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

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Yves St Laurent offers

the MOFFO & GEDDA 1963 Met Opera MANON . . .

STRAVINSKY in Boston, Vol. II . . .

KOUSSEVITZKY in Milwaukee & Boston, Vol. XIII . . .

TAGLIAFERRO, Vol. VII . . .

plus new titles on ‘sale’





This Week's Offerings:

  • IGOR STRAVINSKY Cond. Boston S.O.: Ode for Orchestra; Concerto in D; Orpheus – Ballet; w. Soulima Stravinsky: Capriccio for Piano & Orchestra (all Cond. by the Composer). [A marvelous and unexpected delight, especially in the glorious Symphony Hall acoustic!] (Canada) St Laurent Studio YSL 78-861, Live Performance, 11 Feb., 1949, Symphony Hall. Transfers by Yves St Laurent. (C1720)



    “While pursuing law studies in 1902, Stravinsky met Nicolai Rimsky-Korsakov, who advised the young man to study music. Stravinsky began studying with the famous Russian composer in 1903, and after Rimsky-Korsakov 's death in 1908, never had another teacher. His early works caught the imagination of ballet impresario Sergei Diaghilev (1872-1929), impressario of the famed Ballets Russes, who invited Stravinsky to compose a ballet. The result was the voluptuous and impressionistic (with Stravinskian overtones) THE FIREBIRD in 1910. This was followed by the even more successful PETRUSHKA in 1911. With his ballet THE RITE OF SPRING in 1913, with its representations of prehistoric pagan Russian rituals and sacrifice, Stravinsky's music ignited the most famous riot in the history of music. With its savage rhythms, absence of melody, and barbaric energy, THE RITE OF SPRING marks the true beginnings of Twentieth Century music, and even today never fails to thrill or amaze listeners.”






  • MANON, Live Performance, 21 Dec., 1963, w.Schippers Cond. Met Opera Ensemble; Anna Moffo, Nicolai Gedda, Frank Guarrera, Giorgio Tozzi, Alessio de Paolis, etc. (Canada) 2-St Laurent Studio YSL T-866. (OP3318)



    "Soprano Anna Moffo was born in Pennsylvania in 1932 of Italian parents. After a period at the Curtis Institute, she went back to her ancestral homeland to study in Perugia and Rome. She made her debut in 1955 at Spoleto, as Norina in DON PASQUALE, but her big break came when she starred as Cio-Cio-San in MADAMA BUTTERFLY in a production broadcast on RAI. She became an overnight celebrity, with performances at Salzburg, Vienna, La Scala, and Naples, performing with Callas, di Stefano and Panerai, and making recordings with Karajan. She made her Met debut in 1959 as Violetta, one of her signature roles."


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




    "Widely admired for his sensitive musicianship, masterly tonal control and impeccable diction in a spate of European languages, Mr. Gedda possessed a lyric tenor voice that shimmered like silver but was no less warm for that. He was one of the most versatile, and professionally long-lived tenors of his era, with many dozens of roles to his name in a career that lasted until he was well into his 70s - a good two decades past a classical singer's customary retirement age. Over a quarter-century, he sang 367 performances with the Metropolitan Opera, from his debut in the title role of Gounod's FAUST in 1957 to his final performance, as Alfredo in Verdi's LA TRAVIATA, in 1983. But the role for which Mr. Gedda was very likely most famous was Russian: Lensky, the young poet in Tchaikovsky's EUGENE ONEGIN. Reviewing Mr. Gedda in a concert performance of ONEGIN with the Boston Symphony in 1976, Richard Dyer wrote in THE BOSTON GLOBE: 'The tenor's voicing of Lensky's aria - an ideal union of responsiveness to word and musical line, a demonstration of vocal and technical mastery and varied and beautiful tone, and an expression of wise and generous human feeling - was a classic demonstration of why, for some of us at least, operatic singing is the highest achievement of human art'.

    Mr. Gedda made his United States debut in 1957, singing Faust with the Pittsburgh Opera. Reviewing his Met debut, in the same role later that year, under the baton of Jean Morel, Howard Taubman wrote in THE NEW YORK TIMES: 'His carriage is tall and straight and his movement buoyant. It is credible that he will attract Marguerite. Even more impressive than his appearance is the intelligence of his singing'.

    With the Met, he also sang Anatol in the world premiere of Samuel Barber's VANESSA, conducted by Dimitri Mitropoulos in 1958, and Kodanda in the United States premiere of Gian Carlo Menotti's THE LAST SAVAGE, under Thomas Schippers, in 1964."


  • - Margalit Fox, THE NEW YORK TIMES, 10 Feb., 2017






  • SERGE KOUSSEVITZKY Cond. Boston S.O.: Symphony #2 in D (Sibelius) - Live Performance, 8 Dec., 1945, Milwaukee; Capriccio espagnol (Rimsky-Korsakov), Live Performance, 27 Oct., 1945, Symphony Hall. (Canada) St Laurent Studio YSL 78-844. Transfers by Yves St Laurent. (C1727)



    “In 1924, Koussevitsky was chosen as music director of the Boston Symphony Orchestra. With the BSO, he continued his tradition of championing the new music he found around him, thus giving vital exposure to great American composers, such as Copland, Barber, Bernstein, Carter, Hanson, Harris, and a host of others over the years. During the 1931 season he commissioned a series of commemorative works for the orchestra's fiftieth anniversary, yielding a treasury that included Stravinsky's SYMPHONY OF PSALMS and Ravel's Piano Concerto in G. Beginning in 1935, he annually brought the orchestra to the summer Berkshire Festival, organized by Henry Hadley in 1934, becoming its music director and making it part of the BSO's operation. Koussevitzky established the Berkshire Music Center (now Tanglewood Music Center) in conjunction with the festival in 1940, making it into one of the premier American educational institutions where young musicians could polish their craft and network. After his wife died in 1941, Koussevitsky set up a foundation to commission works in her memory. Britten's opera PETER GRIMES was one of the first works that resulted. Until his death in 1951, he continued to direct both the Boston Symphony Orchestra and Berkshire Festival, recording frequently.


  • - Joseph Stevenson, allmusic.com






  • MAGDA TAGLIAFERRO: Chopin Recital, 9 Sept., 1949, Besancon; Poulenc Recital, 1 April, 1940, Town Hall, New York. (Canada) St Laurent Studio YSL T-808. Transfers by Yves St Laurent. (P1312)



    “Brazilian-born, but of French extraction, Magda Tagliaferro initiated her career with a series of tours. Her commanding ease in the French repertory led Gabriel Faure to request that she tour with him, performing several of his compositions. During the next two decades, her recital engagements took her to the music centers of more than 30 countries in Europe, Africa, South America, and Asia. Scarcely less active as a soloist with celebrated orchestras, Tagliaferro appeared with the elite of the conducting fraternity, among them Weingartner, Dobrowen, Monteux, Furtwängler, Knappertsbusch, Paray, d'Indy, Inghelbrecht, and Georgescu. Other solo artists of the order of Cortot, Thibaud, Enescu, and Casals were pleased to perform with her in joint recital. Composers, too, sought her for the premieres of works they had written, sometimes specifically intending that Tagliaferro be the artist to give birth to the piece. The artist gave serious application to performances of new works by such composers as Hahn, Rivier, Pierne, and Villa-Lobos. Having established herself so thoroughly elsewhere, Tagliaferro made arrangements for her American debut in 1941. On 9 March, 1940, Tagliaferro made her debut performing the Schumann piano concerto (a Cortot specialty) with the New York Philharmonic. Hailed for her intelligence and maturity in that performance, she won further praise for her recital of French works less than a month later. Having been an instructor at the Paris Conservatoire from 1937 to the eve of her departure for America, Tagliaferro turned once more to pedagogy in her native Brazil as she awaited the end of hostilities in Europe. Several years after the end of WWII, Tagliaferro resumed her performing career in Europe while continuing to devote considerable time to teaching. She established a piano competition and won new respect as a probing, yet thoughtful instructor of master classes. The capacity for beautifully crafted playing she retained at the age of 90 brought adulatory reviews in Europe, New York, and South America.”


  • - Erik Eriksson, allmusic.com








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






  • JEANNE MARIE DE L'ISLE: Songs by Gounod, Massenet, Hahn, Chaminade & Giordano; Arias from Mignon, Carmen, Werther, La Damnation de Faust & Les Dragons de Villars. [An absolute treasure of a recital!] (France) Malibran AMR 184, recorded 1904-06, G & T, Odéon & Zonophone. [AMR titles are issued without rear tray-cards] (V2603)



    “Jeanne Marie de l’Isle made her debut as Malika in LAKME with the American-soprano, Marie Van Zandt, who had previously created the role of Lakme. Marie de l’Isle sang Mercedes to Georgette Leblanc’s Carmen for the opening of the rebuilt Salle Favart in December 1898 and she took on the main role a few weeks later under Albert Carre, the new Opera-Comique director. Coached by her aunt Celestine, the creator of Carmen, a fact which makes her recordings of special interest, Marie de l’Isle quickly established herself as a leading exponent of the part. ‘She makes an incredible effect’, according to Henri de Curzon, ‘precisely because she is not aiming for one. She is simple, true, consistently under her character’s skin’. She sang it for the last time at the Salle Favart in 1913, with César Vezzani as Jose and Nelly Martyl as Micaela. Thanks also to Galli-Marie’s coaching, she was also a highly successful Mignon. Her most important role, however, was Charlotte in Massenet’s WERTHER, which she first sang for the 1903 revival, with Leon Beyle as Werther and Marguerite Carre as Sophie. Ten years after the Paris premiere, this new cast finally established the work’s masterpiece status. In November 1903 Marie de l’Isle sang Charlotte opposite Ernest Van Dyck, who had created the role of Werther in Vienna in 1892. She sang it with Beyle again in 1905 and 1906, with Edmond Clement in 1908, and, one last time at the Opera-Comique, with Jean Marny in 1917. Marie de l’Isle was also a noted Santuzza, succeeding Zina de Nuovina in the part at the Salle Favart and sharing the honors with Claire Friche as the Santuzza of the decade - with Beyle as her Turridu in 1908. Still at the Opera-Comique, having premiered the part of Camille in LOUISE in 1900, she sang the heroine’s Mother when Aline Vallandri reprised Mary Garden’s role in 1908. The appealing cast also included Thomas Salignac and Lucien Fugere. She also appeared as Massenet’s Marie-Magdeleine (in its staged version), as Serpina in Pergolesi’s LA SERVA PADRONA, as Taven in Gounod’s MIREILLE, as Jacqueline in his delightful LE MEDECIN MALGRE LUI, and in small roles in Hahn’s LA CARMELITE and Mehul’s JOSEPH. She did not sing much outside the French borders, but she did appear at the Monnaie in Brussels in 1904. The last testimony we have of her career is a 1917 concert celebrating the 400th anniversary of the founding of Le Havre; she deserves to be remembered as one of the glories of French singing in the early years of the 20th century.

    The most fascinating, indeed tantalizing feature of Marie de l’Isle’s Carmen recordings is, of course, the glimpse they provide on what may have been the vocal and interpretive style of the part’s creator, her aunt and coach Galli-Marie….far from being a ‘passive’ interpreter, she contributed to fashioning the role in collaboration with Bizet and his librettists. What is particularly impressive about her interpretation, apart from the perfect execution of vocal ornamentation (including occasional interpolated grace notes), is the lightness of touch and lack of affectation. No tragic femme fatale, she brings to the role, instead, unusual touches of youthfulness and charm, particularly apparent in the Dance - perhaps, one wonders, to her own castanet accompaniment. She ‘speaks’ the role, never shouts it, and for once, Bizet’s expressive direction for the Card Scene, ‘simplement et tres egalement’, is taken literally….she is the quintessential opera-comique Carmen.

    Among the songs, which are all treasurable, a special mention can be made of Chaminade’s ‘L’anneau d’argent’…Jeanne Marie de l’Isle belonged to a tradition that went back to the golden age of the Opera-Comique.”


  • - Vincent Giroud






  • LOUISE KIRKBY LUNN: Songs & Duet (w. John McCormack) by Martini, Quilter, Rubens, Storace, Nevin, Hullah, Brahms, Percy Pitt, Barratt, del Riego, Sullivan, Lassen, Gounod, Arne, Landon Ronald, Barnes, Horn, Temple, Edward German, etc.; Arias, Duets & Ensemble (with Emmy Destinn, John McCormack, Bessie Jones, Eda Bennie, Elsie Williams & Nellie Walker) from Rienzi, Xerxes, Orfeo, Rinaldo, Elijah, St Paul, Messiah, La Clemenza di Tito, Mignon, Carmen, Faust, Don Carlos, La Gioconda, Samson et Dalila, I Gioielli Della Madonna, Aida & Il Trovatore. (Germany) 2-Truesound Transfers 4009, recorded 1902-23. Transfers by Christian Zwarg. (V2604)





  • IN MEMORIAM ALFRED SEISER, incl. Alfred Grunfeld; Marie Gutheil-Schoder; Andre Marechal; Francesco Tamagno; Bela Guttmann; Mizzi Gunther; Alexander Girardi; Aennie Dirkens; Johannes Semfke [better-known as Johannes Sembach]; Emil Winter-Tymian; Carl W. Drescher; Rudolph Hofbauer; Celestina Boninsegna [unknown recording]; Arthur Preuss; Leopold Demuth; Betty Schubert; Erik Schmedes [unknown test - Tristan]; Else Gieger & Oskar Braun; Karl Meister; Leo Slezak; Hermine Kittel; Josefina Huguet, Fernando De Lucia & Antonio Pini-Corsi; Alexis Boyer; Beatrix Kernic; Hermann Bachmann; Vilma Medgyaszay [the very young cabaret singer Medgyaszay, before her recordings with Bartok]; Grete Forst; Louis Treumann & Elli Wolf; Lucie Konig; Terez Krammer [not totally unlike the same composer's 'Hunyadi Laszlo']; Franz Wolfert; Maria Galvany [displaying a solid legato and full-bodied warm tone for the most part of this otherwise unknown and untraceable Pietro Duffau waltz song, easily mistaken for an early electric recording!]; Hermann Schramm; Elisabeth Ohlhoff; Fritz Werner; Leonid V. Sobinov; Joseph Josephi; Mizzi Günther, Lizzi Latour & Louis Treumann; Paul Knupfer; Karel Burian; Torsten Lennartsson; August Bockmann; Laszlo Asszonyi; Eleanor Jones-Hudson & Peter Dawson; Ernest Pike & Peter Dawson; Sydney Coltham [I'll sing thee songs of Araby]; Fiorello Giraud [a real curiosity that this creator of Canio never thought of recording any of that character's music which would surely have suited his Latin temperament and vocal equipment much better than this quintessentially French 'Jocelyn!], etc. [Spectacular audio restorations which are so startlingly clear and lifelike, living proof that even the earliest type of gramophone was very well able to record bowed and plucked string instruments, and certainly the human voice!] (Germany) 2-Truesound Transfers 4010, recorded 1899-1917. Transfers by Christian Zwarg. (V2602)





  • DANIEL BARENBOIM Cond. Chicago S.O.: Lustspiel – Overture (Busoni), Live Performance, 4 Jan., 1996; Entfuhrung – Overture (Mozart), Live Performance, 8 Feb., 1996; w.Laura Aikin, Ben Heppner & Rene Pape: Christus am Olberge (Beethoven), Live Performance, 15 & 16 Feb., 1996. (Canada) St Laurent Studio YSL T-876, all Orchestra Hall. Transfers by Yves St Laurent. (C1719)



    “Beethoven liked to claim that his 1802 oratorio, CHRISTUS AM OLBERGE, took only fourteen days to write, although at the time he had said it took several weeks. He complained consistently about the libretto but in the end didn’t accept the revisions proposed by the publisher when the score came into print a decade later (this accounts for the high opus number, op. 85), saying that whatever its flaws, the original text had been carefully fitted with the music. He considered it as something of a stepchild, but CHRISTUS AM OLBERGE suited the piety of the age. It was Beethoven’s first success in America when premiered here in 1809, and Vienna saw an annual performance every year until 1825.

    There is a good deal to commend this 1996 concert reading in Chicago under Daniel Barenboim. It was the CSO’s first complete performance (the concluding chorus used to be fairly popular on its own, so I imagine it featured in incomplete performances), and the tenor soloist, who sings the part of Jesus as he agonizes in the Garden of Gethsemane, is Ben Heppner in luminous voice. Heppner isn’t well known in this genre, but he has also been inspiring in Elgar’s DREAM OF GERONTIUS. Beethoven’s only oratorio may be a mixed bag - it sounds in places as if it took only fourteen days to compose - which accounts for the relative scarcity of recordings. Yet if you can find a copy, the work has been recorded with Fritz Wunderlich (nla), Nicolai Gedda (nla), and Plácido Domingo. Domingo’s version is in the best sound, under Kent Nagano with the Deutsches Symphonie-Orchester Berlin (Harmonia Mundi), but this CSO account, taken from an FM stereo broadcast, sounds quite good.

    There’s so much to enjoy here that a recommendation is almost automatic. St. Laurent Studio customarily includes no program notes or texts, which can be filled in online or from other recordings if you own one.”


  • - Huntley Dent, FANFARE






  • SIR THOMAS BEECHAM Cond. Boston S.O.: Il Pastor Fido – Suite (Handel); Symphony #6 in d (Sibelius); Summer Night on the River; Marche caprice (both Delius); Le Coq d'Or – Suite (Rimsky-Korsakov); A duly delightful and informative Interview with Sir Thomas, in his sharpest wit, with a witless Boston socialite apprising ‘The State of British Music Today’. (Canada) St Laurent Studio YSL T-862, Live Performance, 27 Jan., 1952, Symphony Hall. Transfers by Yves St Laurent. (C1722)



    “Beecham’s decision to spend most of World War II outside Britain, as a result of the Blitz that devastated London, made him unpopular at home. He conducted in Australia and the U.S., but not much of those concerts survives on disc. This new release from St. Laurent Studio is the first postwar Beecham I’ve heard live from America. It’s a pleasure to encounter the conductor in 1952 leading a great orchestra in four of his favorite composers, and although none of the repertoire is new, there’s a special vivacity about these performances. According to the BSO’s online archive, this series of four concerts in January, 1952 constitutes Beecham’s only appearance with the orchestra.

    Having offered several reasons for what makes this a special release and a ‘must-listen’ for Beecham collectors, I’ll only add that Beecham in concert communicates a freshness that everyone who loves his studio recordings should experience.”


  • - Huntley Dent, FANFARE






  • JEAN MARTINON Cond. Chicago Orchestra, w. Regina Resnik: Symphony #3 in d (Mahler). (Canada) 2-St Laurent Studio YSL T-872, Live Performance, 23-25 March, 1967, Orchestra Hall. Transfers by Yves St Laurent. (C1721)





  • HENRYK SZERYNG Playing & Cond. ORTF Chamber Orchestra: Prélude classique (Played by the Composer); Violin Concerto #5 in A, K.219 (Mozart); Symphony in D (Sarrier); Le quattro stagioni (Vivaldi), Live Performance, 16 Jan., 1970, Theatre des Champs Elysees, Paris; w.Ansermet Cond. Suisse Romande S.O.: Violin Concerto in a - Live Performance, 9 Oct., 1963, Geneva; HENRYK SZERYNG Playing & Cond. Franz Liszt Chamber Orchestra: Violin Concerto in E - Live Performance, 30 Jan., 1978, Erkel Theatre, Budapest (both Bach). [A treasure of a program, magnificently performed and recorded in remarkably open, reverberant acoustics] (Canada) 2-St Laurent Studio YSL T-797. Transfers by Yves St Laurent. (S0748)





  • JORGE BOLET: Bach, Chopin (incl. Préludes, Op.28), Schlözer, Moszkowski, Johann Strauss & Wagner (the latter's Tannhäuser Overture). [Another outstanding recital recorded in brilliant sound; as might be expected, the Tannhäuser Overture is a great tour-de-force, and Bolet's arabesque on the Blue Danube is positively delicious!] Transfers by Yves St Laurent. (Canada) 2-St Laurent Studio YSL T-782, Live Performance, 17 Feb., 1974, Bloomington, Indiana. (P1311)





  • VLADO PERLEMUTER: Chopin & Ravel Recital (featuring the latter's Valses nobles et sentimentales & Miroirs). Transfers by Yves St Laurent. [Another unforgettable, absolutely exquisite recital; Perlemuter's Ravel in particular is breathtaking!] (Canada) St Laurent Studio YSL T-811, Broadcast Performances, 1951-61, Paris. (P1310)





  • ARTUR RODZINSKI Cond. NBC S.O.: Glinka, Starokadomsky, Tschaikowsky (the latter's Symphony #5 in e) & Stravinsky (the latter's Firebird Suite - Excerpts). (Canada) St Laurent Studio YSL 78-597, Live Performance, 10 Dec., 1938. Transfers by Yves St Laurent. (C1723)



    “Despite its shortcomings, this is an extremely important document of a conductor who made significant contributions to America’s musical life, and whose work deserves to be valued more highly than it has been. And it is also serves to document the noble experiment of a commercial broadcasting company willing to form its own symphony orchestra. Heard here in its first year of existence, the NBC Symphony Orchestra was clearly a historic achievement. But one doesn’t purchase a recording simply because of its historical importance; one purchases a recording for musical pleasure and satisfaction. In this intense, even electrifying broadcast from the past, you will find a great deal of that, shortcomings notwithstanding.”


  • - Henry Fogel, FANFARE






  • PAUL BAZELAIRE, w.Andre Bloch (Pf.): Suite Palestinienne (Acc. by the Composer), Broadcast Performance, 17 Jan., 1949; PAUL BAZELAIRE, w.Andre Asselin (Vln): Passacaglia (After Handel, for violin and viola) (Halvorsen); BAZELAIRE, Andre Asselin, Jacques Dejean, Etienne Ginot & Georges Delaunnay: Quintet for Piano & Strings in f (Franck), Live Performance, 8 Dec., 1951; PAUL BAZELAIRE, w.Pierre-Michel Le Conte Cond. Paris Radio Orch.: Concerto iberique (Bousquet), Live Performance, 21 Dec., 1952; HENRI HONEGGER, w.Claire Pallard (Pf.): Bach, Martinu, Dalcrose & Kurachi - Broadcast Performances, 1963 & 1967. (Canada) 2-St Laurent Studio YSL T-820. Transfers by Yves St Laurent. (S0747)





  • PABLO CASALS: Bach Recital; w. Reine Gianoli (Pf.): Cello Sonata in A, Op.69 (Beethoven): PABLO CASALS Cond. Ensemble of 102 Cellos: Les rois mages; Le chant des Oiseaux; Sardane (all Played by the Composer); JEAN MARTINON Cond. Concerts Lamoureux Orch.: Les Paladins – Suite (Rameau); Symphony #33 in B-flat, K.319 (Mozart). (Canada) 2-St Laurent Studio YSL 78-852, Live Performances, 1946 & 1956, Toulouse, Maillane & Paris. Transfers by Yves St Laurent. (S0746)





  • LA PERICHOLE (Offenbach), Live Performance, 1956, Gaite-Lyrique, w. Derveaux Cond. Maria Murano, Raymond Amade, Henri Bedex, Robert Destain, Arlette Forga, Nadine Fosse, Jacqueline Lejeune & Marco Perrin [A scintillating performance before a duly appreciative audience, recorded in a remarkably vibrant acoustic]; MARIA MURANO: Arias from Le Petit Faust (Herve), La Mascotte (Audran) & Colombe (Damase) - recorded during Live Performances, 1957-61. [This delight is among Malibran's most brilliant and enjoyable issues!] (France) 2-Malibran 812. (OP3309)





  • BARBIERE, Live Performance, 22 Jan., 1938 (replete with Milton Cross’ commentaries), w.Papi Cond. Met Opera Ensemble; John Charles Thomas, Lily Pons, Bruno Landi, Pompilio Malatesta, Ezio Pinza, etc.; LAKME, Live Performance, 27 Dec., 1941 (replete with Milton Cross’ commentaries), w.Pelletier Cond. Met Opera Ensemble; Lily Pons, Raoul Jobin, Ezio Pinza, Irra Petina, etc.; BARBIERE - Excerpts, recorded 1942, w.Bamboschek Cond. Bruno Landi & Carlos Ramirez; LILY PONS, w.Beecham Cond.: Chanson triste (Duparc); Arias from Dinorah & Mignon (replete with Lionel Barrymore’s commentaries), Concert Hall broadcast 11 June, 1942. (Canada) 4-Immortal Performances IPCD 1109. Transfers by Richard Caniell; Elaborate 47pp. Booklet features Photos & Essays by Henry Fogel & Richard Caniell. (OP3313)





  • AIDA, Live Performance, 6 March, 1943, (replete with Augustin Llopes de Olivares’ commentaries), w.Pelletier Cond. Met Opera Ensemble; Zinka Milanov, Bruna Castagna, Giovanni Martinelli, Richard Bonelli, etc. / PAGLIACCI, Live Performance, 29 Feb., 1936 (replete with Milton Cross’ commentaries), w.Papi Cond. Met Opera Ensemble; Giovanni Martinelli, Richard Bonelli, Queena Mario, George Cehanovsky, Giordano Paltrinieri, etc. / LUCIA DI LAMMERMOOR - Opening Scene, Live Performance, 3 Feb., 1940, w.Papi Cond. Met Opera Ensemble; Richard Bonelli, Virgilio Lazzari & Lodovico Oliviero. (Canada) 3-Immortal Performances IPCD 1108. Transfers by Richard Caniell; Elaborate 55pp. Booklet features Photos & Essays by William Russell & Richard Caniell. (OP3310)











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    BOOKS ON SALE





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









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

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    numerous CDs are added each week] . . .





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  • Igor Stravinsky, Vol. II;  Soulima Stravinsky - Boston S.O.  (St Laurent Studio YSL 78-861)
    C1720. IGOR STRAVINSKY Cond. Boston S.O.: Ode for Orchestra; Concerto in D; Orpheus - Ballet; w. Soulima Stravinsky: Capriccio for Piano & Orchestra (all Cond. by the Composer). [A marvelous and unexpected delight, especially in the glorious Symphony Hall acoustic!] (Canada) St Laurent Studio YSL 78-861, Live Performance, 11 Feb., 1949, Symphony Hall. Transfers by Yves St Laurent.
    $19.90
    Manon  (Schippers;  Anna Moffo, Nicolai Gedda, Frank Guarrera, Giorgio Tozzi)  (2-St Laurent Studio YSL T-866)
    OP3318. MANON, Live Performance, 21 Dec., 1963, w.Schippers Cond. Met Opera Ensemble; Anna Moffo, Nicolai Gedda, Frank Guarrera, Giorgio Tozzi, Alessio de Paolis, etc. (Canada) 2-St Laurent Studio YSL T-866.
    $39.95
    Serge Koussevitzky, Vol. XIII   (St Laurent Studio YSL 78-844)
    C1727. SERGE KOUSSEVITZKY Cond. Boston S.O.: Symphony #2 in D (Sibelius) - Live Performance, 8 Dec., 1945, Milwaukee; Capriccio espagnol (Rimsky-Korsakov), Live Performance, 27 Oct., 1945, Symphony Hall. (Canada) St Laurent Studio YSL 78-844. Transfers by Yves St Laurent.
    $19.90
    Magda Tagliaferro, Vol. VII    (St Laurent Studio YSL T-808)
    P1312. MAGDA TAGLIAFERRO: Chopin Recital, 9 Sept., 1949, Besançon; Poulenc Recital, 1 April, 1940, Town Hall, New York. (Canada) St Laurent Studio YSL T-808. Transfers by Yves St Laurent.
    $19.90
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