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Historical Reissue Classical CDs, LPs, 78s,
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Since 1972


Immortal Performances’ distinguished Tribute to

CESARE VALLETTI . . .

Yves St Laurent offers his first

LAZAR BERMAN recital . . .

Prades Festival, Vol.8 -

Casals’ ST JOHN PASSION . . .

ORMANDY in France, Vol. 4 . . .

and ‘SALE’ titles continue . . .


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We are truly sorry for the recent delay in arrival of your orders. You are not alone! Not only have postal rates just risen sky-high, but the service has gone far down. There is absolutely nothing we can do to correct the situation. This is going to be the way of the future.

Once again, we regret the delay which is entirely out of our control.

Finally, we have been advised by the Australian Post that they soon will accept parcels from the United States. We trust this will become the new wave for New Zealand as well. Please remain on alert and we shall let you know when we again can ship to both countries. As might be expected, the culprit during recent months was Covid!


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  • CESARE VALLETTI - Tribute, incl. DON PASQUALE, w.Thomas Schippers Cond.Metropolitan Opera Ensemble w.Cesare Valletti, Fernando Corena, Roberta Peters, Alessio de Paolis, etc., Live Performance, 2/11/1956; preceded by SOIREE (Britten); WERTHER, w. Renato Cellini Cond. New Orleans Opera Ensemble; Cesare Valletti, Nell Rankin, Josephine Guido, Arthur Cosenza, etc., Live Performance, Municipal Auditorium, New Orleans 12/1/1956; WERTHER – Excerpts, w.Cesare Valletti and Rosalind Elias; CESARE VALLETTI sings scenes from La Sonnambula, Falstaff, La Favorita, L’Elisir d’Amore, L’Arlesiana, and Manon (with Maria Callas, Rosana Carteri, and Giulietta Simionato). (Canada) 4-Immortal Performances IPCD 1143, w.Elaborate 58pp. Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. (V2656)

    “This four-disc set is built as a tribute to Cesare Valletti, and a well-deserved one it is. Valletti’s all-too-brief career at the Metropolitan Opera ran from 1953 (when the tenor was 31) through 1960. His abrupt departure came when Rudolf Bing bizarrely replaced Valletti, after a dress rehearsal [at which Valletti refused so sing full-voice] of a new production of L’ELISIR D’AMORE, with Dino Formichini, a tenor nowhere near Valletti’s equal. Bing’s decision has never been explained. Valletti kept singing until 1967, but he never returned to the Met, despite invitations. Although knowledgeable opera lovers have always admired his singing, Valletti never achieved star status. The brevity of his Met career might be partially responsible, as might competition from other outstanding lyric tenors at the time. I think it is also fair to say that Valletti’s voice lacked the unique signature that captures one’s attention the moment the sound is heard. He did have an instrument of genuine lyrical beauty, however, along with an elegance of style that few tenors in any generation exhibit. Moreover, he sang with real personality, more than he is generally credited with. In two completely different roles here, as Ernesto and Werther, Valletti excels both musically and dramatically. William Russell’s superb essay in the lovely booklet with this set, ‘A Tribute to Cesare Valletti - A great tenore di grazia’, provides an eloquent exploration of the singer’s art. The most meaningful document, however, is of course the singing itself as demonstrated on these four discs. Valletti was one of the most prized students of the great Italian lyric tenor Tito Schipa, and it is no coincidence that two of Schipa’s most acclaimed roles, Ernesto in DON PASQUALE and the title role in WERTHER, are combined here by Immortal Performances. It doesn’t take long into DON PASQUALE before we recognize the beauty and elegance of Valletti’s singing. His breath control and exquisite shading of dynamics distinguish Ernesto’s Act I aria ‘Sogno soave e casto’. Throughout the opera Valletti gives us refined singing and a completely involved characterization. His comedic timing and inflections are very effective. Valletti is paired with one of the most skilled bassi buffi of the era in Fernando Corena, and the tenor more than holds his own. Conversely, he is a convincing lovesick swain as well. One of the most impressive aspects of Valletti’s singing is his rhythmic precision, so that in the ensembles the genius of Donizetti’s musical inventiveness is always clear. The classic model for Ernesto on disc is Schipa’s 1932 recording. Valletti’s portrayal is the closest I’ve heard to his teacher’s skilled vocal production and innate musicality. Having these qualities in a live performance, with the frisson that this adds, is treasurable. It is regrettable that the cabaletta to ‘Chercherò lontana’ in Act II was cut. What may surprise in everything in this set, is the interpretive strengths and risktaking Valletti demonstrates. He is far more willing to hold notes, stretch phrases, and exhibit the kind of strong personality that was more common in singers of an earlier generation than today’s. Never becoming tasteless, all of it is both beautiful and engaging. Fernando Corena in the title role is also as good as it gets. Corena was the reigning basso buffo at the Met from 1954 to 1978. He was the much-loved successor to Salvatore Baccaloni. In the later years of his career, Corena got by on his superb comedic skills and his ability in the rapid patter of the arias common to bel canto comedies, while the core of his voice thinned. But here in 1956 we get not only the extraordinary gift Corena had for characterization, but also really strong singing. Key to the success of any performance of DON PASQUALE is depicting the title character as a human being rather than caricaturing him as a buffoon. Corena manages this so well that, like Norina, we feel just a little sorry for the trick being played on Pasquale. Roberta Peters also had a long and successful career at the Met, and she is superb as Norina. Peters did not have a great range of vocal colors at her disposal, but her voice was attractive, her technique in florid passagework excellent, and she too had real skills at comedy. She vividly interacts with the other characters and maintains the appropriate comedic spirit. She softens her tone just enough to convey that Norina feels some degree of regret at doing the needful thing, slapping Pasquale to make him rue the thought of marrying her. I wish I enjoyed Frank Guarrera’s Malatesta more than I do. His timbre lacks a strong core, and its dry sound provides limited pleasure, especially in such exalted company. He does enter into the spirit of the comedy and is not so much a strong negative in the performance as he is the lack of a strong positive. Overall, one has the sense that the orchestra and singers are actually listening to, and interacting with, each other. One does not often speak about conductors in Donizetti operas. If they keep things moving along and stay with the singers, we consider it successful. However, Thomas Schippers does much more than that. He conducts with character, pointing the rhythms in the comic sections, caressing the line in the music’s tender moments, and exhibiting keen sensitivity to orchestral balances and color. The title role in Werther has attracted a wide range of lyric and dramatic tenors from Valletti through Franco Corelli. If you think Valletti might not have the strength for the score’s bigger moments, this New Orleans Opera performance from 1956 will disabuse you. He rides over the orchestra at the climaxes, fills generous phrases with tone, and conveys through tone color and dynamic shading the requisite tenderness. The best Werthers manage to encompass both the delicate and volatile sides of this romantic poet, which is precisely what Valletti accomplishes. His outbursts are febrile, his love for Charlotte is deeply felt and exquisitely expressed. Nell Rankin was a stalwart at the Met in a huge range of roles in the Italian, French, and German wings of the house. She had a rich mezzo evenly produced from the bottom of her range to the top, and her emission of a smooth tone throughout is one of the pleasures of her Charlotte. Rankin was also a terrific actress, dramatically and vocally, and her Letter Scene will break your heart. In two smaller but important roles, Josephine Guido is an attractive Sophie and Arthur Cosenza a stronger vocal presence than we usually get as Albert. (Cosenza became the longstanding general director of the New Orleans Opera from 1970 to 1998.) The competent but routine conducting of Renato Cellini doesn’t get in the way of the momentum, but it doesn’t add anything either. What is most important about this release is that we finally have a complete WERTHER with Valletti, in a fine overall performance and in good monaural sound. The recording apparently was made for archival purposes by the New Orleans Opera. Additionally, Immortal Performances has included three excerpts from an RCA LP of highlights from WERTHER with Valletti and Rosalind Elias in 1956. Rene Leibowitz is the excellent conductor. It is nice to have these excerpts, but even more valuable are the other bonus tracks that fill out CD 4. All demonstrate the beauty of Valletti’s singing and the strength of his personality. The duet ‘Prendi, l’anel ti dono’ from LA SONNAMBULA comes from the famed La Scala broadcast with Maria Callas and Leonard Bernstein. Listening to Valletti caress the musical line at the outset is a thrill, and even in this short excerpt the imagination of Bernstein and Callas makes for something very special. Two Donizetti excerpts come from an NBC ‘Standard Hour’ radio broadcast. In the finale to Act IV of LA FAVORITA Valletti is joined by Giulietta Simionato in some thrilling vocalism, and in the following ‘Una furtiva lagrima’ from L’ELISIR D’AMORE Valletti is exquisite. He stretches the phrase at the end of the first verse; the beauty of his singing draws the listener right into his world. ‘E la solita storia’ from Cilea’s L’Arlesiana and ‘Le reve’ from Massenet’s MANON are both lessons in breath control and dynamic shading. This is truly memorable singing. The set also has a rather odd inclusion in Benjamin Britten’s’ Soiree’. Met choreographer Zachary Solov arranged numbers from Britten’s SOIREES MUSICALES, based on Rossini’s SINS OF MY OLD AGE. Why the Met felt the need to fill out an evening of DON PASQUALE remains a mystery, and without seeing the dancers, our ability to really appreciate this work is limited. However, any example of the talents of Thomas Schippers is welcome. The sound quality for everything here is the equivalent of superior monaural broadcast sound, no surprise given Immortal Performances’s track record for excellent restoration. The booklet is up to the label’s usual high standard. In addition to Russell’s essay, producer Richard Caniell’s recording notes are filled with interesting insights and information. Lovely photos and the inclusion on the discs of Milton Cross’ commentary complete the package.

    I have always felt that Cesare Valletti never really received the credit he deserved, and this superb tribute helps to redress that.”


    - Henry Fogel, FANFARE, March / April, 2021






    “This Cesare Valletti Tribute from Immortal Performances celebrates the great Italian tenore di grazia. Valletti (1922-2000), born in Rome, included among his teachers Tito Schipa, to whom he is often compared in voice and artistry. Valletti’s professional career spanned the years 1947-68. The most significant portion of Valletti’s international career took place at the Met where, between 1953-60, he sang eight roles and 113 performances in the house and on tour. Valletti left the Met after Rudolf Bing removed the tenor from the cast of a production of Donizetti’s L’ELISIR D’AMORE [after a disagreement]. But if Rudolf Bing didn’t appreciate the voice and artistry of Cesare Valletti, audiences, conductors, and the other great opera houses of the world certainly did. Valletti had a distinguished career that is well documented on records. He made numerous complete opera recordings for Cetra and RCA, as well as recital discs for the latter company. There are also documents of many of Valletti’s live performances. This Valletti Tribute includes 1956 performances of Donizetti’s DON PASQUALE (Met) and Massenet’s WERTHER (New Orleans Opera). And as supplements, the four-disc set (priced as three) includes excerpts from Valletti’s RCA recording of highlights from WERTHER, along with live excerpts from other operas. The IP material, like all of Valletti’s recordings, presents a vocal and interpretive talent of the highest order. Valletti had a beautiful tenor voice, easily produced throughout the registers. Although not especially celebrated either for vocal power or a brilliant upper register, Valletti could summon both (within his appropriately chosen repertoire) when needed, and to fine effect. But it was the manner in which Valletti deployed his vocal gifts that distinguished him among other like voices of his era. Some tenors are content to make their impact with an unending and unvaried stream of attractive sound. By contrast, Cesare Valletti was an intelligent, imaginative, and searching artist, one who was ever attentive to the music and text at hand. These qualities were evident in any operatic role Valletti portrayed. They were also present in his many recitals. An October 16, 1959 NY Town Hall concert with pianist Leo Taubman, originally issued by RCA, and reissued by Testament, documents Valletti moving with ease and expertise from concert arias by Pasquini and Mozart, to Berlioz’s LES NUITS D’ETE, to Wolf lieder, to songs by Obradors and Calleja, to opera arias by Boito and Cilea. Throughout, Valletti sings with vocal brilliance, consummate style, and exquisite diction (in all three featured languages). Valletti was a true master singer, and I have yet to hear a Valletti commercial recording or live performance that does not merit attention. And both the 1956 Met DON PASQUALE and New Orleans WERTHER find Valletti at the top of his form.

    Valletti’s singing is so beautiful in tone, and his phrasing so exquisitely crafted in terms of dynamics and rubato, he emerges as the star of the afternoon. This is bel canto tenor singing of the highest order. Valletti made a superb commercial recording of DON PASQUALE for Cetra in 1952 (with Sesto Bruscantini, Alda Noni, and Mario Borriello, and conducted by Mario Rossi). Valletti’s Ernesto in the 1956 Met broadcast can stand proudly alongside it.

    Unlike Ernesto, Werther is a role that requires vocal heft, and the ability to project over full, rich orchestration. In this New Orleans WERTHER, Valletti proves that he possessed such resources. Valletti’s tenor is never overshadowed by the orchestra, with the voice easily surmounting the climaxes. Throughout, the passion of this Werther is never in doubt. And once again, Valletti brings the utmost in vocal beauty and artistry to his performance. Valletti’s French diction and sense of style are impeccable. And because Valletti applies his bel canto sense of flexibility of phrasing and rich palette of vocal colors to his interpretation, the poetic side of Werther also receives its full due. It’s rare to encounter a Werther who combines such vocal and interpretive gifts. Georges Thill, in his classic 1931 recording of Werther, is still my favorite in the role. But Valletti’s interpretation is worthy of comparison, and most certainly worthy of attention. Nell Rankin, with her rich and beautiful lyric mezzo, and passionate interpretation, is excellent as Werther’s beloved Charlotte. And there is a marvelous chemistry between Rankin and Valletti. Both the voices and orchestra benefit from the IP restoration. In addition to excerpts from the RCA Werther highlights LP, IP features Valletti in several selections from operas, many alongside sterling colleagues. The excerpts reinforce that not only was Valletti a wonderful vocalist, he was an artist who took great care to fashion characterizations attentive to the works at hand. Valletti was definitely not a ‘one voice fits all’ kind of singer. Compare the vocal colors and articulation of Werther to Fenton in Verdi’s FALSTAFF. While it might be an exaggeration to say they sound like two completely different singers, they do sound like two completely different characters.

    The booklet includes William Russell’s excellent essays on the works and performances, detailed plot synopses, Richard Caniell’s Recording Notes, and artist bios and photos. Two first-rate complete performances (plus highlights), starring a consummate tenor and artist. Recommended with enthusiasm, and with the hope that if you are new to this wonderful artist, you’ll be inspired to explore his legacy further.”


  • - Ken Meltzer, FANFARE, March / April, 2021






  • LAZAR BERMAN: Sonata #3 in f-sharp (Scriabin); 6 Preludes (Rachmaninoff); Pictures at an Exhibition (Mussorgsky); Prelude #2 (Gershwin). (Canada) St Laurent Studio YSL T-1204, Live Performance, 27 Feb., 1977, Carnegie Hall. Transfers by Yves St Laurent. (P1403)

    “The Russian pianist Lazar Berman was a virtuoso in the grandest of grand traditions. Long confined to the Soviet Union and its then communist satellite countries, he began his international career only in the mid-1970s, achieving extraordinary celebrity through performances of great power and command.

    Berman continued his studies with Alexander Goldenweiser at the Central Children's music school - his concerto debut given with the Moscow Philharmonic when he was 10 - and then, from 1948 to 1953, at the Moscow Conservatory, where his postgraduate studies continued until 1957. At the time he entered the Queen Elizabeth international competition in Brussels in 1956, such events were star-studded: on that occasion the competitors included Vladimir Ashkenazy, John Browning and Cecile Ousset, and the jurors Arthur Rubinstein, Emil Gilels and Annie Fischer. Berman came fifth, and a European tour followed, including a 1958 London recital of Beethoven, Prokofiev and Liszt at the Royal Festival Hall.

    Though Gilels had already described him as ‘the phenomenon of the musical world’, Berman was however then confined to the Soviet Union for 17 years from 1959, possibly because of his marriage to a French woman. None the less, his reputation was still able to grow through recordings on the Melodiya label. Once he was free to resume international touring in 1976, he took London, Paris, New York and the rest of the musical west by storm, appearing with such celebrated conductors as Karajan, Giulini, Abbado, Bernstein and Barenboim, and with orchestras such as the Berlin and the New York Philharmonics. Extravagantly billed as ‘the world's greatest living pianist’, he played to awe-struck audiences in programmes that often included the Liszt and Rachmaninov works known from the early recordings; new recordings included Tchaikovsky's First Piano Concerto and Rachmaninov's Third. And if his Liszt recordings rank among the most intimidating displays of physical bravura, they were also notably for an intense drama and romantic fervour.

    From 1980, at the height of his success, he was beset by further travel restrictions after the discovery of banned American books in his luggage. In 1990, he left Moscow to teach in Norway and Italy, where he eventually settled.”


  • - Bryce Morrison, THE GUARDIAN, 13 Feb., 2005






  • PABLO CASALS Cond. Prades Festival Ensemble; Hugues Cuenod, Doda Conrad, Roger Salman, Petre Munteanu, Josephine Nardick, Philipp Markham, Ilse Woilf & Dorothea von Stein: ST JOHN PASSION (Bach). (Canada) 2-St Laurent Studio YSL T-1198, Live Performance, 11 July, 1959, Eglise Saint-Pierre, Prades. Transfers by Yves St Laurent. (C1911)

    "The first Prades Festival was held in 1950 to mark the bicentenary of Bach’s death and to coax Casals out of retirement. Several of the world’s most notable musicians attended, and Columbia was on hand to record the proceedings….The quality of the recorded sound is fine and the audience very quiet. The performances also have one endearing quality of broadcast recordings from the 1950s: there is no editing."


    - David Radcliffe, AMERICAN RECORD GUIDE, March/April, 2007






    "These historical recordings are a vital link to the 19th Century attitude toward chamber music because many of the older musicians who played at Prades in the 1950s came of age towards the end of the 19th Century [offering] a great deal of extremely creative music-making…."


    - Elaine Fine, AMERICAN RECORD GUIDE, May/June, 2003






    “As the first modern cello virtuoso, Pablo Casals created a new appreciation of the instrument and its repertory when the concert stage was still considered the exclusive playground of the piano and violin. Casals also devoted his formidable musical skills to composition and conducting, leaving many insightful readings of the standard orchestral repertory to posterity via recordings. He is remembered today as much for his pacifism and regard for human life as for his musicianship (he once stated that ‘the life of a single child is worth more to me than all my music’).

    Casals came to his true instrument relatively late in life, having first developed some degree of skill on the piano, violin, and organ. Discovery of the cello at the age of 11 led to studies (from 1887 on) with J. Garcia at the Barcelona Municipal Music School. After a period of supporting himself playing in local cafes, Casals was granted a royal scholarship to the Madrid Conservatory in 1893, where he worked with Tomás Bretón, and later in Brussels in 1895.

    After a brief tenure as a cellist at the Folies-Marigny music hall in Paris, Casals returned to teach and perform in Barcelona, and joined the first of a series of notable chamber ensembles with which he would be associated: a piano trio with Belgian violinist Crickboom and well known pianist and composer Enrique Granados. In 1919 Casals founded the Orquestra Pau Casals in Barcelona. Although the project was quite successful, the outbreak of civil war in 1936 forced its dissolution. Casals, who spoke out vehemently against the Franco regime, was forced to seek refuge in the Catalan village of Prades. Following the Second World War, saddened by the lack of any definitive action against the Franco regime by major world powers, Casals elected to cease performing as an act of protest.

    Inspired by the Bach bicentenary celebrations of 1950 at the first annual Prades Festival, Casals came out of retirement to begin a new series of recordings and concerts. In 1956 he made a new home in Puerto Rico, where he founded the Puerto Rico Festival. Though nearing 85, he began a campaign for peace in 1962, traveling around the world to conduct performances of his oratorio EL PESSEBRE (The Manger). Casals continued to make occasional concert appearances until virtually the end of his life in 1973.

    Casals' impact on cello playing in the twentieth century cannot be overestimated. His radical approach to bow and finger technique produced a mechanical prowess far beyond any other cellist of the late nineteenth or early twentieth centuries. In addition, Casals was the first cellist to incorporate the kind of left-hand shifting techniques which had been employed for decades by violinists, thus allowing for far greater agility on the cello than had been previously thought possible. Always scornful of ‘flashy’, superficial virtuosi, Casals strove tirelessly to develop and maintain the kind of intense musical concentration which he considered to be the true artist's responsibility.”


  • - Blair Johnston, allmusic.com






  • EUGENE ORMANDY Cond. Philadelphia Orch.: Egmont Overture (Beethoven); Symphony #5 in d (Shostakovitch); The Firebird – Suite (Stravinsky); Louisiana Story – Suite (Virgil Thomson). (Canada) 2-St Laurent Studio YSL T-1165, Live Performance, 23 May, 1955, Grand Theatre de Bordeaux, France. Transfers by Yves St Laurent. (C1912)

    “Longtime Philadelphia Orchestra conductor Eugene Ormandy (born Jenó Blau) developed what came to be known as the ‘Philadelphia Sound’. (He groused that it should be called the ‘Ormandy Sound’, even though its fundamentals had already been established during Leopold Stokowski's long tenure with the Philadelphia Orchestra.) Largely as an effort to overcome the dry acoustics of the orchestra's home, the Academy of Music, Ormandy emphasized lush string sonorities and, often, legato phrasing and rounded tone. He was lauded even by his own musicians for his ability to conduct everything from memory, even complex contemporary scores. Still, aside from the voluptuous tone, Ormandy's interpretations rarely bore an individual stamp. They were, however, highly polished, intelligently balanced, and well paced, always serving the scores honorably, and often with a dash of controlled excitement.

    Ormandy initially studied violin with his father, and entered Budapest's Royal Academy of Music at age 5, falling under the tutelage of Jenö Hubay at 9. He received a teacher's certificate at 17, and served as concertmaster of the Bluthner Orchestra in Germany, also giving recitals and performing as a concerto soloist.

    He moved to the United States in 1921 (taking citizenship in 1927), lured by the promise of a lucrative concert tour. That tour fell through, though, and Ormandy was forced to make ends meet by taking a back-desk job with the Capitol Theater Orchestra in New York City, accompanying silent films. Ormandy soon advanced to the position of concertmaster, and made his conducting debut there in September 1924 when the regular conductor fell ill. By 1926 he was named the orchestra's associate music director, and made extra money conducting light classics on the radio. Important debuts soon followed: he conducted the New York Philharmonic at Lewisohn Stadium in 1929, and the following year became guest conductor of the Robin Hood Dell Orchestra in Philadelphia. On 30 October, 1931, came his first performance with the Philadelphia Orchestra.

    The following year he was engaged as music director of the Minneapolis Symphony, with which he made several recordings, but he didn't remain long in the Midwest. In 1936 the Philadelphia Orchestra called him back as associate conductor, to share baton duties with Leopold Stokowski, who was being eased out. Ormandy became the orchestra's music director in the autumn of 1938, and held that position for 42 years, until his retirement at the end of the 1979-1980 season (whereupon he was named Conductor Laureate). He led the Philadelphia Orchestra on several national and international tours, including, in 1973, the first appearance of an American symphony orchestra in the People's Republic of China. Ormandy was knighted in 1976 -- Queen Elizabeth II's way of observing the American bicentennial.

    Ormandy was always a proficient, well-prepared conductor, but he was most comfortable in Romantic and post-Romantic music; especially noteworthy were his performances and recordings of Richard Strauss and Sergei Rachmaninov. He established an especially close professional relationship with the latter in the 1930s, and premiered his ‘Symphonic Dances’. Ormandy also led the first performances of many works by American composers, and gave the U.S. premieres of several Shostakovich symphonies, among other works. In 1948 he led the Philadelphia Orchestra in the first symphony concert broadcast on American TV, beating Arturo Toscanini and the NBC Symphony by 90 minutes. Ormandy and the orchestra recorded extensively for Columbia and RCA, especially during the stereo LP era; their discography ranged from the first recording of Shostakovich's thorny Symphony #4 to ‘easy listening’ treatments of recent movie music, harking back to his nights in the Capitol Orchestra.”


  • - James Reel, allmusic.com










    - - - REPEATED FROM THE RECENT PAST - - -








  • FERRUCCIO TAGLIAVINI - Tribute, incl. L’ELISIR D’AMORE, w. Antonicelli Cond. Metropolitan Opera Ensemble; Ferruccio Tagliavini, Bidu Sayao, Francesco Valentino, Italo Tajo, Inge Manski, etc., Live Performance, 2/5/1949, w.Milton Cross' Announcements; L’AMICO FRITZ, w.The Composer Cond. EIAR Ensemble; Ferruccio Tagliavini, Pia Tassinari, Amalia Pini, Saturno Meletti, etc., recorded 4 Nov., 1942; FERRUCCIO TAGLIAVINI: Various Operatic arias & duets. (Canada) 4-Immortal Performances IPCD 1142, w.Elaborate 42pp. Booklet. Transfers by Richard Caniell. Notes by Henry Fogel & Richard Caniell. (V2654)





  • UN BALLO IN MASCHERA, Live Performance, 15 Jan., 1944, w.Bruno Walter Cond. Met Opera Ensemble; Zinka Milanov, Jan Peerce, Leonard Warren, Frances Greer, Kerstin Thorborg, etc.; HELEN TRAUBEL, w.Bruno Walter Cond. Hollywood Bowl Symphony Orchestra: Tristan – Liebestod; Gotterdammerung – Immolation Scene - Live Performance, 8 July, 1947, Los Angeles. (Canada) 2-Immortal Performances IPCD 1148, w.Elaborate 48pp. Booklet. Transfers by Richard Caniell. Booklet notes by James A. Altena & Richard Caniell. (OP3412)





  • ELEKTRA, Live Performance, 10 Dec., 1964, Philharmonic Hall, NY, w. William Steinberg Cond. NYPO; Astrid Varnay, Regina Resnik, Phyllis Curtin, Walter Cassel, Arturo Sergi, etc. (Canada) 2-St Laurent Studio YSL T-1217. (OP3411)





  • GOTTERDAMMERUNG (without Prologue), Live Performances, 1936 & 1937, Covent Garden, w.Wilhelm Furtwangler & Thomas Beecham, Cond. Covent Garden Ensemble; Frida Leider (Brunnhilde); Hilde Konetzni (Gutrune); Kerstin Thorborg (Waltraute); Lauritz Melchior (Siegfried); Herbert Janssen (Gunther); Ludwig Weber (Hagen); Eduard Habich (Alberich), etc. Notes by Richard Caniell & Dewey Faulkner. Transfers by Richard Caniell. Beautiful Edition features numerous lovely photos & elaborate 50pp. booklet. (Canada) 3-Immortal Performances IPCD 1149. (OP3405)





  • TRISTAN UND ISOLDE, Live Performance, 29 Jan., 1938, (replete with Milton Cross' commentary), w.Bodanzky Cond. Met Opera Ensemble; Kirsten Flagstad, Lauritz Melchior, Gertrude Wettergren, Julius Huehn, Emanuel List, etc. (Canada) 3-Immortal Performances IPCD 1146. Notes by Dewey Faulkner & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & elaborate 60pp. booklet. World Premiere Release. (OP3393)





  • HERBERT von KARAJAN Cond. Berlin Phil.; Gundula Janowitz, Christa Ludwig, Werner Krenn & Walter Berry: MISSA SOLEMNIS (Beethoven). (Canada) 2-St Laurent Studio YSL T-1168, Live Performance, 22 March, 1967, Salzburg Festival. Transfers by Yves St Laurent. (C1910)





  • KLAUS TENNSTEDT Cond. Philadelphia Orch.: Symphony #5 in c-sharp (Mahler). (Canada) St Laurent Studio YSL T-1174, Live Performance, March-April, 1979, Academy of Music. Transfers by Yves St Laurent. (C1904)





  • LEONARD BERNSTEIN Cond. Orchestre de Paris: 'Lied der Nacht' Symphony #7 in e (Mahler). (Canada) 2-St Laurent Studio YSL T-1222, Live Performance, 13 May, 1981, Congrès de Paris. Transfers by Yves St Laurent. (C1905)





  • ARTUR RODZINSKI Cond. RAI S.O., Roma: 'Le divin Poeme' Symphony in c (Scriabin), Live Performance, 22 Feb., 1958; ARTUR RODZINSKICond. RAI 'Alessandro Scarlatti' S.O., Napoli: Suite aus den Orchesterwerken von J. S. Bach (Mahler); Symphony #40 in g, K.550 (Mozart); Siegfried Idyll (Wagner); Der Burger als Edelmann Suite – Excerpts (Strauss), Live Performance, 25 March, 1958. (Canada) St Laurent Studio 2-YSL T-1183. Transfers by Yves St Laurent. (C1909)





  • CHRISTOPHER KEENE Cond. Syracuse S.O.: Symphony #2 in b (Borodin); w. JAMES TOCCO: Piano Concerto, Op.38 (Samuel Barber). (Canada) St Laurent Studio YSL T-1148, Live Performance, 17-19 Feb, 1983, Mulroy Civic Center, Syracuse, NY. Transfers by Yves St Laurent. (C1907)





  • YVONNE LEFEBURE: Partita in B-flat major, BWV 825 (Bach); Bagatelles, Op.119 (Beethoven); Mikrokosmos - Six Dances in Bulgarian Rhythm (Bartok) & Davidsbundlertanze (Schumann). Another delightful and stimulating program with Yvonne Lefebure & Remy Stricker. (Canada) 2-St Laurent Studio YSL T-1191, Broadcast Performance, 1971, Paris. Transfers by Yves St Laurent. (P1402)



  • CHU CHIN CHOW (Music & Lyrics by Oscar Asche); His Majesty's Theatre Ensemble; Oscar Asche, Lily Brayton, Frank Cochrane, Courtice Pounds, Aileen D’Orme, Violet Essex, Jamieson Dobbs, George Parker, etc. (England) Palaeophonics 155, w.Elaborate 'The Play' 28pp. Brochure replete with numerous photos of the His Majesty's Theatre 1916 production. Excellently transferred from the legendary Acoustic 78rpm English HMV, Columbia & Zonophone rarities. Dominic Combe’s enchanting delight, produced via his enhanced equipment! Again, for this production he had access to fabulous archival material and superb original 78s with which to work! (PE0355)







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    “Books have become our lonely stepchildren! By spending so many hours constantly revising our thousands of CDs we realize we have paid scant attention to our BOOKS ON SALE, thus many have been added (with more appearing), accompanied by greatly reduced prices! Have a glance at our SALE section - for BOOKS!




    ---

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  • Cesare Valletti - Tribute - Fernando Corena, Roberta Peters, Frank Guarrera, Nell Rankin - Don Pasquale & Werther  ( 4-Immortal Performances IPCD 1143)
    V2656. CESARE VALLETTI - Tribute, incl. DON PASQUALE, w. Thomas Schippers Cond. Metropolitan Opera Ensemble; Cesare Valletti, Fernando Corena, Roberta Peters, Frank Guarrera, Alessio de Paolis, etc., Live Performance, 2/11/1956; preceded by SOIRÉE (Britten), w.Milton Cross' Announcements; WERTHER, w. Renato Cellini Cond. New Orleans Opera Ensemble; Cesare Valletti, Nell Rankin, Josephine Guido, Arthur Cosenza, etc., Live Performance, Municipal Auditorium, New Orleans 12/1/1956; WERTHER – Excerpts, w. Cesare Valletti and Rosalind Elias; CESARE VALLETTI sings scenes from La Sonnambula, Falstaff, La Favorita, L’Elisir d’Amore, L’Arlesiana, and Manon (with Maria Callas, Rosanna Carteri, and Giulietta Simionato). (Canada) 4-Immortal Performances IPCD 1143, w.Elaborate 58pp. Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. - 793888153011
    $49.95
    Lazar Berman, Vol. I  -   Carnegie Hall   (St Laurent Studio YSL T-1204)
    P1403. LAZAR BERMAN: Sonata #3 in f-sharp (Scriabin); 6 Preludes (Rachmaninoff); Pictures at an Exhibition (Mussorgsky); Prelude #2 (Gershwin). (Canada) St Laurent Studio YSL T-1204, Live Performance, 27 Feb., 1977, Carnegie Hall. Transfers by Yves St Laurent.
    $19.90
    Johannes-Passion (St John Passion) - (Bach) - Prades Festival, Vol. VIII;  Casals;  Hugues Cuenod, Doda Conrad, Roger Salman, Petre Munteanu, Josephine Nardick, Philipp Markham, Ilse Woilf & Dorothea von Stein  (2-St Laurent Studio YSL T-1198)
    C1911. PABLO CASALS Cond. Prades Festival Ensemble; Hugues Cuénod, Doda Conrad, Roger Salman, Petre Munteanu, Josephine Nardick, Philipp Markham, Ilse Woilf & Dorothea von Stein: ST JOHN PASSION (Bach). (Canada) 2-St Laurent Studio YSL T-1198, Live Performance, 11 July, 1959, Église Saint-Pierre, Prades. Transfers by Yves St Laurent.
    $29.90
    Eugene Ormandy, Vol. IV       (2-St Laurent Studio YSL T-1165)
    C1912. EUGENE ORMANDY Cond. Philadelphia Orch.: Egmont Overture (Beethoven); Symphony #5 in d (Shostakovitch); The Firebird - Suite (Stravinsky); Louisiana Story - Suite (Virgil Thomson). (Canada) 2-St Laurent Studio YSL T-1165, Live Performance, 23 May, 1955, Grand Théâtre de Bordeaux, France. Transfers by Yves St Laurent.
    $29.90