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GIUSEPPE CAMPANARI: Songs by Seppilli, Tirindelli, Gastaldon, Rotoli & Rossini; Arias from Nozze, Barbiere, Faust, Carmen, L'Africaine, Herodiade, Pagliacci, La Gioconda, La Traviata & Il Trovatore. (Canada) St Laurent Studio YSL 78-728, recorded 1903-09. Transfers by Yves St Laurent. (V2575)
VINOGRADOV . . .
Celebrating the birthday of
GIUSEPPE CAMPANARI on the 17th,
Yves St Laurent also offers
GABRIEL PIERNE, Vol. II . . .
MONTEUX, Vol. IX, with FLEISHER & STEBER . . .
still more CDs now added to our 50% SALE
“If we are not as familiar with the Italian baritone Giuseppe Campanari as his talent would merit, it may well be because of the competition. Here is a list of some of the operatic baritones with whom his career overlapped, along with their birth and death dates.
Giuseppe Campanari (1855–-1927)
Victor Maurel (1848–1923)
Mattia Battistini (1856–1928)
Antonio Scotti (1856–1936)
Giuseppe Kaschmann (1850–1928)
Mario Ancona (1860–1931)
Titta Ruffo (1877–1953)
Giuseppe de Luca (1876–1950)
Riccardo Stracciari (1875–1955)
This is why historical vocal aficionados refer to a ‘golden age!’
Campanari was important enough to appear in 496 performances at the Metropolitan Opera between 1894 and 1912. What we hear on this disc first of all are the virtues of impeccable musicianship, which should not be a surprise, because Campanari was also an accomplished cellist. Astonishingly, he was good enough to be principal cellist of the Boston Symphony Orchestra and a professor of cello at the New England Conservatory of Music; he resigned both of those positions to devote himself to singing. The surviving reviews of his Met career are almost uniformly positive, in a very wide range of repertoire from Mozart to Verdi.
The voice was a lyric baritone, without the overpowering vocal heft of Amato and Ruffo, but Campanari sang with a strong personality and imagination. The recordings in this collection date from 1903–1909, so they have the limitations associated with acoustic records. St. Laurent Studio has done its usual immaculate job of restoration, and the listener will get a strong picture of the singer and his voice. In a brief mention given to Campanari in John Steane’s valuable THE GRAND TRADITION
, he refers to the singer’s fluidity in rapid passagework, as in ‘Largo al factotum’ from THE BARBER OF SEVILLE
. We are given five different recordings of the aria here, two with piano and three with orchestra. Each one is a delight, each one has its own individual flair.
Camparnari’s elegant singing of the French arias, particularly those from FAUST
, show a full understanding of the forward placement and even legato that serves that music so well. (It should be noted that he sings the French pieces in Italian). He appeared often at the Met in the title role in THE MARRIAGE OF FIGARO
, and Figaro’s two Act I arias demonstrate the singer’s firm rhythmic pulse and a stylish approach to the music that was not always the case in the early 20th century.
When he performed as Tonio in PAGLIACCI
in New York with Hinrichs Opera Company in 1893, Campanari became the first singer to perform the role in America. He also sang the first Marcello and Papageno at the Met. His 1909 recording of the PAGLIACCI
Prologue exhibits genuine authority. He pays attention to the words and articulates them with meaning. (The music had to be abridged to fit on one 78 side).
Whether in the operatic arias or the Italian songs, Campanari’s singing exhibits the virtues of steady tone, clear diction, warmth, and dramatic presence. These qualities are apparent in the first track, Stanislao Gastaldon’s ever-popular ‘Musica proibita’. As was the norm in this era, Campanari employs a rapid and noticeable vibrato, but it is never distracting, and he uses it for expressive purposes. There is a natural flow to his phrasing, a deeply felt musical sensitivity that draws the listener in. He also displays the appropriate degree of flair and personality.
St. Laurent Studio gives full documentation of original sources and recording dates, and as usual no texts, but this is material with which most vocal collectors will be familiar. St. Laurent Studio recordings are available at Norbeck, Peters & Ford (www.norpete.com)
- Henry Fogel, FANFAREGEORGY VINOGRADOV: Songs by Beethoven, Schumann, Brahms, Grieg, Dvorak, Wolf, Bizet, etc.; GEORGY VINOGRADOV, w.Nina Alexandriyskaya, Maria Shaposhnikova & Andrei Ivanov; Kyril Vinogradov & Georg Orentlicher (Pfs.): Glinka Romances; GEORGY VINOGRADOV, w.Andrei Ivanov & Nina Alexandriyskaya; Georg Orentlicher (Pf.) & Alexander Ivanov-Kramskoy (Guitar): Songs by Cui, Gurilev, Dargomyzhsky, Varlamov, Rimsky-Korsakov, Mussorgsky, Tchaikovsky, Lodyzhensky, Taneyev, Grechaninov, Lermontov & Sokolov; GEORGY VINOGRADOV, w.Nina Alexandriyskaya; Georg Orentlicher & Kyril Vinogradov (Pfs.); Songs by Beethoven, Schubert, Schumann, Brahms, Grieg, Dvorak, Wolf & Bizet; GEORGY VINOGRADOV, w.Georg Orentlicher & Kyril Vinogradov (Pfs.); Songs by Matveev, Kochurov & Yshaporin; Leonid Yuriev Cond. Ensemble of soloists of the USSR's State Orchestra; Konstantin Vinogradov Cond. The Red Banner Ensemble choir and orchestra. All recorded 1943-53, many not previously released in any format and published here for the first time; PUSS IN BOOTS (opera-fairytale) (Cesar Cui), recorded 1948, w. Leonid Pyatigorsky Cond. Pavel Pontryagin, Georgy Vinogradov, Alexei Usmanov, Daniil Demyanov, Georgy Abramov, Zoya Muratova & Konstantin Polyaev. (Russia) 6-Aquarius AQVR 410, in Elaborate Boxed Set. (V2585)
"…judged solely from his recorded legacy, [Vinogradov] deserves to be at least as well known and highly regarded as his more famous colleagues, Sergei Lemeshev and Ivan Kozlovsky…Certainly the voice and artistry can stand comparison with such tenors as Schipa, Simoneau, Valletti, and the young Vanzo, making his neglect even more extraordinary….for the true genius of this singer it is necessary to hear the operatic arias and Russian art songs. Few tenors have sung Lensky’s final aria with such beauty of tone, tenderness, and real poetry."
- Vivian A. Liff, AMERICAN RECORD GUIDE, Sept./Oct. 2004
“PUSS IN BOOTS is a short opera-fairytale for children in three acts, four tableaux, composed by Cesar Cui in 1913. The libretto was written by Marina Stanislavovna Pol'. It was premiered in Rome in 1915 under the title IL GATTO CON GLI STIVALI. A Soviet edition of the opera, with a revised libretto, was published in 1961. By the 1970s this opera seems to have become popular in what was then East Germany as DER GESTIEFELTE KATER. It should be noted that Cesar Cui is the only composer of his generation who created pieces for children. PUSS IN BOOTS was created by him in 1912.”
- WikipediaPIERRE MONTEUX Cond. Boston S.O., w.LEON FLEISHER: Piano Concerto #1 in d (Brahms), Live Performance, 20 July, 1958, Tanglewood [a profoundly sensitive performance . . . in outstanding sound!]; w.Eleanor Steber, Frieda Gray-Masse, John McCollum & David Laurent: 'Choral' Symphony #9 in d - Final Movement (Beethoven), Live Performance, 31 July, 1960, Tanglewood. (Canada) St Laurent Studio YSL T-552. Transfers by Yves St Laurent. (C1658)
"A piano, which produces a tone by striking strings with a felt-lined hammer, should not be able to sustain a legato as gorgeous as what Fleisher coaxes from the instrument. The next thing you realize is that this sound is not just a clever effect but it makes the music come to life and clarifies textures in ways that seems utterly fresh and utterly right. That's the magic of Fleisher the pianist."
- Harvey Steiman, MusicWeb International - Aspen Festival, 25 July, 2005
"Steber definitely possessed the most glorious instrument of all, with its classically organized technique, impeccable management of breath support, easy agility and, above all, that phosphorescent top register. She was a singer who possessed a rare combination of vocal radiance, technical mastery and personal charisma, and during her best years, the distinctive purity, spinning tone and easy sweetness of her soprano [which] made her the Mozart-Strauss soprano of one's dreams."
- Peter G. Davis, OPERA NEWS, Nov., 2003GABRIEL PIERNE Cond. Concerts Colonne Orch.: Mendelssohn, Grieg, Strauss & Wagner. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-758, recorded 1929-30. Transfers by Yves St Laurent. (C1657)
“Gabriel Pierne has been called the most complete French musician of the late Romantic/early Twentieth Century era….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….”
- Blair Johnston, allMusic.com. . . REPEATED . . . FROM THE RECENT PAST . . .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. [Gonzalez 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. (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….Giuseppe di Stefano recordings from the mid-1940s to early 1950s are treasures to savor….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…. And such treasures are what Immortal Performances gives us in this four-disc set….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, 2018PETER 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….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….Davis is more explosive in his conducting, and Vickers is a bit more extreme in his portrayal [than in the 1978 Philips recording]. 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….The remainder of the cast is first rate; clearly this is a production in which the Met invested all of its resources….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.”
- 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….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., 1984
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)
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. (C1655)
KIRILL 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)
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)
DIE 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)
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
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 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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V2575. GIUSEPPE CAMPANARI: Songs by Seppilli, Tirindelli, Gastaldon, Rotoli & Rossini; Arias from Nozze, Barbiere, Faust, Carmen, L'Africaine, Hérodiade, Pagliacci, La Gioconda, La Traviata & Il Trovatore. (Canada) St Laurent Studio YSL 78-728, recorded 1903-09. Transfers by Yves St Laurent.
V2585. GEÖRGY VINOGRADOV: Songs by Beethoven, Schumann, Brahms, Grieg, Dvorak, Wolf, Bizet, etc.; GEÖRGY VINOGRADOV, w.Nina Alexandriyskaya, Maria Shaposhnikova & Andrei Ivanov; Kyril Vinogradov & Georg Orentlicher (Pfs.): Glinka Romances; GEÖRGY VINOGRADOV, w.Andrei Ivanov & Nina Alexandriyskaya; Georg Orentlicher (Pf.) & Alexander Ivanov-Kramskoy (Guitar): Songs by Cui, Gurilev, Dargomyzhsky, Varlamov, Rimsky-Korsakov, Mussorgsky, Tchaikovsky, Lodyzhensky, Taneyev, Grechaninov, Lermontov & Sokolov; GEÖRGY VINOGRADOV, w.Nina Alexandriyskaya; Georg Orentlicher & Kyril Vinogradov (Pfs.); Songs by Beethoven, Schubert, Schumann, Brahms, Grieg, Dvorak, Wolf & Bizet; GEÖRGY VINOGRADOV, w.Georg Orentlicher & Kyril Vinogradov (Pfs.); Songs by Matveev, Kochurov & Yshaporin; Leonid Yuriev Cond. Ensemble of soloists of the USSR's State Orchestra; Konstantin Vinogradov Cond. The Red Banner Ensemble choir and orchestra. All recorded 1943-53, many not previously released in any format and published here for the first time; PUSS IN BOOTS (opera-fairytale) (César Cui), recorded 1948, w. Leonid Pyatigorsky Cond. Pavel Pontryagin, Georgy Vinogradov, Alexei Usmanov, Daniil Demyanov, Georgy Abramov, Zoya Muratova & Konstantin Polyaev. (Russia) 6-Aquarius AQVR 410, in Elaborate Boxed Set. - 4607123631935
C1658. PIERRE MONTEUX Cond. Boston S.O., w.LEON FLEISHER: Piano Concerto #1 in d (Brahms), Live Performance, 20 July, 1958, Tanglewood [a profoundly sensitive performance . . . in outstanding sound!]; w.Eleanor Steber, Frieda Gray-Masse, John McCollum & David Laurent: 'Choral' Symphony #9 in d - Final Movement (Beethoven), Live Performance, 31 July, 1960, Tanglewood. (Canada) St Laurent Studio YSL T-552. Transfers by Yves St Laurent.
C1657. GABRIEL PIERNE Cond. Concerts Colonne Orch.: Mendelssohn, Grieg, Strauss & Wagner. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-758, recorded 1929-30. Transfers by Yves St Laurent.
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)
Die Walkure (Szell; Bampton, Traubel, Melchior, Janssen, Thorborg, Kipnis) (3-Immortal Performances IPCD 1081)
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)
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
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)
Marian Anderson, Vol. III (St Laurent Studio YSL 78-629)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
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)
Charles Rousseliere (The Record Collector TRC 46)
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)