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Sarah Salazar

Soprano

OPERA ROLES

ToscaFiordiligi (cover) Mother (cover performance) Countess Almaviva (studied) AïdaSusannahRosalinda* Donna Anna Mercedes

T o sca

Glendale Opera Company Los Angeles Metropolitan Opera Lyric Opera of Orange County Center Stage Opera Angels Vocal Art Angels Vocal Art
2019 2019 2019 2019 2018 2017 2016 2016 2014 2014 2013

Cosi Fan Tutte Hansel and Gretel Le Nozze di Figaro Aïda Susannah Die Fledermaus Don Giovanni Carmen Cosi Fan Tutte Don Giovanni

Angels Vocal Art California State University, Northridge California State University, Northridge Repertory Opera Company Franco-American Vocal Academy
Fiordiligi Donna Elvira

*Partial Role -Scene +Upcoming

IN CONCERT

Featured Soloist - Best of Broadway Reciter, Pierrot Lunaire Featured Soloist, Love is Timeless Featured Soloist, Viva Italia Featured Soloist, Recital Featured Soloist , Recital Elijah- “Hear Ye, Israel”
Valley Opera and Performing Arts VITUS Ensemble Verdi Chorus LA Symphonic Winds Glendale Opera Company Los Angeles Metropolitan Opera CSUN University Chorus Verdi Chorus
2019+ 2019 2019 2019 2018 2018 2018 2017 2017
Julie Jordan - If I Loved You (Scene)

Soloist - Best of Broadway, Volume III
Center Stage Opera

OTHER PERFORMANCE EXPERIENCE

Ensemble

Norma Carmen Candide Don Giovanni L’elisir D’amore Manon

LA Metropolitan Opera Paciﬁc Opera Project Angels Vocal Art Paciﬁc Opera Project Center Stage Opera Santa Barbara Opera
2018 2018 2018 2018 2018 2017
Ensemble/ Children’s Chorus First Agent/Ensemble Ensemble Ensemble Ensemble

CHORAL EXPERIENCE

Walter Fox Singer Section Leader
Soprano Section leader Soprano
Verdi Chorus St. John Eudes Catholic Church
2015-present 2017-present

EDUCATION

Master of Music in Music Performance, Voice Bachelor of Music in Vocal Arts
California State University, Northridge California State University, Northridge
2016 2013

TRAINING AND SUMMER PROGRAMS

Angels Vocal Art Franco-American Vocal Academy
Los Angeles, CA Salzburg, Austria

TEACHERS
COACHES

Linda Zoolalian Mercedes Musotto

CONDUCTORS

Kristof Van Grysperre Dylan Thomas Kostis Protopapas Steven Piazza Anne-Marie Ketchum Eli Villanueva
Diana Farrel

DIRECTORS
MASTER CLASSES

Victoria Livengood Nino Sanikidze Tito Capobianco Milena Kitic
Jamie Chamberlin Shira Renee Thomas Diane Ketchie-Sarr
Josh Shaw Suzan Hansen

Michelle DeYoung

Recommended publications

September 20, 1994

D IOCESE OF THE A RMENIAN CHURCH OF AMERICA U rl-UQ\JnPf'l.nJ"I.fl)-l'J"I.\J ~UBnB UU'bPJ"l~UBJ"l UPbJ"I.blbU\J fl)-bU't> Archbishop Khajag Barsamian, Primate September 20, 1994 The Very Reverend Father Nareg Berberian St. James Armenian Church 834 Pepper Ave. Richmond, VA 23226 Dear Hayr Soorp: Enclosed is the biography of Ms. Anita Terzian who will be the recipient of this year's Renaissance A ward. Please include this information in its entirety in your program booklet for the Saturday evening banquet for the benefit of your people who will attend. We will handle PR on behalf of the Diocese from our Development Office. If you have any questions in this regard contact me ASAP. With continued prayers, _ Jy ,~~ Father Garabed Kochakian Chancellor Enc. c.c. Keith Muhleman FGK/as 630 SECOND AVENUE, NEW YORK, NY 10016-4885 TELEPHONE 212.686.0710 FAX 212.779.3558 Mezzo .. Soprano ANfT A TERZJAN Internationally renowned Mezzo Soprano ANITA TERZIAN has performed with distincti on at many of the world's leading opera houses including the Rome Opera, The Lyceo in Barcelona, • Lisbon's San Carlos, The Hamburg State Opera, Royal Opera Monnaie, Teatr o Colon, Munich Opera, Louisville Opera, Grand Theatre de Geneve, City Opera of Cologne, San Francisco Opera, Theatre de Nice, National Opera of Greece, State Opera of Bonn, Dusseldorf Opera, New Yo rk City Opera, Santa Fe Ope r a, Theatre des Champs-Elysees, Teatro La Fenice among many others. Her stellar operatic roles performed to great critical and audience acclaim include Ruggiero and Bradamante in Handel's Alcina, Giulietta in The Tales of Hoffmann, Ottavia in L'Incoronazione di Poppea, Dorabella in Cosi Fan Tutte, the title roles in Carmen and La Perichole, Azucena i n Il Trovatore, Adalgisa in Norma, Santuzza in Cavalleria Rusticana, Charlotte a signature r ole performed with great success in Spain, Germany and Fraance to the Werther of Alfredo Krauss.
La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica Afterscènes Da La Vie De Bohème by Henri Murger

____________________ The Indiana University Opera Theater presents as its 395th production La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica AfterScènes da la vie de Bohème by Henri Murger David Effron,Conductor Tito Capobianco, Stage Director C. David Higgins, Set Designer Barry Steele, Lighting Designer Sondra Nottingham, Wig and Make-up Designer Vasiliki Tsuova, Chorus Master Lisa Yozviak, Children’s Chorus Master Christian Capocaccia, Italian Diction Coach Words for Music, Supertitle Provider Victor DeRenzi, Supertitle Translator _______________ Musical Arts Center Friday Evening, November Ninth Saturday Evening, November Tenth Friday Evening, November Sixteenth Saturday Evening, November Seventeenth Eight O’Clock Two Hundred Eighty-Fourth Program of the 2007-08 Season music.indiana.edu Cast (in order of appearance) The four Bohemians: Rodolfo, a poet. Brian Arreola, Jason Wickson Marcello, a painter . Justin Moore, Kenneth Pereira Colline, a philosopher . Max Wier, Miroslaw Witkowski Schaunard, a musician . Adonis Abuyen, Mark Davies Benoit, their landlord . .Joseph “Bill” Kloppenburg, Chaz Nailor Mimi, a seamstress . Joanna Ruzsała, Jung Nan Yoon Two delivery boys . Nick Palmer, Evan James Snipes Parpignol, a toy vendor . Hong-Teak Lim Musetta, friend of Marcello . Rebecca Fay, Laura Waters Alcindoro, a state councilor . Joseph “Bill” Kloppenburg, Chaz Nailor Customs Guard . Nathan Brown Sergeant . .Cody Medina People of the Latin Quarter Vendors . Korey Gonzalez, Olivia Hairston, Wayne Hu, Kimberly Izzo, David Johnson, Daniel Lentz, William Lockhart, Cody Medina, Abigail Peters, Lauren Pickett, Shelley Ploss, Jerome Sibulo, Kris Simmons Middle Class . Jacqueline Brecheen, Molly Fetherston, Lawrence Galera, Chris Gobles, Jonathan Hilber, Kira McGirr, Justin Merrick, Kevin Necciai, Naomi Ruiz, Jason Thomas Elegant Ladies .
UCSB Opera Theatre Presents Dominick Argento Chamber Opera Competition Finalists

University of California, Santa Barbara Department of Music Santa Barbara, CA 93106-6070 CONTACT: Adriane Hill Marketing and Communications Manager Department of Music University of California, Santa Barbara (805) 893-3230 [email protected] www.music.ucsb.edu FOR IMMEDIATE RELEASE / December 12, 2016 UCSB OPERA THEATRE PRESENTS DOMINICK ARGENTO CHAMBER OPERA COMPETITION FINALISTS UCSB students present excerpts from operas chosen as finalists for the Dominick Argento Chamber Opera Competition at Hahn Hall at the Music Academy of the West SANTA BARBARA, December 12, 2016—UCSB’s Opera Theatre program will present excerpts from the three operas chosen as finalists for the 2016-2018 Dominick Argento Chamber Opera Competition on Friday, January 6, 2017 at 7:30 p.m. at Hahn Hall at the Music Academy of the West. The performance is part of the National Opera Association’s annual convention, which will be held for the first time in Santa Barbara from January 4-8, 2017 at the Fess Parker Hotel. Following UCSB Opera Theatre’s presentation of the opera excerpts, a panel of judges—including Kostis Protopapas, Henry Price, Robin Guarino, and Michael Ching—will select the winning opera, which will be performed in its entirety at the 2018 convention. The Dominick Argento Chamber Opera Competition encourages the composition and performance of short operas especially useful in opera workshops and other training venues. The 2016-2018 finalists include After Life by Tom Cipullo (composer) and David Mason (librettist); Letters from Quebec to Providence in the Rain by Jeremy Gill (composer & librettist); and The Scarecrow by Joseph Turrin (composer) and Bernard Stambler (librettist).
La Traviata Opera in Four Acts

One Hundred Seventy-Ninth Program of the 2008-09 Season ____________________ Indiana University Opera !eater presents as its 400th production La Traviata Opera in Four Acts Music by Giuseppe Verdi Libretto by Francesco Maria Piave based upon the novel La Dame aux camélias by Alexandre Dumas production conceived by Tito Capobianco David E"ron, Conductor Tito Capobianco, Stage Director C. David Higgins, Designer William Jon Gray, Chorus Master Christian Capocaccia, Italian Diction Coach Michael Schwandt, Lighting Designer A. Scott Parry, Assistant Director Brett Finley, Stage Manager _____________________ Musical Arts Center Friday, September Twenty-Sixth Saturday, September Twenty-Seventh Friday, October !ird Saturday, October Fourth Eight O’Clock music.indiana.edu IU Opera !eater Honors Virginia Zeani With IU Opera !eater’s 2008-2009 opening opera, Verdi’s La traviata, we have much to celebrate. !ese performances mark the 400th opera production of IU Opera !eater, the celebration of our 60th anniversary season, and, very specially, the 60th anniversary of the operatic debut of one of the most celebrated Violettas in the last century, R o m a n i a n – It a l i a n soprano Virginia Zeani, Distinguished Professor Emeritus. Zeani made her operatic debut as Violetta in Bologna, Italy, on May 16, 1948, at the age of 22. From that triumphant night, she went on to sing no less than 648 performances as Violetta and a total of 70 other opera roles which formed her repertory, in most of the major opera houses in the world. Zeani is remembered not only for the beauty of her voice, but also for her interpretive power, by which one word was Zeani as Violetta in La traviata able to convey volumes of emotion.
Tito Capobianco “Mi Vida Nació Con La Ópera”

BAJO LA LUPA Tito Capobianco “Mi vida nació con la ópera” “Mi vida, pasión, alegrías y problemas, llevan todos como reminiscencia la ópera” por Ximena Sepúlveda Una charla con el multifacético director de ópera, regista y profesor de canto: el maestro argentino Tito Capobianco. uéntanos de tus inicios en las Bellas Artes. ¿Cuál fue tu exalumnos del colegio italiano. Lo recuerdo como si fuese hoy: yo primera experiencia en las tablas y cómo se desarrolló tu debía estar sentado en el medio del escenario durante toda la obra, Cactuación? escuchando cómo discutían todos ellos cómo realizar “otra obra”, Increíble, recuerdo aún hoy vivamente el “olor del escenario”, ese hasta llegar a un acuerdo, y entonces abandonaban el escenario, olor a misterio. Por primera vez en mi vida, al tener 8 años, me dejándome solo a mí, mirando al público, quejándome y diciendo envolví en una semioscuridad que transformaba todo en fantasmas “yo también quiero actuar”. Apagón de luces y aplausos. Tenía benignos y que invitaban a pasar a la fantasía. Las sombras se ocho años y eran mis primeras armas en el arte. escapaban al pasar, pero venían otras y otras y de pronto llegó una gran luz y música. Años más tarde supe que participaba en Seguí luego siempre cantando hasta los 24 años: ópera, canciones, la ópera La Cenerentola y era parte del cortejo nupcial. ¡Quedé boleros, actuando en cuanta oportunidad se presentaba, teatro, hipnotizado! Al poco tiempo, en ese mismo año, mi madre me TV y cine en pequeños papeles. Cuando podía y me dejaban me llevó a ver su ópera favorita, Lucia di Lammermoor, y para el resto encantaba dirigir también.
Nixon in China

2014–2015 SEASON NIXON IN CHINA Welcome to Nixon in China, the third main stage opera in our 50th Anniversary season! We have had an amazing kickoff to our season with unparalleled attendance for La bohème and Don Giovanni. We’ve gotten wonderful reviews, increased interest of new audiences, welcomed many of our old friends back into the fold and we have you, our wonderful audience, to thank. We are on a roll and couldn’t do it without you! Now, we present John Adams’ Nixon in China, an opera that pays musical MISSION witness to the historic goodwill meeting between President Richard Nixon STATEMENT and China’s Mao Tse-Tung. Whether you remember firsthand “the week The mission of San that changed the world” or this is your first experience with this piece of Diego Opera is to history, President Nixon’s trip was a critical turning point in the history of deliver exceptional the Cold War. At that time, it was compared with a landing on the moon, vocal performances something no one thought possible, and this epic visit truly changed and exciting, international relations and the world would never be the same. We hope accessible programs you enjoy this presentation. to diverse audiences, focusing on community th engagement and the Coming up next in April is our 50 Anniversary Celebration Concert with transformative power international stars singing the ‘biggest hits’ of opera and the new Mariachi of live performance. opera El Pasada Nunca Se Termina (The Past is Never Finished). VISION San Diego Opera is definitely the place to be so be sure to get your STATEMENT tickets soon so we can continue celebrating together! San Diego Opera will be recognized Thank you again for your wonderful support and we’ll see you soon! internationally as a leading example of adaptability, innovation and sustainability Carol Lazier in the operatic arts, President, San Diego Opera promoting diversified programming and unique performance venues with world-class and emerging talent.
Tito Capobianco Asumió Como Director General Y Artístico Del Teatro Colón (AR)

Mundoclasico.com lunes, 21 de junio de 2004 NOTICIAS Tito Capobianco asumió como director general y artístico del Teatro Colón (AR) REDACCIÓN Con un acto realizado en el escenario de la Sala Principal del Teatro Colón y encabezado por el Jefe de Gobierno de la Ciudad de Buenos Aires Aníbal Ibarra y el Secretario de Cultura porteño Gustavo López, tuvo lugar en la tarde del miércoles 16 de junio la asunción del maestro Tito Capobianco como Director General y Artístico del Colón, ante la presencia de funcionarios del gobierno porteño y nacional, embajadores, personalidades de la cultura local, cuerpos estables, y trabajadores del máximo coliseo capitalino. “Es inevitable emocionarse y sentir muchas cosas al entrar a este Teatro –expresó Ibarra- al ser uno de los referentes que identifican internacionalmente a los argentinos, como una marca de nuestra excelencia cultural. No se trata de un teatro más, de --- una dependencia más del gobierno, es el depositario de la más alta calidad artística”. “Por eso, quiero expresar que el maestro Capobianco tiene todo el apoyo para la gestión, todo el respaldo y la libertad para poner al Colón donde tiene que estar. Estamos aquí expresando un compromiso colectivo: empujar todos para el mismo lado y tener el teatro que la Argentina y la Ciudad de Buenos Aires se merece”, agregó. Ibarra señaló que en el 2008, año del centenario del Colón, él no estará presente en calidad de jefe de gobierno pero “espero que esté Capobianco”, advirtió, ante la ovación de los casi seiscientos invitados, ubicados en sillas y de pie sobre el escenario y también en las butacas de terciopelo, de espaldas a los oradores.
La Traviata Resources

LA TRAVIATA RESOURCES Books/Plays The Cambridge History of Nineteenth-Century Music Author: Jim Samson. Notes: Provides basic reference information and history of nineteenth- century music. Illustrated. English. 772 pages. Cambridge University Press. 2001. Camille: A Play in Five Acts By: Alexandre Dumas Jr. Translator: Matilda Heron. English. 72 pages. Kessinger Publishing. 2009. Camille: The Fate of a Coquette (play) By: Alexandre Dumas. Translator: Henriette Metcalf. Notes: Broadway revival, which opened in 1935. The production starred Richard Waring and Eva Le Gallienne. Samuel French. 1959. La Dame aux Camélias (novel) By: Alexandre Dumas (Fils). Translator: David Coward. Notes: Dumas's subtle and moving portrait of a woman in love is based on his own love affair with a desirable courtesan in Paris. English. 256 pages. Oxford University Press. 2008. La Dame aux Camélias (novel) By: Alexandre Dumas. Notes: This is the touching story of the romance between Armand Duval, Dumas' alter ego, and the beautiful courtesan Marguerite Gaultier. Marguerite sacrifices her own happiness for Armand's sake, only to result in a tragic conclusion. Dumas, fils, has written a moving and engrossing book that reveals the effects of love on human nature. French Edition. 422 pages. Pocket. 2000. La Traviata (full Score) By: Giuseppe Verdi. Notes: This is the complete orchestral and vocal score of Verdi's sentimental favorite. Ideal companion for the student or opera fanatic who really wants to see what Verdi wrote for whom. English. 432 pages. Dover Publications. 1990. Sarah Bernhardt: The Art of High Drama Author: Carol Ockman. Contributor: The Jewish Museum, NY. Notes: Sarah Bernhardt’s (Marguerite in the film La dame aux camélias) importance extended beyond the world of theater—she was an icon, a target of admiration and scorn, an artist, and a trendsetter.
Bass-Baritone

Yuriy Yurchuk “Yuriy Yurchuk sang with a sonorous bass-baritone and menacing demeanor as the four villains” Bass-baritone - The New York Times Voice Teacher, Coaches and References DOB: July 12, 1983 Height: 6’05” Voice Teacher Marc Alon Embree Weight: 200 lbs Conductors Steven Mosteller, Rober Lyall Website: www.yuriyyurchuk.com Coaches Harry Silverstein, Amy Hutchison, Kit Bridges, Linda Hirt, Joshua Greene Email: [email protected] References Jane Bunnell, Thomas Pasatieri, Martina Phone: 312 805 2787 Arroyo, Mark Rucker, Cori Ellison Address: 705 W Oakdale, Chicago, IL Concerts, Competitions & Master classes Education and Young Artist Programs - King in Verdi’s Aida at 36th Kennedy Center Honors, Martina Arroyo tribute 2014 - 2016 Royal Opera House Jette Parker Young Artist Program (London, UK) - 1st place and Grand prize winner at Bel Canto Competition (2013) Graduate student at DePaul University - 2nd place at Chicago CNATS Competition (2012) 2012 - 2014 School of Music (Chicago, IL) - Master Classes with Thomas Pasatieri Tito Capobianco, Eric Owens (2013) 2000 – 2006 BA & MA in Finance and Accounting with - Performance at Puccini Symposium at University of Chicago (2012) honor from Kyiv National Economics - Concert for Bright Future International charity fund (2012) University (Ukraine) Opera Roles Performed (and upcoming) Role Opera Theatre Director Conductor Year Ford “Falstaff” DePaul Opera Theatre Harry Silverstein Steven Mosteller Chicago, 2014 Four Villains “Les Contes d'Hoffmann” Martina Arroyo Foundation Loren E Meeker
Spring Festival

2020-2021 SEASON SPRING FESTIVAL Dear Friends: Estimados amigos: Welcome to this performance of Bienvenidos a esta función del Festival de Auto-Ópera San Diego Opera’s Spring Drive-in de Primavera de San Diego Opera. Festival. Basándonos en el éxito de la producción de la Auto- Building on the successes of our Ópera La Bohème, una vez más hemos encontrado October drive-in production of una solución innovadora, que les permita reunirse de La Bohème, we’ve once again forma segura con otros amantes de la ópera en una DAVID BENNETT found an innovative solution presentación en vivo. General Director that allows you to safely gather San Diego Opera with other opera lovers for live En este festival, les traemos cuatro funciones llenas de performances. diversión de la muy apreciada y vibrante comedia El Barbero de Sevilla de Rossini y Una Noche Extraordinaria: In this festival, we bring together four fun-filled Cuando te vuelva a ver, con la participación de los performances of Rossini’s beloved sparkling comedy The magníficos miembros del Coro de San Diego Ópera y Barber of Seville and One Amazing Night: When I See talentosos artistas invitados de la región. Your Face Again, featuring the wonderful members of the San Diego Opera Chorus and talented local guest artists. En cada función, los invitamos a que visiten nuestros camiones de comida o a disfrutar su propia comida y At each performance, we invite you to visit our food bebida, reclinen sus asientos hacia atrás y pónganse trucks or enjoy your own food and drink, move your seats cómodos, suban el volumen de su radio de FM y gocen back and get comfortable, turn up the volume on your lo que tanto hemos estado extrañando – puestas en FM radio, and enjoy what we all have been missing so escena de ópera en vivo.
Portland State Magazine Productions

Portland State University PDXScholar University Archives: Campus Publications & Portland State Magazine Productions Winter 1-1-2010 Portland State Magazine Portland State University. Office of University Communications Follow this and additional works at: https://pdxscholar.library.pdx.edu/psu_magazine Let us know how access to this document benefits ou.y Recommended Citation Portland State University. Office of University Communications, "Portland State Magazine" (2010). Portland State Magazine. 113. https://pdxscholar.library.pdx.edu/psu_magazine/113 This Book is brought to you for free and open access. It has been accepted for inclusion in Portland State Magazine by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Your membership celebrates and supports our alumni community! There are countless reasons to join the PSU Alumni Association. : What's yours? "It's important to stay connected to "PSU has offered us so much in terms of "I joined so I can stay informed a place that was a big part of your education, opportunity, and exposure to about what's happening at PSU and life. I'm grateful in so many ways to cultural diversity. By being part of the stay connected to the PSU family. Portland State, and the Alumni Asso PSUAA we wane to give back to the PSU Plus the benefits are really great!" ciation serves as my main connection community." to PSU." -Milica Markovic, BA '04 International - Krishna Regupathy, MS '99 Electrical Affairs and Marketing - Sue Brickey, BS '77 Social Science and Computer Engineering, and Pradheepa PSUAA Member and History Krishnasamy, BA '03 Business Administration PSUAA Life Member PSUAA]oint Life Members (pictured with son Arjun Regupathy) Don't miss out on the benefits and opportunities of alumni membership.
Beverly Sills the Merry Widow, Highlights Mp3, Flac, Wma

Beverly Sills The Merry Widow, Highlights mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: The Merry Widow, Highlights Country: US Released: 1978 Style: Operetta MP3 version RAR size: 1375 mb FLAC version RAR size: 1114 mb WMA version RAR size: 1589 mb Rating: 4.4 Votes: 165 Other Formats: APE AU AIFF VOC XM DTS AU Tracklist A1 Anna’s Entrance (No. 3) 3:20 A2 Oh Fatherland (Maxim’s) (No. 4) 2:19 A3 Do Listen, Please (No. 2) 4:06 A4 Act I Finale (No. 6) 10:03 A5 Dances & “Vilia” (No. 7) 9:57 B1 Heia! See the Horseman Come (No. 8) 3:07 B2 Ev’ry Woman (No. 9) 2:38 B3 Just As a Rosebud Blossoms (No. 11) 6:08 B4 Act II Finale (No. 12) 11:04 B5 Grisette Song (No. 14) & Très parisien 4:49 B6 Strings Are Sighing (Waltz) & Act III Finale (Nos. 15 & 16) 3:59 Companies, etc. Phonographic Copyright (p) – EMI Records Ltd. Copyright (c) – Capitol Records, Inc. Credits Art Direction – Marvin Schwartz Chorus – New York City Opera Chorus Composed By – Franz Lehár Conductor – Julius Rudel Design – Marvin Schwartz Engineer – Bud Graham Liner Notes – Richard Traubner Lyrics By [New English Lyrics] – Sheldon Harnick Orchestra – New York City Opera Orchestra Other [Opera Version By] – Tito Capobianco Photography – Jack Mitchell Producer – George Sponhaltz, John Coveney Vocals – Alan Titus, Beverly Sills, David Rae Smith, Glenys Fowles, Henry Price, James Billings Notes Based on the San Diego Opera Version by Tito Capobianco, New English Lyrics by Sheldon Harnick SQ Quadraphonic System, Stereo/Quadraphonic With exception of catalog number seems equal to S 537500.