JOSE MOJICA (1896 San Gabriel, Jalisco, Mexico -1974 Lima Peru) (all photos courtesy Charles Mintzer collection)

By Charles Mintzer with filmography and 78 rpm/LP/CD discography compiled by Juan Dzazopulos

José Mojica has for me been a singer of constant fascination; He was basically a “comprimario” tenor for his twelve years with the old Chicago Opera, 1919-1930; 1940, carrying spears and delivering messages with an occasional star role awarded him due to his special qualities. When I was a young 78rpm record collector almost sixty years ago, José Mojica’s records were much sought after. Nowadays, if anyone knows his name at all, it is as that good-looking Mexican tenor for whom Mexican movie-music composer Maria Grever, http://en.wikipedia.org/wiki/Maria_Grever, wrote the popular song, “Jurame,” or “that guy who gave up an operatic and film career to become a priest.” Those few words essentially sum up the current estimate of this artist. However, his recordings and photographs remain collector items almost half a century after he sang his last notes in public. Oh, and not to be forgotten, for a few years in the late twenties-early thirties he made movies that were very popular in the Spanish-speaking world. And I would wager that any of the many subsequent estimable tenors from Mexico who have made it big would surely glow at the mention of the name José Mojica: for example, Placido Domingo, Francisco Araiza, Rolando Villazón and Ramon Vargas. His life story “I A Sinner” with its strong religious element, sold over three million copies, mostly in Latin America. Can one think of any other opera singer whose life story sold in those numbers, even if that huge number carries a publisher’s understandable exaggeration?

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In this 1955 autobiography, “I A Sinner” (published by a Catholic publishing house; the edition that I own was published by the Franciscan Herald Press in Chicago) Mojica recounts his early years growing up in less than ideal, but not impossible, circumstances in Mexico, the realization that he “had a voice” and his early stumbling to get his voice trained and then discovered by the “right” people. He even ventured to New York City to acquire vocal training and possible professional management. He met Caruso early in his life’s journey, and the great tenor drew his caricature and wished him well in his career aspirations. While singing small roles with opera troupes that visited Mexico in the late teens he made acquaintance with some of the internationally-famous singers who later vouched for his abilities to Cleofonte Campanini, general director of the Chicago Opera, thus helping secure his engagement with that company. He was hired for a modest weekly salary, but in his mind there was glory in being on that stage with some of the celebrated singers of that company. Of his first season he said “The second opera was “Aida” with Raisa in the title role.

  (with Raisa and Rimini and Caruso caricature)

I sang the part of the Messenger, which I was inclined to consider a humiliation at the time. But by the time we reached the third act I was of a different opinion; singing at the side of that great artist was an experience so elevating that I would have gladly been an extra in the mob scenes if only I could be on the same stage with her.” (That the Messenger does not sing after the first act, and never with Aida herself I think Mojica means that he stayed backstage and “drank in” the rest of the performance.)

  (as Pélleas)

Eventually in the mid-1920s he was given a chance to sing Pélleas to role-creator Mary Garden’s Mélisande, and this rare assignment earned the gratitude of Garden who wrote him: “January 22, 1925 My dear Mr. Mojica, First my thanks for the lovely roses and your kind thought of me – then my thanks for your divine work in Pélleas – you will never know what your Pélleas meant to me – since my debut at the Opera Comique I have never heard nor seen the role done as you did it last night – it warmed up my heart and gave me happiness in my art that I have not had for a long time – and my only hope is to sing it with you one day in Paris – Thank you for listening. You have a beautiful future before you dear Mojica, live for it seriously – my warmest admiration and a heart full of thanks. Mary Garden”

  (with Schumann-Heink, Marguerita Salvi and Lucrezia Bori)

As early as the famous Garden-led 1921-22 season he was cast as the Prince in the world premiere of Prokofiev’s “The Love for the Three Oranges.” In this opera he shared star billing with Nina Koshetz in one of her rare North American opera appearances. In his Chicago Opera career Mojica sang hundreds of performances both in Chicago and on the transcontinental tours of the United States. Most of his totals were in really small roles like Ruiz in “Il Trovatore,” Yamadori in “Madama Buterrfly,” and the Major Domo/Innkeeoer in “Der Rosenkavalier.” Then there were what I term “quality small roles” like Beppe in “Pagliacci.” Cassio in “Otello,” but originally he was cast as the less important Rodrigo, Franz in “Les Contes d’Hoffmann,” the Spy in “Andrea Chenier,” and the Sailor in “Tristan und Isolde.” Of leading roles, Mojica during his Chicago career often sang Niceas in “Thais” always with Garden, Almaviva in “Il Barbiere di Seviglia,” oftentimes Leopold (the second tenor with high C’s) in “La Juive” with Raisa, the above-mentioned Pélleas with Garden, and in 1927 “Fledermaus” (in English) was given three performances with Raisa, Charles Hackett and Mojica as a tenor Orlofsky.

(with Chaliapine)

In the 1923-24 and 1924-25 seasons Feodor Chaliapin sang many guest appearances with the Chicago Civic Opera, and Mojica was cast as Shuisky, the oily counselor of Boris Godunov. Chaliapin personally coached Mojica in the great Act II scene between them. Chaliapin had very specific and unconventional ideas of how he wanted that crucial scene played; part of the action had Shuisky with his back to the audience. Mojica’s account of rehearsals for this scene is priceless:

“Your manager in New York has spoken to me about you, and he says that you are a good actor. And that’s what I need – do you understand? Look here – let us try a bit from Boris’s mad scene. You sit over there and watch me. You are Boris I am Shuisky. You walk like this. You lean over like this. You come close like this! And you proceed to spit out the poison of your words upon Boris, you change your expression until you have a look of triumph on your face.”

“I nodded. Chaliapin continues: “From then on, the scene is all mine. The public must not be distracted by any other face. You turn your back upon the audience and now it is “I” who must act, changing from the sane person into a madman! Then we reach the finale during which I smash everything on top of the table, and you leave the stage. Now you do it.”

“Without any fear, I repeated the action exactly as he had instructed me. When we were finished, the giant (he was six feet, four inches tall) gave me a huge Slavic embrace and cried, “Bravo, Mushika! You are indeed an actor.”

“Then it was time to perform the rehearsal before [Maestro Giorgio] Polacco. I felt confident after being coached by Chaliapin, and I acted with such freedom and insouciance that I noticed a sour expression on the director’s face. Chaliapin was quite aware of the director disapproval, but disdained to notice it. We continued until we reached the moment where I was supposed to turn my back on the audience.”

“Polacco smashed his fast furiously upon the lectern, stuck out his chin, and screeched, “Mokika!””

“Turning to him, I inquired politely, “What is it, Maestro?””

“A spectacular silence alerted everyone in the theatre. Polacco asked me, in a voice heavy with sarcasm, “Whoever told you you were a performer? Who taught you this stupidity of turning your back to the audience while you are singing?””

““Just one minute, Maestro” Chaliapin interrupted with that great, rich voice of his. “I am the one who taught him, and the scene will be played in this manner! Pick up your baton and continue the rehearsal!””

Talk about the power of a superstar!

Mojica did not sing much opera outside of the Chicago Civic and the summer Ravinia Festival (outside Chicago). He was an active concert artist in the USA, but mostly in mid-size cities in the Mid-West and on the Pacific coast. One rarely sees his concerts listed in the larger American cities. These concerts were often given in high school auditoriums and other lesser venues. In 1982 Chicago Opera Mezzo soprano Coe Glade told me that Mojica visited New York in the mid-1950s and that they had a wonderful reunion, reminiscing about their days at the Chicago Opera. I recall her mentioning that he sang a concert (a fund raiser) in a New York religious venue on that trip.

(in Thais)

The great Thomas Edison (click here for the CD) was very taken with his lyric tenor and its phonographic-friendly quality and contracted him for the Edison label. He recorded thirty-six sides for Edison from 1924-26, mostly Spanish songs and trifles, but also arias from “Lakmé,” “Les Huguenots,” “L’Elisir d’amore,” “Il Barbiere di Siviglia,” and “Pescatore di Perle.” He also recorded for Victor (electricals) and was heavily promoted in Victor’s Latin American market. After he joined a religious order in 1949 as Fra Jose Francisco de Guadeloupe Mojica, his vocal talents were utilized for fund-raising. There are several recordings of songs and arias with a spiritual theme on LP, some recorded in his sixties, when only his musicality and diction give real pleasure. On records Mojica reveals a very sweet voice, almost the best type of pop voice, with good but not stratospheric range.

   (Hollywood stills)

In the 1930s Mojica made several movies in Spanish, for details see International Movie Database or one can enter his name in a Youtube search. ( http://www.imdb.com/name/nm0596267/  ), and participated in lengthy tours of Latin America, sometimes in concert but mostly in promoting his films. In 1933 he gave concerts in Athens and Salonika, Greece, Istambul, Turkey, and Sofia Bulgaria. To our current sensibilities his films are not all that sophisticated. In 1940 he returned to the Chicago Opera for Narraboth in “Salome” with Marjorie Lawrence and Fenton in “Falstaff” with John Charles Thomas and Dusolina Giannini. In the movie phase of his career he had established important friendships with the leading Mexican movie stars of the day, Lupe Vélez, Delores del Rio and Ramon Navarro. His widowed, single mother, with whom, as an only child, he had a very, very close relationship, had instilled in him her deeply-felt religion and she made him promise to reform his “ways” and become a good Catholic. One does wonder what his “ways” were that made him title his autobiography, “I, A Sinner.” In the book there are accounts of failed love affairs with women, but over the years there has been gossip and speculation about his sexuality, but no proof to the contrary. His photographs can be interpreted in any way the beholder wishes. In 1942 on a trip to South America, he joined a Franciscan order in Cuzco, Peru, and in 1948 he was ordained a priest in Lima. He concertized extensively in Latin America, the proceeds of his concerts devoted to religious institutions. He is the subject of a biographical movie “Yo Pecador” (the entire movie available free on Youtube.com) during his “priesthood” phase.

FILMOGRAFÍA DE JOSÉ MOJICA by Juan Dzazopulos

Fox Film Corporation (Estados Unidos)

1930- El precio de un beso (Rol: José Saavedra): Mona Maris; Antonio
          Moreno
           Canciones: En donde estás; Alguna vez; Libre soy; Un beso loco;
           Fiesta; Florero Español

1930- One Mad Kiss (Rol: José Saavedra): Mona Maris (version en inglés)
           Canciones: One mad kiss; Oh, where are you; I’m free; In my arms;
           Once in a while
 
1930- Ladrón de amor (Cuando el amor ríe) (Rol: Emilio Rodríguez de Viana): Mona Maris; Carlos Villarias; René Cardona

1931- Hay que casar al príncipe (Rol: Príncipe Alexis): Conchita Montenegro; Francisco Flores  Del Campo; Miguel Ligero; Manuel Arbó

1931- La ley del harem (Rol: Príncipe Al-Hadi): Carmen Larrabeita; María                                Alba: Ralph Navarro
          Canciones: Allah! Oye nuestra canción; Nocturno; Grito de guerra;
          Mi serenata; Cuento

1931- Mi  último amor (Rol: Fernando Urrutia): Ana María Custodio;    Andrés de Segurola
          Canciones: Mi  último amor; Dame tu mano

1932- El caballero de la noche (Rol: Dick Turpin): Mona Maris; Andrés de Segurola; Romual
          do Tirado; Blanca Vischer
          Canciones: Ámame; Miniatura; Unidos para siempre; Es un ladrón

1933- El rey de los gitanos (Rol: Karol): Rosita Moreno; Julio Villarreal; Romualdo Tirado
          Canciones: Canción de la buenaventura; Cuando el amor te llama;
          Zíngaro vagabundo; Mansión sin amor; Serenata bufa

1933- La melodía prohibida (Rol: Kalu): Conchita Montenegro; Mona Maris; Juan  Martínez Plá;  Ralph Navarro
          Canciones: Cuando me vaya; Como tú y yo; País ideal; Siempre;
          Canción del Paria

1934- La cruz y la espada (Rol: Hermano Francisco): Anita Campiello; Juan Torena; Lucio Villegas
          Canciones: Gratia Plena; Canción de los niños; Canción de la vendi-
          mia; Canción del molinero; Canción de  los muleros; Canción de los
          mineros.; Jota Nº 3

1934- Un capitán de cosacos (Rol: Sergio Danikoff): Rosita Moreno; Mona Maris;  Andrés de Segurola; Tito Corral
          Canciones: Cierra los ojos y sueña; Pregúntaselo a ellas; El boyar-
          do; Polinka se casa; Bésame la última vez; Elli,  Elli

México

1938- El capitán aventurero (basada en la zarzuela de Manuel Penella “Don Gil de Alcalá”) (Rol: Don Gil de Alcalá): Manolita Saval; Margarita Mora; Sara  García; Carlos Orellana
          Canciones: Brindis del Jerez

1939- La canción del milagro (Rol: Ramón): Lupita Gallardo, Estela Inda; Carlos  Orellana

Argentina

1942- Melodías de América: Silvana Roth; Ana María González;
          Nelly Omar; Ignacio Villa (Bola de Nieve)
          Canciones: Solamente una vez; Nocturnal; Buenos Aires;
          Himno de las Américas (Un canto de amistad)

España

1953- El pórtico de la gloria Rol: Fray José Francisco de Guadalupe Mojica): Lina Rosales; Otto  Sirgo; Santiago Rivero;  Santiago Amor

México

1959- Yo Pecador: Libertad Lamarque, Pedro Geraldo (actor brasileño como José Mojica) (las voces del tenor  mexicano Julio  Julián y la soprano Irma González), Sara García, Pedro Armendáriz, Christiane Martell, Carmela Rey.

La versión cinematográfica de la biografía de José Mojica (Editorial Jus, México, 1956) fue  mal recibida por la crítica especializada.
 
“Aparte de la ración de lágrimas, que se acumulan en los primeros 35 minutos, la película  luce abundante pot-pourri de canciones y fragmentos de óperas. Entre ellas “El trovador”, “Rigoletto”, “Fausto” y “La Boheme”. Todo doblado, con voces a menudo “mal pegadas” a la gesticulación de los personajes……..Dura más de dos horas, que para quienes no sean fanáticos del género y del personaje resultarán abusivas. Interpreta a Mojica el joven actor y cantante brasileño Pedro Geraldo. Lo hace lo mejor que puede (el parecido físico es sorprendente), e incluso, tal vez inconscientemente, resulta tan cursi y afectado como lo fue el real Mojica cuando actuaba en la pantalla. EN RESUMEN: Un “Yo Pecador” dulcificado hasta el empalago. Eso si, cantan mucho.  DEFICIENTE.”

Debo agregar que el repertorio que canta el Mojica de esta película, tiene muy poco que ver con el que cantó el tenor durante su carrera. Jamás Mojica cantó “Il Trovatore”, “Madama Butterfly”, “Lucia di Lammermoor”, “Rigoletto” o “La Favorita”. Por lo menos no lo hizo como “primo tenore”, ya que en Chicago fue Ruiz, Goro, Yamadori, Arturo, Borsa, Gaspar y no Manrico, Pinkerton, Edgardo, Il Duca o Fernando (en San Francisco y en Los Angeles Mojica tuvo la oportunidad de cantar los roles de Pinkerton, Rodolfo, Rinuccio y Alfredo). Las canciones, por supuesto, son otra cosa y si corresponden al repertorio de Mojica: Ojos tapatíos, Júrame, Alma mia, Gratia Plena, En donde estás, etc.
NOTA: La versión en DVD de este film dura solamente 116 minutos y omite parte de los números de ópera incluidos originalmente en la película.

1966- Seguiré tus pasos (Rol: Fray José Francisco de Guadalupe Mojica): Juliancito Bravo; Luis Álvarez; Sonia Infante

1966- TV Buenos Aires: Vida y Obra de José Mojica
          con Pedro Geraldo, Nora Cullen, Sabina Olmos, Lidia de la Merced,
          Zelmar Gueñol, Luis Capdevila.  Dirección de Horacio Parisotto.

Este documental argentino, en blanco y negro, puede ser   considerado una versión “argentina” del “Yo Pecador” (1959) mexicano, pero con una actuación prioritaria de Fray José que actúa y también canta (con los restos de voz que tenía en 1966). Igual que en la película original, el cantante brasileño Pedro Geraldo aparece y canta como Mojica joven. Se incluyen varias canciones y arias de ópera, que en muchos casos no corresponden a lo que cantó históricamente  el tenor Mojica.

NOTA: Destacado en calor azul, las canciones que Mojica grabó en discos comerciales para la Victor.

JOSÉ MOJICA DISCOGRAPHY compiled by Juan Dzazopulos
Edison, New York (1925-1926)

Matrix    Catalog
number  number

1924

7187        76014 Ausencia (Salvador Pérez)                                                               
7188        76014 Canción de los Achares – Revista 1918 (Joaquín Valverde)              
7266        76016 Agua que va rio abajo: Couplets (Juan Martínez Abades)                            
7267        76015 Fingida (Luis G. Jordá)                                                                                
7274        76016 Virgencita (Salvador Pérez)                                                                
7275        76015 Las Musas del País: Ojos tapatíos (Fernando Méndez Velázquez-José F. Elizondo)            
9525        80793 Adiós, Trigueña (Eduardo Vigil y Robles)                                                    
9526        80793 Ay, ay, ay (Osmán Pérez Freire)                                                                   
9527        80792 Eres tú? (Alfonso Esparza Oteo)                                                                  
9528        80792 Golondrina mensajera (Alfonso Esparza Oteo)

9531        80794 Princesita (José Padilla)                                                                   
9532        80794 Al pie de tu ventana (serenata tradicional) (Jiménez)

1925    
                                                             
10373      60050 Altiva (José Castellot- A. De Rocca) with piano                                          
10374      60051 Amar y sufrir (Luis G. Jordá)                                                            
10377      60048 Te he de querer (Alfonso Esparza Oteo)

10378      60049 Secreto eterno (Enríquez-Cantú)                                             
10383      60049 Lejos de ti (Manuel M. Ponce)                                                                      
10384      60051 Marchita el alma (Manuel M. Ponce)                                                 
10391      82343 Barbiere di Siviglia (Rossini): Ecco ridente in cielo                         
10392      60048 Morena mia (Villarreal)                                                                     
10395      60050 Peregrina (Ricardo Palmerin-Luis Rosado Vega) with piano                                      
10398      82343 Pescatori di Perle (Bizet): Mi par d'udir ancora                     
10399      60047 Cual pálida estrella (García)                                                 
10402      60047 El nopal (Mario Talavera-Ross)                                                        
10989      76018 Gratia plena (Mario Talavera-Amado Nervo) with piano                                                   

1926

10999      83344 Elisir d'amore (Donizetti): Una furtiva lagrima                                  
11000      82344 Lolita (Arturo Buzzi-Peccia)                                                                 
11003      82347 Lakmé (Delibes): Fantaisie aux divins mensonges               
11005      76018 Pasas por el abismo de mis tristezas (Jorge Del Moral-Amado Nervo)         
11006      76020 Chinita (Mario Talavera-Blanca) (w. Rodolfo  Hoyos)

11007      76019 Su mamá tuvo la culpa (Alfono Esparza Oteo) (w. Rodolfo Hoyos)

11008      76020 Te vengo a decir adiós (Alfonso Esparza Oteo) (w.  Rodolfo Hoyos)

11009      76019 Paloma blanca (Miguel Lerdo De Tejada) (w. Rodolfo Hoyos) with piano

11010      82347 Ugonotti (Meyerbeer): Bianca al par     di neve alpina                        
11013      76017 La canción de flor de mayo (Mario Talavera-Amado Nervo)             

11016      76017 Los Gavilanes (Jacinto Guerrero-Martin): Flor roja                

** pianist:  John F.  Burckhardt

JOSE MOJICA A LP and CD DISCOGRAPHY compiled by Juan Dzazopulos

JOSE MOJICA. ÉXITOS DE SUS PELÍCULAS    

ORFEON 12-163  (México); ORFEON LPC 3059
Madre mía (Madrecita),  Luna Pálida; El arbolito; Vergin tutto amore; La niña muerta
Nota: Este LP contiene, además, temas cantador por Pedro Geraldo:
Júrame; Gratia Plena; Alma mía; En donde estás; Mi oración

LP's with transfers of his 78 rpm recordings

RCA LPVC 7302 (Venezuela): Aquellas Canciones

RCA AVL-3315 (Argentina): El incomparable José Mojica…sus éxitos de siempre!
                          Dime; María la O; Como tú y yo; Ni de día ni de noche; Pasas por el abismo; Amores y amoríos; Gratia Plena
                          Adiós, mi amor; Hojas muertas; Un amor que se va; Canción del paria; Júrame; País azul; Viejos conventos

RCA 3AE-3348 (Argentina, 45 r.p.m.): El incomparable José Mojica: Dime; Júrame; María la O; Como tú y yo.

RCA CAMDEN CAL-2964 (Argentina, 1964): Lo mejor de José Mojica
                          Rosa la China;  En donde estás; Alguna vez; Libre soy; Un beso loco;  Salve dimora casta e pura; Full of Wonders
                          Gitana; País ideal; Ámame; Unidos por siempre; Mi último amor; La sultana; Que querés que yo li haga

RCA CAMDEN CAM-29 (México, 1961): Recordando a José Mojica
                        Júrame; Dime; María la O; Ni de día de noche; Amores y amoríos; Como tú y yo; Gratia Plena; País azul;
                        Viejos conventos; Canción del paria; Un amor que se va; Adiós, mi amor
                        (Also as Cariño DBL 1-5441, in U.S.A.)
                        
RCA Línea Tres 10024 (México, 1978): Júrame
                          Júrame; Rosa la China; En donde estás; Alguna vez; Libre soy; María la O; Gitana; Ámame; Unidos por siempre;
                          Un beso loco; Salve dimora casta e pura; Hojas muertas

O.A.S.I  579 (U.S.A.) José Mojica- Early Recordings (Primeras Grabaciones)
                          One mad kiss; Oh, where are you; Pregúntaselo a ellas; Recuerdas; Canción de la Buenaventura; Cuando el amor te
                          llama; Miniatura (all Victor); Ausencia; Fingida; Altiva; Peregrina: Gratia Plena; Pasas por el abismo; Paloma blanca (all Edison)

CLUB 99 CL 99-23 (U.S.A.):  José Mojica: Edisons
                         Bianca al par; Fantasie aux divins mensonges; Mi par d’udir ancora; Ecco ridente in cielo; Una furtiva lagrima;
                         Full of wonders (Victor);  Salve dimora casta e pura (Victor); Princesita; Al pie de la ventana; Adiós trigueña; Ay ay ay;
                         Golondrina mensajera; Eres tú; Lolita

 RUBINI GV 907 (England, 1983) José Mojica
Salve dimora; Full of wonders (Victors); Una furtiva lagrima; Lolita; Princesita; Ay ay ay; El Nopal (Edisons); Pasas por el abismo; País azul; Gitana; Pregúntaselo a ellas; La sultana; Oh, where are you; One mad Kiss; Júrame (Victors)

RUBINI GV- 070  (England) EDISONIA: Ecco ridente in cielo

MARK M- 60084 First Recorded Opera: Bianca al par di neve alpina
 

CD's w. transfers of his   78 r.p.m recordings.

CLUB 99 CL 99-23 (U.S.A., 1990):  José Mojica: EDISON DIAMOND DISCS 1925
                         Bianca al par; Fantasie aux divins mensonges; Mi par d’udir ancora; Ecco ridente in cielo (all Edisons);
                         Full of wonders (Victor);  Salve dimora casta e pura (Victor); Princesita; Al pie de la ventana; Adiós trigueña; Ay ay ay;
                         Golondrina mensajera;  Lolita (all Edisons)
                         Nota: El CD incluye, además, 5 temas por Gabriella Besanzoni, de su versión completa de “Carmen” (1932)

MEMOIR CLASSICS CDMOIR 416 (England, 1992): The glory of Spain- Songs and Arias
                        Fingida (Edison)

THE RECORD COLLECTOR TRC- 2  (England, 1993): Volume 38 Singers
                        Full of wonders Matrix CVE- 42963-1 Victor 6802

THE RECORD COLLECTOR TRC 8 (England, 1996): 50th Anniversary Issue 1946-1996
                        Full of wonders Matrix CVE- 42963-2 Unpublished

RCA CDV 7432215403128 (México, 1997): Recordando a José Mojica
                        Júrame; Dime; María la O; Ni de día ni de noche; Amores y amoríos; Como tú y yo; Gratia plena; País azul;
                        Hojas muertas; Canción del paria; Un amor que se va; Adiós mi amor  (all Victor)

MARSTON 51002-2 (U.S.A, 1998): Three Edison Tenors
                        Ecco ridente in cielo; Mi par d’udir ancora; Una furtive lagrima; Faintasie aux divins mensonges (all Edison)
                        Nota: El CD incluye, además, 7 arias por Giuseppe Anselmi y 7 arias por Alessandro Bonci (all Edisons)

RGH CCD- 0101 (Venezuela): Lo mejor de José Mojica
                        Dime; En donde estás; Canción del paria; Como tú y yo; Pasas por el abismo; Adiós mi amor; Ni de día ni de noche;
                        Amores y amoríos; Rosa la China; Alguna vez, Un beso loco; Gratia plena; María la O; Júrame; Un amor que se va;
                        Viejos conventos; Gitana; País ideal; Unidos por siempre

AGAIN LBACD- 031 (Brazil):  José Mojica: Júrame
                        María la O; Dime; Hojas muertas; Ámame; Como tú y yo; Adiós mi amor; Un beso loco; Rosa la China; Cuando me vaya;
                        Gratia plena; En donde estás; Dame tu mano; Ni de día ni de noche; A tus pies; Que querés que yo li haga;
                        Alguna vez;  Amores y amoríos; Mi último amor; Recuerdas; Libre soy; Un beso loco  (all Victor)

AGAIN RVPC- 066 (Brazil, 2011): José Mojica- L’elisir d’amore
                        Una furtiva lagrima; Lolita; Altiva; Ay ay ay; Ecco ridente in cielo; Princesita; Eres tú; Mi par d’udir ancora (all Edisons);
                        Gratia plena; En donde estás; Salve dimora casta e pura; Júrame; A tus pies; Adios mi amor; Rosa la China;  Gitana;
                        Amores y amoríos;  Ámame; Dime; Un beso loco; Adiós mi amor (all Victors)

ORFEON 25CDB-645 (Canada): José Mojica- Historia de Éxitos
                        Torna a Sorrento; Granada; Estrellita; Pálida Azucena  (all Panart/Orfeón)
                        Nota: El CD incluye, además, 8 canciones por Julio Julián y 3 canciones por Pedro Geraldo

MUSIC SHOP JM-859-6 (México, 2012): Despedida Lírica de Fray José Francisco de Guadalupe (José Mojica)
                        Granada; Stornello del marinaio; India; Torna a Sorrento; A mi pueblito Escobar; Funerales; Estrellita;
                        Canción de primavera; Pálida azucena; Corazón Mexicano; La hamaca; Romance de la niña negra (all Panart/Orfeón)

HAMBURGER ARCHIV FÜR GESANGKUNST 50018  (Germany): Spanish Singers Volume 1 (1901-1925)
                        Fingida (Edison)

HAMBURGER ARCHIV FÜR GESANGKUNST 50019  (Germany): Spanish Singes Volume 2 (1926-1950)
                        Full of wonders