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Related Books & Ephemera
Since 1972



PALAEOPHONICS

now offers the delightful 1909 London hit -

THE ARCADIANS . . .

plus YVES ST LAURENT's newest issues:

Gieseking's Debussy, Richard Strauss,

Ernest Ansermet, Josef Traxel . .

and our regular 50% SALE continues



  • THE ARCADIANS (Lionel Mockton & Howard Talbot, w.lyrics by Arthur Wimperis), w. Florence Smithson, Phyllis Dare & Alfred Lester (from Original Cast); Supplementary Material by Charles Handy, Violet Essex, Harry Thornton, Peter Dawson, Ernest Pike, Harold Wilde, Stewart Gardner, Edison Light Opera Company, etc. (England) Palaeophonics 120, recorded 1909-29, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & biographies. Produced at the Shaftesbury Theatre, London, 1909 (809 performances); Liberty Theatre, Broadway - 17 January, 1910 (136 performances). (PE0256)

    "This really funny musical comedy has a very large soft part in the heart of the play-going community. Put on a piece that will make the house rock with laughter, such as THE ARCADIANS, and success is assured!

    The supply of humour is divided chiefly between Mr. Dan Rolyat and Mr. Alfred Lester, artistes with entirely different styles, so that there is no clashing. The grotesque clowning of the one is as funny as the dry complaining of the other. Miss Phyllis Dare does everything that is expected of her; she dances nicely, sings sweetly and looks pretty, and a musical comedy star need do nothing more. Miss Florence Smithson brings a beautiful voice into play, her singing being quite a feature of the performance.

    THE ARCADIANS is playing to full houses at every performance and there is, as yet, no talk of a successor. The public will not soon grow tired of such fare, and I heartily agree with their taste."


  • - Playgoer and Society Illustrated, Dec., 1909.




  • WALTER GIESEKING, Vol. II: Préludes, Books I & II (Debussy). (Canada) St Laurent Studio YSL 78-266, recorded 1936-39, London & New York. Transfers by Yves St Laurent [featuring remarkably quiet surfaces for these incandescent performances]. (P1176)

    “It was with the repertoire of French masters that the German pianist Walter Gieseking became most famous. The impressionistic piano writing of Claude Debussy and Maurice Ravel required the most sensitive touch and attention to color and nuance, and Gieseking's finger acuity, imaginative pedaling, and above all, preternaturally alert ear made him an ideal interpreter of this music. His recordings of Debussy and Ravel are regarded as benchmarks for every subsequent performer.”


  • - Mark Satola, allmusic.com




  • ERNEST ANSERMET Cond. Orchestre de la Suisse Romande, w.Maria Stader, Marga Höffgen, Josef Traxel, & Kim Borg: MISSA SOLEMNIS - Live Performance, 23 May, 1962; w.Gré Brouwenstijn, Elsa Cavelti, Josef Traxel & Heinz Rehfuss: Choral Symphony #9 in d - Live Performance, 27 Oct., 1957 (both Beethoven). (Canada) 2–St Laurent Studio YSL T-274. Transfers by Yves St Laurent, [taken from remarkably fine and clear broadcast-quality tapes]. (C1359)

    “For 50 years Ansermet directed an orchestra that was second-rate in tone and technique, yet Ernest Ansermet drew performances from it that cut right to the heart of the music. A musician of catholic taste, Ansermet was a reliable, insightful interpreter of composers from Mozart to Martin. His recordings in the 1950s and 1960s with the Suisse Romande Orchestra, which he founded, retain strong interest for collectors who value nuance over tonal sheen. These recordings are of especial interest as they provide a link to composers active in Paris in the early twentieth century, with whom Ansermet was closely associated."


  • - James Reel, allmusic.com




  • RICHARD STRAUSS Cond. Berlin Staatsoper Orch.: Symphony #5 in c (Beethoven), recorded 1928; w.Josef Wolfsthal & Enrico Mainardi: Der Burger als Edelmann (Strauss), recorded 1930 (Cond. by the Composer). (Canada) St Laurent Studio YSL 78-271. Transfers by Yves St Laurent. (C1360)

    “Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of TILL EULENSPIEGEL and DON JUAN with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings; even the original 78 rpm discs had superior sound for their time. Born in Munich in 1864, Strauss was the son of Franz Joseph Strauss, the principal hornist in the Munich Court Orchestra. Strauss demonstrated musical aptitude at an early age, and his Serenade for 13 Winds, Op. 7 (1881), written when he was 17, led conductor Hans von Bülow to pronounce him ‘by far the most striking personality since Brahms’. Bülow was able to give Strauss his first commission and an assistant conductor position. Through new friendships, Strauss learned to admire the writings of Schopenhauer and Nietzsche and the music of Wagner and Liszt. He embarked on a long career of conducting and composing, which took him all over Europe and the U.S. From the beginning of Strauss' career as a composer, it was evident that the orchestra was his natural medium.”


  • - allmusic.com


    . . . and repeated from last week . . .

  • MERCENARY MARY (Con Conrad & William B. Friedlander, w.words by William B. Friedlander, Isabel Leighton & Irving Caesar), w. Leonard Homsey Cond. London Hippodrome Orch.; June & Sonny Hale, Peggy O'Neill, Archie W. Bascomb & Lew Hearn; Dance Music by Percival Mackay's Band & Columbia Vocal Gem Chorus. (England) Palaeophonics 128, recorded 1925-26, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & biographies. [Based on Herbert Hall Winslow and Emil Nyatray's farce WHAT'S YOUR WIFE DOING?, MERCENARY MARY played at New York’s Longacre Theatre in 1925 for 136 performances. When it moved to London’s Hippodrome, it enjoyed a longer run of 262 performances, before touring the Provinces. This is a delightful romp of conjugal chaos and far-fetched financial schemes.] (PE0255)

    “The bespectacled and short comic actor Sonnie Hale . . . Binnie Hale's younger brother made his West End début in the chorus of FUN OF THE FAYRE (1921). After his divorce from operetta star Evelyn Laye, he married musical comedy star Jessie Matthews, with whom he co-starred in six London productions. Together, the popular duo introduced Noel Coward's ‘A Room With a View’ in THIS YEAR OF GRACE (1928) and Richard Rodgers and Lorenz Hart's ‘Dancing on the Ceiling’ in EVER GREEN (1930). Hale directed several productions in the 1940s, and appeared in and directed a number of British musical films. He continued working in regional theater until his death at age 58.


  • - Musicals101.com


  • THE BLUE KITTEN (Rudolf Friml, w. words by Otto Harbach & William Carey Duncan), w. Howard Carr Cond. Gaiety Theatre Orch.; Ethel Levey, Roy Royston, Dorothy Brown, William H. Berry, Bobby Howes & Estelle Brody; Dance Music by Jack Hilton, Percival Mackay's Band & Kit-Cat Club Band. (England) Palaeophonics 129, recorded 1926, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & biographies. (PE0253)

    “Rudolf Friml was at the peak of his fame when THE BLUE KITTEN opened in London in December 1925. 1924 had seen the premiere of ROSE MARIE and in 1925 came THE VAGABOND PRINCE. Hovering between light operetta and pop, these two shows were as popular as any in the inter-war years. Although we like to think of inter-war musicals as slick and jazz-influenced, most stage shows owed as much to European light musical tradition as they did to the new American sounds. Friml’s sentimentality was much parodied even then but remained a favourite with audiences through to the 1950s.”


  • - Elvira Barney, 25 Oct., 2011




  • THE PASSING SHOW(s) of 1914 & 1915 (Herman Finck, w. words by Arthur Wimpers), w. Herman Finck Cond. Mayfair Orch. & Palace Theatre Orch.; Elsie Janis, Basil Hallam, Gwendoline Brogden, Nelson Keys, Douglas Phillips and Arthur Playfair. (England) Palaeophonics 127, recorded 1914 & 1915, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production plus 20pp. facsimile of original Palace Theatre programme, with photos of the production & biographies. [This is truly an exceptional Palaeophonics production of two irresistible London musicals.] (PE0252)

    THE PASSING SHOW proved so popular that Alfred Butt repeated his success the following year with THE PASSING SHOW of 1915 (Palace, 9 March 1915, with a second edition on 12 July), again starring Elsie Janis and Basil Hallam. Performing imitations of famous Americans, ‘The Sweetheart of the A.E.F.’ - Elsie Janis - first apperared on Broadway as teenager doing clever imitations of famous Americans. Her service during WW I entertaning troops on the French Front made her immortal.”


  • - Footlight Notes




  • ALEXIS WEISSENBERG: Mister Mystery, Extravagant Piano, incl. Zez Confrey, Abreu, Leemans, Fred Fisher, Heyne, Gershwin, etc. (Canada) St Laurent Studio YSL 33-273. Transfers by Yves St Laurent. (PE0254)

    “Alexis Weissenberg’s cool yet blazing approach divided reviewers. Where some heard impeccable technique, others heard soulless efficiency. Where some embraced the drama of his interpretations, others condemned them for aggressiveness. On these points, however, nearly everyone agreed: Mr. Weissenberg possessed a technical prowess rivaled by few other pianists. The ice of his demeanor at the keyboard (he sat, leaned forward and got down to business, playing with scarcely a smile or grimace) was matched by the fire that came off the keys. He could play very fast, and very loud. (Over time, verbs used to characterize his pianism included ‘barrel’, ‘tear’, ‘thunder’ and ‘let loose’). In any case, as reviews over many years made clear, Mr. Weissenberg did sometimes give performances, or make recordings, that were simply, electrically, unequivocally breathtaking. Mr. Weissenberg studied at the Juilliard School with the pianist Olga Samaroff and the composer Vincent Persichetti. In 1947, at 18, he won the Leventritt Award, a prestigious international music prize. He made his New York début the next year at Carnegie Hall, playing Chopin’s e minor Concerto with the New York Philharmonic under George Szell."


  • - Margalit Fox, THE NEW YORK TIMES, 9 Jan., 2012




  • LONDON STRING QUARTET, Vol. VII: Toch, Bridge, Brahms & Smetana. (Canada) St Laurent Studio YSL 78-269, recorded 1916-48. Transfers by Yves St Laurent. (S0653)

    “The London String Quartet was one of the most important international groups of its time. Numerous premieres, Beethoven cycles, widespread concertising, and eminent recordings marked out its trajectory. The 'live' Library of Congress recordings demonstrate its most vital, sensitive and convincing musicianship in ways that even its studio discs occasionally fail to show. They provide irrefutable evidence that the quartet was one of the very greatest of its time.”


  • - Irving Kolodin, THE MUSICAL LIFE, P.63




  • LA JUIVE - Excerpts, w.Paul Courand Cond. Karlsruhe Opera Enemble; Tony Poncet, Jane Rhodes, Denise Monteil & Gérard Serkoyan; GUILLAUME TELL - Excerpts, w. Tony Poncet, Jean Borthayre & Irène Jaumillot. (Canada) St Laurent Studio YSL 33-268. Transfers by Yves St Laurent. (OP3041)

    “Vezzani clearly had the better and more pure style and Luccioni the more sensuous sound and more metal, but it was Poncet (The Last of the French ‘fort ténors’) who kept those Meyerbeer operas in the repertoire at a time when so called serious critics and managers thought them old trash. Lucky for us in the eighties some singers realized what a gap of operatic history was disappearing (and what possibilities for success) and though not common, a lot of revivals have proven these operas to be a treasure trove. But none of the tenors after Poncet (surely not in France) were able to step into his vocal shoes as most of them were spinto’s at their best. Tony Poncet was indeed the last ‘fort-ténor’."


  • - Jan Neckers




  • LE JOUR ET LA NUIT, Broadcast Performance, 1956, w.Roger Ellis Cond. Liliane Berton, Lina Dachary, Freda Betti, Michel Hamel, Gilbert Moryn, Pierre Roi, etc.; ROSE-MOUSSE, Broadcast Performance, 7 July, 1965, w.Hartemann Cond. Lina Dachary, Aimé Doniat, Joseph Peyron, René Lenoty, Germaine Parat, etc. (both LeCocq). [Among the most enchanting of all the French delicacies!] (France) 2-Malibran 778. (OP3040)

    “Alexandre Charles Lecocq was a French musical composer, active during the latter half of the 19th Century. He studied under François Bazin, François Benoist, and Fromental Halévy, winning the first prize for harmony at the Conservatoire in 1850, and the second prize for fugue in 1852. He first gained notice by sharing with Georges Bizet the first prize for an operetta in a competition instituted by Jacques Offenbach. Camille Saint-Saëns was a friend of Lecocq's, and never ceased to admire the latter's music. Lecocq ‘s LE JOUR ET LA NUIT is especially enchanting and delightful.”
  • - J. R. Peters




  • SUZANNE BALGUERIE: Arias from Iphigénie en Tauride, Alceste, Faust, Sigurd, Ariane et Barbe-Bleue, Aïda, Lohngrin & Tristan; MARCELLE BUNLET: Arias from Ariane et Barbe-Bleue, Parsifal & Der Fliegende Höllander; EUGÉNIE BUNLET: Tous les baisers (Maurice Pesse); Les Contes d'Hoffmann - Elle a fui la tourterelle; JACQUELINE COURTIN: La Tour de Feu - Ballade de Naïk (Lazzari). (France) Malibran 758. (V2407)

    "It was not until 1921 when Suzanne Balguerie made her début at the Opéra-Comique as Ariane in Dukas’ ARIANE ET BARBE-BLEU. She is a remarkable dramatic soprano, comparable to Germaine Lubin. We inevitably think of Régine Crespin or Germaine Lubin as regards Wagnerian sopranos. Today we no longer hear Elsa and Senta sung in our French, offering a fairly light approach, a clear voice, intended to be heard in human-sized rooms and not in vast hangars of dubious acoustics. It is in the French repertoire where we find the immense superiority of Balguerie of whose work so little is saved, thus this disc’s inclusion of two other singers is probably why Malibran had to resort to other singers in order to provide sufficient material for this CD.”


  • - Laurent Bury, forumopera.com, 2 July, 2013




  • AGUSTARELLO AFFRE (The French Tamagno): Arias & Duets (w.Léonie Tanésy, Jane Marignan & Mathilde Comès) from Guillaume Tell, La Juive, Les Huguenots, Le Prophète, L'Africaine, Roméo, Sigurd, La Reine de Saba, La Favorite, Le Mage, Faust, Carmen, Le Cid, Le Trouvère, Aïda, Rigoletto, & Lohengrin. (France) Malibran 775, recorded 1902-11. (V2380)

    “Agustarello Affre held his own with Escalaïs, de Reszke, Van Dyck, Alvarez, Saléza, Scaramberg, Muratore and Franz in a career that lasted two decades. Affre made his début at the Paris Opéra in 1890 as Edgardo in LUCIA with Nellie Melba. At the Opéra, he created rôles in operas by Massenet and Saint-Saëns and also sang Canio and Belmonte for the first time. Affre never sang at the Opéra-Comique, but during his career he made guest appearances in Lyon, Marseille, Brussels, London, New Orleans, Havana and San Francisco.”


  • - Robert Baxter, Program Notes for Marston’s CARMEN




  • ENRICO CARUSO: The Milano Zonophone Recordings, 1902-04, incl. Songs by Leoncavallo, Tosti, Trimarchi, Denza, Zardo & Pini-Corsi; Arias from Les Huguenots, Mefistofele, L'Elisir, I Pescatori di Perle, Aïda, Rigoletto, La Gioconda, Adriana Lecouvreur, Germania, Fedora, Tosca, Iris, Manon, Cavalleria & Pagliacci. (France) Malibran 654. (V2403)

    “There was a magic moment in the history of recorded sound and it is sometimes exaggerated or its significance may be lost on today's listeners. The record catalogs in 1902 contained very few records, and even fewer by celebrities. There was very little public demand for record players, but the industry was on the verge of being able to reliably reproduce sound and of mass-producing records. When Caruso's first ten records were offered for sale in the summer of 1902, they created a sensation and a demand for record players. The Caruso records were so good that they actually sounded like music when played. Caruso became a celebrity and he was very much in demand for public performance. Other artists, many of whom had refused to record, changed their minds and signed contracts with recording companies. And, as a consequence, became more famous, but none as famous or as popular as Caruso.

    The tenor's voice recorded well. He had a gift and the recording horn was very kind to him.”


  • - John Bolig, ARSC Journal, Spring 2003




  • MARIE-MAGDELEINE, Broadcast Performance, 1963, w.Bigot Cond. ORTF Ensemble; Berthe Monmart, Denise Scharley, Paul Finel & Julien Giovannetti; Historic Massenet recordings, incl.Germaine Martinelli, Léon Beyle, Léon Campagnola, Joachim Cerdan, Lucy Perelli & Lise Landouzy. (France) 2-Malibran 779. (OP3039)



  • LES INDES GALANTES (Rameau), w.Fourestier Cond. l'Opéra Ensemble; Géori Boué, Henri Legay, Roger Bourdin, Janine Micheau, Rita Gorr, Suzanne Sarroca, Jacqueline Brumaire, Georges Vallant, Jean Giraudeau, René Bianco, Raphael Romagnoni, etc. (France) 2-Malibran 776. (OP3032)



  • FERVAAL (d’Indy), Broadcast Performance, 1962, w.Le Conte Cond. RTF Ensemble; Jean Mollien, Micheline Grancher, Janine Capderou, Lucien Lovano, etc. (France) 2-Malibran 771. (OP2997)



  • LA DAME BLANCHE (Boieldieu), Live Performance, 1964, w.Jean Fournet Cond.Hilversum Radio Ensemble; Mimi Aarden, Erna Spoorenberg, Nicolai Gedda, Frans Vroons, etc.; MA TANTE AURORE, OU, LE ROMAN IMPROMPTU (Boieldieu), Broadcast Performance, 1963, w.Courand Cond.Françoise Ogéas, Janine Collard, Jean Mollien, etc. (France) 2-Malibran 774. (OP2998)



  • LA CRÉOLE (Offenbach), recorded 1961, w.Cariven Cond. Claudine Collart, Lina Dachary, Aimé Doniat, Joseph Peyron, Bernard Demigny, etc.; LE 66 (Offenbach), Broadcast Performance, 25 Aug., 1958, w.Cariven Cond. Claudine Collart, René Lenoty & Camille Maurane. (France) 2-Malibran 770. (OP3000)



  • LE PRÉ AUX CLERCS (Hérold), Broadcast Performance, 13 June, 1959, w.Benedetti Cond. Radio Lyrique Ensemble; Berthe Monmart, Claudine Collart, Joseph Peyron, Camille Maurane, Lucien Lovano, etc.; LE PRÉ AUX CLERCS - Excerpts, recorded 1962, w.Etcheverry Cond.Doria, Le Bris, Louvay, Sénéchal, Legros & Giannotti. (France) 2-Malibran 213. (OP2114)



  • CENDRILLON – Excerpts (Massenet), Broadcast Performance, 12 Dec., 1943, w.Gressier Cond.Radio-Lyric Ensemble; Simone Blain, Mireille Berthon, Jean Guilhem, Lucien Lovano, Paule Touzet, Denise Scharley, etc. (France) Malibran 503. (OP3008)



  • GEORGE ENESCU Cond. NYPO: Mozart, Beethoven & Ion Nonna Otescu (Excerpts from the latter's 'De la Matei citire' ['A Reading from St. Matthew']); w.Rudolf Serkin: Emperor Concerto #5 in E-flat (Beethoven). (Japan) 2-Opus Kura 2112/13, Live Performances, 1937 & 1938 . . . [in the glory of the Carnegie Hall acoustic, replete with intermission features as well as pre and post-concert announcements]. Transfers by Ward Marston. (C1358)

    “Very occasionally we receive a new release of particular importance as well as of musical value. We proudly offer Georges Enescu conducting the New York Philharmonic in two broadcasts (1937 and 1938), replete with intermission features as well as pre and post-concert announcements, with transfers by Ward Marston.”
  • - J. R. Peters


  • CHARLES MÜNCH, Vol. II, Cond. Paris Conservatoire Orch: Symphony #2 in D; w.Odette Turba-Rabier, Charles Panzéra & Eliette Schenneberg: La Danse des morts (both Honegger), recorded 1941-44; Münch Cond. London Phil.: Suite in F (Roussel), recorded 2 June, 1947. (Canada) St Laurent Studio YSL 78-264. Transfers by Yves St Laurent. (C1353)

  • LJUBOMIR ROMANSKY Cond. ORTF Ensemble, w.Agnes Giebel, Lore Fischer, Josef Traxel, Gerd Nienstedt & Ernst Wiemann: MATTHAEUS-PASSION (abridged) (Bach). (Canada) 2–St Laurent Studio YSL T-265, Live Performance, 8 April, 1957, Salle Playel, Paris. Transfers by Yves St Laurent. (C1354)

  • BUSCH STRING QUARTET, w.Rudolf Serkin: Piano Quartet #2 in A - recorded 21 Sept, 1932; w.Reginald Kell: Clarinet Quintet in b - recorded 10 Oct., 1937 (both Brahms). (Canada) St Laurent Studio YSL 78-264. Transfers by Yves St Laurent. [These venerated performances are offered here in extraordinary sound quality having been copied from pristine ‘z’ shellac Victor Pressings which offer remarkably quiet surfaces.] (S0650)



    . . . out-of-print books are continually added at

    the beginning of each completely revised book section . . .

    more coming in the next months . . .




    . . . and our 50% Discount

    Sale continues . . .



    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.

    Take a look at our exciting array of Broadway & Off-Broadway Original Cast and London Original Cast LPs, all in superb condition.

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    We carry splendid CD offerings from Yves St Laurent, VRCS, The Record Collector, Marston, Palaeophonics, Immortal Performances (Canada), Malibran, Aquarius, Truesound Transfers, Walhall, Bongiovanni, Clama and many other labels.

    Now that our Auction #145 is completed, the Auction Catalogue remains on our current website. Most of the elusive and rare items of course are gone, but some titles remain available.

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  • The Arcadians  (Smithson, Dare, Lester)  (Palaeophonics 120)
    PE0256. THE ARCADIANS (Lionel Mockton & Howard Talbot, w.lyrics by Arthur Wimperis), w. Florence Smithson, Phyllis Dare & Alfred Lester (from Original Cast); Supplementary Material by Charles Handy, Violet Essex, Harry Thornton, Peter Dawson, Ernest Pike. , Harold Wilde, Stewart Gardner, Edison Light Opera Company, etc. (England) Palaeophonics 120, recorded 1909-29, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & biographies. Produced at the Shaftesbury Theatre, London, 1909 (809 performances); Liberty Theatre, Broadway - 17 January, 1910 (136 performances).
    $19.90
    Walter Gieseking, Vol. II     (St Laurent Studio YSL 78-266)
    P1176. WALTER GIESEKING, Vol. II: Préludes, Books I & II (Debussy). (Canada) St Laurent Studio YSL 78-266, recorded 1936-39, London & New York. Transfers by Yves St Laurent [featuring remarkably quiet surfaces for these incandescent performances].
    $17.90
    Richard Strauss, Vol. II   (Mainardi, Wolfsthal)   (YSL 78-271)
    C1360. RICHARD STRAUSS Cond. Berlin Staatsoper Orch.: Symphony #5 in c (Beethoven), recorded 1928; w.Josef Wolfsthal & Enrico Mainardi: Der Burger als Edelmann (Strauss), recorded 1930 (Cond. by the Composer). (Canada) St Laurent Studio YSL 78-271. Transfers by Yves St Laurent.
    $17.90
    Missa Solemnis - Ansermet;  Stader, Traxel    (2–YSL T-274)
    C1359. ERNEST ANSERMET Cond. Orchestre de la Suisse Romande, w.Maria Stader, Marga Höffgen, Josef Traxel, & Kim Borg: MISSA SOLEMNIS - Live Performance, 23 May, 1962; w.Gré Brouwenstijn, Elsa Cavelti, Josef Traxel & Heinz Rehfuss: Choral Symphony #9 in d - Live Performance, 27 Oct., 1957 (both Beethoven). (Canada) 2–St Laurent Studio YSL T-274. Transfers by Yves St Laurent, [taken from remarkably fine and clear broadcast-quality tapes].
    $23.90
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    $39.90Ballo  (Callas, di Stefano, Bastianini, Simionato)  (Myto 00131)
    Ballo (Callas, di Stefano, Bastianini, Simionato) (Myto 00131)

    $6.95Norma   (Votto;  Callas, Simionato, del Monaco)  (Myto 00153)
    Norma (Votto; Callas, Simionato, del Monaco) (Myto 00153)

    $6.95Jorge Bolet, Vol.II    -    Bolet Centennial    (6-Marston 56003)
    Jorge Bolet, Vol.II - Bolet Centennial (6-Marston 56003)

    $71.90BREAKING THE RECORD     (Truesound Transfers 3083)
    BREAKING THE RECORD (Truesound Transfers 3083)

    $23.90Meyerbeer on Record, Vol. II      (3-Marston 53012)
    Meyerbeer on Record, Vol. II (3-Marston 53012)

    $53.90Toscanini;  Casadesus, Bidu Sayao,  Bampton  (4-IPCD 1049)
    Toscanini; Casadesus, Bidu Sayao, Bampton (4-IPCD 1049)

    $49.90Fonotipia Tenors, Vol. II  - The Record Collector   (2-TRC 41)
    Fonotipia Tenors, Vol. II - The Record Collector (2-TRC 41)

    $39.90Maryla Jonas, Vol. I       (2-St Laurent Studio YSL 78-219)
    Maryla Jonas, Vol. I (2-St Laurent Studio YSL 78-219)

    $23.90Maryla Jonas, Vol. II      (2-St Laurent Studio YSL 78-223)
    Maryla Jonas, Vol. II (2-St Laurent Studio YSL 78-223)

    $23.90A Night Out (Leslie Henson, Lily St John) (Palaeophonics 117)
    A Night Out (Leslie Henson, Lily St John) (Palaeophonics 117)

    $19.90Joy-Land   (Shirley Kellogg, Harry Tate)  (Palaeophonics 125)
    Joy-Land (Shirley Kellogg, Harry Tate) (Palaeophonics 125)

    $19.90Zig-Zag (Shirley Kellogg, George Robey) (Palaeophonics 126)
    Zig-Zag (Shirley Kellogg, George Robey) (Palaeophonics 126)

    $19.90Tito Schipa  -  Live Performances, 1939-59  (VAI 1280)
    Tito Schipa - Live Performances, 1939-59 (VAI 1280)

    $16.90Ernst Levy - Vol. IV     (2-Marston 52072)
    Ernst Levy - Vol. IV (2-Marston 52072)

    $35.90No No Nanette (Binnie Hale, Joe Coyne)  (Palaeophonics 124)
    No No Nanette (Binnie Hale, Joe Coyne) (Palaeophonics 124)

    $19.90Blue Kitten  (Ethel Levey, Roy Royston)  Palaeophonics 129
    Blue Kitten (Ethel Levey, Roy Royston) Palaeophonics 129

    $19.90