Hildegaard Kiel

“I had just arrived in the UK 3 months prior, and it so happened, that for half-a-crown I managed to get a seat in the (I believe) fifth tier at Covent Garden for Joan Sutherland’s performance on 17FEB59. It was – as you said – completely dazzling! Not only her singing was “out of this world” but the entire stage scene during the madscene looked like a Rembrand painting having come alive! Already the following day Lucia di Lammermoor was broadcast over the network in London!With profound thanks for the 26FEB59 CD recording, H. Kiel”

What an amazing gift!!!

“I know it was a purchase, but being able to buy performances of singers that I have looked up to ever since I began my career, meant so much to me. Hearing James King sing Don Jose, or Wolfgang Windgassen sing Florestan made me cry. I am so thankful that you are here!!”

Excellent Performance in Very Good Sound!

“This 1971 RAI concert performance found Nilsson in excellent voice with a more developed, specific sense of character than she had a few years earlier. In a word, she is stunning. The other singers are at her level. Bjoner is steadier of voice than she could be and makes a welcome contrast to Nilsson's intensity. Cortez sings Klytemnestra so beautifully it's easy to forget that this role is usually sung by singers long past their vocal primes. One easily believes that this Klytemnestra was a regal queen who ruled happily until everything fell apart with all that Agamemnon business. Cortez doesn't indulge in any hysterical laughter, probably because this was a concert performance. Hofmannstahl's stage directions don't call for it anyway. Her offstage screams are very effective (the second one arrives a tad late); it sounds like it could have been Cortez herself, but I don't know for sure. Stewart is a terrific Orest and Callio actually sings Aegisth instead of screaming him. A tenor named Sinimberghi is a very good Young Servant (he sang Ismaele to Callas' Abigaille back in 1949); the serving women, one of whom doubles as the Overseer, get the performance off to a great start. Sawallisch conducts superbly; RAI was very fortunate to get him.The sound is excellent. There is a minor glitch during Aegisth's death scene where there are some weird pauses, but it doesn't last long.All Elektra fans should hear this performance!”

“Magnificent. A great historical document and with lovely singing from Janet Baker and Heather Harper. The sound is remarkably good. A real sense of occasion with Klemperer building tremendous momentum.”

Buy it for a true old fashioned (in a good way) Mozart experience.

“This is a superb performance with every singer on wonderful form and Davis conducting the score like a thing possessed with real dramatic urgency. Sound very good too. Highly recommended as an antidote to bloodless period performances.”

MUST HAVE CABALLE

“I have long been searching for a Nozze di Figaro with Montserrat Caballe. I have a live perormance from Dallas in pretty miserable sound so I was thrilled to find this performance in her in very clear sound. She is absolutely lovely in this role. The voice is in prime condition and she is having fun. Bacquier is also excellent. It is also nice to have Berton, Steffek and Blankenburg is such exposed roles. This is just a really enjoyable performance and for anyone interested in a 'younger", it is essential.”

Some magnificent singing

“This performance, live from the Royal Albert Hall, makes a quite positive case for a work once widely appreciated but now mostly forgotten. Sutherland is truly astonishing in her role as the Queen; Tourangeau brings her distinctive timbre to the role of Urbain; I have never heard Martina Arroyo in such superb voice; Vrenios offers lyrical beauty and power; and the lower male voices are very fine as well. Truly a night of Seven Stars. Bonynge conducts with authority. He clearly loves and believes in the work. What a joy that we have this recorded document of such a rare and often thrilling work. Five stars.”

peter jensen

“This recording is a valuable document and it captures the production in a way the studio simply couldn't. The internal clarity of the orchestra, the sheer attentiveness and virtuosity of the sections combine to create a sound that surpasses so many other recording. The brass section perform miracles , the dynamics of the orchestra are far more interesting, we are happily transported to that electric occasion where everything came together perfectly. The recording is nothing short of a revelation. There is no better Rheingold to my knowledge and I've heard most of them.”

a heroic Elektra

“Gertrude Grob-Prandl's Elektra is solid, with all the high Bs and Cs. Her voice is huge, but with no wobble. Of course this recording can't compete with Solti/Nilsson in terms of sound quality, but it does give you a taste of what must have bee a thrilling live performance. The rest of the cast is also quite good, as is the overall sound, making this rank among the best live recordings of Elektra.”

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”

John Stanton

“The duo of Margaret Price and Helen Donate is a particularly happy partnership in this performance of Weber's ground breaking and beautiful opera. Price presents a beautifully sung Agathe, the voice seamless and fruity. There is an alergaic note to the performance which sits well with the spiritual spookey nature of the opera. The bright bubbly Helen Donath is the perfect foil.James King brings an heroic ring to Max, and he is in fine voice. I prefer a more innately lyrical sound in this role, and perhaps he is a little more Wagner than Weber.Kari Ridderbusch is a marvellous Kaspar and thankfully the spoken dialogue is cut to a minimum.The sound is excellent”

Excellent Performance

“This is a wonderful live performance. It corresponds to the studio recording with nearly the same artists on EMI. Kollo and Anna T-S are in wonderful voice and Karajan leads a compelling production. The sound is excellent, almost studio quality, especially for a live performance. This is a Lohengrin to enjoy.”

PLACE THIS PERFORMANCE BESIDE ANY OTHER FAVORITE “PURITANI”!

“From the opening quartet, you will be hard pressed to find four more ravishing, seamless, well balanced principals for Puritani. Maliponte’s timbre is pearly and haunting, her technique flawless. Kraus is a model of Byronic elegance and heroic dash. Cappuccilli and Raimondo are lyric ermine and sable, stopping time with “Suoni la tromba!” Di Stasio, Molica, Pedroni are “comprimari straordinari”. Gavazzeni is “maestro of all he surveys”. Sound is excellent, ambient but not reverberant.”

complete cast

“Here comes the compelet cast of this Concert performance:Parsifal– 10 aprile 1963 (in forma di concerto e in lingua originale, ripartito in tre serate).1. Parsifal: Jess Thomas 2. Kundry: Regina Resnik 3. Amfortas: Gustav Neidlinger 4. Gurnemanz: JosefGreindl 5. Klingsor: Frans Andersson 6. Titurel: Frederick Guthrie 7. Cavalieri del Gral: Frans Andersson,Aldo Bottion 8. Scudieri: Aldo Bottion, Angelo Mori, Hanula Rzoska, Maja Zingerle 9. Fanciulle-fiore: Ma-ria Luisa Carnio, Virginia De Notaristefano, Daniela Mazzuccato, Jolanda Michieli, Marisa Salimbeni, Ma-ja Zingerle – Dir.: André Cluytens; m° coro: Sante Zanon.”

Wish I was there

“One of the greatest, without doubt in my view, as for clarity of vision. Wotan's monologue in Walküre is one of the best I know. Gwyneth Jones as Brünnhilde in my view very appreciable, if vocally not perfect.”

Superlative 'Dalibor'

“While not as star-laden as the RCA recording from Vienna, this English National Opera production is every bit as good, if not better. All roles are cast from strength and those familiar with Dame Anne Evans' lyrical, feminine, technically superb Brünnhilde will find those salient qualities present in her rousing Milada. John Mitchinson is a clarion hero, and both Dennis Wicks' jailer and Neil Howlett's king excel. But the catalyst is the thrilling and idiomatic leadership of Sir Charles Mackerras. "Dalibor" belongs in the standard repertory--or so Mackerras persuades the listener. This is one of Opera Depot's very finest releases, featuring crystal-clear stereo reproduction. Bravo!”

Wonderful performance

“Ulfung seems often a semitone too low, but does a great job. Nilsson, of course, is the star of this performance and she proves once more her brilliant singing and acting skills. The orchestra seems a bit sleepy, but becomes much more grand, especially in the third act. All in all, a wonderful performance with one of the most dramatic Tosca-screams and -finales I've ever heard. Almost a must-have.”

Classic Wagner

“There is a very strong cast here with the singers at the peak of their careers. I think it would be very hard to equal the singing here with today's singers. The sound is excellent. Highly recommended.”

PHILIPPE GUILLON

“Pour moi c'est l'une des meilleures versions des Kindertotenlieder de Mahler (je la possédais en 33T). La voix très expressive et dramatique de Rita Gorr convient parfaitement à ces lider. C'est merveilleux !!”

dramatic evening

“It is not only the great Leonie in splendid form; Berry is a real surprise as elegant, italian, forceful Scarpia an Uzunov shows the way for a heroic tenor to cope with Cavaradossi. In a later performance, also available thanks to Andy, he is Spoletta with Domingo, a Leonie past her prime and Theo Adam as another German bass-baritone you would not have expected to be so good as Scarpia.”

Reinhold Föckersperger

“Ernst Kozub was one of the most important Heldentenors in the postwar aera, but he died prematurely. His voice was perfect for the interpretation of Tannhäuser! The live recording from Munich is therefore an important document. The other singers all are excellent, as it is usual in the Bavarian State Opera still today... Anja Silja sings the first scene and the duet of act two. Lindholm‘s Interpretation of Elisabeth‘s prayer in the third act is slightly overdramatic, the power of her voice is too great. The last words of Venus in my ears do not belong to Astrid Varnay as listed. It could be Marianne Schech? The voice sounds very different from Varnay‘s incomparable timbre.”

Peter Heisler

“Meistersinger is, to my ears, been better served by live performances than by studio recordings despite limitations in sound quality. This performance features an excellent cast and is better conducted than Karajan's Dresden recording. Janowitz is radiant and Ridderbush is excellent.”

Allan Clark

“It is indeed a wonderful performance. I had to dial down the bass to get a satisfactory equalizer where I could hear Cerquetti clearly, but then what a marvelous presence she is. It is one of the great tragedies of opera that she was not on the stage longer and did not make more studio recordings. This was a superb voice—gigantic really—and she used it with great feeling and intelligence. It just overpowers you. Bergonzi is excellent and Madeira is a welcome surprise as Azucena. I downloaded the mp3 and at this price, I can’t imagine a better bargain.I hope that somewhere in someone’s closet there are more Cerquetti recordings that we have not yet heard. It’s a voice that transports you into another realm.”

Very Much a Spinetingling Performance

“I obtained this a while ago and forgot to review it. I'm perplexed regarding another's review of the sound. I found no issue and, in fact, think it's more than acceptable. There was a while I wanted to hear no other. The singing is consistently committed and exciting and Keen's conducting creates quite a blaze. This is a great perfomance. It's also interesting to me that Stapp really delivers. My first experience with her was in the 70's as Anna Bolena in a New York City Opera ( at Lincoln Center ) She was great in that. This taken into account, I wonder what a Callas Elektra would have been?”

Excellent. Was thinking of attending

“Excellent. Was thinking of attending when it was first announced. I'm a huge Resnik fan and she doesn't disappoint. Add King and Borkh at the top of their game under Solti and you get one truly memorable Frau. I'd have wanted the sound to be as memorable but it more than puts the excitement across”

Boulez Bayreuth1976

“Singers ? 10/10, orchestra ? 10/10. Boulez ? better than the official recording ! Audience ? Living but very few noise (bouh and so on), sound Better tha the official recording.Thanks Opera Depot”

Erwin Wohlfahrt!! (Mime)

“Erwin Wohlfahrt is so utterly fantastically great as Mime. He plays the part sincerely, not like a caricature, and besides the usual harsh Mime-sound he puts an unusual touch of honest sweetness into his voice. The reason he never became a household name is he died (of cancer, I think, although I can't seem to find the cause of death now) two years after this performance, when he was thirty-six years old. (Yes, you read that right: you are listening to him singing Mime at age thirty-four.)You can hear him as Pedrillo, and, if you search a bit, as the Maler in LULU. He's on blurry b-&-w video (on YouTube) as David, with Windgassen as Walther and Greindl as Sachs.”

Celine Papizewska

“Louis Quilico had one of the most sheerly beautiful baritones voices of all time, most evident in bel canto opera. Bellini wrote the most Romantic melody ever for baritone in “Ah, per sempre io ti perdei”, and Louis gives it all the dark, melancholy beauty at his considerable disposal. I used to study with him, and during lessons he would regularly overwhelm his students by demonstrating a technical point with phrases from Verdi. What a treat! If you could manage to find some of his performance in other bel canto operas, ie. Lucia di Lammermoor, and his magnificent Macbeth, as well as Falstaff, I would be in opera ecstasy.This Puritani vies with the Callas/Di Stefano as my favourite bel canto recording of all time.”

A truly great Meistersinger, one of the best

“This one lived up to its reputation. All the leads are strong, including a solid Sachs from Adam and the best singing I have ever heard from Jones. The sound is excellent, and I rank this with my favorites, the mono studio recordings by Knappertsbusch and Kempe, the radio broadcast by Kubelik (available here at Opera Depot, though I have the commercial release), the studio Karajan, and the Solti concert performance from the 90s. Though of course you can find better individual performances of any particular role, this is as a whole one of the best. Bohm, as always, paces Wagner superbly.”

Young Pavarotti

“I liked Pavarotti's young and fresh voice, powerful Manuguerra as Miller, excellent Cruz- Romo as title heroine. Arie is as usual in nice form. As Andy honestly pointed out, there is some music missing, but nevertheless recording worth having. I am an admirer of Peter Maag's conducting and he doesn't disapoint here.”

Richard di Calatrava awards five stars!

“Well, this is just marvellous!I had (quite coincidentally) been listening on YouTube to the 1987 ENO Proms performance of Act Three, in English and conducted by Sir Reginald Goodall, and wishing that the whole production was available. Imagine my delight when -barely a fortnight later...this turned up!Andy finds that 'Lionel Friend appears to draw on the Goodall school of Wagner conducting'. That's because Mr. Friend at that time was one of ENO's formidable and highly-respected House Conductors, who could be called upon to conduct anything and everything...and did a very fine job of it too! Friend actually assisted Goodall on the musical preparation for this 1986 production, and I assume that Goodall was unwell for this broadcast; Friend takes over with confident aplomb and with qualities for which no apology has to be made! In fact, he went on to a splendid international career. Check out this biography: https://lionelfriend.com/biography.htmAs for the cast, there is little but joy here: Gwynne Howell's peerless, worldly-wise Gurnemanz (what a sonorous bass he had!), Neil Howlett's agonised Amfortas (Howlett was ENO's leading Verdi baritone at that time; also a great Scarpia, Golaud, Jochanaan and Dutchman), Rodney Macann's really nasty -but beautifully sung-Klingsor (I remember his dramatic King Priam for Kent Opera), Anne Evans's rare Kundry - a real tour-de-force!), the more-than-dependable Dennis Wicks as Titurel, and a host of familiar ENO names amongst the supporting cast. Only Warren Ellsworth's Parsifal is -for me- less than completely satisfying. He has the right voice, he has wonderful dramatic involvement, he has the charisma for a Wagnerian hero...so what is it? Well, as I found with Welsh National Opera's Walkure (conducted by Goodall and also starring Anne Evans's first Brunnhilde), Mr. Ellsworth -who was tragically to die at only 42- sometimes indulges in a (slight) scoop; more a sort-of little forcing of the note (for dramatic emphasis?) It's not terribly bothersome, and not enough to remotely considering docking a star(!) but -for me- it does slightly mar the whole experience.As could be expected from English National Opera "in those days", diction is mainly above average and -especially in a static opera like Parsifal- it really helps when you can understand what Gurnemanz is burbling on about in those 15-minute monologues!I have thought long and hard before sharing my final thoughts with other enthusiasts...but I will take the plunge. For me, and despite my purely-personal reservations with Ellsworth, this is simply one of the most wonderful performances of Parsifal one could ever wish to experience. Don't hesitate...please!”

"GABRIEL BACQUIER, THE PERFECT BARITONE"

“Gabriel Bacquier was the perfect and the most versatile French baritone and "basso-buffo" of his generation, and one of the very few French singer-artists (of his generation) to earn and gain international fame and recognition. One of the greatest (ones)! A must! Highly recommended!”

something to add to my previous comment

“I posted a comment while I was still on vacation, and since then I have the recording and have listened to it. It's interesting to compare the recording to my memory (albeit from almost sixty years ago) of the performance. At the performance Souzay and the young Horne were definitely received by the audience as "stars", and Valletti was an also-ran, despite the elegance of his performance. The large hall (the pre-remodeled Northrup Auditorium at the University of Minnesota, where the orchestra played before its present hall was built) was not kind to him and his voice simply didn't have the presence in the room that Horne's and Souzay's did. Souzay also had a more flamboyant performance personality going for him, quite suitable to the Devil, and was clearly having a lot of fun--the Devil always has so much fun! It's interesting that on the recording Valetti (for me) comes off far the best, and Souzay's personality (and even some of his voice) doesn't come across, at least compared to my memory of the performance. To whomever did this recording, many thanks (and to Opera Depot). I was young and full of eagerness, and to get to sing in the chorus on stage with these soloists and orchestra was wonderfully exciting, and a strong experience in my then very young musical life. I had no idea the performance existed in a recording, and it's a real treasure for me to have.”

Prey shines in Handel rarity

“Rodelinda has slowly made its way into the periphery of the standard repertoire, but in 1956 it, and almost all Handel opera for that matter, was largely unknown. Fortunately this cast of artists manages to find the heart of Handel's masterpiece even if the style must have seemed very remote.”

Jim Johnson

“Norman Treigle is why I love opera. I saw Faust with him in 1962 in New Orleans and have been hooked ever since. This recording shows why. His voice is so expressive and filled with anguish. His diction is superb. He fills his character with all the traits that make you believe he is The Prisoner---a true singing actor.”

Varnay gives a fearless star turn

“I bought this set for Astrid Varnay and she does not disappoint in this role. She is utterly fearless with her attack on the difficult arias and is wonderfully dramatic. Her co-stars are easy on the ear and I would like to give an honourable mention to Penno as Macduff, easily the most sympathetic character on stage. There is a patch in Act 2 which sounds like it might come from a different source and the sound is not as good here, but it's far from being a disaster. I played this recording to a group of friends who had never heard Macbeth before and they very much enjoyed it. An ideal starter recording might have been a comfortable sounding studio recording, but that would have robbed them of Varnay. Playing safe is not always the best way! This recording has now become their yard stick to measure all others by and hopefully I've created some more Varnay fans.”

A later Requiem

“I was lucky enough to hear Jessye Norman many times at the Edinburgh International Festival. A majorly highlight was the Requiem by Verdi. The cast was led by Abbado and included Margaret Price in the soprano role, Jessye Norman on the mezzo role and we also had Carreras and Raimondi! Now, please find that recording!”

A nice surprise!

“I bought this to hear James King and I wasn't disappointed. My take on Theo Adams is that he is a reliable, if uninteresting, singer - and this recording did not alter that assessment. I have been neutral in my assessment of Behrens - so, WOW! I need to reconsider. The Verdi was revelatory and the Beethoven was confident, secure and jump-up-and-yell-Bravo! exciting. Highly recommended.”

A Joyous Siegfried

“This is a wonderful all-around performance of Siegfried. Solti is often said to take a “violent” approach to the world and music of the Ring cycle by pummeling the orchestra and our ears, but you would never know it from this performance. Here the conducting, orchestral playing, and singing seem filled with joy and optimism. I remember a MET intermission feature from 1975 when John Culshaw concluded his discussion of the Siegfried/Brunnhilde duet by saying, and it all might have ended there very happily were it not the for the ring on Siegfried’s finger.” Solti, Windgassen and Nilsson indeed make Siegfried the happiest of endings and make you wish it really did on such a note.”

A thrilling evening

“Wow, what an evening this must have been. Maestro Solti as usual delvers a thrilling performance of my favourite Verdi opera. The cast is terrific. Shirley Verrett brings the house down with her “O Don Fatale” but is fantastic throughout. Cossutta I like very much as Carlo, also Glossop as Posa and the marvellous David Ward as Philip. I can’t quite be as enthusiastic as Andy about Felicia Weathers, a soprano I too like. She seems to struggle a little in places, the act 4 quartet for example, and the flutter in her voice becomes more obtrusive. I have heard more exciting confrontations with the Grand Inquisitor but it’s still pretty good. All in all however, this is highly recommended. It’s an exciting night of singing and music-making.”

Powerful performances from Tinsley, Fine and Cathcart under Sir Alexander Gibson

“Having listened repeatedly to all three of the OD recordings of Jenufa starring Pauline Tinsley (in a great joint WNO/Scottish Opera production by David Pountney), I consider this Glasgow performance the greatest of the three - with the best sound. This is where Tinsley’s always overwhelming rendition of the role of the Kostelnicka comes across most powerfully. She is well matched by Wendy Fine’s lyrical, incisive and moving Jenufa, and Alan Cathcart’s ardent, expressive and stalwart Laca (he was concurrently singing Walter von Stolzing in Die Meistersinger!). Unfortunately, Gregory Dempsey’s incisive singing as Steva was relatively unattractive (better suited to Mime). It never seemed very plausible that Jenufa would have been drawn to him! Alexander Gibson conducted Janacek much less often than Wagner, Richard Strauss or Sibelius (and much less so than Richard Armstrong and Charles Mackerras), yet he proved to be just as outstanding at conducting Jenufa. (I attended his 1977 Edinburgh performance, besides later Cardiff and Swansea revivals of this great production). Much as I also love Jenufa sung in Czech, these English-language performances have made Jenufa the most heart-wrenching opera that I have regularly attended and listened to over the past fifty years. This great performance under Gibson remains even more vivid and engaging than the rival English-language recordings of this opera on OD conducted by Mackerras, Armstrong and Kubelik.”

Anonymous

“One of my most favorite Bayreuth Rings. I can recommend it strongly.Superb performance, it's impressive in particular that Ligendza's youthful Brünnhilde with pure voice and H.Stein keeping dynamic conducting throughout.”

Wagner: Die Walküre - Nilsson, S. Björling, - Gielen. Stockholm, 1963

“Die Aufnahmequalität ist sehr gut. Alle Ausführende sind stimmlich bestens besetzt. Eine Aufnahme, die ich nur empfehlen kann, Man hat seine Freude daran.The recording quality is very good. All performers are vocally excellent. A recording I can only recommend, It will bring you joy.”

The Other 1970 PARSIFAL

“After some detailed comparative sampling, I’d suggest this is essential – not just as an appendix to the DG issue of the same year but as, in at least one perspective, preferable to it. Although it’s not a matter of Live vs Studio, it’s nonetheless true that the contrast is between a single performance that is flawed but intense and a composite from several performances that is satisfyingly precise but rather less exciting. My guess is that not much of DG derives from 2 August. Crass behind and rushing to catch up in the Act I Verwandlungmusik; Stewart rough and approximate when revealing his wound in Act III; King not quite on the beat in a couple of places: these moments were obviously unusable. Yet both King and Stewart are in great voice, and the latter, completely inside his role, much more intense in his big moments than on DG. Even Crass (beautiful voice, dull interpreter) shows more emotion in Act III here than on DG – though his habit of skimping dotted notes at brisk tempos introduces a parlando element into his narratives. On DG Jones is superb in the last 10-15 minutes of Act II; here on 2 August there is extra electricity, and she is nothing short of sensational. It’s a wonderful combination of technical discipline and dramatic self-abandonment in a singer – exactly what’s required for Kundry in Act II – and it should provoke comparison with Mödl for Clemens Krauss (at similar tempos) in 1953.”

Brian Morgan

“This production was Norman Treigle’s Covent Garden debut, and was his last recorded performance; he died the following February 16th, at the age of forty-seven. This is a magnificent performance, with Treigle as the epitome of evil!”

best Butterfly ever

“Acoustical quality of the recording not great, but this was the most heart-rending performance of the title role I have ever heard. I am usually jaded by Un bel di, but Olivero's version made me cry. The way she took the ending of the third act keeps haunting me. Her silvery voice is not voluptuous like Tebaldi, for example. but she lives the role from the inside.Rest of the cast also good and Rescigno supplies his usual excellent idiomatic conducting.”

Aragal excels in Amico Fritz

“Good sound, wonderful performance by all principals. I wish Opera Depot would issue a retrospective on Aragall. He is one of my favorite singers. Beautiful, well produced sound which lasted well into his '70s. It would be so good to enjoy a series of live excerpts from a great tenor whose career deserves to be celebrated.”