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Auction #150 Is Now Closed ! ! !
Caniell's 1943 AIDA with
Milanov, Castagna, Martinelli & Bonelli,
coupled with the magnificent 1936 PAGLIACCI,
also with Martinelli & Bonelli;. . .
Yves St Laurent's KOUSSSEVITZKY, Vol. 12 & GILELS, Vol. 9;
. . . Malibran celebrates JEANNE MARIE DE L'ISLE . . .
many Books & CDs added to our 50% SALE
Norbeck, Peters & Ford's
Annual 78rpm Auction is now closed!
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78rpm AUCTION #150
is now still online
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closing date is this Friday, 17 May.
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compliment your collections.This Week's Offerings:JEANNE MARIE DE L'ISLE: Songs by Gounod, Massenet, Hahn, Chaminade & Giordano; Arias from Mignon, Carmen, Werther, La Damnation de Faust & Les Dragons de Villars. [An absolute treasure of a recital!] (France) Malibran AMR 184, recorded 1904-06, G & T, Odéon & Zonophone. [AMR titles are issued without rear tray-cards] (V2603)
“Jeanne Marie de l’Isle made her debut as Malika in LAKME with the American-soprano, Marie Van Zandt, who had previously created the role of Lakme. Marie de l’Isle sang Mercedes to Georgette Leblanc’s Carmen for the opening of the rebuilt Salle Favart in December 1898 and she took on the main role a few weeks later under Albert Carre, the new Opera-Comique director. Coached by her aunt Celestine, the creator of Carmen, a fact which makes her recordings of special interest, Marie de l’Isle quickly established herself as a leading exponent of the part. ‘She makes an incredible effect’, according to Henri de Curzon, ‘precisely because she is not aiming for one. She is simple, true, consistently under her character’s skin’. She sang it for the last time at the Salle Favart in 1913, with Cesar Vezzani as Jose and Nelly Martyl as Micaela. Thanks also to Galli-Marie’s coaching, she was also a highly successful Mignon. Her most important role, however, was Charlotte in Massenet’s WERTHER, which she first sang for the 1903 revival, with Leon Beyle as Werther and Marguerite Carre as Sophie. Ten years after the Paris premiere, this new cast finally established the work’s masterpiece status. In November 1903 Marie de l’Isle sang Charlotte opposite Ernest Van Dyck, who had created the role of Werther in Vienna in 1892. She sang it with Beyle again in 1905 and 1906, with Edmond Clement in 1908, and, one last time at the Opera-Comique, with Jean Marny in 1917. Marie de l’Isle deserves to be remembered as one of the glories of French singing in the early years of the 20th century.
The most fascinating, indeed tantalizing, feature of Marie de l’Isle’s Carmen recordings is, of course, the glimpse they provide on what may have been the vocal and interpretive style of the part’s creator, her aunt and coach Galli-Marie….far from being a ‘passive’ interpreter, she contributed to fashioning the role in collaboration with Bizet and his librettists. What is particularly impressive about her interpretation, apart from the perfect execution of vocal ornamentation (including occasional interpolated grace notes), is the lightness of touch and lack of affectation. No tragic femme fatale, she brings to the role, instead, unusual touches of youthfulness and charm, particularly apparent in the Dance - perhaps, one wonders, to her own castanet accompaniment. She ‘speaks’ the role, never shouts it, and for once Bizet’s expressive direction for the Card Scene, ‘simplement et tres egalement’, is taken literally. To a greater extent than Delna and Merentie, she is the quintessential Opera-Comique Carmen….Jeanne Marie de l’Isle belonged to a tradition that went back to the golden age of the Opera-Comique.”
- Vincent GiroudAIDA
, Live Performance, 6 March, 1943, (replete with Augustin Llopes de Olivares’ commentaries), w.Pelletier Cond. Met Opera Ensemble; Zinka Milanov, Bruna Castagna, Giovanni Martinelli, Richard Bonelli, etc. / PAGLIACCI, Live Performance, 29 Feb., 1936 (replete with Milton Cross’ commentaries), w.Papi Cond. Met Opera Ensemble; Giovanni Martinelli, Richard Bonelli, Queena Mario, George Cehanovsky, Giordano Paltrinieri, etc. / LUCIA DI LAMMERMOOR - Opening Scene, Live Performance, 3 Feb., 1940, w.Papi Cond. Met Opera Ensemble; Richard Bonelli, Virgilio Lazzari & Lodovico Oliviero. (Canada) 3-Immortal Performances IPCD 1108. Transfers by Richard Caniell; Elaborate 55pp. Booklet features Photos & Essays by William Russell & Richard Caniell. (OP3310)
“You might think of this package as having been assembled to honor and display the artistry of one of the most famous Italian tenors in recorded history, Giovanni Martinelli, and certainly it does that magnificently. But it accomplishes something perhaps more important - it reveals the greatness of the American baritone Richard Bonelli, a seriously under-recorded and undervalued artist. It was Bonelli’s misfortune to overlap with another great (and more famous) American baritone named Lawrence Tibbett….These two performances make clear that Bonelli holds a high place in the ranks of great American baritones: Tibbett, Warren, Merrill, MacNeil, Milnes.
Both of these performances deserve preservation, and neither has been available in a satisfactory restoration until now. Producer Richard Caniell has performed his usual magic. For AIDA Caniell’s source is a set of NBC transcription discs made for delayed broadcast for South America. Sitting alongside Milton Cross’ box was positioned the Spanish-language announcer, Augustin Llopes de Olivares, and I rather enjoyed the unusual experience of hearing him instead of Cross….Using these transcriptions along with some of NBC’s regular ones enabled Caniell to pick the best source for each section of AIDA. Caniell himself states that the sound of AIDA is ‘shallow’, but I find it stunningly vivid for a 1943 radio broadcast, partly owing to what Caniell describes as surprisingly silent discs. The source for PAGLIACCI was a set of 78 rpm acetates recorded privately for Bonelli….The improvement [over the old GOP issue] is considerable, certainly significant enough to warrant replacement if you own the GOP. Caniell has improved dynamic range and overall opened up the sound to make it more natural and less constricted. He has also fixed some portions of missing music from the original by seamlessly replacing them with material from a 1934 Met performance featuring the same cast.
I will start with AIDA. As William Russell observes in his superb notes, what makes this historic account such a success is that it is a performance in every sense of the word. No one in the cast is being careful or just routinely reading through the score. Conductor Wilfrid Pelletier, though more remembered for excellence in the French repertoire, leads Verdi with a keen dramatic sense. He is able to balance the long-arching lines and incisive rhythmic pulse. The program notes highlight one moment in Pelletier’s conducting that merits attention. In the second act, when Amonasro has just entered as a prisoner and after his aside to Aida ‘Non mi tradir’, he says to the King, ‘Suo padre. Anch’io pugnai vinti noi fummo, morte invan cercai’. Russell points out the importance of the conductor timing the timpani stroke as Verdi wrote it, precisely as the last syllable of ‘cercai’ sounds, and also making certain that the stroke is sharp and powerful. Pelletier does this incisively. Details like that make the difference between a vital performance and a routine one. Pelletier demonstrates the flexibility that the singers need, while never weakening the overall architecture of the score.
Zinka Milanov was a mainstay of the Met’s Verdi wing from 1937 to 1967, except for a few years in the late 1940s. Rudolf Bing brought her back in 1950, and Milanov reigned as one of the key divas of the 1950s and early 60s….The Milanov that most opera lovers know is the one from the 1950s, when she made some very important recordings for RCA. Her voice was that of a real dramatic soprano: dark, weighty, evenly produced from bottom to top, all made even better by her trademark floated high pianissimi….In that period, there was a gravitas that marked Milanov’s singing because of the depth and richness of her tone. In earlier years the voice was somewhat lighter, closer to a spinto than a dramatic soprano. One notices this in her 1938 and 1940 performances of the Verdi REQUIEM with Toscanini, the 1939 GIOCONDA from the Met with Martinelli, and the famed 1940 BALLO IN MASCHERA with Björling. It is the same in this AIDA. There is a brightness to the timbre that was not to remain a decade later. Also present here is a greater sense of ease in forte high notes, more fluidity through the passaggio (the tricky area that joins the middle and upper registers), and more true intonation. Milanov is especially effective in Verdi’s long spun lines (‘La tra foreste vergine’, and ‘O terra addio’ are exquisite), and she can also turn on the power in confrontational scenes. One easily understands why Milanov sang 449 performances of leading roles at the Met in a span of three decades.
Between 1913 and 1946 Martinelli sang 926 performances of 36 different roles. Few leading singers can match that….Listen to the power at the end of the third act (‘Sacerdote, io resto a te’); it brings goosebumps. At the same time, Martinelli possessed a highly developed sense of legato and line, and his soft singing at those moments where it is wanted is very beautiful indeed. His singing is marked by a vitality, an inner rhythmic life, a presence that practically defines the ‘grand’ in grand opera. The confrontation with Amneris (Bruna Castagna) in the first scene of the final act brings us two lions of the stage. ‘Celeste Aida’ is not the strong point of Martinelli’s performance, however; the voice sounds somewhat tight. But once that is out of the way, he is tremendous.
That other lion, Castagna, is an Italian mezzo-soprano whose Met career was all too short (168 performances from 1936 to 1945), but who was unquestionably one of the greats. Everything you want in an Amneris is hers to deliver: rich, voluminous sound, thrilling dramatic presence, keen rhythm and pitch. Castagna’s lower register is particularly dark and powerful. In her pleading with the priests to spare Radames she conveys Amneris’s growing hysteria very realistically as step by step her desperation increases. The way she spits out the word ‘infami’ as the priests make their judgment is as clear a characterization of hatred as one could imagine….
I have saved the fourth principal for last, as I will use him to turn from AIDA to PAGLIACCI. As I noted in opening of this review, the real revelation to many will be Richard Bonelli who triumphs as both Amonasro and Tonio in PAGLIACCI. Bonelli’s voice is rich, ringing, darkly colored but with complete freedom on top. His ringing A-flats in the PAGLIACCI Prologue give the impression that Bonelli could easily go higher if needed. His ability to shape and fill a long line such as ‘Pensa che un popolo’ in the Nile Scene from AIDA, or ‘Un nido di memorie in fondo all’anima’ in the PAGLIACCI Prologue, matches the kind of generosity of phrasing that marked Tibbett and Warren at their best….His powerful persuasion of Aida to get the information from Radames is very specifically enunciated, and his shift from seductive to enraged in his scene with Nedda is stunning in its impact.
If Martinelli was convincing as Radames in 1943, he is positively triumphant as Canio in 1936. At age 51 he sounds in complete command of his voice, and the power and intensity of his portrayal must have been something to witness in the house. A great example occurs in ‘Vesti la giubba’. As Canio sings ‘O…Ridi, Pagliaccio’ Martinelli manages an astonishing crescendo on ‘O’, singing that entire phrase over a span of 16 seconds without a breath, even increasing the intensity as he goes. The effect is jaw-dropping. As in other broadcasts of him in this role, he cries out ‘Infamia’ at the end of the orchestral postlude to the aria, and it too is completely convincing as a depiction of a man who has lost his mind and is about to commit murder. Immortal Performances has already issued a 1934 PAGLIACCI with Martinelli, and there is no significant difference in his performance here. But the overall sound quality is a bit fuller and richer.
Soprano Queena Mario is quite good in both performances; it is not a voice with the glamour of a star, but she produces a well-acted and attractively sung Nedda. The 1934 PAGLIACCI has the wonderful Tonio of Tibbett, but you may well be surprised at how good the far less well-known Bonelli is here. It isn’t easy to express a preference.…Genaro Papi’s propulsive, flexible conducting is both exciting and, when needed, beautiful. The AIDA in this set is very, very good. The PAGLIACCI is extraordinary – a truly great performance.
The booklet is up to Immortal Performances’ usual standard, which is to say magnificent. They put to shame all the other companies that specialize in historic opera reissues, and this example may be the finest yet. Its 55 pages include two penetrating articles by William Russell covering each performance, extensive recording notes from Caniell, wonderful photos of the various singers in costume, and detailed documentation of sources. As a lovely bonus, since one of the purposes of this set is to bring attention to Bonelli, we are given Enrico’s scene from Act I of LUCIA DI LAMMERMOOR from a Met broadcast, sung with rich warm tone and very convincing vocal acting. This set is a treasure trove of operatic greatness. “
- Henry Fogel, FANFARE, Nov. / Dec., 2018SERGE KOUSSEVITZKY Cond. Boston S.O.: Symphony #1 in b - Live Performance, 13 Oct., 1945; Symphony #7 in C - Live Performance, 20 April, 1946 (both Sibelius, both Symphony Hall). (Canada) St Laurent Studio YSL 78-843. Transfers by Yves St Laurent. (C1718)
“In 1924, Koussevitsky was chosen as music director of the Boston Symphony Orchestra. With the BSO, he continued his tradition of championing the new music he found around him, thus giving vital exposure to great American composers such as Copland, Barber, Bernstein, Carter, Hanson, Harris, and a host of others over the years. During the 1931 season, he commissioned a series of commemorative works for the orchestra's fiftieth anniversary, yielding a treasury that included Stravinsky's SYMPHONY OF PSALMS and Ravel's Piano Concerto in G. Beginning in 1935, he annually brought the orchestra to the summer Berkshire Festival, organized by Henry Hadley in 1934, becoming its music director and making it part of the BSO's operation. Koussevitzky established the Berkshire Music Center (now Tanglewood Music Center) in conjunction with the festival in 1940, making it into one of the premier American educational institutions where young musicians could polish their craft and network. After his wife died in 1941, Koussevitsky set up a foundation to commission works in her memory. Britten's opera PETER GRIMES was one of the first works that resulted.”
- Joseph Stevenson, allmusic.comEMIL GILELS: Fantasia #3 in d, K.397; Sonata #15 in F, K.533/494 (both Mozart); Sonata #3 in b; Polonaise in c (both Chopin). Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-769, Live Performance, 11 Aug., 1980, Salzburg. (P1309)
"Howard Taubman of THE NEW YORK TIMES proclaimed Emil Gilels a 'great pianist' on the occasion of his New York debut at Carnegie Hall on Oct. 4, 1955. After his first New York recital a week later, Harold C. Schonberg invoked the phrase 'little giant', the term the critic W. J. Henderson had used for the pianist and composer Eugen d'Albert at the turn of the century.
Mr. Gilels led the procession of Soviet artists of his generation to the West; others who emerged shortly after his debut were David Oistrakh, the violinist; Sviatoslav Richter, the pianist, and Mstislav Rostropovich, the cellist.”
- John Rockwell, THE NEW YORK TIMES, 16 Oct., 1985
. . . REPEATED . . . FROM THE RECENT PAST . . .
IN MEMORIAM ALFRED SEISER, incl. Alfred Grunfeld; Marie Gutheil-Schoder; Andre Marechal; Francesco Tamagno; Bela Guttmann; Mizzi Gunther; Alexander Girardi; Aennie Dirkens; Johannes Semfke [better-known as Johannes Sembach]; Emil Winter-Tymian; Carl W. Drescher; Rudolph Hofbauer; Celestina Boninsegna [unknown recording]; Arthur Preuss; Leopold Demuth; Betty Schubert; Erik Schmedes [unknown test - Tristan]; Else Gieger & Oskar Braun; Karl Meister; Leo Slezak; Hermine Kittel; Josefina Huguet, Fernando De Lucia & Antonio Pini-Corsi; Alexis Boyer; Beatrix Kernic; Hermann Bachmann; Vilma Medgyaszay [the very young cabaret singer Medgyaszay, before her recordings with Bartok]; Grete Forst; Louis Treumann & Elli Wolf; Lucie Konig; Terez Krammer [not totally unlike the same composer's 'Hunyadi Laszlo']; Franz Wolfert; Maria Galvany [displaying a solid legato and full-bodied warm tone for the most part of this otherwise unknown and untraceable Pietro Duffau waltz song, easily mistaken for an early electric recording!]; Hermann Schramm; Elisabeth Ohlhoff; Fritz Werner; Leonid V. Sobinov; Joseph Josephi; Mizzi Günther, Lizzi Latour & Louis Treumann; Paul Knupfer; Karel Burian; Torsten Lennartsson; August Bockmann; Laszlo Asszonyi; Eleanor Jones-Hudson & Peter Dawson; Ernest Pike & Peter Dawson; Sydney Coltham [I'll sing thee songs of Araby]; Fiorello Giraud [a real curiosity that this creator of Canio never thought of recording any of that character's music which would surely have suited his Latin temperament and vocal equipment much better than this quintessentially French 'Jocelyn!], etc. [Spectacular audio restorations which are so startlingly clear and lifelike, living proof that even the earliest type of gramophone was very well able to record bowed and plucked string instruments, and certainly the human voice!] (Germany) 2-Truesound Transfers 4010, recorded 1899-1917. Transfers by Christian Zwarg. (V2602)
“...an absolute revelation! Here, the voices come through with tonal sheen, passion and with more personality than any other transfers have been able to bring out. Dynamics and agility are in better relief, as is a sensitivity I had always found lacking. These transfers are absolutely miraculous, and I hope for more Truesound transfers.”
- Davyd Booth, GREAT SINGERS REMEMBERED, WHYY – NPROTELLO, Live Performance, 9 Feb., 1952, w.Stiedry Cond. Met Opera Ensemble; Ramon Vinay, Eleanor Steber, Leonard Warren, FMartha Lipton, etc. (Canada) 2-St Laurent Studio YSL T-803. Transfers by Yves St Laurent. (OP3311)
“Steber is the principal reason for acquiring the present set….this is Steber’s only recorded performance as Desdemona, and a radiant and deeply moving one it is. Her singing is free and glorious as sheer vocalism. Top notes gleam with no sense of strain, dynamic shading is exquisitely applied, and her rhythmic sense is very keen (important in the third act duet with Otello). Beyond all this, she conveys the full scope of the character - Desdemona’s innocence, strength in her belief in the blamelessness of Cassio, passion in her protestations of her own innocence, and dignity in her interactions with the populace. That third-act duet is a high point for Steber’s dramatic skills. Desdemona’s confusion and ultimate heartbreak at Otello’s accusations are palpable, but on the line ‘E son io l’innocente’, Steber sings with a depth of emotion that leave no doubt in our minds about her innocence toward Cassio, regardless of what the jealous Otello believes.
Historically the Chilean tenor Vinay was the principal Otello between Giovanni Martinelli and Mario del Monaco, and he sang the role all over the world. His fund of experience, along with his ability as a vocal actor…the intensity and dramatic truth of Vinay’s performance sweep any reservations aside. His interchange with Desdemona just prior to killing her is terrifying. The subsequent final scene, after Otello has discovered his culpability and stabbed himself, is heartbreaking.
Warren was, of course, one of the greatest Verdi baritones at the Met, and he owned the role of Iago there. His basic voice quality was lush and warm, but Warren was also a fine vocal actor who could narrow his tone toward harshness when the moment required it. His singing of ‘Era la notte’ is the epitome of insinuation, and his Credo is a powerful statement of Iago’s inherent evil. The line ‘Ecco il Leone’ at the end of the third act teems with poisonous irony….The sound here is surprisingly full and clear for a 1952 radio broadcast. In this performance Steber demonstrates that she makes the role her own in many ways.”
- Henry Fogel, FANFAREARABELLA, Live Performance, 26 Feb., 1955, w.Kempe Cond. Met Opera Ensemble; Eleanor Steber, George London, Hilde Gueden, Blanche Thebom, Roberta Peters, Brian Sullivan, Gabor Carelli, etc. (Canada) 2-St Laurent Studio YSL T-745. Transfers by Yves St Laurent. (OP3312)
“St. Laurent Studio continues to shower us with extraordinary goodies from the past. While this ARABELLA has circulated in other forms, this is the first time of which I am aware of such a superb-sounding transfer based on the Met’s original broadcast. This release is one of three simultaneous releases to honor the American soprano Eleanor Steber.
If I were to nominate singers for the category of ‘underappreciated considering their talent’, Steber would not only be on the list but also might head it….Steber is flawless, singing with glowing tone and showing no strain despite the demanding high tessitura of the title role. She colors her tone appropriately for the right dramatic purposes, and the voice remains lovely whether at the softest or loudest dynamic level. Every bit her equal is the Mandryka of George London….if you have two performers who believe in the music and the drama, they can make the listener suspend disbelief, which is the case here. Between gorgeous singing and crisp characterization, Steber and London engage and persuade us….For anyone who loves Strauss’ romantic comedy opera, this recording is enthusiastically recommended. It has the thrilling impact of a great night at the opera house, something almost impossible to achieve in the recording studio. No notes or libretto, but complete track listing and documentation are included.”
- Henry Fogel, FANFAREDON CARLOS, Live Performance, 5 March, 1955, w. Adler Cond. Met Opera Ensemble; Eleanor Steber, Richard Tucker, Ettore Bastianini, Jerome Hines, Blanche Thebom, Nicola Moscona, etc. (Canada) 2-St Laurent Studio YSL T-688. Transfers by Yves St Laurent. (OP3315)
“In the title role of the doomed Spanish prince, Richard Tucker sings with abandon and thrilling voice. At times his delivery could be overly emphatic or explosive, but Tucker also had the ability to sing with an evenly produced legato, and he frequently does so here. The voice itself was an instrument that you just had to pay attention to: it conveyed a sound of importance with a highly distinctive sound and was immediately identifiable.
…. Eleanor Steber in a major Verdi role. She sings in the grand manner, with dramatic specificity in coloring and inflection, while pouring out steady, gleaming dramatic-soprano tone. This is one of three releases by St. Laurent Studio featuring Steber and the result is a reappraisal of my own views about her. I have always been an admirer, but I realize now how uniquely glorious her singing was. Received wisdom would dictate that a singer who performs the range of composers that Steber mastered is unlikely to be truly great in any of them. These three performances including OTELLO & ARABELLA prove that received wisdom is not always actual wisdom. Steber sounds here like a natural Verdian. Her ability to float long lines is particularly suited to Elisabetta’s great climactic aria, ‘Tu che la vanita’. Her soaring high notes, produced without seeming effort, fill out Verdi’s phrases magnificently.
The Met’s casting in this production was lavish. DON CARLO had been Bing’s first important statement as the company’s new general manager in 1950, and he opened it with Jussi Björling in the title role. Bing continued to cast from strength where he could. Here in 1955 Jerome Hines’ King Philip II (Cesare Siepi in 1950) movingly sings the king’s aria lamenting the loss of his wife’s love, and he and Nicola Moscona thunder menacingly in the scene with Philip and the blind Grand Inquisitor….this is a vivid, engaging, and thrillingly sung performance of DON CARLO. As a document of the significance and talent of Eleanor Steber it is a very welcome release.”
- Henry Fogel, FANFAREKLAUS TENNSTEDT Cond. Orchestre National de France: Symphony #5 in B-flat (Prokofiev); w.Michel Crocquenoy: Oboe Concerto in D (Strauss); w.Nadine Denize: Wesendonck Lieder (Wagner). [This Prokofiev Fifth is absolutely monumental! Its white heat leaves the listener breathless!] (Canada) 2-St Laurent Studio YSL T-849, Live Performance, 12 Oct., 1977, Salle Pleyel, Paris. Transfers by Yves St Laurent. (C1724)
ELEANOR STEBER – AN AUTOBIOGRAPHY, with Marcia Sloat. Ridgewood, NJ, Wordsworth, 1992. 268pp. 16 pages of Photos; List of Roles; Discography; DJ. Long out-of-print, and we have been called by the Sloat Estate to dispose of the remaining copies, thus the greatly reduced price. (B0025)
TOSCHA SEIDEL: Encore pieces - Scarlatti, Beethoven, Schubert, Chopin, Cui, Tschaikowsky, Rimsky-Korsakov, Sibelius, Wagner, Grieg, Morrison, Margis, Burleigh, Kreisler & Baleinikoff - recorded 1918-41; PABLO de SARASATE: Tarantelle, Miramar, Zigeunerweisen & Habanera (all Played by the Composer) - recorded 1904. (Canada) St Laurent Studio YSL 78-848. [A supremely important issue which offers Seidel's incomparable 'Brahmsiana' which must be heard to be believed! The Seidel titles are taken primarily from the gold 'Flags' label Columbias which offer remarkably quiet surfaces; the Sarasate titles are taken from mint vinyl pressings from the original masters] Transfers by Yves St Laurent. (S0745)
“A year younger than Heifetz, Seidel joined Auer’s class in 1912, the year of Heifetz’s Berlin performances, and he left the Auer fold in 1915. When Toscha and Jascha Heifetz were kids studying with Prof. Auer, they shared many concerts together and they were sometimes billed as the ‘angel’ and the ‘devil’ (Toscha being the devil). Jascha Heifetz, already in Auer’s class, had been dubbed the ‘Angel of the violin’ but Toscha Seidel was soon to be called ‘Devil of the Violin’ due to his intensely vibrant sound and impassioned style. Toscha Seidel was one of the truly great violinists of the early part of 20th century.”
- Gennady Filimonov, Violinist.com
LEONID KOGAN, w.Miklos Erdely Cond. Budapest Phil.: Violin Concerto #2 in E (Bach); 'Turkish' Concerto #5 in A, K.219 (Mozart); Violin Concerto in D (Beethoven). (Canada) 2-St Laurent Studio YSL T-842, Live Performance 26 March, 1971, Liszt Academy, Budapest. [It is through listening to performances such as this glorious Kogan issue that we gain such remarkable satisfaction in our work. This makes our work truly a labor of absolute love!] Transfers by Yves St Laurent. (S0744)
BRAN PIE, recorded 1919, w.Arthur Grudge Cond. Prince of Wales' Theatre Ensemble; Beatrice Lillie, Lee White, José de Moraes, Odette Myrtil, Phyllis Titmuss, Jack Hulbert, Phyllis Titmayer, etc. (England) Palaeophonics 146, w.Elaborate 'The Play' 20pp. Brochure replete with numerous photos of the Prince of Wales' Theatre 1919 production & biographies. Excellently transferred from the legendary Acoustic 78rpm English Columbia rarities. [The newest Dominic Combe delight!] (PE0288)
“BRAN PIE, which Mr. Andre Charlot produced at the Prince of Wales’ Theatre last night is an inspiration. It is the finest variety entertainment in London. The whole thing seems to have been conceived to bring the old happy-go-lucky spirit of the music hall back to the London stage, and the triumph was undoubted. Dainty and daring dresses, pretty and pert chorus girls, merry and melodious tunes and a company of uncompromising comedians make an ideal antidote for war weariness. This is a splendid company of artists, including Miss Odette Myrtil, who plays the violin divinely, the inimitable Two Bobs and Miss Beatrice Lillie in some characteristic and charming numbers.”
- THE DAILY MIRROR, 29 August, 1919
BOOKS ON SALE
“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 Googles 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 . . .
------------------ 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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). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
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V2603. JEANNE MARIÉ DE L'ISLE: Songs by Gounod, Massenet, Hahn, Chaminade & Giordano; Arias from Mignon, Carmen, Werther, La Damnation de Faust & Les Dragons de Villars. [An absolute treasure of a recital!] (France) Malibran AMR 184, recorded 1904-06, G & T, Odéon & Zonophone. [AMR titles are issued without rear tray-cards]
OP3310. AÏDA, Live Performance, 6 March, 1943, (replete with Augustin Llopes de Olivares’ commentaries), w.Pelletier Cond. Met Opera Ensemble; Zinka Milanov, Bruna Castagna, Giovanni Martinelli, Richard Bonelli, etc. / PAGLIACCI, Live Performance, 29 Feb., 1936 (replete with Milton Cross’ commentaries), w.Papi Cond. Met Opera Ensemble; Giovanni Martinelli, Richard Bonelli, Queena Mario, George Cehanovsky, Giordano Paltrinieri, etc. / LUCIA DI LAMMERMOOR - Opening Scene, Live Performance, 3 Feb., 1940, w.Papi Cond. Met Opera Ensemble; Richard Bonelli, Virgilio Lazzari & Lodovico Oliviero. (Canada) 3-Immortal Performances IPCD 1108. Transfers by Richard Caniell; Elaborate 55pp. Booklet features Photos & Essays by William Russell & Richard Caniell. - 644216109623
C1718. SERGE KOUSSEVITZKY Cond. Boston S.O.: Symphony #1 in b - Live Performance, 13 Oct., 1945; Symphony #7 in C - Live Performance, 20 April, 1946 (both Sibelius, both Symphony Hall). (Canada) St Laurent Studio YSL 78-843. Transfers by Yves St Laurent.
P1309. EMIL GILELS: Fantasia #3 in d, K.397; Sonata #15 in F, K.533/494 (both Mozart); Sonata #3 in b; Polonaise in c (both Chopin). Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-769, Live Performance, 11 Aug., 1980, Salzburg.
Leonard Bernstein, Vol. VII - Mahler 2nd; Haywood & Ludwig (2-St Laurent Studio YSL T-847)
Fidelio (Tennstedt; Marton, Vickers, Mazura, Plishka) (2-St Laurent Studio YSL T-794)
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
Faust (Pelletier; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza) (2-Immortal Performances IPCD 1097)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Elektra (Christopher Keene; Olivia Stapp, Natalie Costa, Chookasian, Crabb, Cross) (2-St Laurent Studio YSL T-762)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Samson et Dalila (Jean Fournet; Jon Vickers & Marilyn Horne) (2-St Laurent Studio stereo YSL T-804)
Vocal Record Collectors' Society - 2017 Issue (VRCS-2017)
Sergei Rachmaninoff (3-Marston 53022)
Die Walkure (Szell; Bampton, Traubel, Melchior, Janssen, Thorborg, Kipnis) (3-Immortal Performances IPCD 1081)
Klaus Tennstedt, Vol. XVIII (Bruckner 8th - Philadelphia); Brendel (2-St Laurent Studio YSL T-789)
Sir Thomas Beecham, Vol. I - Concert in memory of Toscanini (St Laurent Studio YSL T-765)
Giuseppe Campanari (St Laurent Studio YSL 78-728)
The Complete Feodor Chaliapin (13-Marston 51301)
Falstaff (Toscanini; Stabile, Valdengo, Cloe Elmo, Dino Borgioli, Lazzari) (5-Immortal Performances IPCD 1100)
Die Meistersinger (Szell; Janssen, Steber, Thorborg, Kullman, List, Harrell) (3-Immortal Performances IPCD 1088)
Tosca (Cleva; Regine Crespin, Sandor Konya, Robert Merrill, Ezio Flagello) (2-St Laurent Studio T-657)
Samson (Handel) (Rudel; Jon Vickers, Leona Mitchell, Kiri Te Kanawa, Paul Plishka) (2-St Laurent Studio T-795)
Cheep! (Beatrice Lillie, Lee White, Teddie Gerard) (Palaeophonics 133)
Mario Lanza; Licia Albanese; Elaine Malbin (St Laurent Studio YSL T-746)
George Szell, Vol. VII; Erica Morini; Geza Anda (St Laurent Studio YSL T-426)
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)
Bran Pie - Beatrice Lillie, Lee White, Jose de Moraes, Odette Myrtil, Phyllis Titmuss, Jack Hulbert (Palaeophonics 146)
Verdi Requiem - Toscanini; Tebaldi, Elmo, Prandelli, Siepi, Gardino, Malipiero, Pasero (2-Immortal Performances IPCD 1106)
St Matthew Passion - Charles Munch, Vol. XXIX; Endich, Kopleff, Cuenod, Mack Harrell (2-St Laurent Studio YSL T-689)
Jorge Bolet, Vol. IV - Bloomington (2-St Laurent Studio YSL T-756)
Mignon / Carmen (Swarthout, Vinay, Hackett, Albanese, Pinza) (4-Immortal Performances IPCD 1096)
Peter Grimes (Colin Davis; Vickers, Amara, Evans, Madeira, Chookasian, Plishka (2-St Laurent Studio YSL T-720)
Otello (Stiedry; Vinay, Steber, Warren, Lipton) (2-St Laurent Studio YSL T-803)
Faust (Schumann) - Erich Leinsdorf, Vol. XIII; (Bressler, Sills, Prey, Troyanos) (2-St Laurent Studio YSL T-739)
Tristan (Leinsdorf; Melchior, Traubel, Thorborg, Huehn, Kipnis) (3-Immortal Performances IPCD 1102)
Arabella (Kempe; Steber, George London, Hilde Gueden, Thebom, Peters, Sullivan (2-St Laurent Studio YSL T-745)
Klaus Tennstedt, Vol. XVI; Serkin, Silverstein & Eskin (2-St Laurent Studio YSL T-770)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Missa Solemnis - Schuricht; Stader, Hoffgen, Dermota, Berry (St Laurent Studio YSL T-511)
Klaus Tennstedt, Vol. XI, Alexis Weissenberg (St Laurent Studio YSL T-731)
Klaus Tennstedt, Vol. XVII - (Bruckner 8th - NDR S.O.) (St Laurent Studio YSL T-776)
Jorge Bolet, Vol. II - Alice Tully Hall (St Laurent Studio YSL T-751)
Helge Rosvaenge; Otto Seyfert (Pf.), Vol. I - Carnegie Hall, 1963 (Yves St Laurent YSL T-763)
Arturo Toscanini - Beethoven - Novotna, Thorborg, Peerce, Moscona, Rubinstein (10-Immortal Performances 1064 -1067)
Lohengrin (Leinsdorf; Varnay, Thorborg, Melchior, Janssen, Cordon & Warren) (3-Immortal Performances IPCD 1107)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Mourning Becomes Electra (Marvin David Levy) (2-St Laurent Studio YSL T-865)
Die Jahreszeiten - Erich Leinsdorf, Vol. XI; Boatwright, Bressler & Thomas Paul (2-St Laurent Studio YSL T-690)
Klaus Tennstedt, Vol. XXII - (Mahler 9th - NYPO) (2-St Laurent Studio YSL T-821)
Serge Koussevitzky, Vol. XI - Sibelius & Henri Casadesus (St Laurent Studio YSL 78-643)
Klaus Tennstedt, Vol. X - Beethoven (St Laurent Studio YSL T-730)