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Historical Reissue Classical CDs, LPs, 78s,
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Since 1972



This week, from the sublime

to the totally ridiculous . . .

the Franco-Russo Sorceress

JENNIE TOUREL from

Caniell’s Immortal Performances . . .

to SPIKE JONES . . .

and our regular 50% SALE continues;

still more additions to our

out-of-print books section . . .



  • JENNIE TOUREL - UNKNOWN AND LITTLE KNOWN RECORDINGS: w.Pelletier Cond.Met Opera Orch.: MIGNON - Act II, Scene 2: ‘Elle est là, près de lui!’, Live Performance, 15 May, 1937 – Met Broadcast; w.Richard Burgin Cond.Boston Symphony Orch.: DAS LIED VON DER ERDE (Mahler), 1943 (Contralto portions only, sung in English [Gene Hamilton is the commentator]); w.Laszlo Halasz Cond.New York City Center Opera; CARMEN – Act II Excerpts Live Performance, 26 Feb. 1944 (only extant portions), w.Joseph Rogatschewsky, George Czaplicki, Regina Resnik, Rosalind Nadell, Henry Cordy, Emile Renan & Sidor Belarsky; w.Zinka Milanov; Sodero Cond.Met Opera Orch.: NORMA – Excerpts, Live Performance, 30 Dec. 1944 – Met Broadcast; w.Donald Voorhees Cond.Bell Telephone Hour Orch.: LA CENERENTOLA – ‘Nacqui all’affanno’, 18 June, 1945; w.Pierre Monteux Cond.San Francisco Symphony Orchestra: Arias from SAMSON ET DALILA, JEANNE D’ARC, IL FLORIDORO ['Per pieta] (Scarlatti); BARBIERE, LES NUITS D’ÉTÉ – ‘l'Absence’ (Berlioz), from STANDARD HOUR CONCERTS, 1948 & 1950; Paul Ulanowsky (Pf.): ‘O quand je dors’ (Liszt), c.1959 [among many, this is truly the 'jewel' of the entire Set!]; w. Thomas Scherman Cond. Little Orchestra Society: POÈME DE L’AMOUR ET DE LA MER (Chausson), New York, Town Hall, 1951; w.Ralph Kirkpatrick (Harpsichord): ARIANNA A NAXOS (Haydn), 1952 [Haydn Society LP HSL 2015]; w.Leonard Bernstein Cond.NYPO: LA MORT DE CLÉOPÂTRE (Berlioz), broadcast 1 Oct., 1961, Carnegie Hall (prior to the issued Columbia recording). (Canada) 3-Immortal Performances 1048. Transfers & Essay by Richard Caniell; Program Notes by Henry Fogel, w.28pp booklet. - (V2326)

    “[Tourel's] vibrant voice, with its familiar, intriguing tang and pungency already securely in place...takes all the soprano options [in MIGNON] with stunning results - and in every measure there is the distinctive musical and interpretive intelligence that discerning audiences would soon learn to treasure.”


    - Peter G. Davis [on Jennie Tourel [considering her Met début as Mignon], THE AMERICAN OPERA SINGER, p.370


    “Bizet, Rossini, Mahler, Chausson, Bellini, Haydn, Berlioz, Saint-Saëns, Offenbach, Stradella. The list of singers who would be comfortable in such a broad range of musical and dramatic styles is a very small list indeed. By ‘comfortable’ I don’t mean just singing the notes. What I am talking about is conveying the appropriate musical style – everything from phrase-shaping to color and weight of voice and dynamic range – for each of those composers. One singer who easily passes that test is Jennie Tourel.

    The opportunity in this set to hear Tourel in such a wide range of material gives the listener a chance to re-assess her and, frankly, brings a new appreciation of her artistry and her natural vocal strengths.

    Listening to the extraordinary range of repertoire encompassed in these three discs makes clear that Tourel was one of the most significant singers of the middle third of the twentieth century. What makes her unique, in my view, is the combination of vocal opulence and musical intelligence and musical curiosity. Many singers who possess the opulence settle for that quality – or they add a relatively smart and interesting degree of somewhat generalized inflection and coloration. Many singers who have the ability to project every nuance of a text and dramatic situation lack the sheer richness of tone capable of bringing goose bumps to the listener just because of the sound itself. With Tourel you get both. Always alive to text, to dramatic situation whether comedic or tragic, and to the harmonic movement within a musical line, she at the same time made a truly glorious sound when she opened her mouth. It is that very rare combination of musical and vocal assets that this set celebrates, and documents."


  • - Henry Fogel, Program Notes




  • SPIKE JONES & His City Slickers: A dozen of Jones' hilarious renditions, incl.: Round Table Discussions of Opera and Schubert's 'Unfinished' Symphony; An 'Opera' entitled 'Knighthood goes to Pot'; Another 'Opera', with Don Ameche, entitled 'FBAida'; Ponchielli's 'Dance of the Hours'; w.Lassie and Eileen Gallagher (messy soprano): Arditi's 'Il Bacio' [as 'Il Barkio'] a much later version than the one commonly known from the earlier infamous 78rpm with the lamented Ina Souez; plus 7 more. EMI 4330102, Live Broadcast, 25 June, 1949, San Francisco, previously unreleased. (PE0249)

    "For any high-brows who may be skeptical, trust me . . . you'll be pleased to have added this little jewel to your collection. This very well-done production is an exercise in hilarity the likes of which I've rarely heard (or so much enjoyed!)."


    - J. R. Peters


    “Lindley Armstrong Jones was a musical genius. In the wild and woolly days before multi-track recording, MTV, and certainly digital entertainment content, Spike Jones put together a top-flight musical organization of which the world has not seen the likes since. Known as the City Slickers, the emphasis was on comedy, primarily doing dead-on satires of popular songs on the hit parade and taking the air out of pompous classical selections as well. Not merely content to do cornball renderings of standard material or trite novelty tunes for comedic effect, Jones' musical vision encompassed whistles, bells, gargling, broken glass, and gunshots perfectly timed and wedded to the most musical and unmusical of source points. His stage show was no less mind-boggling, needing a full railroad car just to carry the props alone, all presented without electronic gimmickry of any kind, with visuals that would make your eyes pop out of your head. Though he often downplayed his musical achievements (all part of the master plan of selling the idea to the general public), the fact remains that Spike was a strict bandleader and taskmaster, making sure his musicians were precision tight and adept in a variety of musical styles from Dixieland to classical, with a caliber of musicianship several notches higher than most big bands of the day that played so-called ‘straight’ music.

    In other words, Jones was no dummy. He knew what he was doing when he put the whole concept together - checkerboard suits and all. It gave him Top Ten hits on phonograph records and proved immensely popular as a stage show, in movies, and on television. (It became a badge of honor with pop musicians that you really hadn't tasted true success until Spike Jones & The City Slickers had destroyed your song.) A definite precursor to the video age, Jones didn't merely play the songs funny, he illustrated them as well, a total audio and visual assault for the senses. Jones (the son of a railroad man, hence the nickname) had started as a jazz drummer and radio session player working with top-drawer stars like Fred Astaire and Bing Crosby, among others. But as in-demand as he might have been, musician union restrictions only allowed so many radio dates to be worked by one drummer. To this end (and to distinguish himself from the pack), Jones added a full set of tuned cowbells, guns, whistles, and sirens to his already existing drum set, thus insuring steady work as a both a drummer and small-scale sound effects man.

    Although these additions made him unique in a field loaded with anonymous sidemen, Jones had bigger and crazier ideas [and]he formed the City Slickers in the early '40s. In 1942, a strike by the American Federation of Musicians prevented Jones from making commercial recordings for over two years. He could, however, make records for radio broadcasts, thus ‘Der Fuehrer's Face’, became not only a national hit but a national mania, and Jones' self-named ‘musical depreciation revue’ was off and running.

    The bands assembled over the years under the City Slickers banner would feature everyone from singers, midgets, acrobats, and vaudeville comics to musicians who could just plain blow their brains out, all hand-picked by Jones. From George Rock's braying, high-register trumpet and kiddie voices to Freddie Morgan's incredible rubber-faced pantomime banjo shenanigans, from Sir Frederick Gas' insane ‘twig’ bowing to Billy Barty's Liberace impressions, here was a band that truly defied description. Musicians who could play multiple instruments in a wide variety of styles were commonplace, making the City Slickers the crackerjack unit they were. But certain members of the troupe (like Gas or Barty) were hired because they did one thing extremely well, and would proceed to do it on a nightly basis, key players all.

    Jones' musical vision also encompassed a total assault against the conventions of general show-business pomposity. Whatever the newest fad (current singing stars, radio, television, and movie personalities), if Jones could figure a way to ridicule it for the ‘this month's flavor’ shallowness of it all, the City Slickers torch was duly applied. And once you heard Jones' version of the tune, you could never go back and take any of those idols of the moment quite as seriously as you might have before. Although parodies of pop music continued to proliferate, the simple fact remains that Spike Jones & His City Slickers did it better than anyone before or since.”


  • - Cub Koda, allmusic.com




  • CENDRILLON – Excerpts (Massenet), Broadcast Performance, 12 Dec., 1943, w.Gressier Cond.Radio-Lyric Ensemble; Simone Blain, Mireille Berthon, Jean Guilhem, Lucien Lovano, Paule Touzet, Denise Scharley, etc. (France) Malibran 503. (OP3008)



    . . . and repeated from last week . . .



  • L'AFRICAINE - Excerpts, w.Robert Wagner Cond. Tony Poncet, Denise Monteil, Andrée Esposito, Henri Peyrottes & Félix Giband. (Canada) St Laurent Studio YSL 33-246. Transfers by Yves St Laurent. (OP3004)

    “Featuring the always exquisite Andrée Esposito, we have here as well Denise Monteil, Henri Peyrottes, Félix Giband and (in exceptionally fine form) -Tony Poncet. Highly recommended!


  • - J. R. Peters




  • LA CRÉOLE (Offenbach), recorded 1961, w.Cariven Cond. Claudine Collart, Lina Dachary, Aimé Doniat, Joseph Peyron, Bernard Demigny, etc.; LE 66 (Offenbach), Broadcast Performance, 25 Aug., 1958, w.Cariven Cond. Claudine Collart, René Lenoty & Camille Maurane. (France) 2-Malibran 770. (OP3000)



  • LE PRÉ AUX CLERCS (Hérold), Broadcast Performance, 13 June, 1959, w.Benedetti Cond. Radio Lyrique Ensemble; Berthe Monmart, Claudine Collart, Joseph Peyron, Camille Maurane, Lucien Lovano, etc.; LE PRÉ AUX CLERCS - Excerpts, recorded 1962, w.Etcheverry Cond.Doria, Le Bris, Louvay, Sénéchal, Legros & Giannotti. (France) 2-Malibran 213. (OP2114)



  • FERVAAL, (d’Indy)Broadcast Performance, 1962, w.Le Conte Cond. RTF Ensemble; Jean Mollien, Micheline Grancher, Janine Capderou, Lucien Lovano, etc. (France) 2-Malibran 771. (OP2997)

    “Contemporary commentary, such as from Maurice Ravel, described FERVAAL as strongly influenced by the operas of Richard Wagner, such as PARSIFAL. Thus the opera can be described as an epic with Wagnerian allusion.”




  • LA DAME BLANCHE (Boieldieu), Live Performance, 1964, w.Jean Fournet Cond.Hilversum Radio Ensemble; Mimi Aarden, Erna Spoorenberg, Nicolai Gedda, Frans Vroons, etc.; . MA TANTE AURORE, ou, Le roman impromptu (Boieldieu), Broadcast Performance, 1963, w.Courand Cond.Françoise Ogéas, Janine Collard, Jean Mollien, etc. (France) 2-Malibran 774. (OP2998)



  • BREAKING THE RECORD, incl.Olga Orsella, Max Gillmann, József Kalmár, Angela de Angelis, Fernando de Lucia, Aurelio Viale, Amédée Sujol, Maria Galvany, Aline Sanden, Juan Spiwak, Juan Luria, Hans Nachod, M. Iginio, Agate Kolmann, Robert Biberti, Albert Schott, Maria Herescu, Franz Erdmann, Otto Beck, Zigo Rogac [as S. Wang], Nelly Byron, Clorinda Müller, Roy Williams, Gerty Urgiss, Willy Schüller, Fülöp Weiser, Alessandro Moreschi, [plus a few more perpetrators of some of the most embarassing singing, playing & conducting one could hardly imagine ever having been recorded [or retained] for posterity!] (Germany) Truesound Transfers 3083, recorded 1897-1933, Leipzig, München, Berlin, Wien, Hannover, Bucuresti, Budapest, Napoli, Milano, Roma, Paris, Exeter, etc. Transfers by Christian Zwarg. (V2323)

    "Christian Zwarg writes that this [‘…proves that even back in those days [1910], nepotism was a highly developed art’]…. Albert Schott’s dramatic efforts [and we do mean ‘efforts’] in this best-forgotten ‘Ungeduld’ is a severe case in point. As well as being painful to hear, on a more optimistic note it is truly hysterically uproarious! Just when you thought you’d heard everything, this tour de farce is intended for the collector who has everything, including a ribald sense of humor. . . accompanied by equally funny program notes in German and English."


  • - J. R. Peters




    . . . more out-of-print books added at the beginning each completely revised book section . . . more coming in the next months . . .



    . . . and our 50% Discount Sale continues . . .

    . . . and our 50% Discount

    Sale continues . . .



    We continue Special 50% Discount Sale offerings. 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.

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    JENNIE TOUREL; Milanov, Rogatchewsky, et al. (IPCD 1048)
    V2326. JENNIE TOUREL - UNKNOWN AND LITTLE KNOWN RECORDINGS: w.Pelletier Cond.Met Opera Orch.: MIGNON - Act II, Scene 2: ‘Elle est là, près de lui!’, Live Performance, 15 May, 1937 – Met Broadcast; w.Richard Burgin Cond.Boston Symphony Orch.: DAS LIED VON DER ERDE (Mahler), 1943 (Contralto portions only, sung in English [Gene Hamilton is the commentator]); w.Laszlo Halasz Cond.New York City Center Opera; CARMEN – Act II Excerpts Live Performance, 26 Feb. 1944 (only existent portions), w.Joseph Rogatschewsky, George Czaplicki, Regina Resnik, Rosalind Nadell, Henry Cordy, Emile Renan & Sidor Belarsky; w.Zinka Milanov; Sodero Cond.Met Opera Orch.: NORMA – Excerpts, Live Performance, 30 Dec. 1944 – Met Broadcast; w.Donald Voorhees Cond.Bell Telephone Hour Orch.: LA CENERENTOLA – ‘Nacqui all’affanno’, 18 June, 1945; w.Pierre Monteux Cond.San Francisco Symphony Orchestra: Arias from SAMSON ET DALILA, JEANNE D’ARC, IL FLORIDORO ['Per pieta'] (Scarlatti); BARBIERE, LES NUITS D’ÉTÉ – ‘l'Absence’ (Berlioz), from STANDARD HOUR CONCERTS, 1948 & 1950; Paul Ulanowsky (Pf.): ‘O quand je dors’ (Liszt), c.1959 [among many, this is truly the 'jewel' of the entire Set!]; w. Thomas Scherman Cond. Little Orchestra Society: POÈME DE L’AMOUR ET DE LA MER (Chausson), New York, Town Hall, 1951; w.Ralph Kirkpatrick (Harpsichord): ARIANNA A NAXOS (Haydn), 1952 [Haydn Society LP HSL 2015]; w.Leonard Bernstein Cond.NYPO: LA MORT DE CLÉOPÂTRE (Berlioz), broadcast 1 Oct., 1961, Carnegie Hall (prior to the issued Columbia recording). (Canada) 3-Immortal Performances 1048. Transfers & Essay by Richard Caniell; Program Notes by Henry Fogel, w.28pp booklet. - 748252292544
    $49.95
    Cendrillon  (Massenet)  (Simone Blain)   3760003775035
    OP3008. CENDRILLON – Excerpts (Massenet), Broadcast Performance, 12 Dec., 1943, w.Gressier Cond.Radio-Lyric Ensemble; Simone Blain, Mireille Berthon, Jean Guilhem, Lucien Lovano, Paule Touzet, Denise Scharley, etc. (France) Malibran 503. - 3760003775035
    $19.90
    Spike Jones & His City Slickers;  Don Ameche  (EMI 4330102)
    PE0249. Spike Jones & His City Slickers: A dozen of Jones' hilarious renditions, incl.: Round Table Discussions of Opera and Schubert's 'Unfinished' Symphony; An 'Opera' entitled 'Knighthood goes to Pot'; Another 'Opera', with Don Ameche, entitled 'FBAida'; Ponchielli's 'Dance of the Hours'; w.Lassie and Eileen Gallagher (messy soprano): Arditi's 'Il Bacio' [as 'Il Barkio'] a much later version than the one commonly known from the earlier infamous 78rpm with the lamented Ina Souez; plus 7 more. EMI 4330102, Live Broadcast, 25 June, 1949, San Francisco, previously unreleased. - 094633010222
    $16.90
    BREAKING THE RECORD     (Truesound Transfers 3083)
    V2323. BREAKING THE RECORD, incl.Olga Orsella, Max Gillmann, József Kalmár, Angela de Angelis, Fernando de Lucia, Aurelio Viale, Amédée Sujol, Maria Galvany, Aline Sanden, Juan Spiwak, Juan Luria, Hans Nachod, M. Iginio, Agate Kolmann, Robert Biberti, Albert Schott, Maria Herescu, Franz Erdmann, Otto Beck, Zigo Rogac [as S. Wang], Nelly Byron, Clorinda Müller, Roy Williams, Gerty Urgiss, Willy Schüller, Fülöp Weiser, Alessandro Moreschi, plus a few more perpetrators of some of the most embarassing singing, playing & conducting one could hardly imagine ever having been recorded [or retained] for posterity! (Germany) Truesound Transfers 3083, recorded 1897-1933, Leipzig, München, Berlin, Wien, Hannover, Bucuresti, Budapest, Napoli, Milano, Roma, Paris, Exeter, etc. Transfers by Christian Zwarg.
    $23.90
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