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----------------------------------------------------------------ERNANI, Live Performance, 10 April, 1965, w.Schippers Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Mario Sereni, etc., replete with Milton Cross' commentaries; LEONTYNE PRICE, w. Gamson Cond. American Opera Orch.: Giulio Cesare - Excerpts, Live Performance, 10 Oct., 1958; LEONTYNE PRICE, w. Rizchin Cond. French Radio-TV Orch.: Arias from Nozze, Ernani, L'Africaine, Suor Angelica, La Rondine, Tosca, Adriana Lecouvreur & Antony and Cleopatra - Live Performance, 15 Feb., 1968, Paris; w. Peter Herman Adler Cond. BBC S.O.: All Strauss Concert, with commentary, 26 July, 1959; LEONTYNE PRICE, w. Samuel Barber (Pf.): Four Barber Songs (Acc. by the Composer), with commentary, 30 Oct., 1953; LEONTYNE PRICE interviewed by William Wells, 6 April, 1960. 3-Immortal Performances IPCD 1123, w.Elaborate 46pp Booklet. Transfers by Richard Caniell. Notes by William Russel & Richard Caniell. (OP3341)
MET SINGERS’ ROUNDTABLE, Vols. III, II & I . . .
LEONTYNE PRICE & FRANCO CORELLI in ERNANI,
plus LEONTYNE PRICE in recitals . . .
ELIASBERG & COPPOLA . . .
many more operas on ‘SALE’
“When some of us speak of the good old days and young opera lovers are tempted to roll their eyes, we are speaking of an era when the Metropolitan Opera could present Verdi’s ERNANI in two different seasons, offering Carlo Bergonzi in the title role for the first run. Then, in the 1964–65 season the Met revived the opera with much of the same cast and conductor, but replacing Bergonzi with Corelli. This newly reissued 1965 broadcast has circulated on a number of labels such as Myto but never with the superb sound quality that Richard Caniell of Immortal Performances has given it.
I couldn’t choose between Bergonzi and Corelli if forced to. It is true that Bergonzi sings with more elegance and grace, and equally true that Corelli had one of the most thrilling voices I have encountered in a lifetime of listening. I was fortunate enough to have experienced a performance of each of those ERNANI runs, and even at the time I thought, ‘This must be a golden age for Verdi’. In addition to a thrilling natural sound, Corelli displays a smooth, evenly produced legato and a sensitivity to dynamic shading that might surprise his detractors. He inflects the music with attention to the text and to the shape of Verdi’s phrases. And when he does let loose, he delivers one of the grandest sounds ever to originate from a human throat. Is there some of his characteristic scooping? Yes. But it is quite controlled here, and it simply cannot detract from the vocal grandeur he displays.
Leontyne Price owned much of the Verdi repertoire in the post-Zinka Milanov era at the Met, and as Elvira, her singing here will demonstrate to anyone why that was so. The voice has a natural glow, or vibrancy, that encompasses opulent high notes and manages the demands Verdi makes in terms of rapid passagework far better than Milanov ever did. William Russell, in his superb essay in the accompanying booklet, points out that Price’s voice had darkened a bit since the 1962 performances and RCA’s recording; the richness of tone that he notes is to the music’s benefit. Price and Corelli, who sang together many times at the Met and elsewhere, provide the kind of goosebumps that define thrilling operatic performances.
Mario Sereni would today be a star baritone, but his competition at the time included Leonard Warren, Robert Merrill, Cornell MacNeil, and Ettore Bastianini. While Sereni had an evenly produced and powerful tone, the voice lacked the distinctiveness of color and the glamour of those other singers; thus he was taken for granted during his 27 Met seasons. Listening to him now, it is plain that we should have valued Sereni more. As Don Carlo he does not sound out of place in this company, holding his own in the many ensembles Verdi wrote into the opera and providing the appropriate lead in the ‘O sommo Carlo’ ensemble that concludes the third act.
Finally, in Cesare Siepi we have one of the premier bassos of his generation. He sang leading roles at the Met from 1950 to 1974, and the reasons for his success are evident here. Smooth vocal production, convincing vocal acting, and a dark, powerful tone are all combined with scrupulous musicianship (this last quality made Siepi one of the most important Don Giovannis after Ezio Pinza). The small roles are all done very well by standard Met comprimarios, and one must pause to take note of the exemplary conducting of Thomas Schippers. His early death from cancer in 1977 at the age of 47 robbed us of an American conductor who had, in my view, the potential to become one of America’s major conducting talents. His leadership of the Cincinnati Symphony Orchestra from 1970 until his death was beginning to propel the orchestra to a new level of excellence and visibility, and his work at the Met was expanding as well. Schippers balances all of the contrasting elements in Verdi’s score - long-breathed phrases, incisive rhythms, quick tempo shifts - and does it with energy and a fine ear for orchestral color. There are a few moments, as happens in any live performance, of untidy ensemble, but Schippers quickly gets everything back together. His reading sings and soars with urgency and vitality.
The bonus material gives us a wonderful picture of the scope of Leontyne Price’s extraordinary vocal and musical gifts, consisting of about an hour and a half’s worth. It begins with a scene from an American Opera Society 1958 performance of Handel’s Giulio Cesare, which shows that Price could have made more of her career in Baroque repertoire had she chosen to. There is also a lively interview of the singer with Bill Wells from 1960. Then comes a 1968 Paris recital, conducted by Nicolas Rizchin, that reminds us of Price’s skill in Mozart with a stunningly lovely and graceful ‘Dove sono’ from LE NOZZE DI FIGARO, along with a soaring performance of ‘Sur mes genoux’ from Meyerbeer’s L’AFRICAINE, Elvira’s big ERNANI scene, three gloriously sung Puccini arias, the first-act aria from ADRIANA LECOUVREUR, and finally ‘Give me my robe’ from Barber’s ANTONY AND CLEOPATRA, a role she sang in the world premiere. As if that weren’t enough, we have excerpts from Richard Strauss’ DIE ÆGYPTISCHE HELENE and DIE LIEBE DER DANAE from a BBC all-Strauss concert in 1959, and captivating performances of four songs by Samuel Barber from 1953 with the composer at the piano. The bonus material is a treasure in itself, a reminder of just how great a singer and artist this national treasure was.
The sonic presentation of everything is up to Immortal Performances’ usual very high standards, carefully pitched and reproduced with clarity. The generous booklet, which is much more than is given by any other label specializing in historic live opera performances, is filled with informative and well-written information along with great historic photos. (In fact, the booklets for Immortal Performances are generally superior to those of the commercial companies too). Milton Cross’ radio announcements bring back the times when we were sitting in our homes listening to the Met’s Saturday afternoon broadcasts (if you want to skip the commentary, it is separately tracked). In sum, here is a thrilling almost four hours of listening pleasure.”
- Henry Fogel, FANFARE
“What a marvelous release, courtesy of Immortal Performances! It opens with the complete Metropolitan Opera April 10, 1965 broadcast of Verdi’s ERNANI….Immortal Performances presents this unforgettable event in the finest sound I’ve heard to date. The sonics are rich and detailed, with an admirable dynamic range, and a minimum of overload in loud/high passages. The voices emerge with remarkable presence and impact. The inclusion of host Milton Cross’ commentary enhances the atmosphere and sense of occasion. I can’t imagine any fan of great Verdi performances not wanting this ERNANI. The Immortal Performances restoration is the one to own and alone justifies acquiring this set. It is a shining example of the kind of legendary cast the Met could assemble, week in and week out, during the 1960s. And every member of that cast is in superb form. The Ernani, tenor Franco Corelli, is in glorious voice, and it was a voice like no other - rich, vibrant, and glowing, with generous, brilliant high notes, and the ability to execute breathtaking, extended diminuendos. On some occasions, Corelli, a harshly self-critical artist who suffered from bouts with nerves, could take some time during a performance to warm up, but not in this ERNANI broadcast. Verdi gives the lead tenor his only grand solo scena at the very outset. Corelli seizes the moment, and delivers a bravura performance, earning a huge ovation. The Italian tenor sings gorgeously throughout the remainder of the broadcast….The concluding death scene is majestically delivered.
‘Ernani, involami’ was long a trademark aria for the glorious American soprano Leontyne Price. It is music tailor-made for her extraordinary gifts. Price’s gleaming voice, generous and exquisite phrasing, radiant, effortlessly-produced high notes, and facility with coloratura (trill, included) are all showcased in Elvira’s entrance scene. Like Corelli, Price is wonderful both vocally and dramatically throughout the afternoon (there always seemed to be a special chemistry when these two giants appeared together onstage). While baritone Mario Sereni had a long and successful career, he never achieved the superstar status of Corelli and Price (and for that matter, Siepi). But Sereni was a fine singer, one who had the kind of warm, attractive, and vibrant timbre so appropriate for Verdi. Sereni also well understood how to phrase Verdi’s long and majestic vocal lines with a flexibility of pulse and dynamics. Perhaps Sereni did not have a voice with the heft of a Leonard Warren, Cornell MacNeil, or Robert Merrill, but given that we hear this performance from the perspective of a broadcast listener, courtesy of microphones positioned near the singers, Sereni sounds potent enough….Sereni [sings] with a beautiful voice, style, and conviction. Basso Cesare Siepi rounds out the cast of principals in the role of Silva. Like, Corelli, Siepi was a strikingly handsome man, someone who had tremendous charisma both in appearance and from a vocal perspective. Siepi is in his typical marvelous form in this broadcast. The voice is rich, potent, and like his colleagues, Siepi could spin a Verdi phrase with the best. The conductor is Thomas Schippers, a brilliant talent whose death at the age of 47 was a huge loss to the music world, perhaps especially to opera. Thanks to Schippers’ inspired direction, this ERNANI crackles with excitement and momentum from start to finish. Within the taut and propulsive framework, Schippers still gives his vocalists ample breathing room to shape phrases in an individual, compelling manner….this is one of those Saturday afternoons at the Old Met when everything was burning on all cylinders.
But that is only the (literal) half of it! The remainder of this 3-CD set includes four live performances by Leontyne Price, plus an interview. These excerpts, spanning the years 1953-68, are all in fine sound, and capture the great American diva at the height of her powers. First are excerpts from Handel’s GIULIO CESARE, in an American Opera Society performance from October 10, 1958. Price, in youthful, elegant, and shimmering voice, sings Handel’s music with beauty and distinction. She was, after all, a remarkably versatile artist….[In] an extended interview with Bill Wells, from an April 6, 1960 ‘Opera for You’ radio broadcast it’s fascinating to hear Price, at the outset of her emergence into superstardom, speak about her training, accomplishments to date, and plans for the future. The Leontyne Price of later years would adopt more of a classic diva affect, which I found no less endearing. But in this interview, Price is down-to-earth and self-effacing. It’s a wonderful souvenir. A February 15, 1968 Paris Concert follows, with Price performing music by Mozart, Verdi, Meyerbeer, Puccini, Cilea, and Samuel Barber. The program comprises one blockbuster aria after another, and Price is in stunning form….Although Price did not perform a great deal of Richard Strauss, her rich voice and soaring, shimmering upper register were great assets in the German composer’s music. Excerpts from DIE ÄGYPTISCHE HELENA and DIE LIEBE DER DANAE, performed in England on July 26, 1959, find Price in thrilling, uninhibited, and gorgeous voice. The set concludes with a recital of songs by Samuel Barber on October 30, 1953, with the composer at the piano. Price and Barber were frequent artistic collaborators, and the four songs included here are a marvelous souvenir of that relationship….A unique, irreplaceable performance of Verdi’s ERNANI, and precious documents of the artistry of one of America’s greatest and most treasured singers, all captured in fine sound. Highest Recommendation.”
- Ken Meltzer, FANFAREMET SINGERS' ROUNDTABLE, Vol. II [Inadvertently offered after Vol. III!], incl. Edward Downes interviews John Alexander, Martina Arroyo, Donald Gramm & Sherrill Milnes, 29 Feb., 1972; John Charles Miller interviews Eileen Farrell, 23 Feb., 1969; John Charles Miller interviews Beverly Sills, 21 Nov., 1971; Francis Robinson discusses Olive Fremstad, 15 March, 1969; Robert Lawrence discusses instruments of the orchestra with Richard Nass, with Judith Raskin soloist. [In professional sound, the ideal gift for any opera lover who already has everything! These mementi are irresistible components to any aficionado's collection!] (Canada) St Laurent Studio YSL T-988. Transfers by Yves St Laurent. [NB: Inadvertently offered after Vol. III!] (V2624)
“Broadcasting ‘live’ means dead time between acts….Over the years the solutions were many, and eventually the intermission feature became, for most radio auditors, a cherishable part of Saturday afternoons at the Met….on the Christmas Eve matinee of 1949 Mary Garden, on a lecture tour of the United States from her home in Scotland, joined in the game…The parade of retired divas before the microphone went on and on in the fifties with Garden, Marjorie Lawrence, and Ponselle…OPERA ROUNDTABLE was initially designed for a ‘brilliant group of critics, artists and musical personalities’….In 1966, Milton Cross tells groups of Met artists…(Albanese, Siepi, Judith Raskin, and Geraint Evans) assembled on OPERA NEWS ON THE AIR to ‘discuss singing’….”
- Paul JACKSON, SATURDAY AFTERNOONS AT THE OLD MET, pp.323, 329, 330, 331; SIGN-OFF FOR THE OLD MET, p.330CARL ELIASBERG Cond. Leningrad Phil.: 'Leningrad' Symphony #7 in C (Shostakovitch). (Canada) St Laurent Studio YSL T-922, Live Performance, 27 Jan., 1964, (20th Anniversary of the end of the Leningrad Siege, 27 Jan., 1944). [A monumental issue from YSL] Transfers by Yves St Laurent. (C1774)
“Eliasberg was conductor of the Leningrad Radio Orchestra and only the second conductor of the Leningrad Philharmonic but he played a part in one key event in society and culture in Saint Petersburg during the siege of Leningrad when Dmitri Shostakovich dedicated his Seventh Symphony to the city as the ‘Leningrad Symphony’. The Symphony had already been premiered in Kuibyshev on 5 March 1942 under Samuil Samosud, then performed in Moscow (29 March 1942), London (22 June 1942) and New York City (19 July 1942). When Eliasberg was asked to conduct the Leningrad premiere only 15 members of the orchestra were still available; the others had either starved to death or left to fight the enemy. The concert was given on 9 August 1942 in the Leningrad Bolshoy Philharmonic Hall under the baton of Eliasberg, the second conductor with any people who could be gathered from the main orchestra, the reserve orchestra and military bands, and was heard over the radio and lifted the spirits of the survivors.
Eliasberg was recognised as a Meritorious Artist of the RSFSR 1944, but after the war Yevgeny Mravinsky returned and blocked Eliasberg's career in Leningrad, so he became a travelling provincial conductor.
Between 1945 and 1975 Eliasberg headlined in Leningrad only 3 more times - each of them the Seventh Symphony, each of them with the reserve orchestra. In 1961 he conducted the 1st movement only. In 1964, there was a reunion of Eliasberg and 22 of the original musicians before a performance in Shostakovich's presence, 27 January 1964, and this was the first time they had been together in 22 years. The survivors played in their same seats. Eliasberg said the concert was dedicated to those who had performed then but died since, and the audience gave a standing ovation. Eliasberg later wrote:
‘Those moments do not come often. I cannot explain the feeling I had. The glory of fame and the grief of loss, and the thought that maybe the brightest moments of your life are gone. The City now lives a peaceful life, but no one has the right to forget the past’.
The third time was 9 May 1975 three years before his death. In 1978 Eliasberg died, almost forgotten, and his ashes were buried in a small plot at the back of the Piskaryovskoye Memorial Cemetery. After the fall of Communism, Yuri Temirkanov led a resurrection of Eliasberg's reputation and mayor Anatoly Sobchak arranged for Eliasberg's ashes to be moved to a more suitable grave among the Literatorskie Mostki at the Volkovo Cemetery.”
- WikipediaPIERO COPPOLA Cond. Radiodiffusion Francaise S.O.: Mozart, Debussy & Respighi (the latter's 'Pini di Roma); w.DENISE SORIANO-BOUCHERIT: Romance #2 in F (Beethoven); Introduction et rondo capriccioso (Saint-Saens). (Canada) St Laurent Studio YSL T-827, Live Performance, 29 Dec., 1947. Transfers by Yves St Laurent. (C1775)
“Denise Soriano (1916-2006) was a student of Jules Boucherit whom, many years later, and after a remarkable series of incidents, she was to marry - briefly, he hid her and numerous others in his house to escape the predatory French military police on the hunt for Jews. Her debut was in the mid-1930s and she soon began a series of important concert engagements in France, a period truncated by the War. After it she resumed her career, notably with a series of discs for Pathe and via a contract with Radiodiffusion Francaise. It was in 1956 that she married Boucherit - he was then nearly 80 and she 40. Gradually in the 1960s she taught more than she was to pursue a solo career, though she continued to appear on the concert stage, not least with her quartet. Her last public performance was in 2004. Soriano, like Jeanne Gautier and other players of that generation, was an important presence in French musical life."
- Jonathan Woolf
“Italian conductor Piero Coppola was one of many twentieth-century baton wielders who was actually a closet composer. Like Michael Tilson Thomas and Esa-Pekka Salonen, and more presently Claudio Abbado, Coppola's own music was and is little-known to general audiences who think of him only as a conductor. The major music references are divided as to whether he should be ranked a conductor, a conductor and composer, or a composer and conductor. There is, in fact, some question as to just how much music Coppola actually wrote during his lifetime. But there is little question that he was among the best of the ‘second-tier’ Italian conductors (considering Toscanini to be the first tier) from World War I to his death in 1971.
Coppola was the son of tenor Vincenzo Coppola and Teresa Angeloni, a dramatic soprano. He studied music at the Conservatory in his hometown until taking his diploma (piano and composition) in 1910. It took him astonishingly little time to break into the business of conducting. In 1911 - 1912, he was already conducting at no less a venue than La Scala opera house. Just prior to the outbreak of World War I, Coppola was in Brussels conducting (opera again) and then, after a brief stay in England, he lived and worked in Scandinavia while the war ran its course. After the conflict ended, Coppola moved to France, where he became director of the recording company La Voix de son Maitre (the French arm of HMV); he made a number of important records for the label during the late '20s and early '30s, including a disc of Prokofiev's Piano Concerto #3 with Prokofiev on the piano.
At Lausanne, from 1939 on, he distinguished himself in the conducting of French symphonic repertoire, working with l'Orchestre de Chambre de Lausanne, l'Orchestre de la Suisse Romande, and the orchestra of Radio Lugano. He introduced and performed many contemporary works by diverse composers such as Arthur Bliss, Bela Bartok, Andre Caplet, Jean Cras, Arthur Honegger, Giacomo Puccini's LA FANCIULLA DEL WEST (1911), Alexandre Tcherepnin, and Edgard Varese. He also interpreted certain classics, mainly of the Romantic period, and notably the works of Robert Schumann.
After World War II, Coppola limited his travels, and thus his conducting, to the countries immediately around France. His work conducting in opera houses moved Coppola to compose a pair of operas himself; neither, however, has ever been heard much. There is also a full-scale symphony and a handful of shorter works with his name on them.”
- Blair Johnston, allmusic.com
. . . FROM THE RECENT PAST . . .
MET SINGERS' ROUNDTABLE, Vol. II, incl. Cyril Ritchard interviews Martina Arroyo, Ezio Flagello, James McCracken & Birgit Nilsson, 20 Feb., 1971; Robert Gutman interviews Maria Jeritza & Lotte Lehmann, 2 Feb., 1963; Francis Robinson discusses Marjorie Lawrence, 1 Jan., 1972. [In professional sound, the ideal gift for any opera lover who already has everything! These mementi are irresistible components to any aficionado's collection!] (Canada) St Laurent Studio YSL T-991. Transfers by Yves St Laurent. (V2622)
VOCAL RECORD COLLECTORS' SOCIETY - 2018 Issue: Tiit Kuusik, Joachim Tartakov, Hipolito Lazaro & Riccardo Stracciari, Louis Orliac, Miguel Villabella, Charles Rousseliere, Graziella Valle, Linda Cannetti, Giuseppe Danise, Irene Eden, Constance Drever, Frances Alda, Maria Brian, Leon Rains, Karl Jorn, Thomas Burke, Jeanne Gordon, Hulda Lashanska, Hans Reinmar, Elisabeth Grummer & Eileen Farrell. VRCS-2018, recorded 1901-56. Transfers by Seth B. Winner. (v2623)
LA TRAVIATA, Live Performance, 23 Dec., 1939, w.Panizza Cond. Met Opera Ensemble; Helen Jepson, Richard Crooks, Lawrence Tibbett, etc., replete with Milton Cross' commentaries; MANON, Live Performance, 23 Jan., 1940, w.Pelletier Cond. Met Opera Ensemble; Grace Moore, Richard Crooks, John Brownlee, Nicola Moscona, etc., replete with Milton Cross' commentaries; Studio recordings by Grace Moore & Richard Crooks. (Canada) 4-Immortal Performances IPCD 1115, w.Elaborate 53pp Booklet. Transfers by Richard Caniell. Notes by Gerald Parker & Richard Caniell. The four discs are priced as three by Immortal Performances. (OP3340)
FRITZ REINER Cond. Chicago Orch.: Manfred Overture (Schumann); Symphony #4 in f (Tschaikowsky); w. JOSEPH FUCHS: Violin Concerto (Hindemith). (Canada) 2-St Laurent Studio YSL T-878, Broadcast Performance, 21 Nov., 1957, Orchestra Hall, Chicago. Transfers by Yves St Laurent. (C1773)
LEONARD BERNSTEIN Cond. Concertgebouw Orch., w.LUCIA POPP & ANDREAS SCHMIDT: Des Knaben Wunderhorn (Mahler). (Canada) St Laurent Studio YSL T-965, Live Performance, 27 Oct., 1987, Amsterdam. Transfers by Yves St Laurent. (C1769)
KIRSTEN FLAGSTAD - 125th Birthday Tribute: Beethoven - Missa Solemnis (First three movements) w.Flagstad, Jagel, Meisle and Pinza, 1937, w. Goossens Cond. Cincinnati Festival Chorus & S.O; Beethoven - 'Ah, Perfido': two performances. Songs and Lieder: Schubert, Wagner, Grieg, Kvandal, Dorumsgaard & Kielland. Arias from Wagnerian operas. Flagstad Farewell speech after Dido and Aeneas (1953). (Canada) 3-Immortal Performances IPCD 1119 (3 discs for the price of 2) Program Notes by Dewey Faulkner; Transfers & Recording Notes by Richard Caniell w.34pp. booklet. (V2621)
WILLIAM STEINBERG Cond. Boston Symphony Orchestra: Symphony #3 in E-flat - Marcia funebre (Beethoven) (in memory of Igor Stravinsky [who had died the previous day]); Konzertmusik fur Streichorchester und Blechblaser, Op.50 (Hindemith); Symphony #7 in E (Bruckner). (Canada) 2-St Laurent Studio YSL T-938, Live Performance, 7 April, 1971, Liederhalle, Stuttgart. Transfers by Yves St Laurent. (C1771)
DESIRE-EMILE INGHELBRECHT Cond. RTF S.O.: The Star-Spangled Banner; O Canada; La Marseillaise; Massenet, Rossini, Ibert, Pierne, Liadov, Rimsky-Korsakov, Inghelbrecht & Debussy (incl. his Nocturnes). (Canada) 2-St Laurent Studio YSL T-961, Live Performances, 1948-52, Theatre des Champs Elysees. Transfers by Yves St Laurent. (C1772)
THE BEGGAR's OPERA (John Gay; A Revised Version by Frederic Austin), recorded 1920, w. Lyric Theatre Ensemble, Hammersmith; Frederic Austin, Frederick Ranalow, Sylvia Nelis, Kathleen Hilliard, Nellie Walker, Frederic Austin, Alfred Heather, Violet Marquesita, etc. (1,463 performances); POLLY (John Gay's sequel, adapted by Clifford Bax), recorded 1922, w.Kingsway Theatre Ensemble; Lillian Davies, Stanley Vilven, Winifred Hare, Lovat Crossley, Pitt Chatham, Percy Parsons, Adrienne Brune, etc. (England) 2-Palaeophonics 153/54 , w.Elaborate 'The Play' 36pp. Brochure replete with numerous photos of the Lyric Theatre & Kingsway Theatre productions & biographies. Excellently transferred from the legendary Acoustic 78rpm English HMV rarities. For this production Dominic Combe had access to fabulous archival material and superb original 78s with which to work! (PE0292)
IL TROVATORE, Live Performance 19 Dec., 1987, w.Bonynge Cond. Met Opera Ensemble; Joan Sutherland [Sutherland's Last Met Performance], Luciano Pavarotti, Leo Nucci, Shirley Verrett, Franco De Grandis, Jean Kraft, Mark (W.) Baker, Stephen O'Mara & Ray Morrison. (Canada) 2-St Laurent Studio YSL T-1002. (OP3339)
ESCLARMONDE (Massenet), Live Performance, 11 Dec., 1976, w.Bonynge Cond. Met Opera Ensemble; Joan Sutherland, Giacomo Aragall, Huguette Tourangeau, Clifford Grant, John Macurdy, Louis Quilico & John Carpenter. (Canada) 2-St Laurent Studio YSL T-986. (OP3338)
ADRIANA LECOUVREUR, Live Performance, 19 April, 1969, w. Cleva Cond. Met Opera Ensemble; Renata Tebaldi, Franco Corelli, Irene Dalis, Anselmo Colzani, etc. (Canada) 2-St Laurent Studio YSL T-974. (OP3337)
LA GIOCONDA, Live Performance, 2 March, 1968, w. Cleva Cond. Met Opera Ensemble; Renata Tebaldi, Carlo Bergonzi, Fiorenza Cossotto, Cornell MacNeil, Bonaldo Giaiotti, Mignon Dunn, etc. (Canada) 2-St Laurent Studio YSL T-935. (OP3330)
ARTUR RODZINSKI Cond. NYPO: 'Haffner' Symphony #35 in D, K.385 (Mozart); El sombrero de tres picos - 3 dances (de Falla); w.GREGOR PIATIGORSKY: Schelomo (Bloch); w. MACK HARRELL (Bar.) & EDWARD STEUERMANN (Pf.): Ode to Napoleon (Schonberg), all preceded by The Star Spangled Banner (Key). (Canada) St Laurent Studio YSL 78-622, Live Performance, 26 Nov., 1944, Carnegie Hall. Transfers by Yves St Laurent. (C1767)
OTMAR SUITNER Cond. Staatskapelle Dresden: Symphony #39 in E-flat, K.543 – Menuet (Mozart); Symphony #88 in G (Haydn); Der Freischutz – Overture (von Weber); Die Meistersinger – Overture (Wagner); 'The Great' Symphony #9 in C (Schubert). (Canada) 2-St Laurent Studio YSL T-951, Live Performance, 25 Jan., 1963, Great Hall of the Leningrad Philharmonic. Transfers by Yves St Laurent. (C1770)
JOSEPH FUCHS & LILLIAN FUCHS: String Duo #2 in B-flat for violin and viola, K.424 (Mozart); MARIA STADER & WILLIAM KAPELL: 6 Schubert Lieder - Live Performance, Abbaye Saint-Michel de Cuxa, 16 June, 1953; JOHN WUMMER, BERNARD GOLDBERG & EUGENE ISTOMIN: Sonata in G for two flutes and basso continuo - Live Performance, Abbaye Saint-Michel de Cuxa, 3 July, 1953; PABLO CASALS & EUGENE ISTOMIN: Sonata for 2 violins & continuo in C, BWV 1037 (Johann Gottlieb Goldberg, [previously attrributed to J. S. Bach]), Live Performance, Abbaye Saint-Michel de Cuxa, 7 July, 1953. (Canada) St Laurent Studio YSL T-921. Transfers by Yves St Laurent. (S0761)
BOOKS ON SALE
“Books have become our lonely stepchildren! By spending so many hours constantly revising our thousands of CDs we realize we have paid scant attention to our BOOKS ON SALE, thus many have been added (with more appearing), accompanied by greatly reduced prices! Have a glance at our SALE section - for BOOKS!
. . . numerous out-of-print CDs and LPs,
[many sealed copies of numerous out-of-print
additions: The Record Collector, Naxos, VRCS,
Issues of Symposium's Harold Wayne series,
Romophone, GOP & many Met Opera
broadcasts & operas from Moscow’s Aquarius, plus
numerous lesser-known operas have been added
throughout our listings, in appropriate categories . . .
out-of-print books [many biographies,
Record Catalogue-Discographies . . .
numerous CDs are added each week] . . .
COLLECTOR ALERT ! ! !
Norbeck, Peters & Ford's Auction #151 has Closed.
We want to take this opportunity to thank everyone
for participating in Auction #151.
Auction #151 now closed Saturday, 30 November 2019.
We invite you to review our Auction #151. It is comprised of Vocal, Victor 'GEMS', Light Opera,
and Spoken Word Records.
To view the online version of our auction #151, simply click the link below:
Auction #151 Online Catalog
To download a copy of Auction #151, simply click the link below:
Auction #151 Catalog File Download
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OP3341. ERNANI, Live Performance, 10 April, 1965, w.Schippers Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Mario Sereni, etc., replete with Milton Cross' commentaries; LEONTYNE PRICE, w. Gamson Cond. American Opera Orch.: Giulio Cesare - Excerpts, Live Performance, 10 Oct., 1958; LEONTYNE PRICE, w. Rizchin Cond. French Radio-TV Orch.: Arias from Nozze, Ernani, L'Africaine, Suor Angelica, La Rondine, Tosca, Adriana Lecouvreur & Antony and Cleopatra - Live Performance, 15 Feb., 1968, Paris; w. Peter Herman Adler Cond. BBC S.O.: All Strauss Concert, with commentary, 26 July, 1959; LEONTYNE PRICE, w. Samuel Barber (Pf.): Four Barber Songs (Acc. by the Composer), with commentary, 30 Oct., 1953; LEONTYNE PRICE interviewed by William Wells, 6 April, 1960. 3-Immortal Performances IPCD 1123, w.Elaborate 46pp Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. - 644216110520
V2624. MET SINGERS' ROUNDTABLE, Vol. II, incl. Edward Downes interviews John Alexander, Martina Arroyo, Donald Gramm & Sherrill Milnes, 29 Feb., 1972; John Charles Miller interviews Eileen Farrell, 23 Feb., 1969; John Charles Miller interviews Beverly Sills, 21 Nov., 1971; Francis Robinson discusses Olive Fremstad, 15 March, 1969; Robert Lawrence discusses instruments of the orchestra with Richard Nass, with Judith Raskin soloist. [In professional sound, the ideal gift for any opera lover who already has everything! These mementi are irresistible components to any aficionado's collection!] (Canada) St Laurent Studio YSL T-988. Transfers by Yves St Laurent. [NB: Inadvertently offered after Vol. III!]
C1774. CARL ELIASBERG Cond. Leningrad Phil.: 'Leningrad' Symphony #7 in C (Shostakovitch). (Canada) St Laurent Studio YSL T-922, Live Performance, 27 Jan., 1964, (20th Anniversary of the end of the Leningrad Siege, 27 Jan., 1944). [A monumental issue from YSL] Transfers by Yves St Laurent.
C1775. PIERO COPPOLA Cond. RDF S.O.: Mozart, Debussy & Respighi (the latter's 'Pini di Roma); w.Denise Soriano-Boucherit: Romance #2 in F (Beethoven); Introduction et rondo capriccioso (Saint-Saëns). [An outstanding release. The Debussy in particular is truly enchanting! So revealing to hear Coppola's work in the concert hall not restricted to the confines of a studio!] (Canada) St Laurent Studio YSL T-827, Live Performance, 29 Dec., 1947. Transfers by Yves St Laurent.