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

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Jussi Bjorling returns . . .

this time in Italian with Albanese,

Merrill and Mitropoulos . . .

the 1934 Bodanzky LOHENGRIN . . .

and more delights

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  • MANON LESCAUT, Live Performance, 31 March, 1956, w.Mitropoulos Cond. Met Opera Ensemble; Licia Albanese, Jussi Bjorling, Frank Guarrera, Fernando Corena, etc. [Among the very best of the '50s Met broadcasts, due not merely to the stunning performance but as well to the extraordinary clarity of the sound!] (Canada) 2-St Laurent Studio YSL T-976. (OP3335)

    “In Bjorling and Albanese [Mitropoulos] has a pair of artists who know how to put to use the vibrancy emanating from the pit. Each turns it to particular advantage, according to individual strengths. Bjorling is able to send out his robust, vividly colored tones in expansive fashion. Both the bright, prismatic upper voice and the more somber baritonal hues are present in undiluted form….Albanese, of course, supplies the more telling verisimilitude as she depicts the many moods of the volatile Manon. Her immersion in the character is complete – no musical nor dramatic inflection is ignored. Her soprano is in prime condition…and everywhere she meets the challenges of this virtuosic role head-on….Bjorling and Albanese, their interpretive skills honed by decades of experience, triumphantly surmount the symphonic tone poem which Mitropoulos has made of Puccini’s opera.”


    - Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, pp.242-43




    “Bjorling and Albanese made a studio recording for RCA in 1954 that has been considered definitive by many (not all) reviewers, but this live performance features the two leads inspired by the presence of an audience and the momentum of a theatrical performance. It has conducting from Dimitri Mitropoulos that is alive to all the dramatic possibilities of the music. In the studio recording Jonel Perlea turned in a reasonably competent job but nothing on the level heard here. If I were to have only a single recording of MANON LESCAUT, it would be this one, despite its monaural sound. All of the individual components add up to a whole greater than the sum of its parts.

    Bjorling, while never a persuasive actor onstage, was a convincing actor with his voice, more so in live performances than the recording studio….His entrance arioso, ‘Tra voi belle’, announces both a voice and a musical presence of importance from the first phrase. ‘Donna non vidi mai’ is a true lyrical outpouring of deep emotion and magnificent tone. The love duet with Albanese is heartfelt, and Des Grieux’s frantic plea to join the ship at the harbor is almost scary in its intensity. The voice itself is, of course, one of the most naturally beautiful tenors in operatic history and it is ideally suited in both size and color for Puccini. It would be hard to imagine a better des Grieux.

    For 26 years (1940–1966) Albanese was a mainstay of the Italian wing at the Met, singing 427 performances. Puccini was her specialty; except for Violetta and Desdemona she stayed away from the major Verdi roles. She was vocally best suited for displaying the fragility, vulnerability, ardor, and passion that are at the core of most of Puccini’s heroines. The voice was that of a lyric-spinto soprano with a very quick vibrato that gave it a unique character. Albanese was beloved by Met audiences in part because she threw herself into every performance, and this one is no exception. The huge ovation after ‘In quelle trine morbide’ lasts almost as long as the aria. In the final act, she and Bjorling are alive to every dramatic nuance while also pouring forth glorious vocalism.

    This is an opera that stands or falls on the two lead singers, but the remainder of the cast is quite strong as well. Frank Guarrera would be an even more important baritone today, when he wouldn’t have to compete with Leonard Warren and Robert Merrill. His Lescaut is both well sung and vividly portrayed. Fernando Corena, normally thought of as a basso buffo in the Donizetti and Rossini repertoire, is a strong presence as Geronte. An interesting moment is the appearance of the lamplighter in the third act, sung by a future Otello and Samson, James McCracken.

    As if all of this weren’t enough, Mitropoulos conducts with a complete identification with Puccini’ score, shaping the long lines with affection but always maintaining dramatic tension. He spent much of his career leading Italian operas in Florence and elsewhere in Europe. Mitropoulos was one of the few conductors who could lead completely idiomatic and persuasive performances of Mahler, Strauss, Berg, Puccini, and Verdi. He turns the famed Intermezzo into a five-minute symphonic poem, and throughout the opera he gives equal importance to the music’s tenderness and its dramatic fire.”


  • - Henry Fogel, FANFARE






  • LOHENGRIN, Live Performance, 24 March, 1934 (replete with Milton Cross’ commentaries) w. Bodanzky Cond. Met Opera Ensemble; Lauritz Melchior, Elisabeth Rethberg, Maria Olszewska, Gustav Schutzendorf, Ludwig Hofmann, etc.; LAURITZ MELCHIOR: Two Songs by Strauss; Die Meistersinger - Preislied - Ford Hour Broadcast, 17 Oct., 1937. (Canada) 3-Immortal Performances IPCD 1112, w. Elaborate 43pp Booklet. Notes by Dewey Faulkner & Richard Caniell. Restoration & transfers by Richard Caniell. The three CDs sell for the price of two. (OP3336)

    “In FANFARE 42:2, Ken Meltzer wrote a thorough and very perceptive review of Immortal Performances’ issue of a 1942 Met broadcast of Lohengrin featuring Lauritz Melchior in the title role under Erich Leinsdorf. At the beginning of his review Meltzer listed three prior Melchior/Met Lohengrins issued by Immortal Performances and another issued by Sony. One would never have thought that within a matter of a few months that listing would be obsolete. But apparently Richard Caniell, the proprietor of Immortal Performances, cannot get enough of Melchior’s Lohengrin. So here is a world premiere release of yet another, this one the earliest of them all.

    One could be excused for asking whether it is too much of a good thing. My personal answer is no, despite the sonic limitations of this 1934 broadcast (about which more below). Melchior was unarguably (or as close to unarguably as anyone could be) the greatest Wagnerian Heldentenor of the middle third of the 20th century, and Lohengrin was one of his signature roles. Although the part is more lyrical than Tristan, Tannhauser, and Siegfried, Melchior could lighten his voice appropriately, and his singing was always based on a firm, steady emission of tone and a smooth legato very rare among Wagnerian singers. The combination of tonal beauty and power at his disposal remains unmatched. It is important to remember that Melchior was born in 1890, and we have no complete operatic performances of his when he was in his 30s. By 1934 he was already 44, and all of his other Lohengrin performances postdate this one. Here, the freshness of his voice, and the freedom with which he sings, are nearly miraculous. Melchior was often criticized for rhythmic sloppiness, but as the British vocal authority John Steane has pointed out, there is little evidence of that on his many live recordings. There are moments of dramatic emphasis which vary from the printed rhythms, but they almost always sound intelligently thought through and quite apt. He had a very keen dramatic instinct and rarely sang a performance that sounded uninvolved.

    The other major justification for this release is Elisabeth Rethberg’s Elsa. Born in 1894, she was precisely 40 here, and in fresher voice than in the 1940 performance issued by Immortal Performances, as good as that one is. Young voice students should be required to study Rethberg as a model of establishing a firm legato as the basis of singing. She manages to convey Elsa’s character in a believable manner without ever distorting Wagner’s vocal line. Between Rethberg and Melchior we are given a masterclass in how to sing Wagner’s difficult music in a manner that makes it sound natural and easy. Neither singer has to strain to fill out Wagner’s long phrases, and both create believable and engaging characters through details of inflection and vocal color.

    Maria Olszewska is as successful as almost any Ortrud with whom I am familiar. There are parts of this role where it is virtually impossible to sound musical, because the demands are nearly inhuman. Ortrud’s fierce outbursts in the second and third acts tend to sound ugly, whoever is performing. But Olszewska’s contralto (she was a true contralto) was rich and full-bodied, and she too was an intelligent vocal actress. Dewey Faulkner, in his wonderful essay in the accompanying booklet, points out how ‘her addresses to Elsa are a mixture of dignity and humility’. The voice, except for those moments where Wagner puts excessive demands on it, is notable for its richness and plumminess of tone.

    Gustav Schützendorf is a stolid, unremarkable Telramund. His singing is relatively smooth and even-toned, but he lacks the vocal and dramatic presence of the other singers. Ludwig Hofmann’s King Heinrich is very strong, producing a dark, big sound and singing with dramatic impact. Artur Bodanzky conducts with great drive and energy, while not denying the lyrical impulse of the music. He is responsible for far too many cuts, but such was the tradition at the Met in the 1930s and later. The orchestra plays well for him.

    Now we get to the crucial issue of sound quality. This performance has never been issued in its entirety; in the past only excerpts have surfaced. The unevenness of the basic sound is one reason, and another is that certain fragments were never recorded in the first place (the original recordist didn’t have two lathes and thus could not overlap). The original recordist, or someone to whom he lent his records, played favorite parts repeatedly, thus wearing them out. In extensive recording notes, Caniell explains all of the difficulties he encountered, enumerating the insertions he had to make from other performances because the parts either were missing from the original or were completely unlistenable. To demonstrate the degree to which those segments were unlistenable, Caniell has included some of them as addenda to each disc. You will find listening to them one time an interesting intellectual exercise, but are unlikely to go back for pleasure. Their main value is to validate Caniell’s judgment about what was not salvageable.

    Another point must be made. Because of the flaws just mentioned, Caniell had to do a great deal of inserting from other performances. Where Rethberg was involved, his only option was her 1940 Met broadcast. Caniell’s achievement here is a wonder - one is simply not aware of the switches. The insertions match seamlessly. His decision to do this is the only thing that makes it possible for us to have a representative example of Rethberg’s Elsa as early as 1934.

    If you were a collector who wanted one Melchior Lohengrin in your collection, this new release would probably not be the best choice. Caniell has performed miracles with the original source material, but he could not make a silk purse out of a sow’s ear. I would recommend Immortal Performances’ transfer of the 1940 Met broadcast with Rethberg as essential. There is much to be said for the 1942 version with Astrid Varnay, and the 1938 one with Kirsten Flagstad conducted by Abravanel. And one cannot overlook the glories of Lotte Lehmann in the 1935 broadcast. But overall, as much for sound quality as anything, I would choose that 1940 Rethberg performance if I were choosing only one. But all of them have something special to offer, and with this release Immortal Performances has once again added something unique. We would be much the poorer without this 1934 broadcast, flaws and all. To have the opportunity to experience Melchior and Rethberg in such fresh voice, and in a live performance rather than a studio recording, is something that one might never have thought possible. The thrill of hearing singing at this level will, for anyone tolerant of historic sound, outweigh the deficiencies. The inclusion of Milton Cross adds the atmosphere of Met broadcasts, and the three bonus items (Walther’s Prize Song and two Strauss Lied) from Melchior radio broadcasts is a lovely addition.

    As usual, a superb booklet with an excellent analysis of the performance, a detailed plot synopsis, biographies of the performers, lovely period photos, and Caniell’s comprehensive recording notes, round out the production. The three CDs sell for the price of two.”


    - Henry Fogel, FANFARE, March / April, 2019




    “What is the justification for [this] new release, and, by extension, its purchase? First and foremost, the broadcast is a priceless historical document, a representation, 85 years old(!), of the Met during a golden era of Wagnerian singers and performances. And with regard to the Lohengrin and Elsa, we have the opportunity to hear two legendary singers in their absolute primes. Both Lauritz Melchior (1890–1973) and Elisabeth Rethberg (1894–1976) continued to give wonderful performances at the Met into the 1940s….Lohengrin and Elsa emerge not as two-dimensional characters, but youthful and vibrant lovers, albeit ill-fated ones….In the case of the 1934 Lohengrin, both Melchior and Rethberg are in sterling, youthful form, offering beautifully sung performances that are also notable for their passion and humanity.

    The remainder of the cast is worthy of the romantic leads. Maria Olszewska, best known as the Octavian in the first studio recording of Strauss’ DER ROSENKAVALIER, is a formidable Ortrud, both in voice and dramatic intensity. As her husband Friedrich, Gustav Schutzendorf is rather gruff in voice and delivery, but that is not at all inappropriate for the role. Ludwig Hofmann, one of the leading Wagnerian basses of his era, is a commanding King Henry.

    And it is quite remarkable how Richard Caniell is able to draw from the various sources...and have them seamlessly flow into each other to give the impression of being of a piece….This is without a doubt a specialty release. But if you are, like me, a person for whom that specialty is of the utmost importance, you will be grateful for what Richard Caniell has achieved here. Recommended to like-minded Wagnerian/vocal history buffs.”


  • - Ken Meltzer, FANFARE, March / April, 2019






  • GYORGY CZIFFRA: Hungarian Dance #6 in D-flat; w. Roberto Benzi Cond. RTF S.O.: Totentanz (both Liszt); Piano Concerto in a (Grieg), Live Performances, 20 Sept., 1962; w.Gerard Devos Cond. ORTF S.O.: Piano Concerto #1 in E-flat (Liszt), Live Performance, 15 Oct., 1964. [Another coruscating recital, not to be missed! The Hungarian Dance #6 virtually jumps out of the speakers and will have you jumping as well!!!] (Canada) St Laurent Studio YSL T-889. Transfers by Yves St Laurent. (P1333)

    “How else can you describe Cziffra who, so to speak, soars high above the crowd without a safety net in his glittering finery, all tailored to make audiences tremble and perspire?....All of those infamous or celebrated explosions of sound – as if a grenade had been tossed into the piano – and rapid crescendi within the bar are on full and unapologetic display.”


  • - Bryce Morrison, GRAMOPHONE, June, 2009






  • VLADO PERLEMUTER: Theme et variations (Faure); Kreisleriana; Etudes symphoniques (both Schumann). (Canada) St Laurent Studio YSL T-850, Broadcast Performances, 1959 & 17 May, 1960. Transfers by Yves St Laurent. (P1334)

    “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.

    Mr. Perlemuter's career thrived until World War II, when as a Jew, he was forced to flee to Switzerland. In an interview with The Associated Press, Adrian Farmer, the music director of Nimbus Records, which produced a series of his recordings in the 1980s and early '90s, said that Mr. Perlemuter's having to leave his homeland during the war was ’the great embitterment of his life'. Mr. Perlemuter was especially distressed, Mr. Farmer added, that Cortot, with whom he was very close, remained in France.

    Mr. Perlemuter resumed his career in 1950. His 1955 recording of the complete Ravel piano works became a landmark. Recording them in later years for Nimbus, Mr. Perlemuter played whole stretches of the repertory nonstop, Mr. Farmer said. The recordings were released with almost no touch-ups or editing.

    Mr. Perlemuter's other albums from this period include distinguished accounts of works by Faure, Bach, Debussy, Schumann, Beethoven, Mozart and Chopin. His Chopin playing was particularly admired for its rhythmic subtlety, beautiful details and French-tinged colorings.

    From 1951 to 1976, Mr. Perlemuter was a leading professor at the Paris Conservatory. He also gave noted master classes in Britain, Canada and Japan, and served frequently on competition juries.''


  • - Anthony Tommasini, THE NEW YORK TIMES, 7 Sept., 2002








    . . . REPEATED . . . FROM THE RECENT PAST . . .










  • MANON LESCAUT, Live Performance, 1 Nov., 1959, w.Grevillius Cond. Royal Opera Opera Ensemble, Stockholm; Hjordis Schymberg, Jussi Bjorling, Hugo Hasslo, etc.; JUSSI BJORLING: Songs by Adam, Peterson-Berger, Nordqvist & Sibelius; Arias from Xerxes, Lohengrin, Turandot, Tosca, Cavalleria Rusticana & Evgenii Onegin - Live Performances, 1949-60. (Canada) 2-Immortal Performances IPCD 1110, w.Elaborate 36pp Booklet. Transfers by Richard Caniell. Notes by Stefan Johansson, Kristian Krogholm & Richard Caniell. (OP3332)





  • 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)





  • 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)





  • 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)





  • NORMA, Live Performance, 4 April, 1970, w.Bonynge Cond. Met Opera Ensemble; Joan Sutherland, Marilyn Horne, Carlo Bergonzi, Cesare Siepi, etc. (Canada) 2-St Laurent Studio YSL T-955. (OP3334)





  • 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)





  • MICHEL SENECHAL: Arias from Entfuhrung, Platee, Zemire et Azore, Iphigenie en Aulide, Le Compte Ory, Demophon, La Dame Blanche, Le Pre aux Clercs, Si j'etais Roi, Le Roi l'a Dit, L'Enfant et les Sortileges, Les Caprices de Marianne, Ivan IV, Mignon, Mireille, L'Enfant Prodigue, Barbe-Bleue, Faust, L'Enfance du Christ & Madama Butterfly. (France) Malibran 826, recorded 1948-63. (V2614)





  • DINO BORGIOLI: Songs by Padilla & Borgioli; Arias & Duets (w. Pampanini, Zamboni, Gentile, Rettore & Vanelli), from L'Elisir d'Amore, La Sonnambula, Barbiere, Don Pasquale, Rigoletto, La Boheme, Lohengrin, Manon, Faust, Les Pecheurs de Perles, L'Amico Fritz & Sadko. (France) Malibran AMR 192. [This is a treasure of unadulterated delight of exquisite singing!] [AMR titles are issued without rear tray-cards] (V2619)





  • RICHARD TAUBER: Songs by Alfred Beines, Robert Schumann, Edvard Grieg, Eugen Hildach, Erik Meyer-Helmund, Richard Wagner, Richard Strauss, Felix Weingartner & Maurice Rudolphe; Arias & Duets (w.Elisabeth Rethberg, Emmy Bettendorf & Benno Ziegler) from Don Giovanni, Die Zauberflote, Il Barbiere Di Siviglia, Fra Diavolo, Martha, Carmen, Tosca, Madama Butterfly, La Forza del Destino, Il Trovatore, I Gioielli della Madonna, Prodana Nevesta, Evgenij Onegin, Der Kuhreigen, Der Evangelimann, Der Rosenkavalier & Die Walkure. (Germany) 2-Truesound Transfers 4011, recorded 1919-1922. Transfers by Christian Zwarg. (V2618)





  • LEO SLEZAK: Arias from Guillaume Tell, Les Huguenots, La Dame Blanche, Barbe-Bleue, Aida, Ballo, Cavalleria, Pagliacci, Otello, La Boheme, Euryanthe & Die Konigin von Saba. (France) Malibran AMR 193. [Remarkably brilliant transfers; AMR titles are issued without rear tray-cards] (V2616)





  • HILDE ZADEK: Mozart Concert Arias K.486a, 528 & 578; Arias from Nozze, La Clemenza di Tito, Tannhauser, Elektra, Ariadne auf Naxos, Idomeneo, Lohengrin & Der Fliegende Hollander. [A brilliant recital from this student of both Rose Pauly and Ria Ginster, incorporating the relative gifts of both!] (France) Malibran AMR 191. [AMR titles are issued without rear tray-cards] (V2617)





  • 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)





  • ARTHUR LEBLANC, w. Charles Reiner (Pf.): Bach, Fiocco, Mozart, Nardini, Vitali, Vivaldi, Francois Schubert, Schubert, Champagne, Debussy, Ravel, Faure, Saint-Saens, Nin, Wieniawski, Fraser, Gratton, Kreisler & Leblanc. (Canada) 3-St Laurent Studio YSL T-692, recorded 1958-67. Transfers by Yves St Laurent. (S0760)





  • THE BING BOYS ON BROADWAY (A Revue by Nat D. Ayer. Music: Nat D. Ayer. Lyrics: Clifford Grey), recorded 1918, w.John Ansell Cond. Alhambra Theatre Ensemble; George Robey, Violet Loraine, Alfred Lester, Jack Morrison, etc. (378 performances). (England) Palaeophonics 137, w.Elaborate 'The Play' 20pp. Brochure replete with numerous photos of the Alhambra Theatre 1918 production & biographies. Excellently transferred from the legendary Acoustic 78rpm English HMV rarities. Dominic Combe’s most recent production for which he had access to fabulous archival material and superb original 78s with which to work! (PE0291)









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    BOOKS ON SALE





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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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    . . . 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] . . .





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    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:

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    Enjoy perusing!



    Once again . . .

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  • Manon Lescaut   (Mitropoulos;  Albanese, Bjorling, Guarrera, Corena)    (2-St Laurent Studio YSL T-976)
    OP3335. MANON LESCAUT, Live Performance, 31 March, 1956, w.Mitropoulos Cond. Met Opera Ensemble; Licia Albanese, Jussi Björling, Frank Guarrera, Fernando Corena, etc. (Canada) 2-St Laurent Studio YSL T-976.
    $39.95
    Lohengrin  (Bodanzky;  Melchior, Rethberg, Olszewska, Schutzendorf, Hofmann  (3-Immortal Performances IPCD 1112)
    OP3336. LOHENGRIN, Live Performance, 24 March, 1934 (replete with Milton Cross’ commentaries) w. Bodanzky Cond. Met Opera Ensemble; Elisabeth Rethberg, Maria Olszewska, Lauritz Melchior, Gustav Schützendorf, Ludwig Hofmann, etc.; LAURITZ MELCHIOR: Two Songs by Strauss; Die Meistersinger - Preislied - Ford Hour Broadcast, 17 Oct., 1937. (Canada) 3-Immortal Performances IPCD 1112, w. Elaborate 43pp Booklet. Notes by Dewey Faulkner & Richard Caniell. Restoration & transfers by Richard Caniell. - 644216896653
    $39.95
    Gyorgy Cziffra, Vol. IV;  Benzi;   Devos   -  Liszt & Grieg   (St Laurent Studio YSL T-889)
    P1333. GYÖRGY CZIFFRA: Hungarian Dance #6 in D-flat; w. Roberto Benzi Cond. RTF S.O.: Totentanz (both Liszt); Piano Concerto in a (Grieg), Live Performances, 20 Sept., 1962; w.Gérard Devos Cond. ORTF S.O.: Piano Concerto #1 in E-flat (Liszt), Live Performance, 15 Oct., 1964. [Another coruscating recital, not to be missed! The Hungarian Dance #6 virtually jumps out of the speakers and will have you jumping as well!!!] (Canada) St Laurent Studio YSL T-889. Transfers by Yves St Laurent.
    $19.90
    Vlado Perlemuter, Vol. VII  -  Faure & Schumann   (St Laurent Studio YSL T-850)
    P1334. VLADO PERLEMUTER: Thème et variations (Fauré); Kreisleriana; Études symphoniques (both Schumann). (Canada) St Laurent Studio YSL T-850, Broadcast Performances, 1959 & 17 May, 1960. Transfers by Yves St Laurent.
    $19.90