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HENRYK SZERYNG, w.Ristenpart Cond. Saar Chamber Orch.: Violin Concerto #3 in G, K.216 (Mozart), Live Performance, 11 Sept., 1959, Saarlouis, Germany [a breathtaking performance!]; w.Martinon Cond. RTF S.O.: Violin Concerto in E - Live Performance, 26 March, 1963, Salle Pleyel, Paris; HENRYK SZERYNG & GERARD POULET, w.Dimitri Chorafas Cond. RTF S.O.: Concerto for Two Violins in d - Live Performance, 7 Sept., 1963, Besancon, France (both Bach). [Among the most highly treasured recital disks we are privileged to offer, in excellent sound quality!] (Canada) St Laurent Studio YSL T-791. Transfers by Yves St Laurent. (S0738)
JON VICKERS celebrated once again . . .
his 1986 Met SAMSON of Handel . . .
Yves St Laurent also offers
SZERYNG, Vol. 2; PARAY, Vol. 18
Vol. 10 - LE MARTYRE DE SAINT-SEBASTIEN;
many Books & CDs
added to our 50% SALE
"Henryk Szeryng, one of the more elegant representatives of a now fading school of Romantic violin playing, was known for the purity of his playing - exact intonation, well-organized phrasing and a broad, sweet, vibrato-filled tone that nevertheless did not sound oppressive. In the Romantic tradition, Mr. Szeryng applied his long, lyrical style to Mozart, Bach and Vivaldi as well as to Brahms and Tchaikovsky. The various schools of interpretation, in other words, were filtered through the single 19th-century Central European tradition that was his heritage. Among his teachers were Carl Flesch in Berlin and Jacques Thibaud and Nadia Boulanger in Paris.
Mr. Szeryng began his concert career in 1933 and spent World War II as liaison officer to the exiled Polish Premier. His musical life continued its close contact with politics and diplomacy when the Mexican Government invited him in 1943 to teach at the National University in Mexico City. He became a Mexican citizen and later traveled on a diplomatic passport as the country's Culture and Good Will Ambassador. After 10 relatively quiet years of teaching and occasional concerts, Mr. Szeryng met Arthur Rubinstein after a recital in Mexico City. With the help of his fellow pianist and Polish compatriot, Mr. Szerying developed an international career that was still flourishing at his death.
Mr. Szeryng also became a busy recording artist, with a discography of about 250 works. Mr. Szeryng's tastes ran to the standard literature. He was especially fond of Paganini, yet 20th-century composers like Carlos Chavez, Benjamin Lees and Michael Ponce wrote music for him. Mr. Szeryng also liked to play music by the contemporary Polish composer Karol Szymanowski. He exercised his diplomatic responsibilities in part by championing the music of Mexican composers, and he expressed his belief in the humanistic powers of music as an adviser to UNESCO.''
- Bernard Holland, THE NEW YORK TIMES, 4 March, 1988
SAMSON(Handel), Live Performance, 1 March, 1986, w.Julius Rudel Cond. Met Opera Ensemble; Jon Vickers, Leona Mitchell, Kiri Te Kanawa, Sandra Walker, Paul Plishka, John Macurdy, Dawn Upshaw, Hei-Kyung Hong, Enrico di Giuseppe, etc. (Canada) 2-St Laurent Studio T-795. Transfers by Yves St Laurent. (OP3300)
“St. Laurent Studio brings us the Met’s March 1, 1986 broadcast of Handel’s oratorio, SAMSON, starring Jon Vickers in the title role. The great Canadian heroic tenor was celebrated for his Florestan, Don José, Peter Grimes, Otello, Siegmund, Tristan, and Parsifal, among others. In such company, a Handel oratorio tenor part may seem an unlikely undertaking. Vickers himself well understood that he did not fit the classic mold for such repertoire. When Sir Thomas Beecham invited Vickers to take part in his 1959 RCA recording of Handel’s MESSIAH, he told the great British conductor: ‘I don’t possess what’s considered to be the typical English oratorio tenor voice’. Beecham responded: ‘Thank God for that!’ And Vickers’ contribution to the Beecham RCA MESSIAH is something to hear. During that stage of his career, Vickers possessed a voice of impressive power and beauty, albeit of a highly individual kind. And Vickers could also sing with admirable flexibility. The extended melismatic passages in ‘Every valley’ and ‘Thou shalt break them’ pose no hurdles for the young and robust artist. Vickers also phrases with great feeling and sensitivity for Handel’s vocal line. In truth, Jon Vickers proves the ideal casting for a recording that employs Eugene Goossens’ grand orchestration of Handel’s Baroque masterpiece. As it turns out, Beecham chose Vickers for the MESSIAH recording after hearing the tenor earlier that year in a Covent Garden production of Handel’s SAMSON, conducted by Raymond Leppard. Almost 30 years later, Vickers took part in staged performances of SAMSON at Covent Garden, the Lyric Opera of Chicago, and the Met. This March 1, 1986 broadcast is a souvenir of the Met run of performances. By the time of this broadcast, the movement to present Baroque works in historically informed performances was in full force. As such, the Covent Garden-Chicago-Met Samsons inspired no small amount of controversy. The score, heavily cut, is performed by a modern instrument orchestra (admittedly of reduced forces), and with almost no ornamentation by the vocalists.
And yet, this is a SAMSON that commands attention. First and foremost of course is Jon Vickers’ assumption of the title role. Vickers was one of the greatest singing actors of his generation, a person who embodied his roles in a manner unlike any other tenor I’ve witnessed (I saw him in FIDELIO, OTELLO, PETER GRIMES, and a recital of Schubert’s WINTERREISE). One of the things that set Vickers apart was his ability to portray in the most convincing manner a character in the throes of the greatest despair and pain, but without ever violating the integrity of the music. Whether it was Florestan’s ‘Gott! welch’ Dunkel hier!’, Otello’s ‘Dio! mi potevi scagliar’, Tristan’s Act III delirium, or the tortured cries of ‘Peter Grimes!’, you believed you were witnessing an actual breakdown, not merely its staged musical depiction. And so it is with Samson’s iconic aria ‘Total eclipse’! Vickers portrays the blinded Samson’s pain and despair in unforgettable fashion, but he does so by employing noble diction, legato, and the masterful application of dynamic contrasts. These are qualities that inhabit the totality of his interpretation. By this stage of Jon Vickers’s career, his voice, while as powerful as ever, had lost a good deal of its youthful bloom, now taking on a quality I can best describe as ‘craggy’. But I find that type of vocal quality entirely appropriate for Samson, a character both heroic and tortured. And while the quality of the voice is of later vintage, Vickers retains his vocal security. As with other Vickers roles, the tenor’s interpretation of Samson deepened over the years. In the Met broadcast, it attains a level of intensity that is often overwhelming. I think Vickers’s Samson is worthy to stand alongside his greatest achievements, and for that reason, this Met broadcast is essential listening. By the way, in the Met production, Samson is in chains throughout the performance, something that is quite apparent in the recording.
The remainder of the cast includes several familiar names from the era. Leona Mitchell’s soprano has the kind of voluptuous quality more typically associated with Puccini and Verdi. But Mitchell sings Delilah beautifully, with admirable poise and sensitivity. Sandra Walker brings nobility and a true alto quality to the role of Samson’s friend, Micah. Bass Paul Plishka is outstanding as Samson’s rival, Harapha, singing the showpiece aria ‘Honour and arms’ with style, vocal richness, and impeccable technique. Sad to say, John Macurdy, another valuable Met basso, is on this occasion in poor form as Samson’s father, Manoah, unstable of pitch and laboring in passages demanding flexibility. On the other hand, tenor Enrico di Giuseppe, a mainstay both at the Met and New York City Opera, makes the most of his brief appearance as the Philistine Man. Soprano Kiri Te Kanawa brings star power to the brief roles of the Philistine Woman and Israelite Woman (the latter given the famous aria, ‘Let the bright seraphim’). Conductor Julius Rudel leads a performance that favors moderate tempos, although Vickers quite often asks the conductor for great expanses of time to make his musical and dramatic points. Rudel secures crisp execution from both the Met Orchestra and Chorus. The recorded sound on this St. Laurent Studio release is fine broadcast stereo, a superb document of a riveting performance. There are no liner notes or texts, but a SAMSON libretto is easily obtainable from various Internet sources (be prepared for the cuts, though). As I mentioned, this is not a SAMSON for those seeking an historically informed performance of Handel’s great oratorio. It is, however, an unforgettable document of one of the most compelling singers of the 20th century, at the height of his interpretive powers, and performing a role that was in many ways, tailor-made for his extraordinary gifts.”
- Ken Meltzer, FANFARE
Cond. Orchestre National de la RTF, w. Maria Posa, Arlette Chedel, Georg Jelden & Jacques Mars: 'Choral' Symphony #9 in d (Beethoven). (Canada) St Laurent Studio YSL T-591, Live Performance, 8 Nov., 1966, Theatre des Champs-Elysees. Transfers by Yves St Laurent. (C1691)
DESIRE-EMILE INGHELBRECHT Cond. RTF S.O., w.Christiane Gayraud, Janine Micheau & Pierre Gallon: LE MARTYRE DE SAINT-SEBASTIEN (Debussy). (Canada) St Laurent Studio YSL T-685, Live Performance, 18 Feb., 1964, Theatre des Champs Elysees, Paris. Transfers by Yves St Laurent. (C1690)
“A major work by a major composer, LE MARTYRE remains little done and relatively unknown. Composed in 1911 and premiered the same year, Debussy originally created it as music for the production of a gargantuan, five-act, five-hour spectacle for the dancer Ida Rubinstein, written by D'Annunzio. But most significant attraction of the work lies in - make no mistake - the very great beauty of the music itself. It counts as some of the most exquisite Debussy ever wrote. [When] I first heard the work…I imagined heaven opening up before me, with celestial alleluias trumpeting from the four corners and disappearing into the skies.
Debussy not only revived his idiom for LA DAMOISELLE ELUE (deepened by decades of experience) but also came up with music one-of-a-kind. Some things are unprecedented and never repeated….Most of it, however, sings ‘a new song’, at times exhilarating, at others quietly rapt. Quiet, slow moments predominate, and Debussy succeeds not only at keeping your attention, but at overwhelming you with the beauty of his song. The music transforms the purple poetry to mystical ecstasy….I can't describe what a glory it is just to listen.”
- Steve Schwartz, Classical.Net. . . REPEATED . . . FROM THE RECENT . . . MANON
, Live Performance, 15 Dec., 1951, w.Cleva Cond. Met Opera Ensemble; Licia Albanese, Giuseppe di Stefano, Martial Singher, Jerome Hines, Alessio de Paolis, etc. (Canada) 2-St Laurent Studio YSL T-805. (OP3298)
“Savoring Albanese and Di Stefano as the enamored pair, our musical tastebuds will likely relish the pasta more than the sauce (especially with Cleva conducting…reinforcing the passionate avowals of the lovers with expansive phrasing). But with two such elegant performers in the Italian style, appetite is amply whetted….[ Di Stefano’s] Des Grieux is all innocence and honest wonder as he first addresses Manon. Ardor is the nub of Di Stefano’s stage persona and vocal manner, and he cannot shelter it for long; it flames into passionate song as Des Grieux convinces Manon to fly to Paris wih him. The house erupts in a burst of excitement as the two close the first act with ringing top notes. The later acts confirm the immediacy of Di Stefano’s art; velvety tones and sincerity of expression are sufficient warranty for his obvious confidence in his charm. One of the few modern tenors to command both the mezza voce for ‘Le rêve’ and the full-throated vocalism required for the seminary aria, he does not disappoint in either…. Di Stefano’s voice is all of a piece; it glides easily from piano to forte and back again….Des Grieux’ agony is patent and Di Stefano’s vocalism moving….Within the silent walls of St. Sulpice, [Albanese’s] recitation chillingly evokes the austerity of the ancient church. And her skill beguiles not only Des Grieux but her radio audience as she twines Massenet’s sinuous lines round and about, seducing the reluctant seminarian with hoops of aural steel that bind him to her and a life of love and degradation….few sopranos depict the wayward girl’s feverish thirst for life and love as convincingly as she.”
- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.53-54.
JORGE BOLET: Chopin (the 4 Scherzi), Beethoven ('Appassionata' Sonata #23 in f), Schubert, Liszt, Donizetti & Wagner Recital. [Another treasurable recital, recorded in brilliant sound!] Transfers by Yves St Laurent. (Canada) 2-St Laurent Studio YSL T-752, Live Performance, 15 Aug., 1969, Bloomington, Indiana. (P1298)
CHARLES MUNCH Cond. ORTF S.O.: Pan - Symphonic Poem (Johansen); Bacchus et Ariane - Suite #2 (Roussel); La Valse (Ravel) - Live Performance, 4 June, 1964, Bergen, Norway; Pelleas et Melisande Suite (Fauré), Live Performance, 19 Aug., 1964, Edinburgh, Scotland; CHARLES MUNCH Cond. Orchestre de la Suisse Romande: Symphony #2 in D for Strings & Trumpet (Honegger), Live Performance, 4 Nov., 1964, Geneva. (Canada) St Laurent Studio YSL T-774. Transfers by Yves St Laurent. (C1688)
DESIRE-EMILE INGHELBRECHT Cond. RTF S.O.: Jeux; Iberia - Images Nos. 2, 3 & 4 (both Debussy); w.GENEVIEVE MOIZAN: Psaume XLVII (Florent Schmitt). (Canada) St Laurent Studio YSL T-594, Live Performances, 1955-64, Theatre des Champs Elysees, Paris. Transfers by Yves St Laurent. (C1690)
LOUISE (Charpentier), recorded 1935 & Live Performance, 20 Feb., 1943, w.Eugene Bigot Cond. Ninon Vallin, Georges Thill, Andre Pernet, etc.; w.Beecham Cond. Met Opera Ensemble; Ezio Pinza, Doris Doe, Helen Olheim, Thelma Votipka, etc.; Germaine Feraldy, Jean Planel & Joseph Lanzone: Six songs (Charpentier). (Canada) 2-Immortal Performances IPCD 1103. Notes by Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & beautiful 58pp booklet. (OP3297)
“What is clear from this set is that no soprano who has recorded the title role comes close to Vallin, musically or dramatically. The evenness of vocal production, seamless from bottom to top of her range, is one remarkable asset. The steadiness of tonal emission is a second. But most impressive is the way in which she inhabits the character. Hers is a performance distinguished by its dramatic sweep and urgency. There is not a single phrase that seems just note-spinning. Her third act duet with Julien leaps out of the speakers, and she reflects through specificity of color and inflection Louise’s inner conflict, rebelling against the conventional upbringing from her parents while at the same time feeling love for them.
Georges Thill’s Julien is a vivid demonstration of the reasons for the tenor’s fame. Thill is sometimes criticized for being boring, but that is surely not the case here. Certainly much of his success is due to a remarkable technique and a strong, solid tenor produced in the French manner with almost unsettling ease. And while some of his aria recordings do seem too straightforward and lacking in the injection of a personal touch, that is not the case here. The ecstasy of the big second act duet with Louise could hardly be exceeded while remaining faithful to the score. His sound manages to combine the virtues of the heroic and the lyric tenor in perfect balance.
The principal triumph of this set is the insertion of Pinza into the cast. As you listen you know, intellectually, where the edits must be that inserted him in place of Pernet, and you are sure you are going to be able to hear the edit. But you cannot. One cannot imagine the work involved in matching pitch, tone quality, recorded sound, but the result is so natural that if you didn’t know better you would swear this was all a single recorded performance. Pinza is, as you would expect, a miracle of vocalism and dramatic force. His singing of the lullaby in the last act can be used by voice teachers as a demonstration of cantabile and legato, while at the same time conveying the love of father to daughter. Equally powerful is the scene at the end of Act I, where Louise’s Father tries to soothe her and make clear to her that he and Louise’s mother have only her best interests at heart. It is an extraordinarily powerful and telling depiction of the intense emotions that underly the moment. And, of course, his is a voice of authentic presence and impact, whether at fortissimo or pianissimo. Pinza’s association with LOUISE went back to 1923-24 at La Scala where Toscanini conducted the first French language performances ever produced there, these with Fanny Heldy and the great French basso Marcel Journet. After a few performances Journet left the cast and Toscanini chose Pinza to replace him.
The sound quality is up to the high level established by Immortal Performances in the past, and no one with a tolerance for ‘historic’ recordings should find anything to object to here. I was able to compare what Caniell has achieved here with the sound on the original 78s, and he has actually improved the balance and orchestral color from the original. The booklet offers more than 50 pages of superb notes by Caniell, covering the opera itself and the details of the recording he has assembled. The booklet is, in fact, a major achievement in itself. He writes intelligently about the opera and the culture from which it sprung, and he includes wonderful photographs of the principal singers performing their roles as well as of Paris around the time of LOUISE (1900). Big commercial record companies do not produce booklets as informative and attractive as this. What comes across is his passion for LOUISE, a passion that I have always shared but which has been inflamed even more by this stunning compilation….This is recommended with enthusiasm.”
- Henry Fogel, FANFARE
, Live Performance, 9 Aug., 1937, Salzburg, w.Toscanini Cond. Vienna Staatsoper Ensemble; Mariano Stabile, Franca Somiglia, Angelica Cravenco, Mita Vasari, Pietro Biasini, Augusta Oltrabella, Dino Borgioli, Virgilio Lazzari, Giuseppe Nessi & Alfredo Tedeschi; FALSTAFF - Act I, Live Performance, 29 Aug., 1936, Salzburg, w.Toscanini Cond. identical cast as previous; FALSTAFF, Live Performance, 1 & 8 April, 1950, Studio 8H, with broadcast commentary by Ben Grauer - Toscanini Cond. NBC S.O., Robert Shaw Chorale, Giuseppe Valdengo, Herva Nelli, Cloe Elmo, Nan Merriman, Frank Guarrera, Teresa Stich-Randall, Antonio Madasi, Norman Scott, John Rossi & Gabor Carelli; Orchestral rehearsal, Act I. (Canada) 5-Immortal Performances IPCD 1100, w. Two Elaborate 54pp & 27pp Booklets, w.Notes by Richard Caniell & John Sullivan. Audio restoration by Richard Caniell. (OP3294)
KLAUS TENNSTEDT Cond. Philadelphia Orchestra: Symphony #8 in c (Bruckner), Live Performance, 5 Jan., 1989; KLAUS TENNSTEDT Cond. NDR S.O.: Funf Orchesterstucke (Schonberg); w.ALFRED BRENDEL: Piano Concerto #4 in G (Beethoven), Live Performance, 20 Oct., 1980. (Canada) 2-St Laurent Studio YSL T-789. Transfers by Yves St Laurent. (C1686)
Cond. NBC S.O., w. Jarmila Novotna, Kerstin Thorborg, Jan Peerce, Nicola Moscona, Arthur Rubinstein, Ania Dorfmann & Westminster Chorus: Symphonies 1 - 9; Leonore Overtures Nos. 1 - 3; Coriolan Overture; Egmont Overture; Septet in E; String Quartet #16 in F - Lento assai; vivace; Prometheus - Ballet music, excerpt; Choral Fantasy; rehearsal and broadcast of Piano Concerto #3 (all Beethoven). Includes Interviews, broadcast commentary, and rehearsal of Beethoven’s Coriolan Overture. Restoration by Richard Caniell. Includes a 44pp. booklet with article by Robert Matthew-Walker, plus additional Notes in each volume by John Sullivan. 10-Immortal Performances 1064 -1067 (10 discs for the price of 8), Live Performances, 1939, plus 1944. Stereo versions of 1939 Leonore-III and Egmont Overtures. Handsomely boxed. (C1685)
Cond. Hungarian State Orch.: Concerto Grosso in D (Handel); Symphony #4 in e (Brahms); w. FERENC HARTAI: Flute Concerto #2 in D, K.314 / 285d (Mozart). (Canada) St Laurent Studio YSL T-691, Live Performance, 8 Oct., 1951. Transfers by Yves St Laurent. (C1687)
SIDNEY FOSTER, w. Aaron Copland, Maurice Abravanel, John Barbirolli & Michiaki Okuda Cond.: Rediscovering an American Master, incl. Bach, Mozart, Beethoven, Liszt, Hummel, Mendelssohn, Schumann, Chopin, Tchaikovsky, Mendelssohn, Brahms, Grieg, Franck, Debussy, Weber, Moszkowski, Scriabin, Rachmaninoff, Bartok, Paderewski & Dello Joio . 7-Marston 56001, recorded 1941-73, Live Performances. Transfers by Ward Marston. Notes by Alberto Reyes. (P1297)
“Ward Marston has produced a remarkable documentation of Foster’s work with this generously programmed 7-disc compilation (the timings average out to just under 80 minutes per disc). The majority of tracks derive from Indiana recitals, recorded with a single mike hung in the auditorium….As one listens to this set one appreciates more and more what a special talent Foster was. He seems to play everything with an intense concentration, displaying an immense range of dynamic shading. Lyrical passages are exceptionally poetic, with a legato that contradicts the reality that a piano is a percussion instrument. When virtuosity is called for, he displays it almost to excess….Some of the best examples of the combination of qualities that make Foster’s playing special are found in the Liszt Sonata….He again clarifies all the inner voices with a perfect ear for balance and sonority, while always maintaining a focus on the sheer beauty of the pieces. There are four concerto recordings in this set, the only surviving performances by Foster with orchestra. In fact, what keeps coming back to me as I think about everything in this set is the way Foster’s playing holds you, commands you to listen. All but forgotten, Foster is a major discovery. Thanks to Marston’s transfer skills and musical instincts, the art of an important American pianist has been kept alive. The superb booklet contains a penetrating essay by Alberto Reyes, a student and colleague of Foster’s. It goes without saying that the sound quality is superb considering the variety of sources and range of dates.”
- Henry Fogel, FANFARE
MARTTI TALVELA, w. Ryan Edwards (Pf.): Songs by Schumann, Kilpinen & Rachmaninoff. (Canada) St Laurent Studio YSL T-755, Live Performance, , 17 Oct., 1968, Hunter College, New York. Transfers by Yves St Laurent. (V2594)
FEODOR CHALIAPIN: The Complete Feodor Chaliapin, 1898 - 1936, live and studio recordings. Transfers by Ward Marston. Invaluable notes by Michael Scott & Michael Aspinall; reprint of an essay by the great accompanist, Ivor Newton - all included in a lavishly illustrated 324pp. hardcover book in handsome boxed set! 13-Marston 51301 (V2593)
BOOKS ON SALE
“Books have become our lonely stepchildren! By spending so many hours constantly revising our thousands of CDs we realize we have paid scant attention to our BOOKS ON SALE, thus many have been added (with more appearing), accompanied by greatly reduced prices! Have a glance at our SALE section - for BOOKS!
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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 2500 titles . . .
- - - - - - - 78rpm collectors, please note auctions from:
Dave Schmutz, www.78classicalgallery.com - or at: 818-242-6247
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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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S0738. HENRYK SZERYNG, w.Ristenpart Cond. Saar Chamber Orch.: Violin Concerto #3 in G, K.216 (Mozart), Live Performance, 11 Sept., 1959, Saarlouis, Germany [a breathtaking performance!]; w.Martinon Cond. RTF S.O.: Violin Concerto in E - Live Performance, 26 March, 1963, Salle Pleyel, Paris; HENRYK SZERYNG & GÉRARD POULET, w.Dimitri Chorafas Cond. RTF S.O.: Concerto for Two Violins in d - Live Performance, 7 Sept., 1963, Besançon, France (both Bach). [Among the most highly treasured recital disks we are privileged to offer, in excellent sound quality!] (Canada) St Laurent Studio YSL T-791. Transfers by Yves St Laurent.
OP3300. SAMSON (Handel), Live Performance, 1 March, 1986, w.Julius Rudel Cond. Met Opera Ensemble; Jon Vickers, Leona Mitchell, Kiri Te Kanawa, Sandra Walker, Paul Plishka, John Macurdy, Dawn Upshaw, Hei-Kyung Hong, Enrico di Giuseppe, etc. (Canada) 2-St Laurent Studio T-795. Transfers by Yves St Laurent.
C1691. PAUL PARAY Cond. Orchestre National de la RTF, w. Maria Posa, Arlette Chédel, Georg Jelden & Jacques Mars: 'Choral'
Symphony #9 in d (Beethoven). (Canada) St Laurent Studio YSL T-591, Live Performance, 8 Nov., 1966, Theatre des Champs-Elysées. Transfers by Yves St Laurent.
C1690. DESIRE-EMILE INGHELBRECHT Cond. RTF S.O., w.Christiane Gayraud, Janine Micheau & Pierre Gallon: LE MARTYRE DE SAINT-SEBASTIEN (Debussy). (Canada) St Laurent Studio YSL T-685, Live Performance, 18 Feb., 1964, Theatre des Champs Elysees, Paris. Transfers by Yves St Laurent.
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Faust (Pelletier; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza) (2-Immortal Performances IPCD 1097)
Fidelio (Tennstedt; Marton, Vickers, Mazura, Plishka) (2-St Laurent Studio YSL T-794)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Walkure, Act III (Traubel, Janssen) - Tristan, Act II, 1944 (Melchior, Traubel) (2-Immortal Performances IPCD 1093)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Vocal Record Collectors' Society - 2017 Issue (VRCS-2017)
Die Walkure (Szell; Bampton, Traubel, Melchior, Janssen, Thorborg, Kipnis) (3-Immortal Performances IPCD 1081)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
Renata Scotto, Vol. I Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Sergei Rachmaninoff (3-Marston 53022)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Erich Leinsdorf, Vol. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Marian Anderson, Vol. III (St Laurent Studio YSL 78-629)
George Szell, Vol. VII; Erica Morini; Geza Anda (St Laurent Studio YSL T-426)
Giuseppe Campanari (St Laurent Studio YSL 78-728)
Die Meistersinger (Szell; Janssen, Steber, Thorborg, Kullman, List, Harrell) (3-Immortal Performances IPCD 1088)
Tannhauser (Leinsdorf; Melchior, Janssen, Flagstad, Thorborg, List, Harrell) (3-Immortal Performances IPCD 1101)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Elektra (Christopher Keene; Olivia Stapp, Natalie Costa, Chookasian, Crabb, Cross) (2-St Laurent Studio YSL T-762)
Renata Scotto, Vol. III Philharmonic Hall, 1972; Ryan Edwards (St Laurent Studio YSL T-683)
Mignon / Carmen (Swarthout, Vinay, Hackett, Albanese, Pinza) (4-Immortal Performances IPCD 1096)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Tosca (Adler; Leontyne Price, Franco Corelli, Cornell MacNeil) (2-St Laurent Studio T-681)
Tosca (Cleva; Regine Crespin, Sandor Konya, Robert Merrill, Ezio Flagello) (2-St Laurent Studio T-657)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
Istvan Kertesz, Vol. I; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
The Complete Feodor Chaliapin (13-Marston 51301)
Falstaff (Toscanini; Stabile, Valdengo, Cloe Elmo, Dino Borgioli, Lazzari) (5-Immortal Performances IPCD 1100)
Lohengrin (Rosenstock; Konya, Crespin, Rankin, Cassel) (3-St Laurent Studio YSL T-662)
Der Rosenkavalier (Szell; Jessner, Novotna, Conner, List) (3-Immortal Performances IPCD 1092)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Tristan (Leinsdorf; Melchior, Traubel, Thorborg, Huehn, Kipnis) (3-Immortal Performances IPCD 1102)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Forza (Stiedry; Milanov, Tucker, Warren, Hines) (2-St Laurent Studio T-679)
Peter Grimes (Colin Davis; Vickers, Amara, Evans, Madeira, Chookasian, Plishka (2-St Laurent Studio YSL T-720)
St Matthew Passion - Charles Munch, Vol. XXIX; Endich, Kopleff, Cuenod, Mack Harrell (2-St Laurent Studio YSL T-689)
Klaus Tennstedt, Vol. XVII (Bruckner 8th - Philadelphia); Brendel (2-St Laurent Studio YSL T-789)
Charles Rousseliere (The Record Collector TRC 46)
Zara Dolukhanova, Vol. II, Nina Svetlanova (Pf.) - Leningrad (St Laurent Studio YSL T-719)
Mario Lanza; Licia Albanese; Elaine Malbin (St Laurent Studio YSL T-746)
Renata Scotto, Vol. II, Carnegie Hall, 1969; John Wustman (St Laurent Studio YSL T-682)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Il Trovatore (Cleva; Leontyne Price, Franco Corelli, Dalis, Sereni) (2-St Laurent Studio YSL T-650)