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

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

Yves St Laurent offers

RENATA SCOTTO's 1970 Hunter College Recital

and her Met 1977 MADAMA BUTTERFLY

with GIACOMO ARAGALL . . .

SCOTTO's Autographed Autobiography

&

the 1969 LUCIA from Tokyo. . .

NOW OFFERING MORE THAN

2200 TITLES on our 50% SALE

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We cherish thrilling memories of Live Performances by RENATA SCOTTO by offering her 1970 Hunter College recital and her 1977 Met MADAMA BUTTERFLY, whose 84th birthday we celebrate on the 24th of February!

  • RENATA SCOTTO, w.John Wustman (Pf.): Songs by Carissimi, Cimarosa, Bellini, Rossini, Verdi & Tosti; Arias from La Vestale, Don Giovanni, Nozze, I Vespri Siciliani & I Lombardi - Live Performance, 1 Nov., 1970, Hunter College Playhouse, New York. [Recorded in the front row, independent of extraneous audience noise, this recording captures the spontaneity of the recital with no more than the occasional applause at appropriate moments!] (Canada) St Laurent Studio YSL T-665. Transfers by Yves St Laurent. (V2539)

    “Was Renata Scotto the last of the great divas? We have had some marvelous singers since she ended her career in 2002 and there has been no one like her. In a line that included, in my lifetime, Callas, Milanov, Tebaldi, Price, Caballé, and a few others I’m sure I’m forgetting, (all different from each other, obviously), Scotto was the last whom one would put on that list. She sang always with a purpose, with meaning, and with a musical and vocal presence (and, onstage, a physical presence) that captivated one.

    Scotto’s voice was not the plush instrument to match a Tebaldi or Caballé, nor was it the big heavy dramatic soprano of a Milanov. The most similar artist I can think of would be is the Turkish soprano Leyla Gencer, who made almost no commercial recordings but whose work is preserved on legions of underground recordings. But there are more differences than similarities between Gencer and Scotto. Gencer was a powerful singing actress, and could float glorious pianissimi, but she was not an artist of great subtlety. Scotto would throw herself into the big moments of a role with complete abandon, but she would also have thought through every word and note of the part, and figured out the way to make its meaning clear, and to make certain that it was heard in the context of its place in the whole work.

    Such an artist is likely to be successful in recitals of the song repertoire, and Scotto was that (in the later years of her career she even sang concert works like Berlioz’s LES NUITS D’ÉTÉ). St. Laurent Studio (available through Norbeck, Peters & Ford - www.norpete.com), which has been making sensationally good transfers of a lot of live material, has here preserved a fabulous recital from 1970 in New York’s Hunter College Playhouse. John Wustman was her regular accompanist, and he was one of the finest collaborative pianists of his generation.

    Not everything is a complete success here, but the overwhelming majority is either beautiful, powerful, or both. I know singers, particularly in that generation, who thought it was required to start a recital with ‘old’ music, and so we have the obligatory Carissimi and Cimarosa numbers. I don’t find her convincing in the Cimarosa, and the voice is a bit shrill in the Carissimi. But from that point on, there is success after success. One wouldn’t associate Scotto with Mozart, but in fact her ‘Mi tradi’ is more evenly sung and dramatically convincing than what I’ve heard from most of the Elviras I encountered in DON GIOVANNI performances or recordings. And The Countess’ ‘Dove sono’ is not only sung exquisitely, but through dynamic shading and tiny tugs at the rhythm Scotto makes clear the Countess’ predicament very well. As the Countess swings between reflections of past happiness and memories of past hurts, and uncertainty about the present and future, Scotto brings all of this directly to the listener. She has obviously thought this aria through very carefully, but what comes across is not studied nor artificial in any way.

    There is much else to treasure here. Throughout you will encounter moments that will thrill with their hushed beauty set beside moments of overpowering dramatic thrust. You will hear ringing and secure high notes that are not usually found in the arsenal of a singer known for her Butterfly.

    The final encore of the evening, an exquisite rendering of Tosti’s ’A vucchella’, is the perfect ending to a memorable recital. St. Laurent Studio does not publish texts, but collectors will have most of this material and/or be able to find it on line. I actually wish they would offer an option to get a booklet with texts, perhaps online, and at a charge, but to any listener who loves and knows great singing, this should not and will not hold you back.

    As I am writing this review, Renata Scotto is about to celebrate her 84th birthday. All I can do is wish her many happy returns and thank her for the joy and pleasures she has given so many over the years.”


  • - Henry Fogel, FANFARE




  • MADAMA BUTERFLY, Live Performance, 17 Dec., 1977, w.Patane Cond. Met Opera Ensemble; Renata Scotto, Giacomo Aragall, Ryan Edwards, James Atherton, Richard Best, Russell Christopher, Alma Jean Smith, etc. [Luxury casting in that we have Giacomo Aragall as Pinkerton in one of his infrequent Met performances.] (Canada) 2-St Laurent Studio stereo YSL T-658. Transfers by Yves St Laurent. (OP3242)

    “Were I to recommend a single studio-made commercial recording of MADAMA BUTTERFLY, it would be the 1966 EMI effort with Renata Scotto and Carlo Bergonzi, lovingly conducted by John Barbirolli. In 1978 Scotto made a second recording with Plácido Domingo and led by Lorin Maazel that is curiously studio-bound, in part because of Maazel’s micro-managing from the podium. A reasonable person might ask what the value is of this Met broadcast, given the many beauties of that EMI recording. Another reasonable person might respond by saying that Renata Scotto was a true stage animal, and the presence of an audience and the momentum of an actual theatrical performance inspired her to levels of intensity that are simply not present on the studio recording, as good as it is. This performance, excellently transferred by St. Laurent Studio, is as gripping and convincing as any performance of BUTTERFLY I have ever heard. This label is available at Norbeck, Peters & Ford (Norpete.com).

    There are so many details of Scotto's portrayal here that it would seemingly take an entire volume of FANFARE to catalogue them all. It you want to find a single moment that demonstrates vividly the greatness of this performance, go to Cio-Cio-San’s horror-filled outcry to Sharpless ‘Ah! M’ha scordata?’ (‘Ah! Has he forgotten me?’), a great master-stroke by Puccini, made gut-wrenching by Scotto, who practically chokes on the ‘Ah’ before exploding on ‘scordata’. When Pinkerton’s ship returns, and Butterfly experiences a brief mood of triumph and joy, Scotto's depiction of the shift from despair to ecstasy as she recognizes the ship in the harbor is filled with specifics of tone color and inflection that make the moment intensely real. At the end of the scene, her extended high A on ‘Ei torna e m’ama’ (‘He has come back and he loves me’) comes from deep within her. You hear this, and you feel that Butterfly will explode with happiness. It is singing of uncommon greatness, a level of emotional intensity we rarely hear from even the most special singers. Then the hushed, intimate tone Cio-Cio-San uses to ask Suzuki to dress her as she was on the day she met Pinkerton (‘obi che vestii’) is yet another moment that will long stay in the memory. Scotto is also in wonderful voice here. The high D-flat at the end of her entrance is a bit wavery, but it is the only moment of less than glorious singing. Her soft singing in the little lullaby that opens the third act (‘Dormi, amor mio’) will take your breath away. Throughout the long conversation with Sharpless in the second act, Scotto does not casually throw away one line. Not for one measure is she an opera singer portraying a character. She is Cio-Cio-San, and we feel a woman’s faith and pain deeply. Giacomo Aragall is a more than adequate Pinkerton. The Spanish tenor had a lovely timbre and an innate feeling for the shape of music like this. He doesn’t possess Bergonzi’s uniquely personal way of phrasing, but Aragall is a good partner for Scotto, better behaved here than he frequently was. Shirley Love is also very good as Suzuki. She was a mainstay of the Met for twenty seasons, possessing a voice of real warmth and a good sense of characterization. Suzuki here seems like a real person and a humble support for the fragile Butterfly. Ryan Edwards, like Love, was a stalwart at the Met without achieving star status, and his Sharpless is strongly drawn and well sung. His exchanges with Butterfly, perhaps inspired by the specificity of inflection of which Scotto was such a master, come to life very believably.

    The remainder of the cast is fine, and a lot of credit should go to conductor Giuseppe Patanè. His death at 57 from a heart attack in 1989 (suffered while conducting IL BARBIERE DI SIVIGLIA in Munich) robbed us of one of the few conductors who really understood the Puccini idiom and communicated it to singers and audiences.

    Anyone to whom MADAMA BUTTERFLY is an important work should know this performance. There is about it a dramatic truth that resonates with stunning impact.”


  • - Henry Fogel, FANFARE




  • LUCIA DI LAMMERMOOR, Live Performance, 3 Sept., 1967, Tokyo, w.Bartoletti Cond. NHK Ensemble; Renata Scotto, Carlo Bergonzi, Mario Zanasi, etc. (Slovenia) 2-Myto 065.337. Long out-of-print! (OP1333)



  • RENATA SCOTTO Scotto, More than a Diva . [Autobiography]. Garden City, Doubleday, 1984. 245pp. Index; Discography; Photos; DJ. Title-Page Autographed by Scotto. (B0149)

    "As a supreme Verdi interpreter, bel canto specialist, and prima donna assoluta of the verismo repertoire, Renata Scotto is one of the twentieth century's foremost singers. As her candid memoirs prove, she also is an independent woman who has challenged tradition and has earned the freedom to be herself - more than a diva. She is the consummate artist who makes audiences understand that every word counts. Renata Scotto's reminiscences provide rich reading about her life and her art. Lavish illustrations, an annotated discography, a bibliography, and a complete listing of her roles make this volume an invaluable record of a brilliant career."


  • - Placido Domingo






    . . . REPEATED FROM THE RECENT PAST . . .






  • DIE WALKURE, Live Performance, 25 July, 1976, w.Boulez Cond. Bayreuth Festival Ensemble; Donald McIntyre, Peter Hofmann, Gwyneth Jones, Hannelore Bode, Matti Salminen, Eva Randova, etc. [The second day of the First Cycle – a far superior version than the later performance already available on Video, these CDs [not DVDs] are in breathtakingly brilliant stereo sound!] (Canada) 3-St Laurent Studio YSL T-645. Transfers by Yves St Laurent. (OP3241)



  • DAS RHEINGOLD, Live Performance, 24 July, 1976, w.Boulez Cond. Bayreuth Festival Ensemble; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen, Eva Randova, etc. [The first day of the first cycle – a far superior version than the one already available on Video, in breathtakingly brilliant stereo sound!] (Canada) 2-St Laurent Studio YSL T-590. Transfers by Yves St Laurent. (OP3240)



  • DAS RHEINGOLD, Live Performance, 24 July, 1976, w.Boulez Cond. Bayreuth Festival Ensemble; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen, Eva Randova, etc. [The first day of the first cycle – a far superior version than the one already available on Video, in breathtakingly brilliant stereo sound!] (Canada) 2-St Laurent Studio YSL T-590. Transfers by Yves St Laurent. (OP3240)

    “Boulez's ultimate achievement as a recording artist is the video of the RING, filmed in Bayreuth, in which his lithe conducting provides the perfect counterweight to Chéreau’s convulsive directorial vision to become available on home video on VHS tape and on LaserDisc, as well as being released on Philips LPs and compact discs. [The now-offered performance is a CD presentation of the earlier performance.]"


  • - Alex Ross, THE NEW YORKER, 25 Jan., 2016




  • LA FORZA DEL DESTINO, Live Performance, 9 March, 1968, w.Molinari-Pradelli Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Robert Merrill, Jerome Hines, Louise Pearl, Fernando Corena, Louis Sgarro, Carlotta Ordassy, Robert Schmorr & Robert Goodloe. [This is the remarkable performance which confounded one of Price's confreres who initially couldn't believe it was she singing!] (Canada) 2-St Laurent Studio YSL T-652. Transfers by Yves St Laurent. (OP3236)

    “That this was reasonably standard casting for the big Verdi operas at the Met in the 1960s is why some of us old fogies refer to the ‘good old days’.…When we get to the singing…we are in very special territory. For many of us the ideal FORZA Leonora was Zinka Milanov (although by 1968 she was done). What Milanov had, in addition to ethereal floated pianissimi, was a solid column of sound from bottom to top, emanating from the same throat and diaphragm. Her rich sonority brought a kind of grandeur to the score that it really needs. Leontyne Price lacked that quality [but] there is so much that is glorious in Price’s singing that it is curmudgeonly to complain. The top glows with a bright beauty and sense of freedom that frankly was much more reliable and unrestricted than Milanov’s. Price soars through the long lines of ‘Madre, pietosa Vergine’ and ‘La vergine degli angeli’ with an ease and splendor that will make you gasp. The quick vibrato that was part of her natural sound is just right for the music, and she is dramatically involved as well, not just singing notes but inflecting them with meaning and interacting with the other characters….

    For some, Franco Corelli…was one of the most thrilling tenor voices of the central decades of the 20th century, and his innate feeling for the ebb and flow of the Verdi line was superb. He is on good behavior here, displaying little of the explosive exaggerations that could mar his worst work - what pours out of his throat is glorious. ‘O tu che in seno agli angeli’ is truly great singing, and the long ovation it arouses is fully justified. Corelli displays real sensitivity to dynamic shadings, using not just a ringing forte and hushed pianissimo but every dynamic in between. Robert Merrill, who had one of the great Verdi baritone voices in that era, could be a stolid singer. Don Carlo was always, however, one of his better roles, and sparks fly in his big scenes with Corelli. His singing of ‘Urna fatale’ is ringing and heroic, even if it doesn’t have quite the remarkable uniqueness found in Corelli’s performance.…The occasion was also touched with greatness in the two bass roles. Jerome Hines is an extraordinarily solid-sounding Padre Guardiano, anchoring ‘Il santo nome di Dio’ with firmness and generosity of phrasing. Fernando Corena is a natural fit for Fra Melitone, relishing every note of the part….any serious opera lover would be well advised to add it to their collection for its many moments of true greatness. Corelli’s performance, for one, should not be missed….there are many aspects of the performance under review here that are unique and treasurable, and I would not be without it. As usual, St. Laurent Studio’s transfer is superb. This performance was previously issued by Premiere Opera and Myto, but the quality is notably better here. There are no notes, only track listings and a complete cast roster. The set is available through Norbeck, Peters & Ford (www.norpete.com).”


  • - Henry Fogel, FANFARE




  • FALSTAFF, Live Performance, 8 March, 1986, w.Levine Cond. Met Opera Ensemble; Giuseppe Taddei, Carol Neblett, Fiorenza Cossotto, Judith Blegen, Allan Monk, Douglas Ahlstedt, Italo Tajo, etc. (Canada) 2-St Laurent Studio YSL T-653. Transfers by Yves St Laurent. (OP3237)

    “Verdi’s valedictory masterpiece is…arguably the greatest ensemble opera ever written; around the sun of its protagonist, the other characters orbit in a vocal constellation, with only Ford and Dame Quickly noticeably standing out on occasion as individuals. Consequently, apart from Falstaff, the opera requires sound, healthy voices that blend well rather than a great deal of individual interpretive finesse to carry the work. Here, all those elements are fully present. Making his belated Metropolitan Opera debut at age 69 (four years older than Magda Olivero when she appeared there as Tosca in 1975), Giuseppe Taddei is in remarkably fine form. His top notes are somewhat unsteady, though they are generally not sustained and so that is not a major issue, and his voice is not as plush as in his prime, but apart from that he is a pleasure to listen to, and of course he is also an absolutely masterful interpreter. Allan Monk provides a first-rate Ford; Fiorenza Cossotto is a colorful Dame Quickly, though she pushes her vibrato a bit hard to get a comically exaggerated effect in her salutations of ‘Reverenza!’; Carol Neblett (sadly, recently deceased) and Brenda Boozer offer a well-matched pair of Windsor wives, while Judith Blegen and Douglas Ahlstedt give equal pleasure as sweet-voiced, ardent young lovers. (It’s a bonus to have such a vocally attractive Fenton, a part that often seems to be cast as an afterthought.) Among the comprimario singers, veterans Charles Anthony, Anthony Laciura, and Italo Tajo (the latter as always a real treat) warrant special notice as Dr. Cajus, Bardolph, and Pistola, respectively. My only very slight caveat comes with James Levine’s conducting. While precise and energetic, he misjudges a few tempo relations, particularly in the notoriously tricky Act I nonet, and the gear changes in such instances are evident and somewhat awkward. (Admittedly, only Toscanini has achieved perfectly magical fluidity at this juncture.) Other than that, he is in fine fettle.

    The sound quality is that of a good FM stereo broadcast of the era; given its relatively recent vintage, apparently this Canadian label is not concerned about any possible legal action from the Met to block this release. There are no booklet notes; the back tray card provides the cast, and the front insert the list of tracks and characters singing in those but no timings. Sensibly, instead of trying to even out disc timings by dividing act two in half, the first two acts are placed on CD 1 and the third act on CD 2. While not quite equaling the classic recordings by Toscanini (RCA), Karajan (Angel), or Solti’s first take (Decca) for stellar interpretive distinction, this is a very fine rendition that provides a welcome second take on Taddei’s Falstaff 36 years after his notable 1950 monaural Cetra recording, and is cordially recommended.”


  • - James A. Altena, FANFARE




  • MARIAN ANDERSON, w. Kosti Vehanen & Franz Rupp (Pfs.): Songs by Strauss, Sibelius, Schumann, Schubert & Handel; Spirituals. (Canada) St Laurent Studio YSL 78-628, recorded 1930-47. (V2544)

    "The great American contralto scarcely needs an introduction. Her rich, vibrant voice, unique in its colors and timbre, was coupled with excellent musicianship, a seriousness of purpose, and depths of emotional involvement."


  • - Charles H. Parsons, AMERICAN RECORD GUIDE, Sept./Oct., 2007




  • OTMAR SUITNER Cond. Boston S.O.: Serenade in D (Brahms); Tannhauser – Overture (Wagner); w.ALFRED BRENDEL: Piano Concerto #20 in d, K.466 (Mozart). [An extraordinarily beautiful concert, broadcast in a gloriously spacious acoustic!] (Canada) 2-St Laurent Studio YSL T-527, Live Performance, 10 July, 1982, Tanglewood. Transfers by Yves St Laurent. (C1577)



  • LEONARD BERNSTEIN Cond. NYPO: Ruslan & Ludmila – Overture (Glinka); Symphony #6 in b (Shostakovich); w.YAKOV FLIER: Piano Concerto #3 in d (Rachmaninoff). (Canada) 2-St Laurent Studio YSL T-614, Live Performance, 13 Oct., 1963, Philharmonic Hall, New York. Transfers by Yves St Laurent. (C1578)

    “…Yakov Flier…was one of the leading Soviet pianists of his day and might have had far greater success internationally had Cold War politics not encumbered his career. Gilels, then Richter, and finally Lazar Berman were granted permission by Soviet cultural czars to concertize abroad, and so too was Flier. But, unlike that star-studded trio, Flier did not live long after he first appeared in the West.

    Yakov Flier studied piano at the Moscow Conservatory under the renowned pedagogue Konstantin Igumnov. Flier graduated in 1934 as one of the USSR's most promising keyboard prospects. He lived up to that hope: in 1936 he won first prize at the prestigious Vienna International Piano Competition, ahead of Emil Gilels….His debut in the U.K. was in 1962, and although he drew high praise internationally, he was generally eclipsed abroad by Richter and Gilels during his final decade-and-a-half.”


  • - Robert Cummings, allmusic.com




  • ALEXIS WEISSENBERG, w.Pretre Cond. Orchestre de Paris: Piano Concerto #1 in b-flat (Tschaikowsky); Pretre Cond.: "New World' Symphony #9 in e (Dvorak). (Canada) St Laurent Studio YSL T-569, Live Performance, 16 April, 1970, Osaka, Japan. Transfers by Yves St Laurent. (P1274)



  • CARMEN, Live Performance, 9 Jan., 1937, w.Gennaro Papi Cond. Met Opera Ensemble; Rosa Ponselle, Sydney Rayner, Natalie Bodanya, Julius Huehn, Thelma Votipka, Helen Olheim, Giordano Paltrinieri, George Cehanovsky, Louis D'Angelo & Wilfred Engelman. (Canada) 2-St Laurent Studio YSL T-649. Transfers by Yves St Laurent. (OP3235)



  • DIE ENTFUHRUNG AUS DEM SERAIL (in French) - Excerpts, recorded 1967, w.Otto-Werner Mueller Cond. Radio-Canada Ensemble; Leopold Simoneau, Pierrette Alarie, Joseph Rouleau, Jean Coutu, Louise Lebrun & Jean-Louis Pellerin; LEOPOLD SIMONEAU, w.Jean-Marie Beaudet Cond. CBC S.O.: Per Pieta, non ricercate (Mozart, K.420) [without any reservation, a contender for Simoneau's most glorious solo recording - a 'desert island' rendition!]; Arias from Don Giovanni & La Clemenza di Tito; LEOPOLD SIMONEAU & PIERRETTE ALARIE: Duets from Cosi Fan Tutte & Entfuhrung. (Canada) 2-St Laurent Studio YSL T-530. Transfers by Yves St Laurent. (OP3234)



  • CAVALLERIA RUSTICANA (3 performances, 1926-43), Met Opera Ensemble, La Scala (1930) & Opera Italiana d’Olanda (7 Nov., 1938), w.Molajoli, Mascagni, etc. Cond. Dusolina Giannini, Giannina Arangi-Lombardi, Lina Bruna-Rasa, Beniamino Gigli, Antonio Melandri, Carlo Tagliabue, Gino Lulli, Afro Poli, Claramae Turner, Ida Mannarini, Rina Gallo-Toscani, Anna Kaskas, Maria Castagna, Maria Meloni; DUSOLINA GIANNINI: Cavalleria Rusticana - Voi lo sapete; Forza - Sono giunta!...Madre, pietosa Vergine; Pace, pace mio Dio!; Zueignung (Strauss); Manella mia; Believe me, if all those endearing young charms - from a 1936 Philharmonic Recital (Intermission Feature). (Canada) 3-Immortal Performances IPCD 1082, accompanied by Elaborate 46pp. Booklet with photos & notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. (OP3232)



  • SAMSON ET DALILA, Live Performance, 13 Dec., 1941, w.Pelletier, Cond. Met Opera Ensemble; René Maison, Risë Stevens, Leonard Warren, Nicola Moscona, Norman Cordon & Emery Darcy, replete with Milton Cross' commentaries; SAMSON ET DALILA, Act II, scene 3 (complete); Act III, Mill Scene. Piero Coppola, Cond. Marie Duchêne & César Vezzani – recorded 1931. (Canada) 2-Immortal Performances IPCD 1084, accompanied by Elaborate 24pp. Booklet with photos & notes by Henry Fogel, London Green & Richard Caniell. Transfers by Richard Caniell. (OP3230)



  • DIE FLEDERMAUS (in English), Live Performance, 23 Jan., 1954 , w. Kozma Cond. Met Opera Ensemble; Eleanor Steber, Charles Kullman, Patrice Munsel, Thomas Hayward, Jarmila Novotna, John Brownlee, Paul Franke, Clifford Harvuot, Suzanne Ames & Jack Mann. (Canada) 2-Yves St Laurent T-647. Transfers by Yves St Laurent. (OP3233)





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    SMARTER THAN ALL THREE OF US ! ! !

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    We are grateful to so many of our readers who continue to note that our once-regular use of accent marks is becoming rather erratic. Due to the ever-growing popular use of ‘Smart’ Phones, Google automatically and frequently is restricting such marks, as well as that which we consider regular punctuation. In compliance with Google’s restrictive demands, as well as the fact that such complicated listings will require too long a period during which to download, or may not succeed in downloading at all, most of our newer listings are deleting such marks, much to our sense of loss. While our older listings so far retain such marks, we are informed that it won’t be long before they too automatically will be amended. We certainly take pride in our presentation, but are being compelled to adapt to another loss of style in these fast-paced times! We very sincerely appreciate so many of your valued comments and commiseration!!!




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    . . . numerous out-of-print CDs and LPs, [many sealed

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    throughout our listings, in appropriate categories . . .

    out-of-print books [many biographies,

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





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  • Renata Scotto;  John Wustman  (1970 Hunter College Recital)     (St Laurent Studio YSL T-665)
    V2539. RENATA SCOTTO, w.John Wustman (Pf.): Songs by Carissimi, Cimarosa, Bellini, Rossini, Verdi & Tosti; Arias from La Vestale, Don Giovanni, Nozze, I Vespri Siciliani & I Lombardi - Live Performance, 1 Nov., 1970, Hunter College Playhouse, New York. [Recorded in the front row, independent of extraneous audience noise, this recording captures the spontaneity of the recital with no more than the occasional applause at appropriate moments!] (Canada) St Laurent Studio YSL T-665. Transfers by Yves St Laurent.
    $19.90
    Madama Butterfly  (Patane;  Scotto, Aragall, Edwards)  (2-St Laurent Studio YSL T-658)
    OP3242. MADAMA BUTERFLY, Live Performance, 17 Dec., 1977, w.Patane Cond. Met Opera Ensemble; Renata Scotto, Giacomo Aragall, Ryan Edwards, James Atherton, Richard Best, Russell Christopher, Alma Jean Smith, etc. [Luxury casting in that we have Giacomo Aragall as Pinkerton in one of his infrequent Met performances.] (Canada) 2-St Laurent Studio stereo YSL T-658. Transfers by Yves St Laurent.
    $39.95
    Renata Scotto  -  More than a Diva      [Autobiography]    (038518039X)
    B0149. RENATA SCOTTO. Scotto, More than a Diva [Autobiography]. Garden City, Doubleday, 1984. 245pp. Index; Discography; Photos; DJ. Title-Page Autographed by Scotto. - 0-385-18039-X
    $29.90
    Lucia di Lammermoor  (Bartoletti;  Scotto, Bergonzi, Zanasi)   (2-Myto 065.337)
    OP1333. LUCIA DI LAMMERMOOR, Live Performance, 3 Sept., 1967, Tokyo, w.Bartoletti Cond. NHK Ensemble; Renata Scotto, Carlo Bergonzi, Mario Zanasi, etc. (Slovenia) 2-Myto 065.337. Long out-of-print, final copy! - 608974503376- 608974503376
    Regular price: $13.90
    Sale price: $6.95
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