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Classical CDs, LPs, 78s,
Related Books & Ephemera
We welcome summer with a
1917 London delight from Palaeophonics . . .
Yves St Laurent offers
Volumes II of both GEDDA and RASKIN . . .
Player Piano charmers,
plus Two Black Crows,
The Musical Wonder House of Wiscasset, Maine . . .
and our 50% SALE Continues
This Week's offerings:PE0282. THE BOY (Monckton & Talbot) , recorded 1917, w.Howard Talbot Cond. Adelphi Theatre Ensemble; William H. Berry, Peter Gawthorne & Nellie Taylor; additional material by the Band of His Majesty's Coldstream Guards. (England) Palaeophonics 141, w.Elaborate ‘The Play’ 20pp. Brochure replete with numerous photos of the Adelphi Theatre 1917 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (pe0282)
1917, THE BOY ran for 801 performances, closing 9 Aug., 1919 - one of the longest runs of any musical theatre piece up to that time. The story was based on THE MAGISTRATE by Arthur Wing Pinero, although the names of the characters were changed. Following its great success in London, in 1919 it was adapted for Broadway as GOOD MORNING, JUDGE and played 140 performances. The New York production interpolated additional songs by George Gershwin."
- London Musicals, 1915-1919NICOLAI GEDDA, w.Frederic Waldman Cond. Musica Aeterna Orch.: Psalmus Hungaricus (Kodály); NICOLAI GEDDA (only partially with Judith Raskin): Acis and Galatea - Tenor's Excerpts (Handel), Live Performance 5 March, 1970 [bright & clear acoustic, albeit the voices are somewhat 'distant' since the Hall was half-empty that night!]; NICOLAI GEDDA (assisted by Walter Berry), w.Böhm Cond. Met Opera Orch.: Der Rosenkavalier - 'Di rigori armato in seno' & portion of Levée Scene, Act I - Live Performance, 28 Feb., 1970; NICOLAI GEDDA, w.Molinari-Pradelli Cond. Met Opera Orch.: Roméo - Ah! lève-toi, soleil! - Live Performance 13 April, 1969 [one of Gedda's mere 3 performances of Roméo that season at the Met]. (Canada) Yves St Laurent YSL T-436. (V2516)
“Widely admired for his sensitive musicianship, masterly tonal control and impeccable diction in a spate of European languages, Mr. Gedda possessed a lyric tenor voice that shimmered like silver but was no less warm for that. He was one of the most versatile, and professionally long-lived, tenors of his era, with many dozens of roles to his name in a career that lasted until he was well into his 70s - a good two decades past a classical singer’s customary retirement age. Over a quarter-century, he sang 367 performances with the Metropolitan Opera, from his début in the title role of Gounod’s FAUST in 1957 to his final performance, as Alfredo in Verdi’s LA TRAVIATA, in 1983. But the role for which Mr. Gedda was very likely most famous was Russian: Lensky, the young poet in Tchaikovsky’s EUGENE ONEGIN. Reviewing Mr. Gedda in a concert performance of ONEGIN with the Boston Symphony in 1976, Richard Dyer wrote in The Boston Globe: ‘The tenor’s voicing of Lensky’s aria - an ideal union of responsiveness to word and musical line, a demonstration of vocal and technical mastery and varied and beautiful tone, and an expression of wise and generous human feeling - was a classic demonstration of why, for some of us at least, operatic singing is the highest achievement of human art’.
Mr. Gedda made his United States début in 1957, singing Faust with the Pittsburgh Opera. Reviewing his Met début, in the same role later that year, under the baton of Jean Morel, Howard Taubman wrote in THE NEW YORK TIMES: ‘His carriage is tall and straight and his movement buoyant. It is credible that he will attract Marguerite. Even more impressive than his appearance is the intelligence of his singing’.”
- Margalit Fox, THE NEW YORK TIMES, 10 Feb., 2017JUDITH RASKIN, w.Norman Johnson (Pf.): Songs by Rameau, Gluck, Schubert, Mahler & Laderman [set to Poems by Archibald MacLeish]. (Canada) Yves St Laurent YSL T-445, Live Performance, Grace Rainey Rogers Auditorium, Metropolitan Museum, New York, 9 Oct., 1964. (V2513)
"Judith Raskin, the American lyric soprano famed for her voice and musicianship, was a leading singer with the New York City Opera, and then at the Metropolitan Opera from 1962 to 1972. Miss Raskin was hailed as one of the finest artists of her time. She had a voice that critics constantly referred to as ‘ravishing’. Combined with the beauty of her sound was a high order of musicianship. In addition, Miss Raskin was a beautiful woman and an excellent actress. As a complete artist, she captivated audiences whenever she appeared.
Miss Raskin sang at the Chicago Lyric and other American opera houses and at Glyndebourne. She also appeared frequently with American orchestras, in oratorio and in recital. She made her New York recital début at the Grace Rainey Rogers Auditorium of the Metropolitan Museum of Art in 1964 [above]. Reviewing the concert for THE NEW YORK TIMES, Howard Klein pointed out that not many opera singers could make the transition from the grand gestures of the operatic stage to the intimacy of song, 'Miss Raskin’, Mr. Klein said, ‘brought to her program the finesse expected in this medium - fluent singing, pure tone, accurate scales, good musicianship, clear diction - and lost none of the keen ability to evoke character that has enlivened many of her operatic roles’.”
- Harold C. Schonberg, THE NEW YORK TIMES, 22 Dec., 1984
"On the occasion of Raskin's 1962 Met début as Susanna in NOZZE, Zinka Milanov visited her backstage and informed her that she would never need to learn how to type (another example of Milanov's dark humor)!
- J. R. PetersTWO BLACK CROWS and other comical recordings, incl. Moran and Mack, Barney Bernard, Joe Hayman, Ross Taggart, etc. [This long out-of-print CD is now available in a limited number of sealed copies which have just been discovered from the now defunct Musical Wonder House of Wiscasset, Maine.] Privately produced by The Musical Wonder House of Wiscasset, Maine. Sealed. (PE0281)
“Some call it racist, but I call it corny. The premise of these recordings may be very politically incorrect by today's standards, but if one didn't know Moran and Mack were a blackface minstrel duo, one would have a hard time figuring it out by listening to these recordings. They're funny, in a cornpone sort of way. The content is really pretty innocuous by modern standards.”
- Andy Hoadley
“The Two Black Crows (also called The Black Crows and Moran and Mack) was a blackface comedy act popular in the 1920s and 1930s. The duo appeared in vaudeville, on Broadway, on radio, comedy records, and in film features and shorts. The act was originated by Charles Sellers (1888–1934), who hired actor John Swor as his partner. ‘Swor & Mack’ enjoyed moderate success until Swor left the act. He was replaced by George Moran. The team of Moran and Mack caught on and became major recording stars. ‘The Two Black Crows’ became a weekly radio show in 1928; Moran and Mack also guest-starred on Fred Waring's radio show in 1933.
Although Moran and Mack's gags were mostly corny (and very often non-racial) and the characters were stereotypical (one practical but naive, the other seemingly slow and lazy yet quick with a quip and a certain skewed logic), the relationship depicted plus their laconic delivery made them one of the most successful of comedy teams.
The team was known for two catchphrases. Moran would remind Mack of some unfortunate event, causing Mack to say, ‘Why bring that up?’ Mack frequently would interrupt Moran's description of something with a drawling ‘What causes that?’. The duo of Moran and Mack appeared in vaudeville with W.C. Fields, on Broadway in the Ziegfeld Follies of 1920 and in Earl Carroll's Vanities in the mid-1920s. They also appeared in George White's Scandals and The Greenwich Village Follies. At the height of their popularity, after completing their first talking feature film, Moran had a salary dispute with Mack and sued him in 1930. A judge ruled that Mack legally owned the act and could pay whatever salary he wanted. Moran quit.”
- Wikipedia. . . REPEATED FROM THE RECENT PAST . . .
SIMON BOCCANEGRA, Live Performance, 9 April, 1965, w.Cleva Cond. Met Opera Ensemble; Cornell MacNeil, Zinka Milanov, Giorgio Tozzi, Barry Morell, William Walker, Norman Scott, etc. (Canada) 2-Yves St Laurent T-442. Transfers by Yves St Laurent. [This unique recording of Milanov's final Amelia Grimaldi was made from a most advantageous in-house location in somewhat distant, but in very clear sound with no surrounding audience noise.] (OP3204)
“A pure baritone with power from low to high notes, Cornell MacNeil was considered the equal of Leonard Warren and Robert Merrill, the other stellar American Verdi baritones during the second half of the 20th century. From 1959 to 1987, he sang 26 roles in more than 600 appearances at the Metropolitan Opera alone. But he reached his peak in his Verdi performances. ‘The larger and more complex the part, the better he was’, James Levine, the Met’s longtime conductor, said of Mr. MacNeil’s Verdi roles in a 2007 interview with Opera News. ‘Boccanegra, Rigoletto, Macbeth, Nabucco, Falstaff, Iago — a lot of these parts could be said to be the most challenging and varied….He sang lots of Amonasros and Scarpias marvelously well, but those more complex ones were where he was at his best’.”
- Jonathan Kandell, THE NEW YORK TIMES, 17 July, 2011
“Milanov came like a bolt out of heaven - the voice and the young woman, both so vibrant and exciting. We knew something great had come into [the Met’s] Italian wing. What was not obvious at the beginning was that she would have such a staying power, for she gave so much in her singing.…I was present years later on her great anniversaries and she sang at mine [the fiftieth anniversary of [my] Met début, 1963]. She was incomparable. She was like a vocal sorceress singing the OTELLO arias that night. Such a roar went up from the public, I can never forget it.”
- Giovanni MartinelliGRAND FORMAT MUSICAL BOXES play Operatic Overtures & Grand Arias. incl. Rossini, Bellini, Auber, Hérold, Gounod, Balfe, von Flotow, Meyerbeer, Verdi, Mozart & von Weber. [Positively enchanting! This long out-of-print CD is now available in a limited number of sealed copies which have just been discovered from the now defunct Musical Wonder House of Wiscasset, Maine. On the internet the very occasional copy of this rarity is offered for c.$300!] Privately produced by The Musical Wonder House of Wiscasset, Maine. Sealed. (W0047)
"GRAND FORMAT MUSICAL BOXES plays Opera Overtures and Grand Arias. This was the first Musical Wonder House recording in 1985 to feature the fine Swiss Grand Format Musical Boxes. These exquisite boxes feature large diameter cylinders with stunningly complicated arrangements. The delicacy and sophistication of these boxes presents a formidable challenge to capturing their true sound on tape. The recording was begun in late 1985, after several of the pieces had received the attention of Michel Everett, the talented restorer who joined the Museum staff in 1982. This is the only recording ever produced anywhere to feature solely the ‘Swiss Grand Format Musical Boxes’. If you love Overtures and Grand Arias from the pens of Rossini, Verdi, von Flotow, Meyerbeer, Auber and von Weber, you will be overwhelmed by the beauty of the sound of these marvelous mechanical masterpieces. This will undoubtedly become one of your most treasured recordings and you will thrill to the unique and impressive sounds whenever you listen!"
- The Musical Wonder House of Wiscasset, Maine
“The Musical Wonder House, a museum of automated mechanical musical instruments, featured a vast collection of music boxes and was more than a museum. It was a business that restored, bought, and sold antique music boxes, player pianos, and talking machines. The gift shop offered recordings of several of the melodies played on the tour [the above included].”
- Ellen Albanese, BOSTON GLOBE, 24 Oct., 2004LAKMÉ (in Russian), recorded 1937, w. Orlov Cond. All-Union Radio Ensemble; Nadezhda Kazantseva, Sergei Lemeshev, Alexei Korolev, Anna Malyuta, etc. [Aside from Lemeshev's enchanting performance, Kazantseva's beautiful singing offers a remarkably accurate 'Bell Song'!] (Russia) 2-Aquarius AQVR 401. (OP3209)
“Nadezhda Kazantseva made her début at age 17 and was engaged by the Bolshoi Opera in 1932. She became an instant success in lyric and coloratura soprano rôles, such as Lakmé, Gilda & Violetta. She was named a People’s Artist of the USSR in 1950.”
- VRCS Program Notes, 1992 LP issue
“In 1931, Lemeshev became a leading tenor of the Bolshoi, where he sang for the next 34 years, winning great acclaim. His audience grew, along with his fame, and he soon gained a veritable army of fans, called ‘lemeshevists’. His vocal and artistic qualities, evident to every listener, are beauty of timbre, musicality, effortlessness of vocal production, expressiveness, and very clear diction - qualities perhaps most commonly found in bel canto singers. An interesting comment on Lemeshev’s singing was made by the Bolshoi tenor Anatoly Orfenov: ‘He developed a mixed voice of incomparable beauty, which made it possible for him to take the highest notes with such beautiful richness that even specialists could not explain how it was done technically….His high C’s … sounded virile and full…His manner of lowering his larynx a bit on high notes allowed him to perform the parts which we ordinary lyric tenors did not sing’.”
- Natalie, "younglemeshevist"MARIA JERITZA: O mer, ouvre-toi, Linceul du monde (Delibes); Träume (Wagner); Arias from Thaïs, Jeanne d'Arc, Le Cid, Hérodiade, Fedora, La Gioconda, Cavalleria, Tosca, Der Freischütz, Lohengrin, Tristan, Das Helmchen am Herd (Goldmark), Die Tote Stadt (Korngold), Der Fliegende Holländer & Die Walküre. (France) Malibran AMR 133. (V2518)
“Maria Jeritza was born in Czechoslovakia, trained in the Viennese style of operatic singing, and became a superstar of her era both at the Vienna State Opera and the Metropolitan. She was particularly admired for the force of her acting (for example singing ‘Vissi d’arte’ while prone on her stomach) and her glamorous appearance.
Interestingly, most of her records don’t show the temperament or force of personality that so many who saw her describe vividly. Her singing as heard without the visual element is rather plain and somewhat under-inflected. It is, however, singing definitely worth knowing, and is treasurable for purely vocal virtues. The tone is steady throughout a wide range, the voice has a shining glow that is singularly lovely in the middle and upper-middle registers. The tone is pure, the registers are firmly bound together, and her sense of shaping phrases is natural and unforced. In addition, even with the limits of early electrical recordings one senses the sheer power of the voice (she sang the title role in the American premiere of TURANDOT at the Met in 1926).
Critics referred to her willingness to give up beauty of sound for dramatic effect. That must have been true in live performances (some variant of it has been said by too many to be untrue), but that is completely different from what we hear on the records. Even Tosca’s ‘Vissi d’arte’ is somewhat under-inflected here. But it is sung with extraordinary tonal beauty, and an innate feel for how the music should go. It is not surprising to learn that Puccini adored her Tosca (it is reported that when she slipped at a rehearsal and out of necessity sang the aria on her stomach, Puccini ran up and told her she must always do that).
Highlights of this disc include a stunningly lovely recording of Marietta’s song from DIE TOTE STADT, almost as beautiful as Lotte Lehmann’s, the two FEDORA scenes, the rarely heard and exquisite Goldmark arias, and breathtaking performances of all the Massenet scenes included. To find a soprano equally at home as TURANDOT and THAÏS is a rare occasion. Throughout this disc we hear a dramatic soprano voice capable of both power and delicate beauty, never with any hardening of the tone. To find both the amplitude and focus of tone capable of sounding at home in Wagner and Delibes is to find something rare and cherishable….There is some very beautiful singing to be had here, and this disc can be recommended warmly.”
- Henry Fogel, FANFAREETTORE BASTIANINI, w.Mitropoulos, Previtali, Gavazzeni, Giulini, Tieri & Schüchter Cond.: Arias from Don Carlos, Otello, Ernani, Il Trovatore, La Traviata, Ballo, Tosca, Barbiere, La Gioconda & Andrea Chénier. (France) Malibran AMR 132. (V2517)
“While Ettore Bastianini's career was quite short, it was also distinguished. He was regarded as having one of the finest Verdi and verismo voices of his day, though his vocal gifts were not always matched by an equal musicianship. In the Fall of 1954, Bastianini joined the roster of the Metropolitan Opera where he sang regularly through May 1957. He returned to the Met again in January 1965….His 87th and final performance at the Met was as Rodrigo on 11 December, 1965. It was also coincidentally the last performance of his career.”
- Anne Feeney, allmusic.comCARMEN (in Russian), recorded 1937, w. Melik-Pashaev Cond. Bolshoi Opera Ensemble; Vera Davydova, Nikandr Khanaev, Natalia Shpiller, Vladimir Politkovsky, etc. (Russia) 2-Aquarius AQVR 267. (OP3207)
“Although short on French elegance, there is some beautiful and vivid singing and exquisite conducting to be heard here.
Vera Davydova was in her prime in 1937. She had a rich, darkly colored mezzo-soprano and was a leading singer at the Bolshoi, with a repertoire encompassing Amneris, Marfa in KHOVANSHCHINA, and similar standard fare for the Bolshoi at that time. Her Carmen is not exactly flirtations or coquettish, but it is convincingly feminine and sensual.
Nikandr Khanaev…is a wonderful José….he focused more on the heavier repertoire. The voice has plenty of heft and weight, but Khanaev is also able to sing softly and with a lovely sense of line. His José is a forceful personality, very powerful at the end of the second act and convincingly unhinged in the dramatic final scene.
More than the individual performances, however, it is the overall sense of ensemble and theatrical credibility here that rewards the listener who can listen past the language barrier. Some of the credit for this goes to very strong casting in all the smaller roles but even more to the conducting of Alexander Melik-Pashaev. His work is well known to collectors, and he delivers a performance well balanced between lyricism and drama. The pacing is natural, and one feels that the entire cast is interacting with one another rather than singing to the microphone. This is particularly true in the second act exchanges between Don José and Carmen, as well as in their intense final duet.
The recorded sound in the present transfer is surprisingly full, lacking the harshness that we sometimes associate with Soviet-era recordings. The accompanying booklet in Russian and English has a bit of history about the recording and brief bios of each singer.”
- Henry Fogel, FANFARETHE COACHMEN AT THE RELAY STATION (Fomin) , a Singspiel, recorded 1952, w. Abdulov Cond. Radio Data Folk Ensemble; Trofim Antonenko, Anatoly Orfenov, Vladimir Zahkarov, Anna Matyushina, etc.; ANATOLY ORFENOV & TROFOM ANTONENKO: Russian Folk Songs - recorded 1938-56. (Russia) Aquarius AQVR 402. (OP3208)
VITALY KILCHEVSKY: Songs by Cui, Rimsky-Korsakov, Tschaikowsky, Glazunov, Varlamov, Dargomyzksky & Ippolitov-Ivanov; Arias from Demon, May Night, Eugen Onégin & Dobryna Nikitich; w. Elizaveta Shumskaya: Duets from Faust & Iolanta; w. Andrei Ivanov: Duets by Ippolitov-Ivanov & Gretchaninov. (Russia) Aquarius AQVR 399, recorded 1947-53. (V2515)
“According to Ivan Petrov’s memoirs, Kilchevsky was an artistic singer, possessed of a lyric tenor voice which was particularly strong in the upper register. His recorded heritage is also represented by operatic arias, duets, songs and romances, as well as recordings of recitals - V2515
- Z. D. AkronFERNANDO de LUCIA: The Unknown Fernando de Lucia - Rarely heard Phonotype Recordings. (England) 2-The Record Collector TRC 44, recorded 1917-21. The Elaborate Booklet offers full discographical information & extensive biographical notes by Michael Henstock. Transfers by Norman White. (V2510)
“If the art of singing, and the history of that art, is of importance to you, this set is essential. It is superbly produced, with scholarly notes and excellent transfers. Careful attention has been paid to pitching, always an issue with De Lucia, and the notes explain and document what is known about this subject. After a complete hearing, in a single session for both discs, I kept going back for more. This is one of the most important vocal releases of the year, and frankly even the past two or three years. You will hear singing of rare distinction and individuality, singing that you will never be able to just keep in the background. Here is surely a candidate for my year-end ‘Want List’.”
- Henry Fogel, FANFAREADOLF WALLNÖFER: Songs by Rubinstein, Schumann, Mendelssohn & Wallnöfer; Arias from Le Prophète, Pagliacci, Meistersinger, Lohengrin & Siegfried - recorded 1905-33; Adolf Mennerich Cond. Lorenz Fehenberger & Anneliese Schosshauer in Wallnöfer compositions; 1944 Interview with Wallnöfer; HERMANN WINKELMANN Liebesglück (Sucher); Arias from Le Prophète, Il Trovatore, Dalibor, Die Meistersinger, Lohengrin & Tannhäuser - recorded 1900-06. (Germany) 2-Truesound Transfers 4004. Transfers by Christian Zwarg. (V2511)
“During the Mahler era, Hermann Winkelmann sang 440 performances of 22 roles, the most frequent being Tannhäuser, which he sang 77 times.”
- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA
“Franz Wallnöfer performed…at 135 RING performances and over 50 other Wagner concerts in several European cities, also at the Metropolitan Opera in New York. His repertoire included the roles of Tristan, Siegfried and Tannhäuser.”
- WikipediaNICOLAI GEDDA, w.John Wustman (Pf.): Songs by Glinka, Tschaikowsky, Mussorgsky, Peterson-Berger, Sibelius, Alfvén, Grieg & Sjöberg ['Tonerna']. [Gedda's rendition of 'Tonerna' alone is worth the price of the entire recital, ending with a heavenly diminuendo.] (Canada) Yves St Laurent YSL T-435, Live Performance, Philharmonic Hall, New York, 10 April, 1968. (V2514)
JUDITH RASKIN, w.George Schick (Pf.): Songs by Mozart, Schubert, Mendelssohn, Strauss, Wolf, Berg & Mahler; NOZZE - Deh vieni, non tardar (all encores preceded by Raskin's charming spoken introductions). (Canada) Yves St Laurent YSL T-444, Live Performance, Alice Tully Hall, New York, 19 Dec., 1971. (V2512)
LÉOPOLD SIMONEAU, w.Janine Lachance (Pf.): Songs by Haydn, Mozart, Schubert, Dela & Fauré (the latter's La Bonne Chanson). (Canada) St Laurent Studio YSL 33-441, Live Performances, 1965 & 1967, Montréal, from Private Collection of Denis Alarie. [Another jewel, this time of two recitals, beautifully recorded!] Transfers by Yves St Laurent. (V2508)
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 Mercadante, Marais,
Coccia, Vivaldi, Cherubini, Spontini, Ricci, Vaccaj,
Fioravanti, Paisiello, Scarlatti, de Majo, Generali,
Cavalli, Rameau, Lully, Pergolesi, Cimarosa,
Anfossi, Pietri, Musinelli, Rossini, Charpentier,
Gluck, Handel, 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 . . .
more are added each week . . .
our 50% Discount Sale continues,
with numerous additions . . .
------------------ ANNOUNCEMENT -----------------
Norbeck, Peters & Ford's Annual 78rpm 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 #148 Online Catalog
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Auction #148 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 Melodiya, Vista Vera,
Archipel, Myto, Walhall, Gebhardt &
Living Stage titles on sale,
simply visit our
sale section of our website . . .
Once again . . .
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PE0282. THE BOY (Monckton & Talbot), recorded 1917, w.Howard Talbot Cond. Adelphi Theatre Ensemble; William H. Berry, Peter Gawthorne & Nellie Taylor. Opened at London's Adelphi Theatre, 14 Sept., 1917; additional material by the Band of His Majesty's Coldstream Guards. (England) Palaeophonics 141, w.Elaborate ‘The Play’ 20pp. Brochure replete with numerous photos of the Adelphi Theatre 1917 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities.
V2516. NICOLAI GEDDA, w.Frederic Waldman Cond. Musica Aeterna Orch.: Psalmus Hungaricus (Kodály); NICOLAI GEDDA (only partially with Judith Raskin): Acis and Galatea - Tenor's Excerpts (Handel), Live Performance 5 March, 1970 [bright & clear acoustic, albeit the voices are somewhat 'distant' since the Hall was half-empty that night!]; NICOLAI GEDDA (assisted by Walter Berry), w.Böhm Cond. Met Opera Orch.: Der Rosenkavalier - 'Di rigori armato in seno' & portion of Levée Scene, Act I - Live Performance, 28 Feb., 1970; NICOLAI GEDDA, w.Molinari-Pradelli Cond. Met Opera Orch.: Roméo - Ah! lève-toi, soleil! - Live Performance 13 April, 1969 [one of Gedda's mere 3 performances of Roméo that season at the Met]. (Canada) Yves St Laurent YSL T-436.
V2513. JUDITH RASKIN, w.Norman Johnson (Pf.): Songs by Rameau, Gluck, Schubert, Mahler & Laderman [set to Poems by Archibald MacLeish]. (Canada) Yves St Laurent YSL T-445, Live Performance, Grace Rainey Rogers Auditorium, Metropolitan Museum, New York, 9 Oct., 1964.
W0048. BELOVED SONGS OF YESTERYEAR played on the A. B. Chase Grand Piano, the 'Steinway of the Midwest', built in 1912 in Norwalk, Ohio, and one of only a few surviving examples of this magnificent type of player piano; expertly restored by Tim Westman of New Hampshire. [A delightful nostalgic voyage down Memory Lane! This long out-of-print CD is now available in a limited number of sealed copies which have just been discovered from the now defunct Musical Wonder House of Wiscasset, Maine.] Privately produced by The Musical Wonder House of Wiscasset, Maine. Sealed.
Regular price: $19.90
Sale price: $9.95
Grand Format Musical Boxes - Operatic Overtures & Grand Arias (Musical Wonder House of Wiscasset, Maine)
Klaus Tennstedt (Bruckner 8th, Boston) (St Laurent Studio YSL T-332)
Marian Anderson - Copenhagen & Lincoln Memorial Recitals (JSP 683)
Meistersinger (Toscanini; Noort, Nissen, Alsen, Reining, Thorborg, Wiedemann) (5-Immortal Performances IPCD 1069)
Vocal Record Collectors' Society - 2016 Issue (VRCS-2016)
Norma (Bonynge; Joan Sutherland, Marilyn Horne, John Alexander, Richard Cross) (3-Immortal Performances IPCD 1055)
Verdi Requiem - Toscanini; Milanov, Bjorling, Castagna (2-Immortal Performances IPCD 1073)
Jussi Bjorling; Bertil Bokstedt - Copenhagen Recital (JSP 682)
Le Trille un Art Perdu (The Lost Art of the Trill) (Malibran AMR 123)
Aida / Carmen (Mehta / Pretre; Vickers, Zeani, Bumbry, Merrill) (4-Immortal Performances IPCD 1056)
Artur Rodzinski, Vol. XXXVI; Arthur Rubinstein (St Laurent Studio YSL 78-404)
Lotte Lehmann: The Complete Acoustic Recordings, 1914-26 (4-Marston 54006)
Arturo Toscanini; Rethberg, Schorr; Horowitz (2-Immortal Performances IPCD 1068)
Margarethe Siems; Aranyi, Forstel, etc. (2-Truesound Transfers 4001)
The 1902 London 'Reds' (2-Truesound Transfers 4002)
Ivan Kozlovsky (Aquarius AQVR 395)
The Bing Girls are There (Nat D. Ayer) (Palaeophonics 136)
Nineteenth Century Italian Tenors (3-Marston 53018)
Eugen Onegin (Khaikin; Alekseyev, Kozlovsky, Kashevarova, Preobrazhenskaya, Konstantinov) (2-Aquarius AQVR 398)
The Shop Girl (Alfred Lester, Evelyn Laye, Bates) (Palaeophonics 132)
Bric-a-Brac (Millar, Jeffries, Gerard, Johnson) (Palaeophonics 123)
Marian Anderson; Rupp; Mitropoulos (St Laurent Studio YSL T-384)
Andrea Chenier (Cleva; Richard Tucker, Zinka Milanov, Anselmo Colzani) (2-Yves St Laurent T-434)
Verdi Requiem - Toscanini; Milanov, Roswaenge, Thorborg (2-Immortal Performances IPCD 1058)
As You Were (Alice Delysia) (Palaeophonics 139)
Zara Dolukhanova; Nina Svetlanova (Yves St Laurent YSL T-421)
Karel Ancerl - Ma Vlast (St Laurent Studio YSL T-340)
Ignacy Jan Paderewski - Complete Victor Recordings (5-APR 7505)
Erich Leinsdorf, Vol. V; Gina Bachauer; Beverly Sills (2-St Laurent Studio YSL T-412)
Leopold Stokowski; Sutherland, Corelli, Starr (Testament SBT 1513)
William Kapell - Broadcasts, Concert Performances 3-Marston 53021
Toscanini; Horowitz (Immortal Performances IPCD 1054)
Vocal Record Collectors' Society - 2015 Issue (VRCS-2015)
Bruno Maderna, Vol. III (St Laurent Studio YSL T-373)
George Szell, Vol. IV (St Laurent Studio YSL T-405)
Samson et Dalila (Fourestier; Raoul Jobin, Denise Scharley, Rene Bianco, Henri Mrdus, Froumenty) (2-Malibran 789)
Vocal Record Collectors' Society - 2009 Issue (2-VRCS 2009)
The Unknown Fernando De Lucia - Phonotype Recordings, 1917-21 (The Record Collector TRC 44)
Samson et Dalila (Paray; Jean Madeira, Albert da Costa & Chester Ludgin) (2-St Laurent Studio YSL T-403)
K.K. Hofoper Wien, 1904 Recordings - Hesch, Weidemann, Kittel, Elizza, Pacal, Slezak, etc. (2-Truesound Transfers 4003)
Melanie Kurt; Matzenauer, Metzger, Urlus, Jorn, Kraus, Feinhals, Knupfer & Schorr (2-Truesound Transfers 4005)
Adolf Wallnofer & Hermann Winkelmann (2-Truesound Transfers 4004)
Charles Munch, Vol.XII; Valletti, Kopleff, Souzay (2-St Laurent Studio YSL T-336)
Nicolai Gedda, Vol. I ; John Wustman (Pf.) (Yves St Laurent YSL T-435)
Bruno Maderna, Vol. II; Boston S .O. (St Laurent Studio YSL T-360)
Meistersinger (Bohnen, Lotte Lehmann, Oehmann, Bettendorf, List) (2-Gebhardt 0035)
The Artistry of Virginia Zeani (9-Musique Aria 7648401)
Der Rosenkavalier (Bodanzky; Stevens, Lehmann, List, Schorr) (3-Immortal Performances IPCD 1023)
Otello (Schippers; Dimiter Uzunov, Zinka Milanov, Cornell MacNeil, Joann Grillo) (2-Yves St Laurent HTM 65-001)
Arturo Toscanini - First NBC Broadcast (2-Immortal Performances IPCD 1072)
Early 20th Century Singers (Nicholas E. Limansky) (YBK Publishers)