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------------------------------------------------------------BOOKS ON SALE
Aquarius delights with
a Russian DON PASQUALE, plus LE CAID;
Yves St Laurent's
TENNSTEDT, Vol. 14, w. KREMER;
LEINSDORF, Vol. 12;
RODZINSKI, Vol. 42, with SERKIN;
plus many Books & CDs added to our 50% 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 to come), accompanied by greatly reduced prices! Have a glance at our SALE section - for BOOKS!------------------------------------------------------------
KLAUS TENNSTEDT Cond. Mecklenburgischen Staatskapelle Schwerin: Symphony #1 in C - Live Performance, 1968; KLAUS TENNSTEDT Cond. NDR S.O., w. GIDON KREMER: Violin Concerto in D [with cadenzas by Shnittke] (both Beethoven). [Ravishing performances, to say the least . . . the Schnittke cadenzas are a unique trip . . . captured in brilliant sound!] (Canada) St Laurent Studio YSL T-766. Transfers by Yves St Laurent. (C1676)
“Driven by his strikingly uncompromising artistic philosophy, Gidon Kremer has established a worldwide reputation as one of his generation’s most original and compelling artists. His repertoire encompasses standard classical scores and music by leading twentieth and twenty-first century composers. He has championed the works of Russian and Eastern European composers and performed many important new compositions, several of which have been dedicated to him. His name is closely associated with such composers as Alfred Schnittke, Arvo Pärt, Giya Kancheli, Sofia Gubaidulina, Valentin Silvestrov, Luigi Nono, Edison Denisov, Aribert Reimann, John Adams, Victor Kissine, Michael Nyman, Philip Glass, Leonid Desyatnikov and Astor Piazzolla, whose works he performs in ways that respect tradition while being fully alive to their freshness and originality. It is fair to say that no other soloist of comparable international stature has done more to promote the cause of contemporary composers and new music for violin.
Gidon Kremer has recorded over 120 albums, many of which have received prestigious international awards in recognition of their exceptional interpretative insights. In 2016 Gidon Kremer received a Praemium Imperiale prize, widely considered to be the Nobel Prize of music.”
- Kronberg Academy
“Mainly I saw the Praemium Imperiale prize as a confirmation that one should remain loyal to oneself - something I always tried to do and to express….It means to me that keeping one’s own values alive, sticking to them after all, makes sense. What is important in our short lives is not just what we experience ourselves, but everything that we are able to share with others. In fact, what we give away.”
- GIDON KREMER
DON PASQUALE (in Russian),recorded 1950, w. Onisim Bron Cond. USSR Radio Ensemble; Anatoly Orfenov, Georgy Abramov, Ivan Burlak, Galina Sakharova, etc., with narration by Osip Abdullov., etc.; LE CAID (Thomas) (in Russian), recorded 1938, w. Alexander Orlov Cond. USSR Radio Ensemble; Georgy Abramov, Raisa Puryzhinskaya, Sergei Fomichev, Lina Shukhat, etc. [A delightful Russian delicacy. Among other superb performances this features the noteworthy Orfenov, too seldom encountered!] (Russia) 2-Aquarius AQVR 412. (OP3291)
“Rossini's operas were all the rage during the first half of the nineteenth century, and what better way to make a cartload of money than to write a take-off on one of his operas? LE CAID is at heart a parody of Rossini's L'ITALIANA IN ALGERI. Then, as now, one comedian could poke fun at another, with no disrespect intended - and Rossini was alive and quite well in 1849, though he hadn't composed any operas in two decades. No doubt, having himself grown tired of Italian opera, Rossini could enjoy the silly antics of LE CAID characters: Virginie, Fatma, Birotteau, Michel, and their not-so-European-sounding plotmates Ali-Bajou (to be sung by a ‘comic tenor’) and Aboul-Y-Far (a ‘comic bass’).”
- Blair Johnston, allmusic.com
“In 1933 Orfenov found himself in a choir of Opera Theatre Studio under the direction of Stanislavski and a year after that he was a soloist of the Theater. In 1942 Orfenov began his career at the Bolshoi Theater, where he sang up to 1955. From 1950 he was engaged in teaching, as a lecturer in the Gnesin Musical-Pedagogical Institute (1950-1971), in Bolshoi Theatre (1963-1969), Cairo Conservatory (1971-1973), and Bratislava Conservatory (1974-1980). In 1980 to 1984 he was a director of the opera group of the Bolshoi.”
- Z. D. Akron
“Ivan Burlak was a verismo-style artist with a light, bright baritone voice featuring an explosive high range, a member of the Bolshoi ensemble beginning in 1921.”
- Ned Ludd
ERICH LEINSDORF Cond. Boston Symphony Orch.: La Scala di Seta – Overture (Rossini); GOTTERDAMMERUNG - Orchestral Excerpts (Wagner); w.Helen Vanni, Jerold Siena & Thomas Paul: PULCINELLA - Complete (Stravinsky). [The splendor of Symphony Hall radiates primarily in the Stravinsky and Wagner!] (Canada) St Laurent Studio YSL T-735, Live Performance, 9 Jan., 1965, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1674)
"Helen Vanni, who sang over 300 performances for the Met between 1956 and 1973, included Donna Elvira, Dorabella and the Marschallin among her roles, but was mainly a singer of character and secondary parts for the Met. Elsewhere, primarily at Santa Fe, she sang Mozart's Countess and Richard Strauss leads. She collaborated interestingly with Glenn Gould in Schönberg repertory and made recordings with him on Sony. A superlative musician with a high mezzo, Vanni was trained by Edythe Walker, and for years after moving to Santa Fe coached singers at that opera company."
- OPERA-L Archives
"Jerold Siena is a tenor of international acclaim who has appeared regularly at the Metropolitan Opera, and the world’s leading opera houses, including Lyric Opera of Chicago, La Monnaie in Brussels, The Bayerische Staatsoper, Rome Opera, New York City Opera and Teatro di San Carlo of Naples. He has appeared under such conductors as James Levine, Daniel Barenboim, Andre Previn, Seiji Ozawa, Zubin Mehta, Robert Shaw, James Conlon, George Szell and Erich Leinsdorf.
In concert and oratorio he has appeared with The Cleveland Orchestra, Boston Symphony, Oratorio Society of New York, the Bach Festivals of Carmel, Bethlehem and Baldwin Wallace and with the National Symphony of Washington. He has performed more than 30 different recital programs and has sung important premieres of works by Benjamin Britten, Ned Rorem and Dominick Argento.
Siena is currently professor of voice at the University of Illinois. Previously he held professorships at the University of Arizona and the Yale School of Music.
Professor Siena is recognized internationally as a master teacher who teaches each summer in Salzburg, Austria, and Urbania, Italy. He is much in demand for master classes, which he has presented for the Santa Fe Opera Apprentice Program, the American Opera Center of Chicago Lyric Opera and Westminster Choir College."
- West Virginia University
“The American bass, Thomas Paul, studied at the Juilliard School of Music New York with Hans Heinz, and for orchestra conducting. He studied singing with Beverly Johnson, Gibner Kind and Cornelius Reid, New York.
Thomas Paul's stage debut was in 1962 at the New York City Centre Opera as Sparafucile in RIGOLETTO. His career took place particularly in the USA and in Canada. There he sang in Baltimore, Cincinnati, Houston/Texas, in New Orleans, Philadelphia, Pittsburgh and St. Paul, in Boston, San Francisco, Washington, Vancouver and Montréal, but mostly at the New York City Centre Opera New York. In 1964 he worked also with the Central City Festival in the premiere of the opera LADY FROM COLORADO by Ward, which was also performed at the Aspen Festival. In the years 1962-1977, he performed many times at the Carmel Bach Festival under Sandor Salgo.
From Thomas Paul's stage repertoire should be mentioned: Figaro in LE NOZZE DI FIGARO, Sarastro in ZAUBERFLÖTE, Pogner in MEISTERSINGER, the title role in Béla Bartók's BLUE-BEARD’S CASTLE, Mephisto in Gounod’s FAUST, the Father in Charpentier’s LOUISE, Padre Guardiano in LA FORZA DEL DESTINO, Rocco in FIDELIO, Tiresias in Stravinsky’s OEDIPUS REX, Raimondo in LUCIA DI LAMMERMOOR, Ptolemaeus in Handel’s GIULIO CEDSARE and Don Marco in Menotti’s THE SAINT OF BLEECKER STREET. In the concert halls he also performed a comprehensive repertoire.”
- Bach Cantatas Website
ARTUR RODZINSKI Cond. NYPO: Suite for String Orchestra [the final movement repeated due to audience's enthusiasm] (Corelli); Scenario for Orchestra on Themes from Showboat (Jerome Kern); w. RUDOLF SERKIN: Piano Concerto #1 in d (Brahms). (Canada) St Laurent Studio YSL 78-587, Live Performance, 10 Feb., 1946, Carnegie Hall. Transfers by Yves St Laurent. (C1675)
"Rudolf Serkin joined the international elite while still a teen-ager and by incessant, tireless practice held ranking for more than half a century as an artist of the highest type. He was an eminent 20th-century representative of a Viennese tradition that mingled the classical and romantic styles of pianism….Geat though Mr. Serkin's success was as a concert pianist, perhaps his most lasting impact on musical life was as a teacher and inspirational force. In 1949, he helped found the Marlboro Festival in Vermont. Living in the same area at the time were Adolf and Herman Busch, Blanche Honegger Moyse, Louis Moyse and Marcel Moyse, all renowned musicians who had also left Europe. They merged their talents and quickly turned Marlboro into an American chamber-music mecca and a magnet for talent. The word 'Marlboro' came to stand for musicianship of a special, ardent type. Each summer, Mr. Serkin and his circle were joined by like-minded artists, including Pablo Casals, Alexander Schneider, Felix Galimir, Mieczyslaw Horszowski, Jaime and Ruth Laredo, Eugene Istomin, Pina Carmirelli and Peter Serkin (Mr. Serkin's son, himself a world-class pianist). At Marlboro, Mr. Serkin made a point of being a musician among colleagues, as ready to turn pages for other players as to perform. Friends of Mr. Serkin - and he seemed to have no enemies - spoke with incredulity of his unfailing good humor, his shy and sweet-tempered manner with everyone, the unknown as well as the famous. A longtime colleague, after giving the phenomenon some thought, remarked: 'It's impossible to talk about anybody's being saintly in this age, but Serkin is'."
- Donal Henahan, THE NEW YORK TIMES, 10 May, 1991
. . . REPEATED . . . FROM THE RECENT PAST . . .
GIACOMO LAURI-VOLPI: Arias & Duets (w.Caniglia, Lisson, Basiola & Bechi) from Andrea Chénier, La Gioconda, Tosca, La Fanciulla del West, Turandot, La Boheme, Luisa Miller, Forza, Rigoletto, Il Trovatore, Rigoletto & Otello. [His complete 1941 Otello solos and duets conducted by the notable Gino Marinuzzi are truly unforgettable, these alone being worth the price of the entire CD! "Lauri-Volpi's Otello is perhaps to be most worthily remembered by his version of the love duet with Maria Caniglia." - Alan Blyth, OPERA ON RECORD, Vol. I, p.329.] (France) Malibran AMR 176, recorded 1941-46. (V2591)
FIDELIO, Live Performance, 7 Jan., 1984, w. Klaus Tennstedt Cond. Met Opera Ensemble; Eva Marton, Jon Vickers, Franz Mazura, Paul Plishka, Roberta Peters, etc. [Tennstedt's final Met Opera performance of the seven FIDELIOs he conducted during his brief 3-week Met career!] (Canada) 2-St Laurent Studio YSL T-794. (OP3290)
"...the Leonore Overture #3 [was played] as a segue from the Dungeon Scene to the Finale of the opera. You will hear the final notes of the duet between Leonore (Fidelio) and Florestan, with applause dissolving into the opening of the Overture. The unbelievable, heart-stopping audience reception following the Met Orchestra's inspiring performance of Leonore #3 nearly raised the roof off the house, leading the segue into the Finale.
The cast was about as good as you could get: Jon Vickers was legendary as Florestan. With his total commitment, he literally 'became' the role, and in the process raised the level of everyone else. Eva Marton was Leonore, Roberta Peters played Marzelline, Matti Salminen was Rocco, Franz Mazura, Pizzaro, and Aage Haugland as Don Fernando. The production was by Otto Schenk. And then there was Klaus Tennstedt.
From the outset of the very first rehearsal, one could sense his total, life and death, commitment to the score. That made the orchestra even more eager to reciprocate in kind. Those incredible moments on January 7, 1984 made me feel privileged to be part of this great orchestra, and will remain with me forever as one of the high points of my career."
- James Kreger, 'cellist, Metropolitan Opera Musicians
"Even before Klaus Tennstedt lifted his baton to make his American opera debut as the leader of the season's first FIDELIO, he was given a long, fervent ovation. The cheering was repeated at every subsequent opportunity, perhaps as an expression of the audience's gratitude at finding one of the world's foremost conductors in the Metropolitan's pit, even if as a passing guest. Mr. Tennstedt responded by leading a high-tension performance of FIDELIO that often stretched the dramatic line near the breaking point, particularly in a passionate reading of the 'Leonore' Overture #3, gratuitously played as usual before the final scene. This was not a FIDELIO especially rich in orchestral or vocal nuance. What Mr. Tennstedt seemed to be aiming for, on the whole, was heart-stopping melodrama and a musical line that never fell slack for a moment. That is certainly one valid way to approach this most melodramatic of operas. One could imagine Beethoven himself conducting it along the same lines."
- Donal Henahan, THE NEW YORK TIMES, 15 December, 1983
VOCAL RECORD COLLECTORS' SOCIETY - 2017 Issue, incl. Leonid Sobinov, Nini Frascani, Niels Hansen, Charles Soix, Agnes Hermann, Leon Beyle, Karl Renner, Else Knepel, Arthur Descamps, Emmy Bettendorf, Fraser Gange, Mafalda Salvatini, Browning Mummery, Ines Jouglet, Georges Jouatte, Frieda van Hessen Georges Nore, Marilyn Cotlow & Lucine Amara (the latter from NBC Telephone Hour broadcast, 1956). VRCS-2017, recorded 1901-56. Transfers by Seth B. Winner. (V2590)
TANNHAUSER, Live Performance, 4 Jan., 1941, w.Leinsdorf Cond. Met Opera Ensemble; Lauritz Melchior, Herbert Janssen, Kirsten Flagstad, Kerstin Thorborg, Emanuel List, Mack Harrell, etc. (replete with Milton Cross' commentaries); TANNHAUSER - Dich teure Halle; Elisabeth’s Prayer; Wolfram’s Ode to the Evening Star (w.Leinsdorf Cond. Met Opera Ensemble; Kirsten Flagstad & Herbert Janssen) Live Performance, 16 Dec., 1939. (Canada) 3-Immortal Performances IPCD 1101. Transfers & Essay by Richard Caniell. Program notes by Dewey Faulkner. (OP3289)
"James Miller and I reviewed this performance enthusiastically in FANFARE 39:6, when it was released by Pristine. I will admit to being puzzled as to why Immortal Performances bothered with its own version, given what I thought was a fine transfer on Pristine. But after hearing Richard Caniell’s work on this edition, I have to express a clear preference for it. Caniell avoids the ambience with which Pristine tends to surround the sound, and the gain in clarity, presence, and focus on the voices and orchestra is considerable. In other cases where both companies have remastered the same performance, I have found the differences relatively small, but the greater impact of this edition is significant….Immortal Performances adds a nice bonus, three excerpts from a 1939 Met broadcast of TANNHAUSER…in a performance that to my knowledge has never been issued….
I cannot really express a strong preference between the 1941 and 1942 Met TANNHAUSERs, especially because each has been lovingly restored by Richard Caniell for Immortal Performances. Any serious Wagner collector should surely have at least one of them. As is always the case with this label, the booklet is an added treasure, with wonderful essays, a synopsis, artists’ biographies, and great photos. The inclusion of Milton Cross’ announcements brings me back many years to an earlier time in my life and the Saturday afternoon broadcasts he embodied."
- Henry Fogel, FANFARE, March/ April, 2018
“You could easily spend a lifetime frequenting opera performances without ever hearing Tannhauser sung with this kind of mastery….Melchior is in sterling form for the January 4, 1941 broadcast, a document of a great and unique singer/actor at his best. The fact that Melchior surmounts Wagner’s challenges in this fashion, in the context of a live performance, borders on the miraculous. But then again, Melchior was a miracle among tenors.
Kirsten Flagstad is a radiant Elisabeth, brimming with youth and vocal beauty….Flagstad’s total identification with her great Wagnerian roles is never in doubt. And in this broadcast, Flagstad is absolutely convincing….Kerstin Thorborg is an opulently voiced and sultry Venus who convincingly depicts the goddess’ own mercurial changes of mood as she tries, unsuccessfully, to convince Tannhauser to remain with her. The role of Wolfram was tailor-made for the talents of Herbert Janssen, an artist who possessed a voice of arresting beauty and warmth, and the genius to convey the innermost humanity of characters….In this broadcast, Janssen may be the most sympathetic Wolfram I have ever heard….Janssen fashions the music to express Wolfram’s deep, tender, and unrequited love for Elisabeth, and his fervent hope for her salvation….In sum, this is certainly a performance of TANNHAUSER that easily ranks among the greatest available.
The recorded sound on the new Immortal Performances restoration is superb, approaching and often equaling studio recordings of the period….Veterans of these kinds of recordings will rejoice in how superb the sound is….A performance for the ages, reproduced in superb sound for its era, merits the highest recommendation."
- Ken Meltzer, FANFARE, March/ April, 2018
TRISTAN UND ISOLDE, Live Performance, 6 Feb., 1943, (replete with Milton Cross' commentary), w. Leinsdorf Cond. Metropolitan Opera Ensemble; Lauritz Melchior, Helen Traubel, Kerstin Thorborg, Julius Huehn, Alexander Kipnis, etc. (Canada) 3-Immortal Performances IPCD 1102. Notes by Richard Caniell & Dewey Faulkner plus a performance review by Claudia Cassidy. Transfers by Richard Caniell. Beautiful Edition features numerous lovely photos & elaborate 46pp. booklet. (OP3284)
THE BARTERED BRIDE (in English), Live Performance, 2 Dec., 1978, w. Levine Cond. Met Opera Ensemble; Teresa Stratas, Nicolai Gedda, Jon Vickers, Martti Talvela, etc. (Canada) 2-St Laurent Studio YSL T-673. (OP3288)
“In FANFARE 34:5 James North wrote brilliantly about the video of this performance, issued as part of a package celebrating James Levine’s years at the Met. All I can do is agree with his enthusiasm. Although here we only get the audio, listening to it is a vital, engaging experience because of brilliant conducting and singing throughout. Levine is simply amazing in the way he shapes the music, infusing the rhythms with life and vigor while also molding expansive lyrical lines and generous phrases. There is not one second of flagging energy from the overture to the final curtain.
Teresa Stratas is at her best, showing a lovely lyrical soprano instrument to which she adds color and inflective emphasis that brings Marenka to life. Nicolai Gedda, more than two decades into his Met career, sings very well and with nuance and tenderness. The surprise is the unlikely performance as the stuttering, childish, often comical Vasek by Jon Vickers. He is fully invested in the antics that are central to the role, and when beautiful singing is called for, he delivers. The duet with Stratas is glorious and brings down the house. Even more of a surprise is the thunderous bass of Martti Talvela as the marriage broker Kecal. At times Talvela is called upon to be a comedian, at other times the villain, and he covers the dramatic range magnificently while pouring out glorious sound. That his English is the least idiomatic even seems fitting for the role.
The chorus and orchestra are superb both in technical execution and in delivering the full spirit of this magnificent comic opera. The wildly enthusiastic audience response serves as a confirmation of my reaction as well as North’s. The smaller roles are all very well done. St. Laurent Studio’s transfer is up to its usual very high standard, giving us good, clean broadcast stereo. As usual, there are no notes but full cast list and documentation.”
- Henry Fogel, FANFAREDAVID OISTRAKH, w. Krips Cond. Philharmonia Orch.: Violin Concerto in D (Brahms), Live Performance, 31 May, 1962, Musikverein, Vienna; DAVID OISTRAKH & IGOR OISTRAKH, w. Sargent Cond. London Phil.: Violin Concerto for Two Violins in d (Vivaldi); Amitie for Two Violins (Ysaye), Live Performance, 26 Feb., 1961, Royal Albert Hall, London. [The lesser-known Ysaye reverie is lushly post-romantic, more specifically post-Chausson 'Poeme de l'amour et de la mer' - and is exquisitely beautiful - alone worth the price of this CD!] (Canada) St Laurent Studio YSL T-760. Transfers by Yves St Laurent. (S0735)
NATHAN MILSTEIN, w.Patane Cond. Vienna S.O.: Violin Concerto in D (Brahms), Live Performance, 11 June, 1979, Musikverein; w. Hollreiser Cond. Orchestre de la Suisse Romande: Violin Concerto in D (Tschaikowsky), Live Performance, 24 Oct., 1972. Geneva. [A magnificent pairing, the Brahms being a monumental, unforgettable performance!] (Canada) St Laurent Studio YSL T-671. Transfers by Yves St Laurent. (S0733)
GUARNERI QUARTET: String Quartet #6 in D (Bartok); w.RUDOLF SERKIN: Piano Quintet #2 in A (Brahms). [Wonderful performances in the uniquely resonant Carnegie Hall acoustic; this jewel is not to be missed!] (Canada) St Laurent Studio YSL T-747, Live Performance, 20 Feb., 1973, Carnegie Hall. (S0734)
CHARLES MUNCH Cond. Boston S.O., w.Saramae Endich, Florence Kopleff, Hughes Cuenod, Mack Harrell & James Joyce: ST. MATTHEW PASSION (Bach). (Canada) 2-St Laurent Studio YSL T-689, Live Performance, 26 March, 1959, Symphony Hall, Boston. [Under Munch and the sensitive and exacting guidance of Elliott Forbes, the Harvard Glee Club & Radcliffe Choral Society present this profoundly moving live performance beautifully displaying the splendor of the Symphony Hall acoustic. Mack Harrell is duly outstanding!] Transfers by Yves St Laurent. (C1666)
“For those listeners who can respond to Bach’s music in the style of performance that was embraced by the likes of Willem Mengelberg, Wilhelm Furtwangler, and Otto Klemperer, this is a treasurable discovery. I am not aware of any prior release of this 1959 Boston broadcast, and fans of Charles Munch will want to acquire it quickly….one would never think of this as the only recording of Bach’s towering masterpiece for a collection. However, to ignore it is to miss out on a thrilling, dramatic reading of the score. Much credit goes to Hugues Cuenod, whose Evangelist is the centerpiece of the performance. He sings with tonal beauty, dramatic force, and keen attention to the words and their meaning. Mack Harrell’s Jesus is warm, all-embracing, and beautifully sung. The other soloists are at least adequate and sometimes better.
It is the power of Munch’s conducting and the remarkable execution of his orchestra and choral forces that make the biggest impact. The chorus ‘Wer hat dich so geschlagen’ is overpowering in its beauty and dramatic thrust; ‘Und siehe da, der Vorhang im Tempel zerriss’, the scene with the Evangelist and the chorus, leaps out of the speakers with impact. Throughout one is impressed by the clarity of diction, emotional force, crispness of their rhythms, and the perfect choral intonation. One is also taken by the beauty of playing of many of the principals of the Boston Symphony Orchestra….Charles Munch was active at a time when there were many truly great conductors on various podiums through the U.S. and Europe (Reiner, Szell, Bernstein, Karajan, Klemperer, Mitropoulos, Stokowski, and Giulini leap to mind immediately). Even with that competition he achieved star status. The reason is that he energized every performance he gave. One never had a sense of a conductor going through the motions; every performance was an event, and every performance really mattered. That should be a ‘given’ with all performers, but it is not. If you approach this ST. MATTHEW PASSION on its own terms, clearing your mind of its expectations in 2019 for Bach performance style, you will find this an extraordinary moving and beautiful experience.”
- Henry Fogel, FANFARE
PAUL PARAY Cond. Detroit S.O., w.PHYLLIS CURTIN: Mozart Arias; Salome - Final Scene (Strauss), Live Performance, 16 Jan., 1964; w.ROBERTA PETERS: Mozart, Rossini, Donizetti & Johann Strauss Arias - Live Performance, 15 Dec., 1960. [A fine representation of Roberta Peters in concert, rather than from the opera house; treasurable performances in this cherished memento of Phyllis Curtin!] (Canada) St Laurent Studio YSL T-572. Transfers by Yves St Laurent. (C1672)
JOSEPH KEILBERTH Cond. RTF S.O.: Die Hebriden (Mendelssohn); Symphony #4 in e (Brahms). (Canada) St Laurent Studio YSL T-503, Live Performance, 9 Aug., 1959, Festspielhaus, Salzburg. Transfers by Yves St Laurent. (C1673)
SEIJI OZAWA Cond. Boston Symphony Orch., w.Phyllis Curtin, Seth McCoy & Robert Hale: DIE JAHRESZEITEN (Haydn). (Canada) 2-St Laurent Studio YSL T-734, Live Performance, 2 July, 1972, Tanglewood. Transfers by Yves St Laurent. (C1671)
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 2500 titles . . .
- - - - - - - 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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Auction #149 Online Catalog
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Auction #149 Catalog File Download
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
. . . For the Opus Kura,
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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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C1676. KLAUS TENNSTEDT Cond. Mecklenburgischen Staatskapelle Schwerin: Symphony #1 in C - Live Performance, 1968;
KLAUS TENNSTEDT Cond. NDR S.O., w. GIDON KREMER: Violin Concerto in D [with cadenzas by Shnittke] (both Beethoven). [Ravishing performances, to say the least . . . the Schnittke cadenzas are a unique trip . . . captured in brilliant sound!] (Canada) St Laurent Studio YSL T-766. Transfers by Yves St Laurent.
OP3291. DON PASQUALE (in Russian), recorded 1950, w. Onisim Bron Cond. USSR Radio Ensemble; Anatoly Orfenov, Georgy Abramov, Ivan Burlak, Galina Sakharova, etc., with narration by Osip Abdullov., etc.; LE CAÏD (Thomas) (in Russian), recorded 1938, w. Alexander Orlov Cond. USSR Radio Ensemble; Georgy Abramov, Raisa Puryzhinskaya, Sergei Fomichev, Lina Shukhat, etc. [A delightful Russian delicacy. Among other superb performances this features the noteworthy Orfenov, too seldom encountered!] (Russia) 2-Aquarius AQVR 412.
C1674. ERICH LEINSDORF Cond. Boston Symphony Orch.: La Scala di Seta - Overture (Rossini); GOTTERDAMMERUNG - Orchestral Excerpts (Wagner); w.Helen Vanni, Jerold Siena & Thomas Paul: PULCINELLA - Complete (Stravinsky). [The splendor of Symphony Hall radiates primarily in the Stravinsky and Wagner!] (Canada) St Laurent Studio YSL T-735, Live Performance, 9 Jan., 1965, Symphony Hall, Boston. Transfers by Yves St Laurent.
C1675. ARTUR RODZINSKI Cond. NYPO: Suite for String Orchestra [the final movement repeated due to audience's enthusiasm] (Corelli); Scenario for Orchestra on Themes from Showboat (Jerome Kern); w. RUDOLF SERKIN: Piano Concerto #1 in d (Brahms). (Canada) St Laurent Studio YSL 78-587, Live Performance, 10 Feb., 1946, Carnegie Hall. Transfers by Yves St Laurent.
Renata Scotto, Vol. I Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Faust (Pelletier; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza) (2-Immortal Performances IPCD 1097)
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)
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)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
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)
Istvan Kertesz, Vol. I; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
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)
Fidelio (Tennstedt; Marton, Vickers, Mazura, Plishka) (2-St Laurent Studio YSL T-794)
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)
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)
Die Meistersinger (Szell; Janssen, Steber, Thorborg, Kullman, List, Harrell) (3-Immortal Performances IPCD 1088)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
Giuseppe Campanari (St Laurent Studio YSL 78-728)
Tannhauser (Leinsdorf; Melchior, Janssen, Flagstad, Thorborg, List, Harrell) (3-Immortal Performances IPCD 1101)
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
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)
Il Trovatore (Cleva; Leontyne Price, Franco Corelli, Dalis, Sereni) (2-St Laurent Studio YSL T-650)
Tosca (Adler; Leontyne Price, Franco Corelli, Cornell MacNeil) (2-St Laurent Studio T-681)
Elektra (Christopher Keene; Olivia Stapp, Natalie Costa, Chookasian, Crabb, Cross) (2-St Laurent Studio YSL T-762)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Renata Scotto, Vol. III Philharmonic Hall, 1972; Ryan Edwards (St Laurent Studio YSL T-683)
Sergei Rachmaninoff (3-Marston 53022)
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)
Peter Grimes (Colin Davis; Vickers, Amara, Evans, Madeira, Chookasian, Plishka (2-St Laurent Studio YSL T-720)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
Charles Rousseliere (The Record Collector TRC 46)
Mario Lanza; Licia Albanese; Elaine Malbin (St Laurent Studio YSL T-746)
Vocal Record Collectors' Society - 2017 Issue (VRCS-2017)
Der Rosenkavalier (Szell; Jessner, Novotna, Conner, List) (3-Immortal Performances IPCD 1092)