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NEW RELEASES REVIEWED IN THIS EDITION A KIRSTEN FLAGSTAD TRIBUTE BORIS GODUNOV 1937 Beethoven Missa Solemnis with Kipnis, Maison, Flagstad, Meisle, Jagel, Pinza, Thorborg, Warren Cincinnati Festival – Goosens, plus Met Opera 1943 / Szell BBC Schubert Recital, Teatro Colón Plus NY Philharmonic concert concerts and recitals. Also fascinating Kipnis-Reiner and scenes from 1951-1953 Oslo concerts will Faust with soloists plus interview; add much to a portrait of a texts about the performance, pho- great vocal artist. tos, recording notes and biogra- (3 CDs for the cost of 2) phies. (3 CDs for the cost of 2) BERLIOZ REQUIEM Our restoration of the famed 1943 French recording conducted by Fournet. This is followed by a world premiere on disc of the Roméo et Juliette Symphony with Nan Merriman, Leopold Si- moneau, and the New York Philharmonic conducted by TANCREDI PASERO Alfred Wallenstein (1961). ERNANI Pasero was a great basso, though The set concludes with a This famed broadcast (Met 1965) shadowed in his career by the even world premiere of the Te offers an electrifying performance greater Chaliapin, Pinza and De An- Deum conducted by Sir conducted by Thomas Schippers featuring Franco Corelli and Leon- gelis. Nonetheless, Pasero was quite Malcolm Sargent with the memorable and this collection offers tyne Price, Mario Sereni and Ce- BBC Symphony Orchestra him in scenes from Mefistofele, the sare Siepi. Good sound with Verdi Requiem (Dies Irae complete and Chorus (1963). Exten- broadcast commentary. Also concerts and recitals sung by Price in with Gigli, Caniglia, Stignani / De sive notes, photos, biogra- phies, this is an music rarely associated with her, Sabata) and arias from varied RAI including scenes from Strauss op- performances and commercial discs. unforgettable tribute to the eras from the BBC. This celebration (3 CDs for the cost of 2.) genius of Hector Berlioz. of Price includes a 1960 interview. 3 CDs 3 CDs DOUBLE PERFORMANCE. Opere buffe series Hilarious, melodic, comic operas sung with charm and much panache by some of the best Italian vocal artists from the 1950s. Good sound for all three performances. Includes a performance of Cimarosa’s Il Maestro di Capella sung by FIORAVANTI: Giuseppe Taddei, RAI Rome, 1953 CIMAROSA: LE CANTATRICE VILLANE (3 CDs for the cost of 2) ASTUZIE FEMMENILI Noni, Bruscantini, Orel, Lazzari, Bruscantini, Sciutti, Alva, Calabrese. RAI 1951 Public Calabrese, others, RAI, Naples performance Teatro del Corte. 1959, Public performance Teatro del Corte. IMMORTAL PERFORMANCES Box 88, Silverton, British Columbia, Canada V0G 2B0 A Federally Chartered, Non-Profit, Educational Organization www.imm ortalperformances.org Email: [email protected] F Phone: (250) 358 2475 F Fax: (250) 358 2499.

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Knoxville: Summer of 1915, Op. 24 Samuel Barber hen Philadelphia’s Curtis Institute much of similar evenings when I was a W of Music opened its doors to receive child at home. its very first students, on October 1, 1924, Samuel Barber was second in line. (It was a In fact, when the composer finally met violinist who managed to pass through the Agee, after he had finished this “lyric rhap- portal before him: Max Aronoff, who would sody,” he discovered that their childhood later become well known as a member of the memories agreed in certain particulars: Curtis String Quartet.) Thanks to his studies there with the baritone Emilio de Gogorza, We both had back yards where our families a Metropolitan Opera colleague of Barber’s used to lie in the long summer evenings, aunt Louise Homer (a contralto), he devel- we each had an aunt who was a musician. oped into a fine baritone himself, and his I remember well my parents sitting on the work under Rosario Scalero refined his tech- porch, talking quietly as they rocked. And nique as a composer. Writing for the voice there was a trolley car with straw seats and represented the perfect confluence of his a clanging bell called “The Dinky” that two musical vocations. Nonetheless, by the traveled up and down the main street. time Barber wrote Knoxville: Summer of 1915 he had become famous thanks less to his songs than to such large-scale works as his In Short two symphonies, concertos for violin and for Born: March 9, 1910, in West Chester, cello, and B-minor String Quartet (especially Pennsylvania when its slow movement took on an inde- pendent life as Adagio for Strings).
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