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SIMON BOCCANEGRA, Live Performance, 16 Feb., 1935, w.Panizza Cond. Met Opera Ensemble; Lawrence Tibbett, Giovanni Martinelli, Elisabeth Rethberg, Ezio Pinza, Leonard Warren, etc.; RIGOLETTO, Live Performance, 28 Dec., 1935, w.Panizza Cond. Met Opera Ensemble; Lawrence Tibbett, Lily Pons, Frederick Jagel / Jan Kiepura, Virgilio Lazzari, etc.; LAWRENCE TIBBETT: FALSTAFF - ‘Che sogno’; IL TABARRO ‘Scorre fiume’, from THE PACKARD HOUR, 1935; PETER IBBETSON (Deems Taylor) - Scena, from the 17 March, 1934 Met Broadcast. (Canada) 4-Immortal Performances IPCD 1114, w.Elaborate 50pp Booklet. Transfers by Richard Caniell. Notes by Stanley Henig, William Russell & Richard Caniell. The four discs are priced as three by Immortal Performances. (OP3331)
From the January thaw
into blazing heat from
“In 1935 Lawrence Tibbett was at the peak of his vocal and dramatic powers. To have these splendidly preserved examples of two of his most important Verdi roles from that season is treasurable. Although Immortal Performances has already issued a Tibbett SIMON BOCCANEGRA from 1939 with an almost identical cast, this one is preferable because the baritone is in slightly more splendid voice. The same applies even more dramatically to Giovanni Martinelli and Elisabeth Rethberg.
Tibbett’s Rigoletto is, to my ears, one of the finest ever recorded. He manages to convey the full range of Rigoletto’s emotions - anger, sadness, grief, tenderness, and bitterness are all present in the voice. He switches instantly between them in the big scene with Gilda, ending with the ‘Vendetta’ duet. Tibbett’s overall performance here is on a par with my two favorite Rigolettos: Leonard Warren and Riccardo Stracciari. It is different enough from either of those to offer its own gratification.
The other strong asset is Lily Pons, who was the type of Gilda we don’t hear very much any longer - a light coloratura with astounding top notes (including a high F) and all the agility the role needs. Pons also invests the character with real personality, but the significant reward in listening to her is vocal. She retains the same gleaming tonal quality no matter how high the music goes, and this provides great pleasure.
I wish I could be as positive about Frederick Jagel’s Duke. The voice itself is not unpleasant, but it is a generic tenor not distinguished by any special quality. More disturbingly, I find Jagel’s singing far too aggressive, even fierce. ‘Questa o quella’ totally lacks the insouciance that is inherent in the music. This Duke sounds like he is in some kind of battle. ‘La donna e mobile’ is a bit more relaxed, but not sufficiently so. One gets the feeling that the Duke didn’t seduce Gilda with charm or even ardor, but rather through force. Jagel does sing in tune and with a firm rhythmic pulse, which shouldn’t be taken for granted, but he is nowhere near the level of the other two principals.
Virgilio Lazzari is a strong, dark-toned Sparafucile, and the remainder of the cast is fine. On the podium Panizza manages to balance well the elements of dramatic tension and lyricism. He gives both propulsion and beauty to the orchestral score. Richard Caniell’s sonic restoration is close to miraculous. In his recording notes he describes some of his problems in resuscitating the source material, which necessitated having to slip in some sections from the 1939 Met broadcast because they were missing on the original source. Part of Act II, for that reason, gives us Jan Kiepura’s Duke, which is an improvement over Jagel’s. These inserts are virtually seamless, and if someone were to play the recording for me, simply saying that it was an ‘old Met broadcast’ and ask me to guess its age, I would probably have said it comes from the mid-to-late 1940s. Anyone who can listen with pleasure to historic broadcasts will find pleasure here. Caniell supervised an earlier release of this performance on Naxos, but he has obviously continued to study and learn, because now the sound is markedly richer and more natural.
Three Tibbett broadcast arias are a bonus to fill out the second RIGOLETTO disc, and they are magnificent. ‘Che sogno’ from FALSTAFF and ‘Scorre fiume’ from IL TABARRO come from THE PACKARD HOUR. The scene from the Met’s production of Deems Taylor’s PETER IBBETSON makes one anxious to hear the entire performance, which Caniell hints might be coming.
Turning to SIMON BOCCANEGRA, Immortal Performances has already issued a stunning Met broadcast from 1939 with the same principals (except the young Leonard Warren is Paolo), enthusiastically reviewed by James Miller and me in FANFARE 37:2 and by Ken Meltzer in 40:4. So why bring out this one, which in Richard Caniell’s own words is a ‘gravely flawed private recording … made for Lawrence Tibbett by a New York dub service’? Caniell had to insert portions of the 1939 broadcast to replace some missing sections. He catalogs the replacements in his extensive recording notes that accompany the release. The reason for bothering with it becomes clear as you listen. In 1935 all four principals were in fresher voice, and so this release represents each of them at much closer to their legendary best.
For a collector who would be satisfied with only one recording of SIMON BOCCANEGRA featuring Tibbett, Rethberg, Martinelli, and Pinza (all serious vocal collectors should have one in their library), I would recommend the 1939 performance in the Immortal Performances edition. But if you, like me, cannot get enough of truly legendary Verdi singing, this new one is a very important supplement.
For me it is Martinelli who benefits the most. By 1939 a certain hardness of tone that was always a part of his vocal production had become more prominent. Here he sounds glorious, and for listeners who have wondered why Martinelli has such a grand reputation, you will find your answer here. Long, generous phrases, perfectly shaped, accompany a classic legato in what is almost a masterclass in Verdi singing. He is also a passionate and subtle vocal actor, and every phrase holds your attention. Rethberg’s Amelia also benefits from the subtraction of four years. She was 41 and in her true prime during this broadcast. The voice glows brightly, she has complete control over dynamic shading, and she caresses phrases in a uniquely personal way. Rethberg’s shining spinto soprano was close to ideal for this music, and she sounds freer here than in 1939 (though she was still very fine then too). Tibbett was magnificent in 1939, and he is similarly so here. The voice has a touch more ring here, but his ability to characterize the music is a bit more sophisticated in 1939. Pinza is magnificent in both cases. Perhaps his bass is a fraction more solid and ringing than it would be five years later, but the difference is minimal. If you feel disappointment that you won’t have the young Leonard Warren as Paolo, you might be surprised by the rich baritone and stylish singing of Adolfo Gandolfi, a fine singer who had no significant international reputation.
As is always the case with Ettore Panizza, the conducting is alert, sensitive, energetic, sympathetic to the singers, and balanced between the lyrical and the incisive. He is particularly adept at bringing out the full range of colors in Verdi’s score, including its frequent darkness. As a bonus we get some wonderful conversation from Martinelli on the subject of Verdi.
The whole production is rounded out by Immortal Performances’ usual fine quality booklet, with thoughtful and provocative essays, wonderful historic photographs, plot synopses, and biographies of the major artists. Anyone seriously interested in the way operatic singing developed and progressed in 20th-century America will find much gratification here. The four discs are priced as three by Immortal Performances.”
- Henry Fogel, FANFARE, March / April, 2019LA 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)
"Fiorenza Cossotto was Laura in Ponchielli's LA GIOCONDA, an assignment which turned out to be as much to her advantage as she was to its. There was, to begin with, the plus factor of appearance: She presented a Laura more youthful and suggestive of romantic impulses than is sometimes - nay, frequently - the case. In addition, she possesses the kind of richness in the lower middle which this part demands, and blended it beautifully with Carlo Bergonzi's tenor sound in the second-act duet. Taken together, it was a kind of oboe-viola duet not too often encountered in the operatic milieu.
The casting also provided Mignon Dunn as a lovely voice for La Cieca, Cornell MacNeil as a well sounding but excessively villainous Barnaba, and Bonaldo Giaiotti as the kind of Alvise who arouses aural sympathy. The unhappy aspect of this evening was Renata Tebaldi's somewhat tortuous effort to get her tones where she wanted to put them for the music of La Gioconda. Sometimes they made it - as in the B flat of Act I, pushed into place almost at the last moment - and sometimes they didn't. She commands a grandeur of style that is still very much her own, but the sound becomes more attenuated, less vibrant year by year. Fausto Cleva conducted with his singular command of this work's style."
- Irving Kolodin, THE SATURDAY REVIEW
"Renata Tebaldi repeated her portrayal of the street singer, La Gioconda. Her major aria, 'Suicidio!', captured the desperation and the utter frustration of this woman of tragedy. Throughout the fourth act, in which she sings constantly, her dramatic characterization was particularly vivid. At other times, she dominated where appropriate and always sang inimitably. The audience adored her."
- Speight Jenkins in THE DALLAS TIMES HERALD
"Considered the foremost Verdi tenor of his age, Mr. Bergonzi sang more than 300 times with the Metropolitan Opera of New York from the 1950s to the '80s, appearing opposite a roster of celebrated divas that included Maria Callas, Zinka Milanov, Renata Tebaldi, Rise Stevens, Victoria de los Angeles and Leontyne Price. A lyric tenor of some vocal heft, Mr. Bergonzi lacked the sonic weight and brilliance of tenors in the Wagnerian mold. But what he did possess was an instrument of velvety beauty and nearly unrivaled subtlety. 'More than the sound of the voice, it is Mr. Bergonzi's way of using it that is so special', Peter G. Davis, reviewing a 1978 Carnegie Hall recital by Mr. Bergonzi, wrote in THE NEW YORK TIMES. 'He is a natural singer in that everything he does seems right and inevitable - the artful phrasing, the coloristic variety, the perfectly positioned accents, the theatrical sense of well-proportioned climaxes, the honest emotional fervor. Best of all, Mr. Bergonzi obviously uses these effects artistically because he feels them rather than intellectualizes them - a rare instinctual gift, possibly the most precious one any musician can possess'."
- Margalit Fox, THE NEW YORK TIMES, 26 July, 2014VLADO PERLEMUTER: Chopin Recital; w.George Hurst Cond. Bamberg S.O.: Fantaisie (Debussy). (Canada) St Laurent Studio YSL T-840, Broadcast Performances, 1958, 1959 & 1968. [Exquisite performances in equally wonderful sound!; the Debussy is absolutely breathtaking!] Transfers by Yves St Laurent. (P1331)
“If Vlado Perlemuter, the revered French pianist who studied with Ravel and Faure and was an acclaimed interpreter of their works, never attained widespread public renown, it may have been because of a certain self-effacing quality in his pianism. But he was enormously respected by musicians and his many admirers, who found his playing a model of refinement and elegance.
In a 1993 review in THE NEW YORK TIMES of a two-disc recording of Ravel's complete works, Bernard Holland praised Mr. Perlemuter for his 'unadorned simplicity, his refusal to milk phrases for momentary effect, in short, his insistence on letting the Classical Ravel speak for himself'. Though a courtly figure on the concert stage, Mr. Perlemuter had commanding presence and played with an alluring palette of colorings.
Vlado Perlemuter studied privately with the Polish-German pianist Moritz Moszkowski. At 13, he entered the Paris Conservatory, where he worked with the legendary pianist Alfred Cortot and also studied with Faure. In 1919, at 15, he won the Conservatory's prestigious Premier Prix. During the 1920s, Mr. Perlemuter took lessons privately with Ravel and become one of the first pianists to perform Ravel's complete works. His personal copies of the Ravel scores were covered with instructions written in this master's hand.''
- Anthony Tommasini, THE NEW YORK TIMES, 7 Sept., 2002ARTHUR GRUMIAUX, w.Dinorah Varsi (Pf.).: Mozart, Faure & Lekeu Recital, Live Performance, 12 Nov., 1984, Maison de la radio, Paris; ARTHUR GRUMIAUX TRIO: Mozart, Beethoven & Schubert Program, Live Performance, 11 Sept., 1984, Divonne-les-Bains, France. (Canada) 2-St Laurent Studio YSL T-892. [Another jewel of a recital program from the ubiquitous Yves St Laurent; The Grumiaux Trio is a special delight!] Transfers by Yves St Laurent. (S0757)
"Of the Franco-Belgian school, Artur Grumiaux is considered to have been one of the few truly great violin virtuosi of the twentieth century. In his relatively short life his achievements were superb. He brought to performances guaranteed technical command, faithfulness to the composer's intent, and sensitivity toward the intricate delineations of musical structure. His fame was built upon extraordinary violin concerto performances and chamber-music appearances with his own Grumiaux Trio.”
- Meredith Gailey, allmusic.com
. . . REPEATED . . . FROM THE RECENT PAST . . .JANET BAKER, w.Raymond Leppard Cond. English Chamber Orch. & Harpsichord): Il Ballo delle ingrate, Nos. 7 & 9 (Monteverdi); La Lucrezia - O Numi eterni (Handel), Live Performance, 27 Oct., 1974; w.Giulini Cond. New Philharmonia Orch.: Les Nuits d'ete (Berlioz), Live Performance, 13 Dec., 1970, Royal Festival Hall. (Canada) St Laurent Studio YSL T-931. Transfers by Yves St Laurent. (V2612)
LOTTE LEHMANN: The Complete Odeon Electrical Recordings, 1927-33. Invaluable notes by Michael Aspinall, Daniel Jacobson & Gary Hickling. 6-Marston 56004. (V2611)
LA SONNAMBULA, Live Performance, 30 March, 1963, w. Varviso Cond. Met Opera Ensemble; Joan Sutherland, Nicolai Gedda, Ezio Flagello, Jeanette Scovotti, Lili Chookasian, Andrea Velis, etc. (Canada) 2-St Laurent Studio YSL T-945. (OP3329)
LA FILLE DU REGIMENT, Live Performance, 6 Jan., 1973, w. Bonynge Cond. Met Opera Ensemble; Joan Sutherland, Luciano Pavarotti, Regina Resnik, Fernando Corena, Andrea Velis, etc. (Canada) 2-St Laurent Studio YSL T-932. (OP3328)
LUCIA DI LAMMERMOOR, Live Performance, 5 Dec., 1964, w. Silvio Varviso Cond. Met Opera Ensemble; Joan Sutherland, Sandor Konya, Nicolae Herlea, Bonaldo Giaiotti, etc. (Canada) 2-St Laurent Studio YSL T-928. (OP3327)
I PURITANI, Live Performance, 13 March, 1976, w.Bonynge Cond. Met Opera Ensemble; Joan Sutherland, Luciano Pavarotti, Sherrill Milnes, James Morris, etc. (Canada) 2-St Laurent Studio YSL T-914. (OP3321)
MACBETH, Live Performance, 21 Feb., 1959, w.Leinsdorf Cond. Met Opera Ensemble; Leonard Warren, Leonie Rysanek, Jerome Hines, Carlo Bergonzi, etc. (Canada) 2-St Laurent Studio YSL T-927. (OP3325)
AIDA, recorded 1928, w.Sabajno Cond. La Scala Ensemble; Dusolina Giannini, Aureliano Pertile, Irene Minghini-Cattaneo, Giovanni Inghilleri, Guglielmo Masini, etc. (Canada) 2-Immortal Performances IPCD 1113. Transfers by Richard Caniell; Elaborate 30pp. Booklet features Photos & Essays by Dewey Faulkner & Richard Caniell. (OP3322)
MAGDA OLIVERO, w.Fulvio Vernizzi Cond. Arias & Scenes from Manon Lescaut, Risurrezione, La Rondine, Tosca, Loreley, Madama Butterfly, La Boheme & La Traviata (the latter with Doro Antonioli & Aldo Protti), recorded 1953-73; ADRIANA LECOUVREUR (Cilea), Live Performance, 28 November, 1959, Napoli (Opening Night), replete with broadcast announcements in Italian, w.Mario Rossi Cond. Teatro San Carlo Ensemble; Magda Olivero, Giulietta Simionato, Franco Corelli, Ettore Bastianini, etc.; IRIS (Mascagni), Live Performance, 12 Sept., 1956, Torino, w.Angelo Questa Cond. RAI Ensemble; Magda Olivero, Salvatore Puma, Saturno Meletti, Giulio Neri, etc. (Canada) 5-Immortal Performances IPCD 1111, w. Two Elaborate 44pp Booklets, w.Notes by Magda Olivero, Richard Caniell & Stephen Hastings. Audio restoration by Richard Caniell. (OP3323)
HENRIETTE FAURE, w.Yvonne Astruc (Violin): Sonata #2 in f (Enescu); w.Dervaux Cond. RTF S.O.: Piano Concerto #4 in c (Saint-Saens); QUINTETTE CHAILLEY-RICHEZ: Piano Quintet in f (Hahn). (Canada) St Laurent Studio YSL T-825, Live Performances, 1945-55. Transfers by Yves St Laurent. (P1329)
SERGE KOUSSEVITZKY Cond. Boston S.O.: Symphony #5 (Roy Harris); A Free Song - Cantata #2 (William Schuman [World Premiere]; Ode (Stravinsky); Hymn and Fuguing Tune #2 (Cowell). (Canada) St Laurent Studio YSL 78-867, Live Performances, 1943-46, all Symphony Hall. Transfers by Yves St Laurent. (C1766)
KLAUS TENNSTEDT Cond. NDR S.O.: Sinfonietta (Janacek), Live Performance, 9 March, 1980; KLAUS TENNSTEDT Cond. Detroit S.O.; Symphony #5 in B-flat (Prokofiev), Live Performance, 4 Feb., 1978, Ford Auditorium, Detroit. [A forewarning: fasten your seatbelts before hearing this!] (Canada) St Laurent Studio YSL T-886. Transfers by Yves St Laurent. (C1762)
WILLEM MENGELBERG Cond. Le Grand Orchestre de Radio-Paris: 'Pathetique' Symphony in b (Tschaikowsky); w.ALFRED CORTOT: Piano Concerto #2 in f (Chopin [Alfred Cortot also re-orchestrated and rewrote parts of the work]). (Canada) 2-St Laurent Studio YSL 78-901, Broadcast Performance, 20 Jan., 1944, with most enthusiastic applause from the wildly ecstatic audience & Mengelberg’s vaguely audible comments to the Orchestra. [Unquestionably a monumentally treasurable issue!] Transfers by Yves St Laurent. (C1763)
DAVID OISTRAKH, w. Lev Oborin (Pf.): Sonata #1 in f (Prokofiev) [Played by the Creators]; Sonata in A (Franck); Beethoven & Brahms. (Canada) St Laurent Studio YSL T-890, Live Performance, 5 July, 1953, Theatre de Chaillot, Paris. [A brilliant recital . . . in glorious sound] Transfers by Yves St Laurent. (S0756)
ARTUR RODZINSKI Cond. NBC S.O.: Handel, Sibelius, Albeniz & Beethoven (the latter's Symphony #5 in c). (Canada) St Laurent Studio YSL 78-604, Live Performance, 4 Dec., 1937. Transfers by Yves St Laurent. (C1765)
CARL SCHURICHT Cond. Montreux Festival Chorus & Paris Conservatoire Orch.: Egmont Overture; w.Madeleine Dubius, Helene Bouvier, Ernst Haefliger & Heinz Rehfuss: Choral Symphony #9 in d (Beethoven). (Canada) St Laurent Studio YSL T-907. Transfers by Yves St Laurent. (C1764)
WILLIAM STEINBERG Cond. Boston Symphony Orchestra: Symphony #7 in E (Bruckner). (Canada) St Laurent Studio YSL T-937, Live Performance, 10 Oct., 1970, Symphony Hall, Boston. [...beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1761)
CHARLES MUNCH Cond. Boston S.O.: Symphony #102 in B-flat; 'The Clock' Symphony #101 in D; 'Military' Symphony #100 in G (all Haydn). (Canada) St Laurent Studio YSL T-888, Live Performances, 1955-59, Symphony Hall, Boston. [Live performances brilliantly displaying the splendor of the Symphony Hall acoustic] Transfers by Yves St Laurent. (C1758)
JORGE BOLET: Franck, Liszt, Schumann, Mendelssohn & Brahms (the latter's Sonata #3 in F). (Canada) 2-St Laurent Studio YSL T-790, Live Performance, 15 March, 1976, Bloomington. Transfers by Yves St Laurent. (P1319)
VLADO PERLEMUTER: Sonata for Piano Four-Hands in F, K.497 (Mozart), w.Michel Dalberto; Ma Mere l'Oye for Piano-Four Hands – Excerpts (Ravel) w.Hans Christian Willie & Christian Zacharias; Andante & Variations for Piano-Four Hands in E-flat (Schumann), w.Jean-Francois Heisser; Danse Macabre (Saint-Saens) w.Michel Dalberto, Jean-Francois Heisser, Hans Christian Willie & Christian Zacharias. [A treasure of an exceptional recital in wonderful sound] Transfers by Yves St Laurent. (Canada) St Laurent Studio YSL T-816, Live Performance, 14 Aug., 1984, Parc du Chateau de Florans - La Roque d'Antheron, France. (P1328)
MAURICE GENDRON, w. Jean Francaix (Pf.): The Five Cello Sonatas; 12 Variations on Mozart's 'Ein Madchen oder Weibchen'; 12 Variations on Mozart's' Bei Mannern, welche Liebe fuhlen'; 12 Variations on Handel's 'See the conqu'ring hero comes' (all Beethoven). (Canada) St Laurent Studio YSL T-930, Broadcast Performances, 22-29 Jan., 1952, Paris. Transfers by Yves St Laurent. (S0755)
SIR THOMAS BEECHAM Cond. University of Illinois Orch. & Soloists: LE NOZZE DI FIGARO - Act II (in English). (Canada) St Laurent Studio YSL T-929, Live Performance, 26 April, 1956, Urbana, Illinois Transfers by Yves St Laurent. [Surely far off the beaten path, this little jewel is offered due to Sir Thomas' sensitive and charming conducting, its rarity, and certainly for the exceptional quality of the professional recording quality!] (C1757)
VANITY FAIR (A Revue by Arthur Wimperis. Music: Herman Finck, Max Darewski, Shelton Brooks and Jerome Kern. Lyrics: Arthur Wimperis, Percy Greenbank, et al.), recorded 1917, w.Henry Finck Cond. Palace Theatre Ensemble; Teddie Gerard, Regine Flory, Nelson Keys, Arthur Playfair, Stanley Logan, Gwendoline Brogden, etc. [Palace Theatre, London, 6 November, 1916 (265 perfs)] (England) Palaeophonics 145, w.Elaborate 'The Play' 16pp. Brochure replete with numerous photos of the Palace Theatre 1916 production & biographies. Excellently transferred from the legendary Acoustic 78rpm English HMV rarities. Dominic Combe’s most recent intoxicating delight, produced via his enhanced equipment! For this production he had access to fabulous archival material and superb original 78s with which to work! (PE0290)
HULLO, RAGTIME!, a Revue devised by Max Pemberton and Albert de Courville, with Music and Lyrics by Louis A. Hirsch. Additional songs by Maurice Abrahams, Nat D. Ayer, Irving Berlin, A. Seymour Brown, L. Wolfe Gilbert and Luis Muir. Featuring Ethel Levey, Stanley Kirkby, Beth Tate, Willie Solar, Shirley Kellogg, Lew Hearn, Jack Charman, Bonita, Harry Cove, Gene Summers, Eleanor Jones Hudson, Melville Gideon, Hirsch’s Ragtime Band, American Ragtime Octette, etc. (England) Palaeophonics 152, w.Elaborate 26pp. 'The Play' Brochure, plus an additional 20pp facsimile London Hippodrome Souvenir brochure, replete with numerous photos of the 1912 production & biographies. Excellently transferred from the legendary Acoustic 78rpm English Columbia rarities. Dominic Combe’s most recent intoxicating delight, produced via his enhanced equipment! For this production he had access to fabulous archival material and superb original 78s with which to work! (PE0289)
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.
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OP3331. SIMON BOCCANEGRA, Live Performance, 16 Feb., 1935, w.Panizza Cond. Met Opera Ensemble; Lawrence Tibbett, Giovanni Martinelli, Elisabeth Rethberg, Ezio Pinza, Leonard Warren, etc.; RIGOLETTO, Live Performance, 28 Dec., 1935, w.Panizza Cond. Met Opera Ensemble; Lawrence Tibbett, Lily Pons, Frederick Jagel / Jan Kiepura, Virgilio Lazzari, etc.; LAWRENCE TIBBETT: FALSTAFF - ‘Che sogno’; IL TABARRO ‘Scorre fiume’, from THE PACKARD HOUR, 1935; PETER IBBETSON (Deems Taylor) - Scena, from the 17 March, 1934 Met Broadcast; Giovanni Martinelli speaks, delightfully, at length about his career and Verdi at BIRS, 1962. (Canada) 4-Immortal Performances IPCD 1114, w.Elaborate 50pp Booklet. Transfers by Richard Caniell. Notes by Stanley Henig, William Russell & Richard Caniell. The four discs are priced as three by Immortal Performances. - 644216110223
OP3330. 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.
P1331. VLADO PERLEMUTER: Chopin Recital; w.George Hurst Cond. Bamberg S.O.: Fantaisie (Debussy). (Canada) St Laurent Studio YSL T-840, Broadcast Performances, 1958, 1959 & 1968. [Exquisite performances in equally wonderful sound!; the Debussy is absolutely breathtaking!] Transfers by Yves St Laurent.
S0757. ARTHUR GRUMIAUX, w.Dinorah Varsi (Pf.).: Mozart, Fauré & Lekeu Recital, Live Performance, 12 Nov., 1984, Maison de la radio, Paris; ARTHUR GRUMIAUX TRIO: Mozart, Beethoven & Schubert Program, Live Performance, 11 Sept., 1984, Divonne-les-Bains, France. (Canada) 2-St Laurent Studio YSL T-892. [Another jewel of a recital program from the ubiquitous Yves St Laurent; The Grumiaux Trio is a special delight!] Transfers by Yves St Laurent.