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PRINCE IGOR (Borodin), Live Performance, 12 Oct., 1962, (sung in Russian), w.Oskar Danon Cond. Lyric Opera of Chicago Ensemble; Igor Gorin (Prince Igor); Boris Christoff (Galitsky; Konchak); Consuelo Rubio (Yaroslavna); David Poleri (Vladimir); Carol Smith (Konchakovna); Renato Cesari (Skula); Mariano Caruso (Eroshka), replete with curtain calls and commentary; IGOR GORIN, w.Willard Straight (Pf.): Arie Antiche, incl.Bottegari, Monteverdi, Scarlatti, Rosa, Falcionieri, Paradies, Vivaldi & Legrenzi – recorded 1961; w.Harold Barlow Cond.Firestone Hour Orch.: BARBIERE – Largo al factotum – broadcast 24 Sept., 1945; Bud Carrey interviews Igor Gorin. (Canada) 3-IMMORTAL PERFORMANCES IPCD 1044-3. (OP2972)
Chicago 1962 PRINCE IGOR,
with Gorin, Christoff, Poleri, Rubio . . .
2014 VRCS is here . . .
Pollini, Bohm & Abbado from Orfeo . . .
and our regular 50% SALE continues . . .
“The principal value of this important release is Gorin’s Igor, a towering achievement vocally and dramatically. His rich, resonant, firmly focused voice is based on an extremely sound technique, and he sings with presence and character. Those who really love this opera should know this performance, which is as richly characterized and beautifully sung as any. In addition to Gorin, this performance boasts Boris Christoff in the dual roles of Galitsky and Konchak . . . In his excellent notes, producer Richard Caniell writes that Christoff is not in quite as firm voice as he was on his earlier EMI BORIS GODUNOV recording. That may be true, but he sounds pretty good to me here, and with much firmer tones than he shows on the later EMI set. There is one more highlight in PRINCE IGOR, and that is the tenor David Poleri’s sensitive and lovely singing here. This version of Vladimir’s Cavatina can stand with some of the finest.
So the monumental presence of Christoff and the rich Prince of Gorin are the reasons for serious collectors to explore this set. That is especially true because of the added bonus of a 1961 studio recording originally on the Golden Crest label called ‘Arie antiche’, with Gorin accompanied very nicely by pianist Willard Straight. . . . A brief interview rounds out the Gorin material here.
As usual, Immortal Performances’s production standards are top of the line. The notes are both informative and interesting . . . overall this is a natural sounding early 1960s monaural radio broadcast, and for this kind of material the sound is really terrific.”
- Henry Fogel, FANFARE, Nov./Dec., 2014
. . . remarkably, for all who thought it might never happen, the 2014 VRCS Issue is now available . . . in 2014 !
VOCAL RECORD COLLECTORS' SOCIETY - 2014 Issue, incl. Katarina Arkandy, Marie Götze, Karl Jörn, Rosa Olitzka, Joachim V. Tartakov, Marthe Chenal, Paul Bender, Ettore Bergamaschi, Marina Campanari, Jaro Dworsky, Titta Ruffo, Friedrich Schorr, Anna Meitchik, Louis Morturier, Heinz Rehfuss, Margarete Matzenauer, Mignon Nevada, Jan Peerce, Jolanda di Maria-Petris, Marguerite d’Alvarez, Bidú Sayão & Thomas L. Thomas. VRCS-2014. Transfers by Seth B. Winner. (V2294)
“The always eagerly-awaited annual VRCS issue is with us again, maintaining the excellent standard of both content and presentation….The transfers by Seth Winner are state-of-the-art in quality, as always, and the booklet, again as always, contains small photographs of and superb biographical notes on all the singers. This is the standard at which all historical reissues should aim. Highly recommended.”
- Paul Steinson, THE RECORD COLLECTOR, 2012
BELCANTO CHRISTMAS, incl. Pol Plançon, Charles Gilibert, Jane Marignan, Mado Robin, Suzanne Dessoir, Cathérine Mastia, Albert Vaguet, Lucien Muratore, Augustin Nuibo, Giovanni Martinelli, Blanche Marchesi, Paul Knüpfer, Franz Steiner, John Coates, Robert Carr, Ben Davies, Harry Dearth, Lucien Muratore, Schumann-Heink, Lotte Lehmann, Elizabeth Wheeler, Betsy Lane Shepherd, John McCormack & Yvette Guilbert. (Germany) Truesound Transfers 3066, recorded 1903-52. Transfers by Christian Zwarg. (V2293)
"For those who have never been enthralled with Christmas bouquet offerings such as this program, the inimitable Zwarg has outdone himself both in terms of his meticulous transfer work, but also regarding the exquisite program he has chosen. The enchanting Guilbert entry alone is worth the price of the disk!"
- J. R. Peters
“These recent transfers have been an absolute revelation to me….Amazingly, Christian Zwarg has managed to unlock the sound of these recordings in such a way as to present [voices] such as I have never heard before. Here the sound has a sheen and glow which is quite beautiful. It is as if an old masterpiece painting has been cleaned and restored, allowing rays of brilliant light to emerge….”
- Davyd Booth, THE RECORD COLLECTOR, 2012
THE CHRISTMAS ALBUM, incl. Olive Fremstad, Elena Gerhardt, Charles Gilibert, Elsa Alsen, Fanny Elsten, Carol Brice, Eileen Farrell (Vaughan Williams’ ‘Snow in the Street’, ‘The Coventry Carol’, etc.), Earl Wrightson, E. Power Biggs, George Marshall, Leonard de Paur Infantry Chorus, Phyllis Curtin, The Morman Tabernacle Choir, Nelson Eddy, Westminster Choir, The Madrigal Singers, Russian Art Choir, Associated Glee Clubs of America, Szell Cond. Cleveland Orch., etc. (Austria) Sony MHK 63309, recorded 1907-67. Gatefold Jacket has Brochure, w.archival photos; Disc features original Columbia 78rpm elusive Flags label. Long Out-of-print, Final copy! (V1469)
KARL BÖHM Cond. Vienna Phil.: Symphony in A, K.201; Haffner Symphony in D, K.385; w.MAURIZIO POLLINI: Concerto in F, K.459 (all Mozart). (Austria) Orfeo C 891 141, Live Performance, 30 Aug., 1980, Salzburg. (C1328)
"Böhm's last concert in Salzburg far removed from any routine, a great Mozart expert here offers a vivid account with the Vienna Philharmonic at its dazzling best, and in a perfect dialogue with Pollini in the 'little' Coronation Concerto."
- Loyal Bluto
CLAUDIO ABBADO Cond. Gustav Mahler Jugendorchester: Beethoven, Prokofiev, Mussorgsky, Stravinsky & Schönberg (the latter's 'Survivor from Warsaw', w.MAXIMILIAN SCHELL Narrator]). (Austria) Orfeo C 892 141, Live Performances, 1979-94. (C1329)
"For Claudio Abbado, the European youth orchestras he founded and conducted were always an affair of the heart. With them he could live out his enthusiasm without compromising either quality or repertoire. And the results were met with equal enthusiasm by press and public alike."
- Loyal Bluto
. . . and repeated from recent weeks . . .TANNHÄUSER, Live Performance, 18 Jan., 1936, w.Bodanzky Cond. Met Opera Ensemble; Lauritz Melchior, Kirsten Flagstad, Lawrence Tibbett, Kerstin Thorborg (replaces Margaret Halstead), Emanuel List, Arnold Gabor, Editha Fleischer, etc.; TANNHÄUSER - Act III complete, Bayreuth 1930 and 1931, w.Lauritz Melchior, Maria Müller, Herbert Janssen, Ruth Jost-Arden; TANNHÄUSER – Excerpts, recorded 1940; William Steinberg & Edwin McCarthur Cond. Lauritz Melchior, Rose Bampton & Richard Bonelli. Two booklets including rare photographs, extensive texts and biographies. (Canada) 4-Immortal Performances 1039. Transfers & Essay by Richard Caniell. (OP2969)
"To have in one performance, even if it existed only in our dreams, Melchior, Flagstad, Thorborg, Tibbett, and List is to have as close to a Wagnerian ideal as there is. . . .The key to any performance of TANNHÄUSER is the tenor in the title role, and it is doubtful that there was ever a better one than Melchior. Seven Met broadcasts exist in some form featuring the great Dane, most having been released on multiple labels . . . In all cases the transfers are not very good, exhibiting pitch problems, muffled sound leading to colorless voices, and dynamic compression. For this transfer . . . Caniell has gotten a far superior, more natural, orchestral and vocal sound from the material than is heard even on some of the other labels’ later performances. What we have here sounds like the voices we know from later studio recordings, here caught in the heat of performance.
Melchior was as good as it gets in this fiendishly [difficult] role, retaining freshness of voice throughout the opera and characterizing the music with more specificity and dramatic meaning than he is usually credited with. The sound itself is glorious, his ability to sing an even, gentle legato and then to let his voice peal forth with glorious power without ever losing richness of tone is unique to him among Heldentenors. Captured here in his prime, he gives a performance to treasure.
This is the only recording Tibbett left of a complete German role . . . and if there has ever been a Wolfram with a richer or more beautiful timbre I have not encountered him. He, like Melchior, is capable of a seamless legato, and his singing of the ‘Hymn to the Evening Star’ has far more of a face to it than his studio recording.
Flagstad too contradicts the clichés about her glorious voice being married to a too stolid temperament. She sings with variety of color and dynamic shadings and inflects with specificity in a way that brings Elisabeth vividly to life. And indeed that voice is something of a miracle of nature in its glow and evenness from top to bottom.
As is normal for Immortal Performances, there are excellent notes about the opera itself, the singers involved, and the history of the recording as well as insights into the thought processes of Caniell in putting this together.”
- Henry Fogel, FANFARE Nov./Dec., 2014
PAGLIACCI, Live Performance, 10 March, 1934, w.Bellezza Cond. Met Opera Ensemble; Giovanni Martinelli, Lawrence Tibbett, Queena Mario, Alfio Tedesco, George Cehanovsky, etc.; PAGLIACCI - Final Scene, Chicago Opera; Martinelli, Jepson; IL TROVATORE, Excerpts (includes Act III, scene 2 and Act IV, scene 2 complete), w. Martinelli, Elisabeth Rethberg, Richard Bonelli & Kathryn Meisle; Interview with Martinelli & Licia Albanese. (Canada) 2-Immortal Performances 1047. Restoration and Transfers by Richard Caniell. Notes by London Green. (OP2968)
“What we have here is miraculous. . . .Caniell has cleaned up the material superbly — fixing pitch inconsistencies, bringing out real color from the voices, and reversing serious dynamic compression. . . .I found myself swept up from [Martinelli’s] entrance to the opera’s conclusion. Tibbett is the other major asset of this performance. His is a richly sung and highly dramatic Tonio. Not only the Prologue, but the duet with Nedda is a true highlight. This is a performance of rare dramatic fire and with musical thrills galore, lovingly and brilliantly restored. If you care at all about PAGLIACCI and/or the verismo operatic tradition, you must know this performance, and only in this transfer. As usual, the notes and photos that accompany the discs are all one could ask for.”
- Henry Fogel, FANFARE, Nov./Dec., 2014
ELEKTRA (Concert Version), Live Performance, 21 March, 1937, Carnegie Hall, w.Artur Rodzinski Cond. NYPO: Rose Pauly, Charlotte Boerner, Enid Szantho, Frederick Jagel, Julius Huehn, etc.; ROSE PAULY, w.Barbirolli Cond. NYPO: All-Strauss Broadcast, incl. Don Juan; 2 lieder – ‘Verführung’; ‘Gesang der Apollopriesterin’; SALOME - Final Scene, 27 Feb., 1938, Carnegie Hall, w.broadcast commentary; DIE ÃGYPTISCHE HELENA (Strauss) – Three Scenes, w.Fritz Busch Cond., recorded 1928; ‘Allerseelen’ (Strauss) w.Fritz Reiner Cond. Detroit S.O., Ford Hour, Live Performance, 20 Feb., 1938; Fidelio – Abscheulicher! (Beethoven), recorded 1927. (Canada) 2-Immortal Performances 1045, w.Elaborate 50pp Booklet. Transfers by Richard Caniell. (OP2967)
“Immortal Performances’ usual high production standards apply. The transfers are all infinitely superior to what has [previously] been around before of this material. The essays by Caniell himself and by London Green are illuminating, stimulating, and models of what we would hope to find in historical re-issues but almost never do. And the artwork and photographs are up to the same level. The texts and translations of the two songs are given as well.”
- Henry Fogel, FANFARE Nov./Dec., 2014
TRISTAN UND ISOLDE, Live Performance, 18 & 22 June, 1937, Covent Garden, w.THOMAS BEECHAM Cond.Royal Opera House Ensemble; KIRSTEN FLAGSTAD, LAURITZ MELCHIOR,MARGARETE KLOSE (Brangäne, Acts I & II), KARIN BRANZELL (Brangäne, Act 3), HERBERT JANSSEN (Kurwenal, Acts I & II, PAUL SCHÖFFLER (Kurwenal, Act 3) & SVEN NILSSON (King Marke); THOMAS BEECHAM Cond.London Phil. & Chorus: Flourish for a Coronation (Vaughan Williams), April, 1937; John Steane speaking about Royal Opera Seasons between the wars. (Canada) 4-Immortal Performances IPCD 1042-4. (OP2966)
“What we have here is one of the greatest performances of [TRISTAN] ever to be captured in recorded form, finally transferred in a way that respects the quality of the music-making and brings it all vividly to life.… available now in a version that so completely supersedes all prior versions as to render them irrelevant. This is the TRISTAN of one’s dreams, combining urgency, vocal beauty, and a very musical way of putting forth a phrase.
The other prime beneficiary of the superb sonic restoration here is Beecham, or rather Beecham and the orchestra. No other edition of this performance offers this degree of richness and variety of orchestral color, this dynamic range, and in particular this beauty of string tone….
Richard Caniell also gives us extensive and thoughtful notes that are way beyond what we get in most releases, either by the major record companies or certainly those specializing in historic material….And one must also note the wonderful photographs included in the two accompanying booklets. There are many labels, major companies and small independent producers, that make historic material available. None does it with the consistently high standards of Immortal Performances. Those of us who believe that the history of the art form of opera must be well documented, for our own enjoyment and for future generations, owe this company an enormous debt of gratitude.”
- Henry Fogel, FANFARE, Nov./Dec., 2014
VICTOR MAUREL: Complete Recordings: 1903, Paris; 1904, Milano; 1907, London, incl. Songs by Gounod, Massenet, d’Erlanger, de Lara, Paladilhe, d’Hardelot, Hahn & Tosti; Arias from Don Giovanni, Iphigénie en Tauride, Falstaff & Otello (the latter two Creator Recordings); PIERRE GAILHARD: Complete Recordings: 1904-05, Paris , incl. ‘La Paloma’ (Yradier) (two versions); Arias from L’Africaine & Faust. (Germany) Truesound Transfers 3067. Transfers by Christian Zwarg. (V2292)
“…[the ‘Quand’ero paggio’] is arguably Maurel’s most famous recording….He sings three verses, the first two in Italian; the last in French, yet each time varying his tonal quality, and with a lightness of touch and infinitely varying nuance. The over-effusive studio audience [with studio applause] further enhances the charm of the recording….The whole aria is rendered with a verve that almost allows you to ‘see’ his facial expression….One can imagine he would have sung the [Don Giovanni] aria with a melting mezza voce in his prime that would have been bewitching. He is frequently at odds with the pianist but it hardly matters and just adds charm to the recording….It was Verdi who chose Maurel to create Iago and Falstaff, despite the availability of many great Italian baritones. [Maurel] was indeed a unique genius and master of his art. Obviously, Verdi wanted his first Iago to be a master of nuance and vocal colour. He chose well with Maurel….it is a worthy memento of the creator.”
- Alfred de Cock, THE RECORD COLLECTOR, 2013
“Pierre Samson Gailhard began his education in Toulouse then studied at the Paris Conservatoire under Révial, Couderc and Duvernoy. He made his début in 1867 at the Paris Opéra-Comique as Falstaff in LE SONGE D'UNE NUIT D'ÉTÉ of Ambroise Thomas. In 1872 he came to the Grand Opéra in Paris as Mephisto in Gounod’s FAUST; here his career reached its climax. He was very successful in parts like Leporello in DON GIOVANNI, Kaspar in DER FREISCHÜTZ, Hamlet in Thomas’ opera of the same name, Pythéas in Gounod’s SAPHO, Saint-Bris in LES HUGUENOTS and Mephisto in Gounod’s FAUST. His regime [as manager of the Opéra] was perhaps most distinguished for its excellent Wagner productions. He made only four recordings for Fonotipia. All are very rare.”
- Ashot Arakelyan
LÉON MELCHISSEDEC: APGA, Berliner, Pathé & Zonophone recordings, 1899-1908, incl. two performances of ‘La Marseillaise’ – Zonophone & Pathé; Arias from Don Giovanni, Ballo, Rigoletto, L’Africaine, Le Caïd, Roméo, Faust, Les Dragons de Villars & Guillaume Tell (the latter being two versions from ‘Une leçon de chant au Conservatoire National de Musique'); FRANCESCO d’ANDRADE: Lyraphon recordings, 1909, incl. Arias from Don Giovanni, Barbiere, La Favorite, Carmen, Rigoletto, Guillaume Tell & Tannhäuser. (Germany) Truesound Transfers 3084. Transfers by Christian Zwarg. (V2291)
“Léon Melchissédec made his début at the Paris Opéra-Comique on 16 July 1866 in Cohen's JOSÉ MARIA
. In 1873 he became the first true baritone to sing the title role of ZAMPA
(as opposed to a singer of mixed voice).”
“D’Andrade gained special prominence in his role as Don Giovanni, and Bruno Walter considered him the best Don Giovanni he had ever conducted, an interesting point when one remembers that another of Walter’s chosen leads in this part was Ezio Pinza. D’Andrade was nearing 50 when he made these 1907 recordings for Lyrophon, his signature signed into each wax copy.”
- Barry Brenesal, FANFARE
OTTO ACKERMANN Cond. Philharmonia Orch., w.Otto Edelmann: Die Walküre - Wotan's Farewell; Der Fliegende Höllander - Excerpts (both Wagner), recorded 1957; w.Elisabeth Schwarzkopf: Capriccio -Closing Scene; Vier letzte Lieder (both Strauss), recorded 1953. (Japan) Opus Kura 7072. (C1321)
“During the 1950s, Otto Ackermann began to appear more frequently as guest conductor and was especially valued as a conductor of the leading operettas and of Mozart's operas. He most frequently guest conducted at the Vienna State Opera. Ackermann, who died in 1960, left a number of valued recordings, including a Léhar and Johann Strauss, operettas, and several orchestral song recordings with Elisabeth Schwarzkopf.”
- Joseph Stevenson, allmusic.com
ARTURO TOSCANINI Cond. NBC S.O.: Lohengrin - Act I Prelude; Tristan - Act I Prelude; w.HELEN TRAUBEL & LAURITZ MELCHIOR: Excerpts from Tristan, Tannhäuser, Die Walküre & Götterdämmerung – Live Performance, 22 Feb., 1941, Carnegie Hall; ARTURO TOSCANINI Cond. NBC S.O.: Der Fliegende Holländer – Overture (plus rehearsal); Tannhäuser - Act III Prelude; w.HELEN TRAUBEL & LAURITZ MELCHIOR: Die Walküre - Act I, Scene 3 - 1947 rehearsal. (Canada) 3-Immortal Performances IPCD 1043. Transfers by Richard Caniell. Program Notes by Robert Matthew-Walker, William Youngren & Richard Caniell. Specially priced at 3 CDs for the price of 2. (C1318)
1919 - 'Jazzin' Around and Paintin' the Town'. 25 Tracks including Marion Harris, Nora Bayes, Al Jolson, Henry Burr, Bert Williams, Billy Murray, John McCormack, John Steele, Charles Hart, Elliott Shaw, Van and Schenk, etc. (Canada) Archeophone 9019. (PE0239)
“1919: JAZZIN' AROUND AND PAINTIN' THE TOWN brings you 25 selections from the year Americans returned from war, the White Sox threw the World Series, and labor strife swept the nation. The seventeenth volume in Archeophone's popular Phonographic Yearbook series, 1919: JAZZIN' AROUND AND PAINTIN' THE TOWN features Archeophone‘s customary 24-page full-color booklet, loaded with notes and illustrations and the pristine sound you've come to expect. It's one of the best yet!”
IRENE (Harry Tierney – Joseph McCarthy), w.Frank Tours Cond.Empire Theatre Ensemble; Edith Day, Daisy Hancox, Winnie Collins, Margaret Campbell, Robert Michaelis, Robert Hale, etc. (England) Palaeophonics 114, recorded 1920, Complete, as Recorded, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & facsimile of original brochure. [IRENE opened at the Empire Theatre on 5 April, 1920 and ran for 399 performances]. (PE0238)
“Although Edith Day made her theatrical début in America, it was in England where she became a star. In 1919 she played the title role in the Broadway production of IRENE and was hailed by critics and audiences alike. The hit song from the show, sung by Irene, was Harry Tierney and Joseph McCarthy’s ‘Alice Blue Gown’, and the song and Day’s performance of it helped the show to a long and profitable run. The following year, she went to London for the show’s West End production and her success there surpassed even the considerable acclaim she had enjoyed on Broadway. She decided to make England her home and appeared in several popular shows, gaining even more plaudits.”
. . . and we shall continue adding more books at the beginning of our completely revised book section in the coming months . . .
. . . and our 50% Discount
Sale continues . . .
We continue Special 50% Discount Sale offerings. 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.
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OP2972. PRINCE IGOR (Borodin), Live Performance, 12 Oct., 1962, (sung in Russian), w.Oskar Danon Cond. Lyric Opera of Chicago Ensemble; Igor Gorin (Prince Igor); Boris Christoff (Galitsky; Konchak); Consuelo Rubio (Yaroslavna); David Poleri (Vladimir); Carol Smith (Konchakovna); Renato Cesari (Skula); Mariano Caruso (Eroshka), replete with curtain calls and commentary; IGOR GORIN, w.Willard Straight (Pf.): Arie Antiche, incl.Bottegari, Monteverdi, Scarlatti, Rosa, Falcionieri, Paradies, Vivaldi & Legrenzi – recorded 1961; w.Harold Barlow Cond.Firestone Hour Orch.: BARBIERE – Largo al factotum – broadcast 24 Sept., 1945; Bud Carrey interviews Igor Gorin. (Canada) 3-IMMORTAL PERFORMANCES IPCD 1044-3. - 748252293343
V2294. Vocal Record Collectors' Society - 2014 Issue, incl. Katarina Arkandy, Marie Götze, Karl Jörn, Rosa Olitzka, Joachim V. Tartakov, Marthe Chenal, Paul Bender, Ettore Bergamaschi, Marina Campanari, Jaro Dworsky, Titta Ruffo, Friedrich Schorr, Anna Meitchik, Louis Morturier, Heinz Rehfuss, Margarete Matzenauer, Mignon Nevada, Jan Peerce, Jolanda di Maria-Petris, Marguerite d’Alvarez, Bidú Sayão & Thomas L. Thomas. VRCS-2014. Transfers by Seth B. Winner.
V1469. The Christmas Album, incl. Olive Fremstad, Elena Gerhardt, Charles Gilibert, Elsa Alsen, Fanny Elsten, Carol Brice, Eileen Farrell (Vaughan Williams’ ‘Snow in the Street’, ‘The Coventry Carol’, etc.), Earl Wrightson, E. Power Biggs, George Marshall, Leonard de Paur Infantry Chorus, Phyllis Curtin, The Morman Tabernacle Choir, Nelson Eddy, Westminster Choir, The Madrigal Singers, Russian Art Choir, Associated Glee Clubs of America, Szell Cond. Cleveland Orch., etc. (Austria) Sony MHK 63309, recorded 1907-67. Gatefold Jacket has Brochure, w.archival photos; Disc features original Columbia 78rpm elusive Flags label. Long Out-of-print, Final sealed copy! - 74646330920
C1328. Karl Böhm Cond. Vienna Phil.: Symphony in A, K.201; Haffner Symphony in D, K.385; w.Maurizio Pollini: Concerto in F, K.459 (all Mozart). (Austria) Orfeo C 891 141, Live Performance, 30 Aug., 1980, Salzburg. - 4011790891125
Tristan (Beecham; Melchior, Flagstad, Klose) 4-IPCD 1042-4
Madama Butterfly / La Traviata (Licia Albanese) (4-IPCD 1037)
Sally (Dorothy Dickinson & Grossmith) (Palaeophonics 116)
Vocal Record Collectors' Society - 2013 Issue (VRCS-2013)
La Traviata (Lisbon) (Callas, Kraus, Sereni) (2-Myto 00147)
Lady, Be Good (Gershwin, Astaire) (Palaeophonics 122)
Follow the Crowd (Stop! Look! Listen!) (Palaeophonics 115)
Il Trovatore (Callas, Stignani, Penno, Tagliabue) (Myto 00314)
Meyerbeer on Record, Vol. II (3-Marston 53012)
Oberst Chabert (Patzak, Wiener, Hopf) (2-Walhall 0379)
Norma (Votto; Callas, Simionato, del Monaco) (Myto 00153)
John McCormack - Complete Odeon (4-Marston 54005)
Toscanini; Helen Traubel; Lauritz Melchior (3-IPCD 1043)
Fonotipia Tenors - The Record Collector (TRC 39)
Walkure (Munch; Harshaw, da Costa, Pease) (Memories 2292)
Anna Bolena (Callas, Simionato, Raimondi) (2-Myto 00121)
Macbeth (de Sabata; Mascherini, Callas, Tajo) (Myto 00310)
Aida (de Sabata, Cigna, Gigli, Stignani, Pasero) (IPCD 1034)
Eugen Onegin (Shaposhnikov, Lemeshev) (AQVR 380)
Watch Your Step (Coyne, Levey, Graves) (Palaeophonics 111)
A Night Out (Leslie Henson, Lily St John) (Palaeophonics 117)
Zig-Zag (Shirley Kellogg, George Robey) (Palaeophonics 126)
Obukhova, Lisitsian, Richter, Oistrakh (Aquarius AQVR 386)
La Sonnambula (Bernstein; Callas & Valletti) (Myto 89006)
Medea (Callas, Vickers, Simionatio) (2-Myto 00292)
Fernando de Lucia (4-Marston 54004)
Simon Boccanegra (Panizza; Tibbett, Pinza) (2-IPCD 1031)
Elektra (Rodzinski; Rose Pauly, Huehn, Szantho) IPCD 1045
Pagliacci (Bellezza; Martinelli, Tibbett, Mario) (2-IPCD1047)
Florence Quartararo (3–Immortal Performances IPCD 1030)
No No Nanette (Binnie Hale, Joe Coyne) (Palaeophonics 124)
Joy-Land (Shirley Kellogg, Harry Tate) (Palaeophonics 125)
Marian Anderson (VAI 1275)
Die Bakchantinnen (Wellesz) (Borkh, Schoffler) (Myto 00331)
Ballo (Callas, di Stefano, Bastianini, Simionato) (Myto 00131)