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Since 1972







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  • LA GIOCONDA, Live Performance, 31 March, 1962, w. Cleva Cond. Met Opera Ensemble; Eileen Farrell, Franco Corelli, Robert Merrill, Nell Rankin, Giorgio Tozzi, Mignon Dunn, etc.; EILEEN FARRELL, w. William Hess & Chester Watson; Bernard Herrmann Cond. CBS S.O.: L'ENFANT PRODIGUE (Debussy), Broadcast Performance, 5 Oct., 1947; EILEEN FARRELL, w. Thomas Schippers Cond. Los Angeles Philharmonic: Tannhauser - Dich teure halle; Tristan und Isolde - Prelude and Liebestod; Gotterdammerung - Brunnhilde's Immolation Scene, Live Performance, 1959, Hollywood Bowl. (Canada) 3-Immortal Performances IPCD 1130, w.Elaborate 46pp Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. (OP3352)

    "American dramatic soprano Eileen Farrell was an extraordinary singer, one whose career did not ultimately match her greatness. She had a reputation, for instance, as a supreme Wagnerian soprano, yet she never sang one complete Wagner opera in performance. She was equally comfortable in Verdi and the verismo Italian repertoire, but the public got to experience this only in a limited way, since Farrell sang at the Met for just six years between 1960 and 1966 in six leading roles. She made very few complete opera recordings, and she was almost as well known for her pop music recordings and radio broadcasts.

    Richard Caniell's Immortal Performances label has done a great service by making this live Met broadcast of LA GIOCONDA significantly better in sound quality than it has been in the past, and by including some rare Farrell material as a bonus. I have owned the Ponchielli for years on the Grand Tier label, and the clarity and richness of the sound here is in a different league. The performance has more than Farrell to recommend it. That this level of casting was fairly typical of what the Met put on in its Italian wing in the 1950s and '60s makes opera lovers ache for those days.

    There is a grandness to the Farrell sound, a sense of immense power and richness, that impresses from the moment she enters. One expects a voice like this to be unwieldy, but in fact Farrell exhibits flexibility and ease with all the vocal demands of the role. To this she adds dramatic intensity, convincingly depicting Gioconda's transformation from anger to empathy when she realizes that Laura has become her mother La Cieca's protector. In the culminating 'Suicidio' aria we feel for her plight because she comes across as a real character, not just a singer performing a role. What stands out in the whole performance is a rare combination of vocal power and beauty in one singer. Yes, the voice is clearly huge, but it embraces you rather than knocking you over.

    Surprisingly, Franco Corelli was never commercially recorded in LA GIOCONDA. EMI would have been smart if they had partnered him with Callas in their 1959 recording instead of an inferior tenor, Pier Miranda Ferrarro. Corelli's vocal splendor here would be reason enough to purchase this set even if the soprano were less than great. The voice had a richness of color unmatched by any of his contemporaries, and he had the ability to scale it down and sing softly, not to mention that the shape of this music was in his DNA. 'Cielo e mar' brings the house down, as well it should have. Corelli's tendency to scoop into notes is not as prevalent here as it sometimes was, and the sheer beauty of the sound he produced was virtually unique. A final point is that he employs a full dynamic range sensitively and musically.

    A big surprise for me is Robert Merrill's Barnaba. No one disputes the fact that Merrill had one of the most naturally beautiful baritone voices on record, but he could be a dramatic cipher, often being satisfied to produce lovely sounds rather than digging into his character. This lack was particularly common in his studio recordings and even in some of his Met broadcasts. Not here. In his producer’s essay Caniell goes into insightful specifics about Merrill's singing of 'O monumento'. Let me just say that there is a degree of colorization, specificity of inflection, and dramatic playing with rhythm that defines what turns good singing into true operatic characterization. This is true not only in Barnaba's big aria but in all of his scenes. To have two male leads of this quality alongside Farrell makes this a performance to treasure. Overall this is monaural Met broadcast sound has been very well transferred.

    The bonus material is equally valuable. The Debussy cantata L'ENFANT PRODIGUE, described by the composer as a scene lyrique, is something of a rarity. It is young Debussy, with a whiff of Massenet present, but still a lovely work in which he displays a more lush and romantic style than we associate with Debussy. Despite the infrequency of complete performances, a number of sopranos have included Lia’s opening aria, 'L’annee, en vain chasse l’annee', on recital programs and recordings. This CBS radio broadcast is from 1947 (can you imagine the like in today's world?) and is far more engrossing than the all-star recording made by Jessye Norman, Dietrich Fischer-Dieskau, and Jose Carreras under Gary Bertini. That effort sounds as if everyone had simply learned the score for the recording; there is precious little characterization in the singing.

    Debussy set the New Testament parable of the prodigal son, here given the name Azael, focusing mainly on the son's return and his reunion with his father. The score begins with the exquisite aria mentioned above for the mother, Lia, lamenting the loss of her younger son. There is also a lovely operatic duet on his return. William Hess, a tenor I have never encountered before, sings the role of Azael sweetly with a focused tone. Baritone Chester Watson is also effective in the smaller role of Simeon, the father. A significant asset of the performance is the conducting of Bernard Herrmann who keeps the score moving forward. Farrell is in splendid voice (she was 27 at the time) singing with delicacy and a lightened tone appropriate to the score. This is more than just a nice Farrell highlight; it is a fine representation of Debussy's score.

    Finally, we get the vocal portion (plus the TRISTAN Act I Prelude) of an all-Wagner concert at the Hollywood Bowl in 1959 with Farrell and Thomas Schippers. If you find it hard to believe that a soprano could gain a reputation as a great Wagnerian without ever singing a complete Wagner opera, these excerpts will answer any questions you might have. Her voice is, as I said earlier, a large one (I heard her in performances a few times, and the sound was enormous) and at the same time always beautiful. There is a warmth and even sweetness to the sound that few Wagnerian sopranos can produce, allowing her to portray the humanity that is central to Brunnhilde's character and the transcendent radiance of Isolde's Liebestod.

    The thrilling conducting of Schippers adds to the occasion, reminding us of the tragedy of his early death from cancer. I believe that the Immolation Scene heard here rivals the classic recordings by Nilsson and Flagstad, both for the thrilling vocalism and variety of characterization. Farrell gave us exciting Wagner excerpts under Victor De Sabata, Charles Munch, and Leonard Bernstein. This, however, may be the most thrilling. She clearly benefited from the setting of a live performance in front of thousands of people at the Hollywood Bowl and may well have been inspired by the huge space. All three Wagner items she sings are likely to create goosebumps for you as they did for me.

    It remains only to add that Immortal Performances has done its usual remarkable job of accompanying the recording with fascinating printed material. The 46-page booklet contains insightful essays by Caniell and on Farrell by William Russell, artist bios, plot synopses, and wonderful historic photographs (my favorite shows a young Farrell as a radio singer in front of a CBS microphone). Parts of Milton Cross' commentary for the GIOCONDA broadcast are also included but tracked separately in case you want to skip it. (In terms of quantity for the money, it should be noted that each of the three CDs is longer than 79 minutes.) This is a truly important and thrilling historical release."

  • - Henry Fogel, FANFARE, March/April 2020

  • JANINE ANDRADE, w.Andre Girard Cond. RTF S.O.: Violin Concerto in d (Sibelius); w.Georges Tzipine Cond. ORTF S.O.: Violin Concerto #3 in b (Saint-Saens); w.Nicole Rolet de Castel (Pf.): Violin Sonata in g (Debussy). (Canada) St Laurent Studio YSL T-954, Live Performances, 1955-66. Transfers by Yves St Laurent. (S0773)

    "Janine Marie Louise Andrade was admitted to the Paris Conservatoire, where she studied with Jules Boucherit. By age twelve she had already won a First Prize at the conservatory in 1931.

    In 1936, Andrade went to study under Jacques Thibaud in Saint-Jean-de-Luz: she had already performed with him the Bach Double Concerto in d minor in Roubaix a year before. Andrade’s stature as an artist had become more widely acknowledged and she became a popular violinist, although there was a strong rivalry between her and Ginette Neveu, until Neveu passed away in 1949. Soon afterwards, Andrade’s ever increasing successes in Europe led her in the muscial centers throughout the world. During her extensive musical trips as violinist, she played with many major orchestras led by prominent conductors, among them: Ernest Ansermet, van Beinum, Eugene Bigot, Eugen Jochum, Ferdinand Leitner, Konwitschny, Pierre Monteux, Charles Munch, Gunther Wand, Sixten Ehrling, Jean Martinon and Paul Paray.

    In 1972, Andrade, while teaching students, suffered a massive stroke that devolved into aphasia and hemiplegia on the right side of her body and an inability to properly speak. She was very uncomfortable without much of a future and spent her remaining years in the ‘Fondation Galignani’ nursing home in Neuilly, France. Janine Andrade died in a hospital in Levallois-Perret, France on 24 October, 1997."

  • - Michael Waiblinger

  • BRUNO WALTER Cond. NYPO: Symphony #5 in c-sharp (Mahler), recorded 10 Feb., 1947. (Canada) St Laurent Studio YSL 78-1015. Transfers by Yves St Laurent. (C1800)

    “Initially Bruno Walter trained as a pianist, entering the Stern Conservatory in Berlin when he was eight years old, and making his public debut the following year in a student performance of Beethoven’s Piano Concerto #2 with the Berlin Philharmonic Orchestra. However, after hearing Hans von Bulow conduct in 1889 and visiting the Bayreuth Festival two years later, Walter decided to pursue conducting as a career. As a student he conducted the Berlin Philharmonic in 1893 in a setting of Goethe which he had composed himself, and later that year he joined the Cologne Opera as a repetiteur. It was with this company that Walter made his professional debut as a conductor, in Lortzing’s DER WAFFENSCHMIED during 1894, and the following autumn he joined the Hamburg Opera as chorusmaster. Here he worked closely with Gustav Mahler, the company’s chief conductor, who proved to be a major influence upon the young musician, and who secured for him his first conducting post, as first conductor at Breslau in 1896. At the start of the following season Walter moved to the same position in Pressburg (now Bratislava); and after a year there he went to Riga where he stayed for two seasons before taking up a conducting post at the Berlin Court Opera, the leading opera house in Germany at this time. Here Walter’s colleagues included Richard Strauss and Karl Muck; at the end of 1900, he conducted the first performance of Pfitzner’s opera DER ARME HEINRICH. Mahler invited Walter to join him as a conductor and assistant at the Vienna Court Opera where he was based from 1901 to 1912, composing as well as conducting: the premiere of his Symphony #1 took place in 1909.

    Increasingly active as a guest conductor, Walter made his debut at the Royal Opera House, Covent Garden in 1910 with Wagner’s TRISTAN UND ISOLDE and Ethel Smyth’s THE WRECKERS. Following Mahler’s death in 1911 he conducted the first performances of his DAS LIED VON DER ERDE in Munich and of the Symphony # 9 in Vienna (1912). By now, established as one of the most promising conductors in Europe, in 1913 Walter accepted the post of chief conductor at the Court Opera in Munich, where he remained until 1922. Here he conducted the first performances of Korngold’s VIOLANTA and DER RING DES POLYKRATES (1916) and of Pfitzner’s PALESTRINA (1917). However during 1921 he became the target of anti-Semitic attacks in the Volkischer Beobachter, and he resigned from his post during the following year.

    Walter made his first appearances in America in 1923, conducting in New York, Detroit, Minnesota and Boston, and two years later he made his debut at the Salzburg Festival and was appointed chief conductor at the Berlin Stadtische Opera (or Municipal Opera) having been a regular conductor of the Berlin Philharmonic since 1919. During the late 1920s, he continued to enjoy great success as a guest at Covent Garden; first appeared at La Scala, Milan, in 1926, where he came into contact with Toscanini; made a great impression in Paris with a cycle of Mozart operas in 1928; and conducted for the gramophone. He resigned from his Berlin post in 1929 and took up the position of chief conductor of the Leipzig Gewandhaus Orchestra, succeeding Furtwangler; but with the election of the National Socialist administration in 1933 Walter was immediately prevented from conducting in Leipzig and Berlin. As a consequence he left Germany, making Vienna the centre of operations for his activities until the Anschluss of 1938. Walter conducted several notable productions at the Salzburg Festival, served as artistic director at the Vienna State Opera between 1936 and 1938, and was recorded in concert performances of Mahler’s DAS LIED VON DER ERDE (1936) and Symphony #9 (1938) with the Vienna Philharmonic Orchestra. Although he was offered and accepted French citizenship in 1938, Walter emigrated to America with his family in 1939, settling in Beverly Hills in California.

    During the war years Walter was active as a conductor principally in New York, appearing with the New York Philharmonic Orchestra (later serving as artistic adviser between 1947 and 1949) and with the NBC Symphony Orchestra, and at the Metropolitan Opera, leading productions of operas by Beethoven, Mozart and Verdi. He also conducted many major orchestras such as those of Chicago, Los Angeles, Philadelphia and San Francisco, and continued to record, establishing a close relationship with the American Columbia label which lasted until his death. He returned to Europe as a guest conductor after the end of World War II, his appearance at the first Edinburgh Festival in 1947 helping to establish it in the annual musical calendar. During this period Walter forged a close musical relationship with the short-lived English singer Kathleen Ferrier, whom he accompanied at the piano in recital, as well as conducting in unforgettable accounts of DAS LIED VON DER ERDE both in concert and on record for Decca. In 1950 Walter made his first appearance in Berlin since 1932, but during the 1950s gradually reduced his commitments, a process which was accelerated by a heart attack in 1957. With the commercial introduction of stereophonic records in 1957, Columbia invited Walter to re-record several major items of his repertoire in California with a hand-picked orchestra, the Columbia Symphony Orchestra, whose personnel was drawn largely from the orchestras of the major Hollywood studios. He made his final appearance at the Metropolitan Opera in 1959, conducting Verdi’s REQUIEM, and gave his last public concert in Los Angeles in 1960. His final recording sessions took place in March 1961 and he died of a further heart attack in the following year.

    Walter was a pre-eminent conductor in a period rich in musicians of stature. He sought to re-create the works which he conducted as if they were receiving their first performance, and this sense of the excitement of fresh discovery can be clearly discerned for instance in his truly historic recording of Act One of Wagner’s DIE WALKURE, made in 1935 with Lotte Lehmann and Lauritz Melchior with the Vienna Philharmonic Orchestra, as well as in many of his opera performances recorded live from the Salzburg Festival and Metropolitan Opera. He rehearsed orchestras with a seemingly gentle but firm and persuasive manner; in performance he was more concerned with intensity of expression than precise technical exactitude, and always maintained a strong emphasis upon the lyrical qualities of the music which he was interpreting. As his recordings of the Brahms symphonies with the New York Philharmonic Orchestra for instance demonstrate, he was able to combine a strong sense of stylistic fidelity with a personal and highly impassioned vision. His close relationship with Mahler gives his recordings of the music of this composer especial authority: his account of the Symphony #9, made in concert in Vienna immediately before the Anschluss, possesses extraordinary intensity; while his account of DAS LIED VON DER ERDE with Kathleen Ferrier and Julius Patzak accompanied by the Vienna Philharmonic Orchestra has been recognized as a classic of the gramophone ever since its initial release. Walter’s recorded accounts of Mozart, Beethoven, Schubert and Bruckner exist on a similarly exalted plane, and represent, as does all his music-making, the very finest aspects of the nineteenth-century Austro-German tradition of musical performance.”

  • - Ned Ludd

  • JOSEPH KEILBERTH Cond. Bamberger S.O.: Die Zauberflote – Overture (Mozart); Symphony #1 in c (Brahms); w.VLADO PERLEMUTER: Piano Concerto #4 in G (Beethoven). (Canada) 2-St Laurent Studio YSL T-818, Live Performance, 1960 [before a duly appreciative audience!]. Transfers by Yves St Laurent. (C1797)

    “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

    “Joseph Keilberth was a German conductor active during the mid-twentieth century. His talents developed early: he pursued a general education and musical training in Karlsruhe, and at the age of seventeen joined the Karlsruhe State Theater as a repetiteur (vocal coach - a common starting place for European conductors). He remained with the theater, and ten years later he was appointed general music director.

    He remained there until 1940, when he was appointed chief conductor of the German Philharmonic Orchestra of Prague. He became chief conductor of the Dresden State Opera in 1945. With a minimum of disruption for deNazification he remained in that position until 1950. In 1949 he became chief conductor of the Bamberg Symphony Orchestra, which was in fact a reunion. After the War, the German population of the Sudetenland (the German-speaking part of Czechoslovakia), which had been the excuse for Hitler's occupation of the country, were returned to Germany, and with them went the German Philharmonic of Prague, Keilberth's old orchestra, which settled in Bamberg. Causing unwary biographers some confusion, he also became the chief conductor of the Hamburg Philharmonic in 1950.

    He frequently appeared as a guest conductor elsewhere in Germany, notably with the Berlin Philharmonic and, beginning in 1952, the Bayreuth Festival, and appeared regularly at the Salzburg and Lucerne festivals. In 1952 he also led his first performance in the Edinburgh Festival with the Hamburg State Opera.

    He was a favored conductor for the RING and other operas through 1956. In 1959 he succeeded Ferenc Fricsay at the helm of the Bavarian State Opera in Munich. There, history repeated itself. Keilberth died after collapsing during a performance of Wagner's TRISTAN UND ISOLDE, just as Felix Mottl—conductor at the same theater - had done in 1911.

    Keilberth was very strong in Mozart and in the Wagnerian repertory, and in later German classics such as Pfitzner, Bruckner, Richard Strauss, Max Reger, and Paul Hindemith. His classic recordings included Hindemith's opera CARDILLAC.”

  • - Joseph Stevenson,

    . . . FROM THE RECENT PAST . . .


  • LE TROUVERE (IL TROVATORE) (in French), Broadcast Performance, 1954, w.Gressier Cond. Genevieve Moizan, Denise Scharley, Raphael Romagnoni, Charles Cambon, Adrien Legros, etc. (France) 2-Malibran 785. [A thrilling performance without a single weak link; Moizan certainly will not erase Milanov, etched in our sub-conscious, but she is a notable contender; Gressier's contribution is magnifique. Highly recommended!] (OP3351)

  • CESARE VALLETTI, w.Lowell Farr (Pf.): Songs by Caccini, Paisiello, Hahn, Donaudy, Obradors & Quilter; Arias from Don Giovanni, L'Elisir d'Amore & Le Villi. (Canada) St Laurent Studio YSL T-1037, Live Performance, 15 Dec., 1965, Statler Hilton Ballroom, Boston. [Redolent of a bygone era, the white-gloved ladies adored Valletti singing for them prior to their luncheon at the Statler Hilton Ballroom!] Transfers by Yves St Laurent. (V2635)

  • HELEN WATTS, w.Ryan Edwards (Pf.): Songs by Schumann, Britten & Mussorgsky. (Canada) St Laurent Studio YSL T-1030, Live Performance, 16 Feb., 1969, Hunter College Playhouse, New York. Transfers by Yves St Laurent. (V2634)

  • JORGE BOLET: Chopin, Liszt, Liszt-Schubert & Schubert (incl. the latter's Wanderer Fantasy). (Canada) 2-St Laurent Studio YSL T-838, Live Performance, 31 Jan., 1985, Paris. [Revel in one of the most beautiful piano recitals you are likely to encounter in quite a while] Transfers by Yves St Laurent. (P1342)

  • HERBERT von KARAJAN Cond. Berlin Phil.: 'Tragic' Symphony #6 in a (Mahler). (Canada) 2-St Laurent Studio YSL T-1044, Live Performance, 6 June, 1977, Theatre des Champs-Elysees, Paris. Transfers by Yves St Laurent. (C1795)

  • HERBERT von KARAJAN Cond. Berlin Phil.: The Four Symphonies (Brahms). (Canada) 2-St Laurent Studio YSL T1014, Live Performances, 2 & 3 June, 1975, Theatre des Champs-Elysees, Paris. [From one who was never warmed by the imperious Karajan mystique, I must say these performances are truly revelatory, structurally impressive and beyond beautiful! They must be heard!] Transfers by Yves St Laurent. (C1792)

  • MAURICE GENDRON, w. Madeleine Lipatti (Pf.): Bach, Chopin, Schumann & Beethoven (the latter's Cello Sonata #3 in A & Cello Sonata #5 in D). (Canada) 2-St Laurent Studio YSL T-964, Live Performance, 27 Nov., 1953, Salle Gaveau, Paris. Transfers by Yves St Laurent. (S0774)

  • CHARLES MUNCH Cond. Boston S.O.: Symphony #2 in D for Strings & Trumpet (Honegger); Bostoniana (Ibert); Les Troyens - Chasse royale et orage (Berlioz); w.Berj Zamkochian (Organ): Symphony #3 in c (Saint-Saens). (Canada) St Laurent Studio YSL T-941, Live performance, 26 Jan., 1963, brilliantly displaying the splendor of the Symphony Hall acoustic! [This splendid concert thrillingly presents the glorious BSO at its peak! The sound is amazing!] Transfers by Yves St Laurent. (C1799)

  • WILLIAM STEINBERG Cond. Boston Symphony Orchestra: Symphony #7 in E (Bruckner). (Canada) St Laurent Studio YSL T-943, Live Performance, 4 Jan., 1974, Symphony Hall, Boston. [Beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1798)

  • CARL SCHURICHT Cond. Berlin Phil.: Symphony #7 in E (1885 Version, Albert Gutmann Ed.) (Bruckner). (Canada) St Laurent Studio YSL 78-923, recorded 1938, Polydor. Transfers by Yves St Laurent. (C1796)

  • KLAUS TENNSTEDT Cond. Philadelphia Orch.: Adagio for Strings (Barber), Live Performance, 21 Nov., 1985; 'Song of the Night' Symphony #7 in e (Mahler), Live Performance, 5 Feb., 1987. (Canada) 2-St Laurent Studio YSL T-1026. [The Mahler is an overwhelming performance in the beauty of the Academy of Music acoustic!] Transfers by Yves St Laurent. (C1791)

  • LOEWENGUTH QUARTET (Alfred Loewenguth, Maurice Fueri, Roger Roche & Pierre Basseux) & STROSS QUARTET: Octet in E-flat (Mendelssohn), Live Performance, 26 March, 1960, Paris; LOEWENGUTH QUARTET, w.Jean Fournier & Ginette Doyen: Concert for Violin, Piano & String Quartet (Chausson). Live Performance, 3 July, 1957, Divonne-les-Bains, France. [A most treasurable issue!] (Canada) St Laurent Studio YSL T-933. Transfers by Yves St Laurent. (S0769)

  • DEVY ERLIH, w.Maurice Bureau (Pf.): Romanian Folk Dances (Bartok), Live Performance, 15 Dec., 1952, Salle Gaveau, Paris (Paris debut); w.Jacques Fevrier (Pf.): Sonata in g (Debussy), recorded 9 June, 1959, Paris Radio; w. Jean-Claude Ambrosini (Pf.): La Campanella (Paganini); Suite Italienne [after Pulcinella] (Stravinsky), recorded 30 June, 1959, Paris Radio; w.Andre Girard Cond. ORTF Chamber Orch.: Rondo in A (Schubert), recorded 21 May, 1964, Paris Radio; w.Pierre Capdevielle Cond. ORTF Chamber Orch.: Havanaise; Introduction & Rondo capriccioso (both Saint-Saens), recorded 29 Dec., 1966, Paris Radio. [The Romanian Folk Dances are sheer magic! What a debut this must have been! Both Saint-Saens excursions are breathtaking! Altogether, a splendid issue!] (Canada) St Laurent Studio YSL T-998. Transfers by Yves St Laurent. (S0771)

  • RICHARD TAUBER, Vol. III: Songs by Giordani, Braga, Toselli, de Curtis, Leoncavallo, Schubert, Mendelssohn, Grieg, Meyer-Helmund, Luther, Radecke, Silcher, Stransky, Egen, Ries, Loewe, Strauss, Lehar, Reimann, Katsche & Hill; Arias from Don Giovanni, La Traviata, Il Trovatore, Madama Butterfly, Paganini, Das Dreimaderlhaus & Der Evangelimann; Duets w. Carlotta Vanconti from Paganini. (Germany) 2-Truesound Transfers 4013, recorded 1925-1926. Transfers by Christian Zwarg. (V2632)

  • LOTTE SCHONE: The Complete Recordings, incl. Songs by Schubert, Schumann, Brahms, Mendelssohn, Wolf, Richard Strauss, Josef Strauss, Johann Strauss, Rossini, Rubinstein, Benedict, Debussy, Chausson, Ravel & Roussel; Arias & Duets (w.Wittrisch, Janssen, Domgraf-Fassbander & Hislop), from Nozze, Don Giovanni, Cosi fan Tutte, Die Zauberflote, Barbiere, Don Pasquale, Les Huguenots, Manon, Ballo, Rigoletto, Turandot, La Boheme, Madama Butterfly, Die Lustigen Weiber von Windsor, Eine Nacht in Venedig, Der Vogelhandler, Der Obersteiger, The Geisha, Cagliostro in Wien, Die Schone Galathee, Der Arme Jonathan & Die Fledermaus. 5-Marston 55002, recorded 1921-50. Specially priced, 5-CDs for the price of 4. (V2630)

  • ELEANOR STEBER – AN AUTOBIOGRAPHY, with Marcia Sloat. Ridgewood, NJ, Wordsworth, 1992. 268pp. 16 pages of Photos; List of Roles; Discography; DJ. (B0025)

  • DIE FRAU OHNE SCHATTEN – Abridged (Complete, as performed), Live Performance, 11 June, 1953, w.Böhm Cond. Vienna Staatsoper Ensemble; Eleanor Steber, Elisabeth Höngen, Christel Goltz, Set Svanholm, Karl Kamann, Otto Wiener, Ilona Steingruber, etc. (Canada) 2-St Laurent Studio YSL T-1022 (OP3350)




    “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] . . .



    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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    Enjoy perusing!

    Once again . . .

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  • La Gioconda (Cleva;  Eileen Farrell, Corelli, Merrill, Rankin, Tozzi, Dunn);  L'Enfant Prodigue;  Wagner   (3-Immortal Performances IPCD 1130)
    OP3352. LA GIOCONDA, Live Performance, 31 March, 1962, w. Cleva Cond. Met Opera Ensemble; Eileen Farrell, Franco Corelli, Robert Merrill, Nell Rankin, Giorgio Tozzi, Mignon Dunn, etc.; EILEEN FARRELL, w. William Hess & Chester Watson; Bernard Herrmann Cond. CBS S.O.: L'ENFANT PRODIGUE (Debussy), Broadcast Performance, 5 Oct., 1947; EILEEN FARRELL, w. Thomas Schippers Cond. Los Angeles Philharmonic: Tannhäuser - Dich teure halle; Tristan und Isolde - Prelude and Liebestod; Götterdämmerung - Brünnhilde's Immolation Scene, Live Performance, 1959, Hollywood Bowl. (Canada) 3-Immortal Performances IPCD 1130, w.Elaborate 46pp Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. - 787790470007
    Janine Andrade;  Georges Tzipine;  Andre Girard;  Nicole Rolet de Castel  (St Laurent Studio YSL T-954)
    S0773. JANINE ANDRADE, w.Andre Girard Cond. RTF S.O.: Violin Concerto in d (Sibelius); w.Georges Tzipine Cond. ORTF S.O.: Violin Concerto #3 in b (Saint-Saëns); w.Nicole Rolet de Castel (Pf.): Violin Sonata in g (Debussy). (Canada) St Laurent Studio YSL T-954, Live Performances, 1955-66. Transfers by Yves St Laurent.
    Bruno Walter, Vol. IV - Mahler 5th - NYPO   (St Laurent Studio YSL 78-1015)
    C1800. BRUNO WALTER Cond. NYPO: Symphony #5 in c-sharp (Mahler), recorded 10 Feb., 1947. (Canada) St Laurent Studio YSL 78-1015. Transfers by Yves St Laurent.
    Joseph Keilberth, Vol. VIII;  Vlado Perlemuter     (2-St Laurent Studio YSL T-818)
    C1797. JOSEPH KEILBERTH Cond. Bamberger S.O.: Die Zauberflöte - Overture (Mozart); Symphony #1 in c (Brahms); w.VLADO PERLEMUTER: Piano Concerto #4 in G (Beethoven). (Canada) 2-St Laurent Studio YSL T-818, Live Performance, 1960 [before a duly appreciative audience!]. Transfers by Yves St Laurent.