PLEASE NOTE: FREE SHIPPING FOR ORDERS OVER $49.00 - US & CANADA ONLY
Classical CDs, LPs, 78s,
Related Books & Ephemera
The 1937 Salzburg DON GIOVANNI from------------------------------------------------------------A helpful gesture to our valued Canadian Friends:
Caniell’s Immortal Performances . . .
Yves St Laurent presents
JACQUELINE DU PRE, Vol. III . . .
GUY CHAUVET . . .
many more CDs on our 50% SALE
In response to the current Tariff War instituted by the United States we have decided to offer Canadians the same FREE SHIPPING
for all orders of $49.00 or more that we do for domestic USA orders. We believe Canadians should not be penalized by our Government’s punitive policies.
This week's offerings for your perusal: DON GIOVANNI, Live Performance, 2 Aug., 1937, Salzburg, w.Walter Cond. Vienna Staatsoper Ensemble; Ezio Pinza, Elisabeth Rethberg, Virgilio Lazzari, Dino Borgioli, Luise Helletsgruber, Herbert Alsen, etc.; DON GIOVANNI - Act II Excerpts (incomplete), Live Performance, 16 April, 1941, w.Laszlo Halasz Cond. St Louis Opera Ensemble; Pinza, Schipa, della Chiesa, Bokor, Alvary & Carlos Alexander; BRUNO WALTER Cond. NYPO: 'Haffner' Symphony #35 in D, K.385 (Mozart), Live Performance, 4 Jan., 1953, Carnegie Hall. (Canada) 3-Immortal Performances IPCD 1091. Notes by James Altena & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 42pp booklet. (OP3268)
“The sound quality might be the first thing that strikes you when listening to this transfer [which] presents a completely different sonic world. The orchestra and the voices have color, there is real dynamic range (painstakingly restored by Richard Caniell), and the sense of artificial compression hanging over all prior releases is gone. This comes close to what one might expect from a well-produced 1937 studio recording….This performance has long been available in transfers that did it little justice with their pinched, compressed sound resulting from heavy-handed noise suppression. In addition, many of those releases removed all applause in order to squeeze the performance onto two discs, thus removing some of the important atmosphere surrounding a live performance. Immortal Performances has opened up the sound remarkably well, and restored the applause. It also filled in the third disc with interesting material too.
….there is more compelling drama and intensity to be heard in the Salzburg performance. There is a warmth and flexibility to the conducting in Salzburg that provides a strong contrast to the sharply accented dramatic moments in the score….What is really astonishing in this performance is the almost perfect singer-orchestra ensemble, even in the fast ensembles….If your image of Walter is one of the genial, easy-going conductor who might lack somewhat in dramatic intensity, this performance will come as a shock to you. The drive and white-heat he brings, for instance, to the finale of Act I is quite remarkable. At the same time, he is outstanding in his flexibility and warmth in the lyrical moments. He and Borgioli, for example, are completely in synch in ‘Il mio tesoro’, and the same can be said for Walter and Rethberg in ‘Non mi dir’. As for Pinza, he remains the greatest Don Giovanni on records, but again I have to give a nod of preference to this 1937 Salzburg performance….there is more richness of color in the timbre here, something not apparent on prior releases of this performance. Surely one of the greatest bass voices since the invention of recordings, Pinza added to his vocal abilities a keen sense of drama and intelligent and innate sense of musical style (despite the fact that he reputedly could not read music). He worked closely with the great conductors (particularly Toscanini, Serafin, and Walter) and absorbed ideas from all of them. His Don is always suave, always has an extraordinarily strong presence, whatever the scene. His singing in ‘Là ci darem la mano’ could seduce a stone, and the same for his Serenade. His characterization of the Don encompasses the intimate and tender and the overtly machismo aspects of his character (e.g., the graveyard confrontation with the statue-come-to-life). His rhythmic pulse is innately firm, and the evenness of his tonal emission is a model for all singers. Elisabeth Rethberg was, of course, also one of the great singers of her generation. She was 43 at the time of this performance, and had been singing for 15 years, mainly very heavy roles. Therefore, a touch of sheen has gone from the voice, but only a touch. Her first scene is a bit harsh, but I have never heard it not be so. I don’t think it represents Mozart’s best vocal writing, even considering that he was trying to reflect the drama of the moment. But her two big arias are splendidly sung, with firmness of line and beauty of tone….the elegance of Rethberg’s singing and the beautiful glow in the center of the voice make her Anna…more satisfying….Helletsgruber manages the coloratura demands of [her] role very well and convincingly portrays an Elvira whose principal characteristic is pride, rather than desperation (as we often hear)….Dino Borgioli is truly remarkable here. This tenor flew under the radar during his career because of Tito Schipa’s fame, but he did make the first electrical recordings of RIGOLETTO and THE BARBER OF SEVILLE and had a very important career (despite singing for only one season at the Met). I know of no performance of this opera in any recorded form that can boast an Ottavio better than this (and possibly none as good). The tone is sweet and caressing, the breath control is almost as impressive as McCormack on his classic recording of ‘Il mio tesoro’, and the character comes across not as a wimp but as a man with convictions and honor at the core. When old-timers talk about ‘Golden Age’ singing, this is what they mean.
The bonus tracks are surely worthy additions to the Mozart and the Bruno Walter catalogs. The first part of the second Act of DON GIOVANNI from a 1941 St. Louis Opera broadcast is in particular valuable because of Tito Schipa’s Ottavio. Unfortunately, the broadcast network had its inflexible rules about broadcast length, and the announcer comes in right over the great tenor during ‘Il mio tesoro’. Caniell edits in the completion of the aria from Schipa’s 1927 RCA recording.
A more valuable bonus is the complete performance of Mozart’s ‘Haffner’ Symphony, from a 1953 New York Philharmonic broadcast. This performance dates from around the time Walter recorded many of the late Mozart symphonies with the New York Philharmonic for Columbia….This live performance compares favorably to the studio recording, with a bit more intensity of playing, more abandon in the outer movements particularly. There is a wonderful edge-of-the-seat quality from the finale that one doesn’t get in the studio recording….
No one can claim this should be the only recording of DON GIOVANNI in a collection. But I would also not feel my collection to be complete if it lacked this….in fact, this is highly disciplined, if flexible, Mozart, and it is brought to life as a vivid music drama that explores the entire range of human emotions, and does so with extraordinary musical achievement….For those of us who thought that this historic performance would never be available in listenable sound, this release is a miraculous gift.”
- Henry Fogel, FANFARE, Nov. /Dec., 2017GUY CHAUVET, w.Etcheverry Cond.: Arias from Alceste, Iphigenie en Tauride, Herodiade, Werther, L'Africaine, Les Abencerages, Carmen, Joseph, Les Troyens, La Juive, La Damnation de Faust, Tosca, Cavalleria, Pagliacci & La Traviata. (France) Malibran 566, recorded 1961, Vega. (V2573)
"This is a very welcome addition to the series covering those French tenors who were active in the post-Second World War period. Guy Chauvet was the youngest of what Jean Giraudeau (a noted tenor himself) and Jean Gourret in their comprehensive book LES PRESTIGIEUX TENORS DE L'OPERA DE PARIS termed 'La Dernier Vague' (The Last Wave). They were aware of the gradual decline in the number of fine tenors that used to dominate the French operatic scene during the first half of the 20th century....a remarkable tenor talent."
- Alan Bilgora, THE RECORD COLLECTOR, 2014GUY CHAUVET: Arias & Scenes from Lohengrin, Parsifal & Die Walkure (the latter with Leonie Rysanek) (in German). (France) Malibran 154. (V2574)
"French tenor Guy Chauvet was co-winner of a tenor competition in Cannes, along with Alain Vanzo, Gustave Botiaux, Tony Poncet, and Roger Gardes - a pretty impressive assemblage of talent! Chauvet made his Paris Opera debut in 1959, starting with comprimario parts, finally advancing to lead roles. He soon established himself as an important presence, both in France and, ultimately, in many of the world's other major opera houses. He sang numerous roles in the French and Italian repertoire, and became particularly well-known for such heroic parts as Aeneas and Samson.
Guy Chauvet was without question a talented singer, and one who filled a pressing need during a time when the grand tradition of the French heroic tenor was in decline. Typical of this singer's work in general, the diction is idiomatic and crystal-clear. The sweetness of the young Chauvet's timbre is something to savor. In addition, Chauvet displays all of the other qualities that are the heart and soul of great French tenor singing - a seamless legato, a masterful application of the mixed voice, and an ideal balance between elegance and passion. And if all of these attributes inspire comparison to Chauvet's great predecessor, Georges Thill, the singing on this disc justifies such comparisons. We hear some absolutely first-rate French tenor singing. Highly recommended."
- K. M., classicalcdreview, Sept., 2004JACQUELINE DU PRE, w.Richard Goode (Pf.): Fantasiestücke (Schumann); Cello Sonata #1 in e (Brahms), Live Performances, 1965, Spoletto; w.Barenboim Cond. Philadelphia Orch: Cello Concerto in a (Saint-Saens), Live Performance, 27 Sept., 1970, Saratoga Arts Center; w.Barbirolli Cond. Hallé Orch.: Kol Nidrei (Bruch), Live Performance, 9 Sept., 1965, Free Trade Hall, Manchester; Presentation by Barbirolli. (Canada) St Laurent Studio YSL T-704. Transfers by Yves St Laurent. (S0719)
. . . REPEATED FROM THE RECENT PAST . . .
LE NOZZE DI FIGARO, Live Performance, 7 Dec., 1940, (replete with Milton Cross' commentary), w.Panizza Cond. Met Opera Ensemble; Elisabeth Rethberg, Licia Albanese, Jarmila Novotna, Ezio Pinza, John Brownlee, Salvatore Baccaloni (debut), etc.; LE NOZZE DI FIGARO – Act II, Live Performance, 12 Oct., 1940, w.Leinsdorf Cond. San Francisco Opera Ensemble; Ezio Pinza, Elisabeth Rethberg, Bidu Sayao, Rise Stevens, John Brownlee, Irra Petina, etc. (Canada) 3-Immortal Performances IPCD 1094, taken from the NBC transcription line-checks. Notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 38pp booklet. (OP3266)
“Over time, the December 7, 1940 broadcast has acquired legendary status, and I think for good reason. The Immortal Performances reissue of the December 7, 1940 NOZZE, taken from the NBC transcription line-checks, is exponentially better, with more than sufficient detail, warmth, and dynamic range to enjoy the many stellar qualities of this performance….
As in the 1937 Salzburg DON GIOVANNI, Pinza lavishes his glorious basso cantante, sublime Italian diction, and imaginative phrasing upon the role. The role of Figaro requires its interpreter to be able to make lightning-quick and chameleon-like changes of mood and expression. Pinza rises to each and every such occasion. Pinza is superb in ensemble, a true collaborator, and makes all of his solo moments highlights of the performance….Jarmila Novotna…sings with great beauty and eloquence, all the while fetchingly depicting Cherubino’s adolescent passion, energy, and angst….Conductor Ettore Panizza too belongs in this august company….Perhaps Panizza’s greatest achievements are in the ensembles that conclude the opera’s final three acts. Panizza’s Met broadcasts of such operas as AIDA, OTELLO, and LA GIOCONDA document a conductor who is a master of pacing such ensembles, building the tension to a breaking point, released only in the final measures. That is the case in this NOZZE as well, especially in the great ensemble that concludes Act II.
….Albanese is absolutely magical in Susanna’s last-act solo, ‘Deh, vieni, non tardar’. A great interpreter of Susanna will seize that opportunity to create a moment of unalloyed magic, where time seems to stand still. And that is precisely what Licia Albanese does….The beloved Italian basso buffo Salvatore Baccaloni made his Met house and broadcast debut on this occasion. He is in fine, plummy voice as Dr. Bartolo, and a few mannerisms apart, eschews the kinds of broad-brushed comic touches that would become trademarks of his many Met performances. The inclusion of Milton Cross’ spoken commentary enhances the immediacy of this historic broadcast.
The CD booklet includes a superb, detailed appreciation of the performance by my colleague Henry Fogel, a plot synopsis, artist photos and bios, and Richard Caniell’s description of the recordings included on this release….Thanks to Immortal Performances for making the performance available to a broader audience, and in fine sound. Recommended.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2017TOSCA, Live Performance, 11 April, 1959, w.Kurt Adler Cond. Eleanor Steber, Carlo Bergonzi, George London, etc. (Canada) 2-St Laurent Studio YSL T-726. (OP3269)
“I sang two Toscas before our broadcast performance on April 11, and after one of them my husband mentioned that my leap off the parapet at the end wasn’t visible to the audience. ‘If you are going to risk breaking your neck’, he quipped, ‘why don’t you do it out there where everyone can see you?’.
We experimented before the broadcast, setting the mattress so I could leap dramatically but safely to my death. When Tosca plunged from the Sant’ Angelo that afternoon, it was only a two-point landing. I gave the jump all I had - which was too much – and tumbled off the far side of the mattress. My head hit the floor with a terrible crack; I chipped a tooth and cut my lip….
During that evening’s performance of LA GIOCONDA [not CAVALLERIA RUSTICANA], Pat [Tavernia, our stage director] was chatting in the wings with Zinka Milanov (one of the Met’s great Toscas) and asked ‘ Did you hear what happened to Steber this afternoon?’ ‘Naw’, replied Milanov. ‘Vat happent?’ ‘Well, when she jumped from the parapet she overshot the mattress, cracked her head and cut her lip’. Milanov arched an eyebrow. ‘Vel, I always told Eleanor the part was too heavy for her!’.
- Eleanor Steber, ELEANOR STEBER - AN AUTOBIOGRAPHY, p.201RENATA SCOTTO, w.Ryan Edwards (Pf.): Songs by Berlioz, Debussy, Pizzetti, Donizetti, Rossini & Verdi; Arias from Giulio Cesare, La Vestale, Robert le Diable & Virginia (Mercadante) - Live Performance, 15 Feb., 1972, Philharmonic Hall, New York. (Canada) St Laurent Studio YSL T-683. Transfers by Yves St Laurent. (V2577)
“These two recitals [the above, plus V2576
] give us an opportunity to hear one of the great Italian operatic sopranos of the second half of the 20th century in a largely unfamiliar corner of the repertoire. While there are a few opera arias on both programs, most of the selections are art songs by famous Italian opera composers. Even when an aria does appear, the Spontini, Meyerbeer, and Mercadante numbers don’t turn up every day.
Renata Scotto was one of the most intelligent, probing singers of her period. Even with a voice that lacked the plush beauty of a Tebaldi, the gleaming brilliance of a Price, and the huge range of colors available to Callas, Scotto carved her own niche by infusing everything she sang with strong personality and a deep sense of commitment to the text and its meaning. She was an artist who always delved deeply into whatever she sang. Vocally she could float lovely pianissimi and also let loose with explosive power.
Scotto sang throwing caution to the winds, and there are a few moments in both recitals where she might have wished to hold back (a few high notes in Bellini’s scene from LA STRANIERA
in the 1969 recital, for example). But overall, what we have here is a valuable sampling of singing with a real face, singing that never seems on autopilot. The British vocal authority John Steane, in THE GRAND TRADITION
, says this about Scotto: ‘She is a strong interpreter. Whether it is youthful charm (‘O mio babbino caro’), minxish determination (‘Una voce poco fa’), tenderness, devotion, vision (‘Un bel dì’) or tragic tension (‘L’altra notte’), she creates a mood and sustains it’.
There are some florid passages in which Scotto sounds a bit labored, but one does not turn to her for pretty arabesques or vocal acrobatics. What one expects, and gets, is an artist who treats singing as if it were pitched oration. This is achieved by clear, crisp diction and an imaginative use of inflection and emphasis, which never becomes fussy or artificial. Scotto’s art was always about total communication.
It is unfortunate that St. Laurent Studio doesn’t include texts and translations, but without too much work you can find the words for most of the contents of both recitals. It is important to note that Scotto sings the French pieces in French, not common practice among Italian singers then. The two songs from Berlioz’s LES NUITS D’ÉTÉ
in the Philharmonic Hall recital are a lovely discovery from her, sung with affection and that same natural shaping that Scotto brings to the Italian repertoire.
The recorded sound is more satisfying on the 1972 Philharmonic Hall disc; it is rather distant and overly reverberant on the Carnegie Hall recital. In fact, perhaps because of recording quality, I find the voice lovelier on the later recital. It sounds as if both recordings were made from the audience (which makes the applause louder than anything from the stage). St. Laurent Studio has transferred the material well, keeping ovations to a minimum. Both of these releases are valuable additions to any vocal collection, and they certainly add to our knowledge of this great artist. The two pianists are sensitive accompanists without being revelatory.”
- Henry Fogel, FANFARERENATA SCOTTO, w.John Wustman (Pf.): Songs by Donizetti, Bellini, Rossini & Verdi; Gianni Schicchi - O mio babbino caro - Live Performance, 12 Oct., 1969, Carnegie Hall. (Canada) St Laurent Studio YSL T-682. Transfers by Yves St Laurent. (V2576)
EMIL GILELS, w.Sawallisch Cond. NHK S.O.: Concerto #2 in B-flat (Brahms), Live Performance, 12 April, 1972, Bunka Kaikan Hall, Tokyo; EMIL GILELS, w.Witold Rowicki Cond. Warsaw Phil.: Rondo in D, K.382 (Mozart), Live Performance, 8 Dec., 1967. [Nirvana beckons once again in the magnificent Brahms Concerto; how sensitively Gilels draws us into his sound world!] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-567. (P1286)
HENRYK SZERYNG & MARINUS FLIPSE (Pf.): 'Kreutzer' Sonata #9 in A(Beethoven); Violin Sonata in B-flat, K.454 (Mozart); Sonata #1 in G (Brahms). [Here is a truly extraordinary recital, in excellent sound quality!] (Canada) St Laurent Studio YSL T-716, Live Performance, 11 Aug., 1965, Salzburg. Transfers by Yves St Laurent. (S0723)
VASSILY SAPELLNIKOFF: Tchaikowsky, Glinka, Liadov, Liszt, Alabiev-Liszt, Brahms, Mendelssohn & Sapellnikoff - recorded 1923-24, Vocalion; JOSEF LHEVINNE: Chopin, Beethoven, Schumann & Johann Strauss - recorded 1920-36, Pathe & Victor. (Canada) St Laurent Studio YSL 78-702. Transfers by Yves St Laurent. (P1285)
“… at [Sapellnikoff’s] debut in Hamburg in 1888, he played Tchaikovsky's Piano Concerto #1 in b flat minor with the composer conducting. This concert was a great success and a catalyst for his budding career as a concert pianist in Western Europe. He was the first to play this concerto in England and was the dedicatee of a piano piece by Tchaikovsky….George Bernard Shaw…referred to his left-hand playing as ‘a marvel even among right hands for delicacy of touch and independence and swiftness of action’.”
- Z. D. AkronMATTHIAS BAMERT Cond. Cleveland Orch.: Divertimento in D, K.251 (Mozart); w.RADU LUPU: Piano Concerto #1 in C (Beethoven). [Lupu's glorious performance here is to be treasured; altogether a magnificent little jewel!] (Canada) St Laurent Studio YSL T-555, Live Performances, 5 May, 1977 / 24 Jan., 1980, both Severance Hall Transfers by Yves St Laurent. (C1614)
KLAUS TENNSTEDT Cond. Boston Symphony Orchestra, w.Jules Eskin (Cello) & Burton Fine (Viola): Don Quixote (Strauss), Live Performance, 5 March, 1982 (both Symphony Hall, Boston); KLAUS TENNSTEDT Cond. London Phil.: Symphony #1 in C (Beethoven), Live Performance, 14 Dec., 1989. (Canada) 2-St Laurent Studio YSL T-697. [The Strauss beautifully displays the splendor of the Symphony Hall acoustic.] [Corrected issue; the original listing has been changed.] (Canada) St Laurent Studio YSL T-697. Transfers by Yves St Laurent. (C1606)
GEORGE SZELL Cond. Cleveland Orch.: Tannhauser – Overture (Wagner); Pulcinella – Suite (Stravinsky); w.ROBERT CASADESUS: Piano Concerto #21 in C, K.467 (Mozart); Noches en los Jardines de Espana (de Falla). (Canada) 2-St Laurent Studio YSL T-495. Transfers by Yves St Laurent. (C1615)
GEORGES PRETRE Cond. Cleveland Orch.: Le Roi d'Ys - Overture (Lalo); La Valse (Ravel); w.David Gooding (Organ): Symphony #3 in c (Saint-Saens). (Canada) St Laurent Studio YSL T-491, Live Performance, 30 March, 1967. Transfers by Yves St Laurent. (C1616)
DER ROSENKAVALIER, Live Performance, 19 Feb., 1944, (replete with Milton Cross' commentary) [Not to be confused with the subsequent 1946 Met broadcast!], w.Szell Cond. Met Opera Ensemble; Irene Jessner, Jarmila Novotna, Nadine Conner, Emanuel List, Walter Olitzki, Kurt Baum, etc.; DER ROSENKAVALIER - Excerpts, w. Barbara Kemp, Delia Reinhardt, Marion Claire & Fritz Krenn, w.Richard Lert Cond. Berlin Staatsoper Ensemble, Live Performance, 1928. (Canada) 3-Immortal Performances IPCD 1092. Notes by Dewey Faulkner, London Green & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 38pp booklet. (OP3266)
“….Irene Jessner brings a rich and lovely lyric soprano and admirable dignity to the central role of the Marschallin…Jessner is a fine Marschallin, touchingly introspective in her Act I soliloquy, and rising to the occasion in the opera’s concluding moments. Jarmila Novotna brings the same qualities to the trouser role of Octavian as she does to the character that inspired his creation, Cherubino in Mozart’s LE NOZZE DI FIGARO….and the Sophie of Nadine Conner [features her] shimmering lyric soprano, and a bit more temperament than is the norm for this role, are decided strengths. The success in this performance of the Presentation of the Rose and final Trio is due in no small part to Conner’s masterful contribution. The Viennese bass Emanuel List first sang the role of Baron Ochs at the Met on January 4, 1935, the first of 75 performances for that company. In this 1944 broadcast List, a month shy of his 56th birthday, is in solid voice, and not surprisingly the role fits him like a glove….This 1944 Met ROSENKAVALIER is a fine overall performance, and Szell’s conducting is of the highest and most inspired caliber. I look forward to returning to this performance on many occasions.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2017SALOME, Live Performance, 12 March, 1949, w.Fritz Reiner Cond. Met Opera Ensemble; Ljuba Welitsch, Kerstin Thorborg, Herbert Janssen, Frederick Jagel, etc.;
SALOME, Live Performance, 30 Sept., 1947, w.Clemens Krauss Cond. Vienna Staatsoper Ensemble (at Covent Garden); Maria Cebotari, Julius Patzak, Elisabeth Hongen, Marko Rothmüller, Karl Friedrich, Ludwig Weber, etc.; MARIA CEBOTARI: Arias from Nozze, Don Giovanni, La Boheme & Ariadne auf Naxos; MARIA CEBOTARI & MARCEL WITTRISCH: Duets from La Boheme – recorded 1932-48; LJUBA WELITSCH: Scenes from Salome, (1944) & Eugen Onegin (1948). (Canada) 4-Immortal Performances IPCD 1089, accompanied by Elaborate 54pp. Booklets, with photos & notes by Dewey Faulkner & Richard Caniell. The Met Opera broadcast also features Milton Cross' loquacious commentary. Transfers by Richard Caniell.
Specially priced at 4 CDs for the price of 3. (OP3265)
DAS LIED VON DER ERDE (Mahler), w. Rodzinski Cond. NYPO, KERSTIN THORBORG & CHARLES KULLMAN, Live Performance, 19 Nov., 1944, Carnegie Hall, w.broadcast commentary by Gene Hamilton; KERSTIN THORBORG, w.Bruno Walter Cond. Vienna Phil.: Ich bin der Welt abhanden gekommen (Mahler), Live Performance, 24 May, 1936; Die Allmacht; Horch, horch, die Lerch (Schubert); Sappische Ode (Brahms); Gesang Weylas; Kennst du das Land (Wolf) – Studio recordings, 1940; w.Grevillius Cond.Swedish Radio Orch.: Wesendonck Lieder - Träume (Wagner), Broadcast Performance, 22 Jan./, 1935; KERSTIN THORBORG, ARTHUR CARRON & FRANCESCO VALENTINO: IL TROVATORE - Act III, Scene 1; Act IV Scene, Live Performance, Met Opera, 13 March, 1943; KERSTIN THORBORG, CHARLES KULLMAN & LEONARD WARREN: BORIS GODUNOV -Act III, Scene 1; Scene 2 abridged, Live Performance, Met Opera, 9 Dec., 1939; CHARLES KULLMAN: Das Zauberlied (Meyer-Helmund); Ich sing’ mein Lied; Mein Herz ruft immer (Stolz); DAS LIED DER LIEBE - Die eine Frau; Du bist mein Traum (Korngold); Die Sonne geht auf; Marie Luise (Meisel); DIE ZIRKUSPRINZESSIN - Zwei Märchenaugen (Kálmán) – Studio recordings, 1932; CHARLES KULLMAN: DIE MEISTERSINGER - Prize Song; CARMEN- La fleur que tu m'avais jetee ; CHARLES KULLMAN & CLOE ELMO: IL TROVATORE - Scenes; CHARLES KULLMAN & DOROTHY KIRSTEN: MADAMA BUTTERFLY - Bimba, bimba dagli occhi; CHARLES KULLMAN & ELEANOR STEBER: CARMEN- Micaela - Don Jose Duet; CHARLES KULLMAN, RISE STEVENS & MACK HARRELL: Escamillo - Don Jose Duet; Final Scene - Broadcast Standard Hour Performances, 1945-48, all w.Merola Cond.; CHARLES KULLMAN & BIDI SAYAO, w.Fourestier Cond.: MANON - Et je sais votre nom (Act I), Live Performance, Met Opera, 20 Dec., 1947. (Canada) 3-Immortal Performances IPCD-1090. Elaborate 34pp Booklet incl. Mahler texts, w. Program Notes by Dewey Faulkner & Ken Meltzer. Specially priced at Three discs for the price of Two. (C1605)
. . . 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
Operas by Mercadante, Marais, Coccia, Vivaldi,
Cherubini, Spontini, Ricci, Vaccaj, Fioravanti,
Paisiello, Scarlatti, de Majo, Generali, Cavalli,
Rameau, Lully, Pergolesi, Cimarosa, Anfossi, Pietri,
Musinelli, Rossini, Charpentier, Gluck, Handel,
Vivaldi, Monteverdi, Rossini, Cagnoni, Myslivecek,
Mayr, Hasse, Meyerbeer, Weckerlin, Nicolai,
Marschner, Gurlitt, Schreker, etc.] have been added
throughout our listings, in appropriate categories . . .
out-of-print books [many biographies,
Record Catalogue- Discographies . . .
and more CDs and books are added each week] . . .
Our 50% Discount Sale continues,
now offering more than 2200 titles . . .
- - - - - - - 78rpm collectors, please note auctions from:
Dave Schmutz, www.78classicalgallery.com - or at: 818-242-6247
------------------ ANNOUNCEMENT -----------------
Norbeck, Peters & Ford's Annual 78rpm 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
To download a copy of Auction #149, simply click the link below:
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.
. . . For the Opus Kura,
Archipel, Myto, Walhall, Gebhardt &
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.
Take a look at our exciting array of Broadway & Off-Broadway Original Cast and London Original Cast LPs, all in superb condition.
We continue to offer FREE Shipping on all U.S. orders over $49.00. If you would like to join our emailing list, please sign up at the top right.
We carry splendid CD offerings from Yves St Laurent, VRCS, The Record Collector, Marston, Palaeophonics, Immortal Performances (Canada), Malibran, Aquarius, Truesound Transfers, Walhall, Bongiovanni, Clama and many other labels.
As always, please contact us with any special requests.
Please remember that we can take your order over the telephone from 10:00am to 6:00pm (EST), thereby providing you with the most current status of your order. Should you order by email or shopping cart and do not receive a timely acknowledgement of your order, please telephone.
Thank you again for your loyal support, and happy browsing our ever changing website and exciting offerings.
OP3268. DON GIOVANNI, Live Performance, 2 Aug., 1937, Salzburg, w.Walter Cond. Vienna Staatsoper Ensemble; Ezio Pinza, Elisabeth Rethberg, Virgilio Lazzari, Dino Borgioli, Luise Helletsgruber, Herbert Alsen, etc.; DON GIOVANNI - Act II Excerpts (incomplete), Live Performance, 16 April, 1941, w.Laszlo Halasz Cond. St Louis Opera Ensemble; Pinza, Schipa, della Chiesa, Bokor, Alvary & Carlos Alexander; BRUNO WALTER Cond. NYPO: 'Haffner' Symphony #35 in D, K.385 (Mozart), Live Performance, 4 Jan., 1953, Carnegie Hall. (Canada) 3-Immortal Performances IPCD 1091. Notes by James Altena & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 42pp booklet. - 752830574335
V2574. GUY CHAUVET: Arias & Scenes from Lohengrin, Parsifal & Die Walküre (the latter with Leonie Rysanek) (in German). (France) Malibran 154.
V2573. GUY CHAUVET, w.Etcheverry Cond.: Arias from Alceste, Iphigénie en Tauride, Hérodiade, Werther, L'Africaine, Les Abencérages, Carmen, Joseph, Les Troyens, La Juive, La Damnation de Faust, Tosca, Cavalleria, Pagliacci & La Traviata. (France) Malibran 566, recorded 1961, Vega. - 7600003775665
S0719. JACQUELINE DU PRE, w.Richard Goode (Pf.): Fantasiestücke (Schumann); Cello Sonata #1 in e (Brahms), Live Performances, 1965, Spoletto; w.Barenboim Cond. Philadelphia Orch: Cello Concerto in a (Saint-Saens), Live Performance, 27 Sept., 1970, Saratoga Arts Center; w.Barbirolli Cond. Hallé Orch.: Kol Nidrei (Bruch), Live Performance, 9 Sept., 1965, Free Trade Hall, Manchester; Presentation by Barbirolli. (Canada) St Laurent Studio YSL T-704. Transfers by Yves St Laurent.
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Renata Scotto, Vol. I Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Aida / Forza (Bellezza; Rethberg, Ponselle, Martinelli, Pinza, de Luca) (2-Immortal Performances IPCD 1071)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Medea (Gui) / Lucia di Lammermoor (Cleva) - TWO Maria Callas Performances (4-Immortal Performances IPCD 1076)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Arturo Toscanini; Michel Piastro, Alfred Wallenstein (Brahms) (2-Immortal Performances IPCD 1077)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Istvan Kertesz; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Klaus Tennstedt, Vol. II (2-St Laurent Studio YSL T-542)
William Kapell - 3 First Releases; Rodzinski, Richard Burgin, Ormandy (JSP684)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Walkure, Act III (Traubel, Janssen) - Tristan, Act II, 1944 (Melchior, Traubel) (2-Immortal Performances IPCD 1093)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Erich Leinsdorf, Vol. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
La Fanciulla del West (Behr; Steber, Corelli / Bardini, Colzani) (2-St Laurent Studio YSL T-519)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Klaus Tennstedt, Vol. III (St Laurent Studio YSL T-543)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
Alexis Weissenberg, Vol. V; Kondrashin, Rowicki (St Laurent Studio YSL T-485)
Arturo Toscanini - Victor Records Restored (3-Immortal Performances IPCD 1087)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
Erich Leinsdorf, Vol. VI; Sills, Wolff, Domingo, Berberian) (St Laurent Studio YSL T-453)
Eleanor Steber (Marcia Sloat) (9780963417404)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Missa Solemnis (Toscanini; Milanov, Thorborg, von Pataky, Moscona) (2-Immortal Performances IPCD 1086)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Klaus Tennstedt, Vol. VI - (Bruckner 4th - Boston) (St Laurent Studio YSL T-695)
Lener String Quartet, Vol. I (Brahms) (St Laurent Studio YSL 78-634)
Walkure (Boulez; McIntyre, Hofmann, Jones, Bode, Salminen, Randova) (3-St Laurent Studio YSL T-645)
Siegfried (Boulez; McIntyre, Jones, Kollo, Kelemen, Zednik, Rundgren) (3-St Laurent Studio YSL T-670)
L'Elisir d'Amore (Weikert; Upshaw, Cole, Taddei) (2-St Laurent Studio YSL T-516)
Aida (Cleva; Arroyo, McCracken, Bumbry, Colzani, Flagello, Plishka) (2-St Laurent Studio YSL T-515)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Les Collections des Chefs-d'oeuvre Artistiques de Girard & Cie (2-Truesound Transfers 4007)