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Yves St Laurent presents the
1977 SCOTTO Met LA BOHEME,
plus MUNCH,Vol. XXIII . . .
SAMSON FRANCOIS . . .
Malibran gives us GENEVIEVE DE PARIS . . .
Observe our 50% SALE
This week, for your enjoyment we offer the following:SAMSON FRANCOIS: Debussy Recital; Etude in G-flat, Op.25, #9 (Chopin). (Canada) St Laurent Studio YSL T-562, Live Performance, 15 Nov., 1965, Grand Hall of St. Petersburg Philharmonic. (P1277)
“A pupil of Alfred Cortot, but standing apart from others who also studied with the French master, Samson Francois was a pianist of exceptional persuasiveness in live performance, but only intermittently as arresting in the recording studio. Nonetheless, he left on disc several samples of work approaching his best concert form, albeit with some evidence of the eccentricities critics complained about. His interests were wider than his recorded legacy might suggest; even at his most idiosyncratic, he offered moments of wry humor and rare magic. His life was recalled in some detail in Jerome Spycket's biography SCARBO, published in 1985. In addition to studies in Paris with Yvonne Lefébure and the esteemed Marguerite Long, Francois was a student of Alfred Cortot at L'Ecole Normale de Musique, the school Cortot co-founded with Auguste Mangeot. Before Francois had reached the age of 20, he won the Long-Thibaud Competition and thereafter embarked on a career, one of international scale once WWII had ended. Even during the war, Jacques Thibaud brought Francois to the attention of Walter Legge, the English recording producer turned wartime concert organizer; François was soon flown to England for an extended tour of factories and camps. Concentrating on the Romantic piano literature, and especially the French repertory, he was acclaimed for his performances of Liszt, Schumann, and Chopin, as well as Fauré, Debussy, and Ravel. His Prokofiev, too, was impressive. French critics and audiences were especially receptive to his virtuosic approach. François found an appreciative audience in London as well, and enjoyed a largely positive reputation there during his mature years. François' early death denied the world a chance to hear how the pianist might have developed had he lived longer, but his recordings preserve sufficient work of high interest to assure him a place as a major artist.”
- Erik Eriksson, allmusic.comLA BOHEME, Live Performance, 24 Dec., 1977, w.Conlon Cond. Met Opera Ensemble; Renata Scotto, Barry Morell, Leona Mitchell, Ingvar Wixell, Italo Tajo, Paul Plishka, etc. [This is a case of truly luxury casting in that we have the glorious Swedish baritone Ingvar Wixell as Marcello. In addition to Wixell and the inimitable Renata Scotto, Barry Morell gives a beautiful performance of Rodolfo, ending the first act as written - a rare achievement!] (Canada) 2-St Laurent Studio stereo YSL T-654. Transfers by Yves St Laurent. (OP3239)
“Why, one might ask, should one investigate this recording of a broadcast when its principal attraction, Renata Scotto, made two commercial recordings of LA BOHEME
? There are multiple answers. The first recording, made in 1962 for DG, suffers from a very poor choice as Rodolfo (Gianni Poggi). The second, from 1980, was made with Alfredo Kraus and is conducted by James Levine, and is very fine. However what sets this Met broadcast apart is that Scotto in performance is different from Scotto in the recording studio, and significantly so. There are details of phrasing, of dynamic shadings, of pointed inflection, moments of risk-taking that make this performance tellingly more vivid than her commercial recordings.
Scotto’s opening scene with Rodolfo is a perfect example. She is alternately shy, flirtatious, and tender. This is a real character, not a soprano impersonating one. Then, when her first big aria comes, the imagination with which she employs dynamic shading will have you as completely seduced as it does Rodolfo. In the duet that follows she inflects every phrase with specificity, so it becomes a real conversation with Rodolfo. In her third act interchanges with Marcello, she again makes Mimì a real person; we feel her sadness at having to come to grips with Rodolfo’s jealousy, and we also at moments hear in her voice the illness that will ultimately kill Mimì. Her singing of ‘Addio, senza rancor’ is heartbreaking, inflected and shaded with a specificity that is displayed by very few sopranos apart from Maria Callas. She holds onto the final ‘rancor’ in a manner that conveys the feeling that she really does not want to let go of this relationship. There are a few forte high notes that are a touch shaky, but they are more than compensated for by the glorious floated pianissimi and the artistry of the whole. This is one of the most complete performances of this role, from both musical and dramatic points of view, that I have ever heard
In a season where all three of the ‘three tenors’ were on the Met’s roster (though they had not yet formed their trio) it is hard to understand why the BOHÈME
broadcast was given to the 50-year-old Barry Morell. The American tenor had a lovely natural lyrico-spinto tenor voice, but it was beginning to dry out by this time. Moreover, he never was a singer with much imagination, and that lack is highlighted when juxtaposed with a soprano who was blessed with an excess of that quality. Morell is certainly not bad, and he sings musically (his aria is transposed down a half-step), with a warm and appealing timbre, and he displays a good generalized feel for the shape of Puccini’s line.
Leona Mitchell is delightful as Musetta, with a somewhat richer sound than many of the soubrette types who sing this role. She throws herself into the spirit of the character fully, and is clearly having fun while singing beautifully. Ingvar Wixell’s Marcello is cannily acted, but by 1977 his voice had lost some of the luster it had earlier. He does communicate sympathetically his warmth toward Mimì while also letting his hair down effectively in the comic scenes. Puccini’s genius for this opera is the dramatic juxtaposition of the comic and the tragic, requiring interpreters to be able to switch on a dime, and Wixell is superb at that. Allan Monk is excellent as Schaunard, and Paul Plishka is luxurious casting as Colline. And in the veteran Italo Tajo the Met found the perfect basso to take on the dual roles of Benoit and Alcindoro.
James Conlon conducts with just the right balance of contrasting elements. He expands Puccini’s expansive phrases with richness and intensity, but never lets the momentum sag. He underlines the comic elements of the Bohemians’s shenanigans with wit and sharp rhythmic contours. In particular he is an extremely sensitive accompanist for Scotto, allowing her the liberty to stretch phrases and linger over moments where she is making a dramatic point while at the same time keeping the music’s shape. The important orchestral interlude introducing the final scene (just before ‘Sono andati’) is particularly touching, as it prepares the opera’s final tragedy.
As usual, St. Laurent Studio’s transfer is of the highest quality, and the Met’s broadcast engineers original stereo recording was very clean and well balanced. No notes come with this, but detailed tracking information and full cast are included. St. Laurent Studio recordings are available from Norbeck, Peters & Ford (www.norpete.com
). This is highly recommended for Scotto’s uniquely moving Mimì, for Conlon’s imaginative conducting, and for the overall sweep and impact of a fine live performance that is almost impossible to deliver in the recording studio.”
- Henry Fogel, FANFARECHARLES MUNCH Cond. Chicago S.O.: Symphony #2 in D (Honegger); Prélude à l'après-midi d'un faune (Debussy); Symphony #3 in g (Roussel). [The Symphony #2 in D for strings and trumpet (Symphony for Strings) by Arthur Honegger was commissioned in 1937 by Paul Sacher. The music is primarily for strings alone and is very turbulent and troubled until the trumpet soloist enters near the end of the music, giving this mostly tragic work a hopeful ending. The concluding chorale is 'like pulling out an organ stop', according to the composer.] (Canada) St Laurent Studio YSL T-546, Live Performance, 16 Feb., 1967, Orchestra Hall. Transfers by Yves St Laurent. (C1586)
"It's difficult to articulate what makes Munch's conducting special - or indeed if there even is anything identifiably unique about it. A lesser talent would simply turn out generic, cookie-cutter performances; but Munch was anything but generic. He was one of the most musical of conductors; in so many of his performances, everything simply sounds 'right'. Certainly, his experience as an orchestral musician gave him a lot of practical insight into the mechanics of directing orchestra traffic. But a classic Munch interpretation never sounds calculated. Spontaneity was one of his hallmarks, sometimes to the surprise and discomfort of the musicians playing under him. From one night to the next, a Munch performance of the same piece might be very different, depending on his mood of the moment - yet it would always sound like Munch."
- Lawrence Hansen, AMERICAN RECORD GUIDE, Nov. / Dec., 2012GENEVIEVE DE PARIS (Marcel Mirouze), ORTF Broadcast Performance, 22 Jan., 1953, w. Janine Micheau, Jane Rolland, Pierre Nougaro, Lucien Lovano, Jacques Bouet, Jean Giraudeau, Charles Cambon, Louis Nougera, Joseph Peyron, etc. [Composed in recognition of the liberation of Paris from the Nazis] (Conducted by the COMPOSER); HENRIETTE FAURÉ, w.Otmar Nussio Cond. Radio Suisse Italienne Orch.: Piano Concerto (Marcel Mirouze). (France) 2-Malibran 807. (OP3255)
. . . REPEATED FROM THE RECENT PAST . . .
LA FORZA DEL DESTINO, Live Performance, 29 Nov., 1952, w.Stiedry Cond. Met Opera Ensemble; Zinka Milanov, Richard Tucker, Leonard Warren, Jerome Hines, Mildred Miller, Gerhard Pechner, etc. (Canada) 2-St Laurent Studio T-679. Transfers by Yves St Laurent. (OP3254)
“Leonora is the role that would probably be most opera lovers’ choice if they were forced to choose one that best fit Zinka Milanov. She had the right vocal weight throughout her evenly-produced dramatic soprano, she was capable of the most remarkable floated pianissimi, and her generous, long-breathed phrases suited the music perfectly. Of the three recordings with her singing this role, I think most would agree that this one is first choice….This…has superb monaural sound, splendidly transferred by St. Laurent Studio….
There is a glow to [Milanov’s] sound that few have duplicated, a richness of tone that even fewer have matched, and the arc of Verdi’s line is limned ideally. Her soft singing in ‘Madre, pietosa Vergine’, ‘La Vergine degli’ angeli’, and ‘Pace, pace mio Dio’ should be heard by every soprano studying voice and thinking about singing this role. And those soft floated high notes are fully integrated into the phrase and shape of the music, not highlighted in a ‘look what I can do’ manner. This is vocal greatness of a kind rarely heard in any era.
The rest of the cast is on an equal level. Richard Tucker occasionally over-emotes (the little sob he puts in at the beginning of ‘O tu che in seno agli angeli’ detracts from the musical line), and there is a bit too much sforzando singing, but is on good behavior for most of the time, and his voice was certainly one of the glories in an era with a good many glorious tenors. He also had a better feel for legato and an evenly produced line than he was often given credit for. In addition, his passion is an important component of his scenes with Leonard Warren. One easily gets caught up in the fierceness of those scenes. Warren deserves a lot of credit for that as well. In addition to one of the greatest, richest baritone voices of his era, he was a compelling vocal actor. You have to go back before Warren, perhaps to Lawrence Tibbett or Pasquale Amato to find a Verdi baritone of equal vocal authority….
I suppose that the 1952 monaural sound would keep this from being a first-choice of this opera for most collectors, but I will state categorically that this is the one I turn to most frequently. (The 1962 Price/Corelli version, also issued by St. Laurent Studio, is probably a second choice, and only then do I get to any of the studio recordings). St. Laurent Studio, as is their norm, includes no notes, but full track listings and cast. The label is available through Norbeck, Peters & Ford (norpete.com
- Henry Fogel, FANFAREDER FLIEGENDE HOLLANDER, Live Performance, 24 Jan., 1937, w.Heinrich Steiner Cond. Reichssenders Berlin Ensemble; Herbert Janssen, Kurt Böhme, Elisabeth Friedrich, Marius Andersen, Margarethe Arndt-Ober, etc., w.broadcast commentary in German; World Premiere Release; HERBERT JANSSEN: Arias & Duets (w.Lotte Schöne, Margherita Perras & Göta Ljungberg) from (Canada) 2-Immortal Performances IPCD 1080. Restoration by Richard Caniell. Includes 33pp Booklet w.notes by Dewey Faulkner & Richard Caniell. (OP3249)
“In the period 1937-38, Reichssender Berlin produced a number of operas for broadcast, including this DUTCHMAN
. While most of the singers used remained in Germany throughout the war years, Herbert Janssen did not. In 1938, a year after this broadcast, he fled Germany, having been warned by Toscanini that he was now on a ‘hit list’ of the Nazis because the baritone had rebuffed a dinner invitation at Bayreuth from Hitler. He traveled to Buenos Aires, and eventually, with Toscanini’s help, settled in New York and never returned to Germany again….He was known to state that he sang opera to build up an audience for his Lieder recitals, an art form he evidently preferred.
It is that aspect of Janssen’s singing that makes this broadcast, never before available, unique and worth hearing. Because this was a broadcast meant for radio…Janssen could apply a degree of coloration and subtle inflection that would be lost in the opera house. His big monologue, ‘Die Frist ist um’, seems related as much to Schubert’s WINTERREISE
in its sense of desolation and loneliness as to operatic models from Weber or Marschner….This is an extremely valid and intriguing interpretation, one that is not often encountered with as much interpretive detail as we get here, and Janssen is consistent throughout the opera….
It is interesting to compare Janssen here with Janssen in a live Covent Garden performance conducted by Reiner (also issued on Immortal Performances [OP3017
]). That is of course quite impressive because of the presence of Reiner and Kirsten Flagstad as Senta. But what is fascinating is the interpretive and coloristic differences applied by Janssen in a staged setting vs. a broadcast studio. There is much that is more stentorian in the Covent Garden performance, some of which even stretches his vocal resources a bit. But in this broadcast he can bring a subtlety of coloration and inflection that humanizes the character in a more detailed way. You can hear it at all points - in the big opening monologue, the duet with Senta, and in particular in the opera’s final scene….”
- Henry Fogel, FANFARE, Sept. / Oct., 2017KLAUS TENNSTEDT Cond. Kiel Philharmonic: Symphony #5 in c (Beethoven), Live Performance, 20 March, 1980; KLAUS TENNSTEDT Cond. NDR S.O., w.CLAUDIO ARRAU: Concerto #2 in A (Liszt); Burlesque in d (Strauss), Live Performance, 9 May, 1977. (Canada) St Laurent Studio YSL T-663. Transfers by Yves St Laurent. (C1587)
CHARLES MUNCH Cond. Chicago S.O.: Symphony #1 in c (Brahms); Interview with Munch, 25 Feb., 1967, New York. (Canada) St Laurent Studio YSL T-539, Live Performance, 9 Feb., 1967, Orchestra Hall. Transfers by Yves St Laurent. (C1585)
BRUNO MADERNA Cond. Austrian Radio S.O., Wien: Et exspecto resurrectionem morturorum (Messaien); Cummings ist der Dicter (Boulez); Trois Poèmes d'Henri Michaux (Lutoslawski); w.Peter Baillie (T) & Ladislaus Illavsky (Bar,): Canticum Sacrum (Stravinsky). (Canada) St Laurent Studio YSL T-601, recorded 29 July, 1973, Salzburg. [recorded in a spacious acoustic, all in stupendous sound!] Transfers by Yves St Laurent. (C1588)
ERICH LEINSDORF Cond. Boston Symphony Orch.: Symphony #8 in c (Bruckner). [Beautifully displaying the splendor of the Symphony Hall acoustic.] (Canada) St Laurent Studio YSL T-497, Live Performances, 17 April, 1965, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1589)
DON CARLOS, Original French Version, Live Performance, 9 Nov., 1961, w. Charles Bruck; Alain Vanzo, Rene Bianco, Xavier Depraz, Jacques Mars, Germaine Bonnet, Genevieve Macaux, Claudine Collart, Lucien Lovano & Joseph Peyron. (France) 2-Malibran 818. (OP3244)
LA NAVARRAISE, recorded 1963, w.Hartemann Cond. Geneviève Moizan, Alain Vanzo, Jacques Mars, Lucien Lovano, Joseph Peyron, etc.; GRISELIDIS, recorded 1959, w. Cloëz Cond. Geneviève Moizan, Michel Roux, Janine Collard, Nadine Sautereau, Lucien Lovano, etc. (both Massenet). (France) 2-Malibran 813. [A fascinating taste of French Verismo offering Vanzo as you've never heard him before!] (OP3250)
TOSCA, Live Performance, 7 April, 1962, w.Kurt Adler Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Cornell MacNeil, Ezio Flagello, etc. (Canada) 2-St Laurent Studio T-681. Transfers by Yves St Laurent. (OP3252)
LA FORZA DEL DESTINO, Live Performance, 9 March, 1968, w.Molinari-Pradelli Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Robert Merrill, Jerome Hines, Louise Pearl, Fernando Corena, Louis Sgarro, Carlotta Ordassy, Robert Schmorr & Robert Goodloe. [This is the remarkable performance which confounded one of Price's confreres who initially couldn't believe it was she singing!] (Canada) 2-St Laurent Studio YSL T-652. Transfers by Yves St Laurent. (OP3236)
IL TROVATORE, Live Performance, 4 Feb., 1961, w.Cleva Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Irene Dalis, Mario Sereni, William Wilderman, Teresa Stratas, etc. [This is the first Met Opera Broadcast with Price & Corelli, shortly after their Met debuts the previous week, 27 January!] (Canada) 2-St Laurent Studio YSL T-650. Transfers by Yves St Laurent. (OP3238)
I VESPRI SICILIANI, Live Performance, 20 March, 1982, w.Levine Cond. Met Opera Ensemble; Renata Scotto, Pablo Elvira, Wieslaw Ochman, Ruggero Raimondi, etc. (Canada) 2-St Laurent Studio YSL T-677. Transfers by Yves St Laurent. (OP3248)
MADAMA BUTTERFLY, Live Performance, 17 Dec., 1977, w.Patane Cond. Met Opera Ensemble; Renata Scotto, Giacomo Aragall, Ryan Edwards, James Atherton, Richard Best, Russell Christopher, Alma Jean Smith, etc. [Luxury casting in that we have Giacomo Aragall as Pinkerton in one of his infrequent Met performances.] (Canada) 2-St Laurent Studio stereo YSL T-658. Transfers by Yves St Laurent. (OP3242)
LA DAMNATION DE FAUST (Berlioz), Live Performance, 23 March, 1963, Amsterdam; w.Fournet Cond. Radio Holland S.O. & Chorus; Régine Crespin, Guy Chauvet, Michel Roux & Peter van der Bilt. [With not a single weak link in this magnificent ensemble, the incomparable Jean Fournet gives us a shimmering performance of both power and sensitive delicacy.] (France) 2-Malibran 820. (OP3247)
REGINE CRESPIN: Rare Broadcast Recordings, w.John Wustman (Pf.): Songs by Schumann, Wolf, Poulenc & Canteloube - Live Recital, Strasbourg, 1966; w.Schippers Cond. NYPO: SHEHERAZADE (Ravel); Ah, Perfido (Beethoven) - Live Performance, Philharmonic Hall, 7 Feb., 1966, w.broadcast commentary by Milton Cross; w.Karl Kritz Cond. Syracuse S.O.: LES NUITS D'ETE (Berlioz) - Live Performance, 19 Oct., 1968; w.Inghelbrecht, Sebastian & Gavazzeni: Operatic Arias & Duets. (Canada) 2-Immortal Performances IPCD 1085. Restoration by Richard Caniell. Includes 14pp Booklet w.notes by Henry Fogel & Richard Caniell. [Crespin's radiant performance of LES NUITS D'ETE under the sensitive baton of Karl Kritz, brilliantly recorded in a spacious acoustic, alone is worth the price of the entire set!] (V2547)
“My excitement upon discovering the heretofore unavailable two-CD set, REGINE CRESPIN: RARE BROADCAST RECORDINGS
, in the catalog of historical performance specialist Norbeck Peters & Ford [norpete.com
] can only be partially conveyed through words. Crespin's London/Decca studio recordings of Berlioz's LES NUITS D'ETE
and Ravel's SHEHERAZADE
, accompanied by Ernest Ansermet et L'Orchestre de la Suisse Romande, which were captured in Victoria Hall, Geneva in September 1963, have long been coveted by audiophiles for both their sound quality and Crespin's incomparable artistry. The opportunity to hear the same two French song cycles, delivered with the extra frisson and interpretive touches that great singers share in live performance, in a collection that also includes other live and rarely encountered studio performances by Crespin, is not to be missed.LES NUITS D'ETE
was captured by Henry Fogel on October 19, 1968, when he was charged with recording the soprano's performance with the Syracuse Symphony Orchestra, which was conducted by Karl Kritz. Clearly Fogel's miking was ideal, because we can hear much of the same air and space that distinguish the Swiss recording of five years earlier.
and an extremely energetic performance of Beethoven's taxing ‘Ah! Perfido’ stem from a 1965 New York Philharmonic performance conducted by Thomas Schippers. For both, you also get introductions and commentary from Milton Cross, who for decades was known as the ‘voice’ of the Metropolitan Opera Texaco radio broadcasts….The Ravel is especially magical thanks to Crespin's feather-light soft singing, which was all the more miraculous considering that she possessed a Wagnerian sized voice that could soar above a huge orchestra. Put them together with everything else on the disc, and you've got a pretty complete portrait of a treasured artist in her prime.”
- Jason Victor Serinus, STEREOPHILE, 8 April, 2018JOSEF MANN: Songs by Schubert, Cherubini, Moniuszko & Noskowski; Arias & Duets (w.Barbara Kemp) from Aida, Otello, Aida, Ballo, Rigoletto, Il Trovatore, Tosca, Pagliacci, Cavalleria, Martha, La Juive, Carmen, Die Königin von Saba, Tannhäuser, Tristan, Parsifal, Lohengrin, Mona Lisa, Der Evangelimann, Tiefland, Straszny Dwor & Halka. (Germany) 2-Truesound Transfers 4008, recorded 1910-21, Pathe & Odeon. Transfers by Christian Zwarg. [Of so many Zwarg miraculous restorations, this one is truly a revelation!] (V2546)
“The Met had offered [Josef Mann] a five-year contract, hoping Mann would fill the shoes of Caruso, who had retired in 1920 and died in August, 1921….there are 47 [of his] titles transferred here, recordings made for Pathé and Odeon….The recordings were made in the decade between 1911 and 1921, and they are a revelation….After the grace and elegance of his singing of Pedro’s scene from the Prologue of TIEFLAND
by Eugen d’Albert, the power of Mann’s rendition of ‘Amfortas! Die Wunde’ from PARSIFAL
catches one by surprise. It is, in fact, the juxtaposition of real power with vocal elegance that makes Mann’s singing unique….
One could not ask for better transfers. Prior examples that I have encountered of Mann’s records lacked the richness of timbre that is brought out here; the previous transfers made the voice sound drier and harder in tone. Here one is impressed by the beauty of the sound, the glow that surrounds its firm tonal center….Vocal collectors are in for a major discovery by tracking this 2-CD set down. It is available at Norbeck, Peters & Ford (www.norpete.com
- Henry Fogel, FANFAREFRANCO CORELLI: Arias from La Battaglia di Legnano, Aida, I Lombardi, Rigoletto, Ballo, Il Trovatore, Forza, Ernani, Don Carlos , Otello & Simon Boccanegra. (France) Malibran AMR 142. (V2549)
THE NAUGHTY PRINCESS (Charles Cuvillier & Andre Bard), recorded 1920, w.John Ansell Cond. Adelphi Theatre Ensemble; George Grossmith, Lily St John, Amy Augarde, Strafford Moss, Ivy Connor, etc. (England) Palaeophonics 145, w.Elaborate 'The Play' 20pp. Brochure replete with numerous photos of the Adelphi Theatre 1920 production & biographies. Excellently transferred from the legendary Acoustic 78rpm English Columbia rarities. (PE0286)
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,
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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.
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P1277. SAMSON FRANÃ‡OIS: Debussy Recital; Etude in G-flat, Op.25, #9 (Chopin). (Canada) St Laurent Studio YSL T-562, Live Performance, 15 Nov., 1965, Grand Hall of St. Petersburg Philharmonic.
OP3239. LA BOHEME, Live Performance, 24 Dec., 1977, w.Conlon Cond. Met Opera Ensemble; Renata Scotto, Barry Morell, Leona Mitchell, Ingvar Wixell, Italo Tajo, Paul Plishka, etc. [This is a case of truly luxury casting in that we have the glorious Swedish baritone Ingvar Wixell as Marcello. In addition to Wixell and the inimitable Renata Scotto, Barry Morell gives a beautiful performance of Rodolfo, ending the first act as written - a rare achievement!] (Canada) 2-St Laurent Studio stereo YSL T-654. Transfers by Yves St Laurent.
C1586. CHARLES MUNCH Cond. Chicago S.O.: Symphony #2 in D (Honegger); PrÃ©lude Ã l'aprÃ¨s-midi d'un faune (Debussy); Symphony #3 in g (Roussel). [The Symphony #2 in D for strings and trumpet (Symphony for Strings) by Arthur Honegger was commissioned in 1937 by Paul Sacher. The music is primarily for strings alone and is very turbulent and troubled until the trumpet soloist enters near the end of the music, giving this mostly tragic work a hopeful ending. The concluding chorale is 'like pulling out an organ stop', according to the composer.] (Canada) St Laurent Studio YSL T-546, Live Performance, 16 Feb., 1967, Orchestra Hall. Transfers by Yves St Laurent.
OP3255. GENEVIÃˆVE DE PARIS (Marcel Mirouze), ORTF Broadcast Performance, 22 Jan., 1953, w. Janine Micheau, Jane Rolland, Pierre Nougaro, Lucien Lovano, Jacques Bouet, Jean Giraudeau, Charles Cambon, Louis Nougera, Joseph Peyron, etc. [Composed in recognition of the liberation of Paris from the Nazis] (Conducted by the COMPOSER); HENRIETTE FAURÃ‰, w.Otmar Nussio Cond. Radio Suisse Italienne Orch.: Piano Concerto (Marcel Mirouze). (France) 2-Malibran 807. - 7600003778079
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
Eleanor Steber (Marcia Sloat) (9780963417404)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
La Fanciulla del West (Behr; Steber, Corelli / Bardini, Colzani) (2-St Laurent Studio YSL T-519)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Aida / Forza (Bellezza; Rethberg, Ponselle, Martinelli, Pinza, de Luca) (2-Immortal Performances IPCD 1071)
Renata Scotto; John Wustman (1970 Hunter College Recital) (St Laurent Studio YSL T-665)
Medea (Gui) / Lucia di Lammermoor (Cleva) - TWO Maria Callas Performances (4-Immortal Performances IPCD 1076)
Arturo Toscanini; Michel Piastro, Alfred Wallenstein (Brahms) (2-Immortal Performances IPCD 1077)
Istvan Kertesz; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
William Kapell - 3 First Releases; Rodzinski, Richard Burgin, Ormandy (JSP684)
Norma (Panizza; Cigna, Castagna, Martinelli, Pinza, Votipka) (2-Immortal Performances IPCD 1063)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Klaus Tennstedt, Vol. II (2-St Laurent Studio YSL T-542)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Klaus Tennstedt, Vol. III (St Laurent Studio YSL T-543)
Simon Boccanegra (Cleva; Cornell MacNeil, Zinka Milanov, Giorgio Tozzi, Barry Morell) (2-St Laurent Studio YSL T-442)
L'Elisir d'Amore (Weikert; Upshaw, Cole, Taddei) (2-St Laurent Studio YSL T-516)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
The Unknown Fernando De Lucia - Phonotype Recordings, 1917-21 (The Record Collector TRC 44)
Adolf Wallnofer & Hermann Winkelmann (2-Truesound Transfers 4004)
Alexis Weissenberg, Vol. V; Kondrashin, Rowicki (St Laurent Studio YSL T-485)
Maria Jeritza (Malibran AMR 133)
Erich Leinsdorf, Vol. VI; Sills, Wolff, Domingo, Berberian) (St Laurent Studio YSL T-453)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
Carmen (Paray; Jean Madeira, Brian Sullivan, Marjorie Gordon & Donald Gramm) (2-St Laurent Studio YSL T-396)
Sir John Barbirolli - Boston Symphony Orchestra (St Laurent Studio YSL T-415)
Lener String Quartet, Vol. I (Brahms) (St Laurent Studio YSL 78-634)
Leopold Simoneau; Janine Lachance (Pf.) (St Laurent Studio YSL 33-441)
Aida (Cleva; Arroyo, McCracken, Bumbry, Colzani, Flagello, Plishka) (2-St Laurent Studio YSL T-515)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Missa Solemnis (Toscanini; Milanov, Thorborg, von Pataky, Moscona) (2-Immortal Performances IPCD 1086)
La Boheme (Samosud; Kozlovsky, Shumskaya, Burlak, Yakovenko, Korolev) (2-Aquarius AQVR 405)
The Boy (William H. Berry, Peter Gawthorne & Nellie Taylor) (Palaeophonics 141)
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)