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Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Since 1972

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On 17 July we celebrate the birthdays of

ELEANOR STEBER

&

PETER SCHICKELE (Creator of P.D.Q. Bach) . . .

Yves St Laurent presents

Steber's 1959 Met TOSCA,

plus two more

Live Recitals of RENATA SCOTTO . . .

now the DVD of Schickele's

THE ABDUCTION OF FIGARO. . .

many more CDs on our 50% SALE



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A helpful gesture to our valued Canadian Friends:

In response to the current Tariff War instituted by the United States we have decided to offer Canadians the same FREE SHIPPING for all orders of $49.00 or more that we do for domestic USA orders. We believe Canadians should not be penalized by our Government’s punitive policies.

This week's offerings for your perusal:

  • TOSCA, Live Performance, 11 April, 1959, w.Kurt Adler Cond. Eleanor Steber, Carlo Bergonzi, George London, etc. (Canada) 2-St Laurent Studio YSL T-726. (OP3269)

    “I sang two Toscas before our broadcast performance on April 11, and after one of them my husband mentioned that my leap off the parapet at the end wasn’t visible to the audience. ‘If you are going to risk breaking your neck’, he quipped, ‘why don’t you do it out there where everyone can see you?’.

    We experimented before the broadcast, setting the mattress so I could leap dramatically but safely to my death. When Tosca plunged from the Sant’ Angelo that afternoon, it was only a two-point landing. I gave the jump all I had - which was too much – and tumbled off the far side of the mattress. My head hit the floor with a terrible crack; I chipped a tooth and cut my lip….

    During that evening’s performance of LA GIOCONDA [not CAVALLERIA RUSTICANA], Pat [Tavernia, our stage director] was chatting in the wings with Zinka Milanov (one of the Met’s great Toscas) and asked ‘ Did you hear what happened to Steber this afternoon?’ ‘Naw’, replied Milanov. ‘Vat happent?’ ‘Well, when she jumped from the parapet she overshot the mattress, cracked her head and cut her lip’. Milanov arched an eyebrow. ‘Vel, I always told Eleanor the part was too heavy for her!’.


    - Eleanor Steber, ELEANOR STEBER - AN AUTOBIOGRAPHY, p.201


    “…George London provides the dominant portrayal of the afternoon. His Scarpia is a brute of a man, all strength and arrogance. In contrast to the courtly elegance of Warren and Schoffler’s businessman police chief, London revels in overt violence, pouring out black, icily severe tones with unstinting power….[his] tone turns to lava, its heat continuing to prevail in the torture chamber. This Scarpia is black-hearted but purple-voiced, something sensuous in the tone, arresting to the listener, and perhaps to Tosca as well.


    - Paul Jackson, SIGN-OFF FOR THE OLD MET, p.429


    "Considered the foremost Verdi tenor of his age, Mr. Bergonzi sang more than 300 times with the Metropolitan Opera….A lyric tenor of some vocal heft, Mr. Bergonzi lacked the sonic weight and brilliance of tenors in the Wagnerian mold. But what he did possess was an instrument of velvety beauty and nearly unrivaled subtlety.

    'More than the sound of the voice, it is Mr. Bergonzi's way of using it that is so special', Peter G. Davis, reviewing a 1978 Carnegie Hall recital by Mr. Bergonzi, wrote in THE NEW YORK TIMES. 'He is a natural singer in that everything he does seems right and inevitable - the artful phrasing, the coloristic variety, the perfectly positioned accents, the theatrical sense of well-proportioned climaxes, the honest emotional fervor. Best of all, Mr. Bergonzi obviously uses these effects artistically because he feels them rather than intellectualizes them - a rare instinctual gift, possibly the most precious one any musician can possess'. In the view of his many fans, this vocal elegance amply compensated for the fact that Mr. Bergonzi was no actor and, by his own ready admission, no matinee idol. 'I know I don't look like Rudolph Valentino', he told THE TIMES in 1981. 'I know what a proper physique should be for the parts I sing, but I have tried to learn to act through the voice. The proper, pure expression of the line is the most important thing'.

    Mr. Bergonzi began his career as a baritone, and after becoming a tenor a few years later was careful not to push his voice past its natural confines. As a result, he largely escaped the vocal wear that can force singers to retire by the time they reach their early 50s; Mr. Bergonzi, by contrast, continued to sing on prominent stages - and, as critical opinion had it, sing well - into his late 60s.”


  • - Margalit Fox, THE NEW YORK TIMES, 26 July, 2014




  • RENATA SCOTTO, w.Ryan Edwards (Pf.): Songs by Berlioz, Debussy, Pizzetti, Donizetti, Rossini & Verdi; Arias from Giulio Cesare, La Vestale, Robert le Diable & Virginia (Mercadante) - Live Performance, 15 Feb., 1972, Philharmonic Hall, New York. (Canada) St Laurent Studio YSL T-683. Transfers by Yves St Laurent. (V2577)

    “These two recitals [the above, plus V2576] give us an opportunity to hear one of the great Italian operatic sopranos of the second half of the 20th century in a largely unfamiliar corner of the repertoire. While there are a few opera arias on both programs, most of the selections are art songs by famous Italian opera composers. Even when an aria does appear, the Spontini, Meyerbeer, and Mercadante numbers don’t turn up every day.

    Renata Scotto was one of the most intelligent, probing singers of her period. Even with a voice that lacked the plush beauty of a Tebaldi, the gleaming brilliance of a Price, and the huge range of colors available to Callas, Scotto carved her own niche by infusing everything she sang with strong personality and a deep sense of commitment to the text and its meaning. She was an artist who always delved deeply into whatever she sang. Vocally she could float lovely pianissimi and also let loose with explosive power.

    Scotto sang throwing caution to the winds, and there are a few moments in both recitals where she might have wished to hold back (a few high notes in Bellini’s scene from LA STRANIERA in the 1969 recital, for example). But overall, what we have here is a valuable sampling of singing with a real face, singing that never seems on autopilot. The British vocal authority John Steane, in THE GRAND TRADITION, says this about Scotto: ‘She is a strong interpreter. Whether it is youthful charm (‘O mio babbino caro’), minxish determination (‘Una voce poco fa’), tenderness, devotion, vision (‘Un bel dì’) or tragic tension (‘L’altra notte’), she creates a mood and sustains it’.

    There are some florid passages in which Scotto sounds a bit labored, but one does not turn to her for pretty arabesques or vocal acrobatics. What one expects, and gets, is an artist who treats singing as if it were pitched oration. This is achieved by clear, crisp diction and an imaginative use of inflection and emphasis, which never becomes fussy or artificial. Scotto’s art was always about total communication.

    It is unfortunate that St. Laurent Studio doesn’t include texts and translations, but without too much work you can find the words for most of the contents of both recitals. It is important to note that Scotto sings the French pieces in French, not common practice among Italian singers then. The two songs from Berlioz’s LES NUITS D’ÉTÉ in the Philharmonic Hall recital are a lovely discovery from her, sung with affection and that same natural shaping that Scotto brings to the Italian repertoire.

    The recorded sound is more satisfying on the 1972 Philharmonic Hall disc; it is rather distant and overly reverberant on the Carnegie Hall recital. In fact, perhaps because of recording quality, I find the voice lovelier on the later recital. It sounds as if both recordings were made from the audience (which makes the applause louder than anything from the stage). St. Laurent Studio has transferred the material well, keeping ovations to a minimum. Both of these releases are valuable additions to any vocal collection, and they certainly add to our knowledge of this great artist. The two pianists are sensitive accompanists without being revelatory. St. Laurent Studio recordings are available at Norbeck, Peters & Ford (www.norpete.com).”


  • - Henry Fogel, FANFARE




  • RENATA SCOTTO, w.John Wustman (Pf.): Songs by Donizetti, Bellini, Rossini & Verdi; Gianni Schicchi - O mio babbino caro - Live Performance, 12 Oct., 1969, Carnegie Hall. (Canada) St Laurent Studio YSL T-682. Transfers by Yves St Laurent. (V2576)

  • THE ABDUCTION OF FIGARO (P.D.Q. Bach), Live Performance, 1984, w.PETER SCHICKELE Cond. Minnesota Opera; Dana Krueger, Bruce Edwin Ford, LeRoy Lehr, Marilyn Brustadt, Lisbeth Lloyd, John Ferrante, etc.; also includes 1972 Television Interview with Prof. Schickele. VAI Stereo 4251. (DVD0060)

    "Schickele conducts a first-class live performance by members of the Minnesota Opera, with the singers enjoying themselves hugely. After the clever patchwork of the Overture (which is not without its Hoffnung reminders), the three-act opera opens with a scene purloined from GIANNI SCHICCHI, and the rest is outrageous pastiche, drawing primarily on Mozart’s five key operas with a dash of the PIRATES OF PENZANCE….It is all nonsense, but very enjoyable nonsense, especially second time round, after one has swallowed the verbal extravagances and entered into the spirit of Peter Schickele’s good-natured parody."


    - Ivan March, GRAMOPHONE, July, 2004


    “The master of musical parody, Professor Peter Schickele, brings us a complete opera by P.D.Q. Bach, a man who has been called a 'pimple on the face of music', 'the worst musician ever to have trod organ pedals', and 'the most dangerous musician since Nero'.”


  • - Ned Ludd




  • EMIL GILELS, w.Sawallisch Cond. NHK S.O.: Concerto #2 in B-flat (Brahms), Live Performance, 12 April, 1972, Bunka Kaikan Hall, Tokyo; EMIL GILELS, w.Witold Rowicki Cond. Warsaw Phil.: Rondo in D, K.382 (Mozart), Live Performance, 8 Dec., 1967. [Nirvana beckons once again in the magnificent Brahms Concerto; how sensitively Gilels draws us into his sound world!] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-567. (P1286)

    "Emil Gilels, one of the world's great pianists and, in 1955, the first Soviet musician to perform in the United States since Sergei Prokofiev in 1921, was a stocky man with a shock of sandy hair and short, stubby fingers, uncharacteristic for a pianist. But his greatness was widely recognized. Howard Taubman of THE NEW YORK TIMES proclaimed him a 'great pianist'; on the occasion of his New York debut at Carnegie Hall on Oct. 4, 1955. After his first New York recital a week later, Harold C. Schonberg invoked the phrase 'little giant', the term the critic W. J. Henderson had used for the pianist and composer Eugen d'Albert at the turn of the century.

    Mr. Gilels continued to receive such encomiums throughout his career, both in the Soviet Union, where he had taught at the Moscow Conversatory since 1938, and in the West. Altogether, he made 14 American tours, the last in 1983. On the occasion of his last New York recital, on April 16, 1983, Donal Henahan wrote in The Times of his 'formidable, high-finish technique and beautiful control of nuance'.


  • - John Rockwell, THE NEW YORK TIMES, 16 Oct., 1985




  • GEORGE SZELL Cond. Cleveland Orch.: Tannhauser – Overture (Wagner); Pulcinella – Suite (Stravinsky); w.ROBERT CASADESUS: Piano Concerto #21 in C, K.467 (Mozart); Noches en los Jardines de Espana (de Falla). (Canada) 2-St Laurent Studio YSL T-495. Transfers by Yves St Laurent. (C1615)



  • GEORGES PRETRE Cond. Cleveland Orch.: Le Roi d'Ys – Overture (Lalo); La Valse (Ravel); w.David Gooding (Organ): Symphony #3 in c (Saint-Saens). (Canada) St Laurent Studio YSL T-491, Live Performance, 30 March, 1967. Transfers by Yves St Laurent. (C1616)



    . . . FROM THE RECENT PAST . . .






  • LE NOZZE DI FIGARO, Live Performance, 7 Dec., 1940, (replete with Milton Cross' commentary), w.Panizza Cond. Met Opera Ensemble; Elisabeth Rethberg, Licia Albanese, Jarmila Novotna, Ezio Pinza, John Brownlee, Salvatore Baccaloni (debut), etc.; LE NOZZE DI FIGARO – Act II, Live Performance, 12 Oct., 1940, w.Leinsdorf Cond. San Francisco Opera Ensemble; Ezio Pinza, Elisabeth Rethberg, Bidu Sayao, Rise Stevens, John Brownlee, Irra Petina, etc. (Canada) 3-Immortal Performances IPCD 1094, taken from the NBC transcription line-checks. Notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 38pp booklet. (OP3266)

    “The reliable Ettore Panizza…fields his forces with great elan. Rhythms are taut, with the orchestra well drilled….Panizza’s strength is in his structural awareness, and the way he finds huge reserves of energy for the end of acts (the second in particular); in doing so, he propels the drama along, pulling the listener with him. He also times the crescendo of the march in act II to perfection.

    Albanese in Mozart is another draw, as is Novotna as Cherubino. Novotna ’s ‘Non so piu’ is lithe and agile, providing a real highlight of the set; her ‘Voi lo sapete’ is another one. The voices of Pinza and Albanese work supremely well together in the opening duet of act I; Pinza’s ‘Se voul ballare’ is a superb example of just how well he can characterize. Matching him in that aspect is the wonderful Baccaloni, whose ‘La vendetta’ oozes power, coupled with miraculous diction….The Count for the both performances is John Brownlee, solid and confident. But maybe it is Albanese who trumps them all, her ‘Venite, inginocchiatevi’ a miracle of lightness. Moreover, she seems to capture the very essence of the opera itself; ‘Aprite, presto aprite’ is another fine example.

    The extra (San Francisco), a complete second act, holds a ‘Porgi amor’ from Rethberg that is just in another league. This is a greater Countess, who moulds every phrase exquisitely. Rise Stevens is the other reason to investigate the set’s coupling, her ‘Voi che sapete’ tenderly stroked. True, there are moments in this supplementary act where singers and orchestra are not completely on the ball (‘Aprite, presto aprite’ hangs in there, just), yet the sense of the excitement of a live performance is palpable, especially in Leinsdorf’s very end, which hums with fizz. This set is a fascinating journey into another era.”


    - Colin Clarke, FANFARE, Nov. / Dec., 2017


    “Over time, the December 7, 1940 broadcast has acquired legendary status, and I think for good reason. The Immortal Performances reissue of the December 7, 1940 NOZZE, taken from the NBC transcription line-checks, is exponentially better, with more than sufficient detail, warmth, and dynamic range to enjoy the many stellar qualities of this performance….

    As in the 1937 Salzburg DON GIOVANNI, Pinza lavishes his glorious basso cantante, sublime Italian diction, and imaginative phrasing upon the role. The role of Figaro requires its interpreter to be able to make lightning-quick and chameleon-like changes of mood and expression. Pinza rises to each and every such occasion. Pinza is superb in ensemble, a true collaborator, and makes all of his solo moments highlights of the performance….Jarmila Novotna…sings with great beauty and eloquence, all the while fetchingly depicting Cherubino’s adolescent passion, energy, and angst….Conductor Ettore Panizza too belongs in this august company….Perhaps Panizza’s greatest achievements are in the ensembles that conclude the opera’s final three acts. Panizza’s Met broadcasts of such operas as AIDA, OTELLO, and LA GIOCONDA document a conductor who is a master of pacing such ensembles, building the tension to a breaking point, released only in the final measures. That is the case in this NOZZE as well, especially in the great ensemble that concludes Act II.

    ….Albanese is absolutely magical in Susanna’s last-act solo, ‘Deh, vieni, non tardar’. A great interpreter of Susanna will seize that opportunity to create a moment of unalloyed magic, where time seems to stand still. And that is precisely what Licia Albanese does….The beloved Italian basso buffo Salvatore Baccaloni made his Met house and broadcast debut on this occasion. He is in fine, plummy voice as Dr. Bartolo, and a few mannerisms apart, eschews the kinds of broad-brushed comic touches that would become trademarks of his many Met performances. The inclusion of Milton Cross’ spoken commentary enhances the immediacy of this historic broadcast.

    The CD booklet includes a superb, detailed appreciation of the performance by my colleague Henry Fogel, a plot synopsis, artist photos and bios, and Richard Caniell’s description of the recordings included on this release….Thanks to Immortal Performances for making the performance available to a broader audience, and in fine sound. Recommended.”


  • - Ken Meltzer, FANFARE, Nov. / Dec., 2017




  • HENRYK SZERYNG & MARINUS FLIPSE (Pf.): 'Kreutzer' Sonata #9 in A (Beethoven); Violin Sonata in B-flat, K.454 (Mozart); Sonata #1 in G (Brahms). [Here is a truly extraordinary recital, in excellent sound quality!] (Canada) St Laurent Studio YSL T-716, Live Performance, 11 Aug., 1965, Salzburg. Transfers by Yves St Laurent. (S0723)



  • VASSILY SAPELLNIKOFF: Tchaikowsky, Glinka, Liadov, Liszt, Alabiev-Liszt, Brahms, Mendelssohn & Sapellnikoff - recorded 1923-24, Vocalion; JOSEF LHEVINNE: Chopin, Beethoven, Schumann & Johann Strauss - recorded 1920-36, Pathe & Victor. (Canada) St Laurent Studio YSL 78-702. Transfers by Yves St Laurent. (P1285)

    “… at [Sapellnikoff’s] debut in Hamburg in 1888, he played Tchaikovsky's Piano Concerto #1 in b flat minor with the composer conducting. This concert was a great success and a catalyst for his budding career as a concert pianist in Western Europe. He was the first to play this concerto in England and was the dedicatee of a piano piece by Tchaikovsky….George Bernard Shaw…referred to his left-hand playing as ‘a marvel even among right hands for delicacy of touch and independence and swiftness of action’.”


  • - Z. D. Akron




  • MATTHIAS BAMERT Cond. Cleveland Orch.: Divertimento in D, K.251 (Mozart); w.RADU LUPU: Piano Concerto #1 in C (Beethoven). [Lupu's glorious performance here is to be treasured; altogether a magnificent little jewel!] (Canada) St Laurent Studio YSL T-555, Live Performances, 5 May, 1977 / 24 Jan., 1980, both Severance Hall Transfers by Yves St Laurent. (C1614)



  • LEOPOLD STOKOWSKI Cond. Japan Phil.: Toccata & Fugue in d (Bach-Stokowski); Symphony #5 in c (Beethoven), Live Performance, 13 July, 1965; LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Lohengrin – Prelude (Wagner), recorded 13 Oct., 1927; Russian Easter Festival Overture (Rimsky-Korsakov), recorded 26 Jan., 1929. (Canada) St Laurent Studio YSL T-636. Transfers by Yves St Laurent. (C1613)



  • DER ROSENKAVALIER, Live Performance, 19 Feb., 1944, (replete with Milton Cross' commentary) [Not to be confused with the subsequent 1946 Met broadcast!], w.Szell Cond. Met Opera Ensemble; Irene Jessner, Jarmila Novotna, Nadine Conner, Emanuel List, Walter Olitzki, Kurt Baum, etc.; DER ROSENKAVALIER - Excerpts, w. Barbara Kemp, Delia Reinhardt, Marion Claire & Fritz Krenn, w.Richard Lert Cond. Berlin Staatsoper Ensemble, Live Performance, 1928. (Canada) 3-Immortal Performances IPCD 1092. Notes by Dewey Faulkner, London Green & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 38pp booklet. (OP3266)

    “[In the] case with this 1944 broadcast of DER ROSENKAVALIER, Szell leads a masterful performance, starting with a propulsive and beautifully played account of the Act I orchestral prelude. Throughout, Szell coaxes a glowing quality from the Metropolitan Opera Orchestra. And while tempos are often on the brisk side, Szell is also delighted to savor the moments of Viennese charm that recur throughout the work. The closing scene of Act II, taken at a spacious tempo, and with a wonderful flexibility, is but one of many such examples….Szell proves to be an absolute master, interpreting the music with relish and attention to detail, and with a pacing that never flags. This ROSENKAVALIER is a precious document of a great, but often misunderstood, conductor.

    ….Irene Jessner brings a rich and lovely lyric soprano and admirable dignity to the central role of the Marschallin…Jessner is a fine Marschallin, touchingly introspective in her Act I soliloquy, and rising to the occasion in the opera’s concluding moments. Jarmila Novotna brings the same qualities to the trouser role of Octavian as she does to the character that inspired his creation, Cherubino in Mozart’s LE NOZZE DI FIGARO….and the Sophie of Nadine Conner [features her] shimmering lyric soprano, and a bit more temperament than is the norm for this role, are decided strengths. The success in this performance of the Presentation of the Rose and final Trio is due in no small part to Conner’s masterful contribution. The Viennese bass Emanuel List first sang the role of Baron Ochs at the Met on January 4, 1935, the first of 75 performances for that company. In this 1944 broadcast List, a month shy of his 56th birthday, is in solid voice, and not surprisingly the role fits him like a glove….

    This 1944 Met ROSENKAVALIER is a fine overall performance, and Szell’s conducting is of the highest and most inspired caliber. I look forward to returning to this performance on many occasions.”


  • - Ken Meltzer, FANFARE, Nov. / Dec., 2017




  • SALOME, Live Performance, 12 March, 1949, w.Fritz Reiner Cond. Met Opera Ensemble; Ljuba Welitsch, Kerstin Thorborg, Herbert Janssen, Frederick Jagel, etc.;

    SALOME, Live Performance, 30 Sept., 1947, w.Clemens Krauss Cond. Vienna Staatsoper Ensemble (at Covent Garden); Maria Cebotari, Julius Patzak, Elisabeth Hongen, Marko Rothmüller, Karl Friedrich, Ludwig Weber, etc.; MARIA CEBOTARI: Arias from Nozze, Don Giovanni, La Boheme & Ariadne auf Naxos; MARIA CEBOTARI & MARCEL WITTRISCH: Duets from La Boheme – recorded 1932-48; LJUBA WELITSCH: Scenes from Salome, (1944) & Eugen Onegin (1948). (Canada) 4-Immortal Performances IPCD 1089, accompanied by Elaborate 54pp. Booklets, with photos & notes by Dewey Faulkner & Richard Caniell. The Met Opera broadcast also features Milton Cross' loquacious commentary. Transfers by Richard Caniell. Specially priced at 4 CDs for the price of 3. (OP3265)

    “Cebotari and Welitsch were both truly great Salomes, both deeply admired by Strauss himself, and both providing different but equally satisfying experiences with this difficult role….The production values are up to the usual high standards of Immortal Performances. The booklet contains insightful, intelligently written essays by Dewey Faulkner and by Caniell himself. The Met SALOME includes (separately tracked) opening and closing announcements with Milton Cross, bringing back lovely memories to all opera lovers of a certain generation. This is a very important release.”


  • - Henry Fogel, FANFARE, Nov. / Dec., 2017




  • DAS LIED VON DER ERDE (Mahler), w. Rodzinski Cond. NYPO, KERSTIN THORBORG & CHARLES KULLMAN, Live Performance, 19 Nov., 1944, Carnegie Hall, w.broadcast commentary by Gene Hamilton; KERSTIN THORBORG, w.Bruno Walter Cond. Vienna Phil.: Ich bin der Welt abhanden gekommen (Mahler), Live Performance, 24 May, 1936; Die Allmacht; Horch, horch, die Lerch (Schubert); Sappische Ode (Brahms); Gesang Weylas; Kennst du das Land (Wolf) – Studio recordings, 1940; w.Grevillius Cond.Swedish Radio Orch.: Wesendonck Lieder - Träume (Wagner), Broadcast Performance, 22 Jan./, 1935; KERSTIN THORBORG, ARTHUR CARRON & FRANCESCO VALENTINO: IL TROVATORE - Act III, Scene 1; Act IV Scene, Live Performance, Met Opera, 13 March, 1943; KERSTIN THORBORG, CHARLES KULLMAN & LEONARD WARREN: BORIS GODUNOV -Act III, Scene 1; Scene 2 abridged, Live Performance, Met Opera, 9 Dec., 1939; CHARLES KULLMAN: Das Zauberlied (Meyer-Helmund); Ich sing’ mein Lied; Mein Herz ruft immer (Stolz); DAS LIED DER LIEBE - Die eine Frau; Du bist mein Traum (Korngold); Die Sonne geht auf; Marie Luise (Meisel); DIE ZIRKUSPRINZESSIN - Zwei Märchenaugen (Kálmán) – Studio recordings, 1932; CHARLES KULLMAN: DIE MEISTERSINGER - Prize Song; CARMEN- La fleur que tu m'avais jetee ; CHARLES KULLMAN & CLOE ELMO: IL TROVATORE - Scenes; CHARLES KULLMAN & DOROTHY KIRSTEN: MADAMA BUTTERFLY - Bimba, bimba dagli occhi; CHARLES KULLMAN & ELEANOR STEBER: CARMEN- Micaela - Don Jose Duet; CHARLES KULLMAN, RISE STEVENS & MACK HARRELL: Escamillo - Don Jose Duet; Final Scene - Broadcast Standard Hour Performances, 1945-48, all w.Merola Cond.; CHARLES KULLMAN & BIDI SAYAO, w.Fourestier Cond.: MANON - Et je sais votre nom (Act I), Live Performance, Met Opera, 20 Dec., 1947. (Canada) 3-Immortal Performances IPCD-1090. Elaborate 34pp Booklet incl. Mahler texts, w. Program Notes by Dewey Faulkner & Ken Meltzer. Specially priced at Three discs for the price of Two. (C1605)



  • KLAUS TENNSTEDT Cond. Boston Symphony Orchestra, w.Jules Eskin (Cello) & Burton Fine (Viola): Don Quixote (Strauss), Live Performance, 5 March, 1982 (both Symphony Hall, Boston); KLAUS TENNSTEDT Cond. London Phil.: Symphony #1 in C (Beethoven), Live Performance, 14 Dec., 1989. (Canada) 2-St Laurent Studio YSL T-697. [The Strauss beautifully displays the splendor of the Symphony Hall acoustic.] [Corrected issue; the original listing has been changed.] (Canada) St Laurent Studio YSL T-697. Transfers by Yves St Laurent. (C1606)



    -----------------------------------------


    . . . 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

    Operas by Mercadante, Marais, Coccia, Vivaldi,

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    Vivaldi, Monteverdi, Rossini, Cagnoni, Myslivecek,

    Mayr, Hasse, Meyerbeer, Weckerlin, Nicolai,

    Marschner, Gurlitt, Schreker, etc.] have been added

    throughout our listings, in appropriate categories . . .

    out-of-print books [many biographies,

    Record Catalogue- Discographies . . .

    and more CDs and books are added each week] . . .





    ---------------------------------------------------


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  • Tosca  (Adler;  Steber, Bergonzi, George London)   (2-St Laurent Studio YSL T-726)
    OP3269. TOSCA, Live Performance, 11 April, 1959, w.Kurt Adler Cond. Eleanor Steber, Carlo Bergonzi, George London, etc. (Canada) 2-St Laurent Studio YSL T-726.
    $39.95
    Renata Scotto, Vol. III  Philharmonic Hall, 1972;  Ryan Edwards  (St Laurent Studio YSL T-683)
    V2577. RENATA SCOTTO, w.Ryan Edwards (Pf.): Songs by Berlioz, Debussy, Pizzetti, Donizetti, Rossini & Verdi; Arias from Giulio Cesare, La Vestale, Robert le Diable & Virginia (Mercadante) - Live Performance, 15 Feb., 1972, Philharmonic Hall, New York. (Canada) St Laurent Studio YSL T-683. Transfers by Yves St Laurent.
    $19.90
    Renata Scotto,  Vol. II, Carnegie Hall, 1969;  John Wustman   (St Laurent Studio YSL T-682)
    V2576. RENATA SCOTTO, w.John Wustman (Pf.): Songs by Donizetti, Bellini, Rossini & Verdi; Gianni Schicchi - O mio babbino caro - Live Performance, 12 Oct., 1969, Carnegie Hall. (Canada) St Laurent Studio YSL T-682. Transfers by Yves St Laurent.
    $19.90
    Abduction of Figaro (P.D.Q. Bach - Peter Schickele) (VAI 4251)
    DVD0060. THE ABDUCTION OF FIGARO (P.D.Q. Bach), Live Performance, 1984, w.Peter Schickele Cond. Minnesota Opera; Dana Krueger, Bruce Edwin Ford, LeRoy Lehr, Marilyn Brustadt, Lisbeth Lloyd, John Ferrante, etc.; also includes 1972 Television Interview with Prof. Schickele. VAI Stereo 4251. - 89948425199
    $39.90
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    $19.90Samson et Dalila  (Pelletier;  Maison, Stevens, Warren, Moscona)     (2-Immortal Performances IPCD 1084)
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    Lener String Quartet, Vol. I (Brahms) (St Laurent Studio YSL 78-634)

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