Norbeck, Peters & Ford
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Palaeophonics' 1917 London Musical
THE BING GIRLS ARE THERE . . .
plus THE BING BOYS ARE HERE (1916) . . .
IKOLAIDI recital . . .
PHILIPPE CUPER . . .
many additions to our regular 50% sale
which continues
- THE BING GIRLS ARE THERE (Clifford Grey & Nat D. Ayer), recorded 1917, w. John Ansell Cond. Alhambra Theatre Enmsemble; Nat D. Ayer, Violet Loraine & Joseph Coyne; Extras by Eric Courtland, Walter Jeffries, Wilkie Bard & De Groot and his Piccadilly Orch. (England) Palaeophonics 136, w.Elaborate 'The Play' 16pp. Brochure replete, with numerous photos of the Alhambra Theatre 1917 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (PE0277)
"THE BING BOYS ARE HERE first opened on 19 April, 1916 starring George Robey and Violet Lorraine, famous for their introduction of the song 'If You Were the Only Girl (in the World)', and Alfred Lester (1894-1925). It was replaced, after 378 performances, on 24 February, 1917 by THE BING GIRLS ARE THERE, with a different cast. It changed once again on 16 February, 1918 to THE BING BOYS ON BROADWAY, with Robey returning to the cast. The total number of performances for all three reviews was well over 1,000, lasting beyond the Armistice in November 1918.
Joseph Coyne, sometimes billed as Joe Coyne, was an American-born singer and actor, known for his appearances in leading roles in Edwardian musical comedy in London. Coyne was born in New York and made his stage début there at Niblo's Garden when he was 16. He appeared for some years in vaudeville, as part of a double-act, and moved to the legitimate theatre, joining the Rose Lyall Dramatic Company.
In 1901, Coyne made his first appearance on the London stage, playing opposite Edna May in THE GIRL FROM UP THERE. After that engagement, he returned to the U.S. until 1906, when he made his second West End appearance. In 1907, he made a great success as Danilo in the original London production of THE MERRY WIDOW, which he followed with a succession of romantic leading roles including Conder in THE DOLLAR PRINCESS (1909), Tony in THE QUAKER GIRL (1910), Teddy in THE DANCING MISTRESS (1912) and Sandy in THE GIRL FROM UTAH (1913).
After the First World War, Coyne played Robert Street in GOING UP (1918), Jimmy Smith in NO NO NANETTE (1925) and T. Boggs John in QUEEN HIGH (1926). Among his leading ladies, THE TIMES listed Edna May, Gertie Millar, Lily Elsie, Constance Collier, Gertrude Lawrence and Binnie Hale.
Coyne's last appearance was in APRON STRINGS at the Vaudeville Theatre in 1931, in the role of Ezra Hunniwell. He settled in Virginia Water, near Windsor, where he died of pneumonia, aged 73.
Violet Loraine went on the stage as a chorus girl at the age of sixteen. Her rise to fame came in April 1916 at the Alhambra Theatre in the musical/revue THE BING BOYS ARE HERE. She was given the leading female part, Emma, opposite George Robey playing Lucius Bing. It became one of the most popular musicals of the World War I era. Her duet with Robey 'If You Were the Only Girl (in the World)' became a 'signature song' of the era and endured as a pop standard."
"A composer, pianist, and performer, before moving to England where his career really took off, Ayer wrote one enduring standard, 'Oh, You Beautiful Doll' (1911), with A. Seymour Brown, and collaborated with Brown on several other numbers such as 'Moving Day In Jungle Town' (1909) (apparently a reference to Theodore Roosevelt's hunting trip to Africa) and 'If You Talk In Your Sleep, Don't Mention My Name' (1911). He also contributed to Broadway musical comedies and revues such as MISS INNOCENCE (1908), THE NEWLYWEDS AND THEIR BABY (1909), THE ECHO (1910), A WINSOME WIDOW and THE WALL STREET GIRL (1912). Ayer's first trip to England was as a member of the Ragtime Octet, at a time when American jazzy and ragtime music - particularly that of Irving Berlin - was beginning to sweep Europe. In 1916 Ayer teamed with lyricist Clifford Grey to write the score for one of the West End's biggest World War I hits, the revue THE BING BOYS ARE HERE, which starred George Robey and Violet Loraine, and contained the immortal 'If You Were The Only Girl In The World', along with 'Another Little Drink Wouldn't Do Us Any Harm' and 'The Kipling Walk', among others. Ayer and Grey followed that with the music and lyrics for THE BING BOYS ARE THERE (1917, 'Let The Great Big World Keep Turning') and THE BING BOYS ON BROADWAY (1918), with its tender ballad, 'First Love, Last Love, Best Love', which was introduced by Robey and Clara Evelyn. As well as composing the music - and sometimes the lyrics - Ayer often appeared on stage himself, notably with Alice Delysia in the revue PELL-MELL (1916, Clifford Grey, Hugh E. Wright) and with Binnie Hale and Gertie Millar in the musical comedy HOUP-LA! (1916, Howard Talbot, Hugh E. Wright, Percy Greenbank). Among the many other London shows to which he contributed were HULLO, RAGTIME (1912, 'You're My Baby' with A. Seymour Brown), 5064 GERARD (1915, 'At The Foxtrot Ball' Dave Comer, Irving Berlin, Henry Marshall, Stanley Murphy, et al.), YES, UNCLE! (1917, Grey), BABY BUNTING (1919, Grey), SNAP (1922, Kenneth Duffield, Herman Hupfeld), 'Shufflin' Along' (with Ralph Stanley), THE SMITH FAMILY (1922) and STOP-GO! (1935, Edgar Blatt)."
- allmusic.com
- THE BING BOYS ARE HERE (Nat D. Ayer; George Grossmith & Edward Laurillard), w.John Ansell Cond. Alhambra Theatre Ensemble; Violet Loraine, George Robey, Mark Lester, Odette Myrtil, Jack Morrison & Nat D. Ayer, etc. (England) Palaeophonics 107, recorded 1916 (with three additional songs sung by the composer, Nat D. Ayer), w.Elaborate 'The Play' 20pp. Brochure replete w.photos from the London production. (PE0208)
"THE BING BOYS ARE HERE, styled 'A Picture of London Life, in a Prologue and Six Panels', is the first of a series of revues which played at the Alhambra Theatre, London during the last two years of World War I. The series included THE BING BOYS ON BROADWAY and THE BING GIRLS ARE THERE. The music for them was written by Nat D. Ayer with lyrics by Clifford Grey, who also contributed to YES, UNCLE!, and the text was by George Grossmith, Jr. and Fred Thompson based on Rip and Bousquet's LE FILS TOUFFE. Other material was contributed by Eustace Ponsonby, Philip Braham and Ivor Novello.
The revue first opened on 19 April, 1916 starring George Robey and Violet Lorraine, famous for their introduction of the song 'If You Were the Only Girl (in the World)', and Alfred Lester (1894-1925). It was replaced, after 378 performances, on 24 February, 1917 by THE BING GIRLS ARE THERE, with a different cast. It changed once again on 16 February, 1918 to THE BING BOYS ON BROADWAY, with Robey returning to the cast. The total number of performances for all three revues was well over 1,000, lasting beyond the Armistice in November 1918. Recordings were made for the Columbia label in London by members of the original cast (Columbia L-1035). Odette Myrtil, playing her violin, also recorded 'The Languid Melody' (Columbia L-1051).
THE BING BOYS ARE HERE was one of the three most important musical hits of the London stage during World War I (the other two being THE MAID OF THE MOUNTAINS and CHU CHIN CHOW); music or scenes from all of these have been included as background in many films set in this period, and they remain intensely evocative of the 'Great War' years. Other hit shows of the period were THEODORE & CO (1916), THE BOY (1917), and YES, UNCLE! (1917). Audiences, which included soldiers on leave, wanted light and uplifting entertainment during the war, and these shows delivered it.
- allmusic.com
- ELENA NIKOLAIDI, w.Fritz Egger (Pf.): Siete Canciones Populares Españolas (de Falla); Das Leben ist ein Traum; Stets sagt die Mutter (both Haydn); w.Carl Cerne (Pf.): Der Sänger (Lavrangas); w.Leopold Ludwig Cond. Vienna S.O.: Arias from Euryanthe, Carmen, Ballo & Il Trovatore; w.Hans Weisbach Cond. Vienna S.O.: Sechs Lieder von der unglücklichen Liebe der edlen Dame Pang Tschi Yü (Bittner). (Austria) Radio Österrich ORF 30. (V2475)
"Elena NIikolaidi was a noted Greek-American opera singer and teacher. Nikolaidi sang leading mezzo-soprano roles with major opera companies worldwide and made numerous recordings. She made her début with orchestra in Athens in a performance conducted by Dimitri Mitropoulos. Her first stage appearance was in the premiere of THE GHOST BRIDGE by Theophrastos Sakellaridis.
In 1936, Nikolaidi traveled to Vienna to compete in the Belvedere vocal competition. She placed fourth but earned a second hearing with the great conductor Bruno Walter, which resulted in her being cast as Princess Eboli in Verdi's DON CARLOS with the Vienna State Opera on16 December, 1936. She became a star in Vienna; after one performance as CARMEN she received an ovation reported as being between 15 and 30 minutes in length-the longest ever recorded there. In 1948, Nikolaidi came to the United States with her husband and their son. She made her Town Hall début recital in New York in 1949. The following morning, Jerome D. Bohm of the NEW YORK HERALD TRIBUNE wrote: 'In 20 years of music reviewing and in twice that number spent in listening to most of the world's best singers, I have encountered no greater voice or vocalist'; THE NEW YORK TIMES critic wrote of her 'rare brilliance'. She made her American operatic début as Amneris in Verdi's AÏDA with the San Francisco Opera and reprised the role for her Metropolitan Opera début in 1951, alongside the debut of George London. In the early 1960s she retired from opera but continued concertizing extensively for a number of years."
- Ned Ludd
- PHILIPPE CUPER - The Complete Works of Louis Cahuzac (incl.several world premiere recordings). (Germany) Clarinet Classics CC 0065, recorded 24 Feb., 2002, Paris. (W0020)
"An important new recording of the complete works of Louis Cahuzac played by Philippe Cuper (Principal Clarinet of the Paris National Opera Orchestra and international soloist on his third CD for Clarinet Classics), who has direct professorial lineage from Louis Cahuzac. One of the great clarinet players of the 20th century, Cahuzac was also prolific as a recording artist. His work as a composer is less widely known, so it is with particular pride that Clarinet Classics presents the only current CD devoted to his music."
- Ned Ludd
"Philippe Cuper is one of the best representatives of the clarinet, soloist, chamber,and orchestral musician ... in all areas he plays with the same ease, the same comforting serenity."
-Le Monde de la Musique
"Philippe Cuper is a French clarinetist considered to be one of the best representatives of the current French clarinet school. Cuper received his early training from Gilbert Voisin (who in turn was a disciple of Louis Cahuzac). Cuper also attended various summer schools taught by Jacques Lancelot.
At the age of 20, he was principal clarinet in Paris Concerts Lamoureux Orchestra. He continued studying the clarinet under Guy Dangain as well as studying musicology at the Sorbonne Paris University. In 1980, Cuper graduated 'summa con maxima lauda' from the clarinet class of Guy Deplus at the Paris Conservatoire, he was awarded a 'Premier Prix', first named with unanimous vote of the jury for clarinet and also for chamber music in 1981. He then joined in 1980 the Orchestre de la Garde Republicaine as well as the World Youth Orchestra. All the while he continued to study the clarinet with Henri Druart and consulted with André Boutard and Stanley Drucker.
From 1984 he became Principal Clarinet ('Supersoliste') with the Opéra national de Paris Orchestra."
-Wikipedia
. . . repeated from the recent past . . .
- AS YOU WERE (Arthur Wimperis & Herman Darewski), recorded 1918, w. Herman Darewski Cond. London Pavilion Ensemble; Alice Delysia, Daisy Hancox, C. Hayden Coffin, Mona Vivian, Clifford Morgan & John Humphries; Additional material by Alice Delysia (whose 1933 reprise of her 'If you could care for me' [as a solo, from 'Alice Delysia Memories'] alone is worth the price of the CD! Her use of portamento is beguiling]) & Mayfair Dance Orch. (England) Palaeophonics 139, w.Elaborate 'The Play' 16pp. Brochure replete, with numerous photos of the London Pavilion 1918 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (PE0276)
"AS YOU WERE, a fantastic revue by Arthur Wimperis (adapted from Rip's PLUS ÇA CHANGE), with music by Herman Darewski, opened at the London Pavilion 3 Aug.,1918 and ran for 434 performances.
After appearing in several stage productions in Paris, Alice Delysia played on Broadway in the chorus of THE CATCH OF THE SEASON (1905). Leading roles soon followed and in 1912 she was back in Paris for THE QUAKER GIRL and other productions. Upon her return to London she took advantage of numerous opportunities to play in revues and musical comedies, especially in adaptations of French works. One of these was AFGAR, OU LES LOISIRS ANDALOUS (1919), in which she also appeared in the USA the following year. Delysia was the star of AS YOU WERE (London Pavilion, 3 August 1918) and as such played a series of characters representing the beauties of all time, including Helen of Troy and Ninon de l'Enclos. Another American production in which she appeared was THE COURTESAN (1923) but from the mid-20s and through into the mid-30s she was mostly to be seen in London's West End in a succession of revues and musical comedies, among them PRINCESS CHARMING (1926), THE CAT AND THE FIDDLE (1932), MOTHER OF PEARL (1933) and AT THE SILVER SWAN (1936). From then onwards until her retirement Delysia performed mostly in non-musical plays, although she also toured variety theatres and gave song recitals."
- allmusic.com
- ARTURO BENEDETTI MICHELANGELI: Scarlatti, Galuppi, Brahms, Grieg, Debussy, Albéniz & Mompou; w.Galliera Cond. La Scala Orch.: Concerto in a (Grieg). (Canada) St Laurent Studio YSL 78-371, recorded 1941-48. Transfers by Yves St Laurent. (P1232)
"Michelangeli ranks among the grandest of all musical autocrats. And when his transcendent mastery is complimented by warmth, wit and charm, such additions are beyond price...."
- Bryce Morrison, GRAMOPHONE, March, 2009
"Michelangeli engaged in an intimate, one-on-one dialogue with the music, and he could only appear on stage if the conditions were in harmony with his sense of perfection ... The fascinating sculptural quality of Michelangeli's pianism can sometimes be mistaken for coldness, but appearances can be deceptive, as was the case for the man himself. The ice must be broken if we are to appreciate the true density and honesty of his interpretations."
- Alain Cochard, PIANISTE
"Michelangeli had an ability to evoke a colour world in which he achieved astonishing effects, combining sustained sound with a pearly clarity. He could mould the texture like melted wax into the subtlest shapes."
- THE INDEPENDENT
- ALEXIS WEISSENBERG: Prelude & Fugue in a (Bach); Piano Sonata in E-flat (Haydn); Sonata in d, #24; Sonata in d; Sonata in c-sharp (all Soler); Variations On A Theme By Rode, Op.33 'La Ricordanza' (Czerny). (Canada) St Laurent Studio YSL 33-363, from Lumen LD 3-400, recorded 1950s. Transfers by Yves St Laurent. (P1231)
"Alexis Weissenberg, a charismatic Bulgarian-born pianist known for his thundering aggressiveness and rational detachment at the keyboard, and for his unapologetic defense of those traits in interviews, appeared as a soloist with the world's leading orchestras, played recitals on celebrated stages and made many recordings. A naturalized French citizen, he was a Romantic specialist, most closely associated with Schumann, Chopin and perhaps especially Rachmaninoff, whose percussive pyrotechnics suited him.
Mr. Weissenberg's cool yet blazing approach divided reviewers. Where some heard impeccable technique, others heard soulless efficiency. Where some embraced the drama of his interpretations, others condemned them for aggressiveness. On these points, however, nearly everyone agreed: Mr. Weissenberg possessed a technical prowess rivaled by few other pianists. The ice of his demeanor at the keyboard (he sat, leaned forward and got down to business, playing with scarcely a smile or grimace) was matched by the fire that came off the keys. He could play very fast, and very loud. (Over time, verbs used to characterize his pianism included 'barrel', 'tear', 'thunder' and 'let loose').
Reviewing a 1982 Carnegie Hall recital by Mr. Weissenberg, in THE NEW YORK TIMES Bernard Holland called his rendition of Bach's Chromatic Fantasy 'chillingly scientific'. He added: 'It was anatomy instruction conducted by a master - a brilliant dissection of cold, gray, gleaming flesh, from which every trace of living blood had been conscientiously squeezed away'.
To his critics, Mr. Weissenberg had no shortage of articulate rejoinders. In a 1983 interview with THE GLOBE AND MAIL OF CANADA, he had this to say about his unemotional stage demeanor: 'You cannot lose your control physically and be precise as to what your hands do. Can you imagine a surgeon operating on somebody, and swooning and looking up at the ceiling and being very excited about it? The patient would die. That is what happens in music too. The patient dies, because there's too much going on besides the actual performance'.
In any case, as reviews over many years made clear, Mr. Weissenberg did sometimes give performances, or make recordings, that were simply, electrically, unequivocally breathtaking.
- Margalit Fox,
THE NEW YORK TIMES, 9 Jan., 2012
- PIERRE BOULEZ Cond. Boston S.O.: Symphonies of Wind Instruments (Stravinsky); Three Pieces for Orchestra, Op.6 (Berg) - Live Performance, 11 Feb., 1969, Symphony Hall; PIERRE BOULEZ Cond. Cleveland S.O., w.LEONARD ROSE: Cello Concerto in a (Schumann), Live Performance, 28 July, 1969, Blossom Festival; Interview with Pierre Boulez. (Canada) St Laurent Studio YSL T-361. Transfers by Yves St Laurent. (C1448)
- PIERRE BOULEZ (Vol. III) Cond. Cleveland S.O.: Symphony #26 in d (Haydn); Symphony #4 in c (Schubert), Live Performance, 2 Dec., 1972, Severance Hall; PIERRE BOULEZ Cond. NYPO: Gymnopédies Nos. 1 & 3 (Satie); w.GERARD SCHWARZ: Trumpet Concerto in E-flat (Haydn), Live Performances, 1975-76, Avery Fisher Hall. (Canada) St Laurent Studio YSL T-351. Transfers by Yves St Laurent. (C1447)
- PIERRE BOULEZ (Vol. I) Cond. Cleveland S.O.: Symphony #3 in D (Schubert), Live Performance, 18 March, 1971, Severance Hall; Manfred - Overture; Symphony #3 in E-flat (both Schumann), Live Performance, 17 July, 1971, Blossom Music Festival. (Canada) St Laurent Studio YSL T-348. Transfers by Yves St Laurent. (C1437)
- BRUNO MADERNA (Vol. II) Cond. Boston S.O.: Symphony #1 in c (Brahms), Live Performance, 21 July, 1972, Tanglewood; Symphony #2 in B-flat (Schubert), Live Performance, 11 July, 1971, Tanglewood. (Canada) St Laurent Studio YSL T-360. [Among the most ecstatic, thrilling and emotive interpretations of the Brahms Symphony you'll ever hear, performed before a duly excited and committed audience!] Transfers by Yves St Laurent. (C1446)
- BRUNO MADERNA (Vol. I) Cond. Cleveland S.O.: Symphony #2 in C (Schumann); w.EARL WILD (Pf.): Hungarian Fantasy (Liszt). (Canada) St Laurent Studio YSL T-359, Live Performance, 5 Aug., 1972, Blossom Music Festival; Interview with Bruno Maderna. [Among the most heartfelt and beautiful interpretations of the Schumann Symphony you'll ever hear!] Transfers by Yves St Laurent. (C1440)
- PRO ARTE QUARTET: Orientale (Glazunov); Quartet #2 in D (Borodin); w.Alfredo Casella: Piano Quintet #1 (Bloch). (Canada) St Laurent Studio YSL 78-369, recorded 1933. Transfers by Yves St Laurent. (S0694)
- ARTUR SCHNABEL: Sonata #1 in f, Op.2, #1; Sonata #10 in G, Op. 14, #2; Sonata #28 in A, Op.101, #28 (all Beethoven), recorded 1934. (Canada) St Laurent Studio YSL 78-368. Transfers by Yves St Laurent. (P1229)
- ARTHUR RUBINSTEIN, w.John Barnett Cond. L.A. Standard S.O.: Rhapsody on a Theme of Paganini; John Barnett Cond. Standard S.O.: Delibes, Griffes, Chopin, Benjamin, Sowerby & Johann Strauss. (Canada) St Laurent Studio YSL 33-356, Broadcast Performance, 22 May, 1949. Transfers by Yves St Laurent. (P1228)
- ARTHUR de GREEF: Grieg Recital - recorded 1929 & 1929; w.Landon Ronald Cond. London S.O.: Concerto in a (Grieg), recorded 18 Jan., 1927; Concerto #2 in A (Liszt), recorded 1930. (Canada) St Laurent Studio YSL 78-365. Transfers by Yves St Laurent. (P1230)
- CLAUDIO ARRAU, Vol.IV: Chopin Recital, (partially with Thomas Scherman Cond. Little Orchestra Society Orch.); Kreisleriana (Schumann). (Canada) St Laurent Studio YSL 78-355, recorded 1938 & 1947. Transfers by Yves St Laurent. (P1227)
- KAREL ANCERL Cond. Boston S.O.: MA VLAST (Smetana), Live Performance, 8 Aug., 1969, Tanglewood - [The first complete performance by the Boston Symphony Orchestra (under a stormy sky, thunder included)! A duly thrilling event captured in glorious sound!] (Canada) St Laurent Studio YSL T-340. Transfers by Yves St Laurent. (C1436)
- KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: Symphony #8 in c (Bruckner). (Canada) St Laurent Studio YSL T-332, Live Performance, 20 Dec., 1974, Symphony Hall, Boston. [This glorious live performance beautifully displays the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1425)
"What we have here is a release of a radio broadcast [which] comes with the weight of representing the ignition point of one of the great conducting careers of the last quarter of the twentieth century. St. Laurent Studios has done its usual superb job of restoration; the original broadcast sound was well balanced and rich, but with a bit of congestion at climaxes....music lovers are in their debt for this extraordinary release."
- Henry Fogel, FANFARE
- NORMA, Live Performance, 26 Oct., 1963, w.Bonynge Cond. Vancouver Opera Ensemble; Joan Sutherland, Marilyn Horne, John Alexander, Richard Cross, etc.; JOAN SUTHERLAND: Rare Broadcast Arias & Scenes, 1957-68, from Die Meistersinger, Alcina, Lucia, La Traviata, Rigoletto & Tosca - also featuring Jon Vickers, Nicolai Gedda, James Pease, Gabriel Bacquier, Tito Gobbi, John Lanigan, Noreen Berry, Mildred Miller, etc. (Canada) 3-Immortal Performances IPCD 1055, w.50pp Elaborate Booklet, w.Notes by Henry Fogel & Richard Caniell; Audio restoration by Richard Caniell. Sutherland's role début in a much celebrated performance taken from the house lines. Extensive texts, lush with many rare photographs of the production. (OP3178)
"The role of Norma is one of the most challenging that a soprano can confront and Sutherland was one of the most important proponents of that role in the second half of the twentieth century....There is nothing tentative about any aspect of her singing here. It is true, as has often been noted, that Sutherland did not display the unique kind of vocal acting that one heard from Callas. But it is in no way true that her Norma is a bland exercise in vocalism for the sake of a pretty sound. The combination of rage, hurt, tenderness, and humiliation that Norma experiences in this opera is present throughout Sutherland's performance. Her interactions with Marilyn Horne's brilliant Adalgisa are, in fact, alive and fully nuanced."
- Henry Fogel
- FAUST (in German), recorded 1908, w.Seidler-Winkler Cond. Berlin Hofoper Ensemble; Emmy Destinn, Karl Jörn, Marie Goetze, Desider Zador & Paul Knüpfer: EMMY DESTINN: ten most revered recordings from the period 1906 to 1910. 2-Marston 52074. Transfers by Ward Marston. (OP3180)
"One of our early releases was the 1908 recording of Bizet's CARMEN sung in German by a cast headed by the larger-than-life Bohemian soprano, Emmy Destinn.
During that year she also participated in a similar recording of Gounod's FAUST, which in Germany was titled MARGARETHE to differentiate it from Goethe's revered masterpiece. We have, over the years, received requests from our customers to reissue this earliest recording of Gounod's opera, and we have finally issued this recording as a two-CD set. The cast includes tenor Karl Jörn, mezzo Marie Goetze, baritone Desider Zador, and bass Paul Knüpfer. The orchestra and chorus are in the capable hands of Bruno Seidler-Winkler.
Michael Aspinall's informative essay includes biographical information on the singers and a thorough critical analysis of the performance. The second CD concludes with ten of Emmy Destinn's most revered recordings from the period 1906 to 1910."
- Marston
- GIANNA PEDERZINI - Biography by Maurizio Tiberi. Roma, 2-TIMA Club, 2016. 439pp. in Two Volumes; Index; Exhaustive Chronology, 1923-72; Discography, 1928-49; Repertoire; copious Photos, many never before in print; Illustrated with concert & opera program reproductions, newspaper articles & reviews, plus delightful caricatures. (Italian Text) (Pictorial thick paper covers) (B1860)
"Gianna Pederzini had personality and charisma and was a great artist. Her voice was beautiful: round and dark. When I sang CARMEN with her, in 1953, she was no longer young, but she still had an exceptional figure. She had strong eyes, green, the color of steel. She was a beautiful woman-beautiful face, beautiful nose, the most beautiful legs in opera. She knew how to be beautiful and to impose her beauty in the theater. She was a real woman. I was lost in her arms."
- Franco Corelli, OPERA FANATIC, 20 July, 1991
. . . more out-of-print CDs [Various MET Operas,
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, Toscanini
and the
Metropolitan Opera] have been added at
the
beginning of each completely revised book
section . . .
more coming in the next months . . .
. . . and our 50% Discount Sale continues . . .
----------------- 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.
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PE0277. THE BING GIRLS ARE THERE (Clifford Grey & Nat D. Ayer), recorded 1917, w. John Ansell Cond. Alhambra Theatre Enmsemble; Nat D. Ayer, Violet Loraine & Joseph Coyne; Extras by Eric Courtland, Walter Jeffries, Wilkie Bard & De Groot and his Piccadilly Orch. (England) Palaeophonics 136, w.Elaborate 'The Play' 16pp. Brochure replete, with numerous photos of the Alhambra Theatre 1917 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities.
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PE0208. THE BING BOYS ARE HERE (Nat D. Ayer; George Grossmith & Edward Laurillard), w.John Ansell Cond. Alhambra Theatre Ensemble; Violet Loraine, George Robey, Mark Lester, Odette Myrtil, Jack Morrison & Nat D. Ayer, etc. (England) Palaeophonics 107 (with three additional songs sung by the composer, Nat D. Ayer), w.Elaborate 'The Play' 20pp. Brochure replete w.photos from the London production.
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V2475. ELENA NIKOLAIDI, w.Fritz Egger (Pf.): Siete Canciones Populares Españolas (de Falla); Das Leben ist ein Traum; Stets sagt die Mutter (both Haydn); w.Carl Cerne (Pf.): Der Sänger (Lavrangas); w.Leopold Ludwig Cond. Vienna S.O.: Arias from Euryanthe, Carmen, Ballo & Il Trovatore; w.Hans Weisbach Cond. Vienna S.O.: Sechs Lieder von der unglücklichen Liebe der edlen Dame Pang Tschi Yü (Bittner). (Austria) Radio Österrich ORF 30. - 9004629301020
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W0020. PHILIPPE CUPER - The Complete Works of Louis Cahuzac (incl.several world premiere recordings). (Germany) Clarinet Classics CC 0065, recorded 24 Feb., 2002, Paris. Final Copy! - 5023581006525
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Other Offerings:
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