High-Fidelity-1957-J

Total Page:16

File Type:pdf, Size:1020Kb

High-Fidelity-1957-J The Beethoven Symphonies on Microgroove Reappraised a discagaphy by C. G. BURKE 4.; liNUaRT - _=-..'a: ea __ _, === ;__.._z__._. ---I MI `. a: i:M i S www.americanradiohistory.com now you can meet every tape recording need with this AÖMPLE 1L LI E ,.....1... 1. PLASTIC -BASE AUDIOTAPE on 11/2-mil cel- 6. COLORED AUDIOTAPE on green or blue 1'/2- 12. AUDIO HEAD DEMAGNETIZER removes all lulose acetate meets the most exacting require- mil plastic base provides fast, easy color cueing permanent magnetism from recording and re- ments of the professional, educational and home and color coding, at no extra cost. producing heads in a matter of seconds. recordist at minimum cost. Known the world over for matchless performance and consistent 7. COLORED AUDIOTAPE REELS - 7" and 5" 13. AUDIO HEAD CLEANER, especially formu- uniform quality. Series 51, in the red box. reels in jewel -tone colors - red, yellow, green lated for use on magnetic recording heads - and blue - for color coding, at no extra cost. superior to carbon tetrachloride. 2. AUDIOTAPE ON 11/2-MIL MYLAR* - a pre- mium- quality professional tape with maximum 8. HEAD ALIGNING TAPE pre -recorded with 14. ADHESIVE REEL LABELS provide positive mechanical strength and immunity to heat and precise head alignment, giving a highly ac- identification of your tapes right on the reel. humidity. Will not dry out or embrittle with curate reference for aligning recording heads. Press to apply, pull off to remove. age. Series 71, in the green box. 9. TYPE "EP" AUDIOTAPE provides extra pre- 15. AUDIO SELF -TIMING LEADER TAPE A strong, cision and guaranteed 3. "LR" AUDIOTAPE ON 1 -MIL "MYLAR" - freedom from defects, for durable leader tape of white "Mylar" with 50% more recording time per reel. Strong, su- computers, telemetering and high-speed mag- spaced markings for precise timing of leader intervals. per- durable polyester film base assures trouble - netic data recording. free operation even under extreme heat and 10. AUDIOFILM humidity. Series 61, in the black and red box. extends Audiotape's unsur- passed sound quality to motion picture and TV 4. PLASTIC -BASE "LR" AUDIOTAPE provides film recording. Available in 35mm, 17' /2mm New 5 -Reel 50% more recording time on low -cost 1 -mil and 16mm sizes. cellulose acetate base, affording maximum econ- Cellophane 11. "HOW omy where high strength is not required. Series TO MAKE GOOD TAPE RECORD- INGS" Package 41, in the blue box. The complete handbook of tape record- ing, containing 150 pages of up -to- the -minute gives extra protection 5. SUPER -THIN AUDIOTAPE on '/2 -mil "Mylar" information of practical value to every tape re- against dust and gives twice as much recording time per reel as cordist. $1.50 paper bound, $2.50 cloth bound. dirt - keeps tape and boxes factory fresh. standard plastic -base tape. For long -play appli- cations where tape tension is not excessive. Ask your dealer for genuine, professional -quality Audiotape Series 31, in the yellow box. ... it now costs no more than ordinary tape! AUDIO VI CE*, Inc. Madison *DuPont Blade Mark dA Offices in Hollywood - Chicago Export Dept., 13 E. 40th St., New York, N.Y. i www.americanradiohistory.com BUILD YOUR OWN FINE Jenen HI -FI SP EAKER SYSTEM COMPLETE KITS NOW AVAILABLE -EVERYTHING YOU NEED NO SAWING ... NO DRILLING ... NO WOOD FINISHING ... NO SOLDERING Cabinort K -t05 with P -205 Prefinished Dress Kit odded. Cabinort K -105 Basic Cabinet Kit Cabinart P -205 Prefinished Dress Kit - Grille Cloth Included Jensen KT32 loudspeaker Klt sie YOU SAVE UP TO 5252.50 - YOU DON'T HAVE TO BE A TECHNICIAN YOU DON'T NEED A WORKSHOP YOU DON'T HAVE TO BE A FURNITURE FINISHER *Compared with factory -built J Imperial reproducer carefully pretested, The proud owner of the Jensen 3 -way hi -fi speaker system illustrated Jensen Speaker units are matched components, which the handsome low boy cabinet in a few hours in bis living with the smooth, balanced, wide-range performance for assembled Kits room with no tools except a screwdriver, pliers and a stapler. No Jensen factory -made reproducers are famous. Cabinart Cabinet cutting, sawing, or soldering. And the wood finishing? He just were designed by Jensen to give the best possible acoustic perform- wiped off the finger prints, for the beautiful genuine selected hard- ance with Jensen Loudspeaker Kits; each is carefully coordinated wood was factory pre- finished and rubbed by professional finishers. with the recommended Jensen Loudspeaker Kit for correct loading accu- Best of all, be saved nearly $100 compared with cost of the equiva- of the low frequency channel ( "woofer "). Wood pieces are lent factory -built speaker system. rately cut and drilled, with all cut -outs provided. Hardware, cleats You can have the fun and satisfaction of building your own Jensen and glue are included with complete instructions for easy assembly. speaker system with size and performance ranging all the way from If you like, you can start with the Basic Cabinet Kit of your choice, the diminutive, economical Duette up to the big incomparable add the Prefinished Dress Kit later. Imperial at savings which will stretch your hi -fi equipment budget. Here's your way to finest hi -fi speaker performance at least cost! Jensen and Cabinart with their specialized skills have collaborated Ask your dealer, or write now. to make this easy and trouble -free. Everything you need is furnished. Cabinart Cabinet Kits Equivalent Speaker Kit Basic Dress System "Woofer" Jensen Cabinet Price Kitt Price Type Size Reproducer Model Price Type Kit K -101 P -201 $54.00 3 -Way 15" Imperial KT-31 $184.50 Corner* Horn $89.00 K -103 48.00 P -203 39.00 3 -Way 15" Triplex KT-32 169.50 Corner* Bass-Ultraflex P . K -105 48.00 -205 39.00 3 -Way 15" Triplex KT-32 169.50 Low Boy Bass -Ultraflex 48.00 P -203 39.00 2 -Wayt 15' KT-21 99.50 Corner*Bass-Ultraflex K -103 K -105 48.00 P -205 39.00 2 -Wart 15" KT -21 99.50 Low Boy Bass-Ultraflex - Boss K -107 39.00 P -207 36.00 2 -Wayt 12" Concerto KT-22 73.00 Corner* -Ultraflex P -209 36.00 2 -Wayt 12" Concerto KT-22 73.00 Low Boy Bass -Ultraflex K -109 39.00 K -111 23.00 P -211 25.00 2 -Wayt 8" Contemporary KDU -10 24.75 Corner* Bass -Ultraflex P -213 21.00 2 -Way 8" Duette Treasure Chest KDU -10 24.75 Duette K -113 18.00 *Gives excellent results against sidewall. Bass-Ultraflex is a J trademark. Kit, e t Cabinet provides for expansion to 3 -way system at any time with Jensen KTX -I Range stender Supertweeter pri $43.75. t Available in Mahogany or Korina Blonde. Cabinet Kits write: For information about J Spanker Kits writs: For information about Cabinart ensen CABINART MANUFACTURING COMPANY The Pioneers in Nigh Fidelity Rodio Furniture Division of The Muter Company H Products Co ., Inc. 6601 SOUTH LARAMIE. CHICAGO 38, ILLINOIS A Division of G 8 Wood 11, N, Y. In Canada: Copper Wire Products Co., Ltd. 99 North 11th Street, Brooklyn JANUARY i957 I www.americanradiohistory.com to look for the When your authorized Pickering Dealer is demon- into the air at a low velocity- instead of at a high strating the revolutionary new ISOPHASE SPEAK- velocity as in ordinary speakers. In addition, the ER, please, don't look behind it for the orchestra. ISOPHASE generates sound in phase from the entire Take our word for it -these magnificently realistic surface of its large curved diaphragm -instead of sounds are coming from the curved diaphragm it- from a point source as in conventional cone speak- self. "Unbelievable," "extraordinary," "breathtak- ers. Thus the sound reproduced by the ISOPHASE ing," and "window -on- the -studio quality" are some closely approximates the unit -area energy of the of the comments we've heard from dealers and cus- original sound entering the microphone in the tomers alike. But don't be persuaded by mere words studio or concert hall. alone. Hear it for yourself. Unlike ordinary speakers, the ISOPHASE does not The Pickering ISOPHASE SPEAKER uses the elec- "break up" at high frequencies. And because of the trostatic principle to recreate musical sounds with inherent linearity of the push -pull electrostatic de- a degree of realism unattainable in conventional sign, harmonic and intermodulation distortion are speakers. virtually nonexistent-a tremendous advantage over conventional speakers. For further details, please The ISOPHASE reintroduces the original sound write Department H -13. PICKERING at CO., INC. O C E A N S I D E , N . Y. ! Professional Audio Components oz1iodeíicam Z etemee" Demonstrated and sold by Leading Radio Parts Distributors everywhere. For the one nearest you and for detailed literature: write Dept. H -13 EXPORT AD. AURIEM A. INC.. 89 BROAD ST.. NEW YORK / CANADA: CHARLES W. POINTON LTD.. 6 ALCINA AVE.. TORONTO HIGH FIDELITY MAGAZINE www.americanradiohistory.com High .?fidelity T H E M A G A Z I N E 1 O R .Nl l ' ti 1 C L I S T E N E R S According to a New York 1957 This Issue. Volume -' 1\unl1)t r i January record retailer, interviewed last November in The Billboard, the brand new record buyer - currently called in the trade the Letters 4 man behind the boom" - tends to select his disks on the basis of how lately they Noted With Interest Ió came out. This points up an endless task for us (us meaning, here, HIGH FIDELITY and other record reviewing publications).
Recommended publications
  • Musica Lirica
    Musica Lirica Collezione n.1 Principale, in ordine alfabetico. 891. L.v.Beethoven, “Fidelio” ( Domingo- Meier; Barenboim) 892. L.v:Beethoven, “Fidelio” ( Altmeyer- Jerusalem- Nimsgern- Adam..; Kurt Masur) 893. Vincenzo Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Aragall- Zaccaria; Abbado) 894. V.Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Monachesi.; Abbado) 895. V.Bellini, “Norma” (Caballé- Domingo- Cossotto- Raimondi) 896. V.Bellini, “I Puritani” (Freni- Pavarotti- Bruscantini- Giaiotti; Riccardo Muti) 897. V.Bellini, “Norma” Sutherland- Bergonzi- Horne- Siepi; R:Bonynge) 898. V.Bellini, “La sonnanbula” (Sutherland- Pavarotti- Ghiaurov; R.Bonynge) 899. H.Berlioz, “La Damnation de Faust”, Parte I e II ( Rubio- Verreau- Roux; Igor Markevitch) 900. H.Berlioz, “La Damnation de Faust”, Parte III e IV 901. Alban Berg, “Wozzeck” ( Grundheber- Meier- Baker- Clark- Wottrich; Daniel Barenboim) 902. Georges Bizet, “Carmen” ( Verret- Lance- Garcisanz- Massard; Georges Pretre) 903. G.Bizet, “Carmen” (Price- Corelli- Freni; Herbert von Karajan) 904. G.Bizet, “Les Pecheurs de perles” (“I pescatori di perle”) e brani da “Ivan IV”. (Micheau- Gedda- Blanc; Pierre Dervaux) 905. Alfredo Catalani, “La Wally” (Tebaldi- Maionica- Gardino-Perotti- Prandelli; Arturo Basile) 906. Francesco Cilea, “L'Arlesiana” (Tassinari- Tagliavini- Galli- Silveri; Arturo Basile) 907. P.I.Ciaikovskij, “La Dama di Picche” (Freni- Atlantov-etc.) 908. P.I.Cajkovskij, “Evgenij Onegin” (Cernych- Mazurok-Sinjavskaja—Fedin; V. Fedoseev) 909. P.I.Tchaikovsky, “Eugene Onegin” (Alexander Orlov) 910. Luigi Cherubini, “Medea” (Callas- Vickers- Cossotto- Zaccaria; Nicola Rescigno) 911. Luigi Dallapiccola, “Il Prigioniero” ( Bryn-Julson- Hynninen- Haskin; Esa-Pekka Salonen) 912. Claude Debussy, “Pelléas et Mélisande” ( Dormoy- Command- Bacquier; Serge Baudo). 913. Gaetano Doninzetti, “La Favorita” (Bruson- Nave- Pavarotti, etc.) 914.
    [Show full text]
  • TEATRO SOLVAY SPETTACOLI LIRICI Direzione Artistica Dino Lessi
    TEATRO SOLVAY SPETTACOLI LIRICI Direzione Artistica Dino Lessi 1940 Rigoletto baritono Mario Basiola, soprano Lina Aimaro, tenore Carlo Merino, direttore Arturo Lucon 1941 La Traviata soprano Magda Olivero, tenore Mario Filippeschi, baritono Gino Vanelli, direttore Arturo Lucon Andrea Chenier tenore Galliano Masini, soprano Fernanda Ciani, baritono Luigi Borgonovo, direttore Arturo Lucon 1942 Il Barbiere di Siviglia baritono Carlo Galeffi, soprano Emilia Carlino, tenore Vladimiro Badiali, basso Andrea Mongelli, direttore Arturo Lucon Madama Butterfly soprano Iris Adami Corradetti, tenore Mario Del Monaco, baritono Afro Poli, direttore Antonino Votto 1943 La Sonnambula soprano Emilia Carlino, tenore Francesco Albanese, basso Italo Taio, direttore Federico Del Cupolo 1947 Tosca soprano Carla Castellani, tenore Gianni Poggi, baritono Raimondo Torres, direttore Umberto Berrettoni 1948 Un Ballo in Maschera soprano Franca Sacchi, tenore Antonio Latino, mezzo soprano Miriam Pirazzini, baritono Raimundo Torres 1949 Rigoletto baritono Aldo Protti, soprano Hilde Reggiani, tenore Giuseppe Savio, direttore Federico Del Cupolo L’Amico Fritz tenore Bruno Landi, soprano Rosetta Noli, baritono Gino Vanelli, direttore Federico del Cupolo Mefistofele basso Cesare Siepi, soprano Rosetta Noli, tenore Glauco Scarlin, direttore Umberto Berrettoni 1950 La Traviata soprano Rosetta Noli, tenore Giuseppe Campora, baritono Carlo Tagliabue, direttore Umberto Berrettoni Manon soprano Mafalda Favero, tenore Agostino Lazzari, baritono Leo Piccioli, direttore Umberto
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • GRAN 1'EA1'ro Del LICEO OII'resa: JUAN A
    GRAN 1'EA1'RO DEl LICEO OII'RESA: JUAN A. PAMIAS BARCELONA porque tienen doble fibra sus c alcetines climatizados MIX-T BARCELONA Ie procuraran ew""'*A t JUAN 14 . ~AMfAS • ~ TEMPOR ADA UE OPERA ~ lNV6I ERNO 19 1-62 • doble confort DEL 3 DE NOVIEMBRE DE 1961 N~ememe tihl.cot. cSI \iM ru~te.nct. • •ocSa OIYtbl como eiH~anc.a AL 6 DE FEBRERO DE 196 2 hgeros para el ple. treseoa .., cu.afQ\11.,- I...,CKl como _. algodOn. El caketin MIX·T es agradable dt Uew1r no hac:e aJT'UII)Ü. no se dug.estl M 1 X- T ei calcetín climatizado QUALTRIX ESPAÑOLA S . L Po etada del pintor G. ZECCHILLO HIJOS O~ JAIME TORRELLAS S A MANUFACTURAS A. OASSOl S. A MOLFORI'S S. A MANUFACTURAS GOUATH S A A. GNAUCK ANDREU póngase a Ja moda con proJuclos Véalo mejor con un televisor SEÑORA: Rejuvenezca su cuti:s PHILIPS con exuberante y 23T!' ::l52b.05 eterna belleza. ~~.~ D6 • P. V . P 24.475 Ptll~ 'O' .. ..,~····4·1~ ..., .... U113 red cki seMCIO lo gara~liza fórmulas: TME STILLMAN e• AURORA • ILLINOIS. E.U.A. GALA PHILIPS 1962-------·------------- Por una vida fe[iz en un mundo m C~ rlerno' ;· ·.. BITTER bolero CINZANO 6IJdtt f?;l (JeF*lt 111e tt(OlCCY .de ~(o añcL UN AUTENT ICO "super-reTrescante" UN Üsólo , ya CALMA la sed ..! BITTER * CINZANO ~ * S~ 8EBf BIEN 'FRIO ,_. rm•9,. lt~,.... • e>tnJ;tt·.- ..,_..,.,r t..APtZ LABIAL LAPJZ PARA VEROAOERAMENTE FlJO SOMBREAR LOS O-lOS GRIFÉ & ESCODA, S. L.
    [Show full text]
  • Programma Bianello Lyric
    Sabato 14 luglio Quattro Castella (RE) PROGRAMMA DELLA SERATA Opera dalla Traviata di G. Verdi “Preludio ” "Dei miei bollenti spiriti" " Addio del passato" "Il Brindisi" “Intermezzo dalla Cavalleria Rusticana” di P. Mascagni “I o sono l'umile ancella” Adriana Lecouvreur di F. Cilea “Nessun Dorma” Turandot di G. Puccini Musica da Film Omaggio a Piazzolla (trascrizione Milo Martani ) Granada (A. Lara) Moon River (H. Mancini ) My Way (F . Sinatra) Other the rainbow ( H. Arlen ) Moment's of Morricone (trascrizione Milo Martani ) Non ti scordar di me (B. Gigli) Eleonora Rossi Nasce a Parma. Inizia giovanissima Alessandro Fantoni, è nato a Genova. Ha studiato gli studi musicali presso la “Scuola di Musica” di canto a Genova e Parma con Luisa Maragliano e Viadana approfondendo e sviluppando la tecnica Enzo Consuma. Ha proseguito gli studi con vocale, ancora come voce bianca, con la Prof. Roberto Servile, al fianco del quale ha debuttato il Patrizia Mora. Si laurea a pieni voti in Ingegneria ruolo di Gabriele Adorno (Simon Boccanegra) e Meccanica a Parma e parallelamente Ismaele (Nabucco) a Piacenza. approfondisce la sua formazione musicale presso l’accademia A.LI.VE. di Verona, dove si perfeziona, Alla Dänische Nationaloper di Aarhus ha cantato i ruoli di Ernesto in Don Pasquale, Roberto in Maria seguita principalmente dal M° Paolo Faccincani e Stuarda, Nemorino ne L' Elisir d' Amore, Alfredo dal regista e scenografo Paolo Panizza. Completa nella traviata, Manrico ne Il trovatore e Rodolfo la formazione musicale presso il Conservatorio ne La Bohème. Tra gli altri ruoli ha debuttato Arrigo Boito di Parma sotto la guida dal M° Lelio Rinuccio in Gianni Schicchi e Arlecchino in Capilupi.
    [Show full text]
  • 60 CENTS the Boston Symphony Orchestra
    H ENSCHBL 1881 -1884 60 CENTS GERICKE 1884-1889 1898 -1906 NIKISCH 1889-1893 Seventy -five Years of The Boston Symphony Orchestra by JOHN M. CONLY 1919 FEBRUARY PA UR 1893 -1898 ax a CC' c C - u á www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75'F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set In 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil radio stations, sound studios and record "Mylar." doubles the footage obtainable 90% Humidity manufacturing companies throughout the on a standard reel. Its use, however, is world. The standard 11/2-mil cellulose limited to special applications where Yield Strength Breaking Strength acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print-through. operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE LR Audiotape offers ad- Regardless of the base material, there two important 4.2 Ib. vantages which, for many is only one Audiotape quality -the fin- applications. 4.1 lb. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50<,-;, coated with the same carefully formu- more uninterrupted playing time on a lated oxide and meet the same exacting professional standards of performance.
    [Show full text]
  • September-2016-Auction.Pdf
    78 CLASSICAL GALLERY CLASSICAL RECORD AUCTION No. 2 CLOSING DATE: SEPTEMBER 30, 2016 NEW AUCTION AUCTION CLOSING DATE: SEPTEMBER 30, 2016 Here you will find a list of early 78 rpm recordings of interest to every level of collector. Most items are focused on Classical selections from the 1898- 1940 period, some a bit more common but of really nice condition. The condition of grading employed here is: CONDITION GRADING: 1: UNPLAYED 1-2: TOP CONDITION 2: VERY FINE COPY- A FEW RUBS OR MARKS, NO NEEDLE WEAR 2-3 SOME RUBS, NON-SOUNDING BLEMISHES, NO NEEDLE WEAR. 3: SOME HEAVIER RUBS, MARKS, NO-SOUNDING BLEMISHES. AN AVERAGE COPY 3-4: LIGHT-SOUNDING WEAR (GREYING), RUBS. 4: SOUNDING WEAR, RUBS, MARKS 4-5: WEAR, RUBS, MARKS 5: OBVIOUS SOUNDING WEAR, HEAVY RUBS, MARKS 5-6: HEAVY WEAR, RUBS, MARKS 6: A WRECK! ONLY LISTED FOR EXTREME RARITY. As you can see, I’ve used Larry Holdridge’s grading scale as it seems to be the most universally accepted and understood system. However, if there are any questions, please feel free to call or e-mail for more clarification. This list is also posted on my website: www.78classicalgallery.com. Please submit bids either electronically through the website, or via USPS mail. Either are welcome. In the meantime, enjoy your perusal of these items. Good luck! Best wishes, David Schmutz # Image Name Artist Selection Min. Bid CLYINDERS FRENCH PATHE #3496 AFFRE: HUGUENOTS- PLUS PATHE SALON BLANCHE (MEYERBEER).- 1902 BLACK WAX, WRITING ON CYLINDER: AFFRE- RIM A BIT FADED AND RUBBED. IN ORIGINAL CASE WITH 1 AFFRE $200.00 HUGUENOTS ARIA ORIGINAL LID.
    [Show full text]
  • Antonella Fontana
    OperaManager.com - Antonella Fontana Antonella Fontana Soprano Inizia ad amare la musica e il teatro a nove anni con lo studio della danza classica. Dopo aver danzato per molto tempo scopre il canto lirico e la completezza dellopera. Guidata nei suoi primi passi dal Soprano Stefania Pietropaolo compie gli studi a Genova, la sua città natale, dove consegue anche la maturità di Ragioniere e nel 1999 incontra il celebre Soprano Luisa Maragliano, con la quale studia e si perfeziona costantemente. Matura un'intensa attività concertistica collaborando con Fondazioni, Enti, Cori Lirici e Formazioni da camera come il "Gruppo Caronte di Brescia. Debutta in numerosi ruoli principali: Mimì in La Bohème(2001 Teatro dellOrtica di Genova 2002 Salotto della Musica F.Labò), Suor Angelica in Suor Angelica(2003 Genova - 2005 regia Tenore A.Elena, Auditorium S.Caterina di Finalborgo, Sagrato Chiesa di Segno Vado Ligure, Pontinvrea, Boissano) e Cio-Cio-San in Madama Butterfly (2004 Pieve Ligure) di G.Puccini; Violetta in Traviata di G. Verdi (2003 Brescia - Teatro delle Clarisse di Rapallo); Despina in Così fan tutte di W.A. Mozart (2004 Teatro S.Bozzo di Bogliasco); Nedda in Pagliacci di R. Leoncavallo (2004-2005 Opera da Camera di Milano); Lola in Cavalleria Rusticanadi P.Mascagni (2006 Imperia); Adina in Elisir dAmoredi G.Donizetti (lug.2007 Pontinvrea, Vado Ligure). Per la Stagione Lirica 2004-2005 della Fondazione Teatro Carlo Felice di Genova è la protagonista Minnie in La Fanciulla del West, unoperina liberamente ispirata a La Fanciulla del West di G. Puccini, con recitazione e arie originali, Orchestra diretta dal M° Marco Bettuzzi, regia M.Sgorbani, musiche P.Vivaldi.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • The Magazine for Music Listene
    THE MAGAZINE FOR MUSIC LISTENE h,tO www.americanradiohistory.com11111 If you want a superlative stereo receiver by Fisher, check the four models at right. If you want something free by Fisher, look under this fold. () www.americanradiohistory.com 11 M1 The Fisher 400 65-Watt FM- Multiplex Stereo Receiver with STEREO BEAM* Size: 171/2" wide, 53/4" high, 13" deep. Weight: 303/4 lbs. Price: $299.50. The Fisher 500 -C 75 -Watt FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 3611 lbs. Price: $389.50. The Fisher 800 -C 75 -Watt ANI -FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 37 lbs. Price: $449.50. The Fisher 600 -T 110 -Watt Transistorized FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 163" wide, 51/2" high, 117/4" deep. Weight: 31 lbs. Price: $499.50. (Walnut cabinet for all models, $24.95.) PATENT PENDING CIRCLE 48 CN READER -SER\ ICE CARD OCTOFER 1964 1 www.americanradiohistory.com FOUR MICRO-MAGNETIC 15° PICKUPS! Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT "V -15 pickup for you. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the V -15 AC -1 Most of you, no doubt are tracking lighter on the late model AUTO- MATIC TURNTABLES and will use the V -15 AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant V-15 AM -11 And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP V -15 AME -1 All four of these pickups are radically different from any other cartridge.
    [Show full text]
  • MAHLER Symphony No. 1 ADAM FISCHER Gustav Mahler (1860-1911)
    MAHLER Symphony No. 1 ADAM FISCHER (1860-1911) Gustav Mahler Symphony No. 1 D-Dur / in D Major 1 I. Langsam. Schleppend. Wie ein Naturlaut – Im Anfang sehr gemächlich 15:31 2 II. Kräftig bewegt, doch nicht zu schnell 07:43 3 III. Feierlich und gemessen, ohne zu schleppen 10:04 4 IV. Stürmisch bewegt 19:51 Total Time 53:01 Düsseldorfer Symphoniker Adam Fischer conductor Mahler Edition Vol. III Based on live recordings (10 - 12 February 2017) | Recording Location: Tonhalle Düsseldorf / Germany Executive Producer: Jochen Hubmacher | Recording Producer: Holger Urbach | Recording Engineer: Michael Morawietz Editing, Mix & Mastering: HOLGER URBACH MUSIKPRODUKTION, RATINGEN www.humusic.de Publisher: Kalmus | www.tonhalle.de | www.dradio.de | www.avi-music.de g 2017 Deutschlandradio / Avi-Service for music P 2017 Avi-Service for music, Cologne/Germany | LC 15080 All rights reserved | STEREO | DDD | GEMA | Made in Germany | 42 6008553653 5 | Fotos: © Susanne Diesner Eine Co-Produktion mit Translations: Stanley Hanks | Design: www.BABELgum.de Adam Fischer: Subjektive Gedanken über Mahler und die 1. Symphonie 29 Jahre war Gustav Mahler alt, als seine Erste Symphonie uraufgeführt wurde. Ich fühle mich diesem Uraufführung im November 1889 schrieb er dann: „In Budapest, wo ich sitze und die Symphonie 29jährigen Mahler, der damals Direktor der Ungarischen Staatsoper in Budapest war, aus ganz persön - uraufführte, wichen mir die Freunde scheu aus, keiner wagte, mit mir über die Aufführung zu sprechen. lichen Gründen sehr nah verbunden. 120 Jahre später sollte nämlich auch ich Generalmusikdirektor Ich ging wie ein Kranker oder Geächteter umher.“ Wer die Mentalität der Budapester kennt, weiß dieses Opernhauses werden.
    [Show full text]
  • Recording Master List.Xls
    UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre
    [Show full text]