The Lady

Norbeck, Peters & Ford



 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  
The Unknown 

FERNANDO DE LUCIA has arrived

 from The Record Collector . . . 

Yves St Laurent offers 

HORENSTEIN's 1928 Bruckner 7th, 

 the 1959 CARMEN of JEAN MADEIRA . . .  

plus his 10th Volume of KOUSSEVITZKY . . . 

and our 50% SALE Continues

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Norbeck Peters and Ford_ The Record Collector
 
  

Norbeck, Peters & Ford's Annual 78rpm is now closed.

This auction featured an entire section of which is dedicated to 7" discs, plus many wonderful instrumental and vocal rarities, many of which we're offering for the first time in our 45 years of operation.

You can still view the online version simply click the link below:

 Auction #148 Online Catalog

To download a copy of Auction #148, simply click the link below:

Auction #148 Catalog File Download


This Week's offerings: 

  • FERNANDO de LUCIA: The Unknown Fernando de Lucia - Rarely heard Phonotype Recordings.  (England) 2-The Record Collector TRC 44, recorded 1917-21.  The Elaborate Booklet offers full discographical information & extensive biographical notes by Michael Henstock.  Transfers by Norman White.   (V2510)
"With the great baritone, Battistini, De Lucia is supposed to be a link for us with the so called 'Golden Age', epitomising what is supposed to have been the accepted style and vocal method pertaining to male singers at that time.

What then is the fascination with De Lucia as a vocalist? Even for those listening to his recordings for the first time, he must certainly sound better practiced in singing florid music than many of his fellow tenors, and that, in a time when vocalising fioriture was supposed to be a facility de rigeur in all voice categories. It has been suggested that perhaps the vibrato inherent in his tone was an aid to producing the rapid ornamentation and roulades required by the early 19th century composers. However, without doubt his ability to mould and colour a phrase, and to float and extend the tone so that the listener is forced to wonder what is coming next (even in familiar music), makes many of his contributions on record unique. This not only applies to operatic excerpts but in particular also to his renditions of Neapolitan songs. In concerted items he seems to demonstrate an ability to blend perfectly with other singers, and to draw from them a mirror-like response to his particular way of dealing with the vocal line. Perhaps it was rehearsals, or a close association with those particular artists in live performances, that achieved those results, but it invariably strikes the listener as spontaneous.

Despite the revival of interest in late eighteenth and early nineteenth century works that require expert florid singing, and the current crop of talented tenors now on the international circuit singing those roles in the original keys, with, it must be granted, wonderful facility, expertise and dexterity, and a great deal of cultivated musicianship, the key factor missing is what Italians refer to as 'morbidezza'. This almost indefinable element of 'tenderness' is to be found essentially in the Latin voice, where it is underlined not only by tonal emission, but also seems to be a physical manifestation of the artist's very soul. That is where, with his unmistakable delicacy of utterance and pointed musical nuance, Fernando De Lucia has made his most significant contribution to the art of singing on record."

- Alan Bilgora, 1994


"It was in 1917, shortly after Fernando de Lucia had been enticed from the virtual retirement of several years to make some farewell performances at the Teatro San Carlo, Naples, that his old friend Raffaele Esposito, proprietor of the small Neapolitan recording house of Phonotype, offered him the opportunity of making records for his company. It would be a resumption of a recording career which had started in 1902, with the first of his 69 published titles made for G&T up until 1909, but to which the 30 published Fonotipias of 1911 had seemed to write finis. It would also be the most prolific period of that career, for over the period May 1917 - 1922 De Lucia recorded 301 titles for Phonotype. Most are known in only a handful of copies. Many collectors may never have seen one."

- Dr. Michael Henstock, HISTORIC MASTERS


"During World War II, Italians were called upon to collect metals, particularly copper, for the war effort. Raffaele and Americo Esposito [of Phonotype] knew that their matrices were threatened. Secretly, largely at night, they built a concrete bunker under the garden behind the factory in Via Enrico de Marinis, and there many of the matrices...passed the war years. A few reappeared when peace was renewed, but most remained underground. Raffaele died in 1945, and Americo in 1956. Astonishingly, neither ever revealed to the family the secret of the garden. In 1961, during work to enlarge the factory, a workman's pick struck the edge of the bunker. As Americo's sons...watched, the vault was opened, and the matrices once again saw daylight."

- Michael Henstock, FERNANDO DE LUCIA, p.335



  • JASCHA HORENSTEIN Cond. Berlin Phil.:  Symphony #7 in E (Bruckner).  (Canada)  St Laurent Studio YSL 78-420, recorded 1928, Polydor.  Transfers by Yves St Laurent.   (C1500)
"A champion of modern music and an intellectual and philosophical conductor of a sort not much encountered any more, Horenstein learned from Furtwängler the importance in searching for the metaphysical rather than theoretical meaning of music, and that outlook coincided with his own interest in Eastern philosophy.  As a conductor, Horenstein greatly admired Stokowski for his broad repertoire and the sense of occasion he brought to every performance.  He was intolerant of routine performances, even from the greatest orchestras and, in rehearsal, he would run through large sections of a work to establish coherence and continuity before proceeding to finer details of interpretation.  In the words of his assistant Lazar, '[t]he exceptional unity and cohesion that characterized his performances arose from the way he controlled rhythm, harmony, dynamics and tempo so that each individual moment might achieve the most vivid characterization, but the overall line and cumulative effect would not be lost'.  Horenstein was widely known for his recordings of the Viennese masters, particularly Mahler and Bruckner, and derived inspiration from the interpretations of his idols, Nikisch, Walter, and Furtwängler."

- Roy Brewer, allmusic.com



  • CARMEN, Live Performance, 19 Nov., 1959, w. Paray Cond. Detroit S.O. & Rockham Symphony Choir; Jean Madeira, Brian Sullivan, Marjorie Gordon & Donald Gramm. (Canada) 2-St Laurent Studio YSL T-396. [Remarkably 'alive' broadcast sound quality in this concert version]. Transfers by Yves St Laurent.   (OP3203)
"The fall of 1955 brought Madeira's début at the Vienna Staatsoper in the rôle of Carmen, a triumph resulting in 45 curtain calls. When she sang Carmen at the Metropolitan in 1956, critic Irving Kolodin, writing in the Saturday Review, described her as 'an intelligent artist who gives thought to what she undertakes' and noted her effective use of her striking height. He also praised her portrayal by commenting, 'Mostly it was done with a suggestion of youthful suppleness not often seen'.

In addition to her almost 300 Metropolitan performances in some 41 roles, Madeira continued to appear elsewhere in America and Europe, offering her Carmen at Chicago, where critic Claudia Cassidy praised her as 'svelte, darkly beautiful, with a mezzo soprano streaked in burnt umber and edged with a threat', and at Aix-en-Provence. Her authoritative Erda was heard at Munich, London, and Bayreuth."

- Erik Eriksson, allmusic.com


"A versatile, boyishly good-looking (in his younger days) tenor, Brian Sullivan came from Broadway to spend fourteen seasons with the Metropolitan Opera, beginning with the title role in Benjamin Britten's PETER GRIMES in 1948. Other frequent roles with the company included Alfred in Johann Strauss II's DIE FLEDERMAUS, Tamino in Mozart's ZAUBERFLÖTE, Grigori in Mussorgsky's BORIS GODUNOV, and the title role in Wagner's LOHENGRIN. From what I can glean from the Internet and The Met Archives, Brian Sullivan sang in 162 performances at The Met, including his first performance as Peter Grimes 23 Feb., 1948, and ending with Alceste in 1961. He enjoyed an active career in the United States and Europe."

- Lloyd L. Thoms Jr., 
Greenville, Wilmington, Delaware


"Donald Gramm, a distinguished, aristocratic American bass-baritone, was unusual for an American singer because [his career] was concentrated almost entirely in this country. His work was divided between opera and concert appearances. He sang...with the Metropolitan and New York City Operas, as well with opera companies, symphony orchestras and chamber series all over the country.  Mr. Gramm's reviews were a litany of raves. In 1974, Harold C. Schonberg said in THE NEW YORK TIMES that Mr. Gramm 'could not be faulted' as Sancho Panza in a Boston staging of Massenet's DON QUICHOTTE, and added that 'he never gives a bad performance'. In 1977, Donal Henahan of THE TIMES called Mr. Gramm 'the premiere American male singer of art songs, an important artist at his peak'."
- John Rockwell, 
THE NEW YORK TIMES, 3 June, 1983



  • SERGE KOUSSEVITZKY Cond. Boston S.O.: 'Classical' Symphony #1 in D; The Love for Three Oranges - Scherzo; Marche (both Prokofiev); Symphony #2 in D (Sibelius); Gymnopédie, Nos. 1 & 3 (Satie). (Canada) St Laurent Studio YSL 78-419, recorded 1929-49. Transfers by Yves St Laurent.   (C1501)
"During the difficult years after the 1917 Bolshevik coup and the subsequent civil war, Koussevitzky continued to conduct in Moscow through 1920, when he permanently left for the West. He presented a series of concerts called Concerts Koussevitzky in Paris, again featuring new music: Ravel, Honegger, Stravinsky, and Prokofiev. These concerts included the world premiere of the Ravel orchestration of Mussorgsky's PICTURES AT AN EXHIBITION; it soon became a concert staple in both Europe and America.

In 1924, Koussevitsky was chosen as music director of the Boston Symphony Orchestra. With the BSO, he continued his tradition of championing the new music he found around him, thus giving vital exposure to great American composers, such as Copland, Barber, Bernstein, Carter, Hanson, Harris, and a host of others over the years. During the 1931 season, he commissioned a series of commemorative works for the orchestra's fiftieth anniversary, yielding a treasury that included Stravinsky's SYMPHONY OF PSALMS and Ravel's Piano Concerto in G. Beginning in 1935, he annually brought the orchestra to the summer Berkshire Festival, organized by Henry Hadley in 1934, becoming its music director and making it part of the BSO's operation. Koussevitzky established the Berkshire Music Center (now Tanglewood Music Center) in conjunction with the festival in 1940, making it into one of the premier American educational institutions where young musicians could polish their craft and network. After his wife died in 1941, Koussevitsky set up a foundation to commission works in her memory. Britten's opera PETER GRIMES was one of the first works that resulted."

- Joseph Stevenson, allmusic.com




. . . REPEATED  FROM  THE RECENT PAST  . . .




  • ISTVÁN KERTÉSZ Cond. Cleveland Orch.:  PICTURES AT AN EXHIBITION (Mussorgsky-Ravel), Live Performance, 25 Jan., 1973;  RAFAEL KUBELIK Cond. Cleveland Orch.:  Symphony #8 in c (Bruckner), [in memory of István Kertész], Live Performance, 19 April, 1973 (both Severance Hall).  (Canada) 2-St Laurent Studio YSL T-427.  Transfers by Yves St Laurent.   (C1499)
"An inordinately gifted conductor, István Kertész died at age 43 in a tragic drowning off the Israeli coast.  He had already reached full maturity as a musician, proving his worth in opera, oratorio, and the symphonic repertory.  His interests were wide-ranging, including works from the Classical and Romantic periods and large portions of twentieth century music.  In addition to Bartók, Kertész was an indefatigable champion of works by Stravinsky, Henze, and Britten.  Britten's BILLY BUDD was first presented to German audiences under Kertész's baton and he directed the first performance of the WAR REQUIEM heard in Vienna.  For Ravinia Festival audiences, Kertész directed the WAR REQUIEM with the Chicago Symphony Orchestra & Chorus shortly before his death.  With soloists Phyllis Curtin, Robert Tear, and John Shirley-Quirk, the conductor's shattering interpretation left audience members limp."
- Erik Eriksson, allmusic.com


"A Czech by birth, Rafael Kubelik left his homeland after the Communist takeover in 1948 and lived in London for several years before settling in Switzerland.  He became a Swiss citizen in 1973.  He was the son of Jan Kubelik, one of the great violinists of the early 20th century.

In 1971, Kubelik accepted an invitation from Goeran Gentele, the general manager of the Metropolitan Opera, to become the company's first music director.  Gentele died before Mr. Kubelik's tenure began, with a performance of LES TROYENS in October 1973, and Mr. Kubelik faced criticism for spending too much time in Europe and for being a weak administrator.  In February 1974, five months after his début as director, he submitted his resignation.  He was succeeded by his deputy, James Levine."

- Allan Kozinn, 
THE NEW YORK TIMES, 12 Aug., 1996


  • SAMSON ET DALILA (in English), Live Performance, 7 Dec., 1961, w. Paray Cond. Detroit S.O. & Rockham Symphony Choir; Jean Madeira, Albert da Costa & Chester Ludgin. (Canada) 2-St Laurent Studio YSL T-403. [Remarkably 'alive' broadcast sound quality in this concert version]. Transfers by Yves St Laurent.   (OP3202)

  • PÉNÉLOPE (Fauré), Live Performance, 9 March, 1974, Théâtre des Champs Élysées, w. Paray Cond. ORTF Ensemble;  Liliane Gitton, Guy Chauvet, Ernest Blanc, Robert Massard, Jocelyn Taillon, etc.  (Canada) 2-St Laurent Studio YSL T-416.   Transfers by Yves St Laurent.   (OP3206)
"PÉNÉLOPE is an opera in three acts by the French composer Gabriel Fauré.  The libretto, by René Fauchois, is based on Homer's ODYSSEY.  The Opéra-Comique took PÉNÉLOPE into its repertoire on 20 January, 1919, with a cast including Germaine Lubin in the title role and Charles Rousselière as Ulysse and Félix Vieuille as Eumée, conducted by François Ruhlmann.  Later revivals were conducted by Albert Wolff (1922), Désiré-Émile Inghelbrecht (1924, with Claire Croiza in the title role), and Wolff again in 1927 and 1931, totaling 63 performances. On 14 March, 1943 the Paris Opera staged PÉNÉLOPE, conducted by Ruhlmann, with Lubin in the title role."

- Z. D. Akron


  • ANDREA CHÉNIER, Live Performance, 2 March, 1963 (replete with Milton Cross' closing commentary, stating that this broadcast is dedicated to Mme Milanov on the occasion of her 25th Anniversary with the Met), w.Cleva Cond. Met Opera Ensemble;  Richard Tucker, Zinka Milanov, Anselmo Colzani, Mignon Dunn, Lili Chookasian, Norman Scott, etc.  (Canada)  2-Yves St Laurent T-434.  Transfers by Yves St Laurent.  [This broadcast performance is Milanov's final Met Opera Broadcast, dedicated to her in honor of her 25th Anniversary with the Met.]   (OP3205)
"[In 1963] CHÉNIER was still very much in Milanov's current repertory.  Perhaps there was balm for the soul in her gaining that opera for her final broadcast on 2 March, 1963.   The faithful [Milton] Cross...expresses 'special pleasure' in  dedicating the CHÉNIER broadcast as an anniversary offering to Milanov, 'this great artist and beloved friend.'  Though not planned as a tribute, the performance as a whole is worthy of the soprano....Even when the gloss if off the fabric of her tone, it retains a measure of succulence quite individual and reassuring....Now, when the opulence is diminished but the style remains majestic, the phrasing can sometimes seem a bit ostentatious, since its grand expanse is not filled to the fullest with comparably sumptuous tone....Everything about her performance on this afternoon reveals the diligence of the dedicated artist.  We, who are in her debt, can applaud not only her success on this afternoon, but join Cross at her final bow in saluting her forty-seven [Met] broadcasts...."
- Paul Jackson, 
SIGN-OFF FOR THER OLD MET, pp.492-494


  • LÉOPOLD SIMONEAU, w.Janine Lachance (Pf.):  Songs by Haydn, Mozart, Schubert, Dela & Fauré (the latter's La Bonne Chanson).  (Canada)  St Laurent Studio YSL 33-441, Live Performances, 1965 & 1967, Montréal, from Private Collection of Denis Alarie.  [Another jewel, this time of two recitals, beautifully recorded!]  Transfers by Yves St Laurent.   (V2508)
"Léopold Simoneau was the epitome of the French tenor, meaning that he had a light voice, beautiful diction and a mastery of musical nuance....By the time he made his Met début as Don Ottavio in Mozart's DON GIOVANNI, in 1963, Mr Simoneau was acknowledged as one of the world's leading performers of the role....After initial voice studies in Québec City, he moved to Montréal...where he met Ms Alarie....they were married in 1946...."

- Anne Midgette, 
THE NEW YORK TIMES, 29 Aug., 2006



  • LÉOPOLD SIMONEAU:  Songs by Haydn & Schubert;  PIERRETTE ALARIE:  Songs by Hugo Wolf;  PIERRETTE ALARIE & LÉOPOLD SIMONEAU: Duets by Carissimi, Legrenzi, Perez, Schumann (all w.Janine Lachance (Pf.), Live Performance, 18 Aug., 1967, Montréal Expo, via Radio Canada;  PIERRETTE ALARIE & LÉOPOLD SIMONEAU, w.Mario Bernardi Cond. National Arts Centre Orch.:  Four Haydn Arias - recorded 1970, Ottawa.  (Canada)  St Laurent Studio YSL 33-440, from Private Collection of Léopold Simoneau.  [A jewel of a recital, beautifully recorded!]  Transfers by Yves St Laurent.   (V2507)
"Pierrette Alarie-Simoneau sang in UN BALLO IN MASCHERA, among other operas at the Metropolitan Opera in the 1940s. A coloratura whose light, lyric voice was often described as silvery or crystalline, Mrs. Alarie-Simoneau was known for her dynamic stage presence and refined musical interpretations. She and her husband, the renowned lyric tenor Léopold Simoneau, often performed together and were long considered the first couple of Canadian opera. Mrs. Alarie-Simoneau, who before her marriage in 1946 was billed as Pierrette Alarie, was a winner of the Metropolitan Opera Auditions of the Air in 1945. She made her Met début on 8 Dec., 1945, as Oscar in Verdi's UN BALLO IN MASCHERA. She remained at the Met for three seasons, appearing 26 times between 1945 and 1948. Her other rôles there included Xenia in Mussorgsky's BORIS GODUNOV, Blonde in Mozart's ABDUCTION FROM THE SERAGLIO and Olympia in Offenbach's LES CONTES d'HOFMANN. Reviewing her Olympia in The New York Times in 1946, Olin Downes wrote, 'She has a brilliant coloratura, and good stage business in the representation of the stiff gestures of the mechanistic doll'."
- Margalit Fox, 
THE NEW YORK TIMES, 19 July, 2011



  • FERRUCCIO BUSONI (Busoni's complete recorded discography), ARTHUR FRIEDHEIM, FRANK LA FORGE:  Legendary 78rpm Recordings.  (Canada) St Laurent Studio YSL 78-424, recorded 1911-22.  Transfers by Yves St Laurent.   (P1253)

  • HORACIO GUTIÉRREZ:  24 Préludes, Op.28 (Chopin);  Fantasie, Op.17 (Schumann).  Bridge 9479, recorded 2015, American Academy Of Arts And Letters, New York.  [Since our previous Bridge titles are now at half-price, we offer this new one as well at discount.]   (P1254)
"The Cuban-American virtuoso Horacio Gutiérrez is a legendary figure in the piano world.  After taking the Silver Medal at the 1970 Tchaikovsky International Competition, Gutiérrez embarked on an international touring career that saw performances with nearly all of the world's great orchestras and conductors including Maazel, Rostropovich, Masur, Levine, Rozhdestvensky, Ormandy, Gergiev, Ozawa, Previn, Leinsdorf, Tennstedt, Ashkenazy, Barenboim and numerous others.  Gutiérrez has recorded very infrequently, and these new recordings reveal a great poet-virtuoso at the height of his musical powers."

- Z. D. Akron


  • BRUNO WALTER Cond. Vienna Phil.:  Symphony #100 in G (Haydn);  'Pastorale' Symphony #6 in F  (Beethoven).  (Japan) Opus Kura 2116, recorded 1938 & 1936, resp.   (C1497)


  • MELANIE KURT: Herber Abschied (Silcher); Arias & Duets (w.Matzenauer, Metzger, Urlus, Jörn, Kraus, Feinhals, Knüpfer & Schorr) from Le Prophète, Aïda, Ballo, Cavalleria, Faust, Mignon, Fidelio, Tannhäuser, Der Fliegende Höllander, Tristan, Parsifal, Die Walküre, Siegfried & Götterdämmerung. (Germany) 2-Truesound Transfers 4005, recorded 1910-22, Berlin & New York. Transfers by Christian Zwarg.   (V2504)
"Melanie Kurt manages to impress in a wide variety of music. Amelia's arias from Verdi's UN BALLO IN MASCHERA are delivered with her usual sense of drama and lovely legato. She swells to the higher reaches of the music with no difficulty. Also from her Verdi repertoire, Kurt's Aïda in confrontation with Ottilie Metzger's Amneris is a classic interpretation."

- Andrea Shum-Binder, subito-cantabile



  • VOCAL RECORD COLLECTORS' SOCIETY - 2016 Issue, incl. Jacques Urlus, Germaine Gallois, Franz Birrenkoven, Rosalia Chalia, Ernesto Badini, Rikárd Erdös, Marie Keldorfer, Erik Ole Bye, Friedel (Friedl) Böhm, Emil van Bosch, Emma Scheidl-Hausser, Max Hirzel, Florence Macbeth, Marcelle Denya, José Beckmans, Malcolm McEachern, Margarethe Heyne-Franke, Carolina White, Donald Dickson, Mildred Miller & Mario Binci. VRCS-2016, recorded 1904-54. Transfers by Seth B. Winner.   (V2488)
"The new issue of the VRCS annual CD celebrates the 60th anniversary of the Society and is as full of fascination as ever....Seth Winner's transfers are superb, ideally balancing the removal of surface noise against the retention of high frequencies. The notes and photographs are of excellent quality, and the discographical information included is a pattern which every historical reissue label should copy....This is another issue which should be in any collector's library."

- Paul Steinson, THE RECORD COLLECTOR, 2017


  • NINETEENTH CENTURY ITALIAN TENORS, incl. Fiorello Giraud, Giovanni de Negri, Francesco Signorini, Leopoldo Signoretti, Eduardo Garbin, Alfonso Garulli, Fernando Valero, etc. 3-Marston 53018, recorded 1901-17. Transfers by Ward Marston. Elaborate 51pp Booklet has notes by Michael Aspinall. Dedicated to the memory of the late Richard Warren, Jr., Curator of Historical Sound Recordings, Yale University.   (V2484)
"The original discs have been borrowed from the holdings of a number of noted sources....The superb accompanying booklet, which also contains a number of unusual photographs, has been prepared by Michael Aspinall, who is not only a former singer but vocal art historian and admired singing teacher....He then gives a wonderfully detailed account of the career each of the featured artists, where they sang, their repertoire and, where applicable, the roles they created, putting them firmly into artistic and performing perspective. From a professional standpoint he carefully analyses their recordings and their technique, and any Italian technical terms used when discussing singing are explained for the benefit of the reader....Allowing for the date of these recordings, the results of these transfers will, I am sure, be a revelation, as they display vocal characteristics in timbre and style that have not always been easy to ascertain from some of the previously limited issues of this rare material. I have no doubt that this is one of the most important and informative issues of recordings from those early years of capturing a voice on disc, and should be warmly welcomed, not only by those collectors who favour the tenor voice, but by all who are interested in 'recorded vocal art'."

- Alan Bilgora, THE RECORD COLLECTOR, 2017


  • STEPHEN HARTKE:  The Ascent of the Equestrian in a Balloon;  ALVORADA - Three Madrigals for String Orchestra;  A Brandenburg Autumn;  Muse of the Missouri (all w.GIL ROSE Cond. Boston Modern Orchestra).  BMOP 1052, in gatefold jacket, w.notes & photos.  [This fanciful program is, in ALVORADA, redolent of the harmonies of Benjamin Britten - most delightful, and occasionally very beautiful!]  [Since the 'listed' price is exorbitant, we offer this at half-price.]   (C1498)

 


  • BETTY FISCHER 'Lercherl von Hernals':  Operetta Arias & Duets (w.Max Willenz, Ernst Tautenhayn, Fritz Steiner & Carl Friedrich Sadofsky) by Lehár, Ascher, Bittner, Benatzky, Steininger, Meyer-Helmund, Kutschera, Stolz, Ziehrer, Kálmán, Gruber, Lorens, Oscar Straus & Leo Fall;  1949 Interview with Betty Fischer.  (Germany) Truesound Transfers 5001, recorded 1912-31, plus one Leo Fall title from 1953!  Transfers by Christian Zwarg.   (V2505)
"Betty Fischer contributed significantly to bringing the 'Silver Age' to the operetta succession undertaking leisurely travels to numerous European cities.  She became a star and during 20 years she often appeared with Hubert Marischka and toured all over Europe.  In 1933 she emigrated because of the Nazi threat and it wasn't until 1947 before she returned to Vienna.  During her career she was known as 'Lercherl von Hernals'."
- wien.gv.at



  • HIGH JINKS (Rudolf Friml & Otto Harbach), recorded 1916, w.Howard Talbot Cond. Adelphi Theatre Ensemble;  Maisie Gay, William H. Berry, Peter Gawthorne, Nellie Taylor, Marie Blanche & Violet Blythe.  [The book was a collaboration between Harbach and Leo Ditrichstein, based on the latter's play, 'Before and After', itself an adaptation of a French comedy 'Les Dragées d'Hercule' by Maurice Hannequin and Paul Bilhaud);  Opened at New York's Lyric Theatre, 10 December, 1913, moving to the Casino Theatre 12 January, 1914, ultimately to London, 24 Aug., 1916, running for 383 performances];  additional material by Ada Jones ('All aboard for Dixie Land' [an Edison blue Amberol cylinder]  & Cito's Club Coon Orchestra.  (England) Palaeophonics 142, w.Elaborate 'The Play' 20pp. Brochure replete with numerous photos of the Adelphi Theatre 1916 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities.   (PE0280)

 

 


 
. . . 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

Mercadante, Marais, Coccia, Vivaldi, Cherubini, Spontini, Ricci,

 Vaccaj, Fioravanti, Paisiello, Scarlatti, de Majo, Generali,

 Cavalli, Rameau, Lully, Pergolesi, Cimarosa, Anfossi, Pietri,

 Musinelli, Rossini, Charpentier, Gluck, Handel, Vivaldi,

 Monteverdi, Rossini, Cagnoni, Myslivecek, Mayr, Hasse,

 Meyerbeer, Weckerlin, Nicolai, Marschner, Gurlitt,

 Schreker,  etc. ]  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   ------------------


You can view our current Auction #147 online, 
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,
  
  
simply visit our   sale section of our website 
. . .

  
    
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.
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V2510. FERNANDO de LUCIA: The Unknown Fernando de Lucia - Rarely heard Phonotype Recordings. (England) 2-The Record Collector TRC 44, recorded 1917-21. Booklet offers full discographical information & extensive biographical notes by Michael Henstock. Transfers by Norman White.
   
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C1500. JASCHA HORENSTEIN Cond. Berlin Phil.: Symphony #7 in E (Bruckner). (Canada) St Laurent Studio YSL 78-420, recorded 1928, Polydor. Transfers by Yves St Laurent.


   
  Carmen_ Norbeck Peters and Ford_ St Laurent Studio
OP3203. CARMEN, Live Performance, 19 Nov., 1959, w. Paray Cond. Detroit S.O. & Rockham Symphony Choir; Jean Madeira, Brian Sullivan, Marjorie Gordon & Donald Gramm. (Canada) 2亡t Laurent Studio YSL T-396. [Remarkably 'alive' broadcast sound quality in this concert version]. Transfers by Yves St Laurent.

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 YSL 78-419)

Serge Koussevitzky_ Vol. X_ St Laurent Studio_ Norbeck Peters and Ford
C1501. SERGE KOUSSEVITZKY Cond. Boston S.O.: 'Classical' Symphony #1 in D; The Love for Three Oranges - Scherzo; Marche (both Prokofiev); Symphony #2 in D (Sibelius); Gymnopédie, Nos. 1 & 3 (Satie). (Canada) St Laurent Studio YSL 78-419, recorded 1929-49. Transfers by Yves St Laurent.


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