticks, but with no bumps or skips.
- FAIR (FR)
A rather heavily worn record, which is still playable but usually not enjoyable. If a record in this condition is offered will be mostly due to rarity and collector's desirability. It will probably fill a gap in your collection until you find a better copy (that is, if you ever do!).