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Gwyneth Jones & Joan Sutherland
This is a big week for opera lovers. It marks the 90th birthday of Dame Gwyneth Jones and the 100th Birthday of Dame Joan Sutherland.
In celebration we are offering all of their recordings at 50% off through Friday.
Gwyneth Jones
Joan Sutherland
Jon Vickers Centenary
Giordano
Andrea Chénier
Vickers, Ligabue, Carroli, Chookasian; Rescigno. Dallas, 1973
Jon Vickers
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Every week we offer 12 new titles available to stream for free
Beethoven: Fidelio
Behrens, Vickers, Ward, McIntyre, Masterson, Davies, Lloyd; Goodall. London, 1976
Beethoven: Fidelio
Jones, King, Crass, Adam, Popp, Dallapozza, Nienstedt; Bernstein. Wien, 1970
Bellini: Norma
Caballé, Vickers, Veasey, Ferrin; Patanè. Orange, 1974
Berlioz: Les Troyens (In English)
Vickers, Thebom, Shuard, F. Robinson, Rouleau, Collier; Kubelik. London, 1958
Bizet: Carmen
Bumbry, Vickers, Elgar, Bacquier, Darrenkamp; Guadagno. 1967
Spotlight: Fedora Barbieri
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Excellent Performance in Excellent Sound!
“I wonder if this Boheme is one of Opera Depot's best sellers. If not, it should be. Bohemes don't get much better than this. Pavarotti is in terrific shape, the top C's in Act One as thrilling as any he produced in the studio. He joins Freni on the final C of Act One and for once I won't complain (it's almost a C# because of the tuning pitch!). Freni is an audience favorite and it's not hard to hear why. Her Mimi is so spontaneous and lovely. Panerai hams Marcello up a bit, especially on his final cry of "Coraggio!", but it all works in the context of this performance. Holm sings an alluring Musetta and gives the most hilarious scream when she tries to get rid of Alcindoro. I wish other Musettas would take note!The rest of the cast is excellent, the sound very good. Karajan gets a little carried with himself sometimes; the last measures of the opera sound almost Wagnerian. But he leads an effective, heart-rending performance, one that had people talking for days afterward. You need this performance of Boheme!”
Martin Ramor
“An excellent recording. Vivid conducting of Antal Dorati. BBC Symphony Orchestra in superb form. Lewis is very good in the title role. It is interesting how he manages the great aria Sur le monts. Carlyle amazing as Therese (just listen to first CD). Ward and Garrard and Veasey are all wonderful in their roles.”
Les grandes années de la Rossini Renaissance
“Abbado toujours exemplaire dans Rossini, Horne dans un de ses meilleurs rôles à une époque où elle ne charge pas encore, Dara une référence . Montarsolo moins formidablement équipé que d'autres Mustafa connait son Rossini sur le bout des doigts, Alva peut-être un peu sur la fin et un peu limité reste un interprète impeccable .”
JÁNOS KÁDÁR
“It is a very well-sung and well-conducted performance. Christel Goltz belongs to the best Turandots I have ever heard. Hans Hopf made also a very good job especially in the final scene. Though Teresa Stich-Randall has no the beauty and the passion of a Carteri or a Lorengar but sings really beautiful. Unfortunatley we got no information about the bonus: I suppose we can hear Goltz in the final scene of Élektra.”
Francesco
“Grazie assai per tal soggiogante e tecnicamente perfetto regalo d’inizio anno nuovo. Che dire? Arte interpretativa da assaporare con devozione. Ed un PARSIFAL da estrarre di frequente dalla cartella musicale. Una rarità da pelle d’oca. Parola di collezionista! (dr.Francesco Mosca, Cavarzere, Venezia, Italy).”
Bjorling in fine form
“There are two complete live performances of Björling’s Duke of Mantova; 1945 at the Met and this one from Stockholm in 1957. In 1945 he was in fantastic voice with incredibly brilliant and ringing top B’s. That one has yet to be equalled by anyone. 12 years later he is almost just as ravishing. Only the conclusion of La donna è mobile is somewhat below his usual standards. He makes up for that in the rest of the performance which is throughout marked with superb vocalism. Bjorling is the draw on every recording he makes his presence. His voice was one of a kind. Effortless from top to bottom. Dramatic when requiered. Faultless? No, he could be more cynical as the Duke. If any Italian could beat him at anything, it would be that. Vocally, Bjorling stands alone. At the top.”
THIS TANNHAUSER IS A MUST!
“1961 was Windgassen’s 11th season at Bayreuth. Here, he may forego some musical grace figures and triplets, but his voice is still fresh and has heroic gleam. Bumbry is glorious in her historic Bayreuth debut. This production also served as De Los Angeles’ debut and Fischer-Dieskau’s “leb wohl” to Bayreuth. De Los Angeles pours out line upon line of vocal gold and personifies spiritual purity. Fischer-Dieskau is the epitome of honor and valor, creating the definitive Wolfram. They will shatter you in Act 3! Sawallisch leads this magnificent performance, which demands hearing again and again.”
Exciting performances of Inge Borkh and Martha Mödl
“"Ich seh´s an deinen Augen, an deinem Zittern..." - For me, one of the most exciting parts of this record. I had the honour to see Miss Mödl in her last role: Mother Bazouge in "Gervaise Macquart" (G.Klebe) in Düsseldorf!”
Montreat Elektra
“I taped this performance on 9/18/67 from the Montreal Expo/Vienna State Opera visit. I was sitting center orchestra, center row and my seat companion was none other than Tony Randall, an avid opera fan. Live, it was, in my opinion, Birgit's best Elektra; she was possessed that night. So was Leonie; near the opera's end, with Elektra dead and the orchestra thundering out the Agamemnon motif, Leonie entered stage right at 100-yard-dash speed, sang out her "Elektra" at mid stage and exited stage right..all in a matter of seconds. It brought the audience to its feet. I never saw her do that again, but the memory of that September night in Montreal will be with me forever. I am so happy you are able to share this event with your subscribers!”
Massenet : WERTHER - Bergonzi
“For me Carlo Bergonzi is the best tenor in the world, for all italian operas and french also, my favorite tenor. His technic is perfect, but most importantly his musicality, style, phrasing. Wonderfull”
Great Verdi singing
“This is a very enjoyable and exciting performance. All of the principals are excellent, and the supporting cast is quite good. Dimitrova’s dynamic range was truly phenomenal. Carreras sounds wonderful, as does Cappuccilli. Very well conducted.”
Nicholas Allen
“The greatest, most deeply conceived Isolde I ever heard, every syllable crysal clear - in itself worth five stars. strange how she has become reognised so soon after her death, I sppose she got a bit eclipsed by Nilsson. OF course Nilsson was unique, voicewise, but Varnay has it over hr every tme for drama, clarity and utter thrill. Another fine performance from Opera Depot - thankyou.”
Don't miss this one
“Talk about an on night at LaScala! A breathtaking performance with Caballe at the top of her unmatched form (see Andy's comment), and Carreras - well, performances like his on this night don't come around very often.”
Daniel Zara
“Everything The Man says –above–is true. But Treptow is even better than advertised. Possibly the Best of all more-or-less-contemporary recorded Siegfrieds. He even renders listenable those ordinarily annoying, yawn inducing, and attenuated wimp maunderings about his lost “mutti”.”
Sensitive Tosca
“Under the many Toscas I heard live Pilar Lorengar was the most sensitive one.She has sung this role many toimes at Deutsche Oper Berlin, and often her partners were F.Tagliavini and Wixell, under the direction of Maazel. So the record is a wonderful evidence for harmony and quality of the performances at DOB.”
Anna e la Tosca
“A wonderful surprise. Her melting middle voice, her powerful high C's, her whole demeanor is of a romana. Her Quanto, il prezzo is said almost matter of factly. Her manner, as well as her voice obviously, place her in Carolina's coterie. Dominguez excellent. A large, bright voice, secure top register. Fredericks fine though he could color the voice, a little more nuance. Coppola really keeps things moving. A very enjoyable performance”
Mighty Martha Modl
“We wait for the arrival of mighty Martha Modl, at her Verdian best, as Jocasta. But what precedes and follows is equally compelling. Pears is an expressive Oedipus and the orchestra and chorus provide a radiant reading of this Stravinski/Cocteau epic.The sound is excellent and the Modl rarities, especially from Mahagonny, are a gift.”
A must-hear, must-own, must-listen-many-many-times-and-study-every-syllable performance
“Gustav Neidlinger was typecast for the "howling-and-spitting" villain-roles very early in his career. Everyone thinks of Alberich and Klingsor when his name is mentioned. But he was in fact a versatile, smart singing actor equally capable of singing buffo parts and playing benevolent nice-guys. His Hans Sachs retains his characteristic massive vocal power, dark tone, and, his spontaneity, his uninhibited singing straight from the gut. His nasty side works well when he's "marking" Beckmesser, but he's also astonishingly tender when he talks with Eva in Act 2, and his monologues and avuncular interactions with David. The only flaws in this performance are his occasional tendency to rush a phrase, reaching the end of the line a little sooner than the orchestra; also, he runs out of gas a little bit during the singing lesson with Walther in Act 3.Tenor Walter Geisler is a big surprise, sweet, smart, and powerful. Everything else Andy said is right, about Eliz Grummer and Gerhard Stolze, but Andy neglected to mention that Josef Greindl has one of his best nights as Pogner, a role he first sang at Bayreuth in 1943 and apparently never got tired of. Andre Cluytens' conducting is very smart and sensitive.”
Maliponte-Serene
“This is one of three finest opera recording I own. The performance is strongly sung answers more. Maliponte's voice has deeply sensuous overtones which create an unparalleled mad scene. The voice is darkly coloured yet flexible and easily lightened in order to create the otherworldliness demanded by a mad scene.”
Loved it!
“I’d never heard this opera before, and I was very pleasantly surprised. I don’t look to bel canto for raw emotion, but I got it here (did Caballe just SNARL?). Carreras’ voice is gorgeous.”
Karl Heinz Konrad
“Eine selten aufgeführte Oper die unter die Haut geht. Vor allem kann man verstehen was in der Handlung passiert, da Deutsch gesungen wird. Die Sänger sind alle beeindruckend wobei Dvorakova besonders hervor zu heben ist.”
Historical version of Turandot
“Thank you so much for that great version of Turandot !!!!Monserrat Caballé and Birgit Nilsson together !!!!! Amazing !!!!!One of the greatest Turandot with Birgit Nilsson with the most beautiful Liu that we ever heard : Montserrat Caballé”
Bel Canto Fan
“One of the best 'Barber' recordings I have heard. The leads are all Italian and it shows. Very fluent at, I think, a faster tempo than usual. The whole cast is very good, with Cossotto really shining and Alva at his best, The sound is excellent. A good choice for anyone.”
James Mertins
“Great performance from everyone. Fisher maybe bit over the hill by this time but stunning in this.Haywood is a very fine Katya,even better was Ava June. This performance would stand against any in the world, even today.”
SANTI & MASNADIERI A HEAVENLY MATCH
“Once your ear adjusts to the sonics, this is a performance to be treasured. The singing is solid Verdi in the grand tradition. La Deutekom is incomparable, Moldoveanu & Zancanaro provide the requisite testasterone AND NELLO SANTI proves again that he is without a doubt the finest Italian conductor of the late 20th C. There are a few pitch issues (the last 2 tracks were very sharp!) but that can be corrected and is a small price to pay for having this exciting performance of a seldom heard Verdi opera in one's library.”
Adam Frei
“Truly excellent performance of this great opera. Bergonzi is the stand out here. In excellent voice and really at his musical and emotive best. Paskalis is also quite good. Caballe is perhaps not the best fit for the role with regard to temperment, but she sings the part with ease and in places, melting beauty.”
A Fine Cast
“It is a pleasure to listen to this broadcast of Louise, a work that doesn't receive many performances these days . Carol Neblett has always been a favourite singer of mine. Her vocal beauty and commitment to the charater are impressive. As Julien she is partnered by Georges Liccioni , a member of the Soloist Troupe of the Paris Opera who had a notable international career. His plangent and ringing tenor is ideal for the role. It is a pleasure to hear such an authentic and characterful performance. Several notable performers in supporting roles attest to the strength of the New York City Opera at this time, as does the playing and conducting.”
The Italians lay claim to Amahl
“This Italian-language recording is a revelation on two counts: Giulietta Simionato gives a glorious performance as Amahl’s Mother, and the orchestra, under Stokowski, shows Menotti for the imaginative master he was. It’s a shame that the score—heard here shortly after the live world premiere, in English, on American television--is so ruthlessly cut. No quartet for the Mother and the Three Kings, arguably the very heart of the opera, contrasting the child sought by the kings and the child she cherishes. Also missing: the entire scene with the shepherds. Honestly, how does survives is well worth 5 stars—and the bonus tracks of Simionato in often unexpected repertoire (Mozart!) are ravishing.”
Fabulous
“This is such a great performance, I hardly know where to start. Just BUY IT! Arroyo is stunning! And, even though I'm not a Cossutta fan, he is genuinely brilliant in this performance. Mackerras moves it like a Ferrari. OK, the audience is cold as ice, but you don't have to be.”
Really, really good ...
“There´s not much to add to Richard´s detailed summery (and I own - as of now - 92 Salomes, abot 15 ... 20 of them actually get reruns from time to time. And 2 Fidelios, which get no reruns). Tynes was new for me as well, and she does her job in a really admirable way.Andersons prophet fulfills the necessity of credibility, which is the most important feature in delivering this role. I don´t expect (or believe in) most beautiful singing from a guy, who lived off sand and the occational scorpio- or spider-bit. He´s convincing ... and so is the complete performance under the supervision of Mr. Shippers. Will get a resumption, with headphones, this summer, in a deckchair at a beach.”
Great Parsifal
“I loved this performance. Most of the cast we’re familiar to me from other performances at Bayreuth conducted by Boulez but Christa Ludwig’s Kundry was something new. She certainly shows how it should be done. Thrilling singing and, as always, technically so secure.Crass as usual delivers a beautifully sung Gurnemanz. Thomas Stewart and James King both repeat their exemplary performances. I loved especially Nienstedt as Klingsor. This part does seem to bring out the best in many singers. Boulez leads a faster Parsifal than most, something I like. Highly recommended performance.”
The incomparable Leonie Rysanek
“I was blown away by the beauty and expressivity of Leonie Rysanek as Salome.She was in a class by herself, I heard her in person at Seattle Opera in the Summer of 1987, when she sang Sieglinde in Die Walkure, in that year's Wagner Ring presentation. The audience responded rapturously to her singing, giving her a much deserved ovation at the end of the performance. Her voice had an ecstatic quality that night. I think she found great joy in her singing. And we who were fortunate to hear her in person have never forgotten her inimitable presence and quality.This Salome is quite a find, I have never heard a Salome sung with such expressivity and vocal power also.The sound is quite good in this performance by the way and likely stereo; definitely recommend this live recording of Salome. Jon Vickers as Herod is luxury casting to boot.(This is a repost of my first review, with corrections.)”
Very satisfied
“As O was possibly in the audience it brought back a lot of memories. Are there any other Melbourne/Sydney 1965 performances from the Sutherland/Williamson Season "floating" around?”
Walter Hartman
“What a cast, what a recording. With the exception of Varnay, these other singers are available in these roles but on other recordings. The collection of them here makes this special. Bjoner is one of the best Kaiserins. She may be less animalistic than a Rysanek but she sings with greater control and has fabulous high notes. Nilsson (in one of her earliest performances of the Dyer's Wife) is superb. While her heroic qualities are always well known, one hears here too her beautiful soft feminine moments of introspection and hurt. Varnay is wonderfully evil. King and Fisher-Dieskau both offer one of a kind performances o their roles. King owned this role in the time period and there was a very good reason for that. Fischer-Dieskau gives a very lovely lyrical reading of this most sympathetic part. Sawallisch is a great conductor.”
Truly memorable performance
“I saw this at (what was then) The New York State Theatre as a teenager. It was my first Meistersinger, and, although I have travelled the globe to see this opera since then, this production will always be foremost in my heart. Great performance of a great opera.”
David Inglis
“I listened to the live broadcast at the time, being a Joan Sutherland fan. By the end of the performance I was a Joan Carlyle fan,too!There was once available a tape which had Sutherland sing her arias at the correct pitch. To achieve this , someone had raised the whole performance in pitch until after the Queen’s second aria. It was torture to listen to what was done to the other voices.I am so pleased to have the performance in its correct and wonderful form.”
Joseph Brand
“This is one of the most thrilling Parsifal’s ever. Boulez’s interpretation has the majesty, beauty, delicacy and emotional power of this score at his fingertips and though his tempi are swift – even swifter than the commercial recording of two years later – it sounds completely natural as you listen – and the orchestral playing and choral singing are both magnificent. I think this is a finer performance than the 1970 version in which only James King is superior to the rather dry voiced, though perfectly adequate, Jean Cox. Much as I admire Gwyneth Jones, here Amy Shuard excels on all counts. Thrilling, fearless, full of character, and incredibly moving. Seeing that nowadays Kundry always seems to be sung by mezzos it is wonderful to hear a great soprano voice in the role. Wagner wrote it for a soprano who has a completely different timbre to a mezzo. The other truly outstanding performance is Franz Crass as Gurnemanz closely followed by Stewart and McIntyre. And what a line-up of solo flowermaidens. Even Kurt Moll stands out in a small role. Add to all this first rate recording quality – easily up to commercial standards – all Parsifal lovers should snap this up.”
AN EXCITING, NOT-TO-BE-MISSED FIND [1]!
“Part 1 of 2...due to lack of space!Every so often, a performance on Opera Depot cruises into view [sorry; couldn’t help it] and demands to be heard – this is just such an outing!In excellent broadcast sound, Gui drives his singers, chorus and orchestra to present the work afresh as the 30-year old Wagner must have wanted...i.e. as a complete music drama. This performance, in the three-act version mainly favoured in the 1950s, is devoid of any misguided attempts to “hallow” the opera or give it a gravitas which doesn’t exist – after all, it’s not Tristan or Parsifal but a young man’s version of an exciting ghost/thriller story.Two or three of the singers were unknown to me. Tomislav Neralic had a very impressive career (check him out) and the Dutchman was obviously a key role. His interesting voice - not quite top quality – is reminiscent of the wonderful Raimund Herincx [plenty of him in Opera Depot], with a similar attractive “catch” in places, together with an occasional tendency to overemphasise for dramatic effect – and both singers had an abundance of vocal acting ability! Neralic runs into a tiny bit of trouble in the fiendishly-difficult soft passages in the Act Two duet but it’s not serious. Overall, his performance is a very impressive, young man’s take on a Dutchman who comes over as impulsive, troubled, grateful first to Daland then to Senta, and finally heartbroken as well as fearsome, as his hopes are dashed (listen to his final declamation).”
1957
“In fact, a few years after the opera's premiere, Rossini created a version for a baritone Iago, and that became the most frequently performed version for the rest of the 19th century. So, if this recording uses Rossini's version (I have no way of knowing), there's nothing inauthentic about the baritone Iago. However, to enjoy this--and I do recommend it--you really do have to be prepared for what it is: the goal in 1957, when this opera was totally unknown, appears to have been to do whatever it took to present as much of the opera's best music as possible, while cutting as much as possible of everything else. This includes some drastic and musically unnatural resequencing and even the transfer of some music from one character to another. Recitativo is cut to the barest of minimums. As a result, the flow and pacing of scenes is sometimes quite different from what Rossini had in mind, and at times the opera also becomes dramatically odd--for example, this version ends abruptly with the murder of Desdemona. In addition, the overall feel of the performance emphasizes passion over grace, so this becomes a very Verdian take on Rossini's music. All of this said, though, if you can accept it for what it is, and forget about what it isn't, this is really a quite wonderful performance.”
What a force!
“This was an excellent performance. Gencer was superb. Her “Pace, pace” reminded me of my favorite Leonora—Zinka Milanov. di Stefano shows why this role was made for him. Siepi sings the Padre in a very comforting manner. His duet with Gencer is very moving. The rest of the cast and the conducting by Votto make this a performance well worth purchasing.”
Captivating
“Agree with all the positive comments here. I bought this for Price & Wunderlich but was captivated by the rest of the cast, too, including the Zerlina, a singer unknown to me. David M.'s comment on Waechter's Don is spot on. The orchestral sound in this mono recording shifts between muddy and oddly imbalanced. But the voices come thru clearly. And what voices!”
Inspiring and heart-felt performance
“Notable for an early look at Anne Evan's wonderful Brunnhilde, this WNO performance has many additional strengths to commend it. The sound is excellent and the diction throughout (with one exception) exemplary; there are occasional orchestral blips, and Anne Evans has a slight memory lapse in Act 2, but overall this is a performance of Wagner's great work that stands comparison with the best. Evans is committed, thoughtful and passionate as Brunnhilde, her very clear tone blossoming beautifully at the top; Lawton is more stolid as Siegfried, but is better than many and creates a real character; Tranter's Hagan is occasionally under the note, but again is fully believable and malevolent throughout. Norns, Rhinemaidens are good and there are strong performances from Payne as Waltraute (although she does stray from the notes at one point), Mora and Harries as the Gibichungs. Choral work is exciting and Armstrong leads a strong sense of ensemble. Well worth investigating - an inspiring and heart felt performance.”
Die Entfuhrung
“Excellent sound and soloists.What more could you want than Solti, Rothenberger and Blegen?There is one thing- a dvd of the German TV film by the same artists.Now that would something!Anonymous”
full cast list
“Il Duca di Mantova ▫ Luciano PavarottiRigoletto, suo buffone di corte ▫ Peter GlossopGilda, figlia di lui ▫ Patricia BrooksSparafucile, bravo ▫ Harry DworchakMaddalena, sorella di lui ▫ Susanne MarseeGiovanna, custode di Gilda ▫ Fredda RakusinIl Conte di Monterone ▫ Robert PattersonIl Cavaliere Marullo ▫ Richard ShappMatteo Borsa, cortigiano ▫ William AustinIl Conte di Ceprano ▫ William GoegleinLa Contessa, sposa di lui ▫ Diana HeitnerUn paggio della Duchessa ▫ Mildred TyreeThe Philadelphia Lyric Opera Chorus & OrchestraChorus Master ▫ Carlo SuppaANTON GUADAGNOProduction ▫ Renzo Frusca Academy of Music ▫ Philadelphia ▫ February 13, 1973Philadelphia Lyric Opera Company”
Very Special!
“I have 25 complete Ring cycles in my collection and a number of singleton Ring operas as well. This Kempe recording from Stockholm has jumped to the top of the list. It is the Götterdämmerung that has determined this surprise result. Everything about it is wonderful. This far supersedes Kempe’s 1960 Ring, commercially available. He was apparently effected by the Viking atmosphere of the final opera.His cast is in G’dämm is hard to beat. Yes, there are superior Rings out there in terms of overall casting but not many, if any, that can match these lead singers in a live event. Act two, in particular, is very exciting. The amazing Berit Lindholm even surpasses Nilsson, live for Böhm at Bayreuth, in impact. She possesses the ability to soften her huge voice and sound vulnerable which was something the titanium-voiced Nilsson could never do, Helga Brilioth’s Siegfried is even better than he was for Karajan on DG. The live event set these singers alight. Bengt Rundgren, Eric Saedén and Laila Andersson-Palme are superb Gibichungs as well. She is especially notable as Gutrune, feminine and conniving as she should be. And last but not least Barbro Ericson’s deeply moving and vividly acted Waltraute.The chorus of men in Act 2 are thrilling. I saw in my mind’s eye the village men from Kattegat (Vikings), all hairy and burly and singing like Asatru gods. Bengt Rundgren may not have been Matti Salminen, but Kempe’s direction and the overwhelming atmosphere of pagan frenzy are awesome. The sound is brilliant and detailed, the orchestra plays like the best of them and Kempe urges, or simply allows them, to express their high level of accomplished performance without constraint and nary of hint of imperfection. Intonation in the winds is notably perfect in all those touchy long held chords.There is a wink link, it has to be said, in Siegfried, with an underpowered, though well-sung, Wanderer of Jerker Arvidson. Bjorn Asker’s Alberich would have been a better Wanderer. Ranger Ulfung’s Mime is the best I’ve ever heard. Die Walküre is very successful with Brilioth’s strong Siegmund, as he is for Horst Stein at Bayreuth in 1970. David Ward is a very strong and powerful Wotan, which surprised me. And Barbro Ericson Fricka is right up there with Christa Ludwig, Yvonne Minton and Waltraud Meier (Haitink) and other great singers that have recorded this role. Siv Wennberg, who also sings Skuld (the third Norn) has a less powerful voice than Lindholm (who doesn’t?). The valkyries are well-matched, sing in tune, and project individuality.The audience if silence, as if mesmerized, until the ends of the acts. The ovation at the end of Acts 2 and 3 of Götterdämmerung are overwhelming. Bravo Stockholm!This Ring, sadly missing Das Rheingold, is a must-have for all Wagnerians, especially for Lindholm’s antidote to the ubiquitous, and tiresome hardness of voice in these roles.”
Edmund Barham
“Craig was a very underrated tenor in his own country but hghly cherished abroad,especially in Munich where they did not suffer bad tenors quietly.I have yet to hear a better high C in his opening ara,especially live where Del Monaco alvayd ducked it and so sometimes did Corelli himself.”
Riveting
“Lush, mysterious and shot through with archaic modalities, Szymanowski's "King Roger" exerts a unique spell, especially when -- as here -- it is sung in the vernacular. The score is as meat and drink to Sir Charles Mackerras and the cast of unknowns proves up to snuff. Highly recommended.”
Great Performance, Eccentric Title Card
“I'm in the process of enjoying Karl Bohm's conducting, and the fine singing of Tristan spearheaded by Birgit Nilsson and Wolfgang Windgassen, hoping to draw a clear comparison with Bohm's better-known, superlative 1966 version with a similar cast. But I couldn't help noticing the slight oddity of the title card enclosed with the two disks. To wit:Reversible TristanTristan und Isolde, live recording from Bayreuth, July 24th, 1962That’s right, in Act Two’s Love DuetIsolde, Tristan swap their genders:Says so in Wagner’s tangled textCompounding passion with surrenders.He sings how he’s become Isolde,She sings about her turning Tristan;She who could not decipher “Tantris”— Could anyone that corybanticMiss the hint of congress Tantric?—No fitter name for her than Sole Id.Outstripping Sole Id and her Tantris,Opera Depot issues two disks,Tristan, Bayreuth, ’62.It boasts a title card like few;Gives names to roles and singing players,To wit: Tristan is Birgit Nilsson,Wolfgang Windgassen plays Isolde.It just gets better: Kurwenal,Tristan’s blustery manservant,Is played by mezzo Kerstin Meyer.Brangäne, house-girl to Isolde,Is baritone, trusty Eberhard Wächter.(Come to think of it, what parentsName their bright boy Eberhard?But that’s a construct to be filedWith names like Hildegard and Behrens,Walküre-typical, totally wild.)So doth the white-bread title cardReverse poor Tristan’s cast of players,Sure to confound the already jarredBy Tristan’s multiverse of layers.Such gender-bending like a tuxFits operas of love and flux.”
