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GABRIEL PIERNE Cond. Concerts Colonne Orch.: Borodine, Rimsky-Korsakov & Stravinsky. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-757, recorded 1927-29. Transfers by Yves St Laurent. (C1656)
Caniell's Immortal Performances gives us
the young DI STEFANO in Mexico City . . .
Yves St Laurent offers GABRIEL PIERNE . . .
early Berlioz orchestral recordings . . .
CHRISTA LUDWIG recital . . .
still more CDs now added to our 50% SALE
“Gabriel Pierne has been called the most complete French musician of the late Romantic/early twentieth century era. In his own music Pierne blended a seriousness of purpose (acquired in part through his studies with Cesar Franck) with a lighter, more popular flavor reminiscent of Jules Massenet (with whom Pierne also studied); his dedication to the music of his contemporary French composers earned him a reputation as a conductor of deep integrity….by 1871 he had entered the Paris Conservatoire to study composition with Massenet and organ with Franck (Franck's organ class, however, often focusing more on composing than on playing). At age 11 Pierné earned a medal for his solfege skills, and he later went on to win top prizes in organ, composition, and piano, as well as (in 1882) the coveted Prix de Rome (for the cantata EDITH).
In 1890 Pierne succeeded his teacher, Franck, as organist at St. Clotilde Cathedral, a distinct honor for a young man of 27. In the late 1890s he abandoned his career as an organist and in 1903 made his debut as assistant conductor of the Concerts Colonne (of which he served as principal conductor from 1910 to 1934, devoting a great deal of rehearsal time to the preparation of new works). In addition to his activities on the podium, Pierne served on the administration of the Paris Conservatoire and composed for the Ballet Russes (three successful ballets produced between 1923 and 1934). In the years prior to his death in 1937 he was elected to the Academie des Beaux Arts and made a Chevalier of the Legion d'Honneur.”
- Blair Johnston, allMusic.com
MANON (in French), Live Performance, 6 July 1949, Opera Nacional, Mexico City, w.Renato Cellini Cond. Opera Nacional Ensemble; Irma Gonzalez, Giuseppe di Stefano, Giuseppe Valdengo, etc. ; MANON - Excerpts (in Italian), Live Performance, 15 March, 1947, La Scala, w.Guarnieri Cond. La Scala Ensemble; Mafalda Favero, Giuseppe di Stefano, etc.; WERTHER (in Italian), Live Performance, 26 July, 1948, Opera Nacional, Mexico City, w.Renato Cellini Cond. Opera Nacional Ensemble; Giulietta Simionato, Giuseppe di Stefano, etc.; GIUSEPPE DI STEFANO: Arias from Faust, Martha, La Boheme, Le Cid & La Gioconda, from 1950s Standard Hour Broadcasts (partial broadcast commentary in all). (Canada) 4-Immortal Performances IPCD 1098. Notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features lovely photos & 54pp. booklet. (OP3283)
“In his all-too-brief prime, Giuseppe di Stefano had one of the most sensuously beautiful tenor voices documented on recordings. It is the kind of beauty that has the power to move listeners, this writer included, to tears. But there is so much more to savor. Di Stefano’s diction both in his native Italian and French was exemplary, a gift he used to the utmost dramatic and musical effect. The young di Stefano also had a breathtakingly wide range of dynamics and colors, even when negotiating the most treacherous high notes.
Sad to say, the magic was all too short-lived. It was not long before di Stefano began to try his hand at more dramatic repertoire, mercilessly pushing his lyric voice. That, coupled with di Stefano’s open approach to the passaggio and high notes, exacted its toll. To make matters worse di Stefano, by his own admission, was hardly the most disciplined individual when it came to pursuing a lifestyle and regimen that offered the greatest prospects for vocal longevity. But before I become too judgmental of di Stefano’s life and career choices, it’s appropriate to consider that, had the Sicilian tenor pursued the straight and narrow in all matters, he perhaps might never have been the electrifying artist of those halcyon years. In any event, Giuseppe di Stefano recordings from the mid-1940s to early 1950s are treasures to savor. And such treasures are what Immortal Performances gives us in this four-disc set.
The Mexico City MANON and WERTHER, long available courtesy of various labels specializing in live recordings, are certainly not without their issues….The recorded sound on previous issues suffered from harshness, and volume and pitch fluctuations. But avid collectors have been willing to suffer these flaws in order savor the many glories. Di Stefano is in top form in both performances….Di Stefano sings the beautiful Act II ‘Dream’ with such melting beauty and artistry that the audience demands and receives an encore. And so it goes, as di Stefano’s interpretation and vocalism move from strength to strength. You could go a lifetime without hearing des Grieux sung with this combination of vocal beauty, artistry, and Italianate passion….The Mexican soprano Irma Gonzalez is a first-rate Manon, one with a lovely and secure lyric voice, an artist who convincingly portrays the heroine’s transformation from innocent (but curious) young woman to tragic figure, ruined by her flaws. Gonzalez’s French is not quite as idiomatic as is di Stefano’s, but she declaims the text with clarity and purpose. Giuseppe Valdengo is very much in his element in the lyric baritone role of Lescaut. Those familiar with Valdengo’s collaborations with Toscanini in various NBC Symphony Orchestra opera broadcasts will not be surprised that the Italian baritone’s Lescaut is beautifully sung, and interpreted with detail and panache….As an appendix to the Mexico City MANON, the Immortal Performances set includes excerpts from di Stefano’s March 15, 1947 La Scala debut, in an Italian-language performance of Massenet’s opera. Di Stefano is once again in magnificent voice, and he is joined by the marvelous soprano Mafalda Favero, also in superb form as Manon. If these excerpts document a more overtly passionate, Italianate view of MANON, they are no worse for that, and document an historic moment and real sense of occasion.
The 1949 Mexico City WERTHER offers no pretense of a restrained, Gallic approach. The performance, sung in Italian, is very much in the verismo mode….But even those who prefer WERTHER sung in its original language and the French operatic tradition should seize the opportunity to hear the young di Stefano (Werther) and mezzo Giulietta Simionato (Charlotte) in absolute top form, giving their all for an ecstatic audience. The supporting cast is more than adequate, and Cellini once again leads a performance that brims with energy and momentum. The set concludes with arias performed by di Stefano in early 1950s Standard Hour radio broadcasts. Unlike the Mexico City broadcasts, these are in fine sound, and a wonderful document of di Stefano at the apex of his career. The sense of joy, both for di Stefano and his studio audience, is palpable as the tenor lavishes his voice and passionate delivery on the various familiar arias.
Producer Richard Caniell has painstakingly corrected the many variations of pitch that marred earlier releases. The recorded sound still falls short of studio recordings of the era, and of the best broadcasts as well. But at long last, we can fully enjoy these irreplaceable mementos of di Stefano at his absolute zenith. The liner notes include Henry Fogel’s beautiful appreciation of the recordings and artists….I don’t think it’s an exaggeration to say that anyone interested in the greatest tenor voices of the past century should have these di Stefano performances in their collection. And the new Immortal Performances release is the one to have. Very highly recommended.”
- Ken Meltzer, FANFARE, March /April, 2018
“It’s…the orchestral detail, and indeed the luster of the string sound, that enables this Manon recording to shine, supporting the voices with real intensity. Moments of possible crowding (the opening of the fourth act, for example) are rendered with no distortion….Despite heavy cuts to this performance, it remains a ‘must-hear’ for the sheer strength of the singing. Renato Cellini is a superb conductor….Time seems to stop, though, with the arrival of the Manon, Irma Gonzalez, and her aria ‘Je suis encore tout étourdie’, which finds her in beautiful, sensitive voice; later, when we get the measure of her immaturity, she embraces the role completely, convincingly. Of course ‘Adieu, notre petite table’ is her moment to shine, and Gonzalez does so, radiantly and heart-stoppingly, as she bids her regretful farewell to the past. The way she holds the tension towards the end of the third act is positively mesmeric. Hers, with the exception of moments when the score requires her to fling out notes, is not an extrovert reading. It is interior, heartfelt, and sophisticated. Given the scarcity of commercial recordings of González, this is a ‘must-have’ just for her alone.
As Lescaut, Giuseppe Valdengo is beautifully strong, his ‘Ne bronchez pas, soyez gentile’ a model of Massenet style, his diction impeccable….In this Immortal Performances transfer [of the La Scala performance] we can hear how Favero can thin her voice to a near whisper, too; the audience’s explosive reaction is eminently understandable. Di Stefano’s Des Grieux is absolutely her equal in expressive depth; another lesson is how equally at home he seems in both Italian and in French in this piece.
Giulietta Simionato is a splendid Carlotta (Charlotte), every inch di Stefano’s vocal and dramatic equal, positively gripping in her long passages towards the close of Act I. If the passions of her act III Letter Scene seem more identifiably Italianate in the higher dynamics, there is no denying her impressive presence (the phrasing at the lower dynamic levels is more authentically and fragrantly French)….
Richard Caniell describes the heart-tearingly frustrating process of preparing the WERTHER in particular for release. He has performed miracles with sources that were frequently problematic, resulting in an eminently listenable experience. Given the deficiencies of previous releases in terms of pitch and clarity, the result is eminently justified.”
- Colin Clarke, FANFARE, March /April, 2018EDOUARD COLONNE, CESAR BOURGEOIS, RHENE-BATON & PIERRE MONTEUX Cond.: The First BERLIOZ Orchestral Recordings by Parisian Orchestras. (Canada) St Laurent Studio YSL 78-759, recorded 1907-30. [Quite fascinating to hear these early Berlioz performances so brilliantly restored!] Transfers by Yves St Laurent. (C1655)
. . . REPEATED . . . FROM THE RECENT PAST . . .
PETER GRIMES, Live Performance, 5 April, 1969, w. Colin Davis Cond. Met Opera Ensemble; Jon Vickers, Lucine Amara, Geraint Evans, Jean Madeira, Lili Chookasian, Paul Plishka, etc. (Canada) 2-St Laurent Studio YSL T-720. (OP3281)
“Just as there are people who could talk about seeing Caruso’s Canio or Chaliapin’s Boris, we can say we saw Vickers’ Grimes. It is that powerful in the theatre, and it comes across fully on these discs. Yet when Colin Davis led Vickers at the Royal Opera Covent Garden with the composer in attendance, Britten famously walked out before the performance was over. One has to examine oneself carefully when disagreeing with a composer about the interpretation of one of his masterpieces. Britten wrote the role for his partner, Peter Pears, a tenor with a different kind of voice and a different temperament. The suppressed anger and violence is much deeper under the surface in Pears’ performance, and clearly Britten preferred that approach. But I know I am not alone in finding Vickers’ harsher, more violent portrayal persuasive and not at all out of character with the music. Britten described the opera as ‘a subject very close to my heart - the struggle of the individual against the masses. The more vicious the society, the more vicious the individual’. Taking him at his word, Vickers’ portrayal seems eminently justifiable.
Vickers and Colin Davis made a Philips recording of the opera in 1978, reviewed enthusiastically by Joel Kasow in FANFARE 22:5
, but this 1969 performance from the Met is more potent. Davis is more explosive in his conducting, and Vickers is a bit more extreme in his portrayal. The fact that this is a live staged performance surely is responsible for the fire at its center. Davis conducts with a stronger rhythmic pulse than on the Philips recording; the orchestral playing has an incisiveness that underlines the drama and tension at the opera’s core. Vickers was capable of a remarkable range of vocal colors, essential to conveying a character as complex as Grimes. There are moments of warmth and tenderness in the character, and they are necessary to offset Grimes’ dominant brutish behavior elsewhere. Vickers’ towering achievement is to assemble these contrasts into a unified, overwhelmingly vivid characterization.
Geraint Evans is extremely sympathetic as the wise, understanding Captain Balstrode, a symbol of tolerance in a community that treats Grimes with suspicious intolerance. Lucine Amara’s Ellen is beautifully sung, although there have been performers who display more of the inner strength that allows the schoolmistress to stand by Grimes despite the town’s growing hostility. Amara does let go more intensely in the final act, and the scenes with her and Balstrode are very moving. The remainder of the cast is first rate; clearly this is a production in which the Met invested all of its resources. Even the small roles are brilliantly cast, with the likes of Jean Madeira (Mrs. Sedley), Lili Chookasian (Auntie), Paul Plishka (Hobson), and Raymond Michalski (Swallow).
Although Met broadcasts were monaural until 1973, which places this monaural release at a disadvantage against the Philips recording, I still find a greater overall impact in the performance, as heard here in very clean and open mono sound. As usual, St. Laurent Studio offers no notes or libretto, but we get full documentation of cast and performance date and a flawless transfer from what was a good source. St. Laurent Studio recordings are available at Norbeck, Peters, & Ford www.norpete.com
- Henry Fogel, FANFAREPIERRE BOULEZ Cond. Cleveland S.O.: Images pour Orchestre, Nos. 7 – 11 (Debussy); w.JUDITH RASKIN: Les Nuits d'Ete (Berlioz). [The most sensitive and beautiful performance of 'Les Nuits d'Ete ' one can imagine - albeit one caveat, rather thin sound.] (Canada) St Laurent Studio YSL T-736, Live Performance, 16 Nov., 1967, Severance Hall. Transfers by Yves St Laurent. (C1654)
"Judith Raskin, the American lyric soprano famed for her voice and musicianship, was a leading singer with the New York City Opera, and then at the Metropolitan Opera from 1962 to 1972. Miss Raskin was hailed as one of the finest artists of her time. She had a voice that critics constantly referred to as ‘ravishing’. Combined with the beauty of her sound was a high order of musicianship. In addition, Miss Raskin was a beautiful woman and an excellent actress. As a complete artist, she captivated audiences whenever she appeared.
Miss Raskin sang about 20 operatic roles, ranging from Mozart through Stravinsky and Poulenc. Her Mozart was especially admired; she sang leading roles in LE NOZZE DI FIGARO, DON GIOVANNI, COSI FAN TUTTE and DIE ZAUBERFLÖTE. She was also hailed for her performance as Nanetta in Verdi's FALSTAFF at the Metropolitan Opera. Many believed her to be the most attractive Adele in Strauss' FLEDERMAUS within memory. Among her contemporary operas were Stravinsky's RAKE'S PROGRESS, Moore's BALLAD OF BABY DOE in addition to DIALOGUES DES CARMELITES.
Miss Raskin never tried to be merely a singer of high notes, though her range equaled that of any lyric soprano. Nor did she ever attempt to sing louder than some of the tenors with whom she worked. Instead she concentrated on purity of sound and line. ‘I've tried to make up in depth what I don't have in quantity’, she once told an interviewer. ‘There is a kind of singer who has a poetic approach to music rather than a purely vocal approach. It's a special kind of voice, which cannot be described simply as lyric or lyric coloratura. It's a special kind of sound with a certain purity, and I like to think that's what I have’.
Miss Raskin sang at the Chicago Lyric and other American opera houses and at Glyndebourne. She also appeared frequently with American orchestras, in oratorio and in recital. She made her New York recital debut at the Grace Rainey Rogers Auditorium of the Metropolitan Museum of Art in 1964. Reviewing the concert for THE NEW YORK TIMES, Howard Klein pointed out that not many opera singers could make the transition from the grand gestures of the operatic stage to the intimacy of song. 'Miss Raskin’, Mr. Klein said, ‘brought to her program the finesse expected in this medium - fluent singing, pure tone, accurate scales, good musicianship, clear diction - and lost none of the keen ability to evoke character that has enlivened many of her operatic roles’.”
- Harold C. Schonberg, THE NEW YORK TIMES, 22 Dec., 1984KIRILL KONDRASHIN Cond. ORTF S.O.: Symphony #4 in f; w.VICTOR TRETYAKOV: Violin Concerto in D (both Tschaikowsky). (Canada) St Laurent Studio YSL T-713, Live Performance, 2 Dec., 1976. Transfers by Yves St Laurent. (C1652)
HERMANN ABENDROTH Cond. Leningrad Phil.: 'Pathetique' Symphony #6 in b (Tschaikowsky). (Canada) St Laurent Studio YSL T-664, Live Performance, 30 Jan., 1951. Transfers by Yves St Laurent. (C1653)
SERGEI RACHMANINOFF: Rachmaninoff Plays Symphonic Dances - A Newly Discovered 1940 Recording of an impromptu gathering in 1940. Sergei Rachmaninoff demonstrated at the piano just how he wanted his new orchestral work, SYMPHONIC DANCES, to be performed. 3-Marston 53022, recorded 1903-13. Transfers by Ward Marston. (P1290)
“Rachmaninoff, one of the greatest of all pianists, reduced the orchestral score for a single piano on this occasion. That recording is presented here in two versions: first, edited to conform to the score and again, just as the occasion unfolded, as Rachmaninoff jumped from place to place as he demonstrated. Other performers include pianist Benno Moiseiwitsch, mezzo soprano Nadezhda Plevitskaya, and conductors Adrian Boult, Dmitri Mitropoulos, Eugene Ormandy, and Leopold Stokowski. These are complemented by every known non-commercial recording of Rachmaninoff, accompanied by a detailed essay concerning Rachmaninoff, the SYMPHONIC DANCES, and these recordings written especially for this issue by Richard Taruskin, author of the OXFORD HISTORY OF WESTERN MUSIC.”
- Ward MarstonDIE WALKURE, Live Performance, 2 Dec., 1944, (replete with Milton Cross’ commentaries), w.Szell Cond. Met Opera Ensemble; Rose Bampton, Helen Traubel, Lauritz Melchior, Herbert Janssen, Kerstin Thorborg, Alexander Kipnis, etc. (Canada) 3-Immortal Performances IPCD 1081. Notes by Dewey Faulkner & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & booklet. (OP3280)
“One might ask why Richard Caniell, the proprietor of Immortal Performances, would bother with this broadcast, since the Met had issued it on a fundraising series of high-priced releases. The answer is that Caniell has improved significantly on the Met’s edition (and on Myto’s apparent copy of the Met’s work). The voices are notably richer here, and there is more color and richness to the orchestral sound….Caniell…has given it a life that it has never before had. Also included, to bring us all back to our youth and the experience of sitting at the radio on Saturday afternoons, is Milton Cross’ commentary (separately tracked for those who wish to bypass it). Add to that the usual level of informative and insightful notes and beautiful historic photos in the accompanying booklet, and you have a release of great importance.”
- Henry Fogel, FANFARE, Sept. / Oct., 2017GEORGE SZELL Cond. Cleveland Orch.: Symphony #95 in c (Haydn), Live Performance, 16 Jan., 1969; w. RUDOLF FIRKUSNY: Piano Concerto #14 in E-flat, K.449 (Mozart) - Live Performance, 2 Oct., 1969 (both Severance Hall). (Canada) St Laurent Studio YSL T-619. Transfers by Yves St Laurent. (C1649)
ISTVAN KERTESZ Cond. Cleveland Orch.: Dances of Galanta; HARY JANOS - Suite (both Kodaly); German Dances, K.600 (Mozart); w. JOHN BROWNING: Piano Concerto #1 in b-flat (Tschaikowsky); Interview with Istvan Kertesz. (Canada) 2-St Laurent Studio YSL T-585, Live Performance, 13 July, 1969, Blossom Festival. Transfers by Yves St Laurent. (C1650)
PIERRE MONTEUX Cond. NYPO: The Star Spangled Banner [an emotional rendition with the audience participating enthusiastically] (Key); Die Geschopfe des Prometheus – Overture (Beethoven); w.LEON FLEISHER: Piano Concerto #1 in d (Brahms). (Canada) St Laurent Studio YSL 78-551, Live Performance, 5 Nov., 1944, Carnegie Hall. Transfers by Yves St Laurent. (C1646)
RUDOLF KEMPE Cond. NDR S.O.: Concerto Grosso, Op.6, #1 (Handel); Symphonie fantastique (Berlioz); w. CLIFFORD CURZON: Piano Concerto #24 in c, K.491; GEORG SOLTI Cond. NDR S.O., w. CLIFFORD CURZON: Piano Concerto #23 in A, K.488 (both Mozart). (Canada) 2-St Laurent Studio YSL T-556, Live Performances, 11 / 1 Aug., 1959, Salzburg. Transfers by Yves St Laurent. (C1647)
DIMITRI MITROPOULOS Cond. NYPO: Divertimento in D, K.131 (Mozart); Jekyll and Hyde Variations (Morton Gould - World Premiere); w. NATHAN MILSTEIN: Violin Concerto in a (Goldmark). (Canada) St Laurent Studio YSL T-609, Live Performance, 3 Feb., 1957, Carnegie Hall. Transfers by Yves St Laurent. (C1643)
EMIL GILELS: French Suite #5 in G (Bach), Live Performance, 6 Dec., 1959, Leningrad; w. Neeme Jarvi Cond. Leningrad Phil.: Piano Concerto #2 in B-flat (Brahms), Live Performance, 17 Jan., 1968. [Gilels' Bach conveys a special dignity and beauty, remarkably well-recorded albeit the bronchitic audience in this wonderfully reverberant hall! The Brahms is, of course, magisterial!] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-592. (P1289)
I QUATTRO RUSTEGHI (Wolf-Ferrari), Live Performance, 13 June, 1951, Teatro dell’Arte, Milano, w.Alfredo Simonetto Cond. RAI Ensemble; Fernando Corena, Gianna Perea Labia, Alda Noni, Ester Orell, Agnese Dubbini, Mario Carlin, Carlo Ulivi, Pasquale Lombardo, Cristano Dalamangas, etc. [This is a little-known, marvellously melodious, amusing opera with dazzling orchestration!]; ARTURO TOSCANINI Cond. NBC S.O.: Le Segreto di Susanna – Overture – Live Performance, 20 Jan., 1946; Le Donne Curiose – Overture – Live Performance, 27 Nov., 1944 (both Wolf-Ferrari; both w.Ben Grauer’s commentary). (Canada) 2-Immortal Performances IPCD 1095. Notes by Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & two booklets. (OP3279)
“There is not a weak link in the cast, with each vocalist relishing Wolf-Ferrari’s music and the text. And while each of the singers brims with personality, each is also mindful of his or her function as a member of the overall musical fabric, comprising both the voices and the orchestra. It’s wonderful to hear the great basso-buffo Fernando Corena in his youthful prime as Lunardo, already a master of comic effects, but couched in a voice of considerable richness and beauty. But all the principal singers hold their own….It is clear from reading Immortal Performances producer Richard Caniell’s various booklet essays that this opera and recording are a true labor of love. And Caniell has given this recording of an unjustly neglected work precisely the type of respect and treatment it deserves. In addition to first-rate sound restoration, the booklets include several in-depth essays on the opera, its composer, Goldoni, a discussion of Venetian dialect, the RAI series of recordings, artist bios, and notes on the recording. There is also a detailed plot synopsis, and access (via the Immortal Performances website) to the opera’s libretto (Venetian dialect and all) and an English translation. Sparkling performances by Arturo Toscanini and the NBC Symphony Orchestra of two Wolf-Ferrari opera overtures are the irresistible cherry atop this musical confection.
I agree with Richard Caniell that Wolf-Ferrari’s I QUATTRO RUSTEGHI is a work that holds its own within the proud tradition of great Italian comic opera, and that the 1951 Milan performance is a marvelous representation of the score. If you are looking for a first-rate presentation of a quite wonderful Italian comic opera, Immortal Performances will provide you considerable pleasure and reward. Warmly recommended.”
- Ken Meltzer, FANFARE, March / April, 2018FAUST, Live Performance, 20 March, 1937, (replete with Milton Cross’ commentaries), w.Pelletier Cond. Met Opera Ensemble; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza, Helen Olheim, Ina Bourskaya, Wilfred Engelmann, etc. (Canada) 2-Immortal Performances IPCD 1097. Notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & booklet. (OP3278)
“Rarely, if ever, have I heard a tenor perform the opera’s opening scene so persuasively…. It’s a marvelous demonstration of first-rate singing and vocal acting. Indeed, among vintage interpretations, [Crooks] is a Faust worthy to be placed alongside Georges Thill and Cesar Vezzani.
The accompanying booklet includes Henry Fogel’s informative and enthusiastic appreciation of the performance, a plot synopsis, artist photos and bios, and Richard Caniell’s recording notes….Thanks to Immortal Performances for making it available, and in far more than adequate sound. Very highly recommended.”
- Ken Meltzer, FANFARE, March /April, 2018DIE MEISTERSINGER, Live Performance, 10 Feb., 1945, (replete with Milton Cross’ commentaries), w.Szell Cond. Met Opera Ensemble; Herbert Janssen, Eleanor Steber, Kerstin Thorborg, Charles Kullman, Emanuel List, Mack Harrell, John Garris, etc. (Canada) 3-Immortal Performances IPCD 1088. Notes by Richard Caniell as well as a second article by Caniell and Anne Woods. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 54pp booklet. (OP3276)
“If you love DIE MEISTERSINGER (as I do), you owe it to yourself to hear this Met 1945 broadcast, a performance that captures, as well as any I’ve heard, the beauty and humanity of Wagner’s incomparable creation.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2017--------------------------------------------------------
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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 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
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 2200 titles . . .
Over 100 MALIBRAN titles have been added
to our ongoing SALE,
many being final copies . . .
- - - - - - - 78rpm collectors, please note auctions from:
Dave Schmutz, www.78classicalgallery.com
- or at: 818-242-6247
------------------ 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.
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For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website
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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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C1656. GABRIEL PIERNE Cond. Concerts Colonne Orch.: Borodine, Rimsky-Korsakov & Stravinsky. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-757, recorded 1927-29. Transfers by Yves St Laurent.
OP3283. MANON (in French), Live Performance, 6 July 1949, Opera Nacional, Mexico City, w.Renato Cellini Cond. Opera Nacional Ensemble; Irma González, Giuseppe di Stefano, Giuseppe Valdengo, etc. [González delivers a deliciously idiomatic performance! She is a most worthy partner to di Stefano!]; MANON - Excerpts (in Italian), Live Performance, 15 March, 1947, La Scala, w.Guarnieri Cond. La Scala Ensemble; Mafalda Favero, Giuseppe di Stefano, etc.; WERTHER (in Italian), Live Performance, 26 July, 1948, Opera Nacional, Mexico City, w.Renato Cellini Cond. Opera Nacional Ensemble; Giulietta Simionato, Giuseppe di Stefano, etc.; GIUSEPPE DI STEFANO: Arias from Faust, Martha, La Boheme, Le Cid & La Gioconda, from 1950s Standard Hour Broadcasts (partial broadcast commentary in all). (Canada) 4-Immortal Performances IPCD 1098. Notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features lovely photos & 54pp. booklet. - 752830193260
C1655. EDOUARD COLONNE, CESAR BOURGEOIS, RHENE-BATON & PIERRE MONTEUX Cond.: The First BERLIOZ Orchestral Recordings by Parisian Orchestras. (Canada) St Laurent Studio YSL 78-759, recorded 1907-30. [Quite fascinating to hear these early Berlioz performances so brilliantly restored!] Transfers by Yves St Laurent.
V2584. CHRISTA LUDWIG, w.Erik Werba (Pf.): Songs by Schubert, Brahms & Dvorak - Live Performance, 30 April, 1975, Budapest; w.Maazel Cond.ORTF S.O.: Lieder eines fahrenden Gesellen - Nos. 1, 2 & 4 (Mahler) - Live Performance, 18 Oct., 1972, Paris. (Canada) St Laurent Studio YSL T-725
Renata Scotto, Vol. I Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Walkure, Act III (Traubel, Janssen) - Tristan, Act II, 1944 (Melchior, Traubel) (2-Immortal Performances IPCD 1093)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Istvan Kertesz, Vol. I; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Faust (Pelletier; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza) (2-Immortal Performances IPCD 1097)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
Erich Leinsdorf, Vol. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
George Szell, Vol. VII; Erica Morini; Geza Anda (St Laurent Studio YSL T-426)
Die Meistersinger (Szell; Janssen, Steber, Thorborg, Kullman, List, Harrell) (3-Immortal Performances IPCD 1088)
Die Walkure (Szell; Bampton, Traubel, Melchior, Janssen, Thorborg, Kipnis) (3-Immortal Performances IPCD 1081)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
Marian Anderson, Vol. III (St Laurent Studio YSL 78-629)
Mignon / Carmen (Swarthout, Vinay, Hackett, Albanese, Pinza) (4-Immortal Performances IPCD 1096)
Siegfried (Boulez; McIntyre, Jones, Kollo, Kelemen, Zednik, Rundgren) (3-St Laurent Studio YSL T-670)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
Tosca (Adler; Leontyne Price, Franco Corelli, Cornell MacNeil) (2-St Laurent Studio T-681)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
Lohengrin (Rosenstock; Konya, Crespin, Rankin, Cassel) (3-St Laurent Studio YSL T-662)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Arturo Toscanini - Victor Records Restored (3-Immortal Performances IPCD 1087)
Walkure (Boulez; McIntyre, Hofmann, Jones, Bode, Salminen, Randova) (3-St Laurent Studio YSL T-645)
Forza (Stiedry; Milanov, Tucker, Warren, Hines) (2-St Laurent Studio T-679)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
Der Rosenkavalier (Szell; Jessner, Novotna, Conner, List) (3-Immortal Performances IPCD 1092)
Il Trovatore (Cleva; Leontyne Price, Franco Corelli, Dalis, Sereni) (2-St Laurent Studio YSL T-650)
Missa Solemnis - Toscanini; Milanov, Thorborg, von Pataky, Moscona (2-Immortal Performances IPCD 1086)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Klaus Tennstedt, Vol. VI - (Bruckner 4th - Boston) (St Laurent Studio YSL T-695)
Serge Koussevitzky, Vol. XI - Sibelius & Henri Casadesus (St Laurent Studio YSL 78-643)