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

Caniell’s Immortal Performances now offers

the 1937 DIE WALKÜRE . . .

Testament’s 1961 DIE WALKÜRE


Olivero’s 1963 ADRIANA LECOUVREUR . . .

Marston’s . . .

RICHARD STRAUSS Sesquicentennial Edition


JORGE BOLET Centennial Retrospective

both are now returned to stock . . .

and our regular 50% SALE continues,

with additions . . .

  • DIE WALKÜRE, Live Performance, (Re-creation of the 18 December 1937 broadcast – see below), w.Artur Bodanzky Cond.Met Opera Ensemble; Kirsten Flagstad (Sieglinde), Marjorie Lawrence (Brünnhilde), Kerstin Thorborg (Fricka), Lauritz Melchior (Siegmund), Friedrich Schorr (Wotan), Emanuel List (Hunding), etc.; Die Walküre: Act I, Scene 3 – Excerpts, w.Leinsdorf Cond. Melchior & Lawrence. (Canada) 3-Immortal Performances IPCD 1046, incl.commentary by Milton Cross. Transfers by Richard Caniell; Notes by Dewey Faulkner. (OP2985)

    “Given the almost knee-jerk reaction to Flagstad among critics as ‘matronly’, many will be surprised at the femininity of her Sieglinde. Her voice positively glows, and she and Melchior are a thrilling pair…It is true that Flagstad lacks the ability or willingness to inflect with the kind of specificity that was a Lehmann specialty. But this Sieglinde makes her impact through, as Caniell himself puts it, floods of glorious tone.

    [The booklet’s annotator] Dewey Faulkner points out the thrilling singing [Lawrence] does [in 1940, as Brünnhilde] in the opening war cries, and in so much else of her singing. She had both the low and high notes required by the role, a voice of glowing beauty, and a keen dramatic sense as well. Her Brünnhilde is somewhat more human and more vulnerable than many we have encountered, and it is a complex and convincing portrayal.

    Schorr was the Wotan of his day for a reason, and it is demonstrated here by both his ability to characterize with tone color and his ability to sing the music both beautifully and forcefully at the same time. The interchanges between Schorr and Lawrence never feel like merely great Wagnerian singing, but actually engage us as real music drama. The sound after the first act gets progressively better, and in much of Acts II and III is actually quite good, and far superior to any prior versions. The voices and the orchestra really come to life in this transfer….While the base for the performance is the 18 December, 1937 Met broadcast of DIE WALKÜRE…producer Richard Caniell had to make [very occasional] replacements from other performances, mostly from the Met in 1935, 1940 and 1946…three quarters of what we hear is conducted by Bodanzky, and the remainder by Leinsdorf (1940 Met) or Paul Breisach (1946 Met).

    The bonus excerpts from the 17 Feb., 1940 Met broadcast with Lawrence as Sieglinde and Melchior as Siegmund, Leinsdorf conducting, is a perfect ‘extra’. Immortal Performances includes some commentary by Milton Cross, which of course re-creates the atmosphere of the way so many of us heard these broadcasts….

    The usual lavish booklet, with superb essays and photographs, accompanies the discs.”

  • - Henry Fogel, FANFARE Nov./ Dec., 2014

  • DIE WALKÜRE, Live Performance, 2 Oct., 1961, w.Solti Cond. Royal Opera House Ensemble; Claire Watson, Anita Välkki, Jon Vickers, Hans Hotter, Michael Langdon, Rita Gorr, etc. (Austria) 4-Testament SBT4 1495. Audio Restoration by Paul Baily. (OP2986)

    “If ever there was an example of a high gloss, high profile, nostalgic live recording of Wagner’s DIE WALKÜRE, then this 1961 Royal Opera House performance must surely be the one. Broadcast about five years before Solti’s celebrated complete studio RING cycle for Decca was released, this stage presentation is famous for a public disagreement between Solti and Vickers over the interpretation of Siegmund’s music: Vickers never sang for Solti again. This performance has never been released before and is well worth acquiring – not just as an historical document, but also for a star-studded array of soloists (including the Valkyries!) and especially for a youthful-sounding Brünnhilde in the shape of Anita Välkki – a young Finnish soprano who had a relatively short but highly successful international singing career before returning to her native country. I am aware of very little recorded material by this extraordinary singer. Rita Gorr is in fine fettle as Fricka and has a commanding presence in her interlude with Hans Hotter’s rather subdued Wotan. Vickers is in splendid voice, despite his row with Solti, and Claire Watson provides Siegmund’s love interest as Sieglinde. Their big scenes in the first act are particularly well done. Solti conducts with his usual ‘little subtlety in the brass section approach’, but even this seems strangely appropriate here. The clear mono sound is outstandingly good, although for some reason the word ‘stereo’ appears on the CD labels: the booklet information is correct. Testament have somehow eliminated all the applause at the end of each act; moreover, there seems to be very little audience noise throughout the performance, although there are some minor stage thuds and bumps. There are generous track/cue points indicated in the accompanying booklet, together with short biographies of the main protagonists. Thoroughly recommended.”

  • - Bruce Latham, ICQ, Winter, 2014

  • ADRIANA LECOUVREUR, Live Performance, 27 Aug., 1963, King's Theatre, Edinburgh, w.deFabritiis Cond. San Carlo (Napoli) Ensemble; Magda Olivero, Juan Oncina, Sesto Bruscantini, Adriana Lazzarini, etc. (Austria) 2-Testament SBT2 1501. (OP2987)

    “Often referred to as ‘the last verismo soprano’, Magda Olivero was an artist whose total immersion in her roles combined with astounding vocal longevity earned her legendary status among lovers of expressive singing.

    Her career expanded beyond Italy, and a U.S. début took place in Dallas in 1967, where, she was persuaded, after some hesitation, to sing Cherubini’s Medea. Her reticence, based on the success of Maria Callas in the role in that city, proved unfounded; the performances were a sensation. New York area performances began in 1969, in Hartford Connecticut, with her legendary Adriana. The enterprising Maestro Alfredo Silipigni then brought Olivero to his New Jersey State Opera; local opera lovers journeyed to Newark for unforgettable Olivero evenings of TOSCA, FEDORA and MEFISTOFELE. In the meanwhile, a Philharmonic Hall début in 1971 featured the soprano in a recital coupled with LA VOIX HUMAINE in the same evening. But it was not until 1975, at the instigation of her great admirer Marilyn Horne, that the Met finally invited Magda Olivero for three performances as Tosca. She made her début soon after her sixty-fifth birthday. Although the audience was wildly demonstrative, this was no mere nostalgia event. After a few minutes to warm up and conquer nerves, Olivero’s voice was astonishingly fresh, shedding decades by Act II. At the second performance, this listener was treated to the most touching, spectacularly sung ‘Vissi d’arte’ of his experience. During Act III, Olivero’s ascent to a spectacular, lengthy high C and plunge down two octaves into chest voice on the line ‘Io quella lama’ earned her a spontaneous ovation. This old-school audience response was inspired by the artist’s old-school stage deportment; it was an evening that, in the best sense, turned back the clock whenever she was onstage. Olivero’s total belief in the reality of the drama prevented her performances from ever being reduced to shtick. And her prodigious technique and breath control spoke of a bygone era, but one in which she was unique among veristas, none of whom matched her vocal capabilities.

    Olivero continued to sing, albeit with less frequency, until 1983, when the death of her husband caused her to retire with no fanfare or farewells. However, in 1993, at eighty-three, Olivero recorded excerpts from her beloved ADRIANA LECOUVREUR, making a final artistic statement on the role, still able to offer passages of ethereal beauty and expression. Her art is extensively documented in live-performance audio recordings and a handful of video documents — every one a lesson.

    [Magda Olivero was one of the last grand, larger-than-life Italian divas and left precious few commercial studio recordings, so any in-performance release by her is an event….This woman commanded the stage in a visceral, charismatic manner and had a magnetic presence that can be felt in all her recordings….This recording features a live performance made at the 1963 Edinburgh Festival]."

  • Ira Siff, OPERA NEWS, 8 Sept., 2014

    . . . and repeated from recent weeks . . .

  • RICHARD STRAUSS - Selected Lieder Recordings - Sesquicentennial Edition. Strauss Lieder incl. Frances Alda, Rosette Anday, Peter Anders, Giuseppe Anselmi, Katherine Arkandy, Florence Austral, Erna Berger, Emmy Bettendorf, David Bispham, Jussi Björling, Anton Dermota, Claire Dux, Florence Easton, Cloe Elmo, Ernestine Färber-Strasser, Elise Feinhals, Kirsten Flagstad, Elena Gerhardt, Dusolina Giannini, Karl Hammes, Frieda Hempel, Heinrich Hensel, Gerhard Hüsch, Robert Hutt, Hermann Jadlowker, Herbert Janssen, Sabine Kalter, Alexander Kipnis, Margarete Klose, Hilde Konetzni, Selma Kurz, Lotte Lehmann, Emmi Leisner, John McCormack, Heddle Nash, Margarethe Ober, Maria Olszewska, Julius Patzak, Rose Pauly, Lea Piltti, Alfred Poell, Elisabeth Rethberg, Marcella Roeseler, Helge Roswaenge, Lotte Schloss, Heinrich Schlusnus, Lotte Schöne, Friedrich Schorr, Elisabeth Schumann, Ernestine Schumann-Heink, Joseph Schwarz, Meta Seinemeyer, Leo Slezak, Grete Stückgold, Richard Tauber, Viorica Ursuleac, Marcel Wittrisch, etc. 3-Marston 53017, recorded 1901-46. Transfers by Ward Marston. Booklet notes by Michael Aspinall. Now returned to stock! (V2311)

    “Richard Strauss’ acceptance into the pantheon of great Lieder composers began in the early 1950s, perhaps marked by the enthusiastic reception of his 'Four Last Songs', premiered by Kirsten Flagstad eight months after Strauss’ death. It wasn’t long before these songs became widely performed, and by extension, his Lieder as a whole, began to gain greater acceptance as high art along with Schubert, Schumann, Brahms, and Wolf. This compilation concentrates on Strauss Lieder recordings from an earlier era that display the sort of vocal charm and straightforward approach to the music not usually heard in today’s style of Lieder singing. Many of these recordings are extremely important historic documents retaining their position as the definitive versions of Strauss Lieder. Some of the singers included here not only knew Strauss, but worked with him, and their recordings could have been heard and judged by him.

    This three CD-set contains forty songs in eighty-two performances by fifty-seven singers."

  • - Ward Marston

  • JORGE BOLET, Vol. II: Ambassador From the Golden Age - A Connoisseur's Selection for the Bolet Centennial. 6-Marston 56003, recorded 1937-89, primarily Live Performances. Transfers by Ward Marston. Now returned to stock! (P1152)

    “This six-disc set is a compilation [comprising virtually all live performances] of huge importance for all lovers of the piano…[and] might help to bring Bolet more respect and admiration. Put simply, this represents one of the most important piano releases of recent years.

    Bolet (1914-1990) was a throwback to an earlier era. The pianists he admired most were Hofmann, Rachmaninoff, and Cortot. At his best, Bolet displayed an improvisatory freedom that sounded as if the music was being made up on the spot, but that never distorted the music beyond its structural boundaries. That is the Bolet we hear throughout this wisely chosen set. Most of the performances are from the 1970s and 1980s, and are documented by Marston in the superb booklet….This might also be the place to praise Ward Marston for the transfers; he has managed a remarkable consistency of piano sound from dozens of sources ranging over many years. The sound on this set (some stereo, most monaural) is natural and warm throughout. Many of these recordings exist only because Bolet encouraged fans to record his concerts, so much of the material was recorded in house. That makes the basically good sound quality even more surprising. Most, however, of what makes this set remarkable is the playing itself. It is hard to think of anyone before the public today who plays like this. Bolet combines many qualities: beauty of tone, wonderful cantabile, brilliance of technique (there are very few missed or wrong notes throughout the almost eight hours of live playing here), an appreciation of structure but along with it a sense of fantasy and imagination that is truly rare. He will surprise you with a sudden shift in dynamics or tempo, the application of rubato in a way you weren’t expecting, but it always works, it always fits. You never feel jerked around, nor do you feel that any of these interpretive gestures are there for the purpose of calling attention to the pianist. No—this is the way he feels the music, the way he believes the piece should be shaped. While you are listening, you also believe that the music must go this way, even if it is contrary to what you thought you believed before you heard it this way.

    Perhaps the most impressive thing throughout this set is the astonishing range of dynamics, which retain full color at both extremes. Fortissimi are thunderous, but never harsh; Bolet always manages to keep the sonority rich. The most delicate of pianissimi also retain a full body of sound, never get thin or tinkly. Another aspect worth noting is the phenomenal accuracy of the playing. In some of the most difficult of virtuoso showpieces, not only are all the notes there, but they are there with remarkable evenness of touch and tone. In the most frenetic passagework, every note is articulated with precision and just the right touch. And then there is the sense of sheer pleasure in playing, of fun, of improvisatory freedom, that makes you know that each performance you are hearing is unique. You just know that the next time he plays the same piece it is likely to be different, even significantly so.

    Two…performances must be noted. One is the Liszt ’Don Juan Réminiscences’ from a 1975 New York recital. This stands with the famous Simon Barere live recording at the peak of what is possible in combining flamboyant virtuosity with genuine musicianship. On one level this music is about the physical thrill of superhuman accomplishment at the keyboard. But it is also one very serious musician’s take on the music of an earlier genius—Liszt channeling Mozart. Bolet demonstrates here, as he did in the Verdi and Donizetti transcriptions elsewhere in this set, that he understood singing and the fact that a vocal line lies at the base of this music. The sonority is rich, the flair and accuracy remarkable. This is the performance of a master. The other performance that cannot be ignored is the Liszt TANNHÄUSER transcription from a Carnegie Hall performance on 16 April, 1989.

    Francis Crociata’s notes quote Donal Henahan’s New York Times review of this recital as follows: ‘It has always been a special pleasure to hear Jorge Bolet play the piano. The tall, ambassadorial-looking virtuoso’s technique is so brilliant and his control over it so complete that one could always attend his recitals in full confidence of being thrilled by a genuine master of the art of pianism’.”

  • - Henry Fogel, FANFARE

  • SADKO, recorded 1946-­47, w.Nebolsin Cond. Bolshoi Theatre Ensemble; Mark Reizen, David Gamrekeli, Nikandr Khanaev, Valeria Barsova, Elena Gribova, Bronislava Zlatogorova, Pavel Tchekin, Ivan Petrov, Ivan Burlak, Alexander Peregudov, Luka Zynovyitch, Anatoly Yakhontov, Ivan Skobtsov, Dmitry Martchenkov, Fedor Godovkin, Mikhail Novozhenin, Galina Nechaeva, Valentina Shevtchenko, Veniamin Shevtsov, etc. (Russia) 2-Aquarius 387. More copies on their way from Moscow! (OP2984)

  • PRINCE IGOR (Borodin), Live Performance, 12 Oct., 1962, (sung in Russian), w.Oskar Danon Cond. Lyric Opera of Chicago Ensemble; Igor Gorin (Prince Igor); Boris Christoff (Galitsky; Konchak); Consuelo Rubio (Yaroslavna); David Poleri (Vladimir); Carol Smith (Konchakovna); Renato Cesari (Skula); Mariano Caruso (Eroshka), replete with curtain calls and commentary; IGOR GORIN, w.Willard Straight (Pf.): Arie Antiche, incl.Bottegari, Monteverdi, Scarlatti, Rosa, Falcionieri, Paradies, Vivaldi & Legrenzi – recorded 1961; w.Harold Barlow Cond.Firestone Hour Orch.: BARBIERE – Largo al factotum – broadcast 24 Sept., 1945; Bud Carrey interviews Igor Gorin. (Canada) 3-IMMORTAL PERFORMANCES IPCD 1044-3. (OP2972)

  • TITO SCHIPA: Inno a Diana (Puccini); Arias from Parida ed Elena, Il Pompeo, La Rondine, Iris & Fedora – studio recorded 2 sept., 1964, New York (provenance unknown); w.Campino Cond.: Songs by Barthélemy, Pisano, Valente, Caslar, Gigante, Oliviero & di Giacomo – recorded 1955, Milano; w.Erokhin (Pf.): Songs by Scarpelli, Tosti, de Curtis, Barthélemy, Oliviero & Palacios – recorded 1957, Moscow; w.Albert Carlo Amato (Pf.): Arias from Semele, L’Elisir, Don Pasquale & Martha – Live Performance, 1962, Washington; Francis Robinson interviews Tito Schipa, 15 Dec., 1962. VAI 1281. (V2309)

  • TITO SCHIPA, w.Raucheisen & Beeldsnijder (Pfs.): Songs by Pergolesi, Scarlatti, Tosti, de Curtis, Sodero, Barthélemey, Lacalle, Bixio & Palacios - Broadcast Performance, 1939, Berlin; Live Performance, 1959, Holland (the latter featuring Schipa's enthusiastic spoken introductions & wild applause); w.Marschalek Cond.Berlin Radio Orch.: Arias from L'Arlesiana & Rigoletto (the latter's 'Parmi veder le lagrime'), Live Performance, 1942, Berlin. VAI 1280. (V2308)

    “Tito Schipa was an Italian tenor who is considered one of the finest tenori di grazia in operatic history. He was endowed with a natural, sensuous voice which he deployed with great intelligence and taste. Although some contemporary critics considered Schipa's voice to be small in size, restricted in range and slightly husky in timbre, he was still capable of provoking intense public outpourings of support among his legion of fans. These fans were enthralled by Schipa's superior musicianship, as well as by his winning personality and his ability to breathe life into even the most trite song or hackneyed aria.”

    “Like all the most beloved singers, Schipa possesses a unique and immediately recognizable timbre. In 1913, his voice is fresh, warm and bright, and at the age of 25 he has already formed his own style….Where the vocal registers are concerned, Schipa does not seem to have any problems and may have been born with the registers naturally blended….[His] unostentatious way of ‘showing off’ makes Schipa truly a connoisseur’s tenor….”

  • - Michael Aspinall, THE RECORD COLLECTOR, 2013

  • PAGLIACCI, Live Performance, 10 March, 1934, w.Bellezza Cond. Met Opera Ensemble; Giovanni Martinelli, Lawrence Tibbett, Queena Mario, Alfio Tedesco, George Cehanovsky, etc.; PAGLIACCI - Final Scene, Chicago Opera; Martinelli, Jepson; IL TROVATORE, Excerpts (includes Act III, scene 2 and Act IV, scene 2 complete), w. Martinelli, Elisabeth Rethberg, Richard Bonelli & Kathryn Meisle; Interview with Martinelli & Licia Albanese. (Canada) 2-Immortal Performances 1047. Restoration and Transfers by Richard Caniell. Notes by London Green. (OP2968)

    “What we have here is miraculous. . . .Caniell has cleaned up the material superbly — fixing pitch inconsistencies, bringing out real color from the voices, and reversing serious dynamic compression. . . .I found myself swept up from [Martinelli’s] entrance to the opera’s conclusion. Tibbett is the other major asset of this performance. His is a richly sung and highly dramatic Tonio. Not only the Prologue, but the duet with Nedda is a true highlight. This is a performance of rare dramatic fire and with musical thrills galore, lovingly and brilliantly restored. If you care at all about PAGLIACCI and/or the verismo operatic tradition, you must know this performance, and only in this transfer. As usual, the notes and photos that accompany the discs are all one could ask for.”

  • - Henry Fogel, FANFARE, Nov./Dec., 2014

  • TANNHÄUSER, Live Performance, 18 Jan., 1936, w.Bodanzky Cond. Met Opera Ensemble; Lauritz Melchior, Kirsten Flagstad, Lawrence Tibbett, Kerstin Thorborg (replaces Margaret Halstead), Emanuel List, Arnold Gabor, Editha Fleischer, etc.; TANNHÄUSER - Act III complete, Bayreuth 1930 and 1931, w.Lauritz Melchior, Maria Müller, Herbert Janssen, Ruth Jost-Arden; TANNHÄUSER – Excerpts, recorded 1940; William Steinberg & Edwin McCarthur Cond. Lauritz Melchior, Rose Bampton & Richard Bonelli. Two booklets including rare photographs, extensive texts and biographies. (Canada) 4-Immortal Performances 1039. Transfers & Essay by Richard Caniell. Now returned to stock! (OP2969)

    "To have in one performance, even if it existed only in our dreams, Melchior, Flagstad, Thorborg, Tibbett, and List is to have as close to a Wagnerian ideal as there is. . . .The key to any performance of TANNHÄUSER is the tenor in the title role, and it is doubtful that there was ever a better one than Melchior. Seven Met broadcasts exist in some form featuring the great Dane, most having been released on multiple labels . . . In all cases the transfers are not very good, exhibiting pitch problems, muffled sound leading to colorless voices, and dynamic compression. For this transfer . . . Caniell has gotten a far superior, more natural, orchestral and vocal sound from the material than is heard even on some of the other labels’ later performances. What we have here sounds like the voices we know from later studio recordings, here caught in the heat of performance.

    As is normal for Immortal Performances, there are excellent notes about the opera itself, the singers involved, and the history of the recording as well as insights into the thought processes of Caniell in putting this together.”

  • - Henry Fogel, FANFARE Nov./Dec., 2014

  • TRISTAN UND ISOLDE, Live Performance, 18 & 22 June, 1937, Covent Garden, w.THOMAS BEECHAM Cond.Royal Opera House Ensemble; KIRSTEN FLAGSTAD, LAURITZ MELCHIOR, MARGARETE KLOSE (Brangäne, Acts I & II), KARIN BRANZELL (Brangäne, Act 3), HERBERT JANSSEN (Kurwenal, Acts I & II), PAUL SCHÖFFLER (Kurwenal, Act 3) & SVEN NILSSON (King Marke); THOMAS BEECHAM Cond.London Phil. & Chorus: Flourish for a Coronation (Vaughan Williams), April, 1937; John Steane speaking about Royal Opera Seasons between the wars. (Canada) 4-Immortal Performances IPCD 1042-4. Now returned to stock! (OP2966)

    “What we have here is one of the greatest performances of [TRISTAN] ever to be captured in recorded form, finally transferred in a way that respects the quality of the music-making and brings it all vividly to life.… available now in a version that so completely supersedes all prior versions as to render them irrelevant. This is the TRISTAN of one’s dreams, combining urgency, vocal beauty, and a very musical way of putting forth a phrase.

    Richard Caniell also gives us extensive and thoughtful notes that are way beyond what we get in most releases, either by the major record companies or certainly those specializing in historic material….And one must also note the wonderful photographs included in the two accompanying booklets. There are many labels, major companies and small independent producers, that make historic material available. None does it with the consistently high standards of Immortal Performances. Those of us who believe that the history of the art form of opera must be well documented, for our own enjoyment and for future generations, owe this company an enormous debt of gratitude.”

  • - Henry Fogel, FANFARE, Nov./Dec., 2014

  • ELEKTRA (Concert Version), Live Performance, 21 March, 1937, Carnegie Hall, w.Artur Rodzinski Cond. NYPO: Rose Pauly, Charlotte Boerner, Enid Szantho, Frederick Jagel, Julius Huehn, etc.; ROSE PAULY, w.Barbirolli Cond. NYPO: All-Strauss Broadcast, incl. Don Juan; 2 lieder – ‘Verführung’; ‘Gesang der Apollopriesterin’; SALOME - Final Scene, 27 Feb., 1938, Carnegie Hall, w.broadcast commentary; DIE ÃGYPTISCHE HELENA (Strauss) – Three Scenes, w.Fritz Busch Cond., recorded 1928; ‘Allerseelen’ (Strauss) w.Fritz Reiner Cond. Detroit S.O., Ford Hour, Live Performance, 20 Feb., 1938; Fidelio – Abscheulicher! (Beethoven), recorded 1927. (Canada) 2-Immortal Performances 1045, w.Elaborate 50pp Booklet. Transfers by Richard Caniell. (OP2967)

    “Immortal Performances’ usual high production standards apply. The transfers are all infinitely superior to what has [previously] been around before of this material. The essays by Caniell himself and by London Green are illuminating, stimulating, and models of what we would hope to find in historical re-issues but almost never do. And the artwork and photographs are up to the same level. The texts and translations of the two songs are given as well.”

  • - Henry Fogel, FANFARE Nov./Dec., 2014

  • ARTURO TOSCANINI Cond. NBC S.O.: Lohengrin - Act I Prelude; Tristan - Act I Prelude; w.HELEN TRAUBEL & LAURITZ MELCHIOR: Excerpts from Tristan, Tannhäuser, Die Walküre & Götterdämmerung – Live Performance, 22 Feb., 1941, Carnegie Hall; ARTURO TOSCANINI Cond. NBC S.O.: Der Fliegende Holländer – Overture (plus rehearsal); Tannhäuser - Act III Prelude; w.HELEN TRAUBEL & LAURITZ MELCHIOR: Die Walküre - Act I, Scene 3 - 1947 rehearsal. (Canada) 3-Immortal Performances IPCD 1043. Transfers by Richard Caniell. Program Notes by Robert Matthew-Walker, William Youngren & Richard Caniell. Specially priced at 3 CDs for the price of 2. Now returned to stock! (C1318)

  • VOCAL RECORD COLLECTORS' SOCIETY - 2014 Issue, incl. Katarina Arkandy, Marie Götze, Karl Jörn, Rosa Olitzka, Joachim V. Tartakov, Marthe Chenal, Paul Bender, Ettore Bergamaschi, Marina Campanari, Jaro Dworsky, Titta Ruffo, Friedrich Schorr, Anna Meitchik, Louis Morturier, Heinz Rehfuss, Margarete Matzenauer, Mignon Nevada, Jan Peerce, Jolanda di Maria-Petris, Marguerite d’Alvarez, Bidú Sayão & Thomas L. Thomas. VRCS-2014. Transfers by Seth B. Winner. (V2294)

  • VICTOR MAUREL: Complete Recordings: 1903, Paris; 1904, Milano; 1907, London, incl. Songs by Gounod, Massenet, d’Erlanger, de Lara, Paladilhe, d’Hardelot, Hahn & Tosti; Arias from Don Giovanni, Iphigénie en Tauride, Falstaff & Otello (the latter two Creator Recordings); PIERRE GAILHARD: Complete Recordings: 1904-05, Paris , incl. ‘La Paloma’ (Yradier) (two versions); Arias from L’Africaine & Faust. (Germany) Truesound Transfers 3067. Transfers by Christian Zwarg. (V2292)

  • LÉON MELCHISSEDEC: APGA, Berliner, Pathé & Zonophone recordings, 1899-1908, incl. two performances of ‘La Marseillaise’ – Zonophone & Pathé; Arias from Don Giovanni, Ballo, Rigoletto, L’Africaine, Le Caïd, Roméo, Faust, Les Dragons de Villars & Guillaume Tell (the latter being two versions from ‘Une leçon de chant au Conservatoire National de Musique'); FRANCESCO d’ANDRADE: Lyraphon recordings, 1909, incl. Arias from Don Giovanni, Barbiere, La Favorite, Carmen, Rigoletto, Guillaume Tell & Tannhäuser. (Germany) Truesound Transfers 3084. Transfers by Christian Zwarg. (V2291)

    “These recent transfers have been an absolute revelation to me….Amazingly, Christian Zwarg has managed to unlock the sound of these recordings in such a way as to present [voices] such as I have never heard before. Here the sound has a sheen and glow which is quite beautiful. It is as if an old masterpiece painting has been cleaned and restored, allowing rays of brilliant light to emerge….”

  • - Davyd Booth, THE RECORD COLLECTOR, 2012

    . . . and we shall continue adding more books at the beginning of our completely revised book section in the coming months . . .

    . . . and our 50% Discount

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    Walkure - Flagstad, Lawrence, Melchior, Schorr  (IPCD 1046)
    OP2985. DIE WALKÜRE, Live Performance, (Re-creation of the 18 December 1937 broadcast – see below), w.Artur Bodanzky Cond.Met Opera Ensemble; Kirsten Flagstad (Sieglinde), Marjorie Lawrence (Brünnhilde), Kerstin Thorborg (Fricka), Lauritz Melchior (Siegmund), Friedrich Schorr (Wotan), Emanuel List (Hunding), etc.; Die Walküre: Act I, Scene 3 – Excerpts, w.Leinsdorf Cond. Melchior & Lawrence. (Canada) 3-Immortal Performances IPCD 1046, incl.commentary by Milton Cross. Transfers by Richard Caniell; Notes by Dewey Faulkner. - 748252293046
    Walkure  (Solti;  Vickers, Hotter, Watson, Valkki)  (SBT4 1495)
    OP2986. DIE WALKÜRE, Live Performance, 2 Oct., 1961, w.Solti Cond. Royal Opera House Ensemble; Claire Watson, Anita Välkki, Jon Vickers, Hans Hotter, Michael Langdon, Rita Gorr, etc. (Austria) 4-Testament SBT4 1495. Audio Restoration by Paul Baily. - 749677149529
    Adriana Lecouvreur (Magda Olivero, Juan Oncina) (SBT 1501)
    OP2987. ADRIANA LECOUVREUR, Live Performance, 27 Aug., 1963, King's Theatre, Edinburgh, w.deFabritiis Cond. San Carlo (Napoli) Ensemble; Magda Olivero, Juan Oncina, Sesto Bruscantini, Adriana Lazzarini, etc. (Austria) 2-Testament SBT2 1501. - 749677150129
    Jorge Bolet, Vol.II    -    Bolet Centennial    (6-Marston 56003)
    P1152. JORGE BOLET, Vol. II: Ambassador From the Golden Age - A Connoisseur's Selection for the Bolet Centennial, incl. Bach, Rameau/Godowsky, Mozart, Mozart/Liszt, Beethoven, Brahms, Mendelssohn, Chopin, Donizetti/Liszt, Verdi/Liszt, Wagner/Liszt, Schumann/Liszt, Franck, Debussy, Tchaikovsky/Rachmaninoff, Godowsky, Weber/Godowsky, Vorisek, Schubert/Godowsky, Chopin/Godowsky, Chasins, Moszkowski, J. Strauss/Godowsky, R. Strauss/Godowsky, Rachmaninoff, Saint-Saëns/Godowsky, Bizet/Godowsky & Albéniz/Godowsky. 6-Marston 56003, recorded 1937-89, Primarily Live Performances. Transfers by Ward Marston. Notes by Francis Crociata - 638335600321
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    Sally (Dorothy Dickinson & Grossmith) (Palaeophonics 116)

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    Vocal Record Collectors' Society - 2014 Issue (VRCS-2014)

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    Lady, Be Good (Gershwin, Astaire) (Palaeophonics 122)

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    Meyerbeer on Record, Vol. II (3-Marston 53012)

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    Toscanini; Helen Traubel; Lauritz Melchior (3-IPCD 1043)

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    Follow the Crowd (Stop! Look! Listen!) (Palaeophonics 115)

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    Oberst Chabert (Patzak, Wiener, Hopf) (2-Walhall 0379)

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    Norma (Votto; Callas, Simionato, del Monaco) (Myto 00153)

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    John McCormack - Complete Odeon (4-Marston 54005)

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    Tannhauser (Melchior, Tibbett, Flagstad) (4-IPCD 1039)

    $59.95No No Nanette (Binnie Hale, Joe Coyne)  (Palaeophonics 124)
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    $39.90Maryla Jonas, Vol. I       (2-St Laurent Studio YSL 78-219)
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