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Auction Closing Friday, 17 May ! ! !
Celebrating ZINKA MILANOV’s birthday, 17 May,
with her 1953 GIOCONDA and her
1954 TROVATORE, both with BAUM & WARREN;
also from Yves St Laurent -
JORGE BOLET, Vol. 4; LOLA BOBESCO;
many Books & CDs added to our 50% SALE
Norbeck, Peters & Ford's
Annual 78rpm Auction is almost over!
Norbeck, Peters & Ford's new
78rpm AUCTION #150
is now 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
facilitate faster loading, especially on mobile phones.
We appreciate you taking the time
to review our new offerings.
It is our hope, by sharing our
appreciation for these finds,
you can enhance your collections.This Week's Offerings:JORGE BOLET: Sonata #31 in A-flat, Op.110 (Beethoven); Transcendental Etudes (Liszt); Le Cygne (Saint-Saens); (Schubert-Liszt, Mendelssohn & Verdi-Liszt). [A magnificent recital recorded in brilliant sound; the Op.110 Beethoven is magisterial!] Transfers by Yves St Laurent. (Canada) 2-St Laurent Studio YSL T-756, Live Performance, 11 Oct., 1970, Bloomington, Indiana. (P1302)
“This is an extraordinary addition to the Jorge Bolet discography. The six-disc Marston set of live performances (‘Ambassador from the Golden Age’ Marston 56003) appeared on two 2015 FANFARE Want Lists, mine and Mark Medwin’s. This new release might just wind up on my 2019 list. Bolet’s career was important but not at the superstar level his playing merits. One reason for this might be that his studio recordings have a certain reticence that is completely lacking in his live performances. Bolet most admired pianists from a bygone era who exhibited extraordinary interpretive freedom and flair, pianists like Sergei Rachmaninoff and Josef Hofmann. While one would not sense this affinity from most of Bolet’s studio recordings, it is clearly evident when one hears his live recordings. At his best Bolet managed to balance an improvisatory freedom that gave the impression of music being made up on the spot with a sense of architecture and structure that prevented him from distorting the music’s shape more than it could take.
The present recital from Indiana University in 1970 captures Bolet at his best and also demonstrates the remarkable scope of his artistic sensibilities. His performance of Beethoven’s Op. 110 (what a work to choose for the opening of a recital!) conveys the excitement of virtuosity integral to the second movement and parts of the finale, while at the same time probing very deeply into the spiritual content of the Adagio, ma non troppo. His singing tone emphasizes the marking Moderato cantabile molto espressivo of the first movement. In fact, cantabile is one of the consistent features of this recital, running through the Liszt etudes and transcriptions and everything else.
Bolet plays with a wide range of color, consistent beauty of tone, and an ability to clarify complex textures without ever sounding fussy. The fugal voices in the Beethoven are perfectly clarified, and later we get a vivid sense of all four singers in the RIGOLETTO Quartet that is the basis of Liszt’s Paraphrase.
Bolet performs the twelve Transcendental Etudes not in the published order but in an order he was presumably more comfortable with. The rearrangment should not be a problem for anyone as there is no real overall structure or shape to the series beyond key signatures, and by ending with #8, ‘Wilde Jagd’, Bolet creates a highly dramatic theatrical conclusion. His ability to balance the theatrically extravagant and the introspective elements of these etudes makes this a very special recording, comparable with the best….
The remainder of the recital, an unusually generous one at 108 minutes, is similarly successful. Godowsky’s transcription of Saint-Saens’ ‘Swan’ from CARNIVAL OF THE ANIMALS is played with rippling notes that show no evidence of their technical difficulty. At the same time, Bolet’s lyrical shaping of the melody is what one might expect from a singer of bel canto. The Mendelssohn gives us a similar bel canto-like line in the Andante and then recalls the fairies of A MIDSUMMER NIGHT’S DREAM in the Rondo capriccio. The trick in Liszt’s transcription of Schubert’s ‘Die Forelle’ is to balance clarity in the melody amidst all of the keyboard trickery with which Liszt surrounded it while not hiding that trickery. Bolet, as you might expect, achieves this as well as I have ever heard.
The monaural sound is natural, with the piano neither too close to nor too far from the microphones. St. Laurent Studio recordings, available from Norbeck, Peters & Ford, provide no program notes but do have complete information about the contents and track listing. Most importantly, the company chooses material with a keen eye to preserving the legacy of important artists. Their service in this regard is to be admired with gratitude.”
- Henry Fogel, FANFARE
LA GIOCONDA, Live Performance, 3 Jan., 1953, w.Cleva Cond. Met Opera Ensemble; Zinka Milanov, Kurt Baum, Fedora Barbieri, Leonard Warren, Cesare Siepi, Jean Madeira, etc. (Canada) 2-St Laurent Studio YSL T-684. Transfers by Yves St Laurent. (OP3305)
“Ready and willing, [Milanov] offers what is perhaps the most emotional, fully committed performance of her long broadcast career….As Milanov fills Ponchielli’s churning lines with splendid arcs of sound, the heroine’s pain and sorrow are fully exposed - the soprano, too, has opened her heart to us. One expects Milanov to soar grandly over the third-act choral mass, but more welcome is the wide dynamic range of her singing, especially in the final act….’Suicidio’ is a flamboyant example of her art. As seems appropriate to the theatre, the reading is more expansive than in her celebrated recording….in the abandon of her portrayal she flirts with danger throughout the afternoon….Milanov and Gioconda are one….Gioconda looms as the ultimate image of her stage persona and vocal manner.”
- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.153IL TROVATORE, Live Performance, 16 Jan., 1954, w.Cleva Cond. Met Opera Ensemble; Zinka Milanov, Kurt Baum, Elena Nikolaidi, Leonard Warren, Nicola Moscona, etc. (Canada) 2-St Laurent Studio YSL T-686. Transfers by Yves St Laurent. (OP3306)
“I will say emphatically that Milanov's Leonora in TROVATORE, among other roles she sang splendidly, was the peer of any soprano's in my experience. (Yes, my own included.....Milanov's was an amazingly beautiful voice.…In the end, she earned a place in operatic history and it was an Olympian one.”
- Rosa Ponselle
“In the dramatic Italian roles, the greatest soprano I ever sang with was Zinka Milanov.…Milanov had one of the greatest voices of this century…she had such power, such dramatic drive in her voice — and she had such pure top tones, including a pianissimo even on the high C, if she wanted.”
- Alexander Kipnis
“Milanov came like a bolt out of heaven - the voice and the young woman, both so vibrant and exciting. We knew something great had come into [the Met’s] Italian wing. What was not obvious at the beginning was that she would have such a staying power, for she gave so much in her singing.…I was present years later on her great anniversaries and she sang at mine [the fiftieth anniversary of [my] Met debut, 1963]. She was incomparable. She was like a vocal sorceress singing the OTELLO arias that night. Such a roar went up from the public, I can never forget it.”
- Giovanni Martinelli
“Zinka never paused to consider the effect her ‘Milanovisms’ might have on others. She once saw very religious Kurt Baum crossing himself before the third act of TROVATORE. Zinka just looked at him and said, ‘If you don’t know it Baum, Gott ain’t gonna help you.”
- Anna-Lisa Bjorling,JUSSI, p.261
“A dramatic tenor alternately gauche and exciting, Kurt Baum filled a crucial spot for the Metropolitan Opera and other houses without ever quite having attained star status. Long after his nominal retirement from the stage, he continued to make concert appearances. Noted throughout his career for stentorian top notes, he later wrote several treatises on preservation of the voice and singing well in old age. Whatever his deficiencies as an artist, he was an exemplar of longevity. Baum spent his high school and college years in Cologne, Germany, before entering medical school at Prague University in 1927. During this period, Baum engaged in a number of athletic activities, becoming the amateur boxing champion of Czechoslovakia. He also evinced a strong interest in music. Urged by friends to sing professionally, Baum left medical school and enrolled at Berlin's Music Academy in 1930. By 1933, Baum was sufficiently well prepared to win the Vienna International Singing Competition, taking first prize among 700 contestants. Heard by the Intendant of the Zurich Opera, Baum was engaged for that company and made his debut there in 1933 singing in Alexander von Zemlinsky's DER KREIDEKREIS. After singing a variety of lyric roles at Zurich, Baum was engaged the following year by the Deutsches Theater for a succession of more dramatic roles. Feeling the need for further study, Baum traveled to Italy to work with Eduardo Garbin in Milan and with faculty at Rome's Accademia Santa Cecilia. Fortified with additional technical expertise, Baum sang in many of Europe's leading houses in Paris, Vienna, Budapest, Monte Carlo, and at Salzburg. Heard in Monte Carlo by the director of the Chicago Opera, Baum was engaged and made his American debut in Chicago on 2 November, 1939, singing Radames to the Aida of Rose Bampton. He was heard in subsequent seasons as Don Jose and Manrico. Meanwhile, Baum joined the Metropolitan Opera, making his debut on 27 November, 1941, as the Italian Singer in DER ROSENKAVALIER. In this short but memorable part, his talents were well matched to the role's requirements. For the next quarter century, Baum sang the spinto repertory at the Metropolitan to reviews both complimentary and critical. When the company mounted WOZZECK for the first time in 1959, Baum found a highly congenial role in the preening Drum Major. After WWII, Baum returned to Europe and made his debut at La Scala as Manrico and re-established relations with several other major companies.”
- Erik Eriksson, allmusic.com
"Leonard Warren emerged as the principal baritone of the Met’s Italian wing in the early 1940s and remained so until his untimely death on the Met’s stage, 4 March, 1960, at the peak of his career. His smooth, velvety, and beautiful voice was powerful and had an unusually large range in its high register. It was easily and evenly produced, whether he sang softly or roared like a lion….Warren acted his roles primarily by vocal coloring, expressivity, and his excellent diction….his singing was unusually consistent….Warren’s legacy should be of interest to all lovers of great singing."
- Kurt Moses, AMERICAN RECORD GUIDE, Nov./Dec., 2006LOLA BOBESCO, w.Daniel Sternefeld Cond. Belgian National Orch.: Violin Concerto in e (Lodewijk de Vocht), Live Performance, 13 May, 1949; w. Hans Muller-Kray Cond. SWR S.O.: Violin Concerto in D (Beethoven), recorded 10 June, 1960. (Canada) St Laurent Studio YSL T-809. Transfers by Yves St Laurent. (S0742)
“Lola Bobesco was a Romanian violinist who spent most of her career in Europe and many of those years were spent in Belgium, which is why Bobesco is frequently referred to as a Belgian violinist. She initially studied with her father, a noted composer and conductor. At age 6, she gave her first public recital. From 1928 to 1935, she studied at the Normal School of Music in Paris. Her main teacher there was Marcel Chailley, a well-known violinist of the time. She almost simultaneously studied at the Paris Conservatory from 1931 to 1935, with Jules Boucherit. She also studied privately with George Enescu and Jacques Thibaud. She apparently made her orchestral debut in Paris in 1936 with the (Edouard) Colonne Orchestra with Paul Paray conducting. Paray would later become chief conductor of the Detroit Symphony, when Detroit was in its prime. It was an unusual debut in that she performed not a concerto from the standard repertoire but a work by a now-obscure Romanian composer, Stan Golestan. She was 17 years old. The next year, she won seventh prize in the Queen Elizabeth (Eugene Ysaye) violin competition - David Oistrakh came in first. After that, she returned to Romania and established a career in Bucharest. On January 17, 1960 she made her first appearance with the Berlin Philharmonic, playing the Brahms Concerto. She was 38 years old. She performed with most of the major European orchestras, including the Concertgebouw, the London Philharmonic, and the Berlin Philharmonic, under conductors famous at the time, including Rudolf Kempe, Ernest Ansermet, Karl Bohm, and Otto Klemperer. Having relocated to Belgium in her early thirties, from 1958 to 1978, she led the Royal Wallonia Chamber Orchestra in Mons, Belgium, situated about 30 miles south of Brussels. She was also violin professor at the Brussels Conservatory. From 1962 to 1974, she taught at the Liege Conservatory. In 1990, she founded a string quartet as well - the Arte Del Suono Quartet. She was 69 years old. Her violin, among others, was a 1754 GB Guadagnini. Bobesco died (in Sart lez Spa, Belgium) on September 4, 2003, at age 82, largely forgotten.”
- Prone to Violins, 16 Feb., 2014. . . REPEATED . . . FROM THE RECENT PAST . . .SIMON BOCCANEGRA, Live Performance, 2 April, 1960, w.Mitropoulos Cond. Met Opera Ensemble; Frank Guarrera, Zinka Milanov, Carlo Bergonzi, Giorgio Tozzi, Ezio Flagello, Norman Scott, etc. [For the ultimate in a Verdian soprano phrase, Milanov's Verdian Arc is truly extraordinary in the Council Chamber Scene!] (Canada) 2-St Laurent Studio YSL T-674. Transfers by Yves St Laurent. (OP3245)
CARMEN, Live Performance, 13 Dec., 1975, w.Henry Lewis Cond. Met Opera Ensemble; Regine Crespin, William Lewis, Katia Ricciarelli, Jose van Dam, Andrea Velis, etc. [Beyond this fabulous performance, Crespin's spoken dialogue is positively delicious! In every respect, Crespin was a great Carmen - among the two or three most remarkable performances in our memory!] (Canada) 2-St Laurent Studio YSL T-715. Transfers by Yves St Laurent. (OP3304)
"[Crespin] was surely one of the greatest French singers of the 20th Century; in fact, one of the great singers on records, one whose art goes well beyond the merely vocal. Beyond its size, [her voice] had a beautiful shimmer about it, a glowing quality present in all registers."
- Henry Fogel, FANFARE, March/April, 2005ADRIANA LECOUVREUR (Cilea), Live Performance, 26 Feb., 1983, w.Thomas Fulton Cond. Met Opera Ensemble; Renata Scotto, Viorica Cortez, Neil Shicoff, Mario Sereni, etc. (Canada) 2-St Laurent Studio stereo YSLT-676. Transfers by Yves St Laurent. (OP3303)
KLAUS TENNSTEDT Cond. Minnesota Orchestra: Symphony #8 in c (Bruckner), Live Performance, 1 Nov., 1989 [albeit with 2 very brief minor static intrusions]; KLAUS TENNSTEDT Cond. London Phil.: 'Unfinished' Symphony #8 in b (Schubert), Live Performance, 4 Nov., 1984; Don Juan (Strauss), Live Performance, 23 Oct., 1988. (Canada) 2-St Laurent Studio YSL T-817. Transfers by Yves St Laurent. (C1705)
“Tennstedt's Bruckner is something magical, even transcendental. His sympathy with Bruckner's sprawling spiritual visions, and his ability to communicate all the halting-steps progress of the journey from doubt to reaffirmation that is at the core of all of Bruckner's music, can be awe-inspiring.”
- Thor Eckert Jr., CHRISTIAN SCIENCE MONITORJEAN MARTINON Cond. Chicago Orchestra, w. Steven Staryk, Adolph Herseth, Ray Still, Donald Peck & Joane Bennett: Brandenburg Concerto #2 in F; w. Maria Stader: 'Wedding Cantata' Weichert nur, betrubte Schatten - Live Performance, 2 June, 1966 [Sterling, breathtaking performances in the superb Orchestra Hall acoustic]; JEAN MARTINON Cond. ORTF S.O.: Die Kunst der Fuge - Live Performance, 14 Jan., 1970, Theatre des Champs Elysees, Paris (all Bach). (Canada) 2-St Laurent Studio YSL T-623. Transfers by Yves St Laurent. (C1704)
JEAN MARTINON Cond. Chicago Orchestra: Images (Debussy), Live Performance, 19 Jan., 1967; w. ZINO FRANCESCATTI: Tzigane (Ravel), Live Performance, 17 March, 1966; w. MAUREEN FORRESTER: Poeme de l'amour et de la mer (Chausson), Live Performance, 8 Feb., 1968, all Orchestra Hall. (Canada) St Laurent Studio YSL T-505. Transfers by Yves St Laurent. (C1479)
FAUST (Schumann) – Scenes - ERICH LEINSDORF Cond. Boston Symphony Orch., w.Charles Bressler, Beverly Sills, Hermann Prey, Thomas Paul, Florence Kopleff, Tatiana Troyanos, Batyah Godfrey & Veronica Tyler. [An outstanding, beautiful performance in the customary radiant sound displaying the refreshing acoustics of Symphony Hall!] (Canada) 2-St Laurent Studio YSL T-739, Live Performance, 26 Feb., 1966, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1698)
PAUL PARAY Cond. Detroit S.O.: Beethoven, Reger & Schumann (incl. the latter's Symphony #4 in d). (Canada) St Laurent Studio YSL T-646, Live Performances, 1960, 1961 & 1962. Transfers by Yves St Laurent. (C1697)
YEVGENY MRAVINSKY Cond. Leningrad Phil.: Symphony #9 in d [Original Edition] (Bruckner). (Canada) St Laurent Studio YSL T-787, Live Performance, 28 Feb., 1968, Great Hall of the Leningrad Conservatory. Transfers by Yves St Laurent. (C1703)
LEONID KOGAN, w.Antal Dorati Cond. Stuttgart Radio S.O.: Violin Concerto in D (Beethoven), Live Performance, 20 Jan., 1972; w.Ferdinand Leitner Cond. RAI S.O., Milano: Violin Concerto #2 in D, K.211 (Mozart), Live Performance, 1974. [Kogan's sublime performance of the Beethoven Concerto is about as close to Nirvana any of us is apt to hear! A revelation of taste and profound sensitivity!] (Canada) St Laurent Studio YSL T-788. Transfers by Yves St Laurent. (S0741)
ANDRE TCHAIKOWSKY, w.Dimitri Chorafas Cond.: Piano Concerto #24 in c, K.491, Live Performance, 25 April, 1961, Theatre des Champs-Elysees; w.Sergiu Comissiona Cond.: Piano Concerto #20 in d, K.466, Live Performance, 8 Sept., 1971, Besancon (both Mozart; both Orchestre National de la RTF). Transfers by Yves St Laurent. [Another an undeniable 'find' from Yves St Laurent!] (Canada) St Laurent Studio YSL T-801. (P1303)
EMIL GILELS: 'Grosse Sonate' Sonata #1 in f-sharp (Schumann); Sonata #2 in b-flat (Chopin); Sonata in b (Liszt). [The great discovery here is the great Schumann Sonata . . . brilliantly played!] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-729, Live Performance, 24 Oct., 1961, Great Hall of the Leningrad Philharmonic. (P1301)
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.
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.
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P1302. JORGE BOLET: Sonata #31 in A-flat, Op.110 (Beethoven); Transcendental Etudes (Liszt); Le Cygne (Saint-Saëns); Schubert-Liszt), Mendelssohn & Verdi-Liszt). [A magnificent recital recorded in brilliant sound; the Op.110 Beethoven is magisterial!] Transfers by Yves St Laurent. (Canada) 2-St Laurent Studio YSL T-756, Live Performance, 11 Oct., 1970, Bloomington, Indiana.
OP3305. LA GIOCONDA, Live Performance, 3 Jan., 1953, w.Cleva Cond. Met Opera Ensemble; Zinka Milanov, Kurt Baum, Fedora Barbieri, Leonard Warren, Cesare Siepi, Jean Madeira, etc. (Canada) 2-St Laurent Studio YSL T-684. Transfers by Yves St Laurent.
OP3306. IL TROVATORE, Live Performance, 16 Jan., 1954, w.Cleva Cond. Met Opera Ensemble; Zinka Milanov, Kurt Baum,
Elena Nikolaidi, Leonard Warren, Nicola Moscona, etc. (Canada) 2-St Laurent Studio YSL T-686. Transfers by Yves St Laurent.
S0742. LOLA BOBESCO, w.Daniel Sternefeld Cond. Belgian National Orch.: Violin Concerto in e (Lodewijk de Vocht), Live Performance, 13 May, 1949; w. Hans Müller-Kray Cond. SWR S.O.: Violin Concerto in D (Beethoven), recorded 10 June, 1960. (Canada) St Laurent Studio YSL T-809. Transfers by Yves St Laurent.
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
Fidelio (Tennstedt; Marton, Vickers, Mazura, Plishka) (2-St Laurent Studio YSL T-794)
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)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Elektra (Christopher Keene; Olivia Stapp, Natalie Costa, Chookasian, Crabb, Cross) (2-St Laurent Studio YSL T-762)
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)
Samson et Dalila (Jean Fournet; Jon Vickers & Marilyn Horne) (2-St Laurent Studio stereo YSL T-804)
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)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Klaus Tennstedt, Vol. XVIII (Bruckner 8th - Philadelphia); Brendel (2-St Laurent Studio YSL T-789)
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)
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)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
St Matthew Passion - Charles Munch, Vol. XXIX; Endich, Kopleff, Cuenod, Mack Harrell (2-St Laurent Studio YSL T-689)
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)
Klaus Tennstedt, Vol. VIII; Jules Eskin & Burton Fine (St Laurent Studio YSL T-697)
Lohengrin (Rosenstock; Konya, Crespin, Rankin, Cassel) (3-St Laurent Studio YSL T-662)
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)
Peter Grimes (Colin Davis; Vickers, Amara, Evans, Madeira, Chookasian, Plishka (2-St Laurent Studio YSL T-720)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Sir Thomas Beecham - Concert in memory of Toscanini (St Laurent Studio YSL T-765)
Renata Scotto, Vol. I, Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Zara Dolukhanova, Vol. II, Nina Svetlanova (Pf.) - Leningrad (St Laurent Studio YSL T-719)
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)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Samson (Handel) (Rudel; Jon Vickers, Leona Mitchell, Kiri Te Kanawa, Paul Plishka) (2-St Laurent Studio T-795)
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. XI, Alexis Weissenberg (St Laurent Studio YSL T-731)
Klaus Tennstedt, Vol. XVII - (Bruckner 8th - NDR S.O.) (St Laurent Studio YSL T-776)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Gina Cigna; Elmo, Stignani, Gigli, Merli, Pasero; de Sabata (Malibran 157)