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Classical CDs, LPs, 78s,
Related Books & Ephemera
Aquarius returns with
Cui's IVAN THE SIMPLETON,
plus the ELENA SHUMILOVA Heritage . . .
Yves St Laurent presents the long-awaited
LEONARD WARREN 1959 MACBETH
from the Met . . .
the 4th volume of GABRIEL PIERNE . . .
plus new titles on 'sale'
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
** This auction has been applied online in various sections in order to facilitate faster loading, especially on mobile phones.
Enjoy perusing!We also have our weekly offerings:IVAN THE SIMPLETON (Cesar Cui), a Singspiel, recorded 1949, w. Sherman Cond. All-Union Radio Folk Ensemble; Daniil Demyanov, Zoya Muratova, Matvei Matveev, Konstantin Polyaev, etc. [An opera-fairytale for children in three tableaux, by Cesar Cui, composed in 1913. The libretto was written by Nadezhda Nikolaevna Dolomanova, using Russian folk tales. Although the story is usually considered a children's fairy tale, it is also used as an indication of Tolstoy's political leanings in support of Christianity. Though his brothers are easily tempted by money and military power, unsophisticated Ivan, with his simple way of life, defeats the treacherous devil. Ivan eventually becomes the ruler of the country despite the lack of a standing army or currency. All of the citizens are welcome at Ivan's table, where workers are fed first and intellectuals (those without calluses on their hands) have to eat the leftovers] (Russia) Aquarius AQVR 415, w.Libretto in English. (OP3326)
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)
“This release of a famous Met production of MACBETH duplicates the cast and conductor of the official RCA recording issued shortly afterward, and one might wonder, why settle for a monaural Met broadcast when a professionally produced stereo studio recording exists with the same performers? The simple answer: because this is better. Every one of the performers operates at a level of intensity very difficult to reproduce under studio conditions. That difference applies most strongly to Erich Leinsdorf. The conductor has written that you couldn’t take interpretive risks in studio recordings, because while they might sound exciting once, they would lose their effect and become tiresome on repeated listening. I have never believed this argument (unless you listen to the same recording once or twice a month, in which case I can see Leinsdorf’s point). Compare St. Laurent Studio’s release side by side with the RCA recording, and you will hear time and again a degree of spontaneity, flexibility, and intensity that favors the live performance. The singers take a bit more liberty, and Leinsdorf doesn’t rein them in but goes with them. Leonard Warren’s extra intensity on, and lengthening of, the high A-flat at the end of ‘Pieta, rispetto, amore’ is a perfect example of the kind of thrill you are more likely to encounter in a live performance. I use that as an example, but the added impact is not just a matter of individual moments. Rather, it is a consistent extra touch of energy in the singing and of specificity in the inflection and vocal coloring applied by everyone. Leonie Rysanek managed a more perfect high D-flat at the end of the ‘Sleepwalking Scene’ on the RCA recording, no doubt because she had the ability to do re-takes. The note is cut a bit short in this performance. But the overall impact of the scene is far greater here; Rysanek manages to convey the inner torment of Lady Macbeth through a range of vocal coloration that exceeds what she achieved on the RCA set. The interactions between Rysanek and Warren have a spark here that also exceeds what is found in the studio version. Both singers bring to their respective roles big, warm voices and an ability to use them to dramatic as well as vocal ends. One of the high points of this performance is the banquet scene where Macbeth hallucinates the ghost of Banquo and Lady Macbeth gamely tries to keep up the mood of the guests, soothe her husband, and restore some semblance of sanity in him. Both singers and Leinsdorf manage to convey the changes of mood with absolute clarity.
The rest of the cast consists of some of the best the Met had to offer in the 1950s. Carlo Bergonzi is superb in the role of Macduff, a part that doesn’t offer the tenor much opportunity to shine. The role is often cast with lesser lights. Jerome Hines’ stentorian basso is imposing as Banquo, and even the smallest parts are very well done. Although the orchestra and chorus were not, in 1959, at the level they became under James Levine’s leadership, the playing and choral singing in this performance are at a better level than was often the case. St. Laurent Studio’s transfer is very clean sounding. As is usual with this label, there are no notes but only a full cast and track listings.
Sony included the same performance in a big box set of Met Verdi broadcasts; comparing the two editions, I found the voices to sound a bit more natural in the St. Laurent Studio version, and a wider palette of orchestral colors as well. I know there have been any number of good recordings of MACBETH. I would certainly not want to be without the live Maria Callas performance from La Scala, despite sonic limitations and a less than ideal Macbeth (Enzo Mascherini), and there is also much to admire in various other sets. But if I had to pick one account to live with as an strong reproduction of the opera overall, it would be this one, because of the ideal Verdi baritone of Warren and the consistent excellence of every aspect of the performance.”
- Henry Fogel, FANFAREELENA SHUMILOVA: Songs by Glinka, Rimsky-Korsakov, Dargomyzhinsky, Tschaikowsky, Tanayev, Bulahkov, Glinka, Rachmaninov, Brahms, Liszt, Grieg, etc. - recorded 1948-54; Arias from Rusalka (Dargomyzhinsky), The Maid of Pskov, Ballo, L'Africaine, Prodana Nedvesta, The Legend of the Invisible City of Kitezh and the Maiden Fevronia & Tannhauser - recorded 1947-55; w.Altaev Cond. All-Union Ensemble, w. Shumilova, Kazanskaya, Ruban, Bunchikov, etc.: IN THE LAND OF THE BLUE LAKES (Arvids), recorded 1957. (Russia) 3-Aquarius AQVR 414. – (V2609)
“Elena Shumilova’s creative career is inextricably linked with the history of the Bolshoi Theatre during the middle of the last century. At that time the roster of the Bolshoi Theatre could boast a unique collaboration of outstanding singers, dancers, conductors, directors and artists who left such a bright trace in art that after many decades their work still attracts much attention and encourages us to dive into the legacy left to us through the resource of archival recordings. Fortunately, Elena Shumilova’s recorded heritage, collected almost in its entirety in this album, makes it possible to get a fairly complete picture of the art of this wonderful singer of the Bolshoi Theatre of the 1940s and ‘50s. Elena Shumilova performed at the Bolshoi Theatre until 1959. The singer made many concert tours throughout the Soviet Union and abroad (Austria, Czechoslovakia, Romania and others). After leaving the theatre, she spent the rest of her working life engaged in teaching activities - first at the Gnesin Music and Pedagogical School, and between 1977-1994 - at the Moscow Conservatory.
Most of Elena Shumilova's recordings in this album were made for the radio in the 1940s and 1950s. With a few exceptions, these have never been published before. The recordings of opera arias by Shumilova, although not numerous, are extremely interesting and varied. The second disc contains the singer’s song repertoire. Finally, the third disc introduces the listeners to Shumilova’s operetta recordings. The basis of this disc is the first radio production of the Lithuanian composer Zilinskis operetta IN THE LAND OF BLUE LAKES.”
- Mike WestonGABRIEL PIERNE Cond. Concerts Colonne Orch.: Bizet, Lalo & Saint-Saens Program. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-897, recorded 1929 - 1931. Transfers by Yves St Laurent. (C1760)
“In 1890 Pierne succeeded his teacher, Franck, as organist at St. Clotilde Cathedral, a distinct honor for a young man of 27. In the late 1890s he abandoned his career as an organist and in 1903 made his debut as assistant conductor of the Concerts Colonne (of which he served as principal conductor from 1910 to 1934, devoting a great deal of rehearsal time to the preparation of new works). In addition to his activities on the podium, Pierne served on the administration of the Paris Conservatoire and composed for the Ballet Russes (three successful ballets produced between 1923 and 1934).”
- Blair Johnston, allMusic.com
. . . REPEATED . . . FROM THE RECENT PAST . . .
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)
“One of the cornerstones of any Magda Olivero collection is a November 28, 1959 ADRIANA LECOUVREUR broadcast from the stage of the Teatro San Carlo in Naples. The scheduled Adriana, Renata Tebaldi, became ill. Olivero, who was herself recuperating from surgery, stepped in at the very last moment to save the performance. And it is the performance of a lifetime. A mesmerizing account of Adriana’s entrance aria, ‘Io son l’umile ancella’, inspires a prolonged, ecstatic outburst from the Naples audience. And from there Olivero moves from strength to strength, providing a master class in the art of verismo opera performance. Even if the remaining principals were only acceptable, this 1959 Naples ADRIANA LECOUVREUR would be essential listening. But on this occasion, Olivero was joined by three of the greatest performers of the era, all at the height of their powers. Mezzo Giulietta Simionato is a force of nature as Adriana’s rival, the Princess Bouillon. Adriana’s lover, Maurizio, is Franco Corelli in prime voice, which is to say one of the most sumptuous and brilliant tenors documented on recordings. In addition to his bronze vocal quality and ringing high notes, Corelli’s remarkable breath control allowed him to create magical effects with extended crescendos and diminuendos, both in evidence here. And while Corelli was not in Olivero’s league as an actor (few were), he throws himself wholeheartedly into the role of Maurizio. Michonnet, the stage manager who secretly pines for Adriana, is more of a character baritone role than a heroic one. Ettore Bastianini was famous for his assumptions of the latter type of part, but he brings admirable sensitivity to the role, along with his characteristic rich, dark, and vibrant tone. Mario Rossi, a first-rate conductor of Italian operatic repertoire, leads a performance that both crackles with energy and savors Cilea’s rich orchestral palette. The Immortal Performances restoration is derived from the RAI master.
The second complete opera on this set is Mascagni’s IRIS from a September 12, 1956 Turin Radio broadcast, performed before a studio audience [in which] Olivero, in wonderful voice, adopts a fresh, youthful tone, and delicate form of expression. The performance is notable for its sensitivity and restraint, making the euphoria of Iris’ death scene all the more powerful. As Osaka, the young man who pursues Iris, tenor Salvatore Puma sings robustly, securely, and with some style in a role first performed by one of the most poetic of tenors, Fernando de Lucia. Saturno Meletti and Giulio Neri bring secure, powerful voices and dramatic involvement to the roles of the brothel owner Kyoto, and Iris’ blind father, Il Cieco. Soprano Amalia Oliva is lovely in the role of Dhia, the heroine of a puppet show staged to entice Iris. And Mario Carlin, a fine comprimario tenor, sings beautifully in the brief role of a ragpicker who comes upon the mortally injured Iris. Conductor Angelo Questo draws fine performances from the RAI-Torino Orchestra and Chorus, the latter accorded an ovation for the glorious ‘Hymn to the Sun’ episodes that open and close the work.
The selections conclude with a complete performance of LA TRAVIATA’s final act, in which…the reading of the letter, ‘Teneste la promessa’, Olivero’s speaking voice - resigned, fatigued, and wracked with illness - chilled this reviewer to his very core….one is left marveling at the artistry of Magda Olivero, and a performance filled with imaginative and dramatically spot-on touches that convince as entirely spontaneous. The Amsterdam TRAVIATA excerpts are in excellent sound, and the remaining bonus material is also quite fine from a sonic perspective.
The two booklets included with this release feature an appreciation of Olivero by Stephen Hastings, a superb analyst and writer on vocal music, Olivero’s own moving account of Cilea’s plea for her to return to the stage, Richard Caniell’s warm and insightful analysis of Olivero’s art, biographies of Cilea and Mascagni, synopses of the two complete operas, Caniell’s Recording Notes, and artist bios and photos. As I mentioned, we are fortunate that many Olivero performances were recorded. This release includes complete documents of two of Olivero’s finest roles, in excellent sonic restorations. The bonus material is also priceless. If you love verismo opera and don’t already own these recordings, you should make them a priority. And if you own the ADRIANA LECOUVREUR via a previous release, I still think you’ll want to give the Immortal Performances restoration strong consideration. A grand and worthy tribute to a unique and irreplaceable artist. Highly recommended.”
- Ken Meltzer, FANFARE, March / April, 2019
THE LEGENDS OF SOVIET OPERETTA, incl. Klaudia Novikova, Evdokia Lebedeva, Vladimir Volodin, Grigory Yaron, Mikhail Kachalov, Sofia Vermel, Tatiana Bach, Nikolai Bravin, Regina Lazareva, Olga Vlasova, Serafim Anikeev, Nadezhda Kazantseva, Elizaveta Pokrovskaya, Kapitolina Kuzmina, Ignatiy Gedroits, Anna Kuznetsova, Nikolai Ruban, Elena Granovskaya, Nikolay Krotov, Anna Gedroits, Vasily Zarubeev, Vladimir Volodin, Nikolay Krotov, Elena Savitskaya, etc.: Excerpts from DIE CSARDASFURSTIN, GRAFIN MARIZA, DER GRAF VON LUXEMBOURG, SOROCHINSY FAIR, A WEDDING IN MALINOVKA & ON THE BANK OF THE AMUR RIVER. (Russia) 7-Aquarius AQVR 413, broadcast performances, 1938-45, in Boxed Set w. Elaborate 41pp Brochure incl. photos & notes in Cyrillic and English. (OP3324)
“Moscow Operetta Theatre is one of Russia’s best-loved institutions. Since 1927 ‘Mosoperetta’ has provided a port in the storm for countless citizens – not least Dmitri Shostakovich, a dyed- in-the-wool fan, whose ‘Moskva, Cheryomushki’ was written with the company’s special acting, singing and dancing skillset in mind. Aquarius have gathered everything they could carry from Moscow Radio’s period archives, and their collection offers us a chance to hear the founding artists, working together in their inimitable way. Comedic speed was of the essence.
Three discs are devoted to the Viennese ‘silver age’, four to a trio of rarely-heard Soviet operettas. Moscow audiences have always had a taste for Emmerich Kálmán – five out of the seventeen works in Mosoperetta’s 2019 repertoire are his – so it’s no surprise to find his two most famous pieces here. The 80-minute, potted DIE CSARDASFURSTIN goes particularly well, its whirling dance rhythms whipped into a frenzy by the conductor Georgy Fuchs-Martin. The singers, notably Evdokia Lebedeva’s passionate Silva and the heart-throb tenor Mikhail Kachalov as Edwin, keep their balance throughout. The latter also makes an unusually gracious Tassilo in GRAFIN MARIZA. Nearly all the broadcasts are dialogue-heavy; and though this undoubtedly showcases the house style, it does limit the set’s appeal to non-Russian speakers. Lehár’s DER GRAF VON LUXEMBOURG is the exception to the rule, as only musical numbers had been recorded before the intended broadcast was shelved.
ON THE BANKS OF THE AMUR RIVER (1939) proves something of a ‘find’, the first Moscow operetta with a Soviet Realist plot lifted direct from current news. Viktor Tipot’s libretto dramatizes the departure of thousands of young city women to work on river defences in the Far East, where tensions with Japan were rising. The heroines include a typist, a hairdresser and the leader of the Women’s Brigade, all engaged in the predictable business of foiling sabotage and espionage, with a little comedy romance thrown in.
The music is by the Soviet Jewish songsmith Matvey Blanter whose patriotic hit ‘Katyusha’ is familiar to Russians, ancient and modern, around the world – it was a favourite encore of Dmitri Hvorostovsky. Blanter proves to be a theatre composer of great resource, his score packed with ‘earworm’ duets, songs and choruses – many in pithy, martial style – which can even stand comparison with Kálmán. An inspired highlight is the romantic ‘Letter to Mother’, which mixes witty, typewriter imitations (string pizzicati) with generous emotions which wouldn’t be out of place in a Tchaikovsky scena, all stunningly delivered in a bonus track by the great coloratura soprano, Nadezhda Kazantseva.
Those bonus tracks – from rare records, scattered over the seven discs – are among the set’s most valuable features. Aquarius’ Russian and English documentation, supported by many evocative photos of singers and shows, provides a rich context for anyone curious to explore the early years of the Mosoperetta phenomenon. The bracing thrills of Kálmán’s classics and Blanter’s AMUR RIVER considerably widen the box’s appeal.”
- Christopher Webber, OPERAKLAUS TENNSTEDT Cond. Detroit S.O.: Oberon – Overture (von Weber); 'The Great' Symphony #9 in C (Schubert); w.HORACIO GUTIERREZ: Piano Concerto in a (Schumann). (Canada) 2-St Laurent Studio YSL T-885, Live Performance, 28 July, 1979, Meadow Brook Music Festival. Transfers by Yves St Laurent. (C1759)
SERGE BLANC (Violin) & GEORGES ENESCU (Pf.): Violin Sonata #3 in d (Brahms); Violin Sonata #2 in d (Schumann); Violin Sonata #3 in a (Played by the Composer). [A memorable recital . . . the 3rd movement of the Schumann is especially appealing!] (Canada) St Laurent Studio YSL T-824, Live Performance, 9 Feb., 1952, Salle Gaveau, Paris. Transfers by Yves St Laurent. (S0754)
VAN CLIBURN, w.Solti Cond. RTF S.O.: Piano Concerto #1 in b-flat (Tschaikowsky), Live Performance, 4 May, 1962, Theatre des Champs-Elysees; w.Ormandy Cond. Philadelphia Orch.: Piano Concerto #3 in d (Rachmaninov), Live Performance, 25 Sept., 1962, Philharmonic Hall, New York. [A minor caveat: despite its brilliance, the end of the Tschaikowsky Concerto’s 1st Mvt. ends abruptly, just before an anticipated outburst of applause] (Canada) St Laurent Studio YSL T-839. Transfers by Yves St Laurent. (P1325)
ARTURO TOSCANINI Cond. NBC S.O.: Complete Concert, 1 November, 1947: All Mendelssohn: Die schöne Melusine Overture; String Quintet #2 - Third Movement; A Midsummer Night’s Dream - Overture and Incidental Music, with Edna Phillips (s); Genevieve Warner (mez); Peter Wilhousky Chorus. Bonus: Hebrides Overture, 4 November, 1945; ARTURO TOSCANINI Cond. NBC S.O.: Complete Concert, 30 March, 1947: All Mendelssohn: Octet for Strings; Symphony #5. Each concert with broadcast commentary. Transfers by Richard Caniell. The handsome 22pp. booklet features Notes by Robert Matthew-Walker & Richard Caniell. (C1755)
“From Richard Caniell and Immortal Performances comes yet another marvelous release that invites us to experience and evaluate the artistry of Arturo Toscanini in a new and even more favorable light….At the outset, I will note that in each case, the sonic qualities of the performances, as restored by Immortal Performances, are a significant improvement over the RCA issues. Richard Caniell has managed to provide a much greater sense of warmth and depth to the cramped Studio 8H acoustic that is all too familiar from RCA issues. In addition, Caniell has tamed the harshness of the recordings’ upper registers, and given the bass much more presence, definition, and depth. Thanks to Richard Caniell’s admirable work, these recordings no longer sound harsh and top-heavy. Quite the contrary, they boast depth, color, and a true sense of concert hall perspective….The improved sound allows us to appreciate performances that, to a great degree, counter many of the stereotypes associated with Toscanini. Yes, the legendary precision of ensemble and razor-sharp chords are present throughout. But we also hear a Toscanini who is willing to take a broader approach to tempos than might be expected. The most obvious example is the measured and grand approach Toscanini adopts for the finale of the ‘Reformation’ Symphony. In addition, and along related lines, Toscanini often applies tasteful, but readily apparent, rubato in his phrasing. Thanks to Caniell’s restorations, we can also hear the tender, gossamer effects Toscanini draws from the NBC SO….I think that when the history of Toscanini’s recorded legacy is reassessed at some future date, Richard Caniell and Immortal Performances will be celebrated, and with great appreciation. This all-Mendelssohn release is a prime example of their superb and most valuable work, and is therefore given the highest recommendation.”
- Ken Meltzer, FANFARE, March / April, 2019
ARTURO TOSCANINI Cond. NYPO: Die Meistersinger - Act I Prelude; Siegfried Idyll; Tristan - Act I Prelude; Liebestod; Die Walküre - Ride of the Valkeryies - Live Performance, 29 April, 1936 - Toscanini's NYPO Farewell Concert; Tannhauser - Overture & Bacchanal - Live Performance, 3 Feb., 1935; ARTURO TOSCANINI Cond. NYPO: 'The Clock" Symphony #101 in D (Haydn); I Pini di Roma (Respighi); The Swan of Tuonela (Sibelius); Euyranthe – Overture (von Weber), Live Performance, 13 Feb., 1945 - Pension Fund Concert. (Canada) 2-Immortal Performances IPCD 1105, with 1936 broadcast commentary by Davidson Taylor. Published in association with the Toscanini Estate. Transfers by Richard Caniell. The handsome 39pp. booklet features Notes by Robert Matthew-Walker, John Sullivan & Richard Caniell).
“…both the April 29, 1936 and January 13, 1945 concerts are farewells of sorts. The concerts are paired on a new Immortal Performances set….Every Toscanini-NY Philharmonic recording is a treasure to be explored and savored. These ‘farewell’ concerts are no exception.….The Toscanini-New York Philharmonic legacy is one of the great artistic collaborations of the 20th century. Thanks to Immortal Performances for providing such important documents of that legacy, and in recorded sound that does them justice. A wonderful set, and very highly recommended.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2018
SERGIU CELIBIDACHE Cond. Danish National S.O.: Symphony #40 in g, K.550; w.Margaretha Hallin, Gurli Plesner, Claes-Hakan Ahnsjo & Ulrik Cold: Requiem in d, K.626 (both Mozart). (Canada) St Laurent Studio YSL T-868, Live Performance, 9-11 Nov., 1972, Copenhagen. Transfers by Yves St Laurent. (C1754)
SERGE KOUSSEVITZKY Cond. Boston S.O.: Suite in F (Roussel); 'Deliciae Basiliensi' Symphony #4 (Honegger); Symphony #3 (Roy Harris); w. LOUIS SPEYER: Music for English Horn & Orchestra (Edward Burlingame Hill). (Canada) St Laurent Studio YSL 78-846, Live Performances, 1949, all Symphony Hall. Transfers by Yves St Laurent. (C1753)
WILLIAM STEINBERG Cond. Boston Symphony Orchestra: Symphony #7 in e (Mahler); 'Linz' Symphony #36 in C, K.425 (Mozart). (Canada) 2-St Laurent Studio YSL T-915, Live Performance, 18 Dec., 1970, Symphony Hall, Boston. [...beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1751)
VLADO PERLEMUTER: RAVEL D'APRES RAVEL, Vol. IV (featuring the latter's Menuet sur le nom de Haydn; Valses nobles et sentimentales; A la maniere de Borodine; À la maniere de Chabrier; Le Tombeau de Couperin; Ma Mere l'Oye & Prelude [the latter two in compromised sound]). (Canada) 2-St Laurent Studio YSL T-815, Broadcast Performances, April - June, 1952, Paris, w.broadcast announcements throughout these recitals. Transfers by Yves St Laurent. (P1321)
“This volume features a special series of radio programs called RAVEL D'APRES RAVEL. The program was broadcast in 1952 to mark the 15th anniversary of Ravel's death. The host of the program, Helene Jourdan-Morhange, was a violinist and known as Ravel's Muse (Ravel dedicated his Violin Sonata to her) and she had a very close relationship with Ravel. And Perlemuter, as we know, studied with the composer extensively at his home in 1927. So this is why this program is called RAVEL D'APRES RAVEL. Both the host and the pianist knew Ravel, and the program goes like this: the two would first discuss how Ravel taught Perlemuter to play one of his piano works, and then Perlemuter played it in complete format. This is why this volume has quite extensive dialogues in French before each track. Later Jourdan-Morhange and Perlemuter published the whole discussion in a book with the same name. This book is a ‘must-read’ for all Ravel researchers and piano students learning his works.”
- Jim TangGERMAINE THYSSENS-VALENTIN, w.Jacques Beaudry Cond. RTF S.O.: Ballade in F-sharp - Broadcast Performance, 2 March, 1962; w.Michel Debost (Flute): Fantasie for Flute & Piano; w.Pierre Mollet (Bar.): La bonne chanson; w.Loewenguth Quartet: Piano Quintet in c - Broadcast Performance, 1961, Paris (all Faure). (Canada) St Laurent Studio YSL T-898. Transfers by Yves St Laurent. (P1322)
JOSEF KRIPS Cond. San Francisco S.O.: Leonore Overture #3; Symphony #5 in c; 'Pastorale' Symphony #6 in F (all Beethoven). (Canada) 2-St Laurent Studio YSL T-559, Live Performance, 2 Dec., 1966. Transfers by Yves St Laurent. (C1749)
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)
"Wow! That is my one-word summary for this remarkable display of bravura singing….This is singing that is simultaneously beautiful and thrilling….for some of us the kind of tumultuous, almost hysterical, ovations given this performance are part of the thrill. In sum: anyone who loves the bel canto era should own this recording. We overuse words like 'unforgettable', but this truly is!"
- Henry Fogel, FANFARE
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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
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. . . numerous out-of-print CDs and LPs,
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additions: The Record Collector, Naxos, VRCS,
Issues of Symposium's Harold Wayne series,
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broadcasts & operas from Moscow’s Aquarius, plus
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out-of-print books [many biographies,
Record Catalogue-Discographies . . .
numerous CDs are added each week] . . .
Our 50% Discount Sale continues,
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where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.
Take a look at our exciting array of Broadway & Off-Broadway Original Cast and London Original Cast LPs, all in superb condition.
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We carry splendid CD offerings from Yves St Laurent, VRCS, The Record Collector, Marston, Palaeophonics, Immortal Performances (Canada), Malibran, Aquarius, Truesound Transfers, Walhall, Bongiovanni, Clama and many other labels.
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Thank you again for your loyal support, and happy browsing our ever changing website and exciting offerings.
OP3326. IVAN THE SIMPLETON (César Cui), a Singspiel, recorded 1949, w. Sherman Cond. All-Union Radio Folk Ensemble; Daniil Demyanov, Zoya Muratova, Matvei Matveev, Konstantin Polyaev, etc. [An opera-fairytale for children in three tableaux, by César Cui, composed in 1913. The libretto was written by Nadezhda Nikolaevna Dolomanova, using Russian folk tales. Although the story is usually considered a children's fairy tale, it is also used as an indication of Tolstoy's political leanings in support of Christianity. Though his brothers are easily tempted by money and military power, unsophisticated Ivan, with his simple way of life, defeats the treacherous devil. Ivan eventually becomes the ruler of the country despite the lack of a standing army or currency. All of the citizens are welcome at Ivan's table, where workers are fed first and intellectuals (those without calluses on their hands) have to eat the leftovers] (Russia) Aquarius AQVR 415, w.Libretto in English. - 4607123632178
OP3325. 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.
V2609. ELENA SHUMILOVA: Songs by Glinka, Rimsky-Korsakov, Dargomyzhinsky, Tschaikowsky, Tanayev, Bulahkov, Glinka, Rachmaninov, Brahms, Liszt, Grieg, etc. - recorded 1948-54; Arias from Rusalka (Dargomyzhinsky), The Maid of Pskov, Ballo, L'Africaine, Prodana Nedvesta, The Legend of the Invisible City of Kitezh and the Maiden Fevronia & Tannhäuser - recorded 1947-55; w.Altaev Cond. All-Union Ensemble, w. Shumilova, Kazanskaya, Ruban, Bunchikov, etc.: IN THE LAND OF THE BLUE LAKES (Arvids), recorded 1957. (Russia) 3-Aquarius AQVR 414. - 4607123632130
C1760. GABRIEL PIERNE Cond. Concerts Colonne Orch.: Bizet, Lalo & Saint-Saëns Program. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-897, recorded 1929 - 1931. Transfers by Yves St Laurent.