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Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Since 1972


Two ‘lost’ TOSCANINI issues from

IMMORTAL PERFORMANCES . . .

the long ‘lost’ FRANCES ALDA issue

from ROMOPHONE . . .

and for those who have hitherto been deprived

– the sensational IRENE JORDAN recital . . .

and ‘SALE’ titles continue. . .


-----------------------------------------



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!





  • ARTURO TOSCANINI Cond. NBC S.O: All Verdi Concert, 25 July, 1943, w.Gertrude Ribla, Nan Merriman, Jan Peerce & Francesco Valentino, with Commentary by Ben Grauer: RIGOLETTO - Act III; GERTRUDE RIBLA: Forza – Pace, pace, mio Dio!; NAN MERRIMAN: Don Carlos – O don fatale; JAN PEERCE: Luisa Miller – Quando le sere al placido; FRANCESCO VALENTINO: Ballo – Eri tu? - incl. Announcement of Mussolini's downfall; ARTURO TOSCANINI Cond. NBC S.O: The Star Spangled Banner (Key), Garibaldi Hymn & Commentary, 9 Sept., 1943. All Sibelius Complete NBC Concert, 18 Feb., 1939, The Swan of Tuonela; En Saga; Finlandia; Symphony #2 in D. (Canada) 2-Immortal Performances IPCD 1141. Notes by Robert Matthew-Walker. Transfers by Richard Caniell. (C1937)

    Ken Meltzer, FANFARE, Nov. / Dec., 2020


    “Immortal Performances has paired the brilliant Toscanini-NBC SO all-Verdi (July 25, 1943) and all-Sibelius (February 18, 1939) broadcast concerts as a two-disc set. It’s worth noting that for Toscanini, both Verdi and Sibelius were contemporary composers. Sibelius’ life span (1865-1957) parallels Toscanini’s (1867-1957). Verdi (1813-1901) was of course Toscanini’s senior. But Toscanini made his professional conducting debut in 1886 at the age of 19, as a last-minute replacement in AIDA, and he played in the cello section of the La Scala Orchestra in the 1887 world premiere of OTELLO. Toscanini also had the opportunity to meet with Verdi and discuss the interpretation of the composer’s masterpieces. And it was Toscanini who led the musical portion of the service commemorating the first anniversary of Verdi’s passing. Throughout his life, Toscanini was a powerful advocate and superb interpreter of the works of both Verdi and Sibelius. My initial plan was to listen to, and review, each of the featured concerts as separate entities. After all, they took place four years apart, and comprise, respectively, operatic and orchestral repertoire. I’m glad I chose instead to listen first to the pair of concerts. For as it turns out, despite their disparate repertoire, they showcase similar elements of Toscanini’s genius. In both programs, Toscanini proves himself not only a master of incisive and propulsive musical execution, but an interpreter of genius able to get to the heart of the human narrative expressed in both Verdi’s operas, and Sibelius’ orchestral works.

    Portions of broadcast announcer Ben Grauer’s contributions are included, as well as a news flash of Benito Mussolini’s resignation. The latter immediately preceded the RIGOLETTO Act III, and no doubt added even more intensity and urgency to the performance. As an appendix to this disc, IP includes excerpts from a September 9, 1943 Toscanini-NBC SO broadcast celebrating Mussolini’s downfall, and performances of the Inno di Garibaldi and Star-Spangled Banner. There are also a couple of brief tracks illustrating Toscanini’s forging ahead with the music during Grauer’s announcements.

    The richness and warmth of the Verdi concert is replaced by a far more austere and transparent orchestral canvas. To be sure, a great deal of this is due to Sibelius’ orchestral writing. But it is also a testament to Toscanini’s sensitivity to each composer’s aesthetic, and the collaborative exploration by conductor and orchestra in bringing it to life. As in Verdi’s dramatic works, Toscanini masterfully realizes those contrasts, always giving the music space to achieve its narrative end. The scenario portrayed by Finlandia, like those in Beethoven’s Overture to Egmont and his opera FIDELIO, embraces the victory of freedom over tyranny. The Beethoven works spoke to Toscanini’s heart, and it is clear that Finlandia did the same. The stark opening measures are accorded an overwhelming sense of weight and despair, giving the heroic, triumphant latter portion an overwhelming cathartic impact.

    This is a release that documents one of the giants of the podium, at the height of his powers, and offering master classes in the art of conducting. It is a release that commands attention from all who love this repertoire.”






    Colin Clarke, FANFARE, Nov. / Dec., 2020


    ”Right from the start of the Overture to Verdi’s LUISA MILLER, it is clear just the amount of control Arturo Toscanini had over his forces. The string lines are performed with absolute unanimity, the underlying tautness of drama all there. Plenty of detail is here too, with the perfect introduction to Jan Peerce’s ‘Quando le sere placedo’. Virile and strong, Peerce’s voice has a touch of baritone that enriches the lower regions of his range. The opening of ‘O don fatale’ from DON CARLO is here almost unlike any other: The use of gesture is absolutely the point, raw and compelling. There is a core of steel to Merriman that makes her ideal to follow on from Peerce. Ideal programming means the tone darkens for ‘Eri tu?’ from UN BALLO IN MASCHERA featuring Francesco Valentino in a heartfelt account. No wonder the audience’s enthusiasm interrupts the orchestral close.

    Sibelius’ Second Symphony is simply monumental. The second movement is the very epitome of an invocation of Finnish forests; only perhaps Sargent (BBC) has previously achieved this level. Discipline again is in evidence in the Vivacissimo; the scampering strings are impressive in themselves, but when it comes to the juxtapositions of fast and slow at the end of the movement, the effect is utterly remarkable, even modern. The finale, tensile in the way only Toscanini knew how to make it, alternately flies and glowers before it is crowned in major-mode glory. The odd violin swoop is very much a sign of the time, and all the more charming for it. Toscanini’s timings of Sibelius’ vast repetitions are perfectly judged, and what a privilege to hear all of this restored to greatness in this present release.

    This is both another gem from Immortal Performances, and another underlining of the genius of the Toscanini.”






  • ARTURO TOSCANINI Cond. NBC S.O.: Complete Brahms Concert, 23 Oct., 1948: Serenade #1 in D; w. VLADIMIR HOROWITZ: Piano Concerto #2 in B-flat (both Brahms); ARTURO TOSCANINI Cond. NBC S.O.: Gesang der Partzen (Brahms), Live Performance, 27 Nov., 1948; Rare and Unusual 1933-39 Toscanini Recordings from Vienna, Lucerne, Palestine & Salzburg (incl. LOTTE LEHMANN's 'Abscheulicher'). (Canada) 2-Immortal Performances IPCD 1128. Essay about Toscanini by Robert Matthew-Walker; Transfers and Essay by Richard Caniell. Extensive notes, broadcast commentary and ovations. (C1936)

    Ken Meltzer, FANFARE, March / April 2020


    “Another collection of Toscanini treasures from Immortal Performances and Richard Caniell, comprising selections from the Maestro’s broadcast 1948 Brahms cycle with the NBC Symphony Orchestra, and rare performance recordings from the 1930s. The Brahms Piano Concerto #2 is notable for its flexibility of pulse, with Toscanini and the NBC SO remaining step for step with the work’s soloist. And that soloist is Vladimir Horowitz, in his most imposing form. In the first two movements, Horowitz adopts an intensity of concept and execution that verges on the demonic. In addition to his blazing technical prowess, Horowitz attacks the keyboard with a vigor that threatens to shatter the instrument, but still manages never to lapse into an unattractive sound. I doubt Toscanini was afraid of any musician, including Horowitz, but he had to be impressed with this almost superhuman execution. No wonder the audience erupts into applause after each of the first two movements. Brahms’ friend, Theodor Billroth, famously characterized the Second Piano Concerto v. the First as ‘that of the grown man to the youth’. But in Horowitz’s and Toscanini’s conception, this is a grown man full of passion, vigor, and the willingness to confront all obstacles. And then, just as Brahms changes course in the third movement, so Horowitz adopts a lyricism and tenderness of phrasing that reminds us of another aspect of this pianist’s magic. Likewise, the finale has all the deftness, humor, sparkle that one could hope for. A magnificent performance, and a great historical document. The first disc concludes with the November 27, 1948 broadcast of Brahms’ final choral work, GESANG DER PARZEN (Song of the Fates), based upon poetry by Goethe. Brahms’ highly dramatic and expressive setting of man’s struggles in the face of the god’s indifference was tailor-made for Toscanini’s strengths; he was, after all, a great interpreter both of the music of Brahms, and of opera. Toscanini shapes the music in a manner notable for its intensity, and rich, mellow orchestral sound, with the bass line afforded gratifying presence. The Robert Shaw Chorale sings with characteristic warm, focused tone, unanimity of attack, and crystal-clear diction. All of the performances on the first disc are restored by Richard Caniell in fine sound, competitive with commercial recordings of the time, and displaying a warm orchestral sonority not always associated with Studio 8-H broadcasts. Ben Grauer’s broadcast commentary is, as always, a welcome presence.

    Again, a 1934 Toscanini-Vienna Philharmonic Siegfried’s Funeral Music from Wagner’s GOTTERDAMMERUNG is a performance of remarkable and unique stature. The approach is broadly paced, with glorious playing by the Vienna Philharmonic Toscanini, a master dramatist, builds the tension of the music to an almost unbearable pitch, making the climaxes overwhelming in impact. But the performance also exudes a warmth and humanity that sometimes eludes interpreters of this work. In both the Brahms and the Wagner (indeed on the entire second disc), the sound quality is inferior to commercial recordings of the time, and even some broadcasts of the era. But Richard Caniell has done painstaking and admirable work on the source materials. The result is that despite the sonic deficiencies, the glory of the music and its interpretation shines through. If you are a veteran of historic recordings, you will have no trouble enjoying these restorations. The final excerpt, Leonore’s ‘Abscheulicher!’ from Beethoven’s FIDELIO is taken from a July 25, 1936 performance at the Salzburg Festival of the complete opera. The sound is the most compromised of any of the excerpts on this disc. And yet, Richard Caniell has once again worked his magic so that we can enjoy the collaboration of Toscanini and Lotte Lehmann, who is, perhaps not surprisingly, the most feminine, three-dimensional, and radiant of Leonores. Toscanini and Lehmann work marvelously together, and the Maestro generously allows the great soprano all the time and space she needs to sing the music in the best and most expressive manner.

    5 Stars: Riveting Brahms from Toscanini and Horowitz in 1948, and glorious, rare 1930s recordings with the Italian Maestro.”






    Colin Clarke, FANFARE, March / April, 2020


    “The Horowitz/Toscanini Brahms Second Piano Concerto finds the orchestra in top form, with Toscanini finding the perfect sense of flow. In the present transfer, one can hear a huge amount of internal (mid-range) detail, which allows the harmonic tensions to register with hitherto unheard-of force. This is one of several Horowitz/Toscanini Brahms Seconds….The sheer unstoppable force of the second movement Allegro appassionato is as remarkable as the presence of the piano sound. For once, we can hear Horowitz the magician face-on. His gradation of tone is surely unparalleled, except within his own set of performances; and his placement of the apexes of those treble descents around the five-minute mark has never shone so brightly as here. And how Toscanini knows how to react, with quicksilver speed. The recording for the Andante again allows felicities to come through so we hear Brahms’ magnificent part-writing and, as an added bonus, the oboe comes through full-toned, not hopelessly reedy. Wind chords glow in the background of unfolding piano ascents, and it is at moments such as those that one really appreciates just how quiet the background is; it becomes noticeable only if one consciously decides to find it.

    Finally, back to some Austro-Germanic repertoire for Lotte Lehmann and Salzburg in the 1936 aria from FIDELIO. It is clear Caniell has done everything humanly possible to bring this important document back to us. Still, there is no denying the sonics require a significant adjustment from the listener. As the aria unfolds, though, one is increasingly led to Lehmann’s mastery, every phrase heartfelt (and even a little extra flourish as her final gesture).

    This is a magnificent set, generously filled; a clear labor of love, it is required listening for any Toscanini enthusiast.”






  • FRANCES ALDA: The Complete Victor Recordings, 1909 – 1915. Songs by Beethoven, Humperdinck, Franck, Debussy, Rabey, Massenet, Liza Lehmann, Bach-Gounod, Leoni, d'Hardelot, Jensen, Rubinstein, Nevin, Herbert, Tosti, Braga, Hollman, dell'Acqua, Arensky & Strauss; Arias & Duets (w.CARUSO & JOURNET) from Otello, Il Trovatore (incl. both versions of 'Miserere'), I Lombardi, Martha, Sari, Manon Lescaut, Loreley, Falstaff, Il Segreto Di Susanna, Madeleine, La Boheme, Tosca, Les Contes d'Hoffmann, Carmen, Manon & Madama Butterfly. (England) 2-Romophone 81034, featuring 3 Unpublished. [Alda's rendition of 'Ah, dunque ei m'amera' from Catalani's little-known LORELEY is among the greatest vocal records ever made! Not to be missed!] Transfers by Ward Marston. Elaborate booklet, discographic data, photos & notes by John Steane. Very long out-of-print; Few final rare Sealed Copies! (V0050)

    “…two Romophone discs (81034) containing Alda’s Victor recordings from 1909 to 1915, in excellent transfers [demonstrate] that her voice was big enough for dramatic roles and flexible enough for coloratura arias, but she confined herself to the lyric repertory. Like all Marchesi students, she was technically outstanding, with an easy legato, full-voiced and secure at the top, though with a sometimes-heavy vibrato in the middle and low registers. All this is exemplified in 'Ah dunque, ei m'amera' from Catalani's LORELEY, which she sings with intelligence and sensitivity.”


    - Alexander J. Morin, Classical.Net






    “Alda was the most consistently satisfying lyric soprano on acoustic records".


    - J.B. Steane, Program Notes






    "Alda's is one of the few soprano voices which the acoustic recording process, to my ears, does not rob of its roundness and warmth, so that her technical prowess can be admired alongside, not despite, the sheer beauty and naturalness of the sound. With Alda, a Marchesi pupil, the great strength is the linking of the registers. Listening to these recordings, I cannot detect the place where chest and middle voice meet. The sweeping phrases of Mathilde's aria have rarely been better embraced on record (and I would venture to say that there is no more perfect trill)."


  • - Richard Nicholson, THE RECORD COLLECTOR, 1998






  • IRENE JORDAN: Dramatic Coloratura Soprano, incl. Songs by Rachmaninoff, Strauss, Liszt, Kjerulf & Hindemith; Arias from L’Enfant Prodigue, I Puritani, Hamlet, Rigoletto, La Traviata, Euryanthe, Il Trovatore & Exsultate Jubilate, K.165. RJC 9901, Live Performances, 1953-69. Superlative sound! (V0270)

    "…a mezzo-soprano-colored voice knocking off high notes and ornamentation with confidence….In addition to her technical finesse, [Jordan] shapes the music sensitively. I was around during the 50s and 60s and, while it really was a comparatively rich period for voices, I remember nothing resembling her until Joan Sutherland showed up….Why someone who could sing like this pretty much escaped the limelight, I can’t say….this CD is worth investigating….You will find her, I am sure, an interesting and puzzling discovery.”


  • - James Miller, FANFARE, Jan./Feb., 2000








    - - - REPEATED FROM THE RECENT PAST - - -








  • BRUNO WALTER: NBC Symphony Concerts 1939, Vol. I: Bruno Walter, Cond. and Pianist; Divertimento #15 in B-flat, K.287; Piano Concerto #20 in d, K.466; Symphony #40 in g, K.550 (Mozart); Oberon – Overture (Weber); Symphony #92 in G (Haydn); Symphony #1 in c (Brahms); Concerto Grosso, Op. 6, #8 (Corelli); Symphony #1 in C(Beethoven); Suite After English Folk Songs (Mason); Tod und Verklärung (Strauss); Le Corsaire Overture; La damnation de Faust - Menuet des follets; Ballet des sylphes; Marche hongroise; Symphonie fantastique (all Berlioz);. A Faust Overture; Siegfried Idyll (both Wagner); Symphony #1 (Mahler), featuring broadcast announcements by hosts Gene Hamilton and Robert Woldoff. (Canada) 5-Immortal Performances IPCD 1144, Live Performances, March 11-April 8, 1939, New York. Restoration and Transfers by Richard Caniell. Elaborate 28pp booklet features notes by James A. Altena & Richard Caniell. (C1916)





  • TAKASHI ASAHINA Cond. Osaka Phil., w.TAKAHIRO SONODA: Piano Concerto #1 in d; Piano Concerto #2 in B-flat (both Brahms). (Canada) 2-St Laurent Studio YSL T-1123, Live Performance, 14 May, 1976, Festival Hall, Osaka. Transfers by Yves St Laurent. (C1925)



  • ATALUFO ARGENTA Cond. Spanish National Orch.: Don Juan (Strauss); Symphony #5 in c (Beethoven); El Sombrero de tres picos (de Falla); w.NARCISO YEPES: Concerto de Aranjuez (Rodrigo). (Canada) 2-St Laurent Studio YSL T-1218, Live Performance, 7 May, 1950, Theatre des Champs-Elysées. Transfers by Yves St Laurent. (C1924)



  • DIMITRI MITROPOULOS Cond. Vienna Phil.: Symphony #9 in D (Mahler). (Canada) St Laurent Studio YSL T-1212, Live Performance, 2 Oct., 1960. Transfers by Yves St Laurent. (C1923)



  • VOCAL RECORD COLLECTORS' SOCIETY - 2021 Issue: Esperanza Clasenti, Jose Soler, Luisa Ardizzoni-Tosi, Aristodemo Giorgini, Nini Frascani, Tina Poli-Randaccio, Giovanni Inghilleri, Antonio Gelli, Loretta Di Lelio, Elisa Petri, Mathilde Saiman, Berthe Cesar, Yvonne Brothier, Maurice Sauvageot, Guy Cazenave, Maria Janowska, Oskar Kamionsky, Kerstin Thorborg, Louis Dornay (Louis Goldsteen), Jozef Sterkens, August Bockmann & Edwin Steffe. VRCS-2021. Transfers by Seth B. Winner. (V2663)



  • JEAN PLANEL, w.Godfroy Andolfi, Gustave Charpentier, François Ruhlmann & Georges Briez Cond.; w.Godfroy Andolfi (Pf.): Songs by Hahn, Busser, Franck, Gregh, Yerr, Schubert, Mozart, Charpentier & Plasse; Arias from Manon, Lalla-Roukh, La Fille du Regiment, Lakme, Il Barbiere di Siviglia, Martha, Le Roi d’Y’s, La Jolie Fille de Perth, Jocelyn, Les Cloches de Corneville & Les Dragons de Villars. (England) The Record Collector TRC 51, recorded early 1930s. Transfers by Norman White. (V2657)





  • TITO GOBBI: A TRIBUTE , incl. NABUCCO, w. Bruno Bartoletti Cond. Chicago Lyric Opera Ensemble; Tito Gobbi, Boris Christoff, Danica Mastilovic, Anna Maria Rota, Alfonso La Morena, etc. (Chicago, 10/4/1963); IL TABARRO, w.John Pritchard Cond. Royal Opera Ensemble; Tito Gobbi, Marie Collier, Charles Craig, Elizabeth Bainbridge, etc. (Royal Opera Covent Garden 4/23/1965); GIANNI SCHICCHI, w.John Pritchard Cond. Royal Opera Ensemble; Tito Gobbi, Elizabeth Vaughan, John Wakefield, etc. (Royal Opera Covent Garden, 4/23/1965); w.Molinari-Pradelli Cond. Royal Opera Ensemble; TOSCA – Tosca e buon falco. (Royal Opera Covent Garden, 5/30/55; OTELLO – Credo, w.Zubin Mehta Cond. Met Opera Ensemble (3/11/67); w.Serafin Cond. Rome Opera Ensemble: FALSTAFF - Signore, v’assista il cielo!; E sogno o realta; MARIANO STABILE: Prima di tutto; Eccomi qua (4/22/41); Three interviews with Gobbi. (Canada) 4-Immortal Performances IPCD 1145, w.Elaborate 58pp. Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. (V2658)





  • 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)





  • 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)





  • YALE UNIVERSITY LIBRARY - TREASURES FROM THE YALE COLLECTION OF HISTORICAL SOUND RECORDINGS, featuring Abendroth, Senger-Bettaque, Korolewicz-Wayda, Monrad, Ekman, Santagano-Gorchakova, Lilli Lehmann (incl. the celebrated Unpublished 'Liebestod,' 1907, [from Lehmann's private 'Test Pressing,' only known copy]), Winkelmann, Mayr, Jarnefelt, Kruszelnicka, Seligman, Marak, Levik, Simonsen, Destinn, Tartakov, Gibert, Maturova, Filippi-Myzhuga, O'Sullivan, Litvinne, de Lussan, Henschel, Greef-Andreissen, Saville, Lassalle, Gailhard, Tariol-Bauge, Muratore, Piccaluga, Marie de Lisle, Clement, Pandolfini, Carelli, Pacini, Marconi, Giraldoni, Sistermans, Antonio Pini-Corsi, Giraud, Caruso, Vasquez, Ferrani, Corradetti & Tamagno. 2-Yale University Library. (no catalog number given on discs or package) Long out-of-print, Final Sealed Copies. (V0639)









    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!




    ---

    [many sealed copies of

    numerous out-of-print additions:

    Yves St Laurent, Immortal Performances, Marston,

    The Record Collector, VRCS, &

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    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] . . .




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  • Arturo Toscanini;  NBC S.O.;  Gertrude Ribla, Nan Merriman, Jan Peerce, Francesco Valentino - Verdi & Sibelius (2-Immortal Performances IPCD 1141)
    C1937. ARTURO TOSCANINI Cond. NBC S.O: All Verdi Concert, 25 July, 1943, w.Gertrude Ribla, Nan Merriman, Jan Peerce & Francesco Valentino, with Commentary by Ben Grauer: RIGOLETTO - Act III; GERTRUDE RIBLA: Forza – Pace, pace, mio Dio!; NAN MERRIMAN: Don Carlos – O don fatale; JAN PEERCE: Luisa Miller – Quando le sere al placido; FRANCESCO VALENTINO: Ballo – Eri tu? - incl. Announcement of Mussolini's downfall; ARTURO TOSCANINI Cond. NBC S.O: The Star Spangled Banner (Key), Garibaldi Hymn & Commentary, 9 Sept., 1943. All Sibelius Complete NBC Concert, 18 Feb., 1939, The Swan of Tuonela; En Saga; Finlandia; Symphony #2 in D. (Canada) 2-Immortal Performances IPCD 1141. Notes by Robert Matthew-Walker. Transfers by Richard Caniell. – 787790581185
    $42.90
    Arturo Toscanini;  NBC S.O.;   Vladimir Horowitz  & Lotte Lehmann   (Brahms)   (2-Immortal Performances IPCD 1128)
    C1936. ARTURO TOSCANINI Cond. NBC S.O.: Complete Brahms Concert, 23 Oct., 1948: Serenade #1 in D; w. VLADIMIR HOROWITZ: Piano Concerto #2 in B-flat (both Brahms); ARTURO TOSCANINI Cond. NBC S.O.: Gesang der Partzen (Brahms), Live Performance, 27 Nov., 1948; Rare and Unusual 1933-39 Toscanini Recordings from Vienna, Lucerne, Palestine & Salzburg (incl. LOTTE LEHMANN's 'Abcheulicher'). (Canada) 2-Immortal Performances IPCD 1128. Essay about Toscanini by Robert Matthew-Walker; Transfers and Essay by Richard Caniell. Extensive notes, broadcast commentary and ovations. - 787790581581
    $42.90
    Frances Alda;  Enrico Caruso & Marcel Journet   (2-Romophone 81034)
    V0050. FRANCES ALDA: The Complete Victor Recordings, 1909 - 1915. Songs by Beethoven, Humperdinck, Franck, Debussy, Rabey, Massenet, Liza Lehmann, Bach-Gounod, Leoni, d'Hardelot, Jensen, Rubinstein, Nevin, Herbert, Tosti, Braga, Hollman, dell'Acqua, Arensky & Strauss; Arias & Duets (w.CARUSO & JOURNET) from Otello, Il Trovatore (incl. both versions of 'Miserere'), I Lombardi, Martha, Sari, Manon Lescaut, Loreley, Falstaff, Il Segreto Di Susanna, Madeleine, La Boheme, Tosca, Les Contes d'Hoffmann, Carmen, Manon & Madama Butterfly. (England) 2-Romophone 81034, featuring 3 Unpublished. [Alda's rendition of 'Ah, dunque ei m'amerà' from Catalani's little-known LORELEY is among the greatest vocal records ever made! Not to be missed!] Transfers by Ward Marston. Elaborate booklet, discographic data, photos & notes by John Steane. Very long out-of-print; Few final rare Sealed Copies! - 754238103421
    $49.90
    Irene Jordan, Vol. I       (RJC 9901)
    V0270. IRENE JORDAN: Dramatic Coloratura Soprano, incl. Songs by Rachmaninoff, Strauss, Liszt, Kjerulf & Hindemith; Arias from L’Enfant Prodigue, I Puritani, Hamlet, Rigoletto, La Traviata, Euryanthe, Il Trovatore & Exsultate Jubilate, K.165. RJC 9901, Live Performances, 1953-69.  Superlative sound!
    $16.90