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AQUARIUS presents the
1938 RUSLAN AND LYUDMILA with
MARK REIZEN, VALERIA BARSOVA,
NIKANDR KHANAEV, etc . . .
YVES ST LAURENT offers another
Mahler 10th under MARTINON,
from Paris . . .
VLADO PERLEMUTER, Vol. 10 . . .
DESORMIERE, Vol. 4 . . .
always New Offerings in our ‘SALE’ Section
-----------------------------------------RUSLAN AND LYUDMILA (Glinka), Recorded 1938, w.Samuil Samosud Cond. Bolshoi Opera Ensemble; Mark Reizen, Valeria Barsova, Maxim Mikhailov, Nikandr Khanaev, Elizaveta Antonova, Vassily Lubentsov, Lyubov Stavrovskaya & Solomon Khromchenko; RUSLAN & LYUDMILA (Glinka) - Excerpts, recorded 1937-38, w.Samuil Samosud Cond. Bolshoi Opera Ensemble; Alexander Baturin, Valeria Barsova, Elena Slivinskaya, Bronislava Zlatogorova, Lyubov Stavrovskaya & Solomon Khromchenko; MARK REIZEN: Farlaf's rondo (Act 2) tonfilm; MAXIM MIKHAILOV: Ruslan's aria (Act 2) Gramplasttrest 03568; VALERIA BARSOVA: rare tonfilm recordings incl. Farandole ( Bizet), Waltz (Arditi); Arias from Madama Butterfly, Romeo et Juliet & Mignon; VALERIA BARSOVA & GEORGY VINOGRADOV: Romeo et Juliet - duet (all in Russian), recorded 1936-40. (Russia) 4-Aquarius AQVR 418. Slipcase Edition. (OP3362)
“The story of his move to the Bolshoi has been told in many sources. By the 1920s he was already a leading bass at the Mariinsky Theater in Leningrad and had also toured in Europe. In 1930 the Mariinsky was performing in Moscow, and Stalin attended. Afterwards he asked Reizen why he sang in Leningrad and not Moscow, and Reizen replied that he had a contract and also an apartment there. Stalin indicated that he could do something about both, and the next day a Soviet official picked Reizen up with orders to hunt for an apartment in Moscow! From 1930-1954 he was the leading bass at the Bolshoi, but this was also the height of the era when Russia closed itself off from the rest of the world, and so Europe and America heard very little of Reizen.
One of my favorite vocal critics is Conrad L. Osborne, who wrote in the METROPOLITAN OPERA GUIDE TO RECORDED OPERA, 'Reizen is stupendous. His lush, voluminous basso rolls through the music unconstrainedly. It sits easily at the bottom, peals forth brilliant Fs and F-sharps at the top (and one hair-raising high G), and in between displays flowing line and a mezza voce that rivals prime Pinza or Chaliapin. Ruslan's heroic fire and tenderness are there - it's a complete piece of work'. John Steane, in THE GRAND TRADITION, writes this about Reizen: 'The voice was also completely unified, its range well displayed in Khan Kontchak's solo from PRINCE IGOR, descending with deep bass relish to the low F, and always easy in production. His was a wholesome art: another singer for students. Also one of the best of our century'.
Reizen was a very different singer from his great predecessor Chaliapin, who had a similar kind of dark, rolling bass, but whose presence also overwhelmed the listener with dramatic intensity, frequently using theatrical touches to emphasize a dramatic point. The style can come off as histrionic, that some found excessive. Don't take this the wrong way - Chaliapin was a very great and exciting artist. Reizen, however, preferred to use more purely musical means to make his effect. He conveyed power through the sheer size and dark richness of his voice, and he was an extremely effective Boris. But he was equally at home in Schubert Lieder (Chaliapin sang them but not as comfortably). His strengths, in addition to a uniquely rich sound from top to bottom with all registers perfectly blended, included a bel canto-like legato."
- Henry Fogel
“Certainly one of the most sonorous, expressive and beautifully-controlled bass voices ever to have been recorded was that of Mark Reizen. He was a legend in his own lifetime in Russia and, at the age of 90, he was still able to make a remarkable stage appearance, singing Prince Gremin in EUGEN ONEGIN….one of the greatest bass singers of the 20th century.”
- Alan Bilgora, THE RECORD COLLECTOR, 2010
“Valeria Barsova was singing in a Moscow cabaret in 1915 when she was noticed by Sergei Zimin, director of the Zimin Opera, where she made her operatic debut in 1917, as Gilda in RIGOLETTO. Other roles at this theatre included Susanna in LE NOZZE DI FIGARO, Kostanze in ENTFUHRUNG AUS DEM SERAIL, Rosina in IL BARBIERE DI SIVIGLIA, the four heroines of LES CONTES D'HOFFMANN and Nedda in PAGLIACCI.
In 1919, she sang Rosina as a last minute replacement for prima-donna Antonina Nezhdanova, at the Hermitage Theatre in Saint Petersburg, opposite Feodor Chaliapin. She then appeared at the Stanislavski Theatre and the Nemirovich-Danchenko Theatre, notably as Clairette in LA FILLE DE MADAME ANGOT.
She finally made her debut at the Bolshoi Theatre in 1920 where she was to sing every season until 1948. Besides Italian and French roles such as Gilda, Violetta, Mimì, Butterfly, Juliette, Manon, she also excelled in Russian operas, notably the leading female roles in works such as RUSLAN AND LYUDMILA, THE SNOW MAIDEN, A LIFE FOR THE TSAR, SADKO, THE QUEEN OF SPADES, THE GOLDEN COCKEREL. In 1929, she sang in concert in Berlin and made a tour of Poland. After retiring from the stage, she taught at the Moscow Conservatory from 1950 until 1953. She retired in Sochi on the Black Sea, where she died at 75.”
- Z. D. Akron
“Certainly Khanaev’s career is worthy of a long overdue consideration, as his importance as an artist has not been so easily recognised in the West, mainly because his recordings are rarely found as they were not distributed in the same volume as those of Kozlovsky and Lemeshev….For admirers of the Russian tenor voice and a singer who deserves to be better appreciated, this...is a ‘must’.”
- Alan Bilgora, THE RECORD COLLECTOR, 2011JEAN MARTINON Cond. RTF S.O.: Symphony #10 in F-sharp (Mahler; 1st Deryck Cooke Version). (Canada) St Laurent Studio YSL T-874, Live Performance, 27 May, 1970, Orchestra Hall. Transfers by Yves St Laurent. (C1826)
“Deryck Cooke’s performing edition of the Mahler Tenth was premiered by Berthold Goldschmidt at the BBC Proms in August, 1964, a fitting choice that had overlapping significance. A German Jew, Goldschmidt’s life as composer and conductor was destroyed by the rise of the Nazis. He was fortunate to escape to England in 1935 (ironically, on the advice of an SS officer). Eventually he helped Cooke in completing a performing score of the unfinished Tenth Symphony where many thought the task nearly impossible from the sketches Mahler left behind in various stages of completion.
‘Cooke I’, as the edition came to be known, gained fame in America from a pivotal recording by Eugene Ormandy and the Philadelphia Orchestra in 1965. This is a well-known part of the symphony’s lore, but few remember that ‘Cooke I’ was never published or heard after 1966, since he had completed his first revision by then. Besides Ormandy’s recording, the other notable American performance was under Jean Martinon with the Chicago Symphony in 1966. I reviewed an excellent remastering from St. Laurent Studio in FANFARE 43:3, remarking that the great revelation of Cooke I was the finale, which he rescued from a skeletal condition. Martinon had a special touch in that movement, even compared with Simon Rattle’s acclaimed recording with the Berlin Philharmonic: ‘Martinon is four minutes faster, making the pace flow naturally - the tempo feels more like a true Adagio, however, than the first movement, so the finale is now the symphony’s slow movement’.
I feel justified in that comment listening to this new Mahler Tenth under Martinon from Paris in 1970, which has several points that deserve consideration. The Chicago reading was fast compared with the Ormandy (66 minutes as against Ormandy’s 70), while Rattle, using Cooke’s final version, is slower still at 77 minutes. Here in Paris, Martinon is more urgent than ever, cutting another two minutes off his total timing. He underscores the shift I had mentioned. The opening Adagio feels considerably quicker, and the finale becomes the Tenth’s true slow movement, the calm after many storms. Few conductors have made such a dramatic shift.
After a troubled relationship with the orchestra in Chicago, Martinon departed in 1968, departing under a cloud as far as American audiences and reviewers were concerned. But he hardly vanished from sight in his native France, and without much notice he became France’s strongest advocate for Mahler. The musicians of the Radio France National Orchestra play with evident enthusiasm in this broadcast concert, and more significantly, they play with discipline and a keen regard for Mahler’s style, two things one hardly expected at the time.
It probably takes a special interest in the evolution of Mahler performance in France to add a second Mahler Tenth under Martinon to your collection, but there’s nothing else quite like his speed in the first Scherzo and the clucking of the thin, piping French oboes. Something of Hermann Scherchen’s style is evident. What I most relish is that the whole reading has personality; too often this symphony feels cautious in standard performances. The second Scherzo not only has sharp angles but a touch of hysteria, which seems very Mahlerian. The extended flute solo in the finale is quite beautiful, as you’d expect in France. Oddly, the bass drum strokes that open the movement are played on timpani instead unless my ears have completely betrayed me.
Even if this release turns out to be of purely archival interest, it is very gratifying that producer Yves St.-Laurent has preserved it, and in excellent FM-quality stereo. The audience, although not silent, isn’t intrusive. Inevitably, someone coughs in the silences between the drum stokes in the finale, but at least it’s soft coughing. Overall, I find myself offering an unexpectedly warm recommendation.”
- Huntley Dent, FANFARE
VLADO PERLEMUTER: Sonatine; Miroirs; Jeux d'eau; Valses nobles et sentimentales; Gaspard de la nuit; Le tombeau de Couperin (all Ravel). (Canada) St Laurent Studio YSL T-904, Live Performance, 12 June, 1954, Château des Rohan, Saverne, France. [A breathtaking all-Ravel recital!] Transfers by Yves St Laurent. (P1362)
“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., 2002ROGER DESORMIERE Cond. RTF S.O.: 'Italian' Symphony #4 in A (Mendelssohn); L'Arlesienne Suites – Excerpts (Bizet); Symphony #4 in B-flat (Rivier) [World Premiere Performance]; w. LOUIS PERLEMUTER: Violin Concerto #1 in A (Saint-Saens) . (Canada) St Laurent Studio YSL T-1046, Live Performance, 15 Dec., 1947, Theatre des Champs-Elysees. Transfers by Yves St Laurent. (C1825)
"Roger Desormiere's teachers were extremely distinguished: he studied flute with Philippe Gaubert, orchestration with Vincent d'Indy, fugue with Charles Koechlin, and harmony with Xavier Leroux. Desormiere then worked as a flautist in various Parisian orchestras before making his debut as a conductor with the Concerts Pleyel in 1921. From 1923 onwards he collaborated with the group of composers known as Les Six, and was himself a member of the Ecole d'Arcueil, which was founded by Erik Satie, Henri Sauguet, Maxime Jacob and Henri Clicquot-Pleyel. He conducted the first performances of ballets choreographed by Massine with music by Satie and Milhaud at the Soirees de Paris, and composed the music for Cocteau's abbreviated production of ROMEO AND JULIET. After a year as chief conductor with the Ballets Suedois, he took the same position with Diaghilev's Ballets Russes in 1925, staying with the company and touring widely until 1929. Among the composers who worked with the company and whose music Desormiere conducted were Stravinsky, Prokofiev and Poulenc.
In 1936 Desormiere became chief conductor of the Paris Symphony Orchestra as well as permanent conductor at the Opera-Comique, Paris; here he refreshed the repertoire with operas by Chabrier, Ravel and Richard Strauss, and in 1942 led a legendary production of Debussy's PELLEAS ET MELISANDE with Irene Joachim and Jacques Jansen. He had recorded the opera with the same principals earlier in 1941, and this performance has maintained a prominent place in the catalogue ever since, fully justifying its own legendary status. Between 1944 and 1946 he was the director of the Opera-Comique, Paris, and during 1945-1946 he was also associate director of the Paris Opera.
The importance of Desormiere to contemporary French music cannot be overestimated: he conducted the first performances of such notable works as THE PRODIGAL SON, by Prokofiev (1928), ACTION DE GRACE and TROIS PETITES LITURGIES DE LA PRESENCE DIVINE by Messiaen (1936 and 1945), the Organ Concerto of Poulenc (1939), the Symphony in Three Movements by Stravinsky (1946), LE SOLEIL DES EAUX by Pierre Boulez (1950), and Henri Dutilleux's Symphony #1 (1951).
After his death many paid tribute to Desormiere's generosity of character and distinguished musicianship, perhaps none more eloquently than the composer Olivier Messiaen, who said, 'I shall never forget that, in my youth, he was truly the friend of composers, and the conductor'."
- David Patmore, A - Z of Conductors. . . FROM THE RECENT PAST . . .
BORIS GODUNOV, Live Performance, 13 Feb., 1943, w. Milton Cross' broadcast commentary; George Szell Cond. Met Opera Ensemble; Alexander Kipnis, Kerstin Thorborg, Rene Maison, Alessio de Paolis, John Garris, Leonard Warren, Nicola Moscona, Norman Cordon, etc.; BORIS GODUNOV – Excerpts, w.Reiner Cond. Alexander Kipnis & NYPO, 23 July, 1944; FAUST – Excerpts, w. Stopoff Cond. Alexander Kipnis, Ernest McChesney, Marita Farell & Martha Lipton, 5 June, 1943; Kipnis reminisces on his life and career. (Canada) 3-Immortal Performances IPCD 1124, w.Elaborate 38pp Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. (OP3361)
Specially priced at Three discs for the price of Two.
ARIADNE AUF NAXOS, Live Performance, 11 June, 1944, w.Karl Bohm Cond. Vienna Staatsoper Ensemble; Maria Reining, Max Lorenz, Irmgard Seefried, Alda Noni, Erich Kunz, etc.; ARIADNE AUF NAXOS (Opera portion only), Live Performance, 11 June, 1935, w.Clemens Krauss Cond. Grosses Orchester des Reichsenders, Berlin; Viorica Ursuleac, Helge Roswaenge, Erna Berger, Karl Hammes, Eugen Fuchs, etc.; IRMGARD SEEFRIED, w.Erik Werba (Pf.): Songs by Haydn [in English], Mendelssohn, Schumann & Strauss, Live Performance, 1959, Edinburgh Festival. (Canada) 3-Immortal Performances IPCD 1127, w.Elaborate 54pp Booklet. Transfers by Richard Caniell. Notes by Dewey Faulkner & Richard Caniell. (OP3360)
SAMSON ET DALILA, recorded 1946, w.Fourestier Cond. L'Opera Ensemble; Helene Bouvier, Jose Luccioni, Paul Cabanel, Charles Cambon, etc. (Canada) 2-St Laurent Studio YSL T-1053, taken from pristine copies of the original Pathe 78s. Transfers by Yves St Laurent. (OP3358)
LA FORZA DEL DESTINO, Live Performance, 9 March, 1968, w.Milton Cross’ broadcast commentary, w.Molinari-Pradelli Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Robert Merrill, Jerome Hines, Louise Pearl, Fernando Corena, Louis Sgarro, Carlotta Ordassy, Robert Schmorr & Robert Goodloe; FRANCO CORELLI, w.Alberta Maisiello (Pf.): Recital from Englewood, NJ, 18 March, 1962; FRANCO CORELLI, w.Stokowski Cond. Philadelphia Orch.: Concert of 19 Jan., 1963; FRANCO CORELLI: Concert from 15 Dec., 1969, Monaco; FRANCO CORELLI, w.Fausto Cleva Cond. Met Opera Ensemble: Excerpts from his role debut, Rodolfo, 29 Feb., 1964; LEONTYNE PRICE, w.Kurt Adler Cond. Met Opera Orch.: Concert of 26 July, 1966, Lewisohn Stadium, New York. (Canada) 4-Immortal Performances IPCD 1131, w.Elaborate 42pp Booklet. Transfers by Richard Caniell. Notes by Ken Meltzer & Richard Caniell. (OP3357)
LE JONGLEUR DE NOTRE-DAME – Excerpts (Massenet), w.Charles Burles, Etienne Arnaud, Adrien Legros, Andre Payel, etc. (France) Malibran AMR 155. [AMR titles are issued without rear tray-cards] (OP0210)
A SURVEY of BRITISH TENORS BEFORE PETER PEARS, incl. Dan Beddoe, Webster Booth, Tom Burke, Joseph Cheetham, John Coates, Sydney Coltham, Ben Davies, Tudor Davies, Hubert Eisdell, Gervase Elwes, Walter Glynne, William Green, John Harrison, Gregory Hast, Ruby Helder, Joseph Hislop, Walter Hyde, James Johnston, Hirwen Jones, Arthur Jordan, Morgan Kingston, Edward Lloyd, John McCormack, Frank Mullings, Heddle Nash, Joseph O’Mara, Charles Saunders, Herbert Teale, Frank Titterton, Henry Wendon, Walter Widdop & Evan Williams 3-Marston 53020, recorded 1901-42. Transfers by Ward Marston. Elaborate 111pp Booklet has notes by Michael Aspinall. [A treasurable program, mandatory for lovers of the art song] (V2637)
CHRISTOPHER KEENE Cond. Syracuse S.O., w. Shirley & Patti Thompson: 'Resurrection' Symphony #2 in c (Mahler), Live Performance, 1978. (Canada) St Laurent Studio YSL T-1055. Transfers by Yves St Laurent. (C1814)
WILLIAM STEINBERG Cond. Boston Symphony Orchestra: Symphony #2 in E-flat; w.ZARA NELSOVA: Cello Concerto in e; WILLIAM STEINBERG Cond. Cleveland Orchestra: Enigma Variations (all Elgar). (Canada) 2-St Laurent Studio YSL T-948, Live Performances, 1969, Symphony Hall, Boston & 1957, Severance Hall, Cleveland. Transfers by Yves St Laurent. (C1821)
CHARLES MUNCH Cond. Boston S.O.: Octet in E-flat (Mendelssohn); w.FRANCIS POULENC & EVELYNE CROCHET: Concerto in d for Two Pianos; w.ADELE ADDISON: Gloria [World Premiere](both Poulenc). (Canada) St Laurent Studio YSL T-978, Live performance, 21 Jan., 1961, brilliantly displaying the splendor of the Symphony Hall acoustic! Transfers by Yves St Laurent. (C1824)
PAUL FINEL: Arias from La Damnation de Faust, Werther, Herodiade, La Juive, Sigurd, Polyeucte, Tosca, Le Cid, La Reine de Saba, Aida, Andrea Chenier, Turandot, Faust, Romeo et Juliette, Carmen, Pagliacci, Lohengrin & Siegfried; Duets w.Claude Bergeret & Suzanne Sarroca. (France) Malibran 830. (V2639)
ALAIN VANZO: 'Elle etait si jolie' (Barriere); 'Le reve passe', Vanzo’s first recording, 1954 (Krier-Helmer); Arias from Benvenuto Cellini, Mignon, Le Roi d’Ys, Mireille, La Navarraise, Richard Coeur de Lion, Lakme, Manon, Faust, Werther, Romeo, La Jolie Fille de Perth, Don Carlos, Les Vepres Sicilienne & Les Pecheurs de Perles; Interview with Jacques Bertrand from 1982. (France) Malibran AMR 115. [AMR titles are issued without rear tray-cards] (V1705)
TANCREDI PASERO: Arias and scenes (w.Gina Cigna, Beniamino Gigli, Giovanni Malipiero, Gino Vanelli, Paolo Civil, Ebe Stignani, Maria Caniglia, etc.) from Don Giovanni, Barbiere, Semiramide, I Puritani, Norma, Mignon, Faust, Mefistofele, La Forza del Destino, Nabucco, Ernani, Luisa Miller, La Sonnambula, Il Trovatore, Simon Boccanegra, I Vespri Siciliani, Don Carlo & the Verdi Requiem. (Canada) 3-Immortal Performances IPCD 1121, w.Elaborate 18pp Booklet. Transfers by Richard Caniell. Notes by David Cutler & Richard Caniell. (V2636)
Specially priced at Three discs for the price of Two.
BORIS CHRISTOFF in London; BORIS CHRISTOFF in Bulgaria. MICHAEL LETCHFORD, Ed. U.K., Goar Lodge, Privately Printed by the Author, 2020. 116pp. Index; Bibliography, Chronology, Discography, Numerous Photos; Illus. (Pictorial thick paper covers) (B1862)
GIOVANNI ZENATELLO: Arias & Duets (w.Ester Mazzoleni, Pasquale Amato, Elisa Bruno & Pasini-Vitale) by Verdi & Ponchielli. (France) Malibran AMR 165, brilliant transfers from the Fonotipia recordings. [AMR titles are issued without rear tray-cards] (V1703)
HERBERT von KARAJAN Cond. Berlin Phil.: Symphony #9 in D (Mahler). (Canada) 2-St Laurent Studio YSL T-1071, Live Performance, 27 Aug., 1982, Salzburg. [An unforgettable performance, not to be missed!] Transfers by Yves St Laurent. (C1817)
BOOKS ON SALE
“Books have become our lonely stepchildren! By spending so many hours constantly revising our thousands of CDs we realize we have paid scant attention to our BOOKS ON SALE, thus many have been added (with more appearing), accompanied by greatly reduced prices! Have a glance at our SALE section - for BOOKS!
. . . numerous out-of-print CDs and LPs,
[many sealed copies of numerous out-of-print
additions: The Record Collector, Naxos, VRCS,
Issues of Symposium's Harold Wayne series,
Romophone, GOP & many Met Opera
broadcasts & operas from Moscow’s Aquarius, plus
numerous lesser-known operas have been added
throughout our listings, in appropriate categories . . .
out-of-print books [many biographies,
Record Catalogue-Discographies . . .
numerous CDs are added each week] . . .
COLLECTOR ALERT ! ! !
Norbeck, Peters & Ford's Auction #151 has Closed.
We want to take this opportunity to thank everyone
for participating in Auction #151.
Auction #151 now closed Saturday, 30 November 2019.
We invite you to review our Auction #151. It is comprised of Vocal, Victor 'GEMS', Light Opera,
and Spoken Word Records.
To view the online version of our auction #151, simply click the link below:
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OP3362. RUSLAN AND LYUDMILA (Glinka), Recorded 1938, w.Samuil Samosud Cond. Bolshoi Opera Ensemble; Mark Reizen, Valeria Barsova, Maxim Mikhailov, Nikandr Khanaev, Elizaveta Antonova, Vassily Lubentsov, Lyubov Stavrovskaya & Solomon Khromchenko; RUSLAN & LYUDMILA (Glinka) - Excerpts, recorded 1937-38, w.Samuil Samosud Cond. Bolshoi Opera Ensemble; Alexander Baturin, Valeria Barsova, Elena Slivinskaya, Bronislava Zlatogorova, Lyubov Stavrovskaya & Solomon Khromchenko; MARK REIZEN: Farlaf's rondo (Act 2) tonfilm; MAXIM MIKHAILOV: Ruslan's aria (Act 2) Gramplasttrest 03568; VALERIA BARSOVA: rare tonfilm recordings incl. Farandole ( Bizet), Waltz (Arditi); Arias from Madama Butterfly, Roméo et Juliet & Mignon; VALERIA BARSOVA & GEORGY VINOGRADOV: Roméo et Juliet - duet (all in Russian), recorded 1936-40.
(Russia) 4-Aquarius AQVR 418. Slipcase Edition. - 4607123632208
C1826. JEAN MARTINON Cond. RTF S.O.: Symphony #10 in F-sharp (Mahler; 1st Deryck Cooke Version). (Canada) St Laurent Studio YSL T-874, Live Performance, 27 May, 1970, Orchestra Hall. Transfers by Yves St Laurent.
P1362. VLADO PERLEMUTER: Sonatine; Miroirs; Jeux d'eau; Valses nobles et sentimentales; Gaspard de la nuit; Le tombeau de Couperin (all Ravel). (Canada) St Laurent Studio YSL T-904, Live Performance, 12 June, 1954, Château des Rohan, Saverne, France. [A breathtaking all-Ravel recital!] Transfers by Yves St Laurent.
C1825. ROGER DÉSORMIÈRE Cond. RTF S.O.: 'Italian' Symphony #4 in A (Mendelssohn); L'Arlésienne Suites - Excerpts (Bizet); Symphony #4 in B-flat (Rivier) [World Premiere Performance]; w. LOUIS PERLEMUTER: Violin Concerto #1 in A (Saint-Saëns) . (Canada) St Laurent Studio YSL T-1046, Live Performance, 15 Dec., 1947, Théâtre des Champs-Élysées. Transfers by Yves St Laurent.