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The 1937 PONSELLE-RAYNER Met CARMEN
from Yves St Laurent . . .
then KEMPFF, Vol. III
MUNCH, Vol. XX;
Aquarius presents VALDIMIR ZAKHAROV . . .
NOW OFFERING MORE THAN
2200 TITLES on our 50% SALE
This week we are pleased to offer:CARMEN, Live Performance, 9 Jan., 1937, w.Gennaro Papi Cond. Met Opera Ensemble; Rosa Ponselle, Sydney Rayner, Natalie Bodanya, Julius Huehn, Thelma Votipka, Helen Olheim, Giordano Paltrinieri, George Cehanovsky, Louis D'Angelo & Wilfred Engelman. (Canada) 2-St Laurent Studio YSL T-649. Transfers by Yves St Laurent. (OP3235)
“Few portrayals have gained so notorious a repute as Ponselle’s Carmen, as though it were a personal affront that the Druid priestess should stoop to portray an earthy gypsy….But there are fine moments. The Habanera is well sung, the Seguidilla even better, deftly and lightly done on through the held high B at the close….The card scene is marvelously vocalized in rich, firm low tones with full attention to the text. Ponselle makes good use of her impressive chest voice in the final confrontation with Jose – clearly a Carmen unwilling to accept her fate without a struggle….As to the vocal condition of the soon-to-retire soprano, she is in splendid voice, her tone all smoldering bronze, never displaced…and as full-bodied as that remembered from her earliest recordings….Like an indomitable earth goddess she pours out her dark, lustrous tone in an undistorted, measured cadence….of these Met broadcasts, the impression of actually being in a large house is suddenly captured….”
- Paul Jackson, SATURDAY MATINEES AT THE OLD MET, pp.70-71
'If you want to hear what I truly sounded like', Ponselle told writer John Ardoin, 'listen to my radio broadcasts'....The microphone placement captures her sonority as it projects and congeals in a hall, which was never the case in the very different recording studio....And what a sound it is! There's virtually no break in the voice. Every register is as evenly regulated as telephone rates used to be. Top and bottom extremes lack nothing in color or richness of expression. Add her musicianship, taste, and effortless, understandable diction, and you've got one of the 20th century's five greatest singers (some might say she WAS the five greatest singers!)'."
- Jed Distler, ClassicsToday.com
“Rayner’s art and in particular that intensity of brilliant tone above the stave [are reasons why] his recordings are well worth a place in any collection....Rayner, surprisingly, competes with his American contemporaries Charles Kullman and Richard Crooks in a series of piano-accompanied well-known ballads, when we can hear him in sufficient form to control finely that more robust part of his voice….he convincingly makes his points....”
-Alan Bilgora, THE RECORD COLLECTOR, 2013VLADIMIR ZAKHAROV: Songs by Dargomyzhsky, Balakirev, Mussorgsky, Rimsky-Korsakov, Glazunov, Verstovsky, Alabieff, Arensky & Lyapunov. (Russia) Aquarius AQVR 409. [An unforgettable program by this glorious baritone!] (V2543)
“The recordings of Valdimir Petrovich Zakharov (1903-1965) are highly prized amongst collectors of Soviet vocal recordings. So much so that when the idea for a CD, dedicated to a collection of previously unpublished recordings of the singer performing classical Russian romances was mooted, the funding was secured from the collector community within the space of just three days.
Zakharov was the star baritone of the All-Union Radio, a troupe which could boast such great artists as Nadezhda Kazantseva, Zara Dolukhanova and Georgy Vinogradov and Anatoly Orfenov. The main remit of the troupe was to familiarize their audience with Western and Russian works both rarely performed on the opera stage and concert platform as well as more popular fare.
Like Vinogradov, Zakharov is not known to have performed on the operatic stage. He possessed quite a large voice and was certainly an expressive and compelling actor (as can be seen in the 1958 film of Rachmaninov’s THE MISERLY KNIGHT
which provides the only film footage of the singer. The film also provides a rare instance of a tele-opera where a role is not lip-synched by an actor). The voice was firm, well-trained, intensive and elegant.
Unfortunately very little is known about the life of this unique and distinctive artist except that he performed the major baritone roles at All-Union Radio from the 1930s until the 1960s and that he taught at the Gnessin Institute. Such a lack of biographical material is not unusual for radio artists. Luckily, biographies have been published on Kazantseva and Dolukhanova as well as Orfenov’s autobiography.
Although many of the opera broadcasts with Zakharov’s commanding voice have appeared on CD: LES PECHEURS DE PERLES
(in the role of Zurga - with Sergei Lemeshev and Nadezhda. Kazantseva (OP3176
), Massenet’s WERTHER
(as Albert - with Ivan Kozlovsky and Maria Maksakova), Rossini’s L'ITALIANA IN ALGERI
(as Taddeo - with Zara Dolukhanova), and Leoncavallo’s PAGLIACCI
(in the role of Tonio - with Dimiter Uzunov and Pavel Lisitsian), Bizet’s DJAMILEH
), DIE MEISTERSINGER
), Dargomyzhsky’s ESMERALDA
), of Don Carlos in Dargomyzhsky’s STONE GUEST
(with Galina Vishnevskaya), Count Almaviva in Mozart's LE NOZZE DI FIGARO
(conducted by Kurt Sanderling), and Ford in Nicolai’s DIE LUSTIGE WEIBER VON WINDSOR
) - there are still a large number of unpublished operas in the archives of Gostelradiofond including the title roles in Mozart's DON GIOVANNI
, Grechaninov’s DOBRYNIA NIKITICH
, Alexei Kozlovsky’s ULUGBEK
, an outstounding Barnaba in Ponchielli’s LA GIOCONDA
(with Ivan Petrov), Rolando in Verdi’s LA BATTAGLIA DI LEGNANO
and Evgeny in Dzerzhinsky’s QUIET FLOWS THE DON
to name but a few. A great many of his song recordings from his numerous radio recitals thankfully also exist. This is the first publication of any of the classical Russian romances still existing in the archives."
- Michael WestonCHARLES MUNCH Cond. Boston S.O.: Das alte jahr vergangen ist (Bach); Adagio for Strings (Barber); w. E. Power Biggs: Organ Symphony #3 in c (Saint-Saens); w. Maureen Forrester: Kindertotenlieder; Lieder eines fahrenden Gesellen (both Mahler). (Canada) 2-St Laurent Studio YSL T-504, Live Performance, 27 Dec., 1958, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1567)
“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 début 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
"From the late 1930s on, E. Power Biggs was a dominant figure in this country in arousing interest in serious organ music and in changing the style of its performance. Through his concert tours, weekly recitals over Columbia Broadcasting System's coast to coast network and recordings he reached millions of listeners, persuading them of the glories of organ music and of its authentic performance.
About organists, he once said that they 'are often considered to be on the lunatic fringe of musicians, probably because they hang around churches all the time. I advise my pupils to mix with other sorts of musicians, never with organists. The organ is among the most ancient of instruments. Nero played it, which is greatly to his credit. Oh, he had a public be damned attitude, but so do most organists'.
His teachers included the conductor Sir Henry Wood who started him on his career as an organist by asking him to prepare a recital in London's Queen's Hall on two days' notice.
Mr. Biggs' playing was described sometimes as rather cool and reserved, but this followed from his uncompromising attitude toward performance style. His classical austerity irritated organists who preferred grandiloquent romanticized interpretations, but his way was always admired and respected by critics and many musicians."
- Raymond Ericson, THE NEW YORK TIMES, 12 March, 1977WILHELM KEMPFF, w.Blomstedt Cond. Danish National S.O.: Piano Concerto #2 in B-flat; 'Emperor' Piano Concerto #5 in E-flat; Blomstedt Cond.: Fidelio – Overture (all Beethoven). (Canada) St Laurent Studio YSL T-548, Live Performance, 10 Sept., 1972. Transfers by Yves St Laurent. (P1267)
“Wilhelm Kempff played to Busoni, heard Eugen d’Albert (one of Liszt’s greatest pupils), and his own teacher, Heinrich Barth, and had been a prize pupil of Hans von Bülow, Liszt’s son-in-law. Kempff wrote about d’Albert and Busoni in detail in his autobiography. These two great pianists, both of whom transcribed Bach’s organ chorale preludes for solo piano, were important musical influences for Kempff. Eugen d’Albert was the first pianist about whom Kempff wrote in his autobiography.
Kempff’s debut in England was 17 June, 1935 at the Aeolian Hall in London performing a recital with the violinist Cecilia Hansen. During World War II, he performed mostly in Germany and occupied countries by the Germans. He returned to the Paris concert stage 22 November, 1948 and to London 27 October, 1951 at Wigmore Hall. His American debut happened during the later years of his life when he gave a recital in Carnegie Hall 15 October, 1964.
The most unusual thing about Kempff is that there is, indeed, nothing usual about him. It is not surprising that more or less all our encounters with his recordings have consistently ranged from delightful to unforgettable. Innocence, we suspect, was not the clue to Kempff’s success. He did not achieve these small miracles just by riding around on the winds of inspiration. Or if indeed innocence is the answer, it is innocence hard won.”
- Michael Waiblinger . . . REPEATED FROM THE RECENT PAST . . . EMIL GILELS, w.Serge Baudo Cond. Saarbrucken Radio S.O.: Piano Concerto #27 in B-flat, K.595 (Mozart), Live Performance, 27 April, 1984; EMIL GILELS, w.Amadeus Quartet & Rainer Zepperitz (Double Bass): 'Trout' Quintet in A (Schubert), Live Performance, 2 Sept., 1975, Helsinki. [For anyone who has ever contemplated absolute serenity in a heavenly space, these performances are the answer. The absolute silence in the Mozart Saarbrucken audience offers palpable evidence! This 'Desert Island' CD is not to be missed!] (Canada) St Laurent Studio YSL T-564. (P1270)
“Emil Gilels, one of the world's great pianists and, in 1955, the first Soviet musician to perform in the United States since Sergei Prokofiev in 1921, was a stocky man with a shock of sandy hair and short, stubby fingers, uncharacteristic for a pianist. But his greatness was widely recognized. Howard Taubman of THE NEW YORK TIMES proclaimed him 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. Mr. Rostropovich later became an outspoken dissident, but the others remained honored Russian citizens. Together, this group suggested that the traditions of Romantic music-making had not died out in the relatively isolated Russian musical world. ‘The precepts of Leopold Auer still prevailed in violin pedagogy, and the pianists stemmed straight from Anton Rubinstein and the Leschetizky school’, Mr. Schonberg wrote in 1979, on the occasion of one of Mr. Gilels's periodic returns to the American concert scene.
But especially in his later years, Mr. Gilels was a more Classically inclined pianist than, say, Mr. Richter. In 1970 he even offered an all-Mozart recital at Philharmonic (now Avery Fisher) Hall, which Allen Hughes of THE TIMES called ‘superbly wrought’.”
- John Rockwell, THE NEW YORK TIMES, 16 Oct., 1985ARTHUR GRUMIAUX, w. Gika Zdravkovitch Cond. NDR S.O.:: Tzigane (Ravel); Violin Concerto #3 in G, K.216; w. Eugen Jochum Cond. Bavarian Radio S.O.: Violin Concerto #4 in D, K.418; w.Maria Bergmann (Pf.): Violin Sonata #24 in F, K.376 (all Mozart). (Canada) St Laurent Studio YSL T-588, Live Performances, 1959-75. Transfers by Yves St Laurent. (S0713)
"Of the Franco-Belgian school, Artur Grumiaux is considered to have been one of the few truly great violin virtuosi of the twentieth century. In his relatively short life his achievements were superb. He brought to performances guaranteed technical command, faithfulness to the composer's intent, and sensitivity toward the intricate delineations of musical structure. His fame was built upon extraordinary violin concerto performances and chamber-music appearances with his own Grumiaux Trio.
One of his greatest joys in life was his partnership with the pianist Clara Haskil. On occasion, the two would switch instruments for a different perspective and relationship. Grumiaux was left with a professional and personal absence when she died from a fall at a train station, en route to a concert with him."
- Meredith Gailey, allmusic.comDIE FLEDERMAUS (in English), Live Performance, 23 Jan., 1954 , w. Kozma Cond. Met Opera Ensemble; Eleanor Steber, Charles Kullman, Patrice Munsel, Thomas Hayward, Jarmila Novotna, John Brownlee, Paul Franke, Clifford Harvuot, Suzanne Ames & Jack Mann. (Canada) 2-Yves St Laurent T-647. Transfers by Yves St Laurent. (OP3233)
“The opera became hilarious! Everybody on stage and off got into the spirit of the thing as it got funnier and funnier. Everyone (including me) was wondering what I was going to do next….That was pure Eleanor Steber! That was the most fun I ever had at the Met. It was really something!”
- Eleanor Steber, ELEANOR STEBER – AN AUTOBIOGRAPHY, p.169
MARK REIZEN, w.Abram Makarov (Pf.): Songs by Schubert, Schumann, Mussorgsky, Glinka, Tschaikowsky & Kabalevsky; Gomes' SALVATOR ROSA - 'E il foglio io segnero' and an inimitable 'La Calunnia' from IL BARBIERE DI SIVIGLIA; w.Leonid Adamov (Cello): Doubt (Glinka) - Live Recital, 15 March, 1958, Moscow; w.Janos Ferencsik Cond. Hungarian State Opera Ensemble, w.Endre Rosler & Oszkar Kalman: BORIS GODUNOV - Finale - Live Performance, 7 March, 1954. (Russia) Aquarius AQVR 408. [This new jewel from Aquarius is not to be missed - a phenomenal Live Recital by the beloved and magnificent Reizen, in the presence of a rapturous Moscow audience, captured in glorious sound!] (V2541)
“Reizen was one of the most important basses produced in Russia in the 20th century….But Reizen is less known by the general public because he mainly sang at a time when Soviet artists didn’t travel.
The story of his move to the Bolshoi has been told in many sources. By the 1920s he was already a leading bass at the Mariinsky Theater in Leningrad and had also toured in Europe. In 1930 the Mariinsky was performing in Moscow, and Stalin attended. Afterwards he asked Reizen why he sang in Leningrad and not Moscow, and Reizen replied that he had a contract and also an apartment there. Stalin indicated that he could do something about both, and the next day a Soviet official picked Reizen up with orders to hunt for an apartment in Moscow! From 1930-1954 he was the leading bass at the Bolshoi, but this was also the height of the era when Russia closed itself off from the rest of the world, and so Europe and America heard very little of Reizen….
Those strengths were still intact in 1958, even at the age of 63, and they are consonant with the needs of most of the song repertoire on this new release. Do not assume from what I wrote that Reizen holds back when power is needed; he is capable of letting loose a huge, rich roar of sound when the music and text require it. Reizen can extend a line of soft singing over a long span (as in Schubert’s ‘An die Musik’, (beautifully rendered here). In fact Reizen’s singing of the Schubert and Schumann songs, even though in Russian, demonstrates a very high level of musical cultivation. You are also likely to be surprised by the agility of the voice in the Rossini aria. Reizen sings it with infectious wit. It is also worth noting that in a live concert setting he is a more vivid interpreter than we often experience on his studio recordings. He is clearly having fun interacting with his audience. Mussorgsky’s ‘Song of the Flea’ is a particularly winning performance….Aquarius has included the voice of the presenter, who announces each item on the program for the both the radio audience and those in the hall. He isn’t tracked separately, so you can’t skip his contribution easily, but I rather enjoyed his presence for adding to the atmosphere of a broadcast event.
Then there is the bonus. Reizen made a classic studio recording of BORIS GODUNOV in 1948, but hearing him in the finale of the opera (ending with Boris’s death in this version) in a live staged performance from 1954 is especially thrilling. This is an extraordinarily powerful rendering of this music, both dramatically and vocally. The Shuisky is fine, but the Pimen is wobbly and hollow-voiced. Ferencsik conducts with incisiveness and power. The sound, as before, is very good.
It is early in the year, but I would anticipate that this will stand out as one of the most significant vocal releases of 2018. Hearing Mark Reizen is an electrifying and awe-inspiring experience.”
- Henry Fogel, FANFAREDIE ENTFUHRUNG AUS DEM SERAIL (in French) - Excerpts, recorded 1967, w.Otto-Werner Mueller Cond. Radio-Canada Ensemble; Leopold Simoneau, Pierrette Alarie, Joseph Rouleau, Jean Coutu, Louise Lebrun & Jean-Louis Pellerin; LEOPOLD SIMONEAU, w.Jean-Marie Beaudet Cond. CBC S.O.: Per Pieta, non ricercate (Mozart, K.420) [without any reservation, a contender for Simoneau's most glorious solo recording - a 'desert island' rendition!]; Arias from Don Giovanni & La Clemenza di Tito; LEOPOLD SIMONEAU & PIERRETTE ALARIE: Duets from Cosi Fan Tutte & Entfuhrung. (Canada) 2-St Laurent Studio YSL T-530. Transfers by Yves St Laurent. (OP3234)
"Leopold Simoneau was the epitome of the French tenor, meaning that he had a light voice, beautiful diction and a mastery of musical nuance….By the time he made his Met debut as Don Ottavio in Mozart’s DON GIOVANNI, in 1963, Mr Simoneau was acknowledged as one of the world’s leading performers of the role….After initial voice studies in Quebec City, he moved to Montreal…where he met Ms Alarie….they were married in 1946…."
- Anne Midgette, THE NEW YORK TIMES, 29 Aug., 2006
“Mrs. Alarie-Simoneau also sang with the New York Philharmonic, the Paris Opéra-Comique and the Salzburg, Aix-en-Provence and Glyndebourne Festivals. Her roles over the years included Rosina in Rossini’s BARBER OF SEVILLE and the title roles in Delibes’ LAKME, and LUCIA DI LAMMERMOOR. After retiring from the opera and concert stages, Mrs. Alarie-Simoneau worked as an opera director and teacher. In 1982 she and her husband Leopold Simoneau founded Canada Opera Piccola, a training company in Victoria.”
- Margalit Fox, THE NEW YORK TIMES, 19 July, 2011JOSEF HOFMANN: Vol. IX, incl. Scarlatti-Tausig, Beethoven (incl. the latter's 'Moonlight' Sonata #14 in c-sharp), Schubert-Tausig, Chopin, Rubinstein, Wagner-Brassin, Mendelssohn & Rachmaninoff; Interviews w. Lutoslawski, Bolet, Gould, Ganz, Menotti, Reisenberg, etc. 2–Marston 52058. Transfers by Ward Marston. (P1268)
“Restoration engineers, especially the caliber of Ward Marston, are far and few between. An ongoing project with Marston Records is the release of any and all of the celebrated pianist, Josef Hofmann's, all-to-brief discography for such a giant in the name of pianists. Finally, after waiting patiently, it has happened….As usual, Marston does an exemplary job with whatever he has to work with. Collectors of great pianists will be very pleased with this final volume honoring Josef Hofmann.”
- Lance G. Hill, THE CLASSICAL MUSIC GUIDEBRUNO MADERNA Cond. RAI S.O., Roma: Le Carnaval d'Aix; w.Massimo Bogiankino: Fantasie for Piano & Orchestra (both Milhaud), Live Performance, 23 Dec., 1960; Prelude for mixed chorus & orchestra (Schonberg), Live Performance, 19 April, 1962. (Canada) St Laurent Studio YSL T-478. Transfers by Yves St Laurent. (C1558)
ROBERT SHAW Cond. Cleveland Orchestra: ‘La Reine’ Symphony #85 in B-flat; Symphony #87 in A (both Haydn); Symphony #3 in D (Schubert). (Canada) St Laurent Studio YSL T-456, Live Performances, 1966-69. [This little jewel is among the most delightful and satisfying orchestral concerts offered on this website; the Haydn Symphonies in particular are delicate treasures!] Transfers by Yves St Laurent. (C1566)
CAVALLERIA RUSTICANA (3 performances, 1926-43), Met Opera Ensemble, La Scala (1930) & Opera Italiana d’Olanda (7 Nov., 1938), w.Molajoli, Mascagni, etc. Cond. Dusolina Giannini, Giannina Arangi-Lombardi, Lina Bruna-Rasa, Beniamino Gigli, Antonio Melandri, Carlo Tagliabue, Gino Lulli, Afro Poli, Claramae Turner, Ida Mannarini, Rina Gallo-Toscani, Anna Kaskas, Maria Castagna, Maria Meloni; DUSOLINA GIANNINI: Cavalleria Rusticana - Voi lo sapete; Forza - Sono giunta!...Madre, pietosa Vergine; Pace, pace mio Dio!; Zueignung (Strauss); Manella mia; Believe me, if all those endearing young charms - from a 1936 Philharmonic Recital (Intermission Feature). (Canada) 3-Immortal Performances IPCD 1082, accompanied by Elaborate 46pp. Booklet with photos & notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. (OP3232)
“Gathering together three great assumptions of the role of Santuzza from the 1930s, this set has huge documentary value….To have these three performances in once place offers a remarkable opportunity to explore this affecting drama in performances that hold huge historical significance.
As usual, documentation is as generous as the timings of these well-filled discs. A fascinating journey into the performance history of a major operatic masterwork.”
- Colin Clarke, FANFARE, Sept. / Oct., 2017SAMSON ET DALILA, Live Performance, 13 Dec., 1941, w.Pelletier, Cond. Met Opera Ensemble; René Maison, Risë Stevens, Leonard Warren, Nicola Moscona, Norman Cordon & Emery Darcy, replete with Milton Cross' commentaries; SAMSON ET DALILA, Act II, scene 3 (complete); Act III, Mill Scene. Piero Coppola, Cond. Marie Duchêne & César Vezzani – recorded 1931. (Canada) 2-Immortal Performances IPCD 1084, accompanied by Elaborate 24pp. Booklet with photos & notes by Henry Fogel, London Green & Richard Caniell. Transfers by Richard Caniell. (OP3230)
“A new release on the Immortal Performances is billed as a ‘World Premiere’ issue of a December 13, 1941 Metropolitan Opera broadcast of SAMSON ET DALILA….In short, this 1941 Met SAMSON ET DALILA is in many ways a gem, and well worth hearing….the set demands a most enthusiastic recommendation.”
- Ken Meltzer, FANFARE, Sept./Oct., 2017GIANNA PEDERZINI: Songs, Arias & Duet (with Renato Zanelli) by Ala, Alfano, Billi, Bizet, Canaro, Cannio, Cardillo, Chopin/Marbot, Cilea, de Curtis, de Falla, Errico, Giordano, Granados, Lama, Mari, Mascagni, Mozart, Pieraccini, Rossini, Sadero, Schultze, Tagliaferri, Thomas, Tosti, Verdi, A. Williams, plus Brahms & Strauss (the latter two in German). (Canada) 2-St. Laurent Studio 78-522, recorded 1928-46. [Not to be missed is the elegant two-volume Pederzini biography in Italian by Maurizio Tiberi, B1861] (V2540)
“This spectacularly successful set may serve to introduce all but the most fanatical collectors to a great Italian mezzo-soprano. Gianna Pederzini (1900-1988) had a very successful career for almost four decades, starting in the early 1920s….This two-disc collection assembled by Yves St. Laurent…is superb….In fact it is this strong persona that is the most distinguishing characteristic of Pederzini’s art. Allied to it musically is how well she has thought out details of phrasing, articulation, inflection, and shading, and yet what comes across sounds as if it is being created on the spot. There is not one track on the two discs that does not evidence a strong personality, a highly developed musical intelligence, and a sense of passion for the act of singing….the painstaking care with which the transfers have been done is reward enough for lovers of great singing.”
- Henry Fogel, FANFARELENER QUARTET: Quartet in a, Op.51, #2, recorded 11 Aug., 1931; Quartet in B-flat, Op.67, recorded 4 March, 1929 (both Brahms). (Canada) St Laurent Studio YSL 78-634. Remarkably quiet transfers from superb Royal Blue Columbia Shellac 78s by Yves St Laurent. This is the first in that which will be a monumental series of Lener Quartet CDs produced by Yves St Laurent! (S0710)
ISTVAN KERTESZ Cond. Cleveland Orch.: Symphony #6 in D (Dvorak); Divertimento in D, K.136; w.John Mack, Robert Marcellus, Myron Bloom & George Goslee: Sinfonia Concertante for Four Winds in E-flat, K.297b (both Mozart). (Canada) 2-St Laurent Studio YSL T-452, Live Performance, 8 Nov., 1969 (both Severance Hall). [The extraordinary performance of the Dvorak alone is worth the price of the entire concert!] Transfers by Yves St Laurent. (C1561)
ARTURO TOSCANINI Cond. NBC S.O.: Il Signor Bruschino – Overture (Rossini), Les francs-juges - Overture; Romeo et Juliette - Love Scene; Queen Mab Scherzo; Le Damnation de Faust - Rakoczy March (all Berlioz); Symphony #3 in a (Mendelssohn), Complete Concert of 5 April, 1941, Studio 8H, New York, w.broadcast commentary by Gene Hamilton; w.Vina Bovy, Kerstin Thorborg, Jan Peerce, Ezio Pinza & Schola Cantorum: Choral Symphony #9 in D (Beethoven), Live Performance, 6 Feb., 1938, Carnegie Hall, w.broadcast commentary by Gene Hamilton & Milton Cross. (Canada) 2-Immortal Performances IPCD 1079. Restoration by Richard Caniell. Includes 34pp Booklet w.notes by Robert Matthew-Walker & Richard Caniell. (C1556)
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
To download a copy of Auction #148, simply click the link below:
Auction #148 Catalog File Download
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
. . . For the Melodiya, Vista Vera,
Archipel, Myto, Walhall, Gebhardt &
Living Stage titles on sale,
simply visit our
sale section of our website . . .
Once again . . .
Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.
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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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V2543. VLADIMIR ZAKHAROV: Songs by Dargomyzhsky, Balakirev, Mussorgsky, Rimsky-Korsakov, Glazunov, Verstovsky, Alabieff, Arensky & Lyapunov. (Russia) Aquarius AQVR 409. [An unforgettable program by this glorious baritone!] - 4607123631928
OP3235. CARMEN, Live Performance, 9 Jan., 1937, w.Gennaro Papi Cond. Met Opera Ensemble; Rosa Ponselle, Sydney Rayner, Natalie Bodanya, Julius Huehn, Thelma Votipka, Helen Olheim, Giordano Paltrinieri, George Cehanovsky, Louis D'Angelo & Wilfred Engelman. (Canada) 2-St Laurent Studio YSL T-649. Transfers by Yves St Laurent.
C1567. CHARLES MUNCH Cond. Boston S.O.: Das alte jahr vergangen ist (Bach); Adagio for Strings (Barber); w. E. Power Biggs: Organ Symphony #3 in c (Saint-Saens); w. Maureen Forrester: Kindertotenlieder; Lieder eines fahrenden Gesellen (both Mahler). (Canada) 2-St Laurent Studio YSL T-504, Live Performance, 27 Dec., 1958, Symphony Hall, Boston. Transfers by Yves St Laurent.
P1267. WILHELM KEMPFF, w.Blomstedt Cond. Danish National S.O.: Piano Concerto #2 in B-flat; 'Emperor' Piano Concerto #5 in E-flat; Blomstedt Cond.: Fidelio - Overture (all Beethoven). (Canada) St Laurent Studio YSL T-548, Live Performance, 10 Sept., 1972. Transfers by Yves St Laurent.
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
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)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
Eleanor Steber (Marcia Sloat) (9780963417404)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Lotte Lehmann: The Complete Acoustic Recordings, 1914-26 (4-Marston 54006)
Arturo Toscanini; Rethberg, Schorr; Horowitz (Brahms) (2-Immortal Performances IPCD 1068)
Arturo Toscanini; Michel Piastro, Alfred Wallenstein (Brahms) (2-Immortal Performances IPCD 1077)
Medea (Gui) / Lucia di Lammermoor (Cleva) - TWO Maria Callas Performances (4-Immortal Performances IPCD 1076)
The 1902 London 'Reds' (2-Truesound Transfers 4002)
William Kapell - 3 First Releases; Rodzinski, Richard Burgin, Ormandy (JSP684)
Norma (Panizza; Cigna, Castagna, Martinelli, Pinza, Votipka) (2-Immortal Performances IPCD 1063)
Erich Leinsdorf, Vol. V; Gina Bachauer; Beverly Sills (2-St Laurent Studio YSL T-412)
Margarethe Siems; Aranyi, Forstel, etc. (2-Truesound Transfers 4001)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Klaus Tennstedt, Vol. II (2-St Laurent Studio YSL T-542)
Klaus Tennstedt, Vol. III (St Laurent Studio YSL T-543)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Zara Dolukhanova; Nina Svetlanova (St Laurent Studio YSL T-421)
Andrea Chenier (Cleva; Richard Tucker, Zinka Milanov, Anselmo Colzani) (2-St Laurent Studio YSL T-434)
George Szell, Vol. IV (St Laurent Studio YSL T-405)
Simon Boccanegra (Cleva; Cornell MacNeil, Zinka Milanov, Giorgio Tozzi, Barry Morell) (2-St Laurent Studio YSL T-442)
The Unknown Fernando De Lucia - Phonotype Recordings, 1917-21 (The Record Collector TRC 44)
Melanie Kurt; Matzenauer, Metzger, Urlus, Jorn, Kraus, Feinhals, Knupfer & Schorr (2-Truesound Transfers 4005)
Adolf Wallnofer & Hermann Winkelmann (2-Truesound Transfers 4004)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Erich Leinsdorf, Vol. VI; Sills, Wolff, Domingo, Berberian) (St Laurent Studio YSL T-453)
Pierre Boulez, Vol. VIII; Bluebeard's Castle, w. Tatiana Troyanos; Zoltan Kelemen (St Laurent Studio YSL T-385)
L'Elisir d'Amore (Weikert; Upshaw, Cole, Taddei) (2-St Laurent Studio YSL T-516)
Ignacy Jan Paderewski - Complete Victor Recordings (5-APR 7505)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Carmen (Paray; Jean Madeira, Brian Sullivan, Marjorie Gordon & Donald Gramm) (2-St Laurent Studio YSL T-396)
K.K. Hofoper Wien, 1904 Recordings - Hesch, Weidemann, Kittel, Elizza, Pacal, Slezak, etc. (2-Truesound Transfers 4003)
Sir John Barbirolli - Boston Symphony Orchestra (St Laurent Studio YSL T-415)
Ivan Kozlovsky - Beethoven, Schubert & Liszt (Aquarius AQVR 395)
Maria Jeritza (Malibran AMR 133)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
La Boheme (Samosud; Kozlovsky, Shumskaya, Burlak, Yakovenko, Korolev) (2-Aquarius AQVR 405)
Alexis Weissenberg, Vol. V; Kondrashin, Rowicki (St Laurent Studio YSL T-485)
The Boy (William H. Berry, Peter Gawthorne & Nellie Taylor) (Palaeophonics 141)
Vocal Record Collectors' Society - 2016 Issue (VRCS-2016)
Judith Raskin, Vol. I, w.George Schick (Pf.) (St Laurent Studio YSL T-444)
Nicolai Gedda, Vol. I ; John Wustman (Pf.) (St Laurent Studio YSL T-435)
Grand Format Musical Boxes - Operatic Overtures & Grand Arias (Musical Wonder House of Wiscasset, Maine)
Frauenliebe und Leben - 8 individual performances (2-Immortal Performances IPCD 1062)