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Yves St Laurent celebrates----------------- Bidders' Alert ! ! ! -----------------AUCTION CLOSED:
PAUL PARAY’s birthday, 24 May,
plus MAUREEN FORRESTER . . .
GEORGES THILL, AURELIANO PERTILE
& GUY CHAUVET . . .
Many MALIBRAN CDs on our 50% SALE
Norbeck, Peters & Ford's Annual 78rpm Auction closed 21 May 2018.
Many thanks for all who placed bids, and please understand that we are inundated with much paperwork, thus a slight delay as we process bids.
This week's offerings for your perusal:
PAUL PARAY Cond. Orchestre National de la RTF, w. Guy Chauvet, Michel Roux, Consuela Rubio & Gerard Chapuis: LA DAMNATION DE FAUST (Berlioz). (Canada) 2-St Laurent Studio YSL T-541. Transfers by Yves St Laurent. (C1600)
"French tenor Guy Chauvet was co-winner of a tenor competition in Cannes, along with Alain Vanzo, Gustave Botiaux, Tony Poncet, and Roger Gardes - a pretty impressive assemblage of talent! Chauvet made his Paris Opéra debut in 1959, starting with comprimario parts, finally advancing to lead roles. He soon established himself as an important presence, both in France and, ultimately, in many of the world's other major opera houses. He sang numerous roles in the French and Italian repertoire, and became particularly well-known for such heroic parts as Aeneas and Samson.
Guy Chauvet was without question a talented singer, and one who filled a pressing need during a time when the grand tradition of the French heroic tenor was in decline. Typical of this singer's work in general, the diction is idiomatic and crystal-clear. The sweetness of the young Chauvet's timbre is something to savor. In addition, Chauvet displays all of the other qualities that are the heart and soul of great French tenor singing - a seamless legato, a masterful application of the mixed voice, and an ideal balance between elegance and passion. And if all of these attributes inspire comparison to Chauvet's great predecessor, Georges Thill, the singing on this disc justifies such comparisons."
- K. M., classicalcdreview, Sept., 2004GEORGES THILL, w.Pares, Heurteur, Frigara, Gaubert, van Parys & Cohen Cond.: Quatrieme Beatitude (Franck); Les anes du Caire (Nerini); Dans la foret (de Faez); Arias from Lakme (Unpublished), Werther, Romeo, Carmen, La Damnation de Faust, Marouf, Herodiade, Die Walkure,Tosca, Pagliacci, La Traviata & Manon (the latter partially w. American soprano Mary McCormic). (France) Malibran 147, recorded 1925-28 (including four rare acoustic recordings from early 1925). (V2559)
"Georges Thill is deservedly considered by many the finest lyrico-spinto among French tenors. A rock-solid tone, superb breath control, and an impression of strength carefully weighed through the sensibility of a first-rate musician: these are the qualities Thill brings to his recordings."
- Barry Brenesal, FANFARE, May/June, 2006
"Georges Thill defines the brilliant all-purpose tenor....The glow and force of his firm timbre, his sympathetic art in so many styles, are the stuff of legendary versatility."
- C.J. Luten, OPERA NEWS, Feb., 1996PAUL PARAY Cond. Orchestre National de la RTF: Prometheus Overture - Live Performance, 11 Nov., 1960; Symphony #5 in c (both Beethoven); Symphony #4 in d (Schumann), Live Performance, 2 May, 1957. (Canada) St Laurent Studio YSL T-536. Transfers by Yves St Laurent. (C1599)
AURELIANO PERTILE: Columbia disks, incl. Musica proibita; Maria, Mari; O sole mio; Arias from Lohengrin, Fedora, Andrea Chenier, Manon Lescaut, Pagliacci, Cavalleria, Iris, Tosca, Mefistofele, Adriana Lecouvreur, L’Africana & La Traviata. (France) Malibran 150, recorded 1922-33. (V2558)
"At La Scala Pertile became Toscanini's favorite tenor (after Caruso and long before Jan Peerce in New York), singing almost everything from LUCIA and IL TROVATORE to I MAESTRI CANTORI (the Italian rendering of DIE MEISTERSINGER) under his direction; he created the title roles in the NERONEs of Boito (in 1924) and Mascagni (in 1935). In December of 1923, although Gatti had the tenors Miguel Fleta, Beniamino Gigli, Giacomo Lauri-Volpi, and Giovanni Martinelli on his roster, with some touch of regret he must have read this message from one of his Italian agents: 'As you will read in the papers La Scala has become il teatro 'PERTILE'. All the operas are sung by him, the only tenor! His recordings reveal a very present nobility of spirit. Moreover, his attention to binding notes together into an unimpeachable legato placed him among the greats. "
- Robert Tuggle, THE METROPOLITAN OPERA ARCHIVES
“I would have to say that after Caruso, [Pertile] was my favorite tenor to sing with. He didn’t have the most beautiful voice, but it was what he did with it. Pertile was one of the best actors I can remember. He really became the character he was singing, and he was so careful, so supportive and cooperative with the other cast members – just like Caruso was.”
- Rosa Ponselle, ROSA PONSELLE, A CENTENARY BIOGRAPHY, p.238PAUL PARAY Cond. Orchestre National de la RTF: La Mer (Ravel); Bolero (Debussy); w.Samson Francois: Piano Concerto #1 in E-flat (Liszt), Live Performance, 9 May, 1957; w.Aline van Barentzen: Piano Concerto #2 in g (Saint-Saens), Live Performance, 7 Feb., 1969. (Canada) St Laurent Studio YSL T-535. Transfers by Yves St Laurent. (C1598)
“Aline van Barentzen still holds the record as the youngest pianist, at 11 years old, to have won the First Prize at the Paris Conservatory. Her first recital was at the age of four, after which her mother moved with her from Boston to Paris for further music studies. Practicing six hours a day, at the age of seven she performed Beethoven's First Piano Concerto with orchestra, and at nine was accepted into the Paris Conservatory. Her teachers there included Marguerite Long and Delaborde. Later she studied in Berlin with Heinrich Barth and Ernst von Dohnanyi (among her fellow students were Arthur Rubinstein and Wilhelm Kempff), and in Vienna with Leschetizky.
With Paris as her home she became friends with many of the leading musicians and composers of the early twentieth century, including Enescu, Poulenc, Messaien, Roussel, and Villa Lobos, whose works she often premiered. She performed frequently throughout Europe with the leading conductors and recorded for His Master's Voice. She became a French citizen in the 1930's and spent the war in Paris, playing concerts as part of the effort to boost morale.
Aline absorbed scores quickly, learning all 24 Debussy Preludes during a vacation, and the Brahms ‘Paganini Variations’ in five days. At one time she had an active repertoire of over 500 works. Her extensive early training resulted in complete technical mastery, it being told that when she went to study with Leschetizky he declared himself satisfied with her technique and spent his time on interpretation."
- Z. D. AkronGUY CHAUVET: Arias & Scenes (w.Margarita Lilova & Regine Crespin) from Samson et Dalila, Les Troyens, La Damnation de Faust & Le Prophete. (France) Malibran AMR 149. (V2557)
"This is a very welcome addition to the series covering those French tenors who were active in the post-Second World War period. Guy Chauvet was the youngest of what Jean Giraudeau (a noted tenor himself) and Jean Gourret in their comprehensive book LES PRESTIGIEUX TÉNORS DE L'OPÉRA DE PARIS termed 'La Dernier Vague' (The Last Wave). They were aware of the gradual decline in the number of fine tenors that used to dominate the French operatic scene during the first half of the 20th century. These transfers have been made from the personal collection of Chauvet's widow. Certainly the transfers vary in quality between the studio and live performances. This CD, without reserve, is enthusiastically recommended, for its contents display a remarkable tenor talent."
- Alan Bilgora, THE RECORD COLLECTOR, 2014MAUREEN FORRESTER & WILLIAM COCHRAN, w.Abravanel Cond. Utah S.O.: Das Lied von der Erde (Mahler). (Canada) St Laurent Studio YSL T-583, Live Performance, Season of 1974-75. Transfers by Yves St Laurent. (V2552)
"Maureen Forrester, the Canadian contralto, was revered for her opulent voice and musical elegance and especially acclaimed for her performances of Mahler; she sang the broader mezzo-soprano repertory, rightly considered herself a contralto, the lowest and rarest female voice. In her prime she was a classic contralto with a plummy, deep-set sound. Yet she had a full-bodied upper voice and could sing passagework in Handel arias with agility. She sang Mahler and German lieder with impeccable diction.
Ms. Forrester was little known in the United States when she made her New York recital debut at Town Hall in November 1956 with the pianist John Newmark, who became her longtime accompanist. She won rave reviews. 'Miss Forrester has a superb voice of generous compass and volume', Edward Downes wrote in THE NEW YORK TIMES. 'Its color ranges from a darkly resonant chest register to a brilliantly focused top with a middle register that she makes velvet soft or reedy according to her expressive intent'. At the time, the conductor Bruno Walter, who had been a close associate of Mahler's, was looking for a contralto to sing in a performance and a recording of Mahler's 'Resurrection' Symphony with the New York Philharmonic. He invited Ms. Forrester, then 27, to sing for him, and hired her. The recording is now considered a classic. Ms. Forrester went on to record Mahler's DAS LIED VON DER ERDE with Walter and soon became an acknowledged exponent of Mahler. She was best known for her recital work and performances with orchestras, and appeared with many leading conductors, including Eugene Ormandy, Herbert von Karajan and Leonard Bernstein."
- Anthony Tommasini, THE NEW YORK TIMES, 17 June, 2010
. . . REPEATED FROM THE RECENT PAST . . .
ZINKA MILANOV, w.Vincent La Selva Cond. Trenton S.O.: Arias from Otello, La Boheme, Cavalleria & Gianni Schicchi - Live Performance, 13 Nov., 1966 - Milanov's Final Performance; Otello - Ave Maria - Live Performance, 15 April, 1965, Met Opera; Milanov's Farewell speech, 13 April, 1966, Met Opera; William H. Wells [New York Opera Club] Interviews Zinka Milanov, 1962 [an exhaustive 69-minute interview discussing her entire career]. (Canada) 2-St Laurent Studio YSL T-648, front cover featuring a previously unknown Boston 1956 Milanov photo by Thomas Murphy. Transfers by Yves St Laurent. (V2555)
"I have just spent a couple of hours in music lover's heaven. Oh my! Milanov! The items from the 1966 concert in Trenton are just knockouts; you look at the date, the year she retired, at 60, and you would think you were listening to her in the early 1950s at her unequaled peak. No sense of wear or strain or having to push, just lovely singing. But even more gripping, is the long series of interviews with her. Yes, she is reminiscing about her career, but you notice right off that what she keeps coming back to when talking about the various roles she sang, is knowing the markings in the score. We loved her for that unique voice; you knew it was Milanov on the first note, but beyond that unique quality, that unique sound, was the musician behind it. She did not just make the remark once - it comes in all through the interview and it says so much about why she was Milanov. When Leonard Warren made a very strong point that the critics who took pot shots at Milanov in ERNANI did not know the opera, he said, very firmly and repeated it: 'she knows every mark in her score'. Secondly, she makes very strongly the point that singers should sing what suits their voice, not their ambitions. She did not name names, but she did comment that some contemporary singers who wanted the big dramatic roles which were not right for their voices, would harm their voices. No Milanov zingers here, probably just as well, for those youngsters who never heard her nor know what she meant to her listeners would not realize how absolutely down to earth and honest she was. What a glorious treat it is to hear her - and so very much herself!”
- Dr. Helen Hatton, UNIVERSITY OF TORONTO, 15 May, 2018LOHENGRIN, Live Performance, 1 Feb., 1964, w.Rosenstock Cond. Met Opera Ensemble; Sandor Konya, Regine Crespin, Nell Rankin, Walter Cassel, etc. (Canada) 3-St Laurent Studio YSL T-662. Transfers by Yves St Laurent. (OP3260)
“The noted Hungarian tenor Sandor Konya was surely the most successful Lohengrin of the 1950s and 60s, and I think a legitimate case can be made that he was the finest Lohengrin after Lauritz Melchior. Konya had a voice that combined power with a liquid tonal beauty, enabling him to sing with dramatic thrust and tenderness as the music required. He made a fine appearance in a studio recording of the opera in 1965 (RCA) with Erich Leinsdorf and the Boston Symphony, following a series of Tanglewood performances (three performances of one act per concert). Reports are that Leontyne Price was the planned Elsa, but for whatever reason she didn’t make the performances and the rather unimaginative Lucine Amara turned in an acceptable but routine Elsa. The recording suffers from an overall lack of intensity, stemming from the podium (surprising, because I attended the live performances that preceded it, and they were very exciting).
I am familiar with three live performances with Konya that have been preserved, two of which have been reviewed in FANFARE
(interestingly, the RCA recording never was). Earliest is a 1958 Bayreuth performance, led by Andre Cluytens, with Leonie Rysanek’s thrilling Elsa. It was reviewed enthusiastically by John Yohalem (Fanfare 5:2) and William Youngren (8:1). Perhaps even more enthusiasm was displayed by Youngren (6:5) and me (31:1) about a 1959 Bayreuth performance led by Lovro von Matacic with the lovely Elsa of Elisabeth Grummer. The tenor is wonderful in all performances, but this one from the Met in 1964 catches Konya at perhaps the finest point of his career. He had had enough experience with the role (he first sang it in 1953) to really inhabit the character and to drop some of the excessive sobbing he inserted earlier. At the same time his voice was still in its healthy prime. Because Konya possessed the ideal kind of voice for Lohengrin, he clearly relishes the role. I know of very few performances of ‘In fernem Land’ or ‘Mein lieber Schwan’, even on recital discs, that I prefer to what I hear in this performance.
There is not a clear ‘best’ recording (longtime FANFARE
readers know of my allergy to naming ‘bests’), but this one is certainly on a par with the two Bayreuth performances. Matacic, a much under-valued conductor, may lead the most powerful and incisive of the three performances, but Cluytens and Rosenstock are not routiniers. The Met account also features an outstanding Elsa in Regine Crespin, whose opulent voice and easy high notes, particularly at this early stage in her career (she was 37 in 1964), allow her to soar through Wagner’s long phrases with ease and glowing tone. The big act II duet between Elsa and Lohengrin where she can’t resist asking his name is quite extraordinary, worthy of the term ‘historic’ despite it not being pre-war.
Nell Rankin is very fine in the cruel role of Ortrud. Wagner makes it almost impossible to sing the part effectively without pouring out ugly sounds. I remember internally grimacing when Rita Gorr let loose in Ortrud’s curse to the pagan gods. Some have criticized Rankin for not being forceful enough, which might be true, but the offsetting advantage is that she sings the role musically without resorting to shrill hollering. I’ll take that tradeoff. Walter Cassell is a fine Telramund too, using his firmly focused baritone to effectively convey the evil intentions he shares with his wife. Ernst Wiemann and Calvin Marsh are no better or worse than adequate as King Heinrich and the Herald.
The Met came late to stereo broadcasting, so this 1964 performance is monaural. The St. Laurent Studio transfer, as usual from this label, is excellent. The only comparison I have is on Gala, and this new one is considerably more vivid and correctly pitched throughout. Rosenstock observes most of the conventional cuts of the day, including the second verse of ‘In fernem Land’ and the chorus that follows. The overall timing is some 45-50 minutes shorter than uncut modern studio recordings, including those by Solti, Karajan, and Colin Davis.
Any Wagner collection would be incomplete without a representation of Konya’s Lohengrin, and this one is at least as good as any of the others and might be preferred because it catches him at the central peak of his career. Another ‘plus’ is Crespin’s sumptuous Elsa. This edition has the best recorded sound of any of the three, though on the other hand the Bayreuth orchestra from this era plays this music at a slightly better level than the Met in its pre-Levine days. St. Laurent Studio, typically for their releases, provides complete track listing and cast and date documentation but no notes or libretto. This release is available from Norbeck, Peters & Ford (www.norpete.com)
- Henry Fogel, FANFARELOHENGRIN, Live Performance, 20 - 22 Aug., 1965, Tanglewood, w.Leinsdorf Cond. Boston Symphony Orch.; Sandor Konya, Lucine Amara, Rita Gorr, William Dooley, Jerome Hines, etc.; preceded by Leonore Overtures, Nos. II & III (Beethoven) & Siegfried Idyll (Wagner). (Canada) 3-St Laurent Studio stereo YSL T-524. Transfers by Yves St Laurent. (OP3258)
DON QUICHOTTE (Abridged) (Massenet), Live Performance, 22 Sept., 1961, w.Derveaux Cond. Xavier Depraz, Andree Gabriel, Henri Bedex, Jean Clarieux, etc. [Massenet identified personally with his comic-heroic protagonist as he was in love with Lucy Arbell who sang Dulcinee at the first performance. He was then 67 and died just two years later. The role of Don Quichotte was one of the most notable achievements of the Russian bass Feodor Chaliapin, for whom the role was specifically conceived. The opera, 1910, was one of six commissioned from Massenet by Raoul Gunsbourg for the Opera de Monte-Carlo] (France) Malibran AMR 151. (OP3259)
CARLO BERGONZI: Arias & Duets w. Simonato, Stella, Bastianini & Rothenberger) from Il Trovatore, Forza, Luisa Miller Aida, La Traviata & Ballo (the latter being extended excerpts from the glorious Met Opera performance of 17 March, 1962). ["If Corelli is the born Radames, Bergonzi seems bred to conquer the varied challenges of Riccardo....What a heady mix of musical refinement and tenor strut he offers!" - Paul Jackson, p.383]. (France) Malibran AMR 148, primarily Live Performances [in stunning sound quality!]. (V2556)
ZINO FRANCESCATTI, w. Munch Cond. Boston S.O.: Concerto #2 in g (Prokofiev), Live Performance, 30 April, 1956, Symphony Hall; w. Szell Cond. Cleveland Orch.: Concerto #1 in D (Paganini) [albeit with very minor broadcast interference at very beginning, Paganini only], Live Performance, 29-31 Oct., 1959, Severance Hall. (Canada) Yves St Laurent YSL T-537. Transfers by Yves St Laurent. (S0716)
EMIL GILELS, w.Antal Dorati Cond. ORTF S.O.: 'Emperor' Concerto #5 in E-flat, Live Performance, 12 June, 1976, Lausanne; EMIL GILELS, w.Witold Rowicki Cond. Warsaw Phil.: Concerto #4 in G, Live Performance, 8 Dec., 1967 [the sound quality on this 4th alone is less desirable] (both Beethoven). [Another 'Desert Island' performance, this 'Emperor' is not to be missed!] (Canada) St Laurent Studio YSL T-566. (P1280)
KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: Symphony #4 in E-flat 'Romantic' (Bruckner), Live Performance, 1982, Symphony Hall, Boston. (Canada) St Laurent Studio YSL T-695. [Another majestic Tennstedt Bruckner experience displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1591)
MICHAEL TILSON THOMAS Cond. Boston Symphony Orchestra, w.Susan Davenny Wyner, Mary Strebing, John Aler, Alexander Stevenson, Timothy Nolen & Gregory Reinhart: VESPRO DELLA BEATA VERGINE (Monteverdi), Live Performance, 1 Feb., 1974, Symphony Hall, Boston. (Canada) 2-St Laurent Studio YSL T-550. [A brilliant performance, beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1592)
DIE WALKURE - Act III – Complete, w.HELEN TRAUBEL, HERBERT JANSSEN, DORIS DOREE, etc., New York Philharmonic, w. Artur Rodzinski Cond.; GOTTERDAMMERUNG - Brunnhilde's Immolation, w. HELEN TRAUBEL, NYPO, w.Rodzinski Cond. - Live Performance, 25 Nov., 1945, w. broadcast commentary, Carnegie Hall. Also: TRISTAN UND ISOLDE - Act II – complete, w. HELEN TRAUBEL, LAURITZ MELCHIOR, KERSTIN THORBORG, ALEXANDER KIPNIS & HERBERT JANSSEN; Met Opera Ensemble, w. Leinsdorf Cond., Live Performance, 23 Dec., 1944 - Premiere Issue. (Canada) 2-Immortal Performances IPCD 1093. Restoration by Richard Caniell. Includes 26pp Booklet w.notes by Dewey Faulkner & Richard Caniell. (V2554)
LE JONGLEUR DE NOTRE-DAME (Massenet), Live Performance, w.Debels Cond. Charles Burles, Etienne Arnaud, Adrien Legros, etc. (France) Malibran AMR 155. (OP3251)
LILIANE BERTON: 'Auf dem Wasser zu singen' (Schubert - in French); Arias by Gluck, Mozart, Rossini, Massé, Audran, Meyerbeer, Messager, Adam, Gounod, Bizet, Massenet, Poulenc, Milhaud, Youmans & Menotti. (France) Malibran 815, recorded 1952-63. (V2542)
CHARLES ROUSSELIERE: Songs by Beethoven, Holmes, Flegier & Leoncavallo; Arias from Cavalleria Rusticana, Martha, Lucia, La Favorite, Mireille, Le Cid, Werther, Carmen, Herodiade, La Juive, Sigurd, Die Walkure, Siegfried, Gotterdammerung, Parsifal, Lohengrin & Tannhauser. (England) The Record Collector TRC 46, recorded 1903-30. Transfers by Norman White. (V2550)
LANDMARKS OF RECORDED PIANISM, Vol. 1, incl. Dinu Lipatti, Alfred Cortot, Guiomar Novaes, Josef Labor, Iso Ellinson, Moritz Rosenthal, Dan Davis, Stanley Hummel, Leff Pouishnoff , Abram Chasins, Vladimir Horowitz & Erwin Niryeghazy. 2-Marston 52073. (P1278)
SMARTER THAN ALL THREE OF US ! ! !
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!!!
. . . 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
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 . . .
and more CDs and books are added each week] . . .
Our 50% Discount Sale continues,
now offering more than 2200 titles . . .
- - - - - - - 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
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Auction #148 Catalog File Download
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
. . . For the Opus Kura,
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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C1600. PAUL PARAY Cond. Orchestre National de la RTF, w. Guy Chauvet, Michel Roux, Consuela Rubio & GÃ©rard Chapuis: LA DAMNATION DE FAUST (Berlioz). (Canada) 2-St Laurent Studio YSL T-541. Transfers by Yves St Laurent.
V2559. GEORGES THILL, w.ParÃ¨s, Heurteur, Frigara, Gaubert, van Parys & Cohen Cond.: QuatriÃ¨me BÃ©atitude (Franck); Les Ã¢nes du Caire (NÃ©rini); Dans la forÃªt (de FaÃ©z); Arias from LakmÃ© (Unpublished), Werther, RomÃ©o, Carmen, La Damnation de Faust, Marouf, HÃ©rodiade, Die WalkÃ¼re,Tosca, Pagliacci, La Traviata & Manon (the latter partially w. American soprano Mary McCormic). (France) Malibran 147, recorded 1925-28 (including four rare acoustic recordings from early 1925).
C1599. PAUL PARAY Cond. Orchestre National de la RTF: Prometheus Overture - Live Performance, 11 Nov., 1960; Symphony #5 in c (both Beethoven); Symphony #4 in d (Schumann), Live Performance, 2 May, 1957. (Canada) St Laurent Studio YSL T-536. Transfers by Yves St Laurent.
V2558. AURELIANO PERTILE: Columbia disks, incl. Musica proibita; Maria, Mari; O sole mio; Arias from Lohengrin, Fedora, Andrea ChÃ©nier, Manon Lescaut, Pagliacci, Cavalleria, Iris, Tosca, Mefistofele, Adriana Lecouvreur, Lâ€™Africana & La Traviata. (France) Malibran 150, recorded 1922-33.
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Eleanor Steber (Marcia Sloat) (9780963417404)
La Fanciulla del West (Behr; Steber, Corelli / Bardini, Colzani) (2-St Laurent Studio YSL T-519)
Aida / Forza (Bellezza; Rethberg, Ponselle, Martinelli, Pinza, de Luca) (2-Immortal Performances IPCD 1071)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Renata Scotto; John Wustman (1970 Hunter College Recital) (St Laurent Studio YSL T-665)
Medea (Gui) / Lucia di Lammermoor (Cleva) - TWO Maria Callas Performances (4-Immortal Performances IPCD 1076)
Arturo Toscanini; Michel Piastro, Alfred Wallenstein (Brahms) (2-Immortal Performances IPCD 1077)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Istvan Kertesz; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
William Kapell - 3 First Releases; Rodzinski, Richard Burgin, Ormandy (JSP684)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Klaus Tennstedt, Vol. II (2-St Laurent Studio YSL T-542)
Norma (Panizza; Cigna, Castagna, Martinelli, Pinza, Votipka) (2-Immortal Performances IPCD 1063)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Helen Traubel, Lauritz Melchior, Kipnis, Janssen, Thorborg; Rodzinski, Leinsdorf (2-Immortal Performances IPCD 1093)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
Klaus Tennstedt, Vol. III (St Laurent Studio YSL T-543)
Simon Boccanegra (Cleva; Cornell MacNeil, Zinka Milanov, Giorgio Tozzi, Barry Morell) (2-St Laurent Studio YSL T-442)
L'Elisir d'Amore (Weikert; Upshaw, Cole, Taddei) (2-St Laurent Studio YSL T-516)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Alexis Weissenberg, Vol. V; Kondrashin, Rowicki (St Laurent Studio YSL T-485)
Erich Leinsdorf, Vol. VI; Sills, Wolff, Domingo, Berberian) (St Laurent Studio YSL T-453)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
Erich Leinsdorf, Vol. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Sir John Barbirolli - Boston Symphony Orchestra (St Laurent Studio YSL T-415)
The Boy (William H. Berry, Peter Gawthorne & Nellie Taylor) (Palaeophonics 141)
Lener String Quartet, Vol. I (Brahms) (St Laurent Studio YSL 78-634)
Maria Jeritza (Malibran AMR 133)
Siegfried (Boulez; McIntyre, Jones, Kollo, Kelemen, Zednik, Rundgren) (3-St Laurent Studio YSL T-670)
Aida (Cleva; Arroyo, McCracken, Bumbry, Colzani, Flagello, Plishka) (2-St Laurent Studio YSL T-515)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Missa Solemnis (Toscanini; Milanov, Thorborg, von Pataky, Moscona) (2-Immortal Performances IPCD 1086)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
Les Collections des Chefs-d'oeuvre Artistiques de Girard & Cie (2-Truesound Transfers 4007)
La Boheme (Samosud; Kozlovsky, Shumskaya, Burlak, Yakovenko, Korolev) (2-Aquarius AQVR 405)
The Naughty Princess (George Grossmith, Lily St John, Amy Augarde) (Palaeophonics 145)