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

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Palaeophonics presents

the 1920 revival of THE SHOP GIRL . . .

Malibran offers SANDOR KONYA,

KARL FRIEDRICH & ALAIN VANZO . . .

more additions to our regular

50% sale which continues



  • THE SHOP GIRL (H.J.W. Dam & Ivan Caryll), recorded 1920, w. Arthur Wood Cond. Gaiety Theatre Ensemble; Alfred Lester, Evelyn Laye, Thorpe Bates, Roy Royston, Mamie Watson, Nancy Lovatt & Leonard Mackay; Extras from the 1894 Production, by Ellaline Terris [1903]; David Seymour [1894-97]; John W. Myers [1898]; Ellaline Terris & Seymour Hicks [1932]; Alice Leamer - live at Royal Command Variety Performance, 29 Oct., 1935. (England) Palaeophonics 132, w.Elaborate ‘The Play’ 24pp. Brochure replete, with numerous photos of the Gaiety Theatre 1920 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (PE0278)

    THE SHOP GIRL was first produced by George Edwardes at the Gaiety Theatre in London, opening on 24 November 1894. The piece ran for an extremely successful 546 performances, transferring to Daly's Theatre. It starred Seymour Hicks, George Grossmith, Jr., Arthur Williams, Edmund Payne, Willie Warde and Ada Reeve, who (being pregnant) was replaced in the cast by Kate Cutler and then Hicks' wife, Ellaline Terriss. Topsy Sinden danced in the piece.

    The success of A GAIETY GIRL in 1893 confirmed to Edwardes that the lighter ‘musical comedy’ was the right path for musical theatre. THE SHOP GIRL heralded a new era in musical comedy, and the critics were amazed that the author had provided such a coherent story, as there had been hardly any story at all in burlesque. Over a dozen copies followed at the Gaiety Theatre (including MY GIRL, THE CIRCUS GIRL, and A RUNAWAY GIRL) over the next two decades and were widely imitated by other producers and playwriting teams. They also led to the next level of sophistication in the integrated musical comedy at Daly's Theatre and elsewhere in London.

    THE SHOP GIRL achieved immediate popularity. It introduced to London audiences a cleaner, more respectable form of musical comedy than the previous ‘musical farces’, which had been more closely related to burlesque. Indeed, during the run of the show, some of the racier lines were removed, as Edwardes recognised that the future of musicals lay in appealing to the respectable Victorian audience. In addition, at Hicks' urging, the romantic couple was designed as less sentimental and more mischievous and light hearted. But it was not lacking in sex appeal. It was the first show to feature Edwardes' Gaiety Girls, who were to feature in all of his similar musical comedies.

    Caryll, the music director at the Gaiety, conducted the performances of the piece himself. One of the most famous songs from the show was ‘Her golden hair was hanging down her back’. As the run went on, songs were constantly changed and new business frequently introduced, especially when there were cast changes. This also began a pattern for musicals of the era.

    Hicks and Grossmith transferred with the production to Broadway in 1895, under the management of Charles Frohman. Connie Ediss and Bertie Wright joined the cast. The New York production of THE SHOP GIRL opened at Palmer's Theatre on 28 October, 1895 and played for 72 performances.

    Hicks and Alfred Butt revived the piece in London in 1920, at the Gaiety, where it was again a hit, running for 327 performances. Hicks directed and Warde choreographed. The cast included Evelyn Laye, Alfred Lester, Thorpe Bates, Roy Royston, etc.

    Alfred Leslie Lester was an English actor and comedian. Born into a theatrical family, he learnt his craft touring in melodramas, as a young man, but made his reputation as a comedian in musical comedy, music hall and, later, revue.

    Lester's gloomy stage persona was seen to its quintessential comic effect in the long-running musical THE ARCADIANS (1909) in which he delivered optimistic lyrics in a lugubrious manner. Among his other hit shows were THE NEW ALADDIN (1906), HAVANA (1908) and THE BING BOYS ARE HERE (1916). His co-stars included George Grossmith Jr., Phyllis Dare, George Robey and Violet Lorraine.

    In 1905 Lester was engaged to play in a musical comedy, THE OFFICERS' MESS – OR HOW THEY GOT OUT OF IT at Terry's Theatre, London, where he was spotted by Alfred Butt, who ran variety shows at the Palace Theatre. Lester made an immediate impression with his monologue ‘The Sceneshifter’, in which a gloomy stagehand gives his ideas for the improvement and brightening of HAMLET. He was booked for further monologues and sketches by Butt, and in 1906 he appeared at the Gaiety Theatre in London as the Lost Constable in George Grossmith Jr.'s musical THE NEW ALADDIN, in which the reviewer in THE TIMES judged his performance the funniest thing in the show. At the same theatre he played Nix, the bo'sun, in another musical HAVANA in 1908; again, his performance received critical praise as the best thing in the piece.

    THE ARCADIANS in 1909 confirmed Lester's reputation as a leading West End performer. In a cast that included Phyllis Dare, Dan Rolyat and Florence Smithson, he was singled out by THE TIMES, which found him ‘more hilariously melancholy than ever: the audience rocked to hear him sing that his motto was 'always merry and bright.' In 1912 he played Vodka in THE GRASS WIDOWS, and the following year was Byles in THE PEARL GIRL. Between runs in musical comedy he returned to his music hall monologues. WHO'S WHO IN THE THEATRE noted that Lester had ‘the unique distinction of being the only person who has been selected to appear at both the Royal Command Theatrical and Music Hall performances’.

    In May 1915 Lester reprised his original role in a revival of THE ARCADIANS, and among his most celebrated shows of the First World War years was a revue, THE BING BOYS ARE HERE (1916) in which he and George Robey co-starred with Violet Lorraine. THE OBSERVER commented, ‘Nothing so funny in revue has ever been seen in London … the three together are almost too much to endure for three hours’.

    His later roles in musical comedy were Umpicof in ROUND THE MAP (1917), Hu-Du in SHANGHAI (1918), George in THE ECLIPSE (1919) and Miggles in a revival of THE SHOP GIRL (1920). He starred in four more revues: PINS AND NEEDLES (1921), FUN OF THE FAYRE (1921), RATS (1923), and his final show, THE PUNCH BOWL (1924). THE TIMES considered the last, ‘with its brilliant changes of character in the various scenes, was technically perhaps better than anything he had ever done’.

    During the run of the THE PUNCH BOWL Lester was taken ill and had to leave the cast. Suffering from a chest complaint he was recommended to go to a warmer country, and spent some weeks in Morocco. Feeling considerably better he began the journey home by train, but he was taken ill again en route and died of pneumonia at a nursing home in Madrid.”
    - Wikipedia


    “Evelyn Laye was an English theatre and musical film actress, who was active on the London light opera stage. Born as Elsie Evelyn Lay in Bloomsbury, London, and known professionally as Evelyn Laye, and informally as Bo . Her parents were both actors and her father a theatre manager. She made her first stage appearance in 1915 at the Theatre Royal, Brighton as Nang-Ping in MR. WU, and her first London appearance at the East Ham Palace on 24 April 1916, aged 14, in the revue HONI SOIT, in which she subsequently toured . For the first few years of her career she mainly played in musical comedy and operetta, including GOING UP in 1918. Among her successes during the 1920s were PHI-PHI (1922), MADAME POMPADOUR (1923), THE DOLLAR PRINCESS, BLUE EYES (1928) and LILAC TIME. She made her Broadway début in 1929 in the American première of Noël Coward's BITTER SWEET and appeared in several early Hollywood film musicals. She continued acting in pantomimes such as THE SLEEPING BEAUTY and CINDERELLA. After the Second World War, she had less success, but she returned to the West End in 1954, in the musical WEDDING IN PARIS. She also acted several times opposite her second husband, actor Frank Lawton, including in the 1956 sitcom MY HUSBAND AND I. Other stage successes included SILVER WEDDING (1957)

    Thomas Thorpe-Bates studied at the Guildhall and the Royal Academy of Music. He sang as principal baritone at provincial Music Festivals, Choral Societies, Promenade Concerts and the Hallé and Brand Lane Concerts, Manchester. He played in THE YANKEE PRINCESS in New York in 1922. He also appeared in THE MAID OF THE MOUNTAINS, THE REBEL MAID and many other plays. Bates’ daughter was the actress Peggy Thorpe-Bates, perhaps best remembered as one of three actresses who played Hilda Rumpole in the TV adaptations of John Mortimer’s RUMPOLE OF THE BAILEY novels.”
  • - Ned Ludd


  • SÁNDOR KÓNYA: Arias from L'Africaine, La Gioconda, Gianni Schicchi, Martha, L'Elisir, Tosca, Madama Butterfly, Turandot, La Fanciulla del West, La Boheme, Manon Lescaut, Rigoletto, Il Trovatore, Aïda, Lohengrin & Die Meistersinger. (France) Malibran AMR 115. (V2479)

    “Mr. Kónya had a powerful, dramatic voice and was most highly regarded as a Wagnerian tenor. But his broad repertory also included several of the major Verdi and Puccini rôles, as well as Edgardo in Donizetti's LUCIA DI LAMMERMOOR and Turiddu in Mascagni's CAVALLERIA RUSTICANA. Although his Wagner was criticized by some for embodying an Italianate sob, Mr. Kónya's admirers prized exactly that tendency toward stylistic cross-pollination. Just as he brought the emotional lyricism of Italian opera to Germanic rôles, he sang Italian rôles with the big, heroic sound more typically heard in German works.

    Mr. Kónya studied at the Franz Liszt Academy in Budapest, as well as in Milan and at the Music Academy of Detmold, in northwestern Germany. In 1951 he made his professional début as Turiddu at the Bielefeld Opera. He remained on the company's roster for three years, during which he expanded his repertory, both in grand opera and in lighter rôles.”


  • - Allan Kozinn, THE NEW YORK TIMES, 6 June, 2002


  • FRIEDRICH: Arias & Duets (w. Hilde Güden, Judith Hellwig & Hans Herbert Fiedler) from Il Trovatore, Forza, Carmen, Lohengrin, Giuditta, Der Rastelbinder, Der Göttergatte. Das Land des Lächelns, Eine Nacht in Venedig & 1001 Nacht. (France) Malibran AMR 116. (V2480)

    “Karl Friedrich was trained as a singer at the Vienna Music Academy, after which he sang in Stralsund, Magdeburg and Düsseldorf, eventually being engaged by the Vienna Staatsoper where music critic Ernst Descey spoke of his lovely messa di voce in the Air de la Fleur in CARMEN. Clemens Höslinger wrote of 'the light operetta-like coloration of his singing being strongly reminiscent of Richard Tauber’. From 1937 to 1950 Friedrich, a popular lirico spinto of his day, was a regular guest at the Salzburg Festival and was one of the busiest singers of the Vienna Staatsoper ensemble where he sang the lyric-dramatic tenor repertoire.

    He also sang many roles in Lehár operettas, partly on the stage, partly in radio broadcasts. Friedrich is preserved in complete recordings of GIUDITTA and PAGANINI under the baton of Franz Lehár, plus recordings as Florestan (FIDELIO) under Clemens Krauss and Apollo (DAPHNE) under Karl Böhm.”
  • - Wikipedia


  • ALAIN VANZO: Songs by Barriere & Krier-Helmer (the latter's 'Le rêve passe') (Vanzo’s first recording, 1954); Arias from La Navarraise, Benvenuto Cellini, Lakmé, Mignon, Mireille, Roméo, Werther, Les Pêcheurs de Perles, Le Roi d’Ys, Richard Coeur de Lion, La Jolie Fille de Perth, Manon, Faust, I Vespri Siciliani & Don Carlos; 1982 Interview with Jacques Bertrand. (France) Malibran AMR 115, recorded 1954-62. (V2478)

    "...Vanzo combines all the elements of bel canto, whatever the selection. A seamless legato is joined with a technique that produces a beautiful, effortless sound....Vanzo’s voice caresses the music and demonstrates elegance…."


    - Bob Rose, FANFARE, Nov./Dec., 2005


    “Alain Vanzo was born in Monaco in April, 1928 and was apparently a gifted musician from an early age. From an inauspicious start, he was eventually heard by a singing teacher who recognized his talents, and from that point on he was lucky enough to be integrated into the French music scene where he triumphed in various performances. He made his début at the l’Opéra and the Opéra-Comique in 1957, going on to sing the Duke of Mantua in 1957.

    He became known and respected as a lyrical tenor and graduated towards a more robust tenor, culminating in his taking on Werther at age 40 and Don José at age 45! By the time he reached the age of 48, then on 20 April, 1965, he sang with Montserrat Caballé (her American début) in a concert performance in Donizetti's LUCREZIA BORGIA at Carnegie Hall. Finally, after his 1976 performances of FAUST in the US, he had become a star and this disc shows exactly why he was so well respected.

    In 1985, at age 57, [Vanzo] starred in the Paris Opéra’s historic revival of ROBERT LE DIABLE by Meyerbeer, which the company had not staged for some 90 years….Mady Mesplé, the soprano and a frequent vocal partner, told Le Monde that ‘with [Vanzo’s passing in 2002] a whole page of French lyric history has vanished’."


  • - Anne Midgette, THE NEW YORK TIMES, 24 Feb. 2002




    . . . repeated from the recent past . . .



  • MESDAMES DE LA HALLE (Offenbach), recorded 23 March, 1958, w. Carivan Cond. Gabrielle Ristori, Deva Dassy, Marcelle Sansonetti, Claudine Collart, Marcelle Sansonetti, Joseph Peyron, Gaston Rey, Pierre Germain, Janie Delille & Germaine Parat; BAGATELLE (Offenbach) – excerpts, w. Lina Dachary, Janine Capderou, Huguette Boulangeot & Gérard Friedmann. Malibran 976. (OP3184)

    MESDAMES DE LA HALLE is an operetta buffa in one act by Jacques Offenbach, with libretto by Armand Lapointe, created on 3 March, 1858 at the Bouffes-Parisiens, Offenbach’s first major work to be performed there. Gänzl describes the piece as ‘a delicious piece of Parisian bouffonerie’. Bouffes on tour staged MESDAMES DE LA HALLE in Vienna with Lucille Tostée as Croûte-au-pot, then in Budapest, where a Hungarian version soon followed. It was performed in Berlin in 1858, Brussels in 1860, and Monte Carlo in 1908. It was also produced at the Théâtre des Arts on 3 April 1913, conducted by Gabriel Grovlez, with a cast including Lucy Vauthrin, Marcelle Devries and Maurice Lamy. It was mounted at the Paris Opéra-Comique on 4 May 1940 with René Hérent, Lillie Grandval and Roger Bourdin, conducted by Gustave Cloëz. MESDAMES DE LA HALLE was performed as part of a triple bill entitled VIVE OFFENBACH with Pomme d'api and M. Choufleuri restera chez lui le…at the Opéra-Comique in December 1979, revived the following year and in 1983.”
  • - Wikipedia


  • MAROUF (Rabaud), recorded 1951, w.Fourestier Cond. Géori Boué, Geneviève Moizan, Roger Bourdin, Pierre Froumenty, André Vessieres, Bernard Demigny, etc.; GÉORI BOUÉ: Arias from Eugen Onégin, Der Freischütz, Mignon, Le Cid & Le Jongleur de Notre-Dame. (France) 2-Malibran 798. (OP3183)

    MAROUF is based on a tale from the ARABIAN NIGHTS. Like Massenet, Rabaud's music is suave, melodious, and meticulously crafted. Everything is paced with an astute sense of proportion. But the observant ear will also detect many fascinating ‘twentieth centuryisms’ - hints of Straussian and Debussian harmonies that delight the ear and set his music apart from that of his more famous teacher. He also boasts a formidable orchestral technique.

    Rabaud's opera doesn't aim for the heavens, but it achieves its more modest goals with such ease and facility that one cannot help but feel a certain delight in it.”


  • - Eric D. Anderson, OPERA NEWS, 27 Aug., 2005


  • FAUST (in German), recorded 1908, w.Seidler-Winkler Cond. Berlin Hofoper Ensemble; Emmy Destinn, Karl Jörn, Marie Goetze, Desider Zador & Paul Knüpfer: EMMY DESTINN: ten most revered recordings from the period 1906 to 1910. 2-Marston 52074. Transfers by Ward Marston. (OP3180)

    "One of our early releases was the 1908 recording of Bizet's CARMEN sung in German by a cast headed by the larger-than-life Bohemian soprano, Emmy Destinn.

    We have, over the years, received requests from our customers to reissue this earliest recording of Gounod's opera, and we have finally issued this recording as a two-CD set. The cast includes tenor Karl Jörn, mezzo Marie Goetze, baritone Desider Zador, and bass Paul Knüpfer. The orchestra and chorus are in the capable hands of Bruno Seidler-Winkler.

    Michael Aspinall's informative essay includes biogr–aphical information on the singers and a thorough critical analysis of the performance. The second CD concludes with ten of Emmy Destinn's most revered recordings from the period 1906 to 1910."
  • - Marston


  • WILHELM KEMPFF: The Late Sonatas - Piano Sonata #24 in F sharp major, Op. 78, Recorded in 1932 (Polydor 90193); Piano Sonata #26 in E flat major, Op. 81a 'Les Adieux', Recorded in 1928 (Polydor 66687/8); Piano Sonata #27 in e minor, Op. 90, Recorded in 1928 (Polydor 62639 & 66712); Piano Sonata #28 in A major, Op. 101, Acoustic recording, 1925 (Polydor 66178/9); Piano Sonata #29 in B-flat major, Op. 106 'Hammerklavier', Recorded 7 & 25 January 1936 (Polydor 67077/81); Piano Sonata #30 in E major, Op. 109, Recorded 29 July, 1936 (Polydor 67091/2); Piano Sonata #31 in A flat major, Op. 110, Recorded 29 July, 1936 (Polydor 67088/90); Piano Sonata #32 in c minor, Op. 111, Recorded 31 July, 1936 (Polydor 67093/5) (all Beethoven). (France) 2-Appian APR 6018, recorded 1925-36. Transfers by Mark Obert-Thorn. (P1236)



  • WILHELM KEMPFF: Bagatelle in C Major, Op. 33, #5, Recorded c.1920 [Kempff’s 1st recording] (Polydor 62400); Ecossaises (6) in E flat major, Recorded c.1920 (Polydor 62400); ‘Rage over a lost penny' Rondo a capriccio in G major, Op. 129, Recorded 24 September 1937 (Polydor 62802); w. Paul Van Kempen or Peter Raabe Cond.: Piano Concerto #1 in C Major, Op. 15, Recorded September, 1925 (Polydor 69815/8); Piano Concerto #3 in c minor, Op. 37, Recorded 11 June 1942 (Polydor 67946/50); Piano Concerto #4 in G major, Op. 58, Recorded 19 March, 1940 (Polydor 67674/8); 'Emperor' Piano Concerto #5 in E flat major, Op. 73, Recorded 6 January, 1936 (Polydor 67082/6) (all Beethoven). (France) 2-Appian APR 6019, recorded 1925-42. Transfers by Mark Obert-Thorn. (P1237)



  • JAN KIEPURA: Songs by Rossini, di Capua, Buday, Stolz, Spoliansky & Kaper; Arias from Carmen, Martha, La Boheme, Turandot, Tosca, Rigoletto, Il Trovatore & Aïda; JAN KIEPURA & LOTTE LEHMANN: Tosca duets. (France) Malibran AMR 108, recorded 1926-38, including one live performance with MARTA EGGERTH. (V2476)

    “Few tenors of the time matched Kiepura for charisma and dramatic imagination. A performance of ‘La donna è mobile’ from the Metropolitan Opera in the late 1930s remains a marvel of how to spin out messa di voce and play with the musical line, the note values and the inflection of the words. A recording of him singing ‘En fermant les yeux’, from MANON, at the Met in 1939, bores quietly into you in the most visceral way; you feel that you are physically suspended in the dream along with des Grieux.

    Kiepura made his Met début as Rodolfo on 10 February, 1938. His performance of ‘Che gelida manina’ elicited an ovation so thunderous that he had to get up from the kneeling position to acknowledge the applause. In THE NEW YORK POST the next day, Samuel Chotzinoff wrote that Kiepura ‘injected high spirits into the role of Rodolfo and turned that ordinarily pompous and bombastic poet into a musical comedy hero’. His final Met role was Rodolfo, opposite Licia Albanese, four years to the day after he had made his company début.”


  • - Brian Kellow, OPERA NEWS, July, 2013




  • CELESTINA BONINSEGNA: Arias & Duets (w.Luigi Colazza, Luigi Bolis & Giovanni Valls) from Norma, Ernani, Il Trovotore, I Vespri Siciliani, Ballo, Forza, Aïda, Faust, Ruy Blas, La Gioconda, La Boheme, Tosca, Andrea Chénier, Il Guarany & Loreley. (France) Malibran AMR 106, recorded 1904-17. (V2477)

    "On record [Boninsegna] has few rivals in the dramatic soprano field. The luscious, easily produced voice rings out so impressively that the limitations of the acoustic process are quite forgotten."


  • - Vivian A. Liff, AMERICAN RECORD GUIDE, Sept./Oct., 2004




  • AUL KLETZKI Cond. Swiss Festival Orch.: Leonore Overture #3 (Beethoven); Symphony #4 in e (Brahms); Unfinished Symphony #7 in b (Schubert). (Germany) Audite 95.605, Live Performance, Kunsthaus, 7 Sept., 1946. (C1452)



  • HANS KNAPPERTSBUSCH Cond. Vienna Phil.: Coriolan - Overture; Symphony #7 in A; w.WILHELM BACKHAUS: Piano Concerto #4 in G - Live Performance, 17 Jan., 1954; Eroica Symphony #3 in E-flat - Broadcast Performance, 17 Feb., 1962 (all Beethoven). (Austria) 2-Orfeo C901 162. (C1451)



  • JOSEF VLACH Cond. Czech Phil.: Mozart, Dvorák, Suk, Tschaikowsky, Hurnik, Paur, Respighi, Stravinsky, Britten & Debussy. (Czech Republic) 4-Supraphon 4203, recorded 1960-82. (C1450)



  • BRUNO MADERNA Cond. Philadelphia Orch.: Symphony #5 in c-sharp (Mahler), Live Performance, 1971. (Canada) St Laurent Studio YSL T-373. Transfers by Yves St Laurent. (C1449)



  • KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: Symphony #8 in c (Bruckner). (Canada) St Laurent Studio YSL T-332, Live Performance, 20 Dec., 1974, Symphony Hall, Boston. [This glorious live performance beautifully displays the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1425)

    “What we have here is a release of a radio broadcast [which] comes with the weight of representing the ignition point of one of the great conducting careers of the last quarter of the twentieth century. St. Laurent Studios has done its usual superb job of restoration; the original broadcast sound was well balanced and rich, but with a bit of congestion at climaxes….music lovers are in their debt for this extraordinary release.”


  • - Henry Fogel, FANFARE


  • GIANNA PEDERZINI - Biography by Maurizio Tiberi. Roma, 2-TIMA Club, 2016. 439pp. in Two Volumes; Index; Exhaustive Chronology, 1923-72; Discography, 1928-49; Repertoire; copious Photos, many never before in print; Illustrated with concert & opera program reproductions, newspaper articles & reviews, plus delightful caricatures. (Italian Text) (Pictorial thick paper covers) (B1861)

    “Gianna Pederzini had personality and charisma and was a great artist. Her voice was beautiful: round and dark. When I sang CARMEN with her, in 1953, she was no longer young, but she still had an exceptional figure. She had strong eyes, green, the color of steel. She was a beautiful woman—beautiful face, beautiful nose, the most beautiful legs in opera. She knew how to be beautiful and to impose her beauty in the theater. She was a real woman. I was lost in her arms.”


  • - Franco Corelli, OPERA FANATIC, 20 July, 1991




  • THE BING GIRLS ARE THERE (Clifford Grey & Nat D. Ayer), recorded 1917, w. John Ansell Cond. Alhambra Theatre Enmsemble; Nat D. Ayer, Violet Loraine & Joseph Coyne; Extras by Eric Courtland, Walter Jeffries, Wilkie Bard & De Groot and his Piccadilly Orch. (England) Palaeophonics 136, w.Elaborate ‘The Play’ 16pp. Brochure replete, with numerous photos of the Alhambra Theatre 1917 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (PE0277)

  • AS YOU WERE (Arthur Wimperis & Herman Darewski), recorded 1918, w. Herman Darewski Cond. London Pavilion Ensemble; Alice Delysia, Daisy Hancox, C. Hayden Coffin, Mona Vivian, Clifford Morgan & John Humphries; Additional material by Alice Delysia (whose 1933 reprise of her 'If you could care for me' [as a solo, from ‘Alice Delysia Memories’] alone is worth the price of the CD! Her use of portamento is beguiling]) & Mayfair Dance Orch. (England) Palaeophonics 139, w.Elaborate ‘The Play’ 16pp. Brochure replete, with numerous photos of the London Pavilion 1918 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (PE0276)



    . . . numerous out-of-print CDs [many sealed copies of

    numerous out-of-print additions: Issues of Symposium’s

    Harold Wayne series, Romophone, The Record Collector,

    VRCS, GOP & many Met Opera broadcasts, plus Operas by

    Handel, Mercadante, Marais, Cavalli, Rameau, Lully,

    Monteverdi, Charpentier, Gluck, Vivaldi, Pergolesi,

    Rossini, Meyerbeer, Weckerlin, Nicolai, Schreker,

    Marschner & Gurlitt] have been added throughout our

    listings, in appropriate categories . . .

    out-of-print books [many biographies, Record

    Catalogue-Discographies . . .

    more coming in the next months . . .

    our 50% Discount Sale continues,

    with numerous additions . . .



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



    You can view our current Auction #147 online, with revised closing date of Saturday, 21 May!

    At a total of 118 pages, this is the largest auction we’ve ever produced, filled with many rarities, plus MINT copies of ‘Society’ recordings (all pressed from original masters), now at closeout prices. It will come as no surprise that Norbeck, Peters & Ford have been concentrating our efforts in locating and promoting thousands of historical-interest CDs during the past quarter century, often at the expense of the somewhat rarified collector of the original 78rpm issues. Now, the long wait is over as we have spent much of the past year organizing, researching and listing many 78s in our vast inventory, many of them with appropriate critical and biographical quotes. This auction features a large assortment of instrumental, vocal and historically important records, the vast majority being in truly spectacular condition.

    As our little urchin stares into the recording horn, you can now view our current AUCTION whose revised closing date is Saturday, 21 May!


  • 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 Melodiya, Vista Vera, 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.

    Now that our Auction #145 is completed, the Auction Catalogue remains on our current website. Most of the elusive and rare items of course are gone, but some titles remain available.

    As always, please contact us with any special requests.

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    The Shop Girl  (Alfred Lester, Evelyn Laye, Bates)   (Palaeophonics 132)
    PE0278. THE SHOP GIRL (H.J.W. Dam & Ivan Caryll), recorded 1920, w. Arthur Wood Cond. Gaiety Theatre Ensemble; Alfred Lester, Evelyn Laye, Thorpe Bates, Roy Royston, Mamie Watson, Nancy Lovatt & Leonard Mackay; Extras from the 1894 Production, by Ellaline Terris [1903]; David Seymour [1894-97]; John W. Myers [1898]; Ellaline Terris & Seymour Hicks [1932]; Alice Leamer - live at Royal Command Variety Performance, 29 Oct., 1935. [Terris' marvelous 1932 rendition of 'I want yer, my Honey' alone is worth the price of this magnificent CD! Just fascinating is Alice Leamer's live recording of 'And her golden hair was hanging down her back' - made all the more compelling being performed with an appreciative and enthusiastic audience!] (England) Palaeophonics 132, w.Elaborate ‘The Play’ 24pp. Brochure replete, with numerous photos of the Gaiety Theatre 1920 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities.
    $19.90
    Sandor Konya           (Malibran AMR 117)
    V2479. SÁNDOR KÓNYA: Arias from L'Africaine, La Gioconda, Gianni Schicchi, Martha, L'Elisir, Tosca, Madama Butterfly, Turandot, La Fanciulla del West, La Boheme, Manon Lescaut, Rigoletto, Il Trovatore, Aïda, Lohengrin & Die Meistersinger. (France) Malibran AMR 117.
    $19.90
    Karl Friedrich          (Malibran AMR 116)
    V2480. KARL FRIEDRICH: Arias & Duets (w. Hilde Güden, Judith Hellwig & Hans Herbert Fiedler) from Il Trovatore, Forza, Carmen, Lohengrin, Giuditta, Der Rastelbinder, Der Göttergatte. Das Land des Lächelns, Eine Nacht in Venedig & 1001 Nacht. (France) Malibran AMR 116.
    $19.90
    Alain Vanzo             (Malibran AMR 115)
    V2478. ALAIN VANZO: Songs by Barriere & Krier-Helmer (the latter's 'Le rêve passe') (Vanzo’s first recording, 1954); Arias from La Navarraise, Benvenuto Cellini, Lakmé, Mignon, Mireille, Roméo, Werther, Les Pêcheurs de Perles, Le Roi d’Ys, Richard Coeur de Lion, La Jolie Fille de Perth, Manon, Faust, I Vespri Siciliani & Don Carlos; 1982 Interview with Jacques Bertrand. (France) Malibran AMR 115, recorded 1954-62.
    $19.90
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