---BOOKS ON SALE
ALEXANDER ALEXEEV: Songs by Schubert, Tschaikowsky, Rachmaninoff, Liszt, Rubinstein (the latter’s ‘Persian Love Song’ – fondly remembered from Chaliapin’s recording), Rimsky-Korsakov, Glinka, Strelnikov, Prozovsky, Oppel, Artemyev, Gerdel, Zubov & Mikhailov; Arias & Duets (w.Borovskaya & Barsova) from La Traviata, Rigoletto & La Belle Helene); ELIZAVETA BOROVSKAYA: ‘The Canary’ & ‘Berceuse’ (both Tschaikowsky); Arias from Rigoletto & Lakme. (Russia) Aquarius AQVR 411, recorded 1929-39, Muztrest, GPT & Film. [A wonderful collection of all known recordings by this sensitive lyric tenor! Alexeev is just another example of wonderful artists of the Stalin era who were overshadowed by their contemporaries Lemeshev, Kozlovsky and Vinogradov . . . and the politics of that period!] (V2595)
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KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: 'Eroica' Symphony #3 in E-flat; w.Peter Serkin, Joseph Silverstein & Jules Eskin: Triple Concerto in C (both Beethoven). (Canada) 2-St Laurent Studio YSL T-770, Live Performance, 30 July, 1977, Tanglewood. Transfers by Yves St Laurent. (C1682)
Celebrating REGINE CRESPIN’s birthday,
23 February, with her 1965 TOSCA from
the Old Met, with KONYA & MERRILL;
also CRESPIN, Vol. 3 & TENNSTEDT, Vol. 16
from Yves St Laurent;
Malibran’s German Singers;
many Books & CDs added to our 50% SALE
TOSCA, Live Performance, 17 April, 1965, w.Cleva Cond. Met Opera Ensemble; Regine Crespin, Sandor Konya, Robert Merrill, Ezio Flagello, etc. (Canada) 2-St Laurent Studio T-657. Transfers by Yves St Laurent. (OP3256)
"This is another in St. Laurent Studio's valuable series of important Metropolitan Opera broadcasts from the past. This one is particularly significant because it is the finest representation we have of two important portrayals: Regine Crespin's Tosca and Sandor Konya's Cavaradossi. The other choices for Crespin are a very dim-sounding Italian broadcast with di Stefano and another Met broadcast with less successful male leads (Gianni Raimondi and Gabriel Bacquier). For Konya the alternative is a rather turgid DG studio recording, issued on LP, with Stefania Woytowicz in the title role and Horst Stein conducting.
If you are of the school that there must be one single great recording of every opera, which is the only one you are interested in, the present release doesn't qualify. Not only is there the classic EMI set with Maria Callas, Giuseppe di Stefano, Tito Gobbi, and conductor Victor da Sabata a prime candidate, but there are other quite extraordinary broadcasts (Leontyne Price/Franco Corelli/Cornell MacNeil; Renata Tebaldi/Richard Tucker/Leonard Warren), each of which has unique merits. But for listeners who appreciate the variety available in different truly fine performances, this one is especially significant.
Crespin was, of course, one of the great spinto sopranos of the second half of the twentieth century, with a Met career that featured 129 performances between 1962 and 1981. She is most frequently associated with the French and German repertoire, but in fact she had the intelligence and sense of style to make her successful in Italian repertoire as well. Crespin's splendidly rich voice and its wide range of colors suit Puccini's score perfectly. There is a glow to the sound that is consistent in all registers, except when Tosca is hurling hatred at Scarpia, at which point Crespin darkens the sound and lets it turn dramatically hard. She is also capable of varying her tone in such a way that the Tosca we hear in the first act love duet and the Tosca we hear in 'Vissi d'arte' are very different. In that first act her tone is bright and warm, even when she is chastising Cavaradossi over the painting. In the great second act there is that same beauty of sound, but it is tinged with piteous sorrow. (The high B-flat, by the way, rings gloriously. It is not milked for pure excitement but is kept to its appropriate place in the musical line).
Crespin's dramatic pause before the final lines of the aria is heart-stopping. It is as if Tosca is so choked with emotion that she almost cannot continue her plea to God. In all, 'Vissi d'arte' becomes an important part of the dramatic context of the act rather than the showpiece it often seems to be. (In fairness I will note that the aria instigates a huge ovation, which St. Laurent Studio has kept.) In the third act too Crespin manages the switch from ecstasy to despair very convincingly. Her thrilling high C on 'io quella lama' is shining and without strain. Hers is an important assumption of this central role in the Puccini canon, now given its best representation.
Konya was an extraordinarily important tenor at the Met and elsewhere in the 1960s and early 70s. Between 1961 and 1974 he sang 287 performances of 22 roles at the Met. He was so completely identified with the lighter Wagner roles (Lohengrin, Parsifal, and Walther) that we tend to forget how successful Konya was in the Italian repertoire. This performance will serve as a vivid reminder. His voice had a beautiful honeyed quality and was secure all the way up to the top of the tenor range. His cries of 'Vittoria' are powerful and his tenderness in the love duet is palpable. Konya had the misfortune of overlapping at the Met with Richard Tucker, Carlo Bergonzi, Franco Corelli, and Placido Domingo, as well as two seasons of Luciano Pavarotti. He was unlikely to be remembered for his Puccini and Verdi in such company. But listening with the perspective provided by distance, we can hear that he was superb in this repertoire. Konya was also a terrific actor, both physically and vocally, and he was much more comfortable with the Italian style than many other Central and Eastern European singers. I anticipated enjoying his Cavaradossi, but his performance exceeded those expectations. He employs some very beautiful shading in 'E lucevan le stelle', which he sings movingly. Some of his Italian vowels are not as naturally formed as is ideal, but that is extremely minor in the face of singing of such beauty. Konya's rendering of 'O dolci mani' is tender and exquisitely phrased.
Robert Merrill is what we have come to expect him to be: a rich-voiced baritone with a generalized sense of the dramatic situation. There is little specificity of inflection or shading in his singing, but neither is it what one could call dull. Merrill's voice is, of course, worth hearing for its own sake. While Tito Gobbi, Giuseppe Taddei, and Leonard Warren dug more deeply into the character, Merrill's Scarpia provides vocal thrills that few could match.
This is, in the end, a wonderful, at times thrilling performance that will bring pleasure to any collector. As usual, St. Laurent Studio's transfer is of very high quality, reproducing the Met's monaural broadcast faithfully and cleanly. No notes, but full cast documentation and track listing."
- Henry Fogel, FANFARE
CHANTEURS GERMANIQUES, incl. Pelagie Greeff-Andriessen, Friedrich Weidemann, Tillmann Liscewsky, Marie Dietrich, Richard Mayr, Wilhelm Grüning, Eliza Kittel, Laura Hilgermann, Hermann Gura, Otto Goritz, Albert Reiss, Elsa Bland, Erik Schmedes, Allen Hinkley, Emma Juch, Heinrich Knote & Emmy Destinn. (France) Malibran 761, recorded 1902-12. (V2596)
REGINE CRESPIN, w.John Wustman (Pf.): Songs by Poulenc, Rosenthal & Wolf; LA PERICHOLE - Tu n'est pas beau (Offenbach) - Live Performance, 16 Feb., 1969, Carnegie Hall; Songs by Poulenc; LA PERICHOLE - Tu n'est pas beau (Offenbach) - Live Performance, 3 Feb., 1970, Grace Rainey Rogers Auditorium, Metropolitan Museum, New York. (Canada) St Laurent Studio YSL T-743. [The resonant Carnegie Hall acoustic provides ample space for the gargantuan Crespin voice! Crespin's spoken introductions are quite delicious!] Transfers by Yves St Laurent, Vol. III. (V2580)
"To be sure, one of the remarkable assets of Crespin's singing was the power and size of the voice. She could compete on even grounds with Nilsson when they sang together in DIE WALKURE, and with Corelli in WERTHER.
But there was much, much more to Crespin than sheer visceral impact. She sang with subtlety, a variety of colors depending on the demands of the music and the dramatic moment, and always with real involvement. Her singing was filled with nuance, with a wide range of dynamic shading, and was always founded on a beautiful glowing tone."
. . . REPEATED . . . FROM THE RECENT PAST . . .REGINE CRESPIN, w.John Wustman (Pf.): Songs by Schumann, Wolf, Canteloube, Fauré, Rosenthal & Sauguet. (Canada) St Laurent Studio YSL T-742, Live Performance, Weston Country School Auditorium (MA), 10 Feb., 1967. Transfers by Yves St Laurent, Vol. II. (V2579)
- Henry Fogel, Program Notes, Immortal Performances Set [V2547]
REGINE CRESPIN, w.John Wustman (Pf.): Songs by Wolf, Rosenthal, Debussy, Poulenc, Milhaud & Berlioz. (Canada) St Laurent Studio YSL T-741, Live Performance, Hunter College, New York, 11 Nov., 1967. Transfers by Yves St Laurent. Vol. I. (V2578)
FEODOR CHALIAPIN: The Complete Feodor Chaliapin, 1898 - 1936, live and studio recordings. Transfers by Ward Marston. Invaluable notes by Michael Scott & Michael Aspinall; reprint of an essay by the great accompanist, Ivor Newton - all included in a lavishly illustrated 324pp. hardcover book in handsome boxed set! 13-Marston 51301 (V2593)
“Thanks to financial subsidies from several generous underwriters, Marston has been able to spare no trouble in producing a monumental edition that is a veritable model which all subsequent similar projects must aspire to match, but few or none will even approach in so doing.
The logistics of this set are astounding: 200 tracks containing 211 sides…includ[ing] several unissued test pressings, plus a very few sides of choral scenes from BORIS GODUNOV in which Chaliapin himself does not sing but were recorded in the same sessions and are included for the sake of context and completeness. Need I add that, with Ward Marston at the console, the remastering of every item is pitched to an impeccable standard of excellence?
The CD-sized book is a veritable marvel: 324 pages…printed on laminated paper and housed in a laminated heavy-duty cover. The initial 60-page table of contents - which provides composers, selection titles, recording dates and venues, names of assisting artists where known, matrix numbers, and timings - is followed by 68 pages of essays and reminiscences by Michael Scott, Gerald Moore, Ivor Newton, Tully Potter, and Ward Marston himself….Interleaved throughout all this are literally hundreds of photos, posters, cartoons, and notes of and by Chaliapin, many provided by collectors worldwide. While Marston’s genius presides over the enterprise as a whole, this set is truly a collaborative effort of many generous minds, hearts, and hands, all of which deserve our thanks.
That he was a veritable stage animal is made clear by comparing his celebrated 1928 sides from BORIS GODUNOV recorded live on stage at Covent Garden; as superb as his many preceding studio recordings of excerpts from that opera are, those almost pale compared to the larger than life, transfixing power of him in actual performance. Still, if I were to select just one cut from this entire set for demonstration purposes of the scope and depth of Chaliapin’s art, I would go to his 1921 recording of Mussorgsky’s ‘Song of the Flea’, where the array of interpretive devices and voice colorations brought to bear on elucidating the text is positively mind-boggling.
Does it even need saying that this set has ‘2019 Want List’ stamped all over it?....the fabulous book will be a reference standard for decades to come. On those terms, this is one of the bargains of the century - not to mention indispensable for dedicated mavens of historic singers. Grab this limited edition set now before it disappears forever. You’ll never regret it, and you’ll thank your lucky stars (or preferred deity) that you did. Highest possible recommendation, in every possible way.”
- James A. Altena, FANFARE
MARTTI TALVELA, w. Ryan Edwards (Pf.): Songs by Schumann, Kilpinen & Rachmaninoff. (Canada) St Laurent Studio YSL T-755, Live Performance, , 17 Oct., 1968, Hunter College, New York. Transfers by Yves St Laurent. (V2594)
“Wieland Wagner, the composer's grandson and a noted stage director, heard one of Mr. Talvela's early performances and invited him to appear at Bayreuth in 1962….By 1965, he had made debuts at La Scala, in Milan, and at the Vienna State Opera, and was performing regularly at Bayreuth and Salzburg. Mr. Talvela made his American debut with a recital at Hunter College in 1968 [above], and with performances at the Metropolitan Opera that same year.”
- Allan Kozinn, THE NEW YORK TIMES
, 24 July, 1989
SIDNEY FOSTER, w. Aaron Copland, Maurice Abravanel, John Barbirolli & Michiaki Okuda Cond.: Rediscovering an American Master, incl. Bach, Mozart, Beethoven, Liszt, Hummel, Mendelssohn, Schumann, Chopin, Tchaikovsky, Mendelssohn, Brahms, Grieg, Franck, Debussy, Weber, Moszkowski, Scriabin, Rachmaninoff, Bartok, Paderewski & Dello Joio . 7-Marston 56001, recorded 1941-73, Live Performances. Transfers by Ward Marston. Notes by Alberto Reyes. (P1297)
“Were I to compare [Sidney Foster] to any other American pianist, it would be William Kapell; they have similar virtues….Ward Marston has produced a remarkable documentation of Foster’s work with this generously programmed 7-disc compilation (the timings average out to just under 80 minutes per disc). The majority of tracks derive from Indiana recitals, recorded with a single mike hung in the auditorium. One stereo original is the Tchaikovsky Concerto #1 with Maurice Abravanel and the Utah Symphony from 1966….As one listens to this set one appreciates more and more what a special talent Foster was. He seems to play everything with an intense concentration, displaying an immense range of dynamic shading. Lyrical passages are exceptionally poetic, with a legato that contradicts the reality that a piano is a percussion instrument. When virtuosity is called for, he displays it almost to excess….Some of the best examples of the combination of qualities that make Foster’s playing special are found in the Liszt Sonata. We hear muscular drive and fierce drama, but right alongside it is the most ethereal and delicate sense of poetry. In his Chopin, too, Foster clarifies the contrapuntal writing, creates a huge range of color, and never lets us forget that Bellini was one of Chopin’s favorite composers. The two sonatas and the f minor Fantasie are gems, but it is the group of four Etudes that totally dazzles. He again clarifies all the inner voices with a perfect ear for balance and sonority, while always maintaining a focus on the sheer beauty of the pieces. There are four concerto recordings in this set, the only surviving performances by Foster with orchestra. The earliest is the 1941 New York Philharmonic broadcast, with John Barbirolli on the podium, of the Beethoven Third Concerto. Foster was the winner of the very first Leventritt Competition, and the prize included a New York Philharmonic concert. The long ovation after the first movement makes clear that this was a genuine success for the young pianist, a success confirmed by great reviews. He plays his own cadenza in the first movement, and the performance has the fire and intensity of youth. But even in his mid-twenties he had the maturity and poise to probe the interior of the music, particularly in the middle movement. The Tchaikovsky concerto also blends incendiary virtuosity with quiet poetry….[In] Bartok’s Concerto #3, a 1965 performance with the Boston Symphony under Aaron Copland…there is a gentle lilt about this performance that closely matches the recording the composer’s widow, Ditta Pasztory-Bartok (for whom the work was written), made under Tibor Serly’s direction in the 1960s. There is an intense sense of communication between Foster and Copland, and I found the performance very engrossing and beautiful.
In fact, what keeps coming back to me as I think about everything in this set is the way Foster’s playing holds you, commands you to listen. All but forgotten, Foster is a major discovery. Thanks to Marston’s transfer skills and musical instincts, the art of an important American pianist has been kept alive. The superb booklet contains a penetrating essay by Alberto Reyes, a student and colleague of Foster’s. It goes without saying that the sound quality is superb considering the variety of sources and range of dates.”
- Henry Fogel, FANFARE
ARTHUR GRUMIAUX: Sonata for Violin Unaccompanied, Op.27, #3 (Ysaye); w. Kubelik Cond. RTF S.O.: Violin Concerto (Bartok), i>Live Performances, 23 Feb., 1956, Paris; w.Istvan Hajdu (Pf.): Romanian Dances (Bartok), Live Performance, 24 April, 1961, Tokyo; w.Kersjes Cond. Kunstmaand Orch.: Symphonie espagnole (Lalo), Live Performance, 2 Feb., 1964, Amsterdam. [The inimitable highlights of this program are the Ysaye Unaccompanied Sonata and the Bartok Concerto, rendering the rapturous Paris audience in ecstasy!] (Canada) St Laurent Studio YSL T-642. Transfers by Yves St Laurent. (S0737)
JORGE BOLET: Chopin, Mendelssohn & Liszt Recital (including a magisterial performance of the latter's Sonata in b). [A magnificent recital, but given the state of the duly appreciative audience one feels the provinces, not New York!] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-751, Live Performance, 5 Jan., 1972, Alice Tully Hall, New York. (P1296)
EMIL GILELS: Sonata in b (Liszt); Sonata #25 in G; 'Les Adieux' Sonata #26 in B-flat; Sonata #27 in e (all Beethoven). [This glorious recital offers a magesterial performance of the Liszt Sonata!] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-701, Live Performance, 8 Aug., 1975, Salzburg. (P1295)
GEORGE SZELL Cond. Cleveland Orch.: Amor und Psyche – Overture (Hindemith); w.ROBERT CASADESUS: Piano Concerto #2 in A (Liszt); w.LYNN HARRELL: Cello Concerto in a (Schumann). (Canada) St Laurent Studio YSL T-620, Live Performances, 1968-70, Severance Hall. Transfers by Yves St Laurent. (C1680)
ARTUR RODZINSKI Cond. NYPO: Mefisto Waltz (Liszt), Live Performance, 11 Feb., 1945, Carnegie Hall; In Memory of Franklin Delano Roosevelt (Bernard Rogers [World Premiere]); Leonore Overture III (Beethoven); w. Dorothy Kirsten, Nan Merriman, Donald Dame & Todd Duncan: 'Choral' Symphony #9 in d (Beethoven), Live Performance, 4 April, 1946, Carnegie Hall. [Bernard Rogers is remembered for his opera THE WARRIOR which premiered at the Met Opera in 1947, just after 'In Memory of Franklin Delano Roosevelt' the year before.] (Canada) 2-St Laurent Studio YSL 78-589. Transfers by Yves St Laurent. (C1681)
PELLEAS ET MELISANDE, Live Performance, 29 December 1962, w.Ernest Ansermet Cond. Met Opera Ensemble; Nicolai Gedda, Anna Moffo, George London, Jerome Hines, Blanche Thebom, Teresa Stratas, Clifford Harvuot & William Walker. (Canada) 2-St Laurent Studio YSL T-794. (OP3293)
"In this performance dating from 1962, authenticity is guaranteed in the orchestra pit by the conducting of Ernest Ansermet for whom Debussy's opera had been a life-long passion. Ansermet recorded the opera twice commercially and was planning a third recording when he died in 1969. George London's black-voiced and virile Golaud is familiar both from Ansermet's second recording and from the 1960 Met broadcast . The chief interest in this performance therefore lies in the unconventional casting of the title roles.
Purists might object to Gedda's tenorial ardour in the pastel shades of Debussy's delicate score, but it would have to be a very resolute 'Pelleaste' who could resist the sheer beauty of his singing. Indeed this might also be just the performance to break down the prejudices of those who resist the charms of Debussy's score.
Anna Moffo's vibrant and luscious tone is also far from what one expects in the role of Melisande. In 1961 Moffo was just into the third year of her glorious career at the Met and at the very height of her powers. The young Italian-American soprano seemed to be endowed with every gift that nature had to offer - a lovely voice that was at once warm and fresh in timbre, breathtaking physical beauty, intelligence and musicality. She was a singer we associate more with the flesh and blood heroines of Verdi and Puccini, and indeed her Melisande is more corporeal and passionate and less fey than most. It is a performance that makes it clear that there is more than one way to interpret the highly ambiguous role of Melisande. The very young Teresa Stratas at the beginning of her career, singing the role of Yniold sounds like a Melisande in waiting."
- Patrick Bade
ERNANI, Live Performance, 29 Dec., 1956, w.Mitropoulos Cond. Met Opera Ensemble; Zinka Milanov, Mario Del Monaco, Leonard Warren, Cesare Siepi, etc. (Canada) 2-St Laurent Studio YSL T-687. Transfers by Yves St Laurent. (OP3246)
“Mario Del Monaco to some degree fulfills the unfair stereotype of him as hectoring and brash; but then, Ernani is generally a pretty desperate character, so it fits the part, and he too scales back for some more tender singing in Act IV. More importantly, his is a voice of sovereign authority that is completely lacking on the operatic stage today, and he’s exciting! Perhaps the most important reason to acquire this recording, however, is the Don Carlo of Leonard Warren. Arguably, no other baritone of the post-World War II era has had such a complete understanding and command of the true Verdian line and style, allied to such a rich and potent voice. Every time he opens his mouth he offers a masterclass in the true Verdi tradition, and no nuance of characterization escapes him. Cesare Siepi is similarly authoritative as the evil Don Silva, sable if sometimes slightly diffuse of voice….Finally, Mitropoulos conducts likes a house afire; it is hard for me to recall any other recording of a Verdi opera in which there is such a perfect maintenance and culmination of dramatic tension. The chorus sings with notably precise unanimity and clarity under his baton, and the orchestra plays with passion; the interpolated ballet sequence is electrifying and earns repeated applause….What opera house could field a remotely comparable cast today? In those days there were vocal giants in the land. Firmly recommended to all devotees of historic opera performances.”
- James A. Altena, FANFARE
"Mario Del Monaco addressed [Milanov] respectfully on many occasions as 'Maestra di canta', especially as they came offstage together after singing the tomb scene of AIDA. During rehearsals for that scene and for the final scene of ERNANI, to name but two examples, he was observed frequently requesting her assistance in learning how to sing certain passages softly."
- Bruce Burroughs
FIDELIO, Live Performance, 7 Jan., 1984, w. Klaus Tennstedt Cond. Met Opera Ensemble; Eva Marton, Jon Vickers, Franz Mazura, Paul Plishka, Roberta Peters, etc. [Tennstedt's final Met Opera performance of the seven FIDELIOs he conducted during his brief 3-week Met career!] (Canada) 2-St Laurent Studio YSL T-794. (OP3290)
“In sixty years of attending operas, I cannot remember a more enthusiastic ovation for an orchestral overture or interlude than what one hears after the Leonore Overture #3 that Klaus Tennstedt places before the final scene of this Met broadcast from 1984. Tennstedt’s entire Met career consists of seven performances of FIDELIO in the 1983–84 season. He was much in demand around the world, and it is good that the Met administration persisted to the point where it obtained even this single run.
As for Florestan, Jon Vickers was certainly the finest interpreter of that role in my lifetime. His desperate outburst at ‘Gott! welch’ Dunkel hier!’ sounds like it comes from deep within him. And no tenor in my experience has been as persuasive in the transition from desperation and gloom to ecstatic hope at the thought of his rescue. Vocally, Vickers is in fabulous shape. As fine as his studio recordings with Klemperer and Karajan are, this is on an altogether different plane. As you get to know this performance and start listening closely on repeated hearings, you can sense both Marton and Vickers playing off of Tennstedt, and vice versa, with the kind of dramatic sparks that can occur only onstage in an inspired performance with great artists. This is a magnificent example of the possibilities in a great opera house when the right ingredients are assembled. It is also the only Tennstedt performance of FIDELIO of which I am aware, which makes it even more special.”
- Henry Fogel. FANFARE
“Books have become our lonely stepchildren! By spending so many hours constantly revising our thousands of CDs we realize we have paid scant attention to our BOOKS ON SALE
, thus many have been added (with more appearing), accompanied by greatly reduced prices! Have a glance at our SALE
section - for BOOKS!--------------------------------------------------------
SMARTER THAN BOTH OF US ! ! !
We are grateful to so many of our readers who continue to note that our once-regular use of accent marks have become 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!!! -----------------------------------------
. . . numerous out-of-print CDs and LPs,
[many sealed copies of numerous out-of-print
additions: The Record Collector, Naxos, VRCS,
Issues of Symposium's Harold Wayne series,
Romophone, GOP & many Met Opera
broadcasts & operas from Moscow’s Aquarius, plus
numerous lesser-known operas have been added
throughout our listings, in appropriate categories . . .
out-of-print books [many biographies,
Record Catalogue-Discographies . . .
numerous CDs are added each week] . . .
Our 50% Discount Sale continues,
now offering more than 2500 titles . . .
- - - - - - - 78rpm collectors, please note auctions from:
Dave Schmutz, www.78classicalgallery.com
- or at: 818-242-6247
------------------ ANNOUNCEMENT -----------------
Norbeck, Peters & Ford's Annual 78rpm Auction 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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C1682. KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: 'Eroica' Symphony #3 in E-flat; w.Peter Serkin, Joseph Silverstein & Jules Eskin: Triple Concerto in C (both Beethoven). (Canada) 2-St Laurent Studio YSL T-770, Live Performance, 30 July, 1977, Tanglewood. Transfers by Yves St Laurent.
OP3256. TOSCA, Live Performance, 17 April, 1965, w.Cleva Cond. Met Opera Ensemble; Régine Crespin, Sandor Konya, Robert Merrill, Ezio Flagello, etc. (Canada) 2-St Laurent Studio T-657. Transfers by Yves St Laurent.
V2580. REGINE CRESPIN, w.John Wustman (Pf.): Songs by Poulenc, Rosenthal & Wolf; LA PERICHOLE - Tu n'est pas beau (Offenbach) - Live Performance, 16 Feb., 1969, Carnegie Hall; Songs by Poulenc; LA PERICHOLE - Tu n'est pas beau (Offenbach) - Live Performance, 3 Feb., 1970, Grace Rainey Rogers Auditorium, Metropolitan Museum, New York. (Canada) St Laurent Studio YSL T-743. [The resonant Carnegie Hall acoustic provides ample space for the gargantuan Crespin voice! Crespin's spoken introductions are quite delicious!] Transfers by Yves St Laurent.
V2596. CHANTEURS GERMANIQUES, incl. Pelagie Greeff-Andriessen, Friedrich Weidemann, Tillmann Liscewsky, Marie Dietrich, Richard Mayr, Wilhelm Grüning, Eliza Kittel, Laura Hilgermann, Hermann Gura, Otto Goritz, Albert Reiss, Elsa Bland, Erik Schmedes, Allen Hinkley, Emma Juch, Heinrich Knote & Emmy Destinn. (France) Malibran 761, recorded 1902-12. - 7600003777614
Renata Scotto, Vol. I Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Faust (Pelletier; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza) (2-Immortal Performances IPCD 1097)
Fidelio (Tennstedt; Marton, Vickers, Mazura, Plishka) (2-St Laurent Studio YSL T-794)
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Walkure, Act III (Traubel, Janssen) - Tristan, Act II, 1944 (Melchior, Traubel) (2-Immortal Performances IPCD 1093)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Die Walkure (Szell; Bampton, Traubel, Melchior, Janssen, Thorborg, Kipnis) (3-Immortal Performances IPCD 1081)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Erich Leinsdorf, Vol. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Marian Anderson, Vol. III (St Laurent Studio YSL 78-629)
Istvan Kertesz, Vol. I; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
George Szell, Vol. VII; Erica Morini; Geza Anda (St Laurent Studio YSL T-426)
Die Meistersinger (Szell; Janssen, Steber, Thorborg, Kullman, List, Harrell) (3-Immortal Performances IPCD 1088)
Tannhauser (Leinsdorf; Melchior, Janssen, Flagstad, Thorborg, List, Harrell) (3-Immortal Performances IPCD 1101)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
Vocal Record Collectors' Society - 2017 Issue (VRCS-2017)
Giuseppe Campanari (St Laurent Studio YSL 78-728)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Sergei Rachmaninoff (3-Marston 53022)
Mignon / Carmen (Swarthout, Vinay, Hackett, Albanese, Pinza) (4-Immortal Performances IPCD 1096)
Siegfried (Boulez; McIntyre, Jones, Kollo, Kelemen, Zednik, Rundgren) (3-St Laurent Studio YSL T-670)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Il Trovatore (Cleva; Leontyne Price, Franco Corelli, Dalis, Sereni) (2-St Laurent Studio YSL T-650)
Tosca (Adler; Leontyne Price, Franco Corelli, Cornell MacNeil) (2-St Laurent Studio T-681)
Elektra (Christopher Keene; Olivia Stapp, Natalie Costa, Chookasian, Crabb, Cross) (2-St Laurent Studio YSL T-762)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Renata Scotto, Vol. III Philharmonic Hall, 1972; Ryan Edwards (St Laurent Studio YSL T-683)
Lohengrin (Rosenstock; Konya, Crespin, Rankin, Cassel) (3-St Laurent Studio YSL T-662)
Der Rosenkavalier (Szell; Jessner, Novotna, Conner, List) (3-Immortal Performances IPCD 1092)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Arturo Toscanini - Victor Records Restored (3-Immortal Performances IPCD 1087)
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Forza (Stiedry; Milanov, Tucker, Warren, Hines) (2-St Laurent Studio T-679)
Peter Grimes (Colin Davis; Vickers, Amara, Evans, Madeira, Chookasian, Plishka (2-St Laurent Studio YSL T-720)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
St Matthew Passion - Charles Munch, Vol. XXIX; Endich, Kopleff, Cuenod, Mack Harrell (2-St Laurent Studio YSL T-689)
Charles Rousseliere (The Record Collector TRC 46)
Zara Dolukhanova, Vol. II, Nina Svetlanova (Pf.) - Leningrad (St Laurent Studio YSL T-719)
Mario Lanza; Licia Albanese; Elaine Malbin (St Laurent Studio YSL T-746)
Tristan (Leinsdorf; Melchior, Traubel, Thorborg, Huehn, Kipnis) (3-Immortal Performances IPCD 1102)
Missa Solemnis - Toscanini; Milanov, Thorborg, von Pataky, Moscona (2-Immortal Performances IPCD 1086)