Negotiating Food Heritage Interpretations: Experiences of a Project at the Estonian National Museum

The article examines varied interpretations of food heritage in contemporary Estonia, relying on the authors’ experiences of a three-year research and development project at the Estonian National Museum (ENM). The study focuses on the museum researchers’ collaboration with different stakeholders, representing small entrepreneurs and the public and non-profit sectors. The authors tackle the partners’ expectations and outcomes of diverse cooperational initiatives and the opportunities and challenges of a contemporary museum as a public forum for discussions on cultural heritage. The project revealed that diverse, complementary, and contested food heritage interpretations exist side-by-side on the Estonian foodscape. Additionally, the project enabled the authors to become better aware of the researcher’s role in the heritagisation process and of the museum as a place for negotiating the meanings and values of food culture

Uporaba instrumentov Evropske unije za znamčenje in označevanje regionalnihživilskih izdelkov v Estoniji

The article examines how European Union rural development measures and food quality schemes are used for creating added value to regional food products in Estonia. In order to understand these processes, national food and heritage policies are analysed to highlight a lack of national instruments that would protect and promote regional specialities. The emergence of regional brands (funded by the European Union LEADER measure) is an example of an initiative to increase the visibility of regional products and food culture on the domestic market and to brand the region. Another attempt for recognising and re-regionalising local specialities is the application for the European Union Protected Geographical Indications (PGI) label for a traditional cheese sõir in south-eastern Estonia.Članek preučuje, kako se ukrepi Evropske unije za razvoj podeželja in sheme kakovosti hrane uporabljajo za ustvarjanje dodane vrednosti regionalnim živilskim izdelkom v Estoniji. Da bi razumeli te procese, smo analizirali nacionalne politike o hrani in dediščini. Prepoznali smo pomanjkanje nacionalnih instrumentov za zaščito in spodbudo regionalnih posebnosti. Pojav regionalnih blagovnih znamk, financiranih z ukrepom Evropske unije LEADER, je primer pobude za povečanje prepoznavnosti regionalnih proizvodov in prehranske kulture na domačem trgu ter za znamčenje regije. V članku predstavljamo tudi drugačen poskus prepoznavanja in ponovne regionalizacije lokalnih posebnosti, in sicer prijavo za oznako zaščitene geografske označbe Evropske unije za tradicionalni sir sõir v jugovzhodni Estoniji

The use of European Union instruments for branding and labelling regional food products in Estonia

The article examines how European Union rural development measures and food quality schemes are used for creating added value to regional food products in Estonia. In order to understand these processes, national food and heritage policies are analysed to highlight a lack of national instruments that would protect and promote regional specialities. The emergence of regional brands (funded by the European Union LEADER measure) is an example of an initiative to increase the visibility of regional products and food culture on the domestic market and to brand the region. Another attempt for recognising and re-regionalising local specialities is the application for the European Union Protected Geographical Indications (PGI) label for a traditional cheese sõir in south-eastern Estonia

Mu talu on mu lava: etenduslik perspektiiv maaturismi ja külalismajanduse teenustele Eestis

Väitekirja elektrooniline versioon ei sisalda publikatsioone.Doktoritöö peamiseks eesmärgiks on uurida, kuidas ‘etendus’ (performance) töötab metodoloogilise perspektiivina, analüüsides maapiirkondade turismi- ja külalisteenuseid, mille eesmärgiks on pakkuda erinevaid kaasaegse maalisuse kogemusi. Täpsemalt on väitekirja fookuses viisid, kuidas neid teenuseid lavastatakse ja etendatakse Eestis tegutsevate mikro-ettevõtjate poolt. Viimaseid käsitletakse kui ‘lavastajaid’ ja ‘etendajaid’. Ettevõtja tegevust mõistetakse sotsiaal-konstruktivistlikus ja fenomenoloogilises raamistikus kultuurilise praktikana ning indiviidi loovuse performatiivse väljendusena. Dissertatsioon koosneb raamivast tekstist ja neljast publikatsioonist, millest kolm on empiirilised uurimused, mis rakendavad etenduslikku perspektiivi erinevail viisidel ja uurivad erinevaid elamusteenuseid: einestamine kodurestoranis, õnneraua sepistamine noorpaaridele, talutööpäeva etendamine ja suitsusaunas käimine. Eesti näiteid esitatakse Euroopa maaelus aset leidnud strukturaalsete muutuste laiemas kontekstis, pidades eeskätt silmas maakohtade kaubastamist ja tarbimist. Välislugejale pakutakse ühtlasi ülevaadet Eesti maaelus 20.-21. sajandil toimunud olulisematest murrangutest, peatähelepanu all on talukultuuriga seotud muutused ja maaturismi arengud. Doktoritöös väidetakse, et ‘etendus’ võib olla viljakas tõlgenduslik vahend nimetatud muutuste kultuurilise tähenduse mõtestamiseks. Seda silmas pidades pakutakse välja üks võimalik etenduslik perspektiiv, mis käsitleb ettevõtjaid aktiivsete kultuuriliste tegutsejatena, kes kujundavad oma teenuseid kasutades erinevaid kultuurilisi repertuaare ja kombineerides traditsioonilise maalisuse elemente isiklikult tähenduslikega. Uurimust kokkuvõtvas arutelus rõhutatakse Eesti maakohtade aina kasvavat hübriidsust, seda nii materiaalsust kui praktikaid silmas pidades ja vaagitakse väljakutsete üle, mis on seotud maaliste elamusteenuste lavastatavusega mikro-ettevõtetes. Lõpuks esitatakse mõned ettepanekud, kuidas arendada etenduslikku perspektiivi maaelu kaubastamise komplekssema käsitluse suunas, mis võtaks arvesse indiviidide tegevuse ja sotsiaalsetes stsenaariumides sisalduvate ideoloogiate (nt teatavate poliitikate või turundusprintsiipide) vastasmõju.The main aim of the dissertation is to examine how ‘performance’ works as a methodological perspective for the analysis of rural tourism and hospitality services offering diverse experiences of modern rurality. More precisely, the thesis focuses on ways in which such services are staged and performed by Estonian micro-scale rural entrepreneurs, considered as ‘stage directors’ and ‘performers’. Entrepreneurial activity is regarded in the social constructivist and phenomenological framework as a cultural practice and a performative expression of one’s creativity. The dissertation incorporates a framing text and four publications. Three of these are empirical and employ ‘performance’ in different ways for examining varied experience-services such as: dining at a home restaurant, forging a lucky horseshoe for newlyweds, enacting a farm work day and taking a smoke sauna. The Estonian cases are presented in the larger context of structural changes in contemporary European rurality, especially related to the commodification and consumption of the countryside. For a foreign reader an overview of the major transitions in Estonian rural life throughout the 20th to 21st century is provided; bringing into focus the transformations related to the farm culture and the development of rural tourism. The thesis claims that ‘performance’ can be a fruitful interpretative tool for understanding the cultural significance of these transformations. In this light a particular performance perspective is suggested that sees entrepreneurs as active cultural agents, who develop services that exploit different cultural repertoires and combine elements of traditional rurality with those that are personally meaningful. The concluding discussion puts emphasis on how the Estonian countryside has become increasingly a hybrid place, in terms of materialities as well as practices, and points out what are the challenges related to the stageability of rural experience services in micro-enterprises. Finally suggestions are given for developing a more complex performance perspective on rural commodification, that considers the interplay between individuals’ actions and ideologies promoted by certain social scripts (e.g. particular policies or marketing principles)

Kitchen as a material and lived space: Museum representations and interpretations

Kitchen has been one of the most intensively lived spaces at home, yet, its furnishings have often vanished, especially in the 20th-21st centuries. Cooking tools and utensils have been part of museum displays dedicated to historical food culture but the complex materiality of the kitchen related to multiple practices going beyond food production and consumption has rarely attracted curatorial interest. This article examines comparatively how Estonian museums represent and interpret the materiality of kitchens and kitchen culture. Relying on ethnographic sources the analysis considers the aspects related to material culture as well as museum studies: how kitchen materiality and kitchen practices were represented according to curatorial concepts and how kitchen related objects were interpreted and displayed. The primary materials for the study come from four permanent and temporary exhibitions from 2015‒2016 explicitly dedicated to kitchens and cooking. Exhibiting the lived dimension of kitchens was a challenge for all museums, requiring special participatory actions for collecting stories and things. In all cases, the social life of things was evoked, either sheding light on the general and typical of particular periods, or emphasizing the individual choices and subjective experiences through the biographical approach.&nbsp

Sibul, kadakas ja küüslauk – toidutaimed ja regionaalne toidukultuur Eestis

The article discusses the role of food producers and tourism industry in shaping Estonian regional food traditions. The authors base their study on three regional culinary symbols – onion from the area of Lake Peipsi, juniper from Saaremaa Island and garlic in the focus of Jõgeva Garlic Festival – and analyse the way that a region can define itself, both culturally and economically, by means of a concrete plant. Different regions compete as tourist destinations and food plays an important role in the shaping and marketing of such destinations. Throughout times seeking for authentic experience has been an issue of some significance in tourism. For a tourist, genuine food experience inherent in a particular region could add extra value: food can be consumed on the spot; while eating or buying food one can socialise with local people; food products can be taken back home as culinary souvenirs; photographs taken of the meals eaten during travels can be shared with friends on Facebook, etc. There is a whole range of niche products and services in food tourism: food festivals, wine tasting trips, cooking courses conducted by local chefs, etc. In recent decades, Estonia, like other European countries, has been searching for and rediscovering the regional features of food culture. Both on state and local levels attempts have been made to define Estonian food, to find customers for local food on globalised markets, etc. The Estonian Culinary Route website (http://www.toidutee.ee/), which introduces local food to domestic and foreign tourists, emphasises that Estonia is comprised of six unique food regions – northern Estonia, eastern Estonia, southern Estonia and Mulgimaa, Setomaa, western Estonia with the islands (Hiiumaa, Saaremaa and Muhumaa), and two smaller ones (Kihnu Island and Old Believers’ villages in Lake Peipsi area) – and adds that each region has preserved its historically evolved unique dishes and food culture. So the generalised national cuisine model has moved towards mapping more diverse and regionally varying Estonian food culture. Emphases on the peculiarities of food regions help the entrepreneurs in food manufacturing and catering differentiate from one another. Just like in Scandinavia, top chefs foster food culture in Estonia; for instance, the project “Landscape on a plate 2014–2020”, initiated by Dimitri Demyanov merges the cuisines of different Estonian regions: southern Estonia (Võru County), Setomaa, Mulgimaa and Old Believers’ cuisines and those of the coastal regions and islands. The three food plants on which the article focuses aptly illustrate the usage possibilities and problems associated with a plant as a symbolic culinary identity marker. In the case of the onion from Lake Peipsi area, one can speak about the valuing of the region’s plant cultivation and food traditions, but also about marketing the plant. Historical tradition is an extra value in its own right, and is easier to sell as authentic. The difference as compared to the other two examples is that in Lake Peipsi area it is the primary product itself rather than food products and dishes made of onion that is marketed. The juniper from Saaremaa Island offers an interesting example of the intertwined traditions and innovation, as well as the natural and cultural, on the example of one food plant. Juniper has grown in Saaremaa for centuries, and it still does, and has been used as a food plant earlier on, which helps to create cohesion between the region and traditions. Today juniper is used to add regional flavour to food, and in addition to older, culinary use, novel product development solutions are searched for, a good example of which is juniper syrup. In comparison with the former two, Jõgeva Garlic Festival is probably the most recent example of a consciously created regional (culinary) identity, which combines several cultural elements of different origins. Estonia has no historic tradition of garlic growing or usage. So it is definitely an ‘invented tradition’, which relates to similar events with a comparatively short history in other parts of the world, which try to advocate a region by means of a food and a food festival. On the basis of the explored examples the authors maintain that food products and food tourism need not be a key to regional development; they rather simply contribute to the development of a certain region. The future of Estonian rural regions, including (small-scale) enterprises, requires complex regional politics on state level. Nevertheless, a consciously chosen and interpreted local food plant could offer opportunities to a region to diversify the product range, strengthen the (culinary) identity of the region, and thereby enhance both cultural and economic survival in the globalising world and global competition

Mõtestades materiaalset kultuuri / Making sense of the material culture

People live amidst objects, things, articles, items, artefacts, materials, substances, and stuff – described in social sciences and humanities as material culture, which denotes both natural and human-made entities, which form our physical environment. We, humans, relate to this environment by using, depicting, interacting with or thinking about various material objects or their representations. In other words, material culture is never just about things in themselves, it is also about various ideas, representations, experiences, practices and relations. In contemporary theorising about material culture, the watershed between the tangible and intangible has started to disappear as all the objects have multiple meanings. This paper theorises objects mostly in terms of contemporary socio-cultural anthropology and ethnology by first giving an overview of the development of the material culture studies and then focusing upon consumption studies, material agency, practice theory and the methods for studying material culture. Both anthropology and ethnology in the beginning of the 20th century were dealing mostly with ‘saving’; that is, collecting the ethnographical objects from various cultures for future preservation as societies modernised. The collecting of the everyday items of rural Estonians, which had begun in the 19th century during the period of national awakening, gained its full momentum after the establishment of the Estonian National Museum in 1909. During the museum’s first ten years, 20,000 objects were collected (Õunapuu 2007). First, the focus was on the identification of the historical-geographical typologies of the collected artefacts. In 1919, the first Estonian with a degree in ethnology, Helmi Reiman-Neggo (2013) stressed the need for ethnographical descriptions of the collected items and the theoretical planning of the museum collections. The resulting vast ethnographical collection of the Estonian National Museum (currently about 140,000 items) has also largely influenced ethnology and anthropology as academic disciplines in Estonia (Pärdi 1993). Even though in the first half of the 20th century the focus lay in the systematic collection and comparative analysis of everyday items and folk art, there were studies that centred on meaning already at the end of 19th century. Austrianethnologist Rudolf Meringer suggested in 1891 that a house should be studied as a cultural individual and analysed within the context of its functions and in relation to its inhabitants. Similarly, the 1920s and 1930s saw studies on the roles of artefacts that were not influenced by Anglo-American functionalism: Mathilde Hain (1936) studied how folk costumes contribute to the harmonious functioning of a ‘small community’, and Petr Bogatyrev (1971) published his  study on Moravian costumes in 1937. This study, determining the three main functions – instrumental, aesthetic and symbolic – of the folk costume, and translated into English 30 years after first publication, had a substantial influence on the development of material culture studies. The 1970s saw the focus of material culture studies in Western and Northern Europe shifting mainly from the examination of (historical) rural artefacts to the topics surrounding contemporary culture, such as consumption. In Soviet Estonian ethnology, however, the focus on the 19th century ethnographic items was prevalent until the 1980s as the topic was also partially perceived as a protest against the direction of Soviet academia (see Annist and Kaaristo 2013 for a thorough overview). There were, of course, exceptions, as for instance Arved Luts’s (1962) studies on everyday life on collective farms. Meanwhile, however, the communicative and semiotic turn of the 1970s turned European ethnology’s focus to the idea of representation and objects as markers of identity as well as means of materialising the otherwise intangible and immaterial relationships and relations. The theory of cultural communication was established in Scandinavian ethnology and numerous studies on clothing, housing and everyday items as material expressions of social structures, hierarchies, values and ideologies emerged (Lönnqvist 1979, Gustavsson 1991). The Scandinavian influences on Estonia are also reflected in Ants Viires’s (1990) suggestion that ethnologists should study clothing (including contemporary clothing) in general and not just folk costumes, by using a semiotic approach. Löfgren’s (1997) clarion call to bring more ‘flesh and blood’ to the study of material culture was a certain reaction to the above focus. Researchers had for too long focused exclusively upon the meaning and, as Löfgren brought forth, they still did not have enough understanding of what exactly it was that people were actually and practically doing with their things. Ingold’s (2013) criticism on the studies focusing on symbolism, and the lack of studies on the tangible materiality of the materials and their properties, takes a similar position. In the 1990s, there was a turn toward the examination of material-cultural and those studies that were written within the framework of ‘new materialism’ (Hicks 2010, Coole and Frost 2010) started to pay attention to objects as embodied and agentive (Latour 1999, Tilley et al 2006). Nevertheless, as Olsen (2017) notes, all materialities are not created equal in contemporary academic research: while items like prostheses, Boyle’s air pumps or virtual realities enjoy increased attention, objects such as wooden houses, fireplaces, rakes and simple wooden chairs are still largely unexamined. The traditional material culture therefore needs new studying in the light of these post-humanist theories. Where does this leave Estonian ethnology? In the light of the theoretical developments discussed above, we could ask, whether and how has the material Making sense of the material culture turn affected research in Estonia? Here we must first note that for a significant part of the 20th century, Estonian ethnology (or ethnography as the discipline was called before 1990s) has mostly been centred on the material culture (see the overview of the main topics from vehicles to folk costumes in Viires and Vunder 2008). Partly because of this aspect of the discipline’s history, many researchers actually felt the need to somewhat distance themselves from these topics in the 1990s (Pärdi 1998). Compared to topics like religion, identity, memory, oral history and intangible heritage, study of material culture has largely stayed in the background. There are of course notable exceptions such as Vunder’s (1992) study on the history of style, which includes analysis of theirsymbolic aspects. It is also interesting to note that in the 1990s Estonian ethnology, the term ‘material culture’ (‘materiaalne kultuur’) – then seen as incorporating the dualism between material and immaterial – was actually replaced with the Estonian translation of German ‘Sachkultur’ (‘esemekultuur’, literally ‘artefact culture’). Nevertheless, it was soon realised that this was actually a too narrow term (with its exclusion of natural objects and phenomena as well as the intangible and social aspects of culture), slowly fell out of general usage, and was replaced with ‘material culture’ once again. Within the past three decades, studies dealing with material culture have discussed a wide variety of topics from the vernacular interior design (Kannike 2000, 2002, 2012), everyday commodities (Kõresaar 1999b) and spiritual objects (Teidearu 2019), traditional rural architecture (Pärdi 2012, Kask 2012, 2015), museum artefacts (Leete 1996), clothing, textiles and jewellery (Kõresaar 1999a; Järs 2004; Summatavet 2005; Jõeste 2012; Araste and Ventsel 2015), food culture (Piiri 2006; Bardone 2016; Kannike and Bardone 2017), to soviet consumer culture (Ruusmann 2006, Rattus 2013) and its implications in life histories (Kõresaar 1998, Jõesalu and Nugin 2017). All of these these studies deal with how people interpret, remember and use objects. The main keywords of the studies of European material culture have been home, identity and consumption (but also museology and tangible heritage, which have not been covered in this article). Material culture studies are an important part of the studies of everyday life and here social and cultural histories are still important (even though they have been criticised for focusing too much on symbols and representation). Therefore, those studies focusing on physical materials and materialites, sensory experiences, embodiment, and material agency have recently become more and more important. This article has given an overview of the three most prevalent thematic and theoretical strands of the study of material culture: objects as symbols especially in the consumer culture, material agency and practice theory as well as discussing some methodological suggestions for the material culture studies. To conclude, even though on the one hand we could argue that when it comes to the study of material culture there indeed exists a certain hierarchy of „old“ topics that relate to museums or traditional crafts and „new“ and modern materialities, such as smart phones or genetically modified organisms. However, dichotomies like this are often artificial and do not show the whole picture: contemporary children are often as proficient in playing cat’s cradle as they are with video games (Jackson 2016). Thus, studying various (everyday) material objects and entities is still topical and the various theories discussed in this article can help to build both theoretical and empirical bridge between different approaches. Therefore, there is still a lot to do in this regard and we invite researchers to study objects form all branches of material culture, be they 19th century beer mugs in the collections of the Estonian National Museum that can help us to better give meaning to our past, or the digital and virtual design solutions that can give our academic research an applied direction. Keywords: material culture, artefacts, consumption, practice, agency, research method

L'Âge d'or de la Scala de Milan / Verdi, Tosti, Halevy... [et al.], comp. ; Victor Maurel, BAR ; Francesco Navarini, B ; Antonio Magini-Coletti, BAR... [et al.]

Collection : Bel cantoCollection : Bel cantoComprend : FALSTAFF. Quand'ero paggio / VERDI, comp. ; Victor MAUREL, BAR - NINON / Paolo TOSTI, comp. ; Victor MAUREL, BAR - LA JUIVE. Voi, che del Dio vivente / HALEVY, comp. ; Francesco NAVARINI, B - FALSTAFF. Duetto Alice-Falstaff / VERDI, comp. ; Antonio MAGINI-COLETTI, BAR ; Elisa PETRI, S - OTELLO. Ora e per sempre addio / VERDI, comp. ; Francesco VIGNAS, T - LA WALLY. Ebben ? ne andro lontana / CATALANI, comp. ; Teresa ARKEL, S - LUCREZIA BORGIA. Di pescator ignobile / DONIZETTI, comp. ; Eduardo GARBIN, T - DON SEBASTIANO. Terra adorata / G. DONIZETTI, comp. ; Ida RAPPINI, MS - LOHENGRIN. Di, non t'incanta / WAGNER, comp. ; Giuseppe BORGATTI, T - DESCRIPTION DE LONDRES / P. MASCAGNI, comp. ; Giuseppe PACINI, BAR - SERENATA A SURRIENTO / GAMBARDELLA, comp. ; Fernando de LUCIA, T - L'AFRICAINE. Air du sommeil / MEYERBEER, comp. ; Félia LITVINNE, S - ROMEO ET JULIETTE. Valse / GOUNOD, comp. ; Regina PINKERT, S - I PURITANI. A te, o cara / BELLINI, comp. ; Alessandro BONCI, T - ADRIANA LECOUVREUR. Io son l'umille ancella / CILEA, comp. ; Emma CARELLI, S - GUILLAUME TELL. Trio / ROSSINI, comp. ; Oreste LUPPI, B ; ESCALAIS, T ; MAGINI-COLETTI, BAR - LE ROI DE LAHORE. Arioso / MASSENET, comp. ; Eugenio GIRALDONI, BAR - LA PERLE DU BRESIL. Air du Mysoli / F. DAVID, comp. ; Regina PACINI, S - LA BOHEME. Mimi Pinson / LEONCAVALLO, comp. ; Rosina STORCHIO, S - OTELLO. Sipelciel / VERDI, comp. ; Giovanni ZENATELLO, T ; Pasquale AMATO, BAR - LUCREZIA BORGIA. Come é bello, quale incanto / DONIZETTI, comp. ; Maria de MACCHI, S - LES HUGUENOTS. Rondo d'Urbain / MEYERBEER, comp. ; Armanda PARSI-PETTINELLA, MS - LE BARBIER DE SEVILLE. Largo al factotum / ROSSINI, comp. ; Giuseppe de LUCA, BAR - LA FAVORITE. Spirto gentil / G. DONIZETTI, comp. ; Giuseppe ANSELMI, T - MIGNON. Io son Titania / A. THOMAS, comp. ; Maria BARRIENTOS, S - UN BALLO IN MASCHERA. Eri tu che macchiavi / VERDI, comp. ; Riccardo STRACCIARI, BAR - SIBERIA. Nel suo amore / GIORDANO, comp. ; Giannina RUSS, S - LE DEMON. Air / Anton RUBINSTEIN, comp. ; Mario SAMMARCO, BAR - LASCIALI DIR, TU M'AMI / QUARANTA, comp. ; Salomea KRUSCENITCHKA, S - LE FREISCHUTZ. Non nessun salvar ti puo / WEBER, comp. ; Adamo DIDUR, B - UN BALLO IN MASCHERA. Ma dall'arido stelo / VERDI, comp. ; Eugenia BURZIO, S - LES VEPRES SICILIENNES. Boléro / VERDI, comp. ; Ester MAZZOLENI, S - CANZONE GUERRESCA / GIORDANO, comp. ; Amedeo BASSI, T - MANON LESCAUT. Guardate ! pazzo, io son" / PUCCINI, comp. ; Giuseppe TACCANI, T - RIGOLETTO. Caro nome / VERDI, comp. ; Giuseppina FINZI-MAGRINI, S - ZAZA. E un riso gentil / LEONCAVALLO, comp. ; Emilio PEREA, T - DINORAH. Ombra leggera / MEYERBEER, comp. ; Elvira de HIDALGO, S - UN BALLO IN MASCHERA. La rivedro nell'estasi / VERDI, comp. ; Aureliano PERTILE, T - RIGOLETTO. Bella figlia dell'amore / VERDI, comp. ; Aureliano PERTILE, T ; MINGHINI-CATTANEO, MS ; BARDONE, S ; FREGOSI, BAR - MANON LESCAUT. In quelle trine morbide / PUCCINI, comp. ; Carmen MELIS, S - MIGNON. Elle est aimée / A. THOMAS, comp. ; Ninon VALLIN, S - LA TOSCA. Recondita armonia / PUCCINI, comp. ; Giacomo LAURI-VOLPI,T - FALSTAFF. L'onore ! ladri ! / VERDI, comp. ; Mariano STABILE, BAR - IRIS. La piovra / P. MASCAGNI, comp. ; Rosetta PAMPANINI, S - MIGNON. Duo des hirondelles / A. THOMAS, comp. ; Conchita SUPERVIA, MS ; BETTONI, B - ERNANI. Infelice ! e tu credevi / VERDI, comp. ; Tancredi PASERO, B - FRA DIAVOLO. Or son sola / VERDI, comp. ; Margherita CAROSIO, SBnF-Partenariats, Collection sonore - BelieveContient une table des matière