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Caniell's Immortal Performances offers a------------------------------------------------------------
World Premiere Recording of the
Szell 1944 DER ROSENKAVALIER . . .
Yves St Laurent offers his
24th volume of MUNCH &
the 8th volume of TENNSTEDT . . .
Malibran celebrates Offenbach . . .
Many more CDs on our 50% SALE
This week's offerings for your perusal:
CHARLES MUNCH Cond. Chicago S.O.: Symphony in d (Franck); w.Vitya Vronsky & Victor Babin: Concerto for Two Pianos in E-flat, K.365 (Mozart). (Canada) St Laurent Studio YSL T-549, Live Performance, 2 July, 1966, Orchestra Hall. Transfers by Yves St Laurent. (C1607)
“Victor Babin was best known to the public as a member of the. two‐piano Vronsky and Babin team with his wife, the former Vitya Vronsky. They had met in Berlin when both were studying under Artur Schnabel at the Hochschule fur Musik and were married in 1933. After touring in Europe they made their American debut here in 1937.
In addition to his two‐piano concerts, Mr. Babin was known as a member of the Festival Quartet with Szymon Goldberg, William Primrose and Nikolai Graudan. He also toured and recorded with Mr. Goldberg, and had appeared as a soloist with most major symphony orchestras.
The Festival Quartet had originated at the Aspen (Colo.) Festival, where Mr. Babin first appeared when it started in 1949. He later directed the Aspen Institute of Music, and was chairman of the Berkshire Music Center of the Tanglewood Institute.”
- THE NEW YORK TIMES, 2 March, 1972
“Vitya Vronsky and her husband Victor Babin performed as Vronsky and Babin, and were regarded by many as one of the foremost duo-piano teams of the twentieth century.
Vronsky graduated from the Kiev Conservatory at the age of 13 and began a brilliant concert career as a soloist.
Vronsky & Babin were introduced to American audiences through their recordings of Sergei Rachmaninoff, who became their friend and mentor. Despite a break from performances during World War II, in which Babin served in the armed forces and Vronsky worked with war casualties in Washington, D.C., the duo still managed to perform over 1,200 concerts in North America alone.”
- Steinway & SonsDER ROSENKAVALIER, Live Performance, 19 Feb., 1944, (replete with Milton Cross' commentary), 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)
“Immortal Performances bills its release of a Metropolitan Opera February 19, 1944 broadcast of Richard Strauss’ DER ROSENKAVALIER as a ‘world premiere on disc’. I am not aware of any previous issues of this broadcast. The conductor is George Szell, then 46 years old, and two years away from the start of his legendary tenure with the Cleveland Orchestra. Szell was a relentless taskmaster whose podium demeanor could be quite intimidating. In his booklet essay Dewey Faulkner quotes a 1944 TIME MAGAZINE article that characterized Szell as ‘one of the most coldly efficient tyrants who ever stood in the Metropolitan orchestra pit’. But like his contemporary and fellow countryman, Fritz Reiner (both were born in Budapest), Szell’s podium manner was not always in keeping with his music-making. In addition to his legendary perfectionism and resulting immaculate execution by the ensembles he led, Szell could bring a lightness of touch, sense of humor, and charm that made him a superb interpreter of the symphonies of Haydn, the tone poems of Richard Strauss (not to mention the waltzes of Johann), and operas such as Wagner’s DIE MEISTERSINGER. Such is also the case with this 1944 broadcast of DER ROSENKAVALIER. Szell leads a masterful performance, starting with a propulsive and beautifully played account of the Act I orchestral prelude. Throughout, Szell coaxes a glowing quality from the Metropolitan Opera Orchestra. And while tempos are often on the brisk side, Szell is also delighted to savor the moments of Viennese charm that recur throughout the work. The closing scene of Act II, taken at a spacious tempo, and with a wonderful flexibility, is but one of many such examples. I have a dear friend who insists that whenever he attends a performance of DER ROSENKAVALIER, he stays until act II’s Presentation of the Rose. He then takes a dinner break, returning just in time for the opera’s radiant final Trio. I have good reason to believe my friend is telling the truth, but even if he is pulling my leg, he raises a point. The music from DER ROSENKAVALIER that my friend admires can succeed even when interpreted by lesser artists. However, the better part of Act II, and especially the chicanery of the first part of Act III, demand a very sure, expert hand. Here, Szell proves to be an absolute master, interpreting the music with relish and attention to detail, and with a pacing that never flags. This ROSENKAVALIER is a precious document of a great, but often misunderstood, conductor.
If the principal singers as a whole are not on Szell’s rarefied level, they certainly don’t let him and Richard Strauss down, either. Irene Jessner brings a rich and lovely lyric soprano and admirable dignity to the central role of the Marschallin. It is perhaps unfortunate that Jessner’s Met predecessor in this role was the great Lotte Lehmann, who brought a sense of warmth, humanity, and vulnerability to her interpretation perhaps never equaled. But on her own terms, Jessner is a fine Marschallin, touchingly introspective in her Act I soliloquy, and rising to the occasion in the opera’s concluding moments. Jarmila Novotná 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. Novotná, a soprano interpreting a role usually sung by mezzos, embodies Octavian’s youthful passion, humor, and when called upon, resolve. She is a wonderful collaborator in her scenes with Jessner’s Marschallin, and the Sophie of Nadine Conner. The latter’s 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. Throughout, List relishes every moment of Hofmannsthal’s text and Strauss’ music. And while List is often given to interpolated touches to the printed score and comic asides, his interpretation never descends into buffoonery. I mentioned Szell’s masterful pacing of the final scene of Act II. List is absolutely marvelous here as well, earning a well-deserved ovation. The secondary roles are all well performed (I doubt Szell would have accepted anything less!). Overall, the sound quality of the 1944 broadcast is quite fine, more than sufficient to enjoy all the performance’s considerable strengths. The final 15 minutes are more sonically compromised, but still adequate, thanks to Richard Caniell’s care in its restoration.
The final disc concludes with a series of ROSENKAVALIER excerpts taken from late 1920s Berlin studio and in-performance recordings, and featuring Barbara Kemp (Marschallin), Delia Reinhardt (Octavian), and Marion Claire (Sophie). The performances and sound quality are both outstanding. The booklet includes an extensive, informative, and beautifully written essay by Dewey Faulkner on Strauss’ opera and the included performances, a plot synopsis, artist photos and bios, and Richard Caniell’s Recording Notes. 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., 2017KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: Passacaglia in d, Op.1 (Webern); Symphony #100 in G (Haydn); Symphony #9 in C (Schubert), Live Performance, 8 Jan., 1977 [also available as C1523]; w.Jules Eskin (Cello) & Burton Fine (Viola): Don Quixote (Strauss), Live Performance, 5 March, 1982 (both Symphony Hall, Boston). (Canada) 2-St Laurent Studio YSL T-697. [Beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1606)
LA FILLE DU TAMBOUR-MAJOR, recorded 5 May, 1957, w. Tellier Cond. Lina Dachary, Claudine Collart, Deva Dassy, Willy Clément, Michel Hamel, Lucien Lovano, etc.; LA CHANSON DE FORTUNIO, w. Hartemann Cond. Lina Dachary, Freda Betti, Michel Hamel, Lucien Lovano, Aimé Doniat, etc., recorded 1963, (both Offenbach). (France) 2-Malibran 817. (OP3261)
“LA FILLE DU TAMBOUR-MAJOR (The Drum-Major's Daughter) is an opéra comique, or operetta, in three acts by Jacques Offenbach. The French libretto was written by Alfred Duru and Henri Charles Chivot (who often wrote libretti for Charles Lecocq). The title is an allusion to Gaetano Donizetti's LA FILLE DU REGIMENT.
It was first staged at the Theatre des Folies-Dramatiques in Paris on 13 December 1879. This late Offenbach piece followed MADAME FAVART (1878) and would soon be followed by Offenbach's masterpiece, LES CONTES D’HOFFMAN. This was the last of his operas that Offenbach lived to see produced. The piece was very successful, running for over 240 performances in its initial production and enjoying many foreign productions into the 1880s, although outaide of France it did not retain the popularity of some Offenbach pieces.
Offenbach's score is more adventurous and grander in scope than his previous works and adopts an unusually complex style for some of the melody lines. A few of the vocal numbers are also more challenging for the singers than earlier Offenbach works.”
“LA CHANSON DE FORTUNIO (The Song of Fortunio) is a short opera-comique in one act by Jacques Offenbach with a French libretto by Ludovic Halevy and Hector Crémieux. The music was composed within a week, with a further week being spent in preparations for the production.
Taken as a whole, this operetta has never really formed part of what may be termed the standard repertoire but, despite this, and especially during the period prior to the First World War, the title song remained extremely popular as a recital item, and indeed the writer of Offenbach's obituary in THE TIMES considered the song itself to be one of his best compositions along with ORPHEUS IN THE UNDERWORLD and LA GRANDE-DUCHESSE DE GEROLSTEIN – with LA BELLE HELENE following behind these ‘at some distance’.
The first public performance of LA CHANSON DE FORTUNIO took place in the Salle Choiseul of the Theatre des Bouffes-Parisiens, Paris, on 5 January 1861. Its premiere in Vienna was on 25 April and it continued to appear regularly on the bill in Paris during 1861 and 1862.”
. . . REPEATED FROM THE RECENT PAST . . .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)
“This set serves as a wonderful showcase for two great singers from the middle third of the 20th century, Swedish mezzo Kerstin Thorborg (1896–1970) and American tenor Charles Kullman (1903–1983). Both had long and successful careers at the Metropolitan, Kullman in particular singing 402 performances in that house between 1935 and 1960. Thorborg’s name is remembered better today, even though both took part in the important first recording of Mahler’s DAS LIED VON DER ERDE conducted by Bruno Walter with the Vienna Philharmonic (a 1936 live recording).
One might question the value of this recording of DAS LIED VON DER ERDE, when one can get the same two singers in their younger years and under the baton of Mahler’s colleague and the man who gave the work its world premiere, Bruno Walter. Indeed that 1936 VPO recording is essential to any serious Mahler collection, and one could not make that case for this. Taken on its own merits, however, this performance has much to recommend it. The real value of this set, however, is the solo material with Thorborg and Kullman that fills out the first disc plus two others….
Starting with Thorborg, we get Mahler’s great song ‘Ich bin der Welt abhanden gekommen’ taken live from the same concert as that first recording of DAS LIED VON DER ERDE, so you can actually hear the difference in her singing of Mahler from 1936 to 1944. That recording has long been considered a classic for a reason. The Lieder performances date from 1940, except for the Wesendonck song with orchestra from 1935. The TROVATORE and BORIS GODUNOV performances are from Met broadcasts, respectively from 1943 and 1939, and they amply demonstrate the versatility of this great artist. Her Azucena is thoroughly idiomatic, and she is ably partnered by Arthur Carron (Manrico) and Francesco Valentino (di Luna). During that period at the Met one might get either Thorborg or the phenomenal Bruna Castagna as Azucena - a true period of vocal riches. Thorborg had the lusher, more richly beautiful sound, but she also had the ability to put acid in the tone when the drama required it. The best discovery for me in the Thorborg material were the two scenes from BORIS GODUNOV, in particular the big duet between Marina and Dimitri, the latter sung by Kullman. This is rich, heroic singing in the grand tradition, thrilling in its intensity and vocal richness.
Even more important a discovery lies waiting in the Kullman material, if for no other reason that he never achieved the fame of Thorborg despite his lengthy career. His voice was a lovely lyric tenor, but it lacked the distinctive beauty of a Bjorling or Melchior, or the power of a Martinelli….Listening to the material here, one wishes we had a tenor like this today. He sails through the operetta excerpts, as well as the Korngold, with a quite remarkable sense of how that music goes (remarkable when one considers that he was an American and not an Austrian). The voice is lovely and he floats some gorgeous high pianissimi. It is then thrilling to hear him muster the needed power for Manrico in a riveting performance with Cloe Elmo, followed by a soaringly beautiful Love Duet from MADAMA BUTTERFLY, beginning at ‘Bimba, bimba dagli’occhi’, with Dorothy Kirsten. Both are from The Standard Hour in 1948. Three years earlier on The Standard Hour he sang all the important scenes for Don Jose from CARMEN, with Eleanor Steber as Micaela, Rise Stevens as Carmen, and Mack Harrell as Escamillo….And to close the third disc, there is a wonderful performance of the Act I duet from MANON with Bidu Sayao….This should spark a reassessment of Kullman, whose ability to sing with remarkable sweetness, or to add appropriate metal to the tone when a more dramatic sound is called for, seems to me quite rare among tenors of that or any other period.
The usual extraordinary production standards of Immortal Performances apply. The sonic restoration work is as good as is possible today. The booklet contains a very informative essay on the Mahler by Dewey Faulkner, and then a second intelligent and perceptive article about Thorborg and Kullman from FANFARE’s Ken Meltzer. Unusually, the full German texts and English translations are included, and there are some wonderful photos and artwork as well. The recording includes broadcast commentary, which I always enjoy as it brings back a long-gone era of radio. But it is all separately tracked, so if you prefer not to hear it you can easily skip it. Immortal Performances stands as an example of how to present historical recorded material in the best possible way. To make it even more attractive, Immortal Performances is selling the three-disc set for the price of two discs.”
- Henry Fogel, 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)
“Cebotari and Welitsch were both truly great Salomes, both deeply admired by Strauss himself, and both providing different but equally satisfying experiences with this difficult role….At the center of both performances are not only great sopranos, but great Strauss conductors. Both knew and worked with the composer, and both were admired by the composer….It becomes even more difficult to put into words the difference between the two sopranos, although when you hear the performances you intuitively get the differences immediately. Both at this stage of their careers were in very good voice (Welitsch’s deteriorated much too quickly), and both soar over Strauss’ orchestra with ease. Both voices have a shimmering glow at their core, and both women have remarkable abilities as vocal actresses. Listening to both of these performances critically was difficult. Both sweep you along and you start to put aside your critical faculties and become immersed in Strauss music-drama. I would say that Cebotari has the slightly lusher timbre and Welitsch the more brightly focused tone. And one would also observe that Cebotari makes her dramatic points through dynamic variety and inflection, whereas Welitsch more so through changes in vocal color. So Cebotari’s hushed ‘Es ist eine schreckliche Stille’ (There is a terrible stillness) is a perfect example of her imaginative use of dynamic shading. And the huge range of vocal colors employed by Welitsch as she rages at Jokanaan’s head is a miracle of imagination. But if from that you would infer that Cebotari’s ability to vary her color is limited, or that Welitsch lacks subtlety in her use of dynamics, you would be wrong. Both sopranos maintain their vocal beauty and intensity through the length of the final scene, and both do it without sounding tired by the end. Quite simply these two ladies personified Strauss’ bizarre heroine in a way that no one since has managed. I have seen and heard many fine Salomes, and I certainly would not minimize for instance the vocal achievement of Nilsson in the role. But for complete ownership of this role, Cebotari and Welitsch simply provide a completeness of absorption of character that is unmatched. How wonderful that Immortal Performances has sonically restored these two performances and brought them together in one release….The bonus material is a joy. For the Cebotari SALOME we hear Cebotari’s exquisite vocalism at its best in The Countess’ ‘Dove sono’ from LE NOZZE DI FIGARO and in Donna Anna’s two arias from DON GIOVANNI. The coloratura in ‘Non mi dir’ shows her pressing a bit, but the gloriously even legato and tonal beauty of the opening almost stops our breath. The two arias and duet that close the first act of LA BOHEME with Marcel Wittrisch are classic 1932 recordings that have never sounded as rich and full as they do in this transfer. The sweetness of Wittrisch’s voice is an added pleasure. And the glorious recording that concludes the second disc in this set will long stay in the memory. Cebotari’s soars through ‘Es gibt ein Reich’ from ARIADNE AUF NAXOS, with rich, glowing tone. It is hard to believe that the recording was made seven months prior to her death in June 1949, at the age of 39, of cancer of the liver and pancreas! Cebotari was still singing staged performances 10 weeks before her death, until she collapsed during one. Only then did doctors discover the truth about her condition. She was still in what would be considered her prime years, and we should be grateful to Immortal Performances for this wonderful preservation of her art. That sentiment applies equally to Welitsch.
The production values are up to the usual high standards of Immortal Performances. The booklet contains insightful, intelligently written essays by Dewey Faulkner and by Caniell himself. The Met SALOME includes (separately tracked) opening and closing announcements with Milton Cross, bringing back lovely memories to all opera lovers of a certain generation. This is a very important release.”
- Henry Fogel, FANFARE, Nov. / Dec., 2017OEDIPE (Enescu), Live Performance, 18 May, 1955, w. Charles Bruck Cond. RTF Ensemble; Xavier Depraz, Genevieve Moizan, Rita Gorr, Berthe Monmart, Freda Betti, Lucien Lovano, Joseph Peyron, Andre Vessieres, Jean Giraudeau, Louis Noguera, etc.; OEDIPE - Final Scene, w.Brediceanu Cond. Bucharest Opera Ensemble, w.David Ohanessian. (France) 2-Malibran 805. (OP3262)
CARMEN, Live Performance, 31 Jan., 1953, w.Reiner Cond. Met Opera Ensemble; Fedora Barbieri, Mario del Monaco, Hilde Guden, Frank Guarrera, Lucine Amara, Margaret Roggero, Alessio De Paolis, etc. (Canada) 2-St Laurent Studio YSL T-705. Transfers by Yves St Laurent (OP3257)
ZARA DOLUKHANOVA, w.Nina Svetlanova (Pf.): Songs by Scarlatti, Strauss, Ravel, Shaporin, Arutiunian & Prokofiev; Arias from Don Carlos, Tsar's Bride & Kashchey the Immortal (Rimsky-Korsakov). [Dolukhanova's exquisite rendition of Prokofiev's 'Green Glade' alone is worth the price of this entire program! A pair of rare recitals which feature Dolukhanova, beautifully recorded from down front in Leningrad Philharmonic Hall in remarkably clear sound.] (Canada) St Laurent Studio YSL T-719, Live Performance, Philharmonic Hall, New York, 13 Dec., 1961 & 14 Dec., 1964. (V2497)
"Dolukhanova.... had inspiration, intelligence, high musical culture, meticulous taste, poise and nobility in expression of feelings and precision of intonation, not to mention an elegant and attractive stage presence. She had that 'mezzo vibrato' shared by almost all singers of this fach, but she knew how to use it to great musical effect, like a cellist."
- Larry Friedman, THE RECORD COLLECTOR, 2017GINA CIGNA: Arias & Ensembles (w.de Sabata, Elmo, Stignani, Gigli, Merli, Pasero, etc.) from La Fanciulla del West, Turandot, Adriana Lecouvreur, La Wally, Norma, Ballo, Forza, Il Trovatore, La Gioconda & Aida. [A treasurable program restoring the great Cigna to her formidable glory; the sensational 1937 de Sabata Berlin live Nile Scene with her glorious high C and breathtaking diminuendo in 'O Patria mia' is included, plus a live 'In questa reggia' with Merli!] (France) Malibran 157, recorded 1930-41, partially Live Performances. (V2563)
ZINKA MILANOV, w.Vincent La Selva Cond. Trenton S.O.: Arias from Otello, La Boheme, Cavalleria & Gianni Schicchi - Live Performance, 13 Nov., 1966 - Milanov's Final Performance; Otello - Ave Maria - Live Performance, 15 April, 1965, Met Opera; Milanov's Farewell speech, 13 April, 1966, Met Opera; William H. Wells [New York Opera Club] Interviews Zinka Milanov, 1962 [an exhaustive 69-minute interview discussing her entire career]. (Canada) 2-St Laurent Studio YSL T-648, front cover featuring a previously unknown Boston 1956 Milanov photo by Thomas Murphy. Transfers by Yves St Laurent. (V2555)
LENER QUARTET: Quartet in C, Op.76, #3; Quartet in d, Op.76, #2; Quartet in D, Op.76, #5 (all Haydn); Quartet in F (Haydn, Op.3, #5 / Hoffstetter). (Canada) St Laurent Studio YSL 78-711, recorded 1928 & 1935. Remarkably quiet transfers from the superb Royal Blue Columbia Shellac 78s (Hoffstetter from English Columbia) by Yves St Laurent. This is the second in that which will be a monumental series of Lener Quartet CDs produced by Yves St Laurent! (S0721)
“To me, this is quartet playing of almost indescribable beauty. That St. Laurent Studio is making at least a part of the Lener Quartet's discography available to a wider public is cause for rejoicing. The transfers are very good, with whatever surface noise on the originals reduced or eliminated while retaining the full range of color produced by the group. There are no notes, just track listings and documentation of original recording information.”
- Henry Fogel, FANFAREKIRILL KONDRASHIN Cond. ORTF S.O.: Symphony #2 in D (Sibelius); w.LEONID KOGAN: Violin Concerto #2 in g (Prokofiev). [An exceptionally treasured concert, among the most glorious offered here, recorded in spectacular sound quality in a spacious acoustic!] (Canada) St Laurent Studio YSL T-712, Live Performance, 6 Nov., 1974. Transfers by Yves St Laurent. (C1603)
SERGIU CELIBIDACHE Cond. Swedish Radio S.O.: Symphony #2 in C (Schumann), Live Performance, 28 Oct., 1962, Vienna; 'Facetter' Symphony #3 (Blomdahl), Live Performance, 27 Sept., 1969, Stockholm. (Canada) St Laurent Studio YSL T-669. Transfers by Yves St Laurent. (C1604)
DANIEL BARENBOIM Cond. Philadelphia Orch.: Symphony #4 in e (Brahms), Live Performance, 3 Jan., 1971; DANIEL BARENBOIM Cond. English Chamber Orch.: Music for Strings, Percussion and Celesta (Bartok), Live Performance, 1970s. (Canada) St Laurent Studio YSL T-700. Transfers by Yves St Laurent. (C1602)
ANDRE MALLABRERA: Tenor Songs & Arias by de Mondonville, Rossi, Rameau, Lully, Boieldieu, Auber, Maillart, Bazin, Adam, Bizet, Gounod, Chabrier, Massenet, Rossini, Suppe, Lehar & Freire. [A lovely program from this lesser-known tenor-legere; the Rameau, Lully, de Mondonville & Rossi are exceptionally beautiful] (France) Malibran 156, recorded 1958-63, several being Live Performances. (V2561)
“For music lovers under sixty, Andre Mallabrera was little more than a name, performing minor roles alongside Nicolai Gedda and Victoria de Los Angeles: it is he who sings the role of Nathanael in the Cluytens versions of LES CONTES D’HOFFMANN and of Schmidt in WERTHER.
Mallabrera made his debut at the Opera-Comique in December 1958 in Almaviva in BARBIERE after which he played many roles in the house. In 1962, he was heard for the first time at the Paris Opera, as Hylas in LES TROYENS with Regine Crespin and Guy Chauvet. Andre Mallabrera was also very popular in operetta.”
- Laurent Bury, FORUMOPERA, 2 Oct., 2017MANUEL SALAZAR: Agnus Dei (Bizet); Arias from Norma, Forza, Otello, Tosca, La Fanciulla del West & Tannhauser; MANUEL SALAZAR & LELANE RIVERA: Otello - duets (from 1930 film). (France) Malibran 162, recorded 1927-30. (V2568)
GIUSEPPE ANSELMI: Arias from Il Duca d'Alba, Werther, Iris, Fedora, Marcella, Barbiere, L'Elisir, Romeo, Mignon, La Favorita, Lucia, L'Africaine, Les Pecheurs de Perles, Tosca, Rigoletto, Pagliacci, Mefistofele & La Gioconda. (France) Malibran 160, recorded 1907-13, Fonotipia & Edison. (V2567)
BERNARDO de MURO: Arias & Scenes (w.Oltrabella, Badini, Janni, Casazza & Bettoni) from Isabeau, L'Africana, Carmen, Andrea Chenier, La Fanciulla del West, Il Trovatore, Don Carlos & Otello. (France) Malibran 163, recorded 1912-28. (V2565)
GERMAINE MARTINELLI: Songs by Schubert (incl. the latter's Die Schone Mullerin), Schumann (the latter's Frauenliebe und Leben), Faure & Duparc. (France) Malibran 158, recorded 1928-36. (V2564)
WAGNER EN FRANCAIS: Jane Cros, Maryse Beaujon, Marcel Journet, Paul Franz, Cesar Vezzani, Georges Thill & Germaine Lubin. (France) Malibran 166. [Sheer enchantment in these marvelous displays of the now extinct French style.] (V2560)
OPERA DE CHICAGO, incl. Joseph Schwarz, Claire Dux, Rosa Raisa, Eva Turner, Edith Mason, Claudia Muzio, Jose Mojica, Antonio Cortis, Ulysses Lappas, Mary Garden, Carlo Galeffi, Rene Maison, Toti dal Monte, Tito Schipa, Titta Ruffo, Graziela Pareto, Lotte Lehmann, Alexander Kipnis, Frida Leider, Amelita Galli-Curci & Maria Kurenko. (France) Malibran 167, recorded 1908-35. (V2571)
SMARTER THAN ALL THREE OF US ! ! !
We are grateful to so many of our readers who continue to note that our once-regular use of accent marks is becoming rather erratic. Due to the ever-growing popular use of ‘Smart’ Phones, Google automatically and frequently is restricting such marks, as well as that which we consider regular punctuation. In compliance with Google’s restrictive demands, as well as the fact that such complicated listings will require too long a period during which to download, or may not succeed in downloading at all, most of our newer listings are deleting such marks, much to our sense of loss. While our older listings so far retain such marks, we are informed that it won’t be long before they too automatically will be amended. We certainly take pride in our presentation, but are being compelled to adapt to another loss of style in these fast-paced times! We very sincerely appreciate so many of your valued comments and commiseration!!!
. . . 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 #148 Online Catalog
To download a copy of Auction #148, simply click the link below:
Auction #148 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.
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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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Thank you again for your loyal support, and happy browsing our ever changing website and exciting offerings.
C1607. CHARLES MUNCH Cond. Chicago S.O.: Symphony in d (Franck); w.Vitya Vronsky & Victor Babin: Concerto for Two Pianos in E-flat, K.365 (Mozart). (Canada) St Laurent Studio YSL T-549, Live Performance, 2 July, 1966, Orchestra Hall. Transfers by Yves St Laurent.
OP3266. DER ROSENKAVALIER, Live Performance, 19 Feb., 1944, (replete with Milton Cross' commentary), 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. - 019962793912
C1606. KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: Passacaglia in d, Op.1 (Webern); Symphony #100 in G (Haydn); Symphony #9 in C (Schubert), Live Performance, 8 Jan., 1977 [also available as C1523]; w.Jules Eskin (Cello) & Burton Fine (Viola): Don Quixote (Strauss), Live Performance, 5 March, 1982 (both Symphony Hall, Boston). (Canada) 2-St Laurent Studio YSL T-697. [Beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent.
OP3261. LA FILLE DU TAMBOUR-MAJOR, recorded 5 May, 1957, w. Tellier Cond. Lina Dachary, Claudine Collart, Deva Dassy, Willy ClÃ©ment, Michel Hamel, Lucien Lovano, etc.; LA CHANSON DE FORTUNIO, w. Hartemann Cond. Lina Dachary, Freda Betti, Michel Hamel, Lucien Lovano, AimÃ© Doniat, etc., recorded 1963, (both Offenbach). (France) 2-Malibran 817. - 7600003778178
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)
Eleanor Steber (Marcia Sloat) (9780963417404)
La Fanciulla del West (Behr; Steber, Corelli / Bardini, Colzani) (2-St Laurent Studio YSL T-519)
Aida / Forza (Bellezza; Rethberg, Ponselle, Martinelli, Pinza, de Luca) (2-Immortal Performances IPCD 1071)
Renata Scotto; John Wustman (1970 Hunter College Recital) (St Laurent Studio YSL T-665)
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)
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)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Norma (Panizza; Cigna, Castagna, Martinelli, Pinza, Votipka) (2-Immortal Performances IPCD 1063)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
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)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Klaus Tennstedt, Vol. III (St Laurent Studio YSL T-543)
L'Elisir d'Amore (Weikert; Upshaw, Cole, Taddei) (2-St Laurent Studio YSL T-516)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Alexis Weissenberg, Vol. V; Kondrashin, Rowicki (St Laurent Studio YSL T-485)
Arturo Toscanini - Victor Records Restored (3-Immortal Performances IPCD 1087)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
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. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Erich Leinsdorf, Vol. VI; Sills, Wolff, Domingo, Berberian) (St Laurent Studio YSL T-453)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Missa Solemnis (Toscanini; Milanov, Thorborg, von Pataky, Moscona) (2-Immortal Performances IPCD 1086)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Sir John Barbirolli - Boston Symphony Orchestra (St Laurent Studio YSL T-415)
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)
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)