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The 1976 Boulez-Chereau
WALKURE from Bayreuth . . .
Yves St Laurent also presents
OTMAR SUITNER with BSO
BRENDEL, MARIAN ANDERSON, Vol. II
BERNSTEIN, Vol. V, with YAKOV FLIER . . .
NOW OFFERING MORE THAN
2200 TITLES on our 50% SALE
This week we are pleased to offer:OTMAR SUITNER Cond. Boston S.O.: Serenade in D (Brahms); Tannhauser – Overture (Wagner); w.ALFRED BRENDEL: Piano Concerto #20 in d, K.466 (Mozart). [An extraordinarily beautiful concert, broadcast in a gloriously spacious acoustic!] (Canada) 2-St Laurent Studio YSL T-527, Live Performance, 10 July, 1982, Tanglewood. Transfers by Yves St Laurent. (C1577)
“Otmar Suitner was one of the last survivors of the old Kapellmeister tradition, learning his crafts as he made his way up the professional ladder in slow and steady stages, rather than the catapult-to-stardom system that deposits young conductors before the public these days. Eventually, Suitner's name was to become a frequent one on recordings, but the fact that he spent most of his working life in the former East Germany meant he was not as familiar a figure on the international scene as his abilities deserved….under the tutelage of the eminent Clemens Krauss….Suitner's first professional position came quickly, in 1942, as ballet répétiteur for the Tiroler Landestheater. The job allowed him to take to the podium occasionally, although for the years after 1944 he was active mainly as a concert pianist. His second post, in 1952, brought more responsibility, as Musikdirektor in Remscheid, near Düsseldorf, whence five years later he progressed to the Staatsphilharmonie Rheinland-Pfalz as Generalmusikdirektor. With his next step, in 1960, he covered several rungs at once, with a move to Dresden as chief conductor of the Staatskapelle, a post that attracted some of major names in conducting: Suitner was preceded there by Fritz Busch, Karl Böhm and Rudolf Kempe, among others, and in 1964 he was succeeded by Kurt Sanderling.
His most prestigious position took the form of a two-part period as Generalmusikdirektor of the Staatsoper in East Berlin - perhaps the foremost musical job in the German Democratic Republic - first from 1964 to 1971 and then again from 1974 to 1990, although he was also busy as a guest conductor during his interregnum. Here his interpretations of Mozart, Wagner and Strauss were admired for their freshness, as was his handling of Italian repertoire - less predictably, perhaps, but then his mother was Italian. His friendship with the composer Paul Dessau was to result in the premieres of no fewer than three operas: PUNTILA in 1966, EINSTEIN in 1973 and LEONCE UND LENA in 1979 - the latter two documented in CD recordings.
Suitner also continued to appear in the West, not least at Bayreuth in the mid-1960s, the far West, as a guest conductor of the San Francisco Opera from 1969, and the Far East. Indeed, he was a frequent guest in Japan, especially with the NHK Symphony Orchestra in Tokyo, where he was made an honorary conductor in 1973. He was also professor of conducting at the Hochschule für Musik und darstellende Kunst in Vienna from 1977 to 1988.”
- Martin Anderson, THE INDEPENDENT, 19 February, 2010
“Alfred Brendel is considered one of the greatest living classical pianists. In 2008, after performing for sixty years, he retired from the concert stage. Brendel is a towering figure....unusually tall for a pianist, with a high brow and a loping stride. His style is donnish—tweed jacket, rumpled trousers, shock of gray hair—but his aura is leonine. He commands the stage even when he is merely standing on it.”
- Judith Thurman, THE NEW YORKER, 3 Nov., 2011 DIE WALKURE, Live Performance, 25 July, 1976, w.Boulez Cond. Bayreuth Festival Ensemble; Donald McIntyre, Peter Hofmann, Gwyneth Jones, Hannelore Bode, Matti Salminen, Eva Randova, etc. [The second day of the First Cycle – a far superior version than the later performance already available on Video, these CDs [not DVDs] are in breathtakingly brilliant stereo sound!] (Canada) 3-St Laurent Studio YSL T-645. Transfers by Yves St Laurent. (OP3241)
“Boulez's ultimate achievement as a recording artist is the video of the RING, filmed in Bayreuth, in which his lithe conducting provides the perfect counterweight to Chéreau’s convulsive directorial vision to become available on home video on VHS tape and on LaserDisc, as well as being released on Philips LPs and compact discs. [The now-offered performance is a CD presentation of the earlier performance.]"
- Alex Ross, THE NEW YORKER, 25 Jan., 2016
MARIAN ANDERSON, w. Kosti Vehanen & Franz Rupp (Pfs.): Songs by Strauss, Sibelius, Schumann, Schubert & Handel; Spirituals. (Canada) St Laurent Studio YSL 78-628, recorded 1930-47. (V2544)
"The great American contralto scarcely needs an introduction. Her rich, vibrant voice, unique in its colors and timbre, was coupled with excellent musicianship, a seriousness of purpose, and depths of emotional involvement."
- Charles H. Parsons, AMERICAN RECORD GUIDE, Sept./Oct., 2007
“It is difficult now to separate the voice and the woman from the almost marbleized monument that Anderson became long before she died in 1993….America’s traveling good will ambassador, a special United Nations delegate, the subject of numerous television documentaries, and a beloved icon.”
- Peter G. Davis, THE AMERICAN OPERA SINGER, p.340 LEONARD BERNSTEIN Cond. NYPO: Ruslan & Ludmila – Overture (Glinka); Symphony #6 in b (Shostakovich); w.YAKOV FLIER: Piano Concerto #3 in d (Rachmaninoff). (Canada) 2-St Laurent Studio YSL T-614, Live Performance, 13 Oct., 1963, Philharmonic Hall, New York. Transfers by Yves St Laurent. (C1578)
“…Yakov Flier…was one of the leading Soviet pianists of his day and might have had far greater success internationally had Cold War politics not encumbered his career. Gilels, then Richter, and finally Lazar Berman were granted permission by Soviet cultural czars to concertize abroad, and so too was Flier. But, unlike that star-studded trio, Flier did not live long after he first appeared in the West.
Yakov Flier studied piano at the Moscow Conservatory under the renowned pedagogue Konstantin Igumnov. Flier graduated in 1934 as one of the USSR's most promising keyboard prospects. He lived up to that hope: in 1936 he won first prize at the prestigious Vienna International Piano Competition, ahead of Emil Gilels….His debut in the U.K. was in 1962, and although he drew high praise internationally, he was generally eclipsed abroad by Richter and Gilels during his final decade-and-a-half.”
- Robert Cummings, allmusic.com
“According to The New York Times’ critic Donal Henahan, (15 Oct., 1990), Bernstein was ‘one of the most prodigiously talented and successful musicians in American history’. He is quite possibly the conductor whose name is best known to the public in general, especially the American public. His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for WEST SIDE STORY, as well as CANDIDE, WONDERFUL TOWN, ON THE TOWN and his own MASS….In 1960 Bernstein and the New York Philharmonic held a Mahler Festival to mark the centenary of the composer's birth. Bernstein, Walter and Mitropoulos conducted performances. The composer's widow, Alma, attended some of Bernstein's rehearsals. The success of [Bernstein’s Mahler] recordings, along with Bernstein's concert performances and television talks, was an important part of the revival of interest in Mahler in the 1960s, especially in the US."
- Donal Henahan, THE NEW YORK TIMES, 15 Oct., 1990
. . . REPEATED FROM THE RECENT PAST . . .
DAS RHEINGOLD, Live Performance, 24 July, 1976, w.Boulez Cond. Bayreuth Festival Ensemble; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen, Eva Randova, etc. [The first day of the first cycle – a far superior version than the one already available on Video, in breathtakingly brilliant stereo sound!] (Canada) 2-St Laurent Studio YSL T-590. Transfers by Yves St Laurent. (OP3240)
ALEXIS WEISSENBERG, w.Pretre Cond. Orchestre de Paris: Piano Concerto #1 in b-flat (Tschaikowsky); Pretre Cond.: "New World' Symphony #9 in e (Dvorak). (Canada) St Laurent Studio YSL T-569, Live Performance, 16 April, 1970, Osaka, Japan. Transfers by Yves St Laurent. (P1274)
PIERRE MONTEUX Cond. Danish National S.O.: Benvenuto Cellini – Overture (Berlioz); Symphony #3 in F (Brahms); w.ERLING BLONDAL BENGTSSON (Cello): Variations on a Rococo Theme (Tschaikowsky). (Canada) St Laurent Studio YSL T-525, Live Performance, 7 Oct., 1962, Copenhagen. Transfers by Yves St Laurent. (C1572)
DESIRE-EMILE INGHELBRECHT Cond. RTF S.O.: Der Freischutz – Overture (Weber); Gaultier-Garguille (Bondeville); Gwendoline - Overture; Espana; w.Gérard Friedman & Bernard Demigny: Le Roi malgré-lui (all Chabrier), Live Performances, 1958 & 1959 (all Theatre des Champs Elysees, Paris). (Canada) St Laurent Studio YSL T-540. Transfers by Yves St Laurent. (C1570)
BRUNO MADERNA Cond. NDR S.O., Hamburg, w.Karlheinz Stockhausen (tape): Deserts for Orchestra and electronic tape (Varese), German premiere performance, 8 Dec., 1954; another performance, w.Royal Concertgebouw Orch., 17 April, 1966; rehearsals, w.Pierre Boulez Cond.RTF S.O. (Canada) St Laurent Studio YSL T-568. Transfers by Yves St Laurent. (C1565)
ERNEST ANSERMET Cond. Bavarian Radio S.O.: Symphony #95 in c (Haydn); ERNEST ANSERMET Cond. WDR S.O.: Prelude, Fugue & Postlude (Honegger); ERNEST ANSERMET Cond. NHK S.O., Tokyo: La Damnation de Faust -
Rakoczy March (Berlioz); L'Oiseau de feu (Stravinsky). (Canada) St Laurent Studio YSL T-490, Live Performances, 1962-64. Transfers by Yves St Laurent. (C1568)
ANNIE FISCHER, w.Kletzki Cond. Budapest Phil.: Piano Concerto in a (Schumann), Broadcast Performance, 28 Sept., 1964; w.Somogyi Cond. Hungarian State S.O.: Piano Concerto #3 in E (Bartok), Broadcast Performance, 28 Sept., 1955. (Canada) St Laurent Studio YSL T-630. Transfers by Yves St Laurent. (P1273)
CHRISTIAN FERRAS, w. Eugen Jochum Cond. RTF S.O.: Violin Concerto in D (Tschaikowsky), Live Performance, 9 April, 1964, Paris; w. Pedro de Freitas Branco Cond. National S.O.: Violin Concerto in d (Sibelius), Live Performance, 16 Nov., 1957, Lisbon. (Canada) St Laurent Studio YSL T-606. [A remarkably beautiful performance of the Tschaikowsky Concerto by this beautiful, currently neglected artist.] Transfers by Yves St Laurent. (S0712)
LA FORZA DEL DESTINO, Live Performance, 9 March, 1968, w.Molinari-Pradelli Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Robert Merrill, Jerome Hines, Louise Pearl, Fernando Corena, Louis Sgarro, Carlotta Ordassy, Robert Schmorr & Robert Goodloe. [This is the remarkable performance which confounded one of Price's confreres who initially couldn't believe it was she singing!] (Canada) 2-St Laurent Studio YSL T-652. Transfers by Yves St Laurent. (OP3236)
“That this was reasonably standard casting for the big Verdi operas at the Met in the 1960s is why some of us old fogies refer to the ‘good old days’.…When we get to the singing…we are in very special territory. For many of us the ideal FORZA
Leonora was Zinka Milanov (although by 1968 she was done). What Milanov had, in addition to ethereal floated pianissimi, was a solid column of sound from bottom to top, emanating from the same throat and diaphragm. Her rich sonority brought a kind of grandeur to the score that it really needs. Leontyne Price lacked that quality [but] there is so much that is glorious in Price’s singing that it is curmudgeonly to complain. The top glows with a bright beauty and sense of freedom that frankly was much more reliable and unrestricted than Milanov’s. Price soars through the long lines of ‘Madre, pietosa Vergine’ and ‘La vergine degli angeli’ with an ease and splendor that will make you gasp. The quick vibrato that was part of her natural sound is just right for the music, and she is dramatically involved as well, not just singing notes but inflecting them with meaning and interacting with the other characters….
For some, Franco Corelli…was one of the most thrilling tenor voices of the central decades of the 20th century, and his innate feeling for the ebb and flow of the Verdi line was superb. He is on good behavior here, displaying little of the explosive exaggerations that could mar his worst work - what pours out of his throat is glorious. ‘O tu che in seno agli angeli’ is truly great singing, and the long ovation it arouses is fully justified. Corelli displays real sensitivity to dynamic shadings, using not just a ringing forte and hushed pianissimo but every dynamic in between. Robert Merrill, who had one of the great Verdi baritone voices in that era, could be a stolid singer. Don Carlo was always, however, one of his better roles, and sparks fly in his big scenes with Corelli. His singing of ‘Urna fatale’ is ringing and heroic, even if it doesn’t have quite the remarkable uniqueness found in Corelli’s performance.…The occasion was also touched with greatness in the two bass roles. Jerome Hines is an extraordinarily solid-sounding Padre Guardiano, anchoring ‘Il santo nome di Dio’ with firmness and generosity of phrasing. Fernando Corena is a natural fit for Fra Melitone, relishing every note of the part….any serious opera lover would be well advised to add it to their collection for its many moments of true greatness. Corelli’s performance, for one, should not be missed….there are many aspects of the performance under review here that are unique and treasurable, and I would not be without it. As usual, St. Laurent Studio’s transfer is superb. This performance was previously issued by Premiere Opera and Myto, but the quality is notably better here. There are no notes, only track listings and a complete cast roster. The set is available through Norbeck, Peters & Ford (www.norpete.com)
- Henry Fogel, FANFARE FALSTAFF, Live Performance, 8 March, 1986, w.Levine Cond. Met Opera Ensemble; Giuseppe Taddei, Carol Neblett, Fiorenza Cossotto, Judith Blegen, Allan Monk, Douglas Ahlstedt, Italo Tajo, etc. (Canada) 2-St Laurent Studio YSL T-653. Transfers by Yves St Laurent. (OP3237)
“Verdi’s valedictory masterpiece is…arguably the greatest ensemble opera ever written; around the sun of its protagonist, the other characters orbit in a vocal constellation, with only Ford and Dame Quickly noticeably standing out on occasion as individuals. Consequently, apart from Falstaff, the opera requires sound, healthy voices that blend well rather than a great deal of individual interpretive finesse to carry the work. Here, all those elements are fully present. Making his belated Metropolitan Opera debut at age 69 (four years older than Magda Olivero when she appeared there as Tosca in 1975), Giuseppe Taddei is in remarkably fine form. His top notes are somewhat unsteady, though they are generally not sustained and so that is not a major issue, and his voice is not as plush as in his prime, but apart from that he is a pleasure to listen to, and of course he is also an absolutely masterful interpreter. Allan Monk provides a first-rate Ford; Fiorenza Cossotto is a colorful Dame Quickly, though she pushes her vibrato a bit hard to get a comically exaggerated effect in her salutations of ‘Reverenza!’; Carol Neblett (sadly, recently deceased) and Brenda Boozer offer a well-matched pair of Windsor wives, while Judith Blegen and Douglas Ahlstedt give equal pleasure as sweet-voiced, ardent young lovers. (It’s a bonus to have such a vocally attractive Fenton, a part that often seems to be cast as an afterthought.) Among the comprimario singers, veterans Charles Anthony, Anthony Laciura, and Italo Tajo (the latter as always a real treat) warrant special notice as Dr. Cajus, Bardolph, and Pistola, respectively. My only very slight caveat comes with James Levine’s conducting. While precise and energetic, he misjudges a few tempo relations, particularly in the notoriously tricky Act I nonet, and the gear changes in such instances are evident and somewhat awkward. (Admittedly, only Toscanini has achieved perfectly magical fluidity at this juncture.) Other than that, he is in fine fettle.
The sound quality is that of a good FM stereo broadcast of the era; given its relatively recent vintage, apparently this Canadian label is not concerned about any possible legal action from the Met to block this release. There are no booklet notes; the back tray card provides the cast, and the front insert the list of tracks and characters singing in those but no timings. Sensibly, instead of trying to even out disc timings by dividing act two in half, the first two acts are placed on CD 1 and the third act on CD 2. While not quite equaling the classic recordings by Toscanini (RCA), Karajan (Angel), or Solti’s first take (Decca) for stellar interpretive distinction, this is a very fine rendition that provides a welcome second take on Taddei’s Falstaff 36 years after his notable 1950 monaural Cetra recording, and is cordially recommended.”
- James A. Altena, FANFARE
CARMEN, Live Performance, 9 Jan., 1937, w.Gennaro Papi Cond. Met Opera Ensemble; Rosa Ponselle, Sydney Rayner, Natalie Bodanya, Julius Huehn, Thelma Votipka, Helen Olheim, Giordano Paltrinieri, George Cehanovsky, Louis D'Angelo & Wilfred Engelman. (Canada) 2-St Laurent Studio YSL T-649. Transfers by Yves St Laurent. (OP3235)
“….To be sure, if your view of CARMEN
is that it must be performed in a restrained, delicate, so-called French style, this performance in the grand manner may not be for you. Ponselle throws herself into the music and the drama without restraint. As I said in my 1980 review, ‘She bellows in anger, whispers and croons seductively….’ (A vivid sample can be viewed on a YouTube video of Ponselle singing and dancing the ‘Seguidilla’ and ‘Habanera’ that is quite unforgettable.) Her Carmen is, to these ears, convincing, gripping, and gorgeously sung. The voice was still in superb condition in 1937 (she was a few weeks shy of her 40th birthday), producing an even column of sound from top to bottom. Her low notes were, perhaps, richer than those of any other singer not identified as a mezzo or contralto, and there were no audible register shifts. Additionally, there is a grandeur and richness to the tone that immediately stamps it as a voice you must engage with as a listener. Ponselle could (and often does here) sing softly with delicacy and a seductive quality. She could also overwhelm with raw power. She was a force of nature, and that is surely not inappropriate for the character of Carmen. Even if there are other ways to sing this music, you will be very much poorer if you haven’t heard her performance.
Those who are familiar with the typical sound on 1930s broadcasts are likely to be surprised by how listenable this set is. In its quiet way St. Laurent Studio is beginning to establish a reputation as one of the best boutique labels doing restoration work of historical material. The present release, like all their previous efforts, is available at Norbeck, Peters & Ford (www.norpete.com)
. This is surely the finest of the three recordings of Ponselle singing Carmen to survive. The 1936 broadcast from the Met suffers from very cramped, congested sound, and I described the problems of the 1937 Cleveland tour performance earlier….In sum, here is a performance of monumental importance….”
- Henry Fogel, FANFARE DIE ENTFUHRUNG AUS DEM SERAIL (in French) - Excerpts, recorded 1967, w.Otto-Werner Mueller Cond. Radio-Canada Ensemble; Leopold Simoneau, Pierrette Alarie, Joseph Rouleau, Jean Coutu, Louise Lebrun & Jean-Louis Pellerin; LEOPOLD SIMONEAU, w.Jean-Marie Beaudet Cond. CBC S.O.: Per Pieta, non ricercate (Mozart, K.420) [without any reservation, a contender for Simoneau's most glorious solo recording - a 'desert island' rendition!]; Arias from Don Giovanni & La Clemenza di Tito; LEOPOLD SIMONEAU & PIERRETTE ALARIE: Duets from Cosi Fan Tutte & Entfuhrung. (Canada) 2-St Laurent Studio YSL T-530. Transfers by Yves St Laurent. (OP3234)
CAVALLERIA RUSTICANA (3 performances, 1926-43), Met Opera Ensemble, La Scala (1930) & Opera Italiana d’Olanda (7 Nov., 1938), w.Molajoli, Mascagni, etc. Cond. Dusolina Giannini, Giannina Arangi-Lombardi, Lina Bruna-Rasa, Beniamino Gigli, Antonio Melandri, Carlo Tagliabue, Gino Lulli, Afro Poli, Claramae Turner, Ida Mannarini, Rina Gallo-Toscani, Anna Kaskas, Maria Castagna, Maria Meloni; DUSOLINA GIANNINI: Cavalleria Rusticana - Voi lo sapete; Forza - Sono giunta!...Madre, pietosa Vergine; Pace, pace mio Dio!; Zueignung (Strauss); Manella mia; Believe me, if all those endearing young charms - from a 1936 Philharmonic Recital (Intermission Feature). (Canada) 3-Immortal Performances IPCD 1082, accompanied by Elaborate 46pp. Booklet with photos & notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. (OP3232)
SAMSON ET DALILA, Live Performance, 13 Dec., 1941, w.Pelletier, Cond. Met Opera Ensemble; René Maison, Risë Stevens, Leonard Warren, Nicola Moscona, Norman Cordon & Emery Darcy, replete with Milton Cross' commentaries; SAMSON ET DALILA, Act II, scene 3 (complete); Act III, Mill Scene. Piero Coppola, Cond. Marie Duchêne & César Vezzani – recorded 1931. (Canada) 2-Immortal Performances IPCD 1084, accompanied by Elaborate 24pp. Booklet with photos & notes by Henry Fogel, London Green & Richard Caniell. Transfers by Richard Caniell. (OP3230)
DIE FLEDERMAUS (in English), Live Performance, 23 Jan., 1954 , w. Kozma Cond. Met Opera Ensemble; Eleanor Steber, Charles Kullman, Patrice Munsel, Thomas Hayward, Jarmila Novotna, John Brownlee, Paul Franke, Clifford Harvuot, Suzanne Ames & Jack Mann. (Canada) 2-Yves St Laurent T-647. Transfers by Yves St Laurent. (OP3233)
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 Melodiya, Vista Vera,
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.
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C1577. OTMAR SUITNER Cond. Boston S.O.: Serenade in D (Brahms); Tannhauser - Overture (Wagner); w.ALFRED BRENDEL: Piano Concerto #20 in d, K.466 (Mozart). [An extraordinarily beautiful concert broadcast, in a gloriously spacious acoustic!] (Canada) 2-St Laurent Studio YSL T-527, Live Performance, 10 July, 1982, Tanglewood. Transfers by Yves St Laurent.
OP3241. DIE WALKURE, Live Performance, 25 July, 1976, w.Boulez Cond. Bayreuth Festival Ensemble; Donald McIntyre, Peter Hofmann, Gwyneth Jones, Hannelore Bode, Matti Salminen, Eva Randova, etc. [The second day of the First Cycle – a far superior version than the later performance already available on Video, these CDs [not DVDs] are in breathtakingly brilliant stereo sound!] (Canada) 3-St Laurent Studio YSL T-645. Transfers by Yves St Laurent.
V2544. MARIAN ANDERSON, w. Kosti Vehanen & Franz Rupp (Pfs.): Songs by Strauss, Sibelius, Schumann, Schubert & Handel; Spirituals. (Canada) St Laurent Studio YSL 78-628, recorded 1930-47.
C1578. LEONARD BERNSTEIN Cond. NYPO: Ruslan & Ludmila - Overture (Glinka); Symphony #6 in b (Shostakovich); w.YAKOV FLIER: Piano Concerto #3 in d (Rachmaninoff). (Canada) 2-St Laurent Studio YSL T-614, Live Performance, 13 Oct., 1963, Philharmonic Hall, New York. Transfers by Yves St Laurent.
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)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
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)
Eleanor Steber (Marcia Sloat) (9780963417404)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Lotte Lehmann: The Complete Acoustic Recordings, 1914-26 (4-Marston 54006)
Medea (Gui) / Lucia di Lammermoor (Cleva) - TWO Maria Callas Performances (4-Immortal Performances IPCD 1076)
Arturo Toscanini; Michel Piastro, Alfred Wallenstein (Brahms) (2-Immortal Performances IPCD 1077)
William Kapell - 3 First Releases; Rodzinski, Richard Burgin, Ormandy (JSP684)
Norma (Panizza; Cigna, Castagna, Martinelli, Pinza, Votipka) (2-Immortal Performances IPCD 1063)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Erich Leinsdorf, Vol. V; Gina Bachauer; Beverly Sills (2-St Laurent Studio YSL T-412)
Klaus Tennstedt, Vol. II (2-St Laurent Studio YSL T-542)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Klaus Tennstedt, Vol. III (St Laurent Studio YSL T-543)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
Zara Dolukhanova; Nina Svetlanova (St Laurent Studio YSL T-421)
Andrea Chenier (Cleva; Richard Tucker, Zinka Milanov, Anselmo Colzani) (2-St Laurent Studio YSL T-434)
Simon Boccanegra (Cleva; Cornell MacNeil, Zinka Milanov, Giorgio Tozzi, Barry Morell) (2-St Laurent Studio YSL T-442)
L'Elisir d'Amore (Weikert; Upshaw, Cole, Taddei) (2-St Laurent Studio YSL T-516)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
The Unknown Fernando De Lucia - Phonotype Recordings, 1917-21 (The Record Collector TRC 44)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Melanie Kurt; Matzenauer, Metzger, Urlus, Jorn, Kraus, Feinhals, Knupfer & Schorr (2-Truesound Transfers 4005)
Adolf Wallnofer & Hermann Winkelmann (2-Truesound Transfers 4004)
Erich Leinsdorf, Vol. VI; Sills, Wolff, Domingo, Berberian) (St Laurent Studio YSL T-453)
George Szell, Vol. IV (St Laurent Studio YSL T-405)
Pierre Boulez, Vol. VIII; Bluebeard's Castle, w. Tatiana Troyanos; Zoltan Kelemen (St Laurent Studio YSL T-385)
Carmen (Paray; Jean Madeira, Brian Sullivan, Marjorie Gordon & Donald Gramm) (2-St Laurent Studio YSL T-396)
The 1902 London 'Reds' (2-Truesound Transfers 4002)
K.K. Hofoper Wien, 1904 Recordings - Hesch, Weidemann, Kittel, Elizza, Pacal, Slezak, etc. (2-Truesound Transfers 4003)
Sir John Barbirolli - Boston Symphony Orchestra (St Laurent Studio YSL T-415)
Alexis Weissenberg, Vol. V; Kondrashin, Rowicki (St Laurent Studio YSL T-485)
Maria Jeritza (Malibran AMR 133)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
La Boheme (Samosud; Kozlovsky, Shumskaya, Burlak, Yakovenko, Korolev) (2-Aquarius AQVR 405)
The Boy (William H. Berry, Peter Gawthorne & Nellie Taylor) (Palaeophonics 141)
Judith Raskin, Vol. I, w.George Schick (Pf.) (St Laurent Studio YSL T-444)
Nicolai Gedda, Vol. I ; John Wustman (Pf.) (St Laurent Studio YSL T-435)
Grand Format Musical Boxes - Operatic Overtures & Grand Arias (Musical Wonder House of Wiscasset, Maine)
Aida (Cleva; Arroyo, McCracken, Bumbry, Colzani, Flagello, Plishka) (2-St Laurent Studio YSL T-515)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-Yves St Laurent T-647)
Frauenliebe und Leben - 8 individual performances (2-Immortal Performances IPCD 1062)
Samson et Dalila (Paray; Jean Madeira, Albert da Costa & Chester Ludgin) (2-St Laurent Studio YSL T-403)
Istvan Kertesz; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)