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

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Finally, the long-awaited

GINA CIGNA 1937 NORMA restoration from

Caniell's Immortal Performances is here . . .

Yves St Laurent offers

Vol. VII of BRUNO MADERNA . . .

and our 50% SALE Continues,

with more additions . . .

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This Week's offerings:

  • NORMA, Live Performance, 20 Feb., 1937 (replete with Milton Cross’ commentaries), w.Panizza Cond. Met Opera Ensemble; Gina Cigna, Bruna Castagna, Giovanni Martinelli, Ezio Pinza, Thelma Votipka & Giordano Paltrinieri. (Canada) 2-Immortal Performances IPCD 1063, accompanied by Elaborate Booklet with photos & notes by Dewey Faulkner & Richard Caniell. Transfers by Richard Caniell. (OP3214)

    “Beyond recorded sound, Cigna clearly comes alive in a staged performance with an audience. Her intensity in the monologue ‘Dormono entrambi’ is heartbreaking and powerful. She inflects every phrase with specificity and appropriate color, and in my experience is surpassed in that way only by Callas and perhaps Gencer.

    It is true that from time to time Cigna does force the voice and turn strident. Cigna’s ease with fioratura is clearly limited (Milanov’s was not much better), and some passages are simplified while others are clearly uncomfortable for her. But on the positive side, there is a basically lovely tone with a real glow in it, a complete involvement with the drama and with specific text. Her Norma is throughout a real and tortured human being struggling with deep internal conflicts, at once proud and powerful, but genuinely vulnerable.

    This is NORMA as dramatic Italian opera in the grand tradition. Not only Cigna, but all of the principals and the wonderful conductor Ettore Panizza, combine for a thrilling evening of gripping music theater, with characters who are real people, not cardboard cut-outs, singing beautiful melodies. Perfection is perhaps even more elusive here than it is with other roles. Cigna has some vocal rough passages….High notes, and some of the passagework demanded by the score, find the soprano stretched. But the compensation is in the vast majority of fine singing, and the completeness of the character that she portrays.

    The big scene that opens the third act, ‘Dormono entrambi’, is one of Bellini’s most daring conceptions - not really recitative, not really an aria, but something inhabiting an odd space between them. This is the scene where Norma considers killing her children, and then is repelled by the fact that she has that thought. The mood is set, importantly, in the orchestral introduction, and Panizza is masterful. He establishes the dramatic tension through his use of dynamics, subtle rubato, and phrase shaping; we are prepared for the drama of Norma’s monologue. Cigna doesn’t disappoint. Every word is clearly articulated, spit out with incisiveness and meaning. The first two words are filled with portent. The torture of the character, the fight going on within her, is crystal clear in every measure. This is truly great singing-acting, and we are fortunate that it is preserved here. Cigna’s 1936 studio recording is not nearly as powerful in this crucial scene. Her declamation is much more matter of fact. Also in the opera’s final act, Cigna rises to the occasion with a combination of glowing vocalism and trenchant coloration. This Norma is alternately defeated and proud, and we hear it all. There is no denying the occasional shrill high note or struggle with some passagework, but those moments pale when set against the grandeur and power of Cigna’s overall achievement. What this most definitely is not is a ‘bel canto’ Norma. Dewey Faulkner’s excellent, and candid, notes accurately point out that Cigna’s repertoire was in the dramatic and verismo arena, and she brings that sensibility to Norma. She spits out venom at Pollione and Adalgisa in a way we do not associate with this score, but then immediately follows with some very beautiful singing. At ‘In mia man alfin tu sei’ Cigna hurls the words out at Pollione with utter disdain. At moments like that those looking for a more ‘pure bel canto’ line might be offended; others will find it gripping. I know of no Norma like hers, and while it would never be the only way I want to hear the opera, and it can fairly be described as uneven, I do feel richer for having experienced it. And I much prefer it, flaws and all, to Cigna’s tidier 1936 studio recording.

    Bruna Castagna, a mezzo-soprano of enormous value to the Met from the middle 1930s to the middle 1940s, is every bit Cigna’s equal. Her rich, powerful voice is also blessed with considerable flexibility, and an ability on the singer’s part to lighten the color. The scenes between Adalgisa and Norma are powerful because of the strong singing of both, but also the strong dramatic personalities that both bring to every phrase. Castagna’s dark vocal color contrasts nicely with Cigna’s brighter sound, but the two also blend well when that is what the music demands.

    As for Pinza, we are simply experiencing a miracle as we listen to him. It is one of the most naturally beautiful, rich, and evenly produced voices of any male singer in the recorded history of opera. And that voice is wedded to an innate natural musical instinct and theatrical flair that renders criticism irrelevant. His Oroveso is a towering achievement.

    Martinelli is a bit more complicated. His voice, as recorded here or anywhere, always exhibits a bit of tightness. But Caniell’s restoration here has given the voice more warmth than it often has in these broadcasts….He will also surprise those who think of him as an Otello with the elegance of his singing, the evenness of his legato, and his feel for Bellini’s long lines.

    Panizza is another hero in this performance. The more broadcasts of his that we hear, the more we realize his strengths as a conductor. He always shapes the line beautifully, but also accentuates the drama. His ‘Guerra’ chorus is whipped through in a frenzy, with remarkable precision. His conducting is the centerpiece of a performance that can best be described as thrilling music theater.

    As is always the case with Immortal Performances, the production elements that accompany the discs are extraordinary. A wonderful booklet with incredibly insightful notes by Dewey Faulkner and Caniell himself, and great historical photographs almost make us feel as if we were back in the glorious old house! And if you enjoy the broadcast commentary, it is there as well.

    Obviously a 1937 radio broadcast has sonic limitations, but this transfer is so far superior to any that preceded it, and frankly is significantly better than my expectations had been, that it is not difficult listening for anyone who has an interest in historic operatic performances.

    Richard Caniell, the proprietor of Immortal Performances and one of the true geniuses of restoration of historic recordings, has made some changes in the actual performance captured here. He is forthright enough to admit this in his accompanying notes. In referring to his reluctance in the past to even work on and release this performance, he says ‘The major problem for me was Cigna’s occasional flat notes. And then it occurred to me that a sliding pitch adjustment of those notes might rescue them (provided it was in open notes so there wasn’t strong orchestration that would reveal the adjustments) and I could reduce the volume of the sustained, off-pitch, screeched note she sang in the Act II finale so that it wouldn’t grate’.

    First, clearly the most important factor here is that there is no attempt at deception. Caniell has stated what he has done, and those who hold a rigid belief that historic restoration should accurately produce what happened will find this objectionable. But for those (and I count myself in this group) who want as much as possible to enjoy a performance which might represent what the artist could do on a good day, this approach is not only justifiable but necessary. Now, for the first time, I can [listen through the entire performance]. [Cigna] was, after all, assigned to make the very first commercial recording of NORMA, an indication of the respect in which she was held. So, to end the discussion on this ‘ethical’ issue, if you wish to consider it as that, I will from this point forward be reviewing Cigna’s performance as I hear it on this set, after Caniell’s adjustments (not one of which, by the way, is noticeable - a tribute to his skill). I have little but praise for what I hear on these discs.”


  • - Henry Fogel, FANFARE, March/April, 2017




  • BRUNO MADERNA Cond. Monte Carlo Opéra Orch.: The Miraculous Mandarin – Suite (Bartók); BRUNO MADERNA Cond. RAI S.O., Milano, w.Ursula Boese: Symphony #3 in d (Mahler), Live Performance, 12 Jan., 1973. (Canada) 2-St Laurent Studio YSL T-460. Transfers by Yves St Laurent. (C1511)





    . . . REPEATED FROM THE RECENT PAST . . .






  • AÏDA, Live Performance, 6 Feb., 1937 (replete with Milton Cross’ commentaries), w. Panizza Cond. Met Opera Ensemble; Gina Cigna (début), Giovanni Martinelli, Bruna Castagna, Carlo Morelli, Ezio Pinza, etc.; Martinelli discusses AÏDA and OTELLO, BIRS, 1962; Martinelli, w.Heller Cond.: AÏDA – Se quel guerrier; Celeste Aïda; w.Louis d’Angelo & Yvonne Benson: FAUST – Prison Scene - both recorded 1926 by Vitaphone; Martinelli & Dino Formichini; Beecham Cond. Royal Opera House Orch.: OTELLO – Desdemona rea! – Live Performance, 19 April, 1937 (the sole known surviving portion of the opening performance of Covent Garden's Coronation Season). (Canada) 3-Immortal Performances IPCD 1020. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos. (OP2599)

    “This is a release of extraordinary importance to opera lovers with an interest in the history of opera singing in the 20th century. For many years this performance has had iconic status among collectors of historic vocal material. It has been issued on many labels in the LP and CD format. But Richard Caniell and his Immortal Performances label have improved significantly on all prior versions, and probably given us the performance in the best sonic environment we are likely to get.

    Cigna [in her début at the Metropolitan Opera] is a tempestuous Aïda . . .She has a very rich middle voice, and one that is seamlessly bound to the upper and lower registers. And she finds meaning in the text, in the drama, that eludes most of her rivals. This is a total characterization, and one of the major operatic portrayals . . . Martinelli seems completely inspired by the occasion, and his work in scenes with other singers, and his dramatic inflections, are all examples of masterly singing. . .Castagna is an Amneris for the ages, and opera lovers unfamiliar with her work would find the investment in this set worthwhile for her performance alone.

    Morelli’s Amonasro is a beautifully sung and convincingly acted performance that we would kill to encounter in the opera house today. . . . As if that weren’t enough, we get the almost unbelievable Ramfis of Pinza—a portrayal that truly qualifies as historic. . . .

    The production values for Immortal Performances are many levels higher than most of the labels that specialize in historic live performances. The notes by Caniell are thoughtful, insightful, and provocative.

    . . .what I haven’t conveyed is the overall thrust and grandeur of the whole, which really is greater than the sum of its parts. The sweep, the thrust, the open-throated glory of this AÏDA is not matched in any other recording. . . a collector who lacks this version lacks something unique.

    The filler on the third disc is a wonderful bonus: Martinelli speaks about Verdi (in English), scenes from AÏDA and FAUST recorded in 1926 by Vitaphone as soundtracks for silent films, and a chunk of the second act of Verdi’s OTELLO from Covent Garden with Beecham conducting in 1937.”


  • - Henry Fogel, FANFARE, Nov./Dec., 2012




  • AÏDA, Live Performance, 22 June, 1937, Berlin, w.de Sabata Cond. La Scala Ensemble; Gina Cigna, Beniamino Gigli, Ebe Stignani, Ettore Nava, Tancredi Pasero, etc.; [Caniell’s Archivist Note about Act IV: ‘So far as we can determine, Act IV was either not broadcast, not recorded or was lost. In order to achieve a plausible Act IV as close to the 1937 vocal estate of the principal singers as possible, I used the 1937 Met AÏDA broadcast for Cigna and the 1939 Beecham conducted AÏDA (Covent Garden) for Gigli, as well as for Stignani’]; LA GIOCONDA – Excerpts, Live Performance, 10 July, 1934, Cremona, w.Serafin Cond. Gina Cigna, Beniamino Gigli, Mario Basiola, Gianna Pederzini, etc.; BENIAMINO GIGLI, w.Ormandy Cond. Detroit Symphony Orchestra, Live Performance, 2 Oct., 1938: Arias from L’Elisir, Rigoletto, Martha & Pagliacci. (Canada) 3-Immortal Performances IPCD 1034. Restoration, re-creation & transfers by Richard Caniell. Elaborate Edition features numerous lovely photos. (OP2901)

    “If you are seriously interested in Verdi and in Verdi performance tradition, and if you can hear through the sonic inconsistencies, this is a truly remarkable document, one we are fortunate to have.

    One might think that Gigli’s Radamès is the key reason for obtaining this performance, and it certainly is a magnificent achievement, marrying beautiful tone to deep emotional commitment and involvement. And while it is more spontaneous and free than the tenor’s studio recording, and it is a performance to treasure, it is not, in my view, the most significant aspect of this release. Ditto for Cigna’s Aïda, great though it is....What is unique about this recording is the extraordinary conducting of de Sabata...his recorded legacy is small, and there is no other AÏDA...the feel the shape and thrust of the de Sabata performance [makes one] realize what a truly great conductor he was. Power and drive in the music’s exciting passages (the end of the second act takes off and practically goes into orbit) are combined with sensitivity and flexibility in the more tender scenes.

    Cigna is a magnificent Aïda...a bit more vocally steady here [than her] 1937 Met broadcast début...she has taken an already fully integrated dramatic portrait of the character and deepened it with a few more subtle touches...Stignani and Pasero are also magnificent in their roles. Despite sound that varies in quality...what comes through clearly enough is the grandeur and power of this remarkable performance.

    Among the bonus features: a 1938 radio broadcast...Gigli is in splendid voice...Ormandy’s sensitive accompanying is an asset [Detroit Symphony]...the booklet has superb notes on the performance and wonderful photos.”


  • - Henry Fogel, FANFARE, May/June, 2014




  • UN BALLO IN MASCHERA, Live Performance, 14 Dec., 1940 (replete with Milton Cross’ exuberant commentaries), w.Panizza Cond. Met Opera Ensemble; Zinka Milanov, Jussi Björling, Alexander Svéd, Bruna Castagna, Stella Andreva, Norman Cordon, Nicola Moscona, etc.; LA BOHEME – Finale, Act I, Live Performance, 25 Sept., 1949, w.Kritz Cond.San Francisco Opera Ensemble; Licia Albanese, Jussi Björling, Enzo Mascherini, Nicola Moscona, Salvatore Baccaloni, etc. (Canada) 2-Immortal Performances IPCD 1033, w.Elaborate 38pp. Booklet. Transfers by Richard Caniell. Booklet notes by Stephen Hastings & Richard Caniell. (OP2865)



  • SIMON BOCCANEGRA, Live Performance, 21 Jan., 1939, w.Panizza Cond. Met Opera Ensemble; Lawrence Tibbett, Giovanni Martinelli, Elisabeth Rethberg, Ezio Pinza, Leonard Warren, etc.; SIMON BOCCANEGRA – Council Chamber Scene, w. Pelletier Cond. Lawrence Tibbett, Giovanni Martinelli, Rose Bampton, Leonard Warren, etc., recorded 1939; Boris Goldovsky interviews Lawrence Tibbett, 28 Jan., 1950, Met broadcast. (Canada) 2-Immortal Performances IPCD 1031, w.Elaborate 38pp Booklet. Transfers by Richard Caniell. (OP2864)



  • GINA CIGNA: Arias & Ensembles (w.Cloe Elmo, Paolo Civil, Tancredi Pasero, etc.) from Norma, Ballo, Forza, Faust, Mefistofele, La Wally, La Gioconda, Adriana Lecouvreur & La Fanciulla del West. (Austria) Preiser 89016, recorded 1930-41. (V1239)



  • LA BOHEME (in Russian), recorded 1955, w.Samosud Cond. Moscow Radio Ensemble; Ivan Kozlovsky, Elizaveta Shumskaya, Ivan Burlak, Alexandra Yakovenko, Alxei Korolev, etc.; LA BOHEME (Excerpts, in Russian), recorded 1950, w.Samosud Cond. Moscow Radio Ensemble; Ivan Kozlovsky, Elizaveta Shumskaya, Andrei Ivanov, etc. (Russia) 2-Aquarius AQVR 405. [Kozlovsky's pianissimi are breathtakingly beautiful. We'll certainly never hear a poetic Rodolfo like this ever again!] (OP3213)

    “In FANFARE 16:1, James Kammer reviewed a recital of French arias sung by Ivan Kozlovsky. He began ‘Ivan Kozlovsky represents the last of a tradition - the singer as the center of the opera universe. There is no doubt when we are listening to him that he is in charge and the conductor is dutifully following along’. He concludes: ‘So, let the purists scream; in this writer’s opinion, Kozlovsky, with his magnificent voice, imagination and artistry, carries all before him’.

    Put me firmly in the Kammer camp. I have admired this tenor for many years and have been collecting his recordings avidly. I own this LA BOHÈME on Melodiya LPs issued some years ago and this Aquarius transfer actually improves the sound, removing some of the LP's edge. If you are more than a casual opera lover this would enhance your operatic collection considerably. Yes, it is sung in Russian, as was the custom in those days. What a pleasure to hear a singer reveling in the act of singing.

    Actually, everyone in this performance is fully engaged. Samuil Samosud was one of Russia’s most important operatic conductors and he has a deep feel for the Puccini idiom. Part of the genius of LA BOHÈME is Puccini’s stark contrasts between the comic, the tender, and the tragic. It is critical that the conductor make these contrasts dramatically effective while maintaining overall momentum and structure, and Samosud manages that as well as the most respected Italian maestri.

    While every one of the principals is quite good, and the overall ensemble and dramatic involvement is well above the average for studio recordings, it is Kozlovsky that raises this recording from being a very intriguing curiosity to being something worthy of real attention. You need make no allowances whatsoever for his age. The high C in the aria is ringing, and held onto with pride. There are touches of individuality throughout - little grace notes, suddenly applied diminuendi, notes held because of their dramatic and/or vocal effect. This is singing the way it was when LA BOHÈME was composed. The most apt stylistic comparison to Kozlovsky on disc might be Fernando de Lucia, who took similar liberties with the printed score. It is important to note that Puccini wanted him to be the first Rodolfo (it did not happen, but he did sing it shortly after the premiere), and whose singing Puccini adored. Kozlovsky may be a throwback, but it may just be a throwback to the way this music was meant to be sung, with individuality and a real vocal ‘face’. He has a way of bringing the listener in close whenever he sings. In his third act encounter with Marcello, he will break your heart. Hearing his Rodolfo is a unique experience, and a privilege.

    Elizaveta Shumskaya was a leading lyric soprano at the Bolshoi during the 1950s and early ‘60s, and she has a lovely sound and characterizes the music very well. It is not unique singing in the way Kozlovsky’s is, but it would be unfair to expect that of anyone. Her third act scene with Marcello is particularly affecting. Ivan Burlak’s Marcello is sensitively sung, though the voice itself is somewhat ordinary. Alexandra Yakovenko is a bright, pert and feisty Musetta, and the other bohemians clearly have a ball with their roles. Alexi Korolev’s farewell to Colline’s coat is quite touching, and sung with a typical dark, rich Russian basso voice.

    The bonus tracks provide the first act finale, starting with Mimì’s entrance, and the Rodolfo-Marcello duet from the fourth act, of a Bolshoi broadcast from 5 years earlier than the recording. There is a bit more juice in the voices of Shumskaya and Kozlovsky, and Andrei Ivanov is a richer voiced Marcello than Ivan Burlak. The performance is a bit bigger in scale, geared to an opera house rather than a recording studio, but Kozlovsky still manages many of his individualistic shadings.

    Aquarius’ booklet provides track listings and a cast in the alphabet that we can understand, but all the notes are in Cyrillic. Two pages of photos of all the principals are a nice addition. Aquarius, which is doing wonderful work with important Russian recordings, is available through Norbeck, Peters & Ford.”


  • - Henry Fogel, FANFARE




  • BRUNO MADERNA Cond. RAI S.O., Milano: Symphony #5 in c-sharp (Mahler), Live Performance, 23 Feb., 1973. [A sublimely ethereal performance!] (Canada) St Laurent Studio YSL T-459. Transfers by Yves St Laurent. (C1510)



  • SNEGUROCHKA (in Russian), Broadcast Performance, 10 June, 1955, w. Charles Bruck Cond. Solange Michel, Janine Micheau, Rita Gorr, Geneviève Moizan, Lucien Lovano, Joseph Peyron, Michel Roux, Freda Betti, Jean Giraudeau, Bernard Cottret & Michel Hamel; NINON VALLIN & HÉLÈNE SADOVEN - Snegurochka – excerpts; LUCIEN LOVANO, w.Gressier Cond.: Arias from Manon, Thais, Les Saltimbanques, Don Quichotte & Pagliacci - recorded 1947. [An irresistible performance, particularly with the sumptuous singing of Solange Michel, in charming Franco-Russian style, enhanced by excerpts by Vallin, Sadoven and Lovano.] (France) 2-Malibran 526. (OP3210)



  • LAKMÉ (in Russian), recorded 1947, w. Orlov Cond. All-Union Radio Ensemble; Nadezhda Kazantseva, Sergei Lemeshev, Alexei Korolev, Anna Malyuta, etc. (Russia) 2-Aquarius AQVR 401. (OP3209)



  • CARMEN (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)



  • ELENA KATULSKAYA, w.Boris Yurtaikin (Pf.): Songs by Paisiello, Monsigny, Haydn, Mozart, Schubert, Beethoven, Kjerulf, Sibelius, Weckerlin, Delmet, Duparc, Massenet, Gounod, Berlioz, Tirindelli & Tosti. (Russia) Aquarius AQVR 406, recorded 1946-52. [Katulskaya's renditions of Kjerulf's 'Synnoves Sang' and Massenet's 'Enchantement' are but two of the great highlights of this recital - just exquisite!] (V2522)



  • 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)



  • IVAN KOZLOVSKY, w.Orlov Cond.; Sakharov, Naum Walter & Nikitin (Pfs.): Songs by Beethoven, Schubert & Liszt. (Russia) Aquarius AQVR 395, recorded 1945-59. [A jewel of a recital, beautifully sung and fabulously well-recorded!] (V2487)



  • IVAN KOZLOVSKY, w.Igumnov (Pf.): Dichterliebe (Complete), recorded 1946; w.Sakharov (Pf.): Dichterliebe – Ich grolle nicht; Hör’ ich das Liedchen klingen - recorded 1935 [Kozlovsky’s extraordinary interpretative depth is beautifully displayed in these Schumann Lieder]; MARIA MAKSAKOVA, w.Pogrebov (Pf.): Frauenliebe und Leben (Complete), recorded 1941 (all Schumann) (in Russian). (Russia) Aquarius AQVR 361. (V1994)



  • PAUL PARAY Cond. Detroit S.O.: Symphony in d (Franck); Daphnis et Chloè - Suite #2 (Ravel); Prélude à l'après-midi d'un faune (Debussy); La Damnation de Faust - Orchestral Excerpts (Berlioz). (Canada) St Laurent Studio YSL T-417, Live Performance, 14 Aug., 1975, Meadowbrook Music Festival. Transfers by Yves St Laurent. (C1508)



  • NIKOLAI GOLOVANOV Cond. All-Union Radio S.O.: Sorochinsky Fair & Khovanchina - Orchestral Excerpts (Mussorgsky); w. Obukhova, Maksakova, Shpiller, Zlatogorova & Migai: Excerpts from The Tsar's Bride, Mlada, The Tale of the Invisible City of Kitezh, Pan Voevoda, Le Coq d'Or, The Tale of Tsar Saltan & Homer (all Rimsky-Korsakov). (Russia) Aquarius AQVR 404, recorded 1937-52. (C1503)



  • CHARLES MÜNCH Cond. Boston S.O.: Serenade in DSinfonia Domestica (Strauss). (Canada) St Laurent Studio YSL T-428, Live Performance, 28 Feb., 1959, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1507)



  • NINON VALLIN, Vol. VIII, incl. Songs by Roesgen-Champion [Acc.by the Composer], Hahn, Gounod, Gretchaninov, Rachmaninoff & Camille Robert [incl. his popular WW I 'Madelon']; Arias from Nozze, Manon, Carmen & La Fille du Régiment; w.René Le Roy (Flute) & Pierre Jamet (Harp): Mélodies populaires du Pérou. (Canada) St Laurent Studio YSL 78-277, recorded 1934-43, all Pathé. Transfers by Yves St Laurent. Great transfers from pristine 78rpm copies, the eighth in a YSL series of some of Vallin’s rarest records! ['Dove sono' from Nozze is priceless; Vallin's delicate French leaves a beguiling taste dans la bouche!] (V2521)



  • ARMAND CRABBÉ: Songs by Sobrinho (Na Coieta), Minghetti (Smania), Filiberto (Ay Zamba), Pedrell (Cétait en Avril), Doret (Allá sobre la nieve), Frings (Reproches à Ninon), Mendez (Ojos tapatios), Maurage (Ranchito viejo; (La Chine), Tupynambá (Tanghinho Brazilero), Goublier (L’angélus de la mer), Delmet (Mélancolie); Arias from Acis and Galatea, Barbiere, Hamlet, Mireille, Les Cloches de Corneville, Quo Vadis, El Trust de los Tenorios (Je t’aime), La Canción del Olvido (Junto al puente de la Pena) & Alexander’s Feast. (France) Malibran AMR 135, recorded 1925-29. (V2519)

    “Everything one wants in great singing is present in Crabbé’s art. Armand Crabbé was clearly a baritone of great importance in the first half of the 20th century, and this disc will provide many hours of listening pleasure.”


  • - Henry Fogel, FANFARE




  • 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)



  • FRANCESCO TAMAGNO: Arias from Messaline, Hérodiade, Samson et Dalila, Il Profeta, Guglielmo Tell, Andrea Chénier, Il Trovatore & Otello; excerpts by GIOVANNI TAMAGNO (Tamagno's brother). (France) Malibran AMR 134, recorded 1903. (V2520)



  • FEODOR CHALIAPIN: Reverie (Nadson) (Spoken Recitation, unpublished, recorded 31 Jan., 1922); w.Afonsky, Coates, Collingwood, Byng, Bourdon & Goossens Cond.; w.Bazilevsky, Rabinowitsch, Coppola & Ivor Newton (Pf.): Songs by Tschaikowsky, Rimsky-Korsakov, Glazunov, Korgunov, Malashkin, Serov, Lishin, Manykin-Nevstruev & Koenemann. (Russia) Aquarius AQVR 407, recorded 1902-33. (V2523)





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


    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, Naxos, 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 . . .


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




    - - - - - - - 78rpm collectors, please note auctions from: Dave Schmutz, www.78classicalgallery.com - or at: 818-242-6247



    ------------------ 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.

    You can still view the online version simply click the link below:

    Auction #148 Online Catalog

    To download a copy of Auction #148, simply click the link below:

    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 . . .

    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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  • Norma  (Panizza;  Cigna, Castagna, Martinelli, Pinza, Votipka)   (2-Immortal Performances IPCD 1063)
    OP3214. NORMA, Live Performance, 20 Feb., 1937 (replete with Milton Cross’ commentaries), w.Panizza Cond. Met Opera Ensemble; Gina Cigna, Bruna Castagna, Giovanni Martinelli, Ezio Pinza, Thelma Votipka & Giordano Paltrinieri. (Canada) 2-Immortal Performances IPCD 1063, accompanied by Elaborate Booklet with photos & notes by Dewey Faulkner & Richard Caniell. Transfers by Richard Caniell. - 019962447211
    $39.95
    Bruno Maderna, Vol. VII;  Ursula Boese -  (Mahler / Bartok)      (2-St Laurent Studio YSL T-460)
    C1511. BRUNO MADERNA Cond. Monte Carlo Opéra Orch.: The Miraculous Mandarin - Suite (Bartók); BRUNO MADERNA Cond. RAI S.O., Milano, w.Ursula Boese: Symphony #3 in d (Mahler), Live Performance, 12 Jan., 1973. (Canada) 2-St Laurent Studio YSL T-460. Transfers by Yves St Laurent.
    $29.90
    Aida   (Panizza;  Cigna, Castagna, Martinelli, Pinza)    (3-Immortal Performances IPCD 1020)
    OP2599. AÏDA, Live Performance, 6 Feb., 1937 (replete with Milton Cross’ commentaries), w. Panizza Cond. Met Opera Ensemble; Gina Cigna (début), Giovanni Martinelli, Bruna Castagna, Carlo Morelli, Ezio Pinza, etc.; Martinelli discusses Aïda and Otello, BIRS, 1962; Martinelli, w.Heller Cond.: Aïda – Se quel guerrier; Celeste Aïda; w.Louis d’Angelo & Yvonne Benson: Faust – Prison Scene - both recorded 1926 by Vitaphone; Martinelli & Dino Formichini; Beecham Cond. Royal Opera House Orch.: Otello – Desdemona rea! – Live Performance, 19 April, 1937 (the sole known surviving portion of the opening performance of Covent Garden's Coronation Season). (Canada) 3-Immortal Performances IPCD 1020. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos. - 713757787529
    $49.95
    Aida  (de Sabata;   Cigna, Gigli, Stignani, Nava, Pasero)  (3-Immortal Performances IPCD 1034)
    OP2901. AÏDA, Live Performance, 22 June, 1937, Berlin, w.de Sabata Cond. La Scala Ensemble; Gina Cigna, Beniamino Gigli, Ebe Stignani, Ettore Nava, Tancredi Pasero, etc.; [Caniell’s Archivist Note about Act IV: ‘So far as we can determine, Act IV was either not broadcast, not recorded or was lost. In order to achieve a plausible Act IV as close to the 1937 vocal estate of the principal singers as possible, I used the 1937 Met AÏDA broadcast for Cigna and the 1939 Beecham conducted AÏDA (Covent Garden) for Gigli, as well as for Stignani’]; LA GIOCONDA – Excerpts, Live Performance, 10 July, 1934, Cremona, w.Serafin Cond. Gina Cigna, Beniamino Gigli, Mario Basiola, Gianna Pederzini, etc.; BENIAMINO GIGLI, w.Ormandy Cond. Detroit Symphony Orchestra, Live Performance, 2 Oct., 1938: Arias from L’Elisir, Rigoletto, Martha & Pagliacci. (Canada) 3-Immortal Performances IPCD 1034. Restoration, re-creation & transfers by Richard Caniell. Elaborate Edition features numerous lovely photos. - 74825290040
    $49.90
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    Nicolai Gedda, Vol. I ; John Wustman (Pf.) (Yves St Laurent YSL T-435)

    $19.90Bruno Maderna, Vol. II;   Boston S .O.       (St Laurent Studio YSL T-360)
    Bruno Maderna, Vol. II; Boston S .O. (St Laurent Studio YSL T-360)

    $17.90Meistersinger  (Bohnen, Lotte Lehmann, Oehmann, Bettendorf, List)   (2-Gebhardt 0035)
    Meistersinger (Bohnen, Lotte Lehmann, Oehmann, Bettendorf, List) (2-Gebhardt 0035)

    $8.45Der Rosenkavalier  (Bodanzky;  Stevens, Lehmann, List, Schorr)    (3-Immortal Performances IPCD  1023)
    Der Rosenkavalier (Bodanzky; Stevens, Lehmann, List, Schorr) (3-Immortal Performances IPCD 1023)

    $49.95Aida   /   Carmen  (Mehta / Pretre;  Vickers, Zeani, Bumbry, Merrill)    (4-Immortal Performances IPCD 1056)
    Aida / Carmen (Mehta / Pretre; Vickers, Zeani, Bumbry, Merrill) (4-Immortal Performances IPCD 1056)

    $49.90Arturo Toscanini - First NBC Broadcast  (2-Immortal Performances IPCD 1072)
    Arturo Toscanini - First NBC Broadcast (2-Immortal Performances IPCD 1072)

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    Klaus Tennstedt (Bruckner 8th, Boston) (St Laurent Studio YSL T-332)

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    Marian Anderson - Copenhagen & Lincoln Memorial Recitals (JSP 683)

    $19.90Vocal Record Collectors' Society - 2016 Issue              (VRCS-2016)
    Vocal Record Collectors' Society - 2016 Issue (VRCS-2016)

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    Verdi Requiem - Toscanini; Milanov, Bjorling, Castagna (2-Immortal Performances IPCD 1073)

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    Le Trille un Art Perdu (The Lost Art of the Trill) (Malibran AMR 123)

    $19.90Artur Rodzinski, Vol. XXXVI;  Arthur Rubinstein    (St Laurent Studio YSL 78-404)
    Artur Rodzinski, Vol. XXXVI; Arthur Rubinstein (St Laurent Studio YSL 78-404)

    $17.90Lotte Lehmann:  The Complete Acoustic Recordings, 1914-26     (4-Marston 54006)
    Lotte Lehmann: The Complete Acoustic Recordings, 1914-26 (4-Marston 54006)

    $71.90The 1902 London 'Reds'          (2-Truesound Transfers 4002)
    The 1902 London 'Reds' (2-Truesound Transfers 4002)

    $29.90Arturo Toscanini;   Rethberg, Schorr; Horowitz       (2-Immortal Performances IPCD 1068)
    Arturo Toscanini; Rethberg, Schorr; Horowitz (2-Immortal Performances IPCD 1068)

    $39.90Eugen Onegin   (Khaikin;  Alekseyev, Kozlovsky, Kashevarova, Preobrazhenskaya, Konstantinov)  (2-Aquarius AQVR 398)
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    $29.90Margarethe Siems; Aranyi, Forstel, etc. (2-Truesound Transfers 4001)
    Margarethe Siems; Aranyi, Forstel, etc. (2-Truesound Transfers 4001)

    $29.90The Shop Girl  (Alfred Lester, Evelyn Laye, Bates)   (Palaeophonics 132)
    The Shop Girl (Alfred Lester, Evelyn Laye, Bates) (Palaeophonics 132)

    $19.90Ivan Kozlovsky  -  Beethoven, Schubert & Liszt        (Aquarius  AQVR 395)
    Ivan Kozlovsky - Beethoven, Schubert & Liszt (Aquarius AQVR 395)

    $19.90The Bing Girls are There     (Nat D. Ayer)     (Palaeophonics 136)
    The Bing Girls are There (Nat D. Ayer) (Palaeophonics 136)

    $19.90Nineteenth Century Italian Tenors        (3-Marston 53018)
    Nineteenth Century Italian Tenors (3-Marston 53018)

    $53.90Andrea Chenier  (Cleva;  Richard Tucker, Zinka Milanov, Anselmo Colzani)   (2-Yves St Laurent Studio T-434)
    Andrea Chenier (Cleva; Richard Tucker, Zinka Milanov, Anselmo Colzani) (2-Yves St Laurent Studio T-434)

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    Bric-a-Brac (Millar, Jeffries, Gerard, Johnson) (Palaeophonics 123)

    $19.90Zara Dolukhanova;  Nina Svetlanova      (Yves St Laurent YSL T-421)
    Zara Dolukhanova; Nina Svetlanova (Yves St Laurent YSL T-421)

    $19.90Marian Anderson;  Rupp;   Mitropoulos    (St Laurent Studio YSL T-384)
    Marian Anderson; Rupp; Mitropoulos (St Laurent Studio YSL T-384)

    $19.90Erich Leinsdorf, Vol. V;  Gina Bachauer;  Beverly Sills      (2-St Laurent Studio YSL T-412)
    Erich Leinsdorf, Vol. V; Gina Bachauer; Beverly Sills (2-St Laurent Studio YSL T-412)

    $29.90As You Were        (Alice Delysia)           (Palaeophonics 139)
    As You Were (Alice Delysia) (Palaeophonics 139)

    $19.90Ignacy Jan Paderewski - Complete Victor Recordings  (5-APR 7505)
    Ignacy Jan Paderewski - Complete Victor Recordings (5-APR 7505)

    $39.90K.K. Hofoper Wien, 1904 Recordings - Hesch, Weidemann,  Kittel, Elizza, Pacal, Slezak, etc. (2-Truesound Transfers 4003)
    K.K. Hofoper Wien, 1904 Recordings - Hesch, Weidemann, Kittel, Elizza, Pacal, Slezak, etc. (2-Truesound Transfers 4003)

    $29.90Leopold Stokowski;  Sutherland, Corelli, Starr   (Testament SBT 1513)
    Leopold Stokowski; Sutherland, Corelli, Starr (Testament SBT 1513)

    $19.90Karel Ancerl   -   Ma Vlast     (St Laurent Studio YSL T-340)
    Karel Ancerl - Ma Vlast (St Laurent Studio YSL T-340)

    $17.90William Kapell - Broadcasts, Concert Performances  3-Marston 53021
    William Kapell - Broadcasts, Concert Performances 3-Marston 53021

    $53.90Simon Boccanegra  (Cleva;  Cornell MacNeil, Zinka Milanov, Giorgio Tozzi, Barry Morell)  (2-Yves St Laurent Studio T-442)
    Simon Boccanegra (Cleva; Cornell MacNeil, Zinka Milanov, Giorgio Tozzi, Barry Morell) (2-Yves St Laurent Studio T-442)

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    Verdi Requiem - Toscanini; Milanov, Roswaenge, Thorborg (2-Immortal Performances IPCD 1058)

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    Carmen (Paray; Jean Madeira, Brian Sullivan, Marjorie Gordon & Donald Gramm) (2-St Laurent Studio YSL T-396)

    $29.90Melanie Kurt;  Matzenauer, Metzger, Urlus, Jorn, Kraus, Feinhals, Knupfer & Schorr    (2-Truesound Transfers 4005)
    Melanie Kurt; Matzenauer, Metzger, Urlus, Jorn, Kraus, Feinhals, Knupfer & Schorr (2-Truesound Transfers 4005)

    $29.90Adolf Wallnofer  &  Hermann Winkelmann       (2-Truesound Transfers 4004)
    Adolf Wallnofer & Hermann Winkelmann (2-Truesound Transfers 4004)

    $29.90Vocal Record Collectors' Society - 2015 Issue         (VRCS-2015)
    Vocal Record Collectors' Society - 2015 Issue (VRCS-2015)

    $19.90Maria Jeritza              (Malibran AMR 133)
    Maria Jeritza (Malibran AMR 133)

    $19.90Bruno Maderna, Vol. III        (St Laurent Studio YSL T-373)
    Bruno Maderna, Vol. III (St Laurent Studio YSL T-373)

    $17.90George Szell, Vol. IV         (St Laurent Studio YSL T-405)
    George Szell, Vol. IV (St Laurent Studio YSL T-405)

    $17.90Otello   (Schippers;  Dimiter Uzunov, Zinka Milanov, Cornell MacNeil, Joann Grillo)    (2-Yves St Laurent Studio HTM 65-001)
    Otello (Schippers; Dimiter Uzunov, Zinka Milanov, Cornell MacNeil, Joann Grillo) (2-Yves St Laurent Studio HTM 65-001)

    $39.95Samson et Dalila   (Fourestier;  Raoul Jobin, Denise Scharley, Rene Bianco, Henri Mrdus, Froumenty)    (2-Malibran 789)
    Samson et Dalila (Fourestier; Raoul Jobin, Denise Scharley, Rene Bianco, Henri Mrdus, Froumenty) (2-Malibran 789)

    $39.90Vocal Record Collectors' Society - 2009 Issue        (2-VRCS 2009)
    Vocal Record Collectors' Society - 2009 Issue (2-VRCS 2009)

    $39.90The Unknown Fernando De Lucia  -  Phonotype Recordings, 1917-21      (The Record Collector TRC 44)
    The Unknown Fernando De Lucia - Phonotype Recordings, 1917-21 (The Record Collector TRC 44)

    $39.90Samson et Dalila   (Paray;  Jean Madeira, Albert da Costa & Chester Ludgin)    (2-St Laurent Studio YSL T-403)
    Samson et Dalila (Paray; Jean Madeira, Albert da Costa & Chester Ludgin) (2-St Laurent Studio YSL T-403)

    $29.90Toscanini;  Horowitz    (Immortal Performances IPCD 1054)
    Toscanini; Horowitz (Immortal Performances IPCD 1054)

    $19.90The Boy    (William H. Berry, Peter Gawthorne & Nellie Taylor)          (Palaeophonics 141)
    The Boy (William H. Berry, Peter Gawthorne & Nellie Taylor) (Palaeophonics 141)

    $19.90Nicolai Gedda, Vol. I ;  John Wustman (Pf.)       (Yves St Laurent YSL T-435)
    Nicolai Gedda, Vol. I ; John Wustman (Pf.) (Yves St Laurent YSL T-435)

    $19.90Bruno Maderna, Vol. II;   Boston S .O.       (St Laurent Studio YSL T-360)
    Bruno Maderna, Vol. II; Boston S .O. (St Laurent Studio YSL T-360)

    $17.90Meistersinger  (Bohnen, Lotte Lehmann, Oehmann, Bettendorf, List)   (2-Gebhardt 0035)
    Meistersinger (Bohnen, Lotte Lehmann, Oehmann, Bettendorf, List) (2-Gebhardt 0035)

    $8.45Der Rosenkavalier  (Bodanzky;  Stevens, Lehmann, List, Schorr)    (3-Immortal Performances IPCD  1023)
    Der Rosenkavalier (Bodanzky; Stevens, Lehmann, List, Schorr) (3-Immortal Performances IPCD 1023)

    $49.95Aida   /   Carmen  (Mehta / Pretre;  Vickers, Zeani, Bumbry, Merrill)    (4-Immortal Performances IPCD 1056)
    Aida / Carmen (Mehta / Pretre; Vickers, Zeani, Bumbry, Merrill) (4-Immortal Performances IPCD 1056)

    $49.90Arturo Toscanini - First NBC Broadcast  (2-Immortal Performances IPCD 1072)
    Arturo Toscanini - First NBC Broadcast (2-Immortal Performances IPCD 1072)

    $39.90