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Yves St Laurent presents
ERICH LEINSDORF Cond. Boston Symphony Orch.: 'Vetrate di Chiesa' (Respighi); Romeo and Juliet – Excerpts (Prokofiev); w.GINA BACHAUER: Piano Concerto #2 in c (Rachmaninoff); w.BEVERLY SILLS: DAPHNE - Final Scene (Strauss). [A most rewarding program comprising two different BSO concerts, in the magnificence of the glorious Symphony Hall acoustic!] (Canada) 2-St Laurent Studio YSL T-412, Live Performances, 1964 & 1967, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1491)
two wonderful Boston Symphony programs with
GINA BACHAUER & BEVERLY SILLS . . .
the Cleveland Orchestra under COPLAND . . .
MARIO GILION & ANTONIETTA STELLA . . .
and our 50% SALE Continues
“Bachauer was a strong, powerful player with a formidable technique. She was often compared to Teresa Carreño (1853–1917), and a 1955 description of her shows the attitude of the time. ‘Her technique shows a decidedly masculine approach, and unlike other famous woman pianists she is very much at home with works usually regarded as the prerogative of the ‘stronger’ sex’. Rachmaninov instilled into Bachauer his idea that music was ‘sound and colour’ and it is her range of both that makes her playing so distinctive. Extremely self-critical, Bachauer was always working, listening and improving her interpretations.”
— Jonathan Summers, Naxos' A–Z of Pianists
"Beverly Sills was the acclaimed Brooklyn-born coloratura soprano who was more popular with the American public than any opera singer since Enrico Caruso. Sills won the greatest reviews of her career [as Cleopatra in Handel’s GIULIO CESARE, 1966, New York City Opera]. Critics praised her adroit handling of the music’s florid fioratura, her perfect trills, her exquisite pianissimo singing and her rich sound….Suddenly she was an opera super-star. In 1968 she had another enormous success in the title role of Massenet’s MANON. When the production was revived the next year, the NEW YORKER critic Winthrop Sargent wrote: ‘If I were recommending the wonders of New York City to a tourist, I should place Beverly Sills as Manon at the top of the list…".
- Anthony Tommasini, THE NEW YORK TIMES, 4 July, 2007AARON COPLAND Cond. Cleveland Orchestra: Bach, Schubert, Roussel, Ravel & Copland; Interview with Aaron Copland & Morton Gould. (Canada) 2-St Laurent Studio YSL T-407, Live Performance, 1 Aug., 1970, Blossom Music Festival. Transfers by Yves St Laurent. (C1490)
Copland...has never turned out bad work nor worked without an inspiration. His stance is that not only of a professional but also of an artist - responsible, prepared, giving of his best. And if that best is also the best we have, there is every reason to be thankful for its straightforward employment of high gifts. Also, of course, for what is the result of exactly that, 'this simple and great man in our midst'."
- Virgil Thomson, AMERICAN MUSIC SINCE 1910MARIO GILION: Arias from Gli Ugonotti, Guglielmo Tell, Il Profeta, L'Africana, Norma, Il Trovatore, Otello, Don Carlos, Forza, Ballo, Germania, Cavalleria, Jone, Carmen, La Juive, Samson et Dalila, Tannhäuser & Die Walküre. [For the tenor enthusiast who has everything and everyone!] (France) Malibran AMR 119, from Fonotipia disks. (V2500)
“Gilion supposedly began his career as a baritone, then made his tenor début in 1901 at the Teatro Sociale in Monza as Vasco in L’AFRICAINE. That same year, Gilion appeared in Modena singing Raoul in LES HUGUENOTS and Arnold in WILLIAM TELL, his two most prominent roles. He also sang in Budapest, Warsaw, Venice, and Buenos Aires. Gilion appeared at the Paris Opéra in 1910 as Arnold, and the next year as Radames. He recorded exclusively for Fonotipia singing primarily in Italian. His sides sung in French are unquestionably his rarest records"
- Vincent Giroud, Marston Program NotesANTONIETTA STELLA: Arias from Luisa Miller, Ernani, Il Trovatore & Forza; w.Franco Corelli & Mario del Monaco: Duets from Andrea Chénier & Tosca. (France) Malibran AMR 122, Live Performances, Palermo, Firenze, Napoli & Milano, 1955-65. (V2498)
“Seeming from time to time a serious contender for consideration with the great prima donnas of her time -- Callas, Tebaldi, and Milanov -- Antonietta Stella never quite pulled together all the elements of her lavish gift. An immensely attractive woman with large, deep-set eyes and a figure that would have found favor in Hollywood, she presented an appealing stage presence but was not always able to control her impulsive histrionic inclinations. Although her vocal endowment led her to an early début, her lovely spinto-weight soprano was not sufficiently technically secure and not supported consistently enough to endure.
By her mid-teens, Stella had determined she would become a professional singer and began her vocal training. After studies in her native Perugia, and later in Rome, she won first prize in the 1949 Bologna Concorso. In 1950, she made a pre-professional appearance on-stage at Spoleto's Sperimentale and followed that in 1951 with her official début at the Rome Opera singing Leonora in LA FORZA DEL DESTINO. A recording of SIMON BOCCANEGRA shortly thereafter revealed both a promising voice and some ungainly phrasing. Nonetheless, she was entrusted with the rôle of Lavinia in the world premiere of Guido Guerrini's ENEA, mounted by the Rome Opera in 1953. Italy welcomed the young soprano, despite her lack of experience. Engagements took her to many of the country's most prominent theaters, foremost among them La Scala, where she sang Desdemona in 1954 just a year after she had won good reviews in Florence for her performance in Verdi's AROLDO. Several of the lighter Wagner rôles also came her way with such parts as Elsa and Elisabeth and (less suitably) Sieglinde and Senta. The world beyond welcomed her as well: she was introduced as Aïda at Covent Garden in 1955 and at the Teatro Colón in 1956. Stella became a popular presence in several German houses and won appreciative reviews in Spain and Brazil. Stella made her Metropolitan Opera début essaying Aïda. Although she was in good voice, reviews held numerous caveats about her artistry and questions about her willingness to look past the approval of the gallery toward a deeper exploration of text and music. During four seasons, Stella sang more than 50 performances of eight different rôles, including Tosca, Butterfly (a memorable interpretation), Violetta, Elisabeth de Valois, Amelia in UN BALLO IN MASCHERA and the IL TROVATORE Leonora. Several ill-advised cancellations put an effective stop to Stella's American career. First, she exited a series of performances for Lirica Italiana in Japan. In 1957, she canceled her début with the San Francisco Opera. After the soprano presented the Metropolitan Opera with a doctor's certificate in 1960 asking for release (granted) for the company's spring tour and then showed up on the stage of La Scala during the period in question, Rudolf Bing filed breach of contract charges with the American Guild of Musical Artists. The action resulted in her suspension. Stella continued to appear in Europe, but decline was evident before she had reached the age of 40.”
- Erik Eriksson, allmusic.com . . REPEATED FROM THE RECENT PAST . . .
BENNO RABINOF, w.Alfred Wallenstein & Robert Stanley Cond.: Paganini, Lotto, Sarasate, Rimsky-Korsakov, Saint-Saëns, Wieniawski, Tschaikowsky, Rachmaninoff, Novácek, Achron & Bruch. (Canada) 2-Yves St Laurent YSL 78-411, Live Performances, 1943-44 [all from Rabinof's private acetates, not duplicated by the old out-of-print Pearl issue]. Transfers by Yves St Laurent. (S0704)
“In his playing, Benno Rabinof represented the continuation in America of Auer’s most brilliant pupils from Russia, perhaps more so than any of the numerous other hopefuls who flocked to the Auer banner after his American arrival. Auer conducted the 19-year old Rabinof’s 1927 Carnegie Hall début in the Tschaikowsky and Elgar Concerti….like so many others in the Heifetz shadow, Rabinof was unable to generate a top-level career despite encouraging reviews. In the early 1940s he played a 28-week cycle of nationwide radio broadcasts [above] with Alfred Wallenstein conducting. I recall being thoroughly impressed….he understood and employed the expressive devices in position changes of both Heifetz and Kreisler with good taste. Technically, he could handle any genre of music in the staple repertoire with ease. In the hierarchy of ear-titillating vioinists, Rabinof ranks among the elite. It was essentially instinctual, spontaneous, visceral playing.”
- Henry Roth, VIOLIN VIRTUOSOS, p.246 K. K. HOFOPER WIEN 1904, featuring 59 Odeon recordings, recorded in September 1904 for the International Talking Machine Co. Most of them available on CD for the first time, incl. Wilhelm Hesch, Friedrich Weidemann, Hermine Kittel, Elise Elizza, Betty Schubert, Jenny Pohlner, Leo Slezak & Frantíšek Pácal; Oskar Dachs (Pf.) & Marko Radossawljewitsch (Flute). (Germany) 2-Truesound Transfers 4003, recorded 1904, Vienna. Transfers by Christian Zwarg & Carl Max Goldstein. (V2499)
"This phenomenal issue of the 1904 recordings from K. K. Hofoper Wien is the third issue of Christian Zwarg's new series featuring double CDs in handsome Digipak albums (no more brittle plastic cases nor dull black-and-white covers!). As delighted as we all have been with previous Truesound offerings, this new format is sure to offer even greater satisfaction! ... the Belle Époque never sounded better ..."
- J. R. Peters
“...an absolute revelation! Here, the voices come through with tonal sheen, passion and with more personality than any other transfers have been able to bring out. Dynamics and agility are in better relief, as is a sensitivity I had always found lacking. These transfers are absolutely miraculous, and I hope for more Truesound transfers.”
- Davyd Booth, GREAT SINGERS REMEMBERED, WHYY – NPRTHE 1902 LONDON 'REDS', featuring Pol Plançon, Emma Calvé, Maurice Renaud, Anton van Rooy, David Bispham, Antonio Scotti, Suzanne Adams, Jan Kubelik, etc. (Germany) 2-Truesound Transfers 4002, recorded 1902, London. Transfers by Christian Zwarg. (V2495)
"This phenomenal issue of the famous London 'Reds' is the second issue of Christian Zwarg's new series featuring double CDs in handsome Digipak albums (no more brittle plastic cases nor dull black-and-white covers!). As delighted as we all have been with previous Truesound offerings, this new format is sure to offer even greater satisfaction!"
- J. R. PetersMARGARETHE SIEMS: Songs by Alabieff, Eckert, Proch & Johann Strauss; Arias & Duets (w.Arányi, Zador & Förstel) from Guillaume Tell, Les Huguenots, Lakmé, Die Lustigen Weiber von Windsor, Norma, Martha, Il Trovatore, Rigoletto, La Traviata, Aïda, Lucia, Dinorah, Norma, La Fille du Régiment, Martha, Lakmé, Mignon & Nozze; w.Eva von der Osten & Minnie Nast: Der Rosenkavalier – Excerpts, the latter being CREATOR Recordings. (Germany) 2-Truesound Transfers 4002, recorded 1903-12, Dresden, Berlin & Prague. Transfers by Christian Zwarg. (V2494)
“...an absolute revelation! Here, the voice comes through with tonal sheen, passion and with more personality than any other transfers have been able to bring out. Dynamics and agility are in better relief, as is a sensitivity I had always found lacking. These transfers are absolutely miraculous, and I hope for more Truesound transfers.”
- Davyd Booth, GREAT SINGERS REMEMBERED, WHYY – NPR
“Finest of all [in Les Huguenots] perhaps, is Margarethe Siems, the original Marschallin, whose version is easily the most elaborate but who sings with indolent grace and effortless bravura. When this is allied to a meticulous attention to dynamic markings, it has the expansiveness and grandeur of style that this music requires.”
- Vivian A. Liff, IL CORRIERE DELLA GRISI, 9 Sept., 2008GEORI BOUÉ, w.Jean Pasquier, Quatuor Pascal, Louis Beydts, Roger Cortet, Albert Wolff & Gustave Cloëz: Songs by Debussy, Chausson, Hahn, Heitz-Boyer, Beydts & Schubert; Arias from Nozze, Mireille, Manon, Faust, Madama Butterfly, La Boheme & Otello; Duets w.ROGER BOURDIN by Terrasse & Hahn. [This glorious release offers Boué's major recordings for French Odéon, as well as the early '50s 'picture disk' rarities from Saturne & Le Lutrin, all meticulously transferred from original 78rpm mint copies. Her inimitable recording of Hahn's 'D'une prison' alone is worth the price of the entire set. One might weep after hearing Boué's demonstration of exquisite French musicality and style, by now an entirely lost art. This recital is a unique treasure!] (Canada) 2-Yves St Laurent YSL 78-422, recorded 1943-53, Odéon, Saturne & Le Lutrin. (V3000)
“Geori (Georgette) Boué made her Paris début at the Opéra-Comique in 1939, as Mimi in LA BOHÈME (singing in the 1,000th performance at the Salle Favart on 3 May 1951), and other rôles there included: Lakmé, Manon (singing in the 2,000th performance on 18 January 1952), and Ciboulette (first performance at the Opéra-Comique). Her début at the Palais Garnier took place in 1942, as Marguérite, and she went on to sing rôles such as Juliette, Thaïs, Salomé in HÉRODIADE, Louise, Gilda, Violetta, Desdemona, Tosca, Madama Butterfly, Tatiana, etc. Boué had a clear voice of considerable power, renowned for her impeccable diction, she was widely regarded as one of the greatest French sopranos of the 1940s. She was married to French baritone Roger Bourdin in May 1944, with whom she can be heard in two recordings, FAUST under Thomas Beecham, and THAÏS. She retired from the stage in 1970, then died 5 January, 2017, at age 98.”
- David Salazar, operawire.com, 6 Jan., 2017ZARA DOLUKHANOVA, w.Nina Svetlanova (Pf.): Songs by Glinka, Tschaikowsky, Komitas, Poulenc, etc.; Armenian Songs; Arias from Nozze and Tosca. [A rare recital which features Dolukhanova after her successful transition to Soprano, beautifully recorded from the front row of Philharmonic Hall in remarkably clear sound.] (Canada) Yves St Laurent YSL T-421, Live Performance, Philharmonic Hall, New York, 13 Nov., 1970. (V2497)
"…the smooth, vocal velvet of Dolukhanova’s tones and supreme technical mastery encapsulated even greater versatility combined with a rare ability to empathize with her audience….Few recitalists in my lifetime possessed her ability to mesmerize listeners into feeling they were the sole recipients of her song. That gift made her one of the most beloved of all Soviet singers, so that in her regular 1940s broadcasts on Russian radio she was able to introduce and popularize numerous new works by young composers – many of whom wrote music especially for her."
- Vivian A. Liff, AMERICAN RECORD GUIDE, July/Aug., 2005
…[Dolukhanova] gave recitals in the U.S. in 1959, 1962 and 1970. In the early 1960s she made a transition to soprano with Yevgeny Kanger, a pianist, whom she names as her most important teacher….Her concerts were eagerly anticipated musical events because she kept to her rule of never singing the same song twice in a city no matter how many times she appeared there. Her farewell concert was at the Great Hall of the Moscow Conservatory in the Spring of 1983.”
- Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS, p.303
“Zara Dolukhanova is often cited as the greatest Soviet mezzo-soprano of her time. Her powerful, flexible voice was usually categorized as a coloratura mezzo, but her vocal range also allowed her to sing convincingly as an alto. Dolukhanova was as much a star in the Soviet Union in the mid-20th century as Callas and Tebaldi were in the West.
Dolukhanova was extremely active throughout the 1960s, but shortly after a return tour to the U.S. in 1970, she retired from singing. She spent most of the remainder of her career as a teacher at the Gnessin Institute, counting among her students mezzo-soprano Olga Borodina. Dolukhanova died in Moscow on 5 December, 2007.”
- Robert Cummings, allmusic.com
"[Dolukhanova’s] mezzo-soprano voice had a beautiful and characteristic timbre and a large range (two and half octaves), a rare combination for such a voice. Particularly impressive was her low register, full-throated, velvety, combined with light, bright coloratura. She had inspiration, intelligence, high musical culture, meticulous taste, poise and nobility in expression of feelings and precision of intonation, not to mention an elegant and attractive stage presence."
- Larry Friedman, THE RECORD COLLECTOR, 2006OSCAR SHUMSKY: Bach, Buxtehude, Tartini, Mozart, Beethoven, Schubert, Schumann, Rachmaninoff, Kreisler, Wieniawski, Strauss & Hindemith Recital, also featuring Earl Wild, Erna Berger, Maureen Forrester, Lois Marshall, James Melton, etc. (Canada) 3-Doremi 8031/33, recorded 1948-82, many live performances. [One of the most respected violinists of the 20th century! This set contains many items not previously available on CD, and some that have never been released at all.] (S0703)
“Oscar Shumsky, a violinist and conductor who was renowned for the beauty of his sound and the luminous musicality of his performances of Bach, Mozart and Brahms, was one of the last students of Leopold Auer, the legendary Russian violinist who also taught Jascha Heifetz, Mischa Elman and Efrem Zimbalist. When Auer died in 1930, Zimbalist took over Shumsky's training and reinforced the grandly Romantic, communicative interpretive style that was the principal hallmark of the early 20th-century Russian violin school. Although he never became a household name on the order of Heifetz, he commanded tremendous respect among musicians throughout his career, not only for his solo performances but also for the passion he brought to chamber music and orchestral playing. That quality was something he passed on to many of his students, who included Eugene Drucker and Philip Setzer of the Emerson String Quartet; Ida Kavafian; Eliot Chapo, a former concertmaster with the New York Philharmonic and Guillermo Figueroa, the concertmaster of the New York City Ballet Orchestra.
- Allan Kozinn, THE NEW YORK TIMES, 27 July, 2000ERIK THEN-BERGH: The complete Electrola and Deutsche Grammophon recordings, incl. his complete Reger recordings: Handel, Bach-Busoni, Beethoven, Schumann, Chopin & Reger; w.Rosbaud Cond.Baden-Baden S.O.: Concerto in f (Reger). (England) 2-Appian APR 6021, recorded 1938-58. Transfers by Seth B. Winner & Mark Obert-Thorn. (P1250)
“This year marks the centenary of the birth of the German pianist Erik Then-Bergh, and this release of his complete Electrola and DGG recordings by APR is both a fitting and welcome tribute. I say complete, unfortunately his 1942 Telefunken Schumann KINDERSZENEN has been omitted due to lack of space. Nevertheless, this 2 CD set has added value in that there’s not much of the pianist’s recorded legacy available. The audio restorations have been carried out by Seth B Winner and Mark Obert-Thorn and meet the high standard one has come to expect from APR. The booklet notes are exceptionally well-written by Frank R Latino. As well as a detailed biography of the pianist, there’s a chronological discussion of the recordings. Elizabeth Hopkins’ reminiscences, in an interview with Latino, are enlightening.”
- Stephen Greenbank, MusicWebInternationalLEONARD SHURE: Beethoven, Schubert, Brahms & Chopin Recital, Live Performance, 24 Feb., 1956, Carnegie Hall; w.Bernstein Cond. NYPO: Concerto #1 in d (Brahms), Live Performance, Carnegie Hall, 26 March, 1960; w.Burgin Cond. Boston S.O.: 'Emperor' Concerto #5 in B-flat - Mvt. III (Beethoven), Live Performance, 29 Feb., 1936, Symphony Hall; w.Izler Solomon Cond. Aspen Festival S.O.: Concerto #3 in c (Beethoven), Live Performance, 21 Aug., 1960; LEONARD SHURE & KARL ULRICH SCHNABEL: Rondo for Two Pianos in C, K.73 (Mozart), recorded 1931. (Canada) 3–Doremi 8017/19. (P1251)
“In a distinguished career spanning six decades, Leonard Shure appeared as a soloist with nearly every major American orchestra and taught at many prominent music conservatories, including the Mannes College of Music in Manhattan, the Cleveland Institute of Music and the New England Conservatory in Boston. Over the years he appeared in recitals and with orchestras around the country, under conductors including Leonard Bernstein, William Steinberg and Dimitri Mitropoulos. He frequently collaborated with the Cleveland Orchestra under George Szell. He was a consummate chamber-music player, often appearing with the Budapest String Quartet, and accompanied many well-known soloists, including the cellist Paul Tortelier, the soprano Leontyne Price and the violinist Isaac Stern.”
- THE NEW YORK TIMES, 5 March, 1995
Leonard Shure (1910-1995), an Artur Schnabel student, was one of the most respected American pianists and pedagogues of the 20th century. This new release presents live performances, including his 1960 collaboration with Leonard Bernstein and the New York Philharmonic on the Brahms' first piano concerto. 'Shure played with a thrilling blend of insight, breadth, authority and daring', wrote THE NEW YORK TIMES. Also included is his Carnegie Hall Recital from February 1956, which features his Encores, and his Symphony Hall Boston concert from February 1936. This is the first release of each of these recordings."
- DOREMIIGNAZ PADEREWSKI: Paderewski - The Complete Victor Recordings. incl.Couperin, Beethoven, Brahms, Chopin, Liszt, Schubert, Schumann, Rubinstein, Rachmaninoff, Strauss-Tausig, Schelling, Stojowski & Paderewski; plus 2 bonus tracks recorded 1941 of Paderewski's address on the occasion of his American début. (England) 5-Appian APR 7505, recorded 1914-31. Transfers by Mark Obert-Thorn. (P1249)
"83 tracks featuring works by Beethoven, Brahms, Chopin, Couperin, Debussy, Liszt, Mendelssohn, Rachmaninoff, Rubinstein, Schubert, Schumann, Strauss/Tausig, and works by Paderewski himself and two of his disciples, Ernest Schelling and Sigismund Stojowski. The set concludes with two bonus tracks recorded in 1941 of Paderewski’s address on the occasion of the golden jubilee of his American debut.
Ignacy Jan Paderewski (1860–1941) must be counted as one of the most famous pianists who ever lived, and he was certainly the most financially successful, yet his recorded legacy has always been something of a puzzle. Paderewski was from a generation before these recorded pianists, such as Cortot, Hofmann, Rachmaninov & Schnabel, we now tend to think of as ‘historical’ and his playing style really does take us back to the 19th century. This indispensable set makes available for the first time every surviving matrix from his most prolific recording contract – that with the US Victor company. In conjunction with APR’s earlier releases ‘Paderewski – his earliest recordings’ (APR6006 [P0626]
) and ‘Paderewski– his final recordings’ (APR5636 [P0878]
) there is now, at last, a complete Paderewski recorded edition."
- APRPAUL PARAY Cond. Detroit S.O.: 'Jupiter' Symphony #41 in C, K.551 (Mozart); w.Elisabeth Schwarzkopf: GIULIO CESARE - V'adoro pupille; HERCULES - My father! Ah! methinks I see (both Handel); CAPRICCIO - Final Scene (Strauss). (Canada) St Laurent Studio YSL T-392, Live Performance, 18 Feb., 1960. Transfers by Yves St Laurent. (C1488)
“The best evaluation of Schwarzkopf remains that of the English critic J.B. Steane in his invaluable book THE GREAT TRADITION: ‘The thought and art are so marvelously exact that one wants to call them calculated, which immediately suggests something unfeeling and insincere; yet this is self-evidently absurd, for insincerity, like sentimentality, betrays itself by inexactness and distortion. What one has in Schwarzkopf is a high degree of awareness - of colors and styles, and of the existence of choice’.”
- Tim Page, WASHINGTON POST, 4 Aug., 2006GEORGE SZELL Cond. Cleveland Orch.: Serenade #10 in B-flat, K.361/370a (Mozart); Metamorphosen (Strauss), Live Performance, 16 Oct., 1969, Severance Hall. (Canada) St Laurent Studio YSL T-405. Transfers by Yves St Laurent. (C1489)
GEORGE SZELL Cond. Cleveland Orch.: Symphony #4 in B-flat (Beethoven), recorded 22 April, 1947; Symphony in d (Franck), Live Performance, 14 Aug., 1969, Blossom Music Festival. (Canada) St Laurent Studio YSL 78-394. Transfers by Yves St Laurent. (C1483)
IL BACIO (Zandonai), Broadcast Performance, 3 March, 1954, w.Molinari-Pradelli Cond. RAI Ensemble, Milano; Rosetta Noli, Lina Pagliughi, Angelo Lo Forese, Walter Artioli, etc. (France) Malibran AMR 124. (OP3198)
“It was Riccardo Zandonai's bad luck to have been a successor in an age that preferred revolutionaries. The publisher of his operas, Ricordi, proudly announced him as Puccini's heir, and so perhaps he was. In a long life that ended in 1949, Zandonai took Puccini-esque declamatory style and prettied it up considerably, but never discarded its character. The least ‘offensive’ parts of 20th-century music were incorporated into his operas - Strauss' orchestration, for example, and Debussy's whole-tone language. A more striking departure from Puccini's inspired directness was the use of orchestra that in Zandonai's operas competed strongly with the stage for dramatic importance.”
- Bernard Holland, THE NEW YORK TIMES, 15 May, 1988RUSLAN AND LYUDMILA (Glinka), Live Performance, 20 Dec., 1961, w.Khaikin Cond. Bolshoi Opera Ensemble; Victor Nechipailo, Galina Oleinichenko, Mark Reshetin, Eugenia Smolenskaya, Maria Mityukova, Alexei Geleva, Vladimir Petrov, etc. (Russia) 2-Aquarius AQVR 382. [An exciting performance, brilliantly conducted by Khaikin, with a most enthusiastic audience!] (OP3197)
“This evening’s performance is presented in its entirety. Galina Oleinichenko, the Lyudmila in this recording, was born on 23 January 1928 in the village of Budenovka in the Rozdilna district of Odessa. At the School of Music she studied the harp, and graduated in 1953 from the Odessa Conservatory having studied solo singing under N. Urban. Between 1952 and 1955 she was a soloist at the Odessa Opera and Ballet Theatre; and between 1955 and 1957, she was engaged at the Kiev Opera and Ballet Theatre. Her career at the Bolshoi Theatre began in 1957 where she remained until 1981. Her repertoire at the Bolshoi included the roles of Gilda, Violetta, Lyudmila, Karolka, The Swan Princess (THE TALE OF TSAR SALTAN
which she recorded under Nebolsin [OP0495]
, Antonida, Rosina, Volkhova, the Snowmaiden and Titania (in Britten’s A MIDSUMMER NIGHT’S DREAM
), singing opposite Obraztsova’s Oberon). She recorded romances by Tchaikovsky, Rimsky-Korsakov, Rachmaninov, Liszt and Delibes as well as a selection of opera arias for Melodiya and lent her voice to the eponymous heroines in the filmed operas IOLANTA
(Tchaikovsky, 1963), SEVIL
(Amirov, 1970) and sang the role of Marfa in THE TSARS BRIDE
(1966) and soprano arias in THE MUSIC OF VERDI
(1963). The conductor, Boris Khaikin wrote of her ‘Oleinichenko’s singing is especially captivating with an evenness of sound and accuracy of intonation, and she was in constant pursuit of expression and an understanding of the characters that she portrayed’. After her retirement she also taught, becoming a Professor at the Russian Academy of Music(Gnesin) in 1999. She passed away on 13 October, 2013, aged 86.
The bass-baritone Viktor Nechipailo (Ruslan) was born on 1 May, 1926, in Borislav in Lviv(Poland). He studied violin at the music school in Nikolaev and during the war he served in the ensemble of the Baltic Fleet , where he performed as a soloist. It was whilst a member that he started taking lessons from the head of the ensemble M. Krasovsky. In 1945-46 he studied at the Tallinn Conservatory, and between 1948 and 1952 he was engaged as a soloist with the Leningrad Academic Choir. During this time he resumed his studies with M. Krasovsky. He joined the Bolshoi as a soloist in 1953 and remained there until 1975. Amongst the roles that he performed were Prince Igor, Boris Godunov, Pimen, Ruslan, Gremin, Zaretsky, Shaklovity (recorded on Melodiya in 1971), Don Fernando [OP0174]
Amonasro, and Falstaff (which he recorded in 1963 with a cast that included Vishnevskaya and Arkhipova).
The basso-cantante, Mark Reshetin (Svetozar) was born on 15 February, 1931, and died in 2001. In 1956 he graduated from the Moscow Conservatory having studied with V.Politkovsky. He sang at the Bolshoi between 1956 and 1977. In 1966 he was sent to La Scala to continue his training, performing the role of Dosifei on that stage in their 1967 premiere of KHOVANSHCHINA
. His repertoire included the roles of Ivan Susanin, Pimen [OP1266]
, Prince Yuri (THE ENCHANTRESS
), Gremin, Méphistophèles and Don Basilio.
The Gorislava, Evgenia Smolenskaya (1919-89) was born in a small village near Gorlovka in the Donbass. She studied at the Yenakiyevo Pedagogical College and upon graduating, became a teacher of Ukrainian and literature. After taking part in the regional Olympiad in Stalino (now Donetsk), she was sent to study at the Kiev Conservatory (1939-41). After the war she was engaged to sing at the opera house in Stalino and continued her musical education under EN Panaeva. In 1947 she joined the Bolshoi Theatre, débuting there in the role of Natasha in Dargomyzhsky’s RUSALKA
(a role which she was to record twice). Her other roles included Aïda, Yaroslavana, Santuzza, Kuma, Marcellina, Emma (KHOVANSHCHINA
), Maria (MAZEPPA
) and Militrisa. She recorded the role of Ortrud [OP0251]
in the first studio recording of LOHENGRIN
. She also taught at the Gnesin Institute.
Maria Mityukova, the Ratmir in this broadcast, was born in 1925. She was engaged to sing at the Bolshoi Theatre between 1956 and 1977 where her roles included Ratmir, Vanya, The Princess (RUSALKA
) , The Countess, Konchakovna and Nezhata.
Alexei Geleva (1904-84) joined Kharkov Opera in 1925. He also performed with the Third Ukrainian Mobile Opera and at the opera houses in Saratov, Gorky and Novosibirsk. He joined the Bolshoi Theatre in 1954 where he performed, amongst others, the roles of Farlaff, Ivan Khovansky, Konchak, Varlaam and Tokmakov. He retired from the Bolshoi in 1969.
Vladimir Petrov (1925) performed at the Bolshoi between 1956 and 1984 where his roles included Dimitri, Semyon Kotko,, Golitzin, Sadko (which he performed at La Scala in 1964), Don Carlos, Grishka Kuterma and Pierre Bezukhov.
Nikolai Timchenko was born on 12 December, 1927, in Donetsk. After the war he became a soloist of the Song and Dance Ensemble of the Baltic Fleet. In 1950, he was admitted to the Moscow Conservatory where he studied under S.Yudin and N. Ozerov. He joined the Bolshoi Theatre in 1955 where he débuted in the role of Lensky and performed many leading lyric tenor roles including, Almaviva, the Hindu Guest, Alfredo, the Duke of Mantua, Sinodal and Lykov. He is known to have substituted for both Lemeshev and Kozlovsky when they were indisposed. In 1961 he was sent to La Scala to further his training and returned in 1963. He retired from the stage in 1966 and enjoyed a very successful career as a singer of songs and romances, many of which were recorded. He toured the country extensively as a concert singer and died on 15 June, 1989.”
- Mike WestonEUGEN ONÉGINLive Performance, 8 May, 1951, w.Khaikin Cond. Leningrad Maly Opera Ensemble; Ivan Alekseyev, Ivan Kozlovsky, Olga Kashevarova, Lyudmila Grudina, Sofia Preobrazhenskaya, Nikolai Konstantinov, etc. (Russia) 2-Aquarius AQVR 398 [The audience's wildly enthusiastic response is quite palpable, especially with Kozlovsky's initial appearance, briefly interrupting the stage action - not unlike the exciting response to Lemeshev in his live performance, OP2892! This performance is clearly another such 'event'!] (OP3194)
“There are two studio-made recordings of EVGENYI ONEGIN
with the great Ukrainian tenor Ivan Kozlovsky as Lensky. The first was made in 1937 with Melik-Pashaev conducting (and has been released on Naxos [OP0146]
), the second in 1953 with Orlov conducting (released on Myto and Preiser). Both are classics, and serious collectors either already do or should have at least one of them. But what we have here is something very special, and also something we haven’t had an opportunity to experience: Kozlovsky in a live, staged performance. I am not aware of any other in-performance recording of an opera featuring this superb singer. Although he was virtually the house tenor at the Bolshoi in Moscow, in 1951 Kozlovsky did appear at the Kirov Opera in Leningrad (now the Mariinsky Theatre in St. Petersburg). This recording has never been released before in any form of which I am aware, and one is grateful to Aquarius for securing it, and to Norbeck, Peters & Ford for making it available (www.norpete.com)
The sound quality is good - what I’d call standard 1951 monaural broadcast sound, a bit constricted but rich enough to serve the orchestral and vocal colors well. The performance as a whole is excellent, conducted with both urgency and appropriately melancholy shades by Boris Khaikin. Olga Kashevarova is a lovely Tatiana, with a rich spinto voice that lacks the edge of so many Slavic sopranos. Her tone positively glows throughout the range, and she brings strong dramatic skills to the role as well. Her Letter Scene is impassioned, sung with genuine sweep and ardor. Ivan Alekseev also brings a warm baritone timbre and dramatic insight to the title role. He sang at the Kirov for 30 years, starting in 1945, and one can hear why he was one of their prime baritones, though his voices lacks the unique timbre and brilliance of Lisitsian.
But the central reason for this set is Kozlovsky, a unique artist heard in one of his signature roles. As good as his two studio recordings are, here he is enlivened by the presence of an audience and the momentum of a staged performance. His entrance is greeted by an ovation, as is his singing of Lensky’s big aria. The excellent accompanying notes tell us that the audience demanded and got an encore of that aria, but it isn’t included. His singing of the aria encapsulates everything about Kozlovsky that made him so distinguished: a huge range of dynamic shading with an infinite variety between pp and ff, a limitless imagination for phrasing, and a remarkable ability to hold the audience through pauses that would kill the performance of any other singer. Many famous tenors have recorded this aria, but none compares to this account. It stands as a supreme example of vocal mastery. Kozlovsky’s overall performance is more than just a magnificent rendering of one aria. Throughout, this is singing with a real face. Kozlovsky’s Lensky is a believable young poet and a dreamer, emotionally full throttle at every moment. What we hear is one of the great opera portrayals of all time, preserved in the heat of a live performance. If the word ‘historic’ applies to anything, it applies to this recording.
As for the supporting roles, Nikolai Konstantinov is a solid, black-voiced bass who sings Gremin with touching humanity, and Lyudmila Grudina is a rich-toned and credible Olga. Aquarius provides a nice booklet with notes in Russian by Maxim Nikiforov, well translated by Michael Weston. If this opera and great singing are things that matter to you, I consider this release essential even if you already have one or both of Kozlovsky’s studio recordings.”
- Henry Fogel
“Ivan Kozlovsky was certainly one of the greatest tenors active in the USSR throughout the 1940s into the 1960s. Yet, despite his many performances at the Bolshoi, this is his only live performance to surface. His Lensky is a superb characterization, a personality of sensitivity and culture whose regret at the coming duel with Onégin is palpably and effectively communicated. Ivan Alexeyev’s excellently characterized and beautifully-sung Onégin portrays the character’s initial superficiality, which makes his remorse in the final scene all the more powerful….[Konstantinov’s] performance [as Gremin] is one of the most enjoyable I have heard. His performance moves, musically and emotionally, to reflect the feelings of his character. Olga Kaskevarova’s Tatiana reflects her years of experience with the role that is a richly-sung and intensely emotional performance. Her final duet with Alexeyev’s Onégin is excellent…. Aquarius must have used master tapes or something close as the sound is clear and well-defined with no surface noise or distortion….Warmly recommended.”
- William Russell, THE RECORD COLLECTOR, 2016LE TRILLE UN ART PERDU (The Lost Art of the Trill), incl. Plançon, Escalaïs, Devriès, Dalmorès, Jadlowker, Abendroth, Sembrich, Schumann-Heink, Onégin, Schumann, Siems, Kurz, Patti, Butt, Ponselle, Caruso, Willer, Abendroth, Lemnitz, Leider, Lubin, Ritter-Ciampi, Schmidt & Ludwig Weber. [A delightful treat for canary fanciers!] (France) Malibran AMR 123. (V2490)
“Lovers of opera of a certain age will always tend to lament ‘One no longer sings as before’, and they will always be right. The art of singing is constantly evolving. Now that we have a century of recording history, we are in a position to judge how techniques and styles have changed during this period, and how certain vocal skills have been lost or recovered….In the 1940s, the trillium had become the almost exclusive property of specialized coloratura sopranos. Now that so many other bel canto skills have been reconquered, it is time for modern singers to start listening to these old recordings and become seriously involved!"
- Patrick Bade
numerous out-of-print CDs & LPs,[many sealed copies of
numerous out-of-print additions: Issues of Symposium’s
Harold Wayne series, Romophone, The Record Collector,
VRCS, GOP & many Met Opera broadcasts, plus Operas
by Handel, Mercadante, Marais, Cavalli, Rameau, Lully,
Monteverdi, Charpentier, Gluck, Vivaldi, Pergolesi,
Rossini, Meyerbeer, Weckerlin, Nicolai, Schreker,
Marschner & Gurlitt] have been added
throughout our listings,
in appropriate categories . . .
out-of-print books [many biographies,
Record Catalogue-Discographies . . .
more are added each week . . .
our 50% Discount Sale continues,
with numerous additions . . .
--------------------- ANNOUNCEMENT -----------------------
You can view our current Auction #147
online, with revised closing date of Saturday, 21 May!
At a total of 118 pages, this is the largest auction we’ve ever produced, filled with many rarities, plus MINT
copies of ‘Society’ recordings (all pressed from original masters), now at closeout prices.
It will come as no surprise that Norbeck, Peters & Ford have been concentrating our efforts in locating and promoting thousands of historical-interest CDs during the past quarter century, often at the expense of the somewhat rarified collector of the original 78rpm issues. Now, the long wait is over as we have spent much of the past year organizing, researching and listing many 78s in our vast inventory, many of them with appropriate critical and biographical quotes. This auction features a large assortment of instrumental, vocal and historically important records, the vast majority being in truly spectacular condition.
As our little urchin stares into the recording horn, you can now view our current AUCTION
whose revised closing date is Saturday, 21 May!
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website
). This is the ideal opportunity at bargain prices to fill in gaps in one’s collection.
. . . For the Melodiya, Vista Vera, Archipel, Myto,
Walhall, Gebhardt &
Living Stage titles on sale,
simply visit our sale section of our website . . .
Once again . . .
Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com
where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.
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C1491. ERICH LEINSDORF Cond. Boston Symphony Orch.: 'Vetrate di Chiesa' (Respighi); Romeo and Juliet - Excerpts (Prokofiev); w.GINA BACHAUER: Piano Concerto #2 in c (Rachmaninoff); w.BEVERLY SILLS: DAPHNE - Final Scene (Strauss). [A most rewarding program comprising two different BSO concerts, in the magnificence of the glorious Symphony Hall acoustic!] (Canada) 2-St Laurent Studio YSL T-412, Live Performances, 1964 & 1967, Symphony Hall, Boston. Transfers by Yves St Laurent.
C1490. AARON COPLAND Cond. Cleveland Orchestra: Bach, Schubert, Roussel, Ravel & Copland; Interview with Aaron Copland & Morton Gould. (Canada) 2-St Laurent Studio YSL T-407, Live Performance, 1 Aug., 1970, Blossom Music Festival. Transfers by Yves St Laurent.
V2500. MARIO GILION: Arias from Gli Ugonotti, Guglielmo Tell, Il Profeta, L'Africana, Norma, Il Trovatore, Otello, Don Carlos, Forza, Ballo, Germania, Cavalleria, Jone, Carmen, La Juive, Samson et Dalila, Tannhäuser & Die Walküre. [For the tenor enthusiast who has everything and everyone!] (France) Malibran AMR 119, from Fonotipia disks.
V2498. ANTONIETTA STELLA: Arias from Luisa Miller, Ernani, Il Trovatore & Forza; w.Franco Corelli & Mario del Monaco: Duets from Andrea Chénier & Tosca. (France) Malibran AMR 122, Live Performances, Palermo, Firenze, Napoli & Milano, 1955-65.
Klaus Tennstedt (Bruckner 8th, Boston) (St Laurent Studio YSL T-332)
Marian Anderson - Copenhagen & Lincoln Memorial Recitals (JSP 683)
Jussi Bjorling; Bertil Bokstedt - Copenhagen Recital (JSP 682)
Meistersinger (Toscanini; Noort, Nissen, Alsen, Reining) (5-IPCD 1069)
Norma (Sutherland, Horne, Alexander, Cross) (3-IPCD 1055)
Vocal Record Collectors' Society - 2016 Issue (VRCS-2016)
Verdi Requiem - Toscanini; Milanov, Bjorling, Castagna (2–IPCD1073)
Aida / Carmen (Vickers, Zeani, Bumbry, Merrill) (4-IPCD 1056)
Verdi Requiem - Toscanini; Milanov, Roswaenge, Thorborg (IPCD 1058)
Claudia Novikova & Obukhova (Eclectra E CCD-2029)
Le Trille un Art Perdu (The Lost Art of the Trill) (Malibran AMR 123)
Artur Rodzinski, Vol. XXXVI; Arthur Rubinstein (YSL 78-404)
Mignon - TWO Performances (Tourel, Stevens, Crooks) (4-IPCD 1061)
Don Giovanni - TWO Performances (Szell; Pinza, Steber) (4-IPCD 1059)
Offenbach - Hommage Mechanique (Music Box) (Malibran 214)
The Bing Girls are There (Nat D. Ayer) (Palaeophonics 136)
Il Tabarro; Don Pasquale (Albanese, Sayao) (3-IPCD 1057)
Arturo Toscanini; Rethberg, Schorr; Horowitz (2-IPCD 1068)
Irene Jordan, Vol. II; MEDEAD (Giannini) - Paray (2-YSL T-343)
Margarethe Siems; Aranyi, Forstel, etc. (2-Truesound Transfers 4001)
Hullo America! (Janis, Chevalier, Lupino) (Palaeophonics 112)
The Shop Girl (Alfred Lester, Evelyn Laye, Bates) (Palaeophonics 132)
Bric-a-Brac (Millar, Jeffries, Gerard, Johnson) (Palaeophonics 123)
Vocal Record Collectors' Society - 2015 Issue (VRCS-2015)
Marian Anderson; Rupp; Mitropoulos (St Laurent Studio YSL T-384)
Nineteenth Century Italian Tenors (3-Marston 53018)
Contes d'Hoffmann (Beecham; Jobin, Singher, Pinza) (2-IPCD 1060)
Eugen Onegin (Alekseyev, Kozlovsky, Kashevarova) (2-AQVR 398)
The 1902 London 'Reds' (2-Truesound Transfers 4002)
As You Were (Alice Delysia) (Palaeophonics 139)
The Artistry of Virginia Zeani (9-Musique Aria 7648401)
Rosenkavalier (Leinsdorf; Ludwig, Della Casa, Soderstrom, Czerwenka, Fernandi) (4-IPCD 1050)
Ignacy Jan Paderewski - Complete Victor Recordings (5-APR 7505)
Germaine Lubin; Lucienne de Meo; Gerard Souzay (2-Marston 52070)
Toscanini; Horowitz (Immortal Performances IPCD 1054)
Yes, Uncle! (Henri Leoni, Crawford, Griffin) (Palaeophonics 138)
Ivan Kozlovsky (Aquarius AQVR 395)
Charles Munch, Vol. XI; Margaret Harshaw (YSL T-335)
Conchita Supervia, Vol. V; Maria Barrientos (Marston 51010)
William Kapell - Broadcasts, Concert Performances 3-Marston 53021
GIGLI (Leonardo Ciampa)
Karel Ancerl - Ma Vlast (St Laurent Studio YSL T-340)
Otello (Uzunov, Milanov, MacNeil; Schippers) (2-HTM 65-001)
Samson et Dalila (Jobin, Scharley, Bianco) (2-Malibran 789)
Charles Munch, Vol.XII; Valletti, Kopleff, Souzay (2-YSL T-336)
Bruno Maderna, Vol. II; Boston S .O. (YSL T-360)
Bruno Maderna, Vol. III (St Laurent Studio YSL T-373)
Sergei Lemeshev, Vol. VII (8-Aquarius AQVR 400)
Tristan (Bodanzky; Melchior, Flagstad, Thorborg, Huehn) (3-IPCD 1040)
Jennie Tourel; Zinka Milanov, Joseph Rogatchewsky (3-IPCD 1048)