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Caniell’s IMMORTAL PERFORMANCES’ glorious
1944 Met WALKURE with
BAMPTON, TRAUBEL, MELCHIOR under SZELL . . .
Yves St Laurent offers
SZELL, Vol. 11, w.FIRKUSNY . . .
ANSERMET, Vol. 10, w.SCHWALBE . . .
MENUHIN & LANDOWSKA . . .
numerous CDs now added to our 50% SALE
ANNUAL CLEARANCE SALE
A great quantity of MALIBRAN
titles have been added, many being final copies . . . all at 50% discount, many being offered below cost! . . . we must create more shelf space for newly arriving titles. . . The perfect opportunity to fill in gaps in your collection!GEORGE SZELL Cond. Cleveland Orch.: Symphony #95 in c (Haydn), Live Performance, 16 Jan., 1969; w. RUDOLF FIRKUSNY: Piano Concerto #14 in E-flat, K.449 (Mozart) - Live Performance, 2 Oct., 1969 (both Severance Hall). (Canada) St Laurent Studio YSL T-619. Transfers by Yves St Laurent. (C1649)
"Rudolf Firkusny, a Czech-born pianist, was known for his elegant performing style and his warm, patrician manner. During a long career, Mr. Firkusny was a favorite of audiences, piano connoisseurs and Czech-music specialists alike. He achieved still wider recognition in his late years in unexpected ways. In 1990, at 78, he appeared on a basketball court in concert dress, as a foil to David Robinson of the San Antonio Spurs in a popular television commercial for Nike sneakers. 'Music needs all kinds of encouragement', Mr. Firkusny said at the time. Shortly afterward, he made a triumphant return to Czechoslovakia, as the country was then still called. Although he had not performed there for 44 years because of his staunch opposition to Communist control, he was recognized for his lifelong contributions to Czech music and was awarded an honorary doctorate from Charles University in Prague.
- James R. Oestreich, THE NEW YORK TIMES, 20 July, 1994DIE WALKURE, Live Performance, 2 Dec., 1944, (replete with Milton Cross’ commentaries), w.Szell Cond. Met Opera Ensemble; Rose Bampton, Helen Traubel, Lauritz Melchior, Herbert Janssen, Kerstin Thorborg, Alexander Kipnis, etc. (Canada) 3-Immortal Performances IPCD 1081. Notes by Dewey Faulkner & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & booklet. (OP3280)
“[This] is a performance in which every singer and every orchestral musician is interacting with a similar mindset, and that mindset is firmly established on the podium. Of all the Melchior performances of this role that have been preserved (and I have seven), the tenor is at his most heroic, even bellicose, here. The whole performance is marked, vocally and orchestrally, by crisp rhythms, sharp orchestral attacks, and drama at white heat. The opening of Act II conveys the frenzy of the wild ride of the Valkyries with a sharp rhythmic snap and prominent timpani. When things do relax (‘Wintersturme’ for example) it is all the more effective.
Melchior is a miracle….He ranges widely between tenderness and intimacy to bold and heroic, even fierce. Melchior defined for the second quarter of the 20th century what a Heldentenor was supposed to sound like, and we haven’t heard his like since. The heroic brilliance he brings to the end of the first act is irreplaceable.
What is somewhat astonishing about this performance is that the two female leads, great as they are, represented the second level of Wagner singing in their time. These were the ladies who performed when you couldn’t get Kirsten Flagstad, Lotte Lehmann, and Marjorie Lawrence to sing! One would happily encounter this pair in any performance of DIE WALKÜRE today and feel fully gratified at the experience. Bampton may not be the most feminine of Sieglindes, but her voice rings gloriously, and she is dramatically sensitive as well. The upper-middle part of her range shines brilliantly while never thinning out. The richness of color it retains gives her portrayal a warmth and femininity that balances the power of her singing.
As for Traubel, the beauty of her voice is a well-known commodity. She equalized brilliance and richness of tone more evenly than almost any dramatic soprano. Her one weakness was an unreliable top, sometimes sounding forced. This problem appears hardly at all in this performance, and it didn’t stand in the way of a major career at the Metropolitan. Although she preferred the role of Sieglinde, Traubel sang Brünnhilde about 40 times with the company, and this performance documents the strengths of her interpretation. Unfortunate cuts in the score, surprisingly permitted by Szell, deprive us of important parts of her role (and Wotan’s), but there is much here to admire. One’s attention is first drawn to the sheer glamour of the sound; even in the opening battle cry she sings the music more than shrieking it, as often seems the case. In her big scenes with Wotan, Traubel enters the drama fully, inflecting with meaning. In her final scene before her punishment is imposed, she almost breaks our hearts with the sincerity of her pleading her case….
What seems so evident here is that Janssen and Szell are working together, in concert with each other, creating a dramatic and musical momentum that is quite extraordinary. His softened tone as he closes Brünnhilde’s eyes is heartbreakingly touching, and then hear the deeply touching string playing in the orchestral interlude after that moment. This is Wagner at his most poignant, and Szell captures it perfectly.
If there has ever been a greater Hunding than Alexander Kipnis, I haven’t encountered him. The dark depth of tone of which he is capable, combined with the extraordinary insight of a great Lieder singer, he creates a character of pure evil but one who never spills into caricature. His specificity of inflection of every phrase make the character a real person. Kerstin Thorborg’s rich contralto voice, long experience as a Wagnerian singer, and intelligent musicality add up to a sixth wonderful characterization (as Fricka) in this cast. Like the other two leading ladies, Thorborg’s tone has an inner glow at its core that defines an operatic ideal.
While Szell is often accused of ‘coldness’, nothing could be further from the truth here. He brings an almost unbearable humanity, warmth, and heartbreak to the final scene between Wotan and Brünnhilde, to Wotan’s farewell, to the ‘Todesverkündigung’. It is a quite unique balance between precision and clarity on the one hand, and dramatic intensity and humanity on the other, that makes this unique among recorded performances DIE WALKÜRE. The only criticism one can rightly make is his agreement to make the cuts he did.
One might ask why Richard Caniell, the proprietor of Immortal Performances, would bother with this broadcast, since the Met had issued it on a fundraising series of high-priced releases. The answer is that Caniell has improved significantly on the Met’s edition (and on Myto’s apparent copy of the Met’s work). The voices are notably richer here, and there is more color and richness to the orchestral sound….Caniell…has given it a life that it has never before had. Also included, to bring us all back to our youth and the experience of sitting at the radio on Saturday afternoons, is Milton Cross’ commentary (separately tracked for those who wish to bypass it). Add to that the usual level of informative and insightful notes and beautiful historic photos in the accompanying booklet, and you have a release of great importance.”
- Henry Fogel, FANFARE, Sept. / Oct., 2017YEHUDI MENUHIN & WANDA LANDOWSKA: Sonata #1 in b; Sonata #2 in A; Sonata #3 in E, Sonata #5 in f (all Bach), Live Performances, 20 Dec., 1944, Town Hall, New York. (Canada) A Classical Record ACR 45. Transfers by Seth B. Winner. Very long out-of-print, Final Sealed Copy! (S0220)
“These are lacquer recordings made in Town Hall during the live concert of December 20, 1944 when Menuhin and Landowska performed four of Bach’s five violin and keyboard sonatas. The critics were ecstatic over them, so much so that RCA Victor signed the duo to record them in the studio….[These live] recordings languished in the collection of Landowska’s secretary and partner Denise Restout for decades because Landowska had listened to them once and said they were so poorly recorded that they were worthless, but audio restoration wizard Seth Winner took them, worked on them, and came up with listenable if not crystal-clear transfers. The performances are indeed magical, with Menuhin playing in a fine Bach style….Landowska creates absolute magic in her weaving of the harpsichord parts.
Landowska toured European museums inspecting period harpsichords and trying them out, then bought old instruments and had Pleyel make her large touring harpsichord. The most controversial aspect of this instrument was its 16-foot stop, an octave below normal pitch, which gave her instrument a deeper, richer sound than any other....in the early 21st century, that Landowska had been right all along when she said to Pablo Casals, 'You play Bach your way and I’ll play him his way'....She was the Goddess of the Harpsichord, the woman who single-handedly revived interest in the harpsichord and made it a mainstream instrument. By the time she died there were also Ralph Kirkpatrick, Sylvia Marlowe and a few others, all inspired by Landowska and following in her footsteps, but it was pretty much accepted that Landowska was Mount Everest and the others were the Blue Ridge Mountains, at best.
Dressed in a plain black dress with a shawl, her hair pulled back in a bun, her beaklike nose pointed towards the keyboard, she was almost like a ‘character’ created for the occasion, a real-life 18th-century woman somehow transported to the 20th….her severe dress and hair style were all part of her presentation. In concert she would have the house lights dimmed slowly until all was in darkness, somehow find her way from the wings to her harpsichord, then have the house lights suddenly turned up to reveal her already seated and starting to play. She usually had a candelabrum on her instrument as well. To a certain extent, then, her act was as much a theatrical presentation….”
- Lynn Rene Bayley, Art Music Lounge, 25 Aug., 2016ERNEST ANSERMET Cond. NHK S.O.: Symphony #3 in F - Live Performance, 30 May, 1964, Bunka Kaikan Hall, Tokyo; ERNEST ANSERMET Cond. Suisse Romande Orch., w.MICHEL SCHWALBE: Violin Concerto in D - Live Performance, 9 Dec., 1964 (both Brahms). (Canada) St Laurent Studio YSL T-694. Transfers by Yves St Laurent. (C1642)
“Michel Schwalbe, leader of the Berlin Philharmonic Orchestra from 1957 to 1985, throughout the heyday of the Herbert von Karajan era. An ebullient character with a sumptuous technique combining the qualities of both the Russian and the Franco-Belgian schools, he chose a life away from the plaudits he would have received on the international platform and the timing of the outbreak of the Second World War probably changed the course of his career. He appeared happy with a role where he was an integral part of one of the world's finest ensembles, and often appeared as soloist with his orchestra, as well as conducting in the maestro's absence.
Born in Radom, south of the Polish capital of Warsaw, the young boy was soon recognised as an outstanding talent by Maurycy Frenkel, pupil and assistant of the great violin teacher Leopold Auer, and teacher of another fine Polish violinist, Henryk Szeryng. At the age of 15, Schwalbe travelled with his mother to Paris, where he had lessons from Georges Enescu, an extraordinary teacher whom he always revered not just for his musicianship, but also for his faultless memory. Schwalbe's musical education also included studies in chamber music and conducting with Pierre Monteux, and with the now little-known violin master Jules Boucherit. In 1938 the final-year student carried away the highest marks of his year at the Paris Conservatoire, and the Sarasate prize.
When war came the following year, he fled France for Switzerland, and found himself leading unknown orchestras as a means of survival. But he put his time to good use, learning the art of violin making with Adolf Stahl. Schwalbe achieved enough mastery to be able to win the Scheveningen competition in the Netherlands in 1948 by playing one of his own fiddles. In the mid-1940s he was appointed leader of the Suisse Romande Orchestra, and also led the Lucerne Festival Orchestra, now coming into contact with the leading conductors of the time, including Wilhelm Furtwängler and Ernest Ansermet.
However, it was during the Lucerne Festival that he first encountered the young, unknown Karajan. Nonetheless, he did not accept the offer immediately. The Polish-Jewish instrumentalist had lost his mother and sister in the Holocaust, while Karajan, a Nazi party member, had conducted in wartime Berlin. The agreement of the appointment was seen as one of the many steps in Germany's postwar reconciliation.
Once installed in Berlin, Schwalbe established a secure niche in the top violinists' hierarchy, teaching at the Mozarteum's summer school in Salzburg, appearing as a jury member in various international competitions, and receiving many honours for his playing.
In 1984 he accepted an invitation to teach at the Yehudi Menuhin school in Surrey, and returned to Britain a year later to give masterclasses in London and at the Britten-Pears school in Aldeburgh, Suffolk. He said that he liked the quiet humour and kindliness of the British and once professed a wish that he had been English by birth.”
- Anne Inglis, THE GUARDIAN, 29 Oct., 2012REPEATED . . . FROM THE RECENT PAST . . .PIERRE MONTEUX Cond. NYPO: The Star Spangled Banner [an emotional rendition with the audience participating enthusiastically] (Key); Die Geschopfe des Prometheus – Overture (Beethoven); w.LEON FLEISHER: Piano Concerto #1 in d (Brahms). (Canada) St Laurent Studio YSL 78-551, Live Performance, 5 Nov., 1944, Carnegie Hall. Transfers by Yves St Laurent. (C1646)
"A piano, which produces a tone by striking strings with a felt-lined hammer, should not be able to sustain a legato as gorgeous as what Fleisher coaxes from the instrument. The next thing you realize is that this sound is not just a clever effect but it makes the music come to life and clarifies textures in way that seems utterly fresh and utterly right. That's the magic of Fleisher the pianist."
- Harvey Steiman, MusicWeb International - Aspen Festival, 25 July, 2005CARL SCHURICHT Cond. Vienna S.O., w. Maria Stader, Marga Hoffgen, Anton Dermota & Walter Berry: MISSA SOLEMNIS (Beethoven). (Canada) St Laurent Studio YSL T-511, Live Performance, 21 June, 1961, Stephansdom, Vienna. Transfers by Yves St Laurent. (C1648)
RUDOLF KEMPE Cond. NDR S.O.: Concerto Grosso, Op.6, #1 (Handel); Symphonie fantastique (Berlioz); w. CLIFFORD CURZON: Piano Concerto #24 in c, K.491; GEORG SOLTI Cond. NDR S.O., w. CLIFFORD CURZON: Piano Concerto #23 in A, K.488 (both Mozart). (Canada) 2-St Laurent Studio YSL T-556, Live Performances, 11 / 1 Aug., 1959, Salzburg. Transfers by Yves St Laurent. (C1647)
ARTUR RODZINSKI Cond. NYPO: 'Eroica' Symphony #3 in E-flat (Beethoven). (Canada) St Laurent Studio YSL 78-578, Live Performance, 7 Oct., 1943, Carnegie Hall. Transfers by Yves St Laurent. (C1645)
NATHAN MILSTEIN, w. Szell Cond. Cleveland Orch.: Symphonie Espagnole (Lalo), Live Performance, 4 Jan., 1968, Severance Hall; w.Louis Fremaux Cond. ORTF S.O.: Violin Concerto in D (Brahms),Live Performance, 22 June, 1967, Paris. (Canada) St Laurent Studio YSL T-666. Transfers by Yves St Laurent. (S0727)
DAVID OISTRAKH, w. Vladimir Yampolsky (Pf.): Violin Concerto in a (Bach); Violin Concerto #1 in g (Bruch); Poeme for Violin & Orch. (Chausson), Live Performance, 15 Oct., 1957, Shanghai [Oistrakh is accompanied by Yampolsky since he was not satisfied with Chinese orchestras]; DAVID OISTRAKH & GEORGES ENESCU, w. Kondrashin Cond. USSR State S. O.: Violin Concerto for Two Violins in d (Bach), recorded 1946. (Canada) St Laurent Studio YSL T-722. Transfers by Yves St Laurent. (S0729)
DIMITRI MITROPOULOS Cond. NYPO: Divertimento in D, K.131 (Mozart); Jekyll and Hyde Variations (Morton Gould - World Premiere); w. NATHAN MILSTEIN: Violin Concerto in a (Goldmark). (Canada) St Laurent Studio YSL T-609, Live Performance, 3 Feb., 1957, Carnegie Hall. Transfers by Yves St Laurent. (C1643)
I QUATTRO RUSTEGHI (Wolf-Ferrari), Live Performance, 13 June, 1951, Teatro dell’Arte, Milano, w.Alfredo Simonetto Cond. RAI Ensemble; Fernando Corena, Gianna Perea Labia, Alda Noni, Ester Orell, Agnese Dubbini, Mario Carlin, Carlo Ulivi, Pasquale Lombardo, Cristano Dalamangas, etc. [This is a little-known, marvellously melodious, amusing opera with dazzling orchestration!]; ARTURO TOSCANINI Cond. NBC S.O.: Le Segreto di Susanna – Overture – Live Performance, 20 Jan., 1946; Le Donne Curiose – Overture – Live Performance, 27 Nov., 1944 (both Wolf-Ferrari; both w.Ben Grauer’s commentary). (Canada) 2-Immortal Performances IPCD 1095. Notes by Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & two booklets. (OP3279)
“What a delight! From beginning to end I QUATTRO RUSTEGHI is unalloyed pleasure…..Wolf-Ferrari created a comedic gem here, one worthy of standing alongside the comic masterpieces of Rossini and Donizetti (Verdi’s FALSTAFF occupies its own level), even if we can debate its actual standing as a masterpiece. The two bonus excerpts show the respect that a great conductor such as Toscanini had for the composer; he gives brilliant performances of two overtures. I had no idea of the treasure that awaited me when I received my review copy of I QUATTRO RUSTEGHI. Each repeated hearing unlocks new joys.”
- Henry Fogel, FANFARE, March / April, 2018
“There is not a weak link in the cast, with each vocalist relishing Wolf-Ferrari’s music and the text. And while each of the singers brims with personality, each is also mindful of his or her function as a member of the overall musical fabric, comprising both the voices and the orchestra. It’s wonderful to hear the great basso-buffo Fernando Corena in his youthful prime as Lunardo, already a master of comic effects, but couched in a voice of considerable richness and beauty. But all the principal singers hold their own….It is clear from reading Immortal Performances producer Richard Caniell’s various booklet essays that this opera and recording are a true labor of love. And Caniell has given this recording of an unjustly neglected work precisely the type of respect and treatment it deserves. In addition to first-rate sound restoration, the booklets include several in-depth essays on the opera, its composer, Goldoni, a discussion of Venetian dialect, the RAI series of recordings, artist bios, and notes on the recording. There is also a detailed plot synopsis, and access (via the Immortal Performances website) to the opera’s libretto (Venetian dialect and all) and an English translation. Sparkling performances by Arturo Toscanini and the NBC Symphony Orchestra of two Wolf-Ferrari opera overtures are the irresistible cherry atop this musical confection.
I agree with Richard Caniell that Wolf-Ferrari’s I QUATTRO RUSTEGHI is a work that holds its own within the proud tradition of great Italian comic opera, and that the 1951 Milan performance is a marvelous representation of the score. If you are looking for a first-rate presentation of a quite wonderful Italian comic opera, Immortal Performances will provide you considerable pleasure and reward. Warmly recommended.”
- Ken Meltzer, FANFARE, March / April, 2018FAUST, Live Performance, 20 March, 1937, (replete with Milton Cross’ commentaries), w.Pelletier Cond. Met Opera Ensemble; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza, Helen Olheim, Ina Bourskaya, Wilfred Engelmann, etc. (Canada) 2-Immortal Performances IPCD 1097. Notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & booklet. (OP3278)
“[This] appears to be a first ever issue of a March 20, 1937 Metropolitan Opera broadcast of Gounod’s operatic masterpiece, featuring a stellar cast and conductor, reproduced here in excellent sound for its source and vintage….
The Faust is American tenor Richard Crooks….Rarely, if ever, have I heard a tenor perform the opera’s opening scene so persuasively…. It’s a marvelous demonstration of first-rate singing and vocal acting. Indeed, among vintage interpretations, it is a Faust worthy to be placed alongside Georges Thill and Cesar Vezzani.
Ezio Pinza…is also in superb voice, which is to say, one of the finest lyric bassos of the 20th century….Helen Jepson brings numerous strengths to her convincing portrait of Marguerite. Jepson’s voice is attractive and secure, and she does an admirable job of portraying the tragic heroine’s transformation from an innocent girl to a passionate young woman, ultimately betrayed by her lover….Richard Bonelli is a rich-voiced, first-rate Valentin. Both Helen Olheim as Siebel and Ina Bourskaya as Marthe acquit themselves with distinction. Wilfrid Pelletier conducts with an arresting respect and affection for the score….
The accompanying booklet includes Henry Fogel’s informative and enthusiastic appreciation of the performance, a plot synopsis, artist photos and bios, and Richard Caniell’s recording notes….Thanks to Immortal Performances for making it available, and in far more than adequate sound. Very highly recommended.”
- Ken Meltzer, FANFARE, March /April, 2018DIE MEISTERSINGER, Live Performance, 10 Feb., 1945, (replete with Milton Cross’ commentaries), w.Szell Cond. Met Opera Ensemble; Herbert Janssen, Eleanor Steber, Kerstin Thorborg, Charles Kullman, Emanuel List, Mack Harrell, John Garris, etc. (Canada) 3-Immortal Performances IPCD 1088. Notes by Richard Caniell as well as a second article by Caniell and Anne Woods. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 54pp booklet. (OP3276)
“Herbert Janssen…brings a Lieder artist’s sensitivity to diction, phrasing, and dynamics. In fine voice throughout, Janssen is also able to summon more than adequate power and boisterousness for the Act II scene with Beckmesser (‘Jerum! Jerum!’)…. Both Eleanor Steber and Charles Kullman approach ideal assumptions of the roles of Eva and Walther von Stolzing. Steber, then a lyric soprano with a rich, gorgeous instrument, embodies Eva’s warmth, kindness of heart, and youthful passion. It’s not surprising that such an accomplished Mozart interpreter also dispatches Eva’s trills with technical elan and beauty. Like Steber’s, Kullman’s attractive lyric instrument has ample heft and metal, and he sings Walther’s music with assurance and stamina, no mean feat in this most demanding and lengthy work. Kullman is absolutely convincing as a young, headstrong knight, who also bears the heart of a poet. Gerhard Pechner, too, is one of the finest Beckmessers on disc.
If you love DIE MEISTERSINGER (as I do), you owe it to yourself to hear this Met 1945 broadcast, a performance that captures, as well as any I’ve heard, the beauty and humanity of Wagner’s incomparable creation.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2017ERNANI, Live Performance, 1 Dec., 1962, w.Schippers Cond. Met Opera Ensemble; Leontyne Price, Carlo Bergonzi, Cornell MacNeil, Giorgio Tozzi, etc. (Canada) 2-St Laurent Studio T-680. Transfers by Yves St Laurent. (OP3253)
"[This] Met performance has so much more of the smell of the theater [than the later commercial recording] that it is clearly preferable as a musical and dramatic experience. To show us all how normal such a remarkable level of singing was in those days at the Met, there is also available, on the Myto label, a 1965 live ERNANI with Price, Franco Corelli, Sereni, and Cesare Siepi. These were not gala evenings, just the normal house standard!
Price and Bergonzi sing differently than they do on the RCA set. They are more involved in the drama at every moment, they hold notes longer and inflect with a thrust that is missing from the studio recording. Price's luscious soprano produces a remarkably beautiful sound throughout, but she is not averse to pushing the voice at climactic moments, thus adding urgency to her performance. Her trill in the cabaletta to 'Ernani, involami' is perfect, and in the quartet that ends the third act she soars gloriously above the other three. Bergonzi is even farther removed from his beautifully vocalized but rather staid bandit Ernani heard on the RCA. The cabaletta to his entrance aria pushes forward (from both him and Schippers) in a way totally absent from the studio recording. As Rayfield notes in his original FANFARE review, both Price and Bergonzi 'color words with real dramatic force'. The tenor's singing in the opera's final scene is the kind of vocalism that catches you up short with its beauty.
MacNeil is stupendous here. This might be (along with a Met TOSCA from the same period) the best recorded representation of the American baritone….MacNeil's leading the finale to the third act, 'O sommo Carlo', is reminiscent of Leonard Warren's singing in the 1956 Met radio broadcast.”
- Henry Fogel, FANFAREWERTHER, Live Performance, 18 March, 1989, w. Jean Fournet Cond. Met Opera Ensemble; Neil Wilson, Kathleen Kuhlmann, Bernd Weikl, Dawn Upshaw, Renato Capecchi, Charles Anthony, James Courtney, Sandra Bush & Ray Morrison. (Canada) 2-St Laurent Studio YSL T-661. (OP3277)
“A company that makes the investment of time and money to issue a performance of WERTHER that contains no box office names is a company that is doing something out of a true artistic belief in the quality of the performance....Wilson was a last-minute substitute…. Wilson sings with style and real presence, and the ovation after ‘Pourquoi me reveiller’ is well deserved. Kuhlmann is even better. Her dark, rich mezzo has a vibrant glow, and her Charlotte is every bit as vibrant and alive as those of her more famous Met colleagues. What is very special is the evenness of the voice; its character is unchanged from a plummy lower register to a warm and luminous top….This release took me by surprise, and I would now rank it as one of the finest recordings of WERTHER, one that anyone who loves this opera should investigate….along with a superb rendering of the Met broadcast network’s stereo sound.”
- Henry Fogel, FANFAREHELGE ROSVAENGE, Vol. II, w.Otto Seyfert (Pf.): Songs by Schubert, Schumann, Strauss & Wolf; Arias from Aida, Otello, Andrea Chenier, Eine Nacht in Venedig, Giuditta, Der Barbier von Bagdad & Der Freischutz. [In addition to the glory of Rosvaenge's stunning operatic arias, this live recital offers as well the Lieder aspect of his notable career - once again before a deliriously grateful audience!] (Canada) St Laurent Studio YSL T-764, Live Performance, 16 May, 1964, Barbizon Plaza Hotel, New York. (V2583)
HELGE ROSVAENGE, Vol. I, w.Otto Seyfert (Pf.): Zueignung (Richard Strauss); Arias from Fidelio, Der Rosenkavalier, Tosca, La Fanciulla del West, Turandot, Pagliacci, Carmen, Il Trovatore, Andrea Chenier, Das Land des Lachelns & Lohengrin. [A truly outstanding solo recital in the glorious Carnegie Hall acoustic! Rosvaenge's fabulous voice ricochets off Carnegie Hall's walls throughout, with a duly excited audience! The Danish competition in New York that night was no less than Lauritz Melchior singing at age 73, at Adelphi College!] (Canada) St Laurent Studio YSL T-763, Live Performance, 17 April, 1963, Carnegie Hall. (V2582)
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 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 #149 Online Catalog
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Auction #149 Catalog File Download
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
. . . For the Opus Kura,
Archipel, Myto, Walhall, Gebhardt &
Living Stage titles on sale,
simply visit our
sale section of our website . . .
Once again . . .
Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.
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C1649. GEORGE SZELL Cond. Cleveland Orch.: Symphony #95 in c (Haydn), Live Performance, 16 Jan., 1969; w.RUDOLF FIRKUSNY: Piano Concerto #14 in E-flat, K.449 (Mozart) - Live Performance, 2 Oct., 1969 (both Severance Hall). (Canada) St Laurent Studio YSL T-619. Transfers by Yves St Laurent.
OP3280. DIE WALKÜRE, Live Performance, 2 Dec., 1944, (replete with Milton Cross’ commentaries), w.Szell Cond. Met Opera Ensemble; Rose Bampton, Helen Traubel, Lauritz Melchior, Herbert Janssen, Kerstin Thorborg, Alexander Kipnis, etc. (Canada) 3-Immortal Performances IPCD 1081. Notes by Dewey Faulkner & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & booklet. - 019962666018
S0220. YEHUDI MENUHIN & WANDA LANDOWSKA: Sonata #1 in b; Sonata #2 in A; Sonata #3 in E, Sonata #5 in f (all Bach),
Live Performances, 20 Dec., 1944, Town Hall, New York. (Canada) A Classical Record ACR 45. Transfers by Seth B. Winner. Very long out-of-print, Final Sealed Copy! - 603187004528
Regular price: $79.90
Sale price: $39.95
C1642. ERNEST ANSERMET Cond. NHK S.O.: Symphony #3 in F - Live Performance, 30 May, 1964, Bunka Kaikan Hall, Tokyo; ERNEST ANSERMET Cond. Suisse Romande Orch., w.Michel Schwalbé: Violin Concerto in D - Live Performance, 9 Dec., 1964 (both Brahms). (Canada) St Laurent Studio YSL T-694. Transfers by Yves St Laurent.
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Renata Scotto, Vol. I Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Walkure, Act III (Traubel, Janssen) - Tristan, Act II, 1944 (Melchior, Traubel) (2-Immortal Performances IPCD 1093)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Istvan Kertesz; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Erich Leinsdorf, Vol. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Faust (Pelletier; Richard Crooks, Helen Jepson, Richard Bonelli, Ezio Pinza) (2-Immortal Performances IPCD 1097)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
Marian Anderson, Vol. III (St Laurent Studio YSL 78-629)
Mignon / Carmen (Swarthout, Vinay, Hackett, Albanese, Pinza) (4-Immortal Performances IPCD 1096)
Siegfried (Boulez; McIntyre, Jones, Kollo, Kelemen, Zednik, Rundgren) (3-St Laurent Studio YSL T-670)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
Tosca (Adler; Leontyne Price, Franco Corelli, Cornell MacNeil) (2-St Laurent Studio T-681)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
Lohengrin (Rosenstock; Konya, Crespin, Rankin, Cassel) (3-St Laurent Studio YSL T-662)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Die Meistersinger (Szell; Janssen, Steber, Thorborg, Kullman, List, Harrell) (3-Immortal Performances IPCD 1088)
Arturo Toscanini - Victor Records Restored (3-Immortal Performances IPCD 1087)
Walkure (Boulez; McIntyre, Hofmann, Jones, Bode, Salminen, Randova) (3-St Laurent Studio YSL T-645)
Forza (Stiedry; Milanov, Tucker, Warren, Hines) (2-St Laurent Studio T-679)
Aida / Forza (Bellezza; Rethberg, Ponselle, Martinelli, Pinza, de Luca) (2-Immortal Performances IPCD 1071)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
Der Rosenkavalier (Szell; Jessner, Novotna, Conner, List) (3-Immortal Performances IPCD 1092)
Il Trovatore (Cleva; Leontyne Price, Franco Corelli, Dalis, Sereni) (2-St Laurent Studio YSL T-650)
Missa Solemnis - Toscanini; Milanov, Thorborg, von Pataky, Moscona (2-Immortal Performances IPCD 1086)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Klaus Tennstedt, Vol. VI - (Bruckner 4th - Boston) (St Laurent Studio YSL T-695)
Serge Koussevitzky, Vol. XI - Sibelius & Henri Casadesus (St Laurent Studio YSL 78-643)