Renata Tebaldi · Mario del Monaco · Robert Merrill, Giacomo Puccini - Il Tabarro (LP, Album, FFR + Box) (Near Mint (NM or M-))

Renata Tebaldi · Mario del Monaco · Robert Merrill, Giacomo Puccini - Il Tabarro (LP, Album, FFR + Box) (Near Mint (NM or M-))

London Records

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Media Condition:  Near Mint (NM or M-)
Sleeve Condition: Very Good Plus (VG+)
Country:    US  
Released:  

Genre:       Classical
Style:         Opera, Romantic

Comments:
*** BUY ANY 4 RECORD for ONLY $5.00 Shipping & Handling fee *** Record appears NM/M (-). Zero spindle wear. Very clean labels!!! Sleeve is VG+ w/ minor wear. Includes OG inner & booklet.
 

Notes:

Notes in English Available in mono as A-4151 This is the one-record box set with a booklet of many pages (English translation by Peggie Cochrane). The vinyl is made in England, full frequency range recording (full frequency stereophonic sound). The below text are from the booklet: IL TABARRO - MICHELE, BARGE-MASTER, AGED 50 ... Robert Merrill - GIORGETTA, HIS WIFE, AGED 25 ... Renata Tebaldl - LUIGI, STEVEDORE, HER LOVER, AGED 20 ... Mario del Monaco - TINCA, STEVEDORE, AGED 35 ... Renato Ercolanl - TALPA, STEVEDORE, AGED 55 ... Silvio Maionlca - FRUGOLA, RAG-PICKER, HIS WIFE, AGED 50 ... Lucia Daniels SONG-SHEET VENDOR ... Piers de Palma TWO LOVERS ... Dora Oarral, Glanfranco Manganotti with the Chorus and Orchestra of the MAGGIO MUSICALE FIORENTINO Conducted by LAMBEBTO GARDELLI The libretto for II Tabarro was adapted for Puccini by his librettist Giuseppe Adam from the one-act play La Houppelande by the French playwright Didier Gold, written in 1910. The opera itself was completed towards the end of 1916, but did not achieve a first performance until December 14, 1918, at the Metropolitan Opera New York. It Tabarro is the work most affected by Puccini 's invariable insistence upon changes and amendments-for the most part unerring in the sureness of his intuitive apprehension and instinctive conviction of what is theatrically 'right'. The play-a sordid tale set among burgees on the Seine in the first decade of the present century, when their condition was poverty-stricken, squalid and unenviable in the extreme, -culminates in two murders-so-called crimes passionelles. Goujon (Tinca in the opera) knifes his whore of a wife in a quayside tavern from which he emerges, bloody knife in hand, just as Michel (Michele) presses his terrified wife upon the dead body of her lover. In the interest of the simplification required in order to convert the tale to operatic use, Puccini suppressed the sub-plot, only passing reference being made to Tinca's lot (Michele 's Ha per moglie Una bagascia). In the original, Georgette (Giorgetta), married to a prosaic, middle-aged husband much older than herself, seduces Louis (Luigi), a weak, malleable youth with a conventional outlook, a few years her junior. In the opera, Luigi is depicted as a far more impassioned and romantic lover, aware, too, of his deplorable and brutish condition. Then, the debased and brutalized pair, La Taupe (Talia) and his wife, the fantastic and grotesque rag-picker La Furette (La Frugola), is presented by Puccini in an almost sympathetic, somewhat Darby-and-oan-ish, light (see Frugola's [Io sognato Una casetta), for which there is little warrant in the play. Further, Puccini 's, too, is Frugola's air about her beloved tabby cat, sentimentally developed from the old rag-picker's slighting reference to an old dead cat, which used to do its jobs where it shouldn't. And the episode of the itinerant vendor of sheet music has been expanded with remarkable effect in suggesting the Parisian suburban environment and atmosphere, whilst the young lovers, who add such a magical and poetic touch with their lyrical farewells on the quayside, are wholly Puccini 's own. The most staggering alteration that the composer insisted upon, however, concerns Michele 's final monologue. Originally this followed the play quite closely -the barge-master, reduced to despair by the suspicion of his wife's infidelity and her changed attitude towards him in consequence thereof, muses, philosophizing upon life's vicissitudes in general and voicing a longing for death in the river, from whose waters he himself has so often helped to retrieve the bodies of the drowned. (Scotti, flume etemo, recorded separately on the accompanying disc). Not a hint of premeditated revenge here. Puccini insisted upon Adam replacing this somewhat costive and static piece by something much more dramatic and immediate. The work must end on a well-worked-up-to note of passion and horror. In the monologue which Adam then substituted (Nulla'Silenzio) Michele first broods darkly over the possible identity of his wife's lover, then longs to drag the culprit down to a watery death with him in the river. From the moment when the orchestral weighs in with the theme depicting the ceaseless monotonous flow of the sluggish waters of the Seine, Puccini succeeds in evoking by musical means the ominous atmosphere germane to this guignolesque plot, whilst at the same time conveying in masterly fashion the nostalgic melancholy of the September evening, by conjuring up the familiar sights and sounds of Paris in a manner which is little short of miraculous. It is given immediacy and point by such devices as the orchestrally-simulated wailing of tugs' sirens, motor horns from the quayside, bugles from ahearby barracks, a striking clock and even the swishing of other passing craft. The personages of the drama, too, are skilfully clothed in music which graphically depicts their various characters and changing emotional states. Far from being the pale echo of Tosca, as some of its earlier critics made out, It Tabarro is a spine-chilling little masterpiece, well able to hold its own against the finest examples of the genre.

 

A. Part 1. O Michele? Michele? Non Sei Stanco?
B. Concl.: Come? Non Sei Andanto? Scorri, Fiumo Eterno

 

Barcode and Other Identifiers:

Matrix / Runout ZAL-5662-2E H 1
Matrix / Runout ZAL-5663-3E O 1
Other OS.25743
Other M/T

 

Published By G. Ricordi & Co.

Data provided by Discogs

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There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.

Why Vintage Audio Still Matters

In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.

Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.

The Philosophy of Refurbishment

Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.

Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.

The Turntable Store refurbishing process.. step by step

Step 1: The Initial Encounter

When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.

Instead:

  • We inspect for corrosion, burnt resistors, and leaking capacitors.
  • We use a Variac (variable transformer) to bring up voltage slowly, reforming capacitors rather than shocking them back to life.
  • We check fuses—not just for continuity but for correct ratings.

Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.


Step 2: Deep Cleaning & Control Detox

Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.

The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.

Step 3: Electrical Resurrection

This is where science meets art:

  • Capacitors: Electrolytic caps often need some attention. We replace out-of-spec caps with high-quality modern equivalents (Nichicon, Panasonic), avoiding over-capacitance unless the power supply can handle it.
  • Resistors: Carbon comp resistors drift over decades. Measure and replace out-of-spec parts.
  • Transistors: Certain vintage transistors (e.g., 2SC458) are notorious for noise. We do swap defective ones for modern low-noise equivalents.
  • Relays & Lamps: Speaker relays oxidize; replace or clean contacts. Dial lamps? Upgrade to warm LEDs for a factory glow without the heat.


Step 4: Cosmetic Glory

Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.

Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.

Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.


Step 5: Calibration & Sonic Check

After the repair and cleaning, it’s time to dial in the performance:

  • We do adjust bias and DC offset on amplifiers for stable operation.
  • On turntables, we re-lube bearings, replace belts, and check speed accuracy.
  • On Cassette Decks and Reel to Reels, we replace belts ( if needed ), we clean and demagnetize the heads before the alignment process ( a must ! ) 

When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.


Our promise for Audiophile-Level Results

  • We Avoid Cheap Parts: That $5 eBay capacitor kit? Hard pass. We use reputable brands.
  • We Don’t Over-Polish: Patina is part of the charm. We aim for “well-loved,” not “plastic surgery.”
  • We Upgrade Discreetly: If we must modernize (like adding gold-plated RCA jacks), we keep it tasteful and reversible.


Why It’s Worth It

The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.

And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.

We have a 14-day return policy, which means you have 14 days after receiving your item to request a return. 

To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address: 

The Turntable Store
45 Market Square
Manheim PA 17545

If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.

You can always contact us for any return question at theturntablestore@gmail.com.


Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.

Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item. 

Unfortunately, we cannot accept returns on sale items or gift cards.

Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.

European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.

Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.

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