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Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Since 1972

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Yves St Laurent's most recent issues are the

memorable 1960 Met Opera SIMON BOCCANEGRA

with MITROPOULOS, GUARRERA, MILANOV,

BERGONZI & TOZZI;

ANDRE TCHAIKOWSKY, Vol. 2; MUNCH, Vol. 31;

PARAY, Vol. 19; MADERNA, Vol. 35 -

L'INCORONAZIONE DI POPPEA;

many Books & CDs added to our 50% SALE



COLLECTOR ALERT ! ! !


Norbeck, Peters & Ford's Annual 78rpm Auction has been released!

Norbeck, Peters & Ford's new 78rpm AUCTION #150 is now online for your perusal
closing date is Friday, 17 May.

To view the online version simply click the link below:

Auction #150 Online Catalog

To download a copy of Auction #150, simply click the link below:

Auction #150 Catalog File Download

This auction has been applied online in various sections in order to facilitate faster loading, especially on mobile phones.

We appreciate you taking the time to review our new offerings. It is our hope, by sharing our appreciation for these finds, you can enhance your collections.



This Week's Offerings:

  • ANDRE TCHAIKOWSKY, w.Dimitri Chorafas Cond.: Piano Concerto #24 in c, K.491, Live Performance, 25 April, 1961, Theatre des Champs-Elysees; w.Sergiu Comissiona Cond.: Piano Concerto #20 in d, K.466, Live Performance, 8 Sept., 1971, Besancon (both Mozart; both Orchestre National de la RTF). Transfers by Yves St Laurent. [Another an undeniable 'find' from Yves St Laurent!] (Canada) St Laurent Studio YSL T-801. (P1303)

    "I think Andre Tchaikowsky is one of the finest pianists of his generation -- he is even better than that -- he is a wonderful musician."


  • - Arthur Rubinstein






  • SIMON BOCCANEGRA, Live Performance, 2 April, 1960, w.Mitropoulos Cond. Met Opera Ensemble; Frank Guarrera, Zinka Milanov, Carlo Bergonzi, Giorgio Tozzi, Ezio Flagello, Norman Scott, etc. [For the ultimate in a Verdian soprano phrase, Milanov's Verdian Arc is truly extraordinary in the Council Chamber Scene!] (Canada) 2-St Laurent Studio YSL T-674. Transfers by Yves St Laurent. (OP3245)

    "With his slender but firm voice and winning stage presence, Frank Guarrera was a fixture at the Met in a number of roles: Escamillo in CARMEN (his debut role in 1948), Marcello in LA BOHEME, Valentin in FAUST. He also essayed larger, Verdian roles with honor, if not quite the vocal opulence of contemporaries like Robert Merrill, or Leonard Warren, whom he replaced as Simon Boccanegra a few days after Mr. Warren's death onstage in 1960.

    In 1948, when the 24-year-old Mr. Guarrera was participating in the Metropolitan Opera's Auditions of the Air (a precursor of the current National Council Auditions), which he eventually won, Toscanini heard him on the radio singing Ford's monologue from FALSTAFF and arranged for an audition. The result was Mr. Guarrera's engagement at La Scala in Boito's NERONE on the 30th anniversary of Boito's death. It was the first of several performances under Toscanini; Mr. Guarrera sang Ford on the conductor's legendary 1950 FALSTAFF broadcasts, still available on CD.

    His final role at the Met was Gianni Schicchi, which he last sang in 1976. After his retirement from the stage, he taught at the University of Washington in Seattle for 10 years."


    - Anne Midgette, THE NEW YORK TIMES, 27 Nov., 2007




    "Milanov came like a bolt out of heaven - the voice and the young woman, both so vibrant and exciting. We knew something great had come into [the Met's] Italian wing. What was not obvious at the beginning was that she would have such a staying power, for she gave so much in her singing. I was present years later on her great anniversaries and she sang at mine [the fiftieth anniversary of [my] Met debut, 1963]. She was incomparable. She was like a vocal sorceress singing the OTELLO arias that night. Such a roar went up from the public, I can never forget it."


    - Giovanni Martinelli




    "Considered the foremost Verdi tenor of his age, Mr. Bergonzi sang more than 300 times with the Metropolitan Opera of New York from the 1950s to the '80s, appearing opposite a roster of celebrated divas that included Maria Callas, Zinka Milanov, Renata Tebaldi, Rise Stevens, Victoria de los Angeles and Leontyne Price.

    A lyric tenor of some vocal heft, Mr. Bergonzi lacked the sonic weight and brilliance of tenors in the Wagnerian mold. But what he did possess was an instrument of velvety beauty and nearly unrivaled subtlety.

    'More than the sound of the voice, it is Mr. Bergonzi's way of using it that is so special', Peter G. Davis, reviewing a 1978 Carnegie Hall recital by Mr. Bergonzi, wrote in THE NEW YORK TIMES. 'He is a natural singer in that everything he does seems right and inevitable - the artful phrasing, the coloristic variety, the perfectly positioned accents, the theatrical sense of well-proportioned climaxes, the honest emotional fervor. Best of all, Mr. Bergonzi obviously uses these effects artistically because he feels them rather than intellectualizes them - a rare instinctual gift, possibly the most precious one any musician can possess'. In the view of his many fans, this vocal elegance amply compensated for the fact that Mr. Bergonzi was no actor and, by his own ready admission, no matinee idol. 'I know I don't look like Rudolph Valentino', he told THE TIMES in 1981. 'I know what a proper physique should be for the parts I sing, but I have tried to learn to act through the voice. The proper, pure expression of the line is the most important thing'.

    Mr. Bergonzi began his career as a baritone, and after becoming a tenor a few years later was careful not to push his voice past its natural confines. As a result, he largely escaped the vocal wear that can force singers to retire by the time they reach their early 50s; Mr. Bergonzi, by contrast, continued to sing on prominent stages - and, as critical opinion had it, sing well - into his late 60s.

    During World War II, Mr. Bergonzi spent three years in a German concentration camp for his anti-Nazi activities. He returned home after the war, weighing 80 pounds, and resumed singing.

    Mr. Bergonzi made his operatic debut in 1948 as a baritone, singing the title part in Rossini's BARBER OF SEVILLE in Lecce, in southern Italy. After coming to realize that tenor parts were better situated for his voice, he made a second debut, as a tenor, in the title role in Umberto Giordano's ANDREA CHENIER in Bari in 1951.

    In 1955, Mr. Bergonzi made his United States debut with the Lyric Theater of Chicago (now the Lyric Opera of Chicago) as Luigi in Puccini's IL TABARRO. The next year, on 13 November, he made his Met debut as Radames opposite Antonietta Stella, also making her debut that night.

    Mr. Bergonzi also appeared at La Scala, 1953, and at Covent Garden, where he made his debut in 1962 as Don Alvaro in Verdi's FORZA DEL DESTINO. At the Met, in March 1964, Mr. Bergonzi was a soloist (with Ms. Price, Rosalind Elias and Cesare Siepi) in an acclaimed performance of the Verdi REQUIEM in memory of President John F. Kennedy, under the baton of Georg Solti.

    In 1994, Mr. Bergonzi, then 70, took the stage at Carnegie Hall for what was billed as his American farewell recital. The concert, a program of Italian art songs and arias, concluded with a 50-minute ovation and was warmly reviewed by critics. But as it transpired, that concert was no farewell. In 2000, two months shy of his 76th birthday, Mr. Bergonzi sang the one Verdi role he had never attempted: the title part in OTELLO, one of the most fiendishly demanding tenor roles in opera, in a concert performance with the Opera Orchestra of New York under Eve Queler. His performance - a high-wattage Carnegie Hall affair whose audience included Luciano Pavarotti, Placido Domingo, Jose Carreras, Sherrill Milnes, Licia Albanese and Anna Moffo - was, by wide critical consensus, an unreconstructed disaster. 'It was immediately apparent that there was something wrong', THE GUARDIAN wrote shortly afterward. 'A grainy tone in the voice inhibited everything. Bergonzi strained audibly in an unsuccessful attempt to reach the high A that caps the triumphant entry phrase'. Mr. Bergonzi withdrew from the performance after two acts, leaving his role in Acts III and IV to be sung by an understudy, Antonio Barasorda.

    But the younger, supple-voiced Mr. Bergonzi endures on his many recordings, including several of AIDA (opposite Leontyne Price, Martina Arroyo and Montserrat Caballe); a BOHEME and a BUTTERFLY opposite Renata Tebaldi; Donizetti's LUCIA DI LAMMERMOOR with Beverly Sills; and a three-record set for Philips on which he sings all of the Verdi tenor arias."


    - Margalit Fox, THE NEW YORK TIMES, 26 July, 2014




    “Giorgio Tozzi, a distinguished bass who spent two decades with the Metropolitan Opera and also appeared on film, television and Broadway, was a distinguished professor emeritus at Indiana University’s Jacobs School of Music, where he had taught since 1991. He was previously on the Juilliard School faculty [originally having studied with Rosa Raisa, Giacomo Rimini and John Daggett Howell].

    Esteemed for his warm, smooth voice, skillful acting, pinpoint diction; and authoritative stage presence - he was 6 foot 2 in his prime - Mr. Tozzi sang 528 performances with the Met. He was so ubiquitous there for so long that THE NEW YORK TIMES was later moved to describe him (admiringly) as ‘inescapable’. Mr. Tozzi made his Met debut as Alvise in Ponchielli’s LA GIOCONDA in 1955. Reviewing the performance, THE NEW YORK POST wrote that he ‘proved to have a voice of beautiful quality’, adding: ‘It was rich in texture and expertly handled both as to characterization and technique’. His most famous performances at the Met include the title roles in Mussorgsky’s BORIS GODUNOV and Mozart’s MARRIAGE OF FIGARO; Ramfis in Verdi’s AIDA; Don Basilio in Rossini’s BARBER OF SEVILLE; Philip II in Verdi’s DON CARLO; and Hans Sachs in Wagner’s DIE MEISTERSINGER. Mr. Tozzi began his vocal life as a baritone. He made his debut (as George Tozzi) in 1948, singing Tarquinius in Benjamin Britten’s THE RAPE OF LUCRETIA. Staged at the Ziegfeld Theater on Broadway, the production also starred Kitty Carlisle.

    He originated the role of the Doctor in Samuel Barber’s VANESSA, which had its world premiere at the Met in 1958. Conducted by Dimitri Mitropoulos, the production also starred Eleanor Steber and Nicolai Gedda. Mr. Tozzi’s last performance with the Met was in 1975, as Colline in Puccini’s BOHEME.

    He also sang with the San Francisco Opera, La Scala and other companies and appeared as a soloist with major symphony orchestras throughout the United States and Europe. On film Mr. Tozzi dubbed the singing voice of the actor Rossano Brazzi in the role of Emile de Becque in SOUTH PACIFIC (1958), directed by Joshua Logan. (Mr. Tozzi had played the role himself, opposite Mary Martin, in a West Coast production of the musical the year before.) On the small screen he sang King Melchior in the 1978 television film of Gian Carlo Menotti’s AMAHL AND THE NIGHT VISITORS, also starring Teresa Stratas. On Broadway he received a Tony nomination for the role of the lonely California grape farmer Tony Esposito in the 1979 revival of Frank Loesser’s operatic musical comedy THE MOST HAPPY FELLA. (The award went to Jim Dale for BARNUM.)"


  • - Margalit Fox, THE NEW YORK TIMES, 2 June, 2011




  • CHARLES MUNCH Cond. ORTF S.O.: Water Music (Handel); Dardanus – Suite (Rameau) - Live Performance, 29 Aug., 1964, Santander, Spain; CHARLES MUNCH Cond. Leningrad Phil., w. Nicole Henriot-Schweitzer: Ballade (Faure); Piano Concerto in G (Ravel) - Live Performance, 2 June, 1965, Leningrad. (Canada) St Laurent Studio YSL T-775. Transfers by Yves St Laurent. (C1701)



  • BRUNO MADERNA Cond. La Scala Ensemble; Grace Bumbry, Giuseppe di Stefano, Leyla Gencer, Alberto Rinaldi, Gloria Lane, Anna Novelli, etc.: L'Incoronazione di Poppea – Excerpts (Monteverdi). (Canada) St Laurent Studio T-783, Live Performance, 27 Jan., 1967, Milano, La Scala. Transfers by Yves St Laurent. (C1702)



  • PAUL PARAY Cond. Detroit S.O.: Beethoven, Reger & Schumann (incl. the latter's Symphony #4 in d). (Canada) St Laurent Studio YSL T-646, Live Performances, 1960, 1961 & 1962. Transfers by Yves St Laurent. (C1697)







    . . . REPEATED . . . FROM THE RECENT PAST . . .








  • KLAUS TENNSTEDT Cond. Philadelphia Orch.: Symphony #8 in c (Bruckner), Live Performance, 5 Jan., 1989. (Canada) St Laurent Studio YSL T-776. Transfers by Yves St Laurent. (C1699)



  • KLAUS TENNSTEDT Cond. London Phil.: Symphony #7 in E (Bruckner), Live Performance, 10 May, 1984. (Canada) St Laurent Studio YSL T-814. Transfers by Yves St Laurent. (C1700)



  • GEORGE SZELL Cond. Cleveland Orch.: Der Schauspieldirektor - Overture, K.486 (Mozart); 'Unfinished' Symphony #8 in b (Schubert); Symphony #3 in d (Bruckner). (Canada) 2-St Laurent Studio YSL T-737, Live Performance, 27 Jan., 1966, Severance Hall. Transfers by Yves St Laurent. (C1692)



  • FAUST (Schumann) – Scenes - ERICH LEINSDORF Cond. Boston Symphony Orch., w.Charles Bressler, Beverly Sills, Hermann Prey, Thomas Paul, Florence Kopleff, Tatiana Troyanos, Batyah Godfrey & Veronica Tyler. [An outstanding, beautiful performance in the customary radiant sound displaying the refreshing acoustics of Symphony Hall!] (Canada) 2-St Laurent Studio YSL T-739, Live Performance, 26 Feb., 1966, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1698)



  • GEORGE SZELL Cond. Cleveland Orch., w.Eugene Istomin: Piano Concerto #14 in E-flat, K.449 (Mozart); w.Isaac Stern & Leonard Rose: Double Concerto in a (Brahms); w.Eugene Istomin, Isaac Stern & Leonard Rose: Triple Concerto in C (Beethoven). (Canada) 2-St Laurent Studio YSL T-754, Live Performance, 14 April, 1966, Severance Hall. Transfers by Yves St Laurent. (C1696)



  • ANNIE FISCHER: Handel, Beethoven, Schubert & Bartok - Live Performance, 15 Jan., 1959; w.Emmanuel Krivine Cond. NRDF S.O.: Piano Concerto #20 in d, K.466 (Mozart), Live Performance, 27 Feb., 1976 (both Paris). (Canada) St Laurent Studio YSL T-793. Transfers by Yves St Laurent. (P1300)



  • EMIL GILELS: 'Grosse Sonate' Sonata #1 in f-sharp (Schumann); Sonata #2 in b-flat (Chopin); Sonata in b (Liszt). [The great discovery here is the great Schumann Sonata . . . brilliantly played!] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-729, Live Performance, 24 Oct., 1961, Great Hall of the Leningrad Philharmonic. (P1301)



  • JORGE BOLET: Chopin (the 4 Scherzi), Beethoven ('Appassionata' Sonata #23 in f), Schubert, Liszt, Donizetti & Wagner Recital. [Another treasurable recital, recorded in brilliant sound!] Transfers by Yves St Laurent. (Canada) 2-St Laurent Studio YSL T-752, Live Performance, 15 Aug., 1969, Bloomington, Indiana. (P1298)



  • SIDNEY FOSTER, w. Aaron Copland, Maurice Abravanel, John Barbirolli & Michiaki Okuda Cond.: Rediscovering an American Master, incl. Bach, Mozart, Beethoven, Liszt, Hummel, Mendelssohn, Schumann, Chopin, Tchaikovsky, Mendelssohn, Brahms, Grieg, Franck, Debussy, Weber, Moszkowski, Scriabin, Rachmaninoff, Bartok, Paderewski & Dello Joio . 7-Marston 56001, recorded 1941-73, Live Performances. Transfers by Ward Marston. Notes by Alberto Reyes. (P1297)



  • ARTHUR GRUMIAUX, w. Giulini Cond. Frankfurt Radio S.O.: Violin Concerto #2 in e (Mendelssohn), Live Performance, 1953, Frankfurt; ARTHUR GRUMIAUX & MAURICE GENDRON, w. Hans Muller-Kray Cond. Stuttgart Radio S.O.: Double Concerto in a (Brahms), Villa Berg, Stuttgart, 17 Jan., 1956. (Canada) St Laurent Studio YSL T-761. Transfers by Yves St Laurent. (S0739)



  • HENRYK SZERYNG, w.Ristenpart Cond. Saar Chamber Orch.: Violin Concerto #3 in G, K.216 (Mozart), Live Performance, 11 Sept., 1959, Saarlouis, Germany [a breathtaking performance!]; w.Martinon Cond. RTF S.O.: Violin Concerto in E - Live Performance, 26 March, 1963, Salle Pleyel, Paris; HENRYK SZERYNG & GERARD POULET, w.Dimitri Chorafas Cond. RTF S.O.: Concerto for Two Violins in d - Live Performance, 7 Sept., 1963, Besancon, France (both Bach). [Among the most highly treasured recital disks we are privileged to offer, in excellent sound quality!] (Canada) St Laurent Studio YSL T-791. Transfers by Yves St Laurent. (S0738)



  • ARTHUR RUBINSTEIN, w.Antal Dorati Cond. London Phil.: Piano Concerto #3 in c; 'Emperor' Piano Concerto #5 in E-flat (both Beethoven). (Canada) St Laurent Studio YSL T-796, Live Performance, 7 Dec., 1967. Transfers by Yves St Laurent. (P1299)



  • SAMSON ET DALILA (Saint-Saens), Live Performance, 18 April, 1987, w.Jean Fournet Cond. Met Opera Ensemble; Jon Vickers, Marilyn Horne, John Macurdy, Louis Quilico, Terry Cook, etc. (Canada) 2-St Laurent Studio T-804. Transfers by Yves St Laurent. (OP3301)

    SAMSON ET DALILA has a distinguished history at the Met….In Jon Vickers we have a truly extraordinary artist who is fully up to the technical, musical, and dramatic demands of Samson. (Vickers is probably one of the very few tenors capable of singing the role of Samson in either Handel’s or Saint-Saens’ operas, both of which he performed at the Met!). This performance was his final one at the Met, at the age of 60, having sung 280 performances of 17 roles there since 1960. You would have no hint of his age, however, from the condition of his voice. Not only is the top of his range solid, but he is completely comfortable in that difficult area known as the passaggio between the middle and upper registers, where Saint-Saens actually puts a good deal of his writing.

    Vickers sings potently at full volume, beautifully in soft passages, and with enormous variety in between. The role calls for long, sustained lines, and he provides them with no sense of struggle. This is a performance of immense power and at the same time great subtlety….as a souvenir of the tenor with an entire career of experience behind him and all the wisdom the years had built, this Vickers-Horne-Fournet account is irreplaceable.

    There is much to admire in Marilyn Horne’s Dalila too….It is apparent throughout her performance that Horne is a major artist with an important voice that is worth hearing in anything she undertook, and her chemistry with Vickers is electric. If not the last word in voluptuousness, her portrayal provides significant pleasure….

    St. Laurent Studio does its usual fine job of transferring what was a good-sounding Met broadcast from 1987….Recommended both for the overall effectiveness of the performance and specifically as a valuable and thrilling souvenir of one of the 20th century’s uniquely great singers in his final Met performance.”


  • - Henry Fogel, FANFARE




  • SAMSON (Handel), Live Performance, 1 March, 1986, w.Julius Rudel Cond. Met Opera Ensemble; Jon Vickers, Leona Mitchell, Kiri Te Kanawa, Sandra Walker, Paul Plishka, John Macurdy, Dawn Upshaw, Hei-Kyung Hong, Enrico di Giuseppe, etc. (Canada) 2-St Laurent Studio T-795. Transfers by Yves St Laurent. (OP3300)

    “St. Laurent Studio brings us the Met’s March 1, 1986 broadcast of Handel’s oratorio, SAMSON, starring Jon Vickers in the title role. The great Canadian heroic tenor was celebrated for his Florestan, Don José, Peter Grimes, Otello, Siegmund, Tristan, and Parsifal, among others. In such company, a Handel oratorio tenor part may seem an unlikely undertaking….This March 1, 1986 broadcast is a souvenir of the Met run of performances….First and foremost of course is Jon Vickers’ assumption of the title role. Vickers was one of the greatest singing actors of his generation, a person who embodied his roles in a manner unlike any other tenor I’ve witnessed (I saw him in FIDELIO, OTELLO, PETER GRIMES, and a recital of Schubert’s WINTERREISE). One of the things that set Vickers apart was his ability to portray in the most convincing manner a character in the throes of the greatest despair and pain, but without ever violating the integrity of the music….Vickers portrays the blinded Samson’s pain and despair in unforgettable fashion, but he does so by employing noble diction, legato, and the masterful application of dynamic contrasts. These are qualities that inhabit the totality of his interpretation. By this stage of Jon Vickers’s career, his voice, while as powerful as ever, had lost a good deal of its youthful bloom, now taking on a quality I can best describe as ‘craggy’. But I find that type of vocal quality entirely appropriate for Samson, a character both heroic and tortured. And while the quality of the voice is of later vintage, Vickers retains his vocal security. As with other Vickers roles, the tenor’s interpretation of Samson deepened over the years. In the Met broadcast, it attains a level of intensity that is often overwhelming. I think Vickers’s Samson is worthy to stand alongside his greatest achievements, and for that reason, this Met broadcast is essential listening….Rudel secures crisp execution from both the Met Orchestra and Chorus. The recorded sound on this St. Laurent Studio release is fine broadcast stereo, a superb document of a riveting performance….an unforgettable document of one of the most compelling singers of the 20th century, at the height of his interpretive powers, and performing a role that was in many ways, tailor-made for his extraordinary gifts.”


  • - Ken Meltzer, FANFARE




  • MANON, Live Performance, 15 Dec., 1951, w.Cleva Cond. Met Opera Ensemble; Licia Albanese, Giuseppe di Stefano, Martial Singher, Jerome Hines, Alessio de Paolis, etc. (Canada) 2-St Laurent Studio YSL T-805. (OP3298)



  • LOUISE (Charpentier) [nearly complete], recorded 1935 & Live Performance, 20 Feb., 1943, w.Ninon Vallin, Georges Thill, Ezio Pinza, others (fusion of 1935/1943) Bigot and Beecham cond. Also Carpentier Songs by Germaine Feraldy, Jean Planel & Joseph Lanzone. (Canada) 2-Immortal Performances IPCD 1103. Notes by Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & beautiful 58pp booklet. (OP3297)



  • COLAS ET COLINETTE (Quesnel), w.Pierre Hetu Cond. CBC Symphony Orchestra; Leopold Simoneau, Pierrette Alarie, Claude Corbeil & Claude Letourneau. (Canada) St Laurent Studio YSL 33-718, Recorded in la Salle Claude Champagne at l'Ecole Vincent d'Indy, Montreal, from Private Collection of Pierrette Alarie. [A charming 18th Century operetta, beautifully recorded!] Transfers by Yves St Laurent. (OP3302)

    "Joseph Quesnel was a French Canadian composer, poet, and playwright. Among his works were two operas, COLAS ET COLINETTE and LUCAS ET CECILE; the former is considered to be the first Canadian opera. In the autumn of 1779 Quesnel embarked on the French privateer Espoir for North America. According to tradition he was in command of this vessel which was carrying war supplies and munitions to help the American colonies in their revolt against Britain. Whatever the case, the ship was captured off Newfoundland by the Royal Navy and taken to Halifax, N.S. Quesnel avoided imprisonment but had to remain in British North America until the end of hostilities. He arrived in Montreal bearing a safe conduct issued by Governor Haldimand."


  • - John E. Hare, Dictionary of Canadian Biography




  • MAITRE PIERRE, Broadcast Performance, 1951, Paris, w. Maximilie d'Ollonne Cond. Radio Lyrique Ensemble; Geori Boue, Jacqueline Cauchard, Henri Le Clezio & Michel Roux, etc.; LE MEDCIN MALGRE LUI - Excerpts, w.Tony Aubin Cond. Radio Lyrique Ensemble; Louis Musy, Freda Betti, Agnes Disney, Lina Dachary, Michel Cadiou, Joseph Peyron & Lucien Lovano (both Gounod). (France) 2-Malibran 193. (OP3299)

    “Born in Besancon, Maximilie d'Ollone started composing very early, entering the Paris Conservatoire at 6, winning many prizes, receiving the encouragement of Gounod, Saint-Saens, Massenet, Thomas and Delibes. His teachers at the Conservatoire were Lavignac, Massenet, Gedalge and Lenepveu; he won the Prix de Rome in 1897. He was Director of Music in Angers, Professor at the Paris Conservatoire and Director of the Opera-Comique.”


  • - Wikipedia






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    BOOKS ON SALE





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    “Books have become our lonely stepchildren! By spending so many hours constantly revising our thousands of CDs we realize we have paid scant attention to our BOOKS ON SALE, thus many have been added (with more appearing), accompanied by greatly reduced prices! Have a glance at our SALE section - for BOOKS!









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    SMARTER THAN BOTH OF US ! ! !
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    We are grateful to so many of our readers who continue to note that our once-regular use of accent marks have become rather erratic. Due to the ever-growing popular use of ‘Smart’ Phones, Google automatically and frequently is restricting such marks, as well as that which we consider regular punctuation. In compliance with Google’s restrictive demands, as well as the fact that such complicated listings will require too long a period during which to download, or may not succeed in downloading at all, most of our newer listings are deleting such marks, much to our sense of loss. While our older listings so far retain such marks, we are informed that it won’t be long before they too automatically will be amended. We certainly take pride in our presentation, but are being compelled to adapt to another loss of style in these fast-paced times! We very sincerely appreciate so many of your valued comments and commiseration!!!





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    . . . numerous out-of-print CDs and LPs,

    [many sealed copies of numerous out-of-print

    additions: The Record Collector, Naxos, VRCS,

    Issues of Symposium's Harold Wayne series,

    Romophone, GOP & many Met Opera

    broadcasts & operas from Moscow’s Aquarius, plus

    numerous lesser-known operas have been added

    throughout our listings, in appropriate categories . . .

    out-of-print books [many biographies,

    Record Catalogue-Discographies . . .

    numerous CDs are added each week] . . .





    ---------------------------------------------------


    Our 50% Discount Sale continues,

    now offering more than 2500 titles . . .





    - - - - - - - 78rpm collectors, please note auctions from: Dave Schmutz, www.78classicalgallery.com - or at: 818-242-6247



    ------------------ ANNOUNCEMENT -----------------



    Norbeck, Peters & Ford's Annual 78rpm Auction Has Now Closed!

    This auction featured an entire section of which is dedicated to 7" discs, plus many wonderful instrumental and vocal rarities, many of which we're offering for the first time in our 45 years of operation.

    You can still view the online version simply click the link below:

    Auction #149 Online Catalog

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    Auction #149 Catalog File Download

    For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.

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    Living Stage titles on sale,

    simply visit our

    sale section of our website . . .



    Once again . . .

    Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.

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    Andre Tchaikowsky, Vol. II;  Chorafas;  Comissiona   (St Laurent Studio YSL T-801)
    P1303. ANDRÉ TCHAIKOWSKY, w.Dimitri Chorafas Cond.: Piano Concerto #24 in c, K.491, Live Performance, 25 April, 1961, Theatre des Champs-Elysées; w.Sergiu Comissiona Cond.: Piano Concerto #20 in d, K.466, Live Performance, 8 Sept., 1971, Besançon (both Mozart; both Orchestre National de la RTF). Transfers by Yves St Laurent. [Another an undeniable 'find' from Yves St Laurent!] (Canada) St Laurent Studio YSL T-801.
    $19.90
    Simon Boccanegra  (Mitropoulos;  Guarrera, Milanov, Bergonzi, Tozzi)  (2-St Laurent Studio YSL T-674)
    OP3245. SIMON BOCCANEGRA, Live Performance, 2 April, 1960, w.Mitropoulos Cond. Met Opera Ensemble; Frank Guarrera, Zinka Milanov, Carlo Bergonzi, Giorgio Tozzi, Ezio Flagello, Norman Scott, etc. [For the ultimate in a Verdian soprano phrase, Milanov's Verdian Arc is truly extraordinary in the Council Chamber Scene!] (Canada) 2-St Laurent Studio YSL T-674. Transfers by Yves St Laurent.
    $39.95
    Charles Munch, Vol. XXXI;  Nicole Henriot-Schweitzer  (St Laurent Studio YSL T-775)
    C1701. CHARLES MUNCH Cond. ORTF S.O.: Water Music (Handel); Dardanus - Suite (Rameau) - Live Performance, 29 Aug., 1964, Santander, Spain; CHARLES MUNCH Cond. Leningrad Phil., w. Nicole Henriot-Schweitzer: Ballade (Fauré); Piano Concerto in G (Ravel) - Live Performance, 2 June, 1965, Leningrad. (Canada) St Laurent Studio YSL T-775. Transfers by Yves St Laurent.
    $19.90
    Bruno Maderna, Vol. IIIV - Poppea (Monteverdi);  Bumbry, di Stefano, Gencer  (St Laurent Studio T-783)
    C1702. BRUNO MADERNA Cond. La Scala Ensemble; Grace Bumbry, Giuseppe di Stefano, Leyla Gencer, Alberto Rinaldi, Gloria Lane, Anna Novelli, etc.: L'Incoronazione di Poppea - Excerpts (Monteverdi). (Canada) St Laurent Studio T-783, Live Performance, 27 Jan., 1967, Milano, La Scala. Transfers by Yves St Laurent.
    $19.90
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