Norbeck, Peters & Ford
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Malibran offers
LA DANSEUSE DE TANAGRA . . .
plus GUILLAUME TELL . . .
ANITA CERQUETTI . . .
Andromeda offers MAX LICHTEGG . . .
and our 50% SALE Continues
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- LA DANSEUSE DE TANAGRA, Broadcast Performance, 1956, w. Cloëz Cond. Berthe Monmart, Nadine Sautereau, Solange Michel, Robert Massard, Jean Mollien, Michel Hamel & Lucien Lovano; LES HIRONDELLES - Excerpts, Broadcast Performance, 4 Nov., 1963, w.Jean Doussard Cond. Huguette Boulangeot, Claude Bergeret, Lucien Huberty, Aimé Doniat, Joseph Peyron & René Lenoty (both Henri Hirchmann); MARYSE BEAUJON, w.Bigot Cond.: La Danseuse de Tanagra - Je dansais, oui, jadis; Oui, près de toi - recorded 1930. (France) 2-Malibran 799. (OP3199)
"A popular writer and journalist, Champsaur was the inventor of the character of Lulu, who would be later taken up by Wedekind and Alban Berg. After HÉRODIADE, Massenet had composed several operas situated in classical antiquity....Hirchmann followed the long lasting fashion for antique eroticism. The [above] plot inspired in Hirchmann the sensuous, colorful kind of music one could expect from a good disciple of Massenet."
- Christophe Ghristi
"Henri Hirchmann [or Henri Hirschmann; originally Henri Herblay] was a French composer who studied under André Gedalge, and, for two years, under Massenet at the Paris Conservatoire. His chief works are: AHASUERUS, an oratorio (crowned by the French Institute at the Concours Rossini, and performed at the concerts of the Paris Conservatoire Nov., 1892); a suite for orchestra in four parts (presented at the Opéra Jan., 1896); L'AMOUR À LA BASTILLE, comic opera (crowned at the Concours Crescent; performed at the Opéra Comique 1898); LOVELACE, opera in four acts (Théâtre Lyrique, 1898); five ballets, etc."
- JewishEncyclopedia.com
- MAX LICHTEGG: A Voice for Generations, incl. Schubert, Schumann, Brahms, Mendelssohn, Mahler, Schoeck, von Puttlingen, Niedermeyer, ben Haim, Ettinger, Moniuszko, Tschaikowsky, Verdi, and many more., etc. (E.U.) 4-Andromeda 9127, incl.44pp. Booklet. (V2496)
"The fact that the name Max Lichtegg is today mainly known only to record collectors has nothing at all to do with the artistic importance of this singer. Lichtegg belongs to the large number of artists who enjoyed enormous recognition and success during WW II and into the 50s and 60s; this was due to their stage presence, recordings, radio broadcasts and television appearances. In his prime, Max Lichtegg was without doubt the most popular tenor in Switzerland.
Max Lichtegg was born 1910 to Jewish parents as Munio Lichtman in Buczacz, a small town in Poland (now Ukraine). In 1934 Lichtegg won first prize in a voice competition; this resulted in a recording contract with Odeon and also his first stage appearances in operettas. Due to the political developments in 1936 Max Lichtegg decided to accept an engagement at the Stadttheater Bern (Switzerland). In 1940 he was offered a contract by the Stadttheater (now Opernhaus) Zürich. He remained there as a permanent member and as 1st lyric tenor until 1956. He appeared on that stage in a total of 44 different operas; he was regarded as an extremely intelligent interpreter in a repertoire that ranged from Mozart, Lortzing, Flotow, Wagner, Smetana, Tchaikovsky, Auber, Bizet, Debussy, Rossini, Donizetti, Verdi, Puccini, Mascagni, Richard Strauss to contemporary composers like Honegger, Stravinsky, Schoeck, Hindemith, Menotti and Henze.
After concerts in the USA and stage appearances in San Francisco and Los Angeles, Max Lichtegg returned in 1948 to Switzerland. In spite of very tempting offers from the Vienna State Opera he remained, for family reasons, faithful to the opera house in Zürich. He made guest appearances in Munich, Hamburg, Stuttgart, Amsterdam, Paris, London, Bilbao, Lucerne, Geneva, Monte Carlo, Strasbourg, Schwetzingen and many other cities. Until 1971 he also could frequently be heard as a guest star at the Opera in Zürich. The Art Song was of the greatest importance for Max Lichtegg who was one of the earliest tenors to champion the songs by Britten or von Einem.
Though the heavy part of Siegmund doesn't come easily for the lyrical tenor, his impressively heroic portrayal of Siegmund was in fact his American début. He shows himself as a master of Wagnerian style as does Rose Bampton who sings a blazing Sieglinde displaying ample power and warm colour.
The set ends with Beethoven's 'Der Kuss' taken from Lichtegg's final public appearance at age 78 in August 1988. Time has dealt kindly with Lichtegg's voice though towards the end of his career the rock-like steadiness lost something of its quality but there was never a wobble and he was still able to thrill Zürich audiences as the late live recordings clearly show.
Included in the 44pp. booklet are numerous photos, a detailed survey of his opera, operetta and concert repertoire and a complete discography."
- Rudi van den Bulck, OPERANOSTALGIA, November, 2016
- ANITA CERQUETTI, w.Gavazzeni Cond.: Arias from Norma, Agnese di Hohenstaufen, Aïda, I Vespri Siciliani, Nabucco, Ernani, Forza, La Gioconda & Tosca - recorded 1957; w.Gui Cond.: Oberon - Ozean, du Ungeheuer! (in Italian) - Broadcast Performance, 18 Jan., 1956; w.Rossi Cond.: I Vespri Siciliani - Arrigo, ah parli a un core - Broadcast Performance, 16 Nov., 1955; Guglielmo Tell - Selva opaca - Broadcast Performance, 5 Sept., 1956; Arias from La Wally & Andrea Chénier - Broadcast Performance, 26 Jan., 1956 (all w.RAI Orch.). (France) Malibran AMR 121. (V2501)
"The brevity of Italian soprano Anita Cerquetti's career was a great loss for the world of opera. But what she accomplished in those few years (September 1951 - October 1960, retiring at barely age 30) is amazing. The mystery of her early retirement remains a mystery. Hers was a voice of dramatic intensity, fiery temperament, plenty of volume, seemingly inexhaustible vocal reserves, and a flexibility that let her excel in bel canto roles and made her an ideal Verdian soprano. In performance, Cerquetti never stinted, giving it her all. Very soon she was deemed the new Callas and 'inherited' rôles that Callas had abandoned. Only three commercial recordings of Cerquetti were published in her brief career, all of them by Decca, all in 1957: a complete LA GIOCONDA, a recital of arias, and excerpts from NORMA (to have been a complete recording with Mario Del Monaco). That recital disc is heard here, along with a duet (with Giulietta Simionato) and an aria ('Suicidio!') from the GIOCONDA. In addition the disc contains five extracts from performances broadcast by RAI: 'Bolero'
(VESPRI SICILIANI), 'Mare, Superbo Mare' (OBERON), 'Ebben, ne Andro Lontano' (LA WALLY), 'La Mamma Morta' (ANDREA CHÉNIER), and 'Selva Opaca' (WILLIAM TELL). The eight arias from the recital disc cover her repertory: Aïda, Norma, Abigaille, Tosca (which she never sang on stage), Elvira (ERNANI), Leonora (FORZA), Elena (VESPRI), and AGNESE DI HOHENSTAUFEN. It's all here: the intensity, the excitement, the drama, and, alas, the sometimes hard, harsh edge in the top voice. But that is a small price to pay for great singing."
- Charles H. Parsons,
AMERICAN RECORD GUIDE, July/Aug., 2012
- GUILLAUME TELL - Excerpts, w. Tony Poncet, Jean Borthayre & Irène Jaumillot. (France) Malibran AMR 125. (OP3201)
"Vezzani clearly had the better and more pure style and Luccioni the more sensuous sound and more metal, but it was Poncet (The Last of the French 'fort ténors') who kept those Meyerbeer operas in the repertoire at a time when so called serious critics and managers thought them old trash. Lucky for us in the eighties some singers realized what a gap of operatic history was disappearing (and what possibilities for success) and though not common, a lot of revivals have proven these operas to be a treasure trove. But none of the tenors after Poncet (surely not in France) were able to step into his vocal shoes as most of them were spintos at their best. Tony Poncet was indeed the last 'fort-ténor'.
He started with a concert in Lyon, France's second city, in January 1953. A few days later he made his official opera début at the municipal theatre of Avignon. It must have been quite an occasion for Poncet, as he had to sing the roles of Turiddu and Canio at the same time, no mean feat. In June 1956, he had an audition before Georges Hirsch, the general manager of the two Paris Opera Theatres. Hirsch realized Poncet's potential and helped him improve his musical and scenic abilities. He understood the problems of Poncet's height and decided that lack of centimetres can be an asset when singing Canio, a poor clown and a cuckolded husband. In January 1957 Poncet made his début at the Opéra-Comique and scored a triumph. A serious critic like Roland Mancini tells us that one of the two most intense ovations he ever heard at a début at the theatre belongs to the tenor (Robert Massard got the other one in IL BARBIERE). Then Poncet made his début at the Opéra itself in the one aria-role of DER ROSENKAVALIER, an opera where it is plausible that the Marschallin has all kind of strange looking servants and so a very small tenor can fit easily in. Poncet was more than ably partnered by some of France's best singers like Andrea Guiot, Gabriel Bacquier, Jean Borthayre at the Comique and Crespin at the Opéra. From 1958 on he no longer had to look for performances as theatres realized his talents and his fast growing popularity due to his first recordings. Philips France recorded him at the end of 1957 in a long French selection of Lehar's DAS LAND DES LÄCHELNS together with soprano Renée Doria. The operetta always was a hit in France and all important tenors and high baritones recorded it (Luccioni, Vanzo, Botiaux, Dens etc). The recording was a huge success. This is already vintage Poncet as we will get to know him in his subsequent recorded and some live performances. The voice sounds huge (and it was huge). It is dark-hued as Spanish tenor voices often are and the timbre is not conventionally beautiful. Some people will even think the timbre somewhat ugly as it is grainy timbered but those are the ones that will not like a voice as Pertile either. But Poncet doesn't chop up his phrases; he has legato and can sing mezza-voce though piano is not his forte. Anyway the record told French tenor buffs that at last here was a successor of Affre, Granal, Verdières, Luccioni and Vezzani. Always generous to a fault, he helped Toulon out on the 21st of December 1958 when their announced tenor fell ill. He sang Canio at the matinee and in the evening he appeared as Rodolfo.
Nowadays one is happy when a few tenors turn up at a singing contest, but in those days it was not strange to pass judgment on hundreds of hopefuls of that most rare vocal category. To win the fort-ténor prize Poncet sang 'Céleste Aïda' and 'Supplice infâme' ('Di quella pira'). There exists a live recording of the competition which is the first recording of Poncet's voice. The sound is unmistakably Poncet's with top notes blazing forth, but at the same time one sits up and takes note of his purity of style, not always one of his best qualities later on. He sings the 'Celeste Aïda' as a real love song with delicate shades of mezza-voce and piano, though of course clinging to the traditional high B at the end. Abe Saperstein (the famous boss of the Harlem Globetrotters, the black basket ball team) took Poncet with him to the U.S., promised him extensive concert engagements and probably some operatic ones as well."
- Jan Neckers
. . . REPEATED FROM THE RECENT PAST . . .
- ERICH LEINSDORF Cond. Boston Symphony Orch.: 'Vetrate di Chiesa' (Respighi); Romeo and Juliet - Excerpts (Prokofiev); w.GINA BACHAUER: Piano Concerto #2 in c (Rachmaninoff); w.BEVERLY SILLS: DAPHNE - Final Scene (Strauss). [A most rewarding program comprising two different BSO concerts, in the magnificence of the glorious Symphony Hall acoustic!] (Canada) 2-St Laurent Studio YSL T-412, Live Performances, 1964 & 1967, Symphony Hall, Boston. Transfers by Yves St Laurent. (C1491)
"Bachauer was a strong, powerful player with a formidable technique. She was often compared to Teresa Carreño (1853-1917), and a 1955 description of her shows the attitude of the time. 'Her technique shows a decidedly masculine approach, and unlike other famous woman pianists she is very much at home with works usually regarded as the prerogative of the 'stronger' sex'. Rachmaninov instilled into Bachauer his idea that music was 'sound and colour' and it is her range of both that makes her playing so distinctive. Extremely self-critical, Bachauer was always working, listening and improving her interpretations."
- Jonathan Summers, Naxos' A-Z of Pianists
"Beverly Sills was the acclaimed Brooklyn-born coloratura soprano who was more popular with the American public than any opera singer since Enrico Caruso. Sills won the greatest reviews of her career [as Cleopatra in Handel's GIULIO CESARE, 1966, New York City Opera]. Critics praised her adroit handling of the music's florid fioratura, her perfect trills, her exquisite pianissimo singing and her rich sound....Suddenly she was an opera super-star. In 1968 she had another enormous success in the title role of Massenet's MANON. When the production was revived the next year, the NEW YORKER critic Winthrop Sargent wrote: 'If I were recommending the wonders of New York City to a tourist, I should place Beverly Sills as Manon at the top of the list...".
- Anthony Tommasini,
THE NEW YORK TIMES, 4 July, 2007
- AARON COPLAND Cond. Cleveland Orchestra: Bach, Schubert, Roussel, Ravel & Copland; Interview with Aaron Copland & Morton Gould. (Canada) 2-St Laurent Studio YSL T-407, Live Performance, 1 Aug., 1970, Blossom Music Festival. Transfers by Yves St Laurent. (C1490)
"Copland...has never turned out bad work nor worked without an inspiration. His stance is that not only of a professional but also of an artist - responsible, prepared, giving of his best. And if that best is also the best we have, there is every reason to be thankful for its straightforward employment of high gifts. Also, of course, for what is the result of exactly that, 'this simple and great man in our midst'."
- Virgil Thomson, AMERICAN MUSIC SINCE 1910
- MARIO GILION: Arias from Gli Ugonotti, Guglielmo Tell, Il Profeta, L'Africana, Norma, Il Trovatore, Otello, Don Carlos, Forza, Ballo, Germania, Cavalleria, Jone, Carmen, La Juive, Samson et Dalila, Tannhäuser & Die Walküre. [For the tenor enthusiast who has everything and everyone!] (France) Malibran AMR 119, from Fonotipia disks. (V2500)
"Gilion supposedly began his career as a baritone, then made his tenor début in 1901 at the Teatro Sociale in Monza as Vasco in L'AFRICAINE. That same year, Gilion appeared in Modena singing Raoul in LES HUGUENOTS and Arnold in WILLIAM TELL, his two most prominent roles. He also sang in Budapest, Warsaw, Venice, and Buenos Aires. Gilion appeared at the Paris Opéra in 1910 as Arnold, and the next year as Radames. He recorded exclusively for Fonotipia singing primarily in Italian. His sides sung in French are unquestionably his rarest records"
- Vincent Giroud, Marston Program Notes
- ANTONIETTA STELLA: Arias from Luisa Miller, Ernani, Il Trovatore & Forza; w.Franco Corelli & Mario del Monaco: Duets from Andrea Chénier & Tosca. (France) Malibran AMR 122, Live Performances, Palermo, Firenze, Napoli & Milano, 1955-65. (V2498)
"Seeming from time to time a serious contender for consideration with the great prima donnas of her time -- Callas, Tebaldi, and Milanov -- Antonietta Stella never quite pulled together all the elements of her lavish gift. An immensely attractive woman with large, deep-set eyes and a figure that would have found favor in Hollywood, she presented an appealing stage presence but was not always able to control her impulsive histrionic inclinations. Although her vocal endowment led her to an early début, her lovely spinto-weight soprano was not sufficiently technically secure and not supported consistently enough to endure.
By her mid-teens, Stella had determined she would become a professional singer and began her vocal training. After studies in her native Perugia, and later in Rome, she won first prize in the 1949 Bologna Concorso. In 1950, she made a pre-professional appearance on-stage at Spoleto's Sperimentale and followed that in 1951 with her official début at the Rome Opera singing Leonora in LA FORZA DEL DESTINO. A recording of SIMON BOCCANEGRA shortly thereafter revealed both a promising voice and some ungainly phrasing. Nonetheless, she was entrusted with the rôle of Lavinia in the world premiere of Guido Guerrini's ENEA, mounted by the Rome Opera in 1953. Italy welcomed the young soprano, despite her lack of experience. Engagements took her to many of the country's most prominent theaters, foremost among them La Scala, where she sang Desdemona in 1954 just a year after she had won good reviews in Florence for her performance in Verdi's AROLDO. Several of the lighter Wagner rôles also came her way with such parts as Elsa and Elisabeth and (less suitably) Sieglinde and Senta. The world beyond welcomed her as well: she was introduced as Aïda at Covent Garden in 1955 and at the Teatro Colón in 1956. Stella became a popular presence in several German houses and won appreciative reviews in Spain and Brazil. Stella made her Metropolitan Opera début essaying Aïda. Although she was in good voice, reviews held numerous caveats about her artistry and questions about her willingness to look past the approval of the gallery toward a deeper exploration of text and music. During four seasons, Stella sang more than 50 performances of eight different rôles, including Tosca, Butterfly (a memorable interpretation), Violetta, Elisabeth de Valois, Amelia in UN BALLO IN MASCHERA and the IL TROVATORE Leonora. Several ill-advised cancellations put an effective stop to Stella's American career. First, she exited a series of performances for Lirica Italiana in Japan. In 1957, she canceled her début with the San Francisco Opera. After the soprano presented the Metropolitan Opera with a doctor's certificate in 1960 asking for release (granted) for the company's spring tour and then showed up on the stage of La Scala during the period in question, Rudolf Bing filed breach of contract charges with the American Guild of Musical Artists. The action resulted in her suspension. Stella continued to appear in Europe, but decline was evident before she had reached the age of 40."
- Erik Eriksson, allmusic.com
- BENNO RABINOF, w.Alfred Wallenstein & Robert Stanley Cond.: Paganini, Lotto, Sarasate, Rimsky-Korsakov, Saint-Saëns, Wieniawski, Tschaikowsky, Rachmaninoff, Novácek, Achron & Bruch. (Canada) 2-Yves St Laurent YSL 78-411, Live Performances, 1943-44 [all from Rabinof's private acetates, not duplicated by the old out-of-print Pearl issue]. Transfers by Yves St Laurent. (S0704)
"In his playing, Benno Rabinof represented the continuation in America of Auer's most brilliant pupils from Russia, perhaps more so than any of the numerous other hopefuls who flocked to the Auer banner after his American arrival. Auer conducted the 19-year old Rabinof's 1927 Carnegie Hall début in the Tschaikowsky and Elgar Concerti....like so many others in the Heifetz shadow, Rabinof was unable to generate a top-level career despite encouraging reviews. In the early 1940s he played a 28-week cycle of nationwide radio broadcasts [above] with Alfred Wallenstein conducting. I recall being thoroughly impressed....he understood and employed the expressive devices in position changes of both Heifetz and Kreisler with good taste. Technically, he could handle any genre of music in the staple repertoire with ease. In the hierarchy of ear-titillating vioinists, Rabinof ranks among the elite. It was essentially instinctual, spontaneous, visceral playing."
- Henry Roth, VIOLIN VIRTUOSOS, p.246
- K. K. HOFOPER WIEN 1904, featuring 59 Odeon recordings, recorded in September 1904 for the International Talking Machine Co. Most of them available on CD for the first time, incl. Wilhelm Hesch, Friedrich Weidemann, Hermine Kittel, Elise Elizza, Betty Schubert, Jenny Pohlner, Leo Slezak & Frantísek Pácal; Oskar Dachs (Pf.) & Marko Radossawljewitsch (Flute). (Germany) 2-Truesound Transfers 4003, recorded 1904, Vienna. Transfers by Christian Zwarg & Carl Max Goldstein. (V2499)
"This phenomenal issue of the 1904 recordings from K. K. Hofoper Wien is the third issue of Christian Zwarg's new series featuring double CDs in handsome Digipak albums (no more brittle plastic cases nor dull black-and-white covers!). As delighted as we all have been with previous Truesound offerings, this new format is sure to offer even greater satisfaction! ... the Belle Époque never sounded better ..."
- J. R. Peters
"...an absolute revelation! Here, the voices come through with tonal sheen, passion and with more personality than any other transfers have been able to bring out. Dynamics and agility are in better relief, as is a sensitivity I had always found lacking. These transfers are absolutely miraculous, and I hope for more Truesound transfers."
- Davyd Booth,
GREAT SINGERS REMEMBERED, WHYY - NPR
- THE 1902 LONDON 'REDS', featuring Pol Plançon, Emma Calvé, Maurice Renaud, Anton van Rooy, David Bispham, Antonio Scotti, Suzanne Adams, Jan Kubelik, etc. (Germany) 2-Truesound Transfers 4002, recorded 1902, London. Transfers by Christian Zwarg. (V2495)
"This phenomenal issue of the famous London 'Reds' is the second issue of Christian Zwarg's new series featuring double CDs in handsome Digipak albums (no more brittle plastic cases nor dull black-and-white covers!). As delighted as we all have been with previous Truesound offerings, this new format is sure to offer even greater satisfaction!"
- J. R. Peters
- MARGARETHE SIEMS: Songs by Alabieff, Eckert, Proch & Johann Strauss; Arias & Duets (w.Arányi, Zador & Förstel) from Guillaume Tell, Les Huguenots, Lakmé, Die Lustigen Weiber von Windsor, Norma, Martha, Il Trovatore, Rigoletto, La Traviata, Aïda, Lucia, Dinorah, Norma, La Fille du Régiment, Martha, Lakmé, Mignon & Nozze; w.Eva von der Osten & Minnie Nast: Der Rosenkavalier - Excerpts, the latter being CREATOR Recordings. (Germany) 2-Truesound Transfers 4002, recorded 1903-12, Dresden, Berlin & Prague. Transfers by Christian Zwarg. (V2494)
"Finest of all [in Les Huguenots] perhaps, is Margarethe Siems, the original Marschallin, whose version is easily the most elaborate but who sings with indolent grace and effortless bravura. When this is allied to a meticulous attention to dynamic markings, it has the expansiveness and grandeur of style that this music requires."
- Vivian A. Liff,
IL CORRIERE DELLA GRISI, 9 Sept., 2008
- GEORI BOUÉ, w.Jean Pasquier, Quatuor Pascal, Louis Beydts, Roger Cortet, Albert Wolff & Gustave Cloëz: Songs by Debussy, Chausson, Hahn, Heitz-Boyer, Beydts & Schubert; Arias from Nozze, Mireille, Manon, Faust, Madama Butterfly, La Boheme & Otello; Duets w.ROGER BOURDIN by Terrasse & Hahn. [This glorious release offers Boué's major recordings for French Odéon, as well as the early '50s 'picture disk' rarities from Saturne & Le Lutrin, all meticulously transferred from original 78rpm mint copies. Her inimitable recording of Hahn's 'D'une prison' alone is worth the price of the entire set. One might weep after hearing Boué's demonstration of exquisite French musicality and style, by now an entirely lost art. This recital is a unique treasure!] (Canada) 2-Yves St Laurent YSL 78-422, recorded 1943-53, Odéon, Saturne & Le Lutrin. (V3000)
"Geori (Georgette) Boué made her Paris début at the Opéra-Comique in 1939, as Mimi in LA BOHÈME (singing in the 1,000th performance at the Salle Favart on 3 May 1951), and other rôles there included: Lakmé, Manon (singing in the 2,000th performance on 18 January 1952), and Ciboulette (first performance at the Opéra-Comique). Her début at the Palais Garnier took place in 1942, as Marguérite, and she went on to sing rôles such as Juliette, Thaïs, Salomé in HÉRODIADE, Louise, Gilda, Violetta, Desdemona, Tosca, Madama Butterfly, Tatiana, etc. Boué had a clear voice of considerable power, renowned for her impeccable diction, she was widely regarded as one of the greatest French sopranos of the 1940s. She was married to French baritone Roger Bourdin in May 1944, with whom she can be heard in two recordings, FAUST under Thomas Beecham, and THAÏS. She retired from the stage in 1970, then died 5 January, 2017, at age 98."
- David Salazar, operawire.com, 6 Jan., 2017
- ZARA DOLUKHANOVA, w.Nina Svetlanova (Pf.): Songs by Glinka, Tschaikowsky, Komitas, Poulenc, etc.; Armenian Songs; Arias from Nozze and Tosca. [A rare recital which features Dolukhanova after her successful transition to Soprano, beautifully recorded from the front row of Philharmonic Hall in remarkably clear sound.] (Canada) Yves St Laurent YSL T-421, Live Performance, Philharmonic Hall, New York, 13 Nov., 1970. (V2497)
"...the smooth, vocal velvet of Dolukhanova's tones and supreme technical mastery encapsulated even greater versatility combined with a rare ability to empathize with her audience....Few recitalists in my lifetime possessed her ability to mesmerize listeners into feeling they were the sole recipients of her song. That gift made her one of the most beloved of all Soviet singers, so that in her regular 1940s broadcasts on Russian radio she was able to introduce and popularize numerous new works by young composers - many of whom wrote music especially for her."
- Vivian A. Liff, AMERICAN RECORD GUIDE, July/Aug., 2005
...[Dolukhanova] gave recitals in the U.S. in 1959, 1962 and 1970. In the early 1960s she made a transition to soprano with Yevgeny Kanger, a pianist, whom she names as her most important teacher....Her concerts were eagerly anticipated musical events because she kept to her rule of never singing the same song twice in a city no matter how many times she appeared there. Her farewell concert was at the Great Hall of the Moscow Conservatory in the Spring of 1983."
- Richard D. Sylvester,
TCHAIKOVSKY'S COMPLETE SONGS, p.303
"Zara Dolukhanova is often cited as the greatest Soviet mezzo-soprano of her time. Her powerful, flexible voice was usually categorized as a coloratura mezzo, but her vocal range also allowed her to sing convincingly as an alto. Dolukhanova was as much a star in the Soviet Union in the mid-20th century as Callas and Tebaldi were in the West.
Dolukhanova was extremely active throughout the 1960s, but shortly after a return tour to the U.S. in 1970, she retired from singing. She spent most of the remainder of her career as a teacher at the Gnessin Institute, counting among her students mezzo-soprano Olga Borodina. Dolukhanova died in Moscow on 5 December, 2007."
- Robert Cummings, allmusic.com
- PAUL PARAY Cond. Detroit S.O.: 'Jupiter' Symphony #41 in C, K.551 (Mozart); w.Elisabeth Schwarzkopf: GIULIO CESARE - V'adoro pupille; HERCULES - My father! Ah! methinks I see (both Handel); CAPRICCIO - Final Scene (Strauss). (Canada) St Laurent Studio YSL T-392, Live Performance, 18 Feb., 1960. Transfers by Yves St Laurent. (C1488)
"The best evaluation of Schwarzkopf remains that of the English critic J.B. Steane in his invaluable book THE GREAT TRADITION: 'The thought and art are so marvelously exact that one wants to call them calculated, which immediately suggests something unfeeling and insincere; yet this is self-evidently absurd, for insincerity, like sentimentality, betrays itself by inexactness and distortion. What one has in Schwarzkopf is a high degree of awareness - of colors and styles, and of the existence of choice'."
- Tim Page, WASHINGTON POST, 4 Aug., 2006
- GEORGE SZELL Cond. Cleveland Orch.: Serenade #10 in B-flat, K.361/370a (Mozart); Metamorphosen (Strauss), Live Performance, 16 Oct., 1969, Severance Hall. (Canada) St Laurent Studio YSL T-405. Transfers by Yves St Laurent. (C1489)
- GEORGE SZELL Cond. Cleveland Orch.: Symphony #4 in B-flat (Beethoven), recorded 22 April, 1947; Symphony in d (Franck), Live Performance, 14 Aug., 1969, Blossom Music Festival. (Canada) St Laurent Studio YSL 78-394. Transfers by Yves St Laurent. (C1483)
- LE TRILLE UN ART PERDU (The Lost Art of the Trill), incl. Plançon, Escalaïs, Devriès, Dalmorès, Jadlowker, Abendroth, Sembrich, Schumann-Heink, Onégin, Schumann, Siems, Kurz, Patti, Butt, Ponselle, Caruso, Willer, Abendroth, Lemnitz, Leider, Lubin, Ritter-Ciampi, Schmidt & Ludwig Weber. [A delightful treat for canary fanciers!] (France) Malibran AMR 123. (V2490)
"Lovers of opera of a certain age will always tend to lament 'One no longer sings as before', and they will always be right. The art of singing is constantly evolving. Now that we have a century of recording history, we are in a position to judge how techniques and styles have changed during this period, and how certain vocal skills have been lost or recovered....In the 1940s, the trillium had become the almost exclusive property of specialized coloratura sopranos. Now that so many other bel canto skills have been reconquered, it is time for modern singers to start listening to these old recordings and become seriously involved!"
- Patrick Bade
. . . numerous out-of-print CDs and LPs, [many sealed copies
of numerous out-of-print additions: Issues of Symposium's
Harold Wayne series, Romophone, The Record Collector,
VRCS, GOP & many Met Opera broadcasts,
plus Operas by
Handel, Mercadante, Marais, Cavalli, Rameau, Lully,
Monteverdi, Charpentier, Gluck, Vivaldi, Pergolesi, Rossini,
Meyerbeer, Weckerlin, Nicolai, Schreker, Marschner & Gurlitt]
have been added throughout our listings, in appropriate
categories . . . out-of-print books many biographies,
Record
Catalogue-
Discographies . . .
more are added each week . . .
our 50% Discount Sale continues,
with numerous additions . . .
----------------- ANNOUNCEMENT ------------------
with revised closing date of
Saturday, 21 May
!
At a total of 118 pages, this is the largest auction we've ever produced, filled with many rarities, plus MINT copies of 'Society' recordings (all pressed from original masters), now at closeout prices.
It will come as no surprise that Norbeck, Peters & Ford have been concentrating our efforts in locating and promoting thousands of historical-interest CDs during the past quarter century, often at the expense of the somewhat rarified collector of the original 78rpm issues. Now, the long wait is over as we have spent much of the past year organizing, researching and listing many 78s in our vast inventory, many of them with appropriate critical and biographical quotes. This auction features a large assortment of instrumental- , vocal and historically important records, the vast majority being in truly spectacular condition.
As our little urchin stares into the recording horn, you can now view our current AUCTION whose revised closing date is Saturday, 21 May
!
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our
sale section of our website). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
. . . For the Melodiya, Vista Vera, Archipel, Myto,
Walhall, Gebhardt & Living Stage titles on sale,
Once again . . .
Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com 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.
We continue to offer FREE Shipping on all U.S. (including Puerto Rico), Mexican and Canadian orders over $49.00. If you would like to join our emailing list, please sign up at the top right.
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.
As always, please contact us with any special requests.
Please remember that we can take your order over the telephone from 10:00am to 6:00pm (EST), thereby providing you with the most current status of your order. Should you order by email or shopping cart and do not receive a timely acknowledgement of your order, please telephone.
Thank you again for your loyal support, and happy browsing our new website and exciting offerings.
Sincerely,
1-802-524-7673 (Phone)
1-800-654-5302 (Phone)
1-888-819-4831 (Fax)
Sincerely,
Norbeck, Peters & Ford, LLC
Norbeck, Peters & Ford
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OP3199. LA DANSEUSE DE TANAGRA, Broadcast Performance, 1956, w. Cloëz Cond. Berthe Monmart, Nadine Sautereau, Solange Michel, Robert Massard, Jean Mollien, Michel Hamel & Lucien Lovano; LES HIRONDELLES - Excerpts, Broadcast Performance, 4 Nov., 1963, w.Jean Doussard Cond. Huguette Boulangeot, Claude Bergeret, Lucien Huberty, Aimé Doniat, Joseph Peyron & René Lenoty (both Henri Hirchmann); MARYSE BEAUJON, w.Bigot Cond.: La Danseuse de Tanagra - Je dansais, oui, jadis; Oui, près de toi - recorded 1930. (France) 2-Malibran 799. - 7600003777997
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V2496. MAX LICHTEGG: A Voice for Generations, incl.Schubert, Schumann, Brahms, Mendelssohn, Mahler, Schoeck, von Puttlingen, Niedermeyer, ben Haim, Ettinger, Moniuszko, Tschaikowsky, Verdi, and many more., etc. (E.U.) 4-Andromeda 9127, incl.44pp. Booklet. - 3830257491279
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V2501. ANITA CERQUETTI, w.Gavazzeni Cond.: Arias from Norma, Agnese di Hohenstaufen, Aïda, I Vespri Siciliani, Nabucco, Ernani, Forza, La Gioconda & Tosca - recorded 1957; w.Gui Cond.: Oberon - Ozean, du Ungeheuer! (in Italian) - Broadcast Performance, 18 Jan., 1956; w.Rossi Cond.: I Vespri Siciliani - Arrigo, ah parli a un core - Broadcast Performance, 16 Nov., 1955; Guglielmo Tell - Selva opaca - Broadcast Performance, 5 Sept., 1956; Arias from La Wally & Andrea Chénier - Broadcast Performance, 26 Jan., 1956 (all w.RAI Orch.). (France) Malibran AMR 121.
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OP3201. GUILLAUME TELL - Excerpts, w. Tony Poncet, Jean Borthayre & Irène Jaumillot. (France) Malibran AMR 125.
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Other Offerings:
New Offerings |
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