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Auction #150 Is Now Closed ! ! !
Malibran returns with
an effervescent 1956 live performance of LA PERICHOLE . . .
plus L’OPERA SOUS L’OCCUPATION. . .
from Yves St Laurent are
TENNSTEDT, Vol. 23 & INGHELBRECHT, Vol. 11;
many Books & CDs added to our 50% SALE
Norbeck, Peters & Ford's
Annual 78rpm Auction is now closed!
Norbeck, Peters & Ford's new
78rpm AUCTION #150
is now still online
for your perusal
closing date is this Friday, 17 May.
To view the online version simply click the link below:Auction #150 Online Catalog
To download a copy of Auction #150, simply click the link below:Auction #150 Catalog File Download
This auction has been applied online in various sections in order to
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We appreciate you taking the time to review our new auction.
To place your bids and include us as a trusted source to
compliment your collections.This Week's Offerings:KLAUS TENNSTEDT Cond. Philadelphia Orch.: Symphony #9 in D (Mahler). (Canada) 2-St Laurent Studio YSL T-822, Live Performance, 14 Jan., 1988, Carnegie Hall. Transfers by Yves St Laurent. (C1715)
(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)
L’OPERA SOUS L’OCCUPATION, w. Georges Thill, Charles Panzera, Georges Jouatte, Mona Laurena, Paul Cabanel, Odette Turba-Rabier, Fanely Revoil, Irene Joachim, Eliette Schenneberg, Germaine Lubin, Janine Micheau, Francis Poulenc, Geori Boue, Pierre Bernac, Camille Maurane, Jean Guilhem, Raymond Berthaud, Germaine Cernay, Renee Doria, Yvonne Printemps, Jacques Jansen, Marisa Ferrer, Charles Fronval, Jose Beckmans, Louis Arnoult & Gerard Souzay. (France) 2-Malibran 827, recorded 1942-45. [Sheer enchantment in these marvelous displays of the now extinct French style.] (V2598)
“To give a two-disc sample of what French opera life was like during the Occupation, this is what the Malibran label offers with L'OPERA SOUS L'OCCUPATION. The title is indeed a little reductive, since we will find here much more than an echo of the Palais Garnier's programming: these offerings also reflect the performances given at the Opera-Comique, the operetta performances, the concert repertoire, melodies, etc.; the document value here is irreplaceable. Some titles are now considered absolute classics…the music lover will find here almost unknown etchings of essential works, or discover scores that have fallen into a virtual oblivion….and the curiosity of the two patriotic songs which open the first CD, but how to resist the momentum and the pure beauty of the voice of Georges Thill?”
- Laurent Bury, FORUM OPERA, 22 May, 2019
DESIRE-EMILE INGHELBRECHT Cond. RTF S.O.: ‘Italian’ Symphony #4 in A (Mendelssohn); Gotterdammerung - Siegfried's Rhine Journey; Funeral March (Wagner), Live Performance, 18 Sept., 1952; w. DEVY ERLIH: Violin Concerto in e (Mendelssohn), Live Performance, 14 March, 1957 (both Theatre des Champs Elysees, Paris). [A deeply soulful rendition of the Mendelssohn Concerto by Erlih] (Canada) St Laurent Studio YSL T-841. Transfers by Yves St Laurent. (C1714)
“Henri Tomasi was among the first composers who wrote for Devy Erlih. ‘Bruno Maderna didn’t write his concerto for me, but I gave the premiere; it’s a fantastic, an astonishing piece. I also gave the world premiere of Milhaud’s Second Concerto. Then Martinu came to hear me in New York and gave me his concerto, asking whether I could play it in France, which I did.’ Erlih gave the Japanese premiere of Dutilleux’s violin concerto ‘L’arbre des songes’ in 1989, standing in for an indisposed soloist at just three days’ notice. Andre Jolivet loomed especially large in Erlih’s life; he frequently performed the composer’s 1972 Violin Concerto and ‘Suite rhapsodique’. ‘Jolivet was a massive person, rather severe and reserved, but he gave you the impression of an immense solidity of character’, recalls Erlih. ‘I was terribly impressed by the style of his music which I felt very strongly, and the accuracy of writing that he had to express this. The language was not traditional at all; it was very personal, but with a permanent need of expression, and that to me is what says the most’. After the composer’s death, the link went even deeper: Erlih married Jolivet’s daughter, Christine. At a time when France was extremely conservative and did not like the avant-garde, Devy was a pioneer. ‘The greater the complexity of the music, the more your technique has to evolve. Then what remains, no matter what you play, is the question of translating what you think is true’.”
- Jessica Duchen, THE STRAD, Feb., 2012. . . REPEATED . . . FROM THE RECENT PAST . . .
LOHENGRIN, Live Performance, 17 Jan., 1942 (replete with Milton Cross’ commentaries) w.Leinsdorf Cond. Met Opera Ensemble; Astrid Varnay, Kerstin Thorborg, Lauritz Melchior, Herbert Janssen, Norman Cordon & Leonard Warren. (Canada) 3-Immortal Performances IPCD 1107, w.Elaborate 44pp Brochure; Program Notes by Dewey Faulkner & Richard Caniell. Restoration & transfers by Richard Caniell. (OP3307)
“This is a world premiere release….LOHENGRIN was an opera which the Met cast from strength in the 1930s and early 1940s (standards faltered somewhat after 1945), and Melchior and Varnay have an excellent supporting cast here. Special laurels go to the magnificent Ortrud of Kerstin Thorborg, who is definitely in superior form here compared to the 1940 broadcast and equal to or slightly better than that from 1943. Her rich contralto with its secure upper extension encompasses all the fiendish challenges of her role’s wide tessitura, and she dispatches the full-tilt fury of both ‘Entweihte Gotter!’ and ‘Fahr’ heim!’ virtually without fault. Only the nonpareil Margaret Klose has ever topped her in this role in my experience, and that by only a little. Baritone Herbert Janssen as Telramund is another major reason to acquire this set. While his soft-grained baritone with its long experience in Lieder repertoire is less robust and overtly villainous than many proponents of the role, he instead exploits his unique characteristics to highlight the moral weakness and cravenness so central to his character, and he brings to Wagner singing a rare degree of legato phrasing. As Janssen is in far better vocal condition than in the subsequent 1950 broadcast, his admirers will have special motivation to hear him here.
….As always, Immortal Performances provides a lavish booklet with a full-scale essay (an exceptionally insightful one by Dewey Faulkner), plot synopsis, detailed artist bios with photos, and Caniell’s recording notes. This is on all counts a major new addition to the discographies of both LOHENGRIN and the Metropolitan Opera; emphatically and enthusiastically recommended.”
- James Altena, FANFARE, Nov. / Dec., 2018
ARTURO TOSCANINI Cond. La Scala Ensemble: TE DEUM (Verdi); w.Renata Tebaldi, Cloe Elmo, Giacinto Prandelli & Cesare Siepi - VERDI REQUIEM, Live Performance, 24 June, 1950; ARTURO TOSCANINI Cond. La Scala Ensemble, w. Renata Tebaldi, Jolanda Gardino, Giovanni Malipiero & Tancredi Pasero: MOSE IN EGITTO - Preghiera (Rossini) - Live Performance, 11 May, 1946 - Re-Opening of La Scala (both performances feature Broadcast Commentary in Italian); Interview in Italian with Tebaldi. (Canada) 2-Immortal Performances IPCD 1106. Restoration by Richard Caniell. Includes 35pp Booklet w.notes by Robert Matthew-Walker, John Sullivan & Richard Caniell. (C1712)
“…once again, Richard Caniell has achieved a near miracle in restoring this performance….The sound, while not the equal of commercial recordings of the same era, is now certainly competitive with contemporaneous broadcasts. As a result of Richard Caniell’s efforts, the La Scala REQUIEM may not only be studied, but at long last enjoyed as a compelling representation of the work….A brief amount of broadcast commentary (in Italian) is included….If you are at all interested in the 1950 La Scala broadcast (and there are many compelling reasons for that), this Immortal Performances restoration is the clear first choice.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2018
LEONARD BERNSTEIN Cond. Cleveland Orch., w.Lorna Haywood & Christa Ludwig: 'Resurrection' Symphony #2 in c (Mahler). (Canada) 2-St Laurent Studio stereo YSL T-847, Live Performance, 9 July, 1970, Blossom Music Festival; Brief interview with Leonard Bernstein before the performance. Transfers by Yves St Laurent. (C1706)
“I am almost certain that I would choose [as my ‘greatest’ or ‘favorite’ concert] the two days in July, 1970, when I had the privilege of observing the dress rehearsal and performance of the Mahler ‘Resurrection’ Symphony under review. It has stayed in my memory ever since, and I am thrilled to find that Bernstein’s matchless performance has now been released publicly. Just as importantly for me personally, rehearing it after such a long absence, was not a disappointment. It completely lived up to my expectations….What I thought I heard in 1970, and now know I heard, is the unique combination of Leonard Bernstein’s interpretive gift, his improvisatory approach, and a driven intensity alongside the incredible precision and elegance of the Cleveland Orchestra’s playing. I cannot recall another live Bernstein recording (and many of his recordings are live) that is as well played….We experience razor-sharp attacks and the kind of ensemble which makes it clear that every musician is listening to every other musician, no matter what liberty Bernstein employs. His knowledge of Mahler’s score is, of course, legendary - he conducted the dress rehearsal with no music in front of him and made corrections knowing the cues and bar numbers of every passage. It seems clear that he felt safe taking any chances that came into his mind as he was conducting….
There are certainly other Mahler Second Symphony recordings with more splendid digitally recorded sound, but if I were on that mythical desert island where I could take only one recording with me, and it would be the Mahler Second I had to listen to for the rest of my life, I would not hesitate to choose this one. I remember that night in 1970 as if it was yesterday, and I also remember thinking at the time ‘This is why we go to concerts, hoping to have a once-in-a-lifetime experience like this’. That it is now available to anyone who wishes to have it is a gift from St. Laurent Studio to all of us. To overlook this release is to deprive yourself of musical greatness.”
- Henry Fogel, FANFAREGYORGY CZIFFRA: C.P.E. Bach, Scarlatti, Lully, Couperin, Hummel, Liszt, Schumann (the latter's Toccata in C) & Beethoven (the latter's Sonata #22 in F, Op. 54). (Canada) St Laurent Studio YSL T-831, Live Performance, 19 June, 1960, Strasbourg. Transfers by Yves St Laurent. (P1308)
“Astonishing! That is the first word that came to mind as I heard this recital. The Hungarian pianist Gyorgy Cziffra (1921-1994) possessed one of the most staggering keyboard techniques in history….From the mid-1950s through, perhaps, the late-1960s, Cziffra was at the peak of his powers, and that is what we hear on this 1960 Strasbourg recital….The monaural broadcast sound is virtually ideal for its time: not to closely miked, nor too distant. This is how a piano would sound in a good room from about five or ten rows back.
St. Laurent Studio offers good documentation and complete tracking information, but no notes. This company…is developing a sterling reputation for resuscitating live broadcast material that others have not found or chosen, and thus adding significantly to our knowledge of music performances in the 20th century. This is one of their finest efforts.”
- Henry Fogel, FANFAREVLADO PERLEMUTER: Faure & Ravel Recital (featuring the latter's Sonatine and Gaspard de la Nuit). Transfers by Yves St Laurent. [An unforgettable, absolutely exquisite recital!] (Canada) St Laurent Studio YSL T-810, Live Performance, 22 July, 1958, Chateau de Foix, France. (P1305)
“If Vlado Perlemuter, the revered French pianist who studied with Ravel and Faure and was an acclaimed interpreter of their works, never attained widespread public renown, it may have been because of a certain self-effacing quality in his pianism. But he was enormously respected by musicians and his many admirers, who found his playing a model of refinement and elegance.
In a 1993 review in THE NEW YORK TIMES of a two-disc recording of Ravel's complete works, Bernard Holland praised Mr. Perlemuter for his ‘unadorned simplicity, his refusal to milk phrases for momentary effect, in short, his insistence on letting the Classical Ravel speak for himself’. Though a courtly figure on the concert stage, Mr. Perlemuter had commanding presence and played with an alluring palette of colorings.”
- Anthony Tommasini, THE NEW YORK TIMES, 7 Sept., 2002
LAZARE-LEVY: Beethoven, Mozart, Rameau, Faure & Lazare-Levy; LAZARE-LEVY acc. GEORGES JOUATTE (T): 4 Faure songs; LAZARE-LEVY, w. ULYSSE DELECLUSE, COURSIER, de SAMPIGNY, RAMPAL, OUBRADOUS, VIEUX, PIERLOT, BENEDETTI & MARECHAL: Clarinet Quintet in A, K.581 (Mozart); Divertissement (Roussel). (Canada) 2-St Laurent Studio YSL T-806, recorded 1950-61, several live performances. Transfers by Yves St Laurent. (P1304)
CHARLES MUNCH Cond. ORTF S.O.: Symphony #1 in c (Brahms); Symphony #3 in g (Roussel). (Canada) St Laurent Studio YSL T-799, Live Performance, 20 Oct., 1966, Bunka Kaikan, Tokyo. Transfers by Yves St Laurent. (C1713)
“…what will strike most listeners [in the Brahms] is the broad range of tempi employed. Fast sections are faster than normal, slow sections slower, and the shifts are sometimes sudden. Dynamic contrasts are explosive - sudden fortissimi seeming to come from nowhere. The result is high drama, edge-of-your-seat Brahms; you don’t know what is coming next. Because of the strength of Munch’s conviction about what he’s doing, because the players are giving him every bit of intensity and commitment he is demanding, the performance worked excitingly well for me. The work’s final chord is a perfect example, held far longer than the score would indicate and far longer than most conductors would dare….Munch’s approach is perhaps more naturally suited to the Roussel Third Symphony, a work of enormous dramatic force and energy, with an almost bittersweet contrast in the second movement (Adagio). The climax of that slow movement is singularly powerful here. In the other three movements the emphasis is on rhythmic propulsion, energy, and brilliance of orchestral colors….there is the frisson of a live performance, and of an orchestra on tour in Japan trying to prove its worth. There is an astounding energy to the playing here that offers its own unique rewards….I recommend this to the adventurous listener who is willing to explore a quite unorthodox but thrilling view of Brahms.”
- Henry Fogel, FANFAREJOHN McCORMACK: A Patrician Artist - The Complete Electrical Recordings, 1926-42, plus all extant radio broadcasts, 1926-42, also featuring Lucrezia Bori, Maggie Teyte, Evelyn Laye, Eileen Joyce, etc., plus new restorations of all 57 of McCormack’s earliest recordings made on cylinder and disc in 1904 (several including McCormack's spoken introductions. [His spoken introductions are as revealing as the actual singing]). 16-Marston 51601, Handsome Boxed Set with Elaborate 163pp softbound book with essays and notes on the recordings by Gordon Ledbetter & Michael Aspinall. (V2597)
"[McCormack] was an icon of the age, and the humanity in his art brought solace and consolation to countless numbers the world over. John McCormack had a voice of exquisite purity and a consummate vocal technique, yet perhaps his greatest gift was something else: for above the beauty of the voice and the technique, and even when the voice was no longer young and flexible, McCormack remained always a vividly communicative artist, among the most compelling vocal personalities of the twentieth century."
- Gordon T. Ledbetter, Program Notes
BOOKS ON SALE
“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!
SMARTER THAN BOTH OF US ! ! !
We are grateful to so many of our readers who continue to note that our once-regular use of accent marks have become 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 Googles 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
numerous lesser-known operas have been added
throughout our listings, in appropriate categories . . .
out-of-print books [many biographies,
Record Catalogue-Discographies . . .
numerous CDs are added each week] . . .
Our 50% Discount Sale continues,
now offering more than 2500 titles . . .
------------------ ANNOUNCEMENT -----------------
Norbeck, Peters & Ford's Annual 78rpm Auction Has Now Closed!
This auction featured an entire section of which is dedicated to 7" discs, plus many wonderful instrumental and vocal rarities, many of which we're offering for the first time in our 45 years of operation.
You can still view the online version simply click the link below:Auction #149 Online Catalog
To download a copy of Auction #149, simply click the link below:Auction #149 Catalog File Download
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website
). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
. . . For the Opus Kura,
Archipel, Myto, Walhall, Gebhardt &
Living Stage titles on sale,
simply visit our
sale section of our website . . .
Once again . . .
Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com
where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.
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C1715. KLAUS TENNSTEDT Cond. Philadelphia Orch.: Symphony #9 in D (Mahler). (Canada) 2-St Laurent Studio YSL T-822, Live Performance, 14 Jan., 1988, Carnegie Hall. Transfers by Yves St Laurent.
OP3309. LA PÉRICHOLE (Offenbach), Live Performance, 1956, Gaîté-Lyrique, w. Derveaux Cond. Maria Murano, Raymond Amade, Henri Bédex, 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 (Hervé), 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. - 7600003778123
V2598. L’OPÉRA SOUS L’OCCUPATION, w. Georges Thill, Charles Panzéra, Georges Jouatte, Mona Laurena, Paul Cabanel, Odette Turba-Rabier, Fanély Revoil, Irène Joachim, Eliette Schenneberg, Germaine Lubin, Janine Micheau, Francis Poulenc, Geori Boué, Pierre Bernac, Camille Maurane, Jean Guilhem, Raymond Berthaud, Germaine Cernay, Renée Doria, Yvonne Printemps, Jacques Jansen, Marisa Ferrer, Charles Fronval, José Beckmans, Louis Arnoult & Gérard Souzay. (France) 2-Malibran 827, recorded 1942-45. [Sheer enchantment in these marvelous displays of the now extinct French style.] - 7600003778277
C1714. DESIRE-EMILE INGHELBRECHT Cond. RTF S.O.: 'Italian' Symphony #4 in A (Mendelssohn); Götterdämmerung - Siegfried's Rhine Journey; Funeral March (Wagner), Live Performance, 18 Sept., 1952; w.DEVY ERLIH: Violin Concerto in e (Mendelssohn), Live Performance, 14 March, 1957 (both Theatre des Champs Elysées, Paris). [A deeply soulful rendition of the Mendelssohn Concerto by Erlih] (Canada) St Laurent Studio YSL T-841. Transfers by Yves St Laurent.
Leonard Bernstein, Vol. VII - Mahler 2nd; Haywood & Ludwig (2-St Laurent Studio YSL T-847)
Fidelio (Tennstedt; Marton, Vickers, Mazura, Plishka) (2-St Laurent Studio YSL T-794)
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
Faust (Pelletier; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza) (2-Immortal Performances IPCD 1097)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Elektra (Christopher Keene; Olivia Stapp, Natalie Costa, Chookasian, Crabb, Cross) (2-St Laurent Studio YSL T-762)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Samson et Dalila (Jean Fournet; Jon Vickers & Marilyn Horne) (2-St Laurent Studio stereo YSL T-804)
Vocal Record Collectors' Society - 2017 Issue (VRCS-2017)
Sergei Rachmaninoff (3-Marston 53022)
Die Walkure (Szell; Bampton, Traubel, Melchior, Janssen, Thorborg, Kipnis) (3-Immortal Performances IPCD 1081)
Giuseppe Campanari (St Laurent Studio YSL 78-728)
Falstaff (Toscanini; Stabile, Valdengo, Cloe Elmo, Dino Borgioli, Lazzari) (5-Immortal Performances IPCD 1100)
Die Meistersinger (Szell; Janssen, Steber, Thorborg, Kullman, List, Harrell) (3-Immortal Performances IPCD 1088)
Klaus Tennstedt, Vol. XVIII (Bruckner 8th - Philadelphia); Brendel (2-St Laurent Studio YSL T-789)
Cheep! (Beatrice Lillie, Lee White, Teddie Gerard) (Palaeophonics 133)
George Szell, Vol. VII; Erica Morini; Geza Anda (St Laurent Studio YSL T-426)
The Complete Feodor Chaliapin (13-Marston 51301)
Tannhauser (Leinsdorf; Melchior, Janssen, Flagstad, Thorborg, List, Harrell) (3-Immortal Performances IPCD 1101)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
Sir Thomas Beecham - Concert in memory of Toscanini (St Laurent Studio YSL T-765)
Mario Lanza; Licia Albanese; Elaine Malbin (St Laurent Studio YSL T-746)
Tosca (Cleva; Regine Crespin, Sandor Konya, Robert Merrill, Ezio Flagello) (2-St Laurent Studio T-657)
St Matthew Passion - Charles Munch, Vol. XXIX; Endich, Kopleff, Cuenod, Mack Harrell (2-St Laurent Studio YSL T-689)
Klaus Tennstedt, Vol. VIII; Jules Eskin & Burton Fine (St Laurent Studio YSL T-697)
Renata Scotto, Vol. III, Philharmonic Hall, 1972; Ryan Edwards (St Laurent Studio YSL T-683)
Mignon / Carmen (Swarthout, Vinay, Hackett, Albanese, Pinza) (4-Immortal Performances IPCD 1096)
Peter Grimes (Colin Davis; Vickers, Amara, Evans, Madeira, Chookasian, Plishka (2-St Laurent Studio YSL T-720)
Samson (Handel) (Rudel; Jon Vickers, Leona Mitchell, Kiri Te Kanawa, Paul Plishka) (2-St Laurent Studio T-795)
Faust (Schumann) - Erich Leinsdorf, Vol. XIII; (Bressler, Sills, Prey, Troyanos) (2-St Laurent Studio YSL T-739)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Der Rosenkavalier (Szell; Jessner, Novotna, Conner, List) (3-Immortal Performances IPCD 1092)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Tristan (Leinsdorf; Melchior, Traubel, Thorborg, Huehn, Kipnis) (3-Immortal Performances IPCD 1102)
Jorge Bolet, Vol. IV - Bloomington (2-St Laurent Studio YSL T-756)
Klaus Tennstedt, Vol. XI, Alexis Weissenberg (St Laurent Studio YSL T-731)
Helge Rosvaenge; Otto Seyfert (Pf.), Vol. I - Carnegie Hall, 1963 (Yves St Laurent YSL T-763)
Renata Scotto, Vol. II, Carnegie Hall, 1969; John Wustman (St Laurent Studio YSL T-682)
Arturo Toscanini - Beethoven - Novotna, Thorborg, Peerce, Moscona, Rubinstein (10-Immortal Performances 1064 -1067)
Verdi Requiem - Toscanini; Tebaldi, Elmo, Prandelli, Siepi, Gardino, Malipiero, Pasero (2-Immortal Performances IPCD 1106)
Die Jahreszeiten - Erich Leinsdorf, Vol. XI; Boatwright, Bressler & Thomas Paul (2-St Laurent Studio YSL T-690)
Klaus Tennstedt, Vol. XVI; Serkin, Silverstein & Eskin (2-St Laurent Studio YSL T-770)
Serge Koussevitzky, Vol. XI - Sibelius & Henri Casadesus (St Laurent Studio YSL 78-643)
Dimitri Mitropoulos, Vol. III; Nathan Milstein (St Laurent Studio YSL T-609)
Missa Solemnis - Schuricht; Stader, Hoffgen, Dermota, Berry (St Laurent Studio YSL T-511)
Klaus Tennstedt, Vol. XVII - (Bruckner 8th - NDR S.O.) (St Laurent Studio YSL T-776)
Jorge Bolet, Vol. II - Alice Tully Hall (St Laurent Studio YSL T-751)
Sidney Foster - Rediscovering an American Master (7-Marston 57001)
Lohengrin (Leinsdorf; Varnay, Thorborg, Melchior, Janssen, Cordon & Warren) (3-Immortal Performances IPCD 1107)