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Free Streaming Recordings
Every week we offer 12 new titles available to stream for free
Compilation: Amy Shuard
Excerpts from Macbeth, Walküre, Götterdämmerung, Katya Kabanova, Tristan & more
Compilation: Anne Evans
Excerpts from Temistocle, Die Fledermaus, Dalibor, La Traviata, Lohengrin, Walküre, Elektra & Die Frau ohne Schatten
Compilation: Martina Arroyo in Concert
Amsterdam, 1967. BONUS: Martina Arroyo Sings Verdi
Donizetti: Maria Stuarda (In English)
Baker, Tinsley, Erwin, Garrard; Mackerras. London, 1973
Mozart: Così fan tutte (In English)
Harwood, Baker, Curragh, Westi, Van Der Bilt, Shirley-Quirk; Gibson. Glasgow, 1969
Spotlight: George London
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Exciting Tristan Act Two!
“When I first saw this offered, I thought perhaps it was a concert performance of Act Two only. Having heard it now, I suspect it's from a complete performance and the other two acts have not surfaced yet.At any rate, this is an exciting Act Two with the wonderful Grob-Prandl and Windgassen. They make singing these roles sound so easy. Grob-Prandl can be heard in the complete role under De Sabata (La Scala) and Cluytens (Vienna). Klose may have been slightly past her prime by '53, but she sings the Warning very beautifully. Frick is excellent in his monologue, sung with lovely tone and excellent diction. Moralt leads his forces with great passion. He makes the traditional cut in the Love Duet; given how fine his singers were I wish he hadn't. The sound is very good; the first two bars of the act are missing.Highly recommended to any Tristan fanatics or admirers of these singers!”
"THE" BORIS TO HAVE!
“This is such an epic artistic achievement, that it will demand repeated listening. Kubelik creates a vast seamless embroidery of musical and dramatic detail. Christoff, Resnik, Kraus, Rouleau cannot be rivaled. The cast, a Who’s Who of Covent Garden principals, is an embarrassment of riches! The Chorus is excellent. Sound on the whole is very good (becomes veiled briefly). For educational study and research purposes only, here is a link to the version of the score used for this performance.http://imslp.org/wiki/Boris_Godunov_(Mussorgsky,_Modest)”
David R said it all
“Because this offering has only one review, I'll jump in with my brief two-cents worth. David R hit the nail on the head in his review. This is truly a "sleeper." It's a performance that I would have passed over in the days of rummaging through obscure recordings in the brick-and-mortar stores of yesteryear. I'm not familiar with any of the principals but all give first class performances. Not only are the singers superlative vocally, but the performance is boisterous and exciting as Aida should be. The sound is not perfect of course considering its age and however it was recorded. But the voices always come through clearly (seem to be in the room with me), and the orchestra is never faint. There is some background noise occasionally, but that's not enough to remove a star.”
Thrilling
“This is a very exciting performance of Trovatore, everyone is in fine voice, and the conducting by David Atherton is highly energized while also alert to the poetics of the score. Listen to the winds doubling Leonora in the second iteration of her theme in the concertato, as one example. Elizabeth Vaughan is a name new to me, and sings splendidly, with absolute technical assurance in this difficult role; more, she convinces that Leonora's erotic longing for Manrico is the driving force behind the drama (listen to her arching phrases in "Tacea la notte"!). Quibbles: Gorr lacks a trill in "Stride la vampa " (so do many); MacNeil (what a voice!) is rhythmically uncertain at times. McCracken is a pertinent and confident Manrico, and Michael Langdon a marvelous Ferrando. Altogether, a delightful surprise.”
Tebaldi As Butterfly In Naples, A Portrayal Of Wonder
“Tebaldi, in a role she sang infrequently, is glorious in her singing of this role in Naples; her voice soars with emotion and her portrayal is truly affecting.The downside of this recording is that the prompter’s voice is particularly prominent throughout; a debit, but Tebaldi’s committed and highly performance makes this cd one to cherish.”
Guenter Schwiefert
“A remarkable experience, especially for Christoff-fans, his only Gurnemanz in German. What a wonderful voice! Very well the rest of the singers and a rare chance to hear Gustav Neidlinger in a "not-bad-guy" role.”
Opera Depot is that life saver for me
“What an amazing find, Corelli in his prime and singing a poorly written role like it was rain falling off his back. It literally made me cry, it was beautiful and effortless. His Un di all azurro spazio is heroic and the B flats are effortless after sustaining such a low tessitura, and his Come un bel di di maggio is full of pathos and again, such an amazing heroic sound from Sia strofe l'ultima dea to the amazing high B flat on Gelido. Honestly, if you are a Corelli fan, this IS the recording that you need in your collection!Sorry I don't write about the rest of the cast, but Corelli just takes the stage and never relinquishes it.”
Historic performance
“Great recording, This is an excellent performance all the cast are superb, A wonderful performance from repertoire of Italian opera. It is now not easy to find. Tanks to Opera Depot.”
Thank you, Terence McNally!
“If not for the great American dramatist I might never have known about "The Lisbon Traviata" and the hours of visceral pleasure it has afforded me. There is something in the juxtaposition of Callas, nearing the end of her meteoric career, and Kraus, just beginning to attract international attention that for me amplifies the pathos of the last act. I put this recording (along with the Naples "Adriana Lecouvreur" with Olivero) in my list of the five greatest live recordings of an opera. If you do not have this recording, get it.”
One of the very best in a crowded field of "bests"! 2 of 2 (Andy's mean with his word-count!)
“Pause for breath...Salutations to Geraint Evans, who keeps just "this" side of buffo and is thus more believable than most of his type of Leporello. At 53, he is still in juicy voice and point his text like a true Italian! Jane Berbie is an excellent Zerlina of the more lyrical, less soubrettish kind, and is -of course- a Home Favourite in Paris. Her beau is Richard Van Allen, himself a splendid Leporello, who acquits himself positively in the lesser demands of Masetto (and presumably also covered Evans). Finally, the massive, sepulchral yet fluid, grand bass of Robert Lloyd fitted the role of the Commendatore superbly. Fifteen years later he was to perform Boris Godunov at the Bolshoi...I saw the live telecast, direct from Moscow!Isn't it interesting that no less than five of the eight principals, plus the conductor, were essentially UK-based...? Being English/British, I'm very proud of that.”
Richard Inverne
“The extracts sound much more gutsy and involving than the rather unemotional and uninteresting performances from TV (1983, was it?), which were filmed without audience. However, perhaps a pity to lose the Siegfried (in both operas, I think) of Manfred Jung. Although less starry than Thomas and Kollo, Jung rose to the occasion and presented a fantastic hero.”
VERISMO AT ITS BEST
“This is certainly the "luxe' performance of this fabulously focused opera. Nothing's wrong here. They even have part of the dress rehearsal from Scala on "You Tube" on the actual La Scala set.”
Rienzi - Downes, London, 1976
“Excellent performances from John Mitchinson, Lorna Haywood and Lois McDonnell. The recording is in decent mono sound and, despite a bit of congestion in some of the louder passages in Act 1, presents the voices in a realistic and clear acoustic. I have two other (commercial) recordings of Rienzi and this one is by far the longest (by about 1 hour!) and the most enjoyable. It is the one I will be returning to most frequently for the individual performances and the excellent conducting. Thank you for making this astonishing document available.”
Andy Seplow
“Great lineup of soloist with the rare opportunity of hearing the great Pilar Lorengar in a piece I'd never heard her sing. The rest of the quartet are well known from other performances and none are standouts because they're all great! And, Maazel is at the helm of a very exciting performance.”
Great singers, great conductor
“Wonderful performance ingeniously conducted by Karajan who shows us also the lyrical side of Wagner. The protagonists are all in top form. Vickers is phenomenal. He is the only tenor who can match with Melchior the greatest Wagner tenor for ever. He is able to show us all nuances of his role. Janowith as Sieglinde is not the conventional hysterics but a young woman in love. Talvela is terrific as Hunding. The big surprise for me was Crespin. She has not a true Wagner voice but she handles with her lighter voice extremly well. Stewart is excellent as Wotan and Ludwig adds the authentic Wagner style to the performance.I think it was the last minute when singers, conductor and orchestra were able to produce a performance such quality.”
Mitreißende Aufführung
“Sicher, der Sound der 1970er Aufnahme ist besser als bei dieser aus dem Folgejahr, die Stimme der Lindholm kräftiger als die der Ligendza. Und doch packt mich die 1971er Aufführung mehr, vor allem die Paarung Cox-Ligendza steigert sich am Ende zu einem fulminanten Finale.”
what a Bayreuth year: Boulez's 'Ring' and Kleiber's Tristan'
“Exciting, surprising, at lengths leaving you breathless, but always extremely thought-through orchestrally (after listening to a recording Kleiber's 1974 Tristan and Isolde in Bayreuth, even if soundwise much poorer than this one, I threw Böhm's Bayreuth recording away).”
An first-rate Elektra
“There is a more well-known version of this recording from Vienna with almost the same cast. This performance, however was from a tour to Montreal. Nilsson, Rysanek and Resnik prove to be the definitive (dysfunctional) family, each bringing a unique approach to these three very different roles. Great recording”
Martin Ramor
“It is a very good recording of Tosca. Krilovici was interesting for me since I've heard her for the first time. I wasn't so much impressed with her singing but she was good. I've heard worse Tosca's before. Bonisolli and Wixell were excellent (very powerful and dramatically convincing). The orchestra under Horst Stein was very energetic and dynamic.”
Magda in her signature role
“This is a wonderful performance of this opera. Not in the first rank of masterpieces but Olivero transforms it into a great vehicle for a singing actress. You also have Franco Corelli giving passionate support. The sound quality is a bit boxy but acceptable, and the audience goes wild for minutes on end. There is another performance from Amsterdam with Magda, but a slightly less distinguished cast. Better sound quality and the Dutch audience enthusiastic but less vociferous than the Neopolitans.”
Antonietta Stella was a wonderful
“Antonietta Stella was a wonderful singer that has been eclipsed by others singing the same repertoire. This is an excellent representation of her artistry. So happy I found Opera Depot (ad on Instagram). Very happy will all purchases, and excited to see how much Leyla Gencer and Virginia Zeani is available, they are to of my favorite singers! I will be back.”
Erich and Carlos Kleiber Opera Compilation
“I have been told that it would take some time to send me what I had ordered. All CDs arrived well wrapped and in perfect conditon. I can only recommend purchasing at Opera Depot. Margot Mueller, Frankfurt /Main.”
Richard
“Irene Dalis was one of the most intense and committed performers I have ever seen. She also had a formidable coloratura technique, as anyone who has ever heard her studio recording of “Bel Raggio” can attest. For me, her most unforgettable role was as Amme in “Frau”. The stakes were life and death every night for Dalis in this role, and nobody has equalled the excitement of her Bb at the end of Act II on “Her zu mir!”, followed by her headlong run into that driftwood boat with Rysanek.”
Mike Scott Rohan
“I heard Mackerras conduct all the other operas at one time or another, including the production premiere of Siegfried. I thought he was exceptionally good, vivid, plenty of weight but always more flexible and at the service of the scene than Goodall’s tempi allowed. A less distinctive vision, perhaps, so he was underrated; but his other Wagner work, including his Meistersinger DVD, confirms his standing. He also, of course, made an LP of Gotterdammerung excerpts with Remedios and Hunter, for CFP.Goodall’s tempi for his unfinished WNO Ring, incidentally, were much closer to Mackerras and indeed Solti.”
I saw this!
“I haven’t listened to the recording, but I saw this live at NYCO and was blown away! Very early in my opera career, so the piece was unknown to me but I loved it. Also saw Sills and Treigle in Giulio Cesare in the same college spring break week - amazing!”
A first-rate MACBETH
“In 1965, Welsh National Opera could mount a MACBETH that was fully the equal of what the major opera houses could do, sparked by the stylish baton work of Eric Wetherell. Heard in her absolute glory is Dame Gwyneth Jones, as savage a Lady Macbeth but one who traces her lines with impeccable Verdian panache. While she might dominate another performance, here she has a fully worthy consort in Bryan Drake, a stalwart Macbeth who faces his bloody fate with steadfast vocalism and interpretive poise. David Gwynne's Banquo holds up his end of the proceedings. The sound is excellent broadcast mono and the cast's diction makes capital use of the English translation.”
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.”
Turandot, deutsch gesungen
“Eine Rarität ist diese deutsch gesungene Turandot Aufnahme. vor allem durch die ausgezeichnete, stählerne , trotzdem aber hochdrammatische Ausdruckskraft der Stimme von Gertude Grob-Prandl als Turandot. Karl Terkal ist ein ihr ebenbürtiger, klar singeneder Kalaf, von dem es leider zuwenig Dokumente seiner wienerisch geprägten Gesangskultur gibt.”
Jim Lieberthal
“I was surprised by the tempi throughout the performance. It was more measured and monumental than I have been used to in the past. Maestro Sanzogno conducts in a manner that reminds me of DeFabritis and Erede. Erede's performance from 1974 Vienna is very slow in some spots, yet the tempi here did not inhibit the singers. In fact, it seemed to release them in a way that gave them plenty of space to really dig deeply into their roles. The audience adored Stella and di Stefano, and I do love their work here too. Shades of the old 1951 Cetra recording, there is no duet between Federica and Rodolfo in Act 1 scene 2. The chorus comes on with a snap and bounce and then the audience applauds as the scene is over! Very strange, especially considering how wonderful Oralia Dominguez is in the part. Her work in Act 2 is wonderful. The a capella quartet is compelling in a way I rarely have heard. The 3rd act is just WONDERFUL. They are chewing the scenery with every phrase to compelling effect. The sectional approach to the duets gave me a different idea of their structure and I appreciated that much. Both basses, Arie and Campi are terrific. I love their voices and their compelling characterizations. And then there is the magnificent Cornell MacNeil. He has a tremendous performance all the way through. GET THIS ONE.”
None of the other revewers have mentioned the amazing work here by......
“I agree with Andy's praises of Brenda Roberts, Jean Cox (although both Roberts and Cox are sweet and smart rather than forceful or overwhelming), Heinz Zednik, and Donald Mcintyre. Andy is certainly right that Heinz Zednik and the Big Mac are both even better here--more spontaneous and alive--than in some of their later recordings and performances. But none of the reviewers have mentioned one of the most powerful members of this cast: the gritty, sulfurous, imposing, frenzied, snarling, uniquely malevolent Franz Mazura as Alberich. May the gods forgive me for speaking blasphemy, but honesty compels me to say: Mazura's Alberich is the equal of--and may actually surpass--the many interpretations by Gustav Neidlinger himself (PeaceBeUponHim). Another feature which no one has mentioned so far: Horst Stein's conducting is masterful: as lively as Josef Keilberth, as muscular as Karl Böhm, and as sensitive as Rudolf Kempe, Stein is really one of the great Wagner-conductors, especially of the RING, and the more I hear of him, the more difficult it is for me to understand why he is not a household name like Böhm, Furtwangler, or Levine.”
Beautiful
“Exciting, excellent recording of a provocatively fast-paced, dramatic performance. Among the principals, only Calio is ordinary, the others are all stellar, and Schröder-Feinen’s amazing Kundry by itself is worth the price of admission.”
Parsifal/Boulez
“Many thanks for sending the replacement CDs and the insert. I've played through Side 2without a hitch and assume that I'll have the same result with the last act. Performance magnificent and recording quality astonishing..Congratulations and thanks for all your work, Sydney McMinn.”
memories of a glorious performance which i attended
“performance magnificent recording appalling side 3 tracks 8 and 9 bettertrack 10. lindholm a fabulously exciting singer whom i later saw as chrysothemis (twice) in edinburgh then as Isolde and Brunnhilde at rohcg. After 1982 she disappeared from our shores . Why? Ronnie Byrne Glasgow”
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.”
Elisabeth Grümmer - a great Marschallin
“Can't add much to what the previous reviewer has said, which I fully agree. I bought this mainly for Elisabeth Grümmer's Marschallin, a role she never recorded commercially and she fully meets all expectations and more - a truly great, endearing portrayal completely capturing all the character's poise, dignity, wistfulness and eventual resignation to time and fate. The "skips" towards the end of Act 1 due to corruption of tape are indeed annoying but it's better to have this entire performance than nothing.”
james sellers
“I've had four or five editions of this CARMEN and this pressing sports the best sound I've heard. Well worth the upgrade if you don't have it. The approach is old fashioned, lusty and exciting. Not much subtlety here! The singers are all top quality, solid professionals and could not be bettered at the time, Stellar cast with Bastianini in a rarely recorded role and Simionato and Corelli are on fire!! Scotto is an assertive, spot-on Micaela. Great ensemble singing and vocal acting.”
Great Performance, Excellent Sound!
“I'm not sure of the source of this performance; it sounds like a television studio recording because the overall sound is clear and there is no audience noise, not even applause at the end. This is one of Tchaikovsky's most beautiful operas (it was on a double bill with The Nutcracker at the world premiere).Josephine Barstow had one of those distinctive voices that one recognizes right away. She is in excellent shape here, soaring when the composer asks her (not often in this score) and presenting a very human, moving portrayal of the blind-without-knowing-it princess. Adrian De Peyer was an underrated tenor in England at this time who could sing just about anything. He provides strong, subtle singing; one is immediately on his side. Norman Welsby (Donner and Gunther in Goodall's English language Ring cycle for the ENO) sings a superb Robert with excellent diction. The other soloists also contribute strongly with clear diction. Barstow's words are sometimes a little fuzzy, but that may be the recording which is good, if occasionally a mite fuzzy. David Lloyd-Jones was a Russian opera specialist and he conducts a lyrical performance of an opera I wish we heard more often. If you love Tchaikovsky and/or opera in English, you'll enjoy this tremendously. Picky point: Salome's final scene should have started with "Es ist kein Laut zu vernehmen" (or whatever it is in English) instead of as the head is being brought up out of the cistern.”
A Strong Perfirmance
“I like this version. I bought it on spec, and after listening to it I decided it was well worth having. The performances are not 'modern' ones, but the warmth and commitment of all the musicians quickly make that irrelevant, for me.”
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.”
Patrick McCabe
“Like the Ballo of two years earlier,this is in very good sound, and a live performance in good sound will nearly always score over a studio. Bergonzi as always is nearly flawless, in a way monotonously so. Still one cannot fault his performance, except perhaps on the B flat climax in Celeste Aida which is slightly strained. Of course the aria comes so early.Cruz-Romo is well up to this taxing role, and meets all challenges with ease. Mignon Dunn displays a quite large voice which surprised me, but I liked her Amneris. The rest of the roles are competently sung.”
Boyd Cathey
“A young Jose Carreras sang the lead tenor role in this 1974 Berlin performance, while Placido Domingo sang performances in Vienna. The Domingo performance has appeared in an official commercial CD release on Orfeo and is urgently recommended. This Berlin performance offers us Carreras , in stellar and plangent voice, with Agnes Baltsa, in equally fine voice. IL GIURAMENTO is perhaps Saverio Mercadante's finest stage work, and deserves more familiarity and more presentations in the world's opera houses. Despite a convoluted plot, the music and Mercadante's ability to make his characters come alive, places this work above others in his oeuvre. There are two remarkable arias for the lead tenor and a superb final denouement/scene that compares well with Verdi. The sound is good broadcast sound. The more I listen to IL GIURAMENTO the higher I value it. Recommended.”
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!”
A WONDERFUL OFFENBACH'S "LES CONTES D'HOFFMANN" SUNG IN GERMAN
“A great live performance of Jacques Offenbach's "Les contes d'Hoffmann" sung in German, featuring a starry cast, orchestra and conductor! The first name of the fine tenor who sings Hoffmann is Waldemar, not Waldeman... Highly recommended!”
Nicholas Allen
“I saved up to travel to London to attend Jurinac's debut as MNrschallin after 20 years as "The Octavian of the Century". I should add that the great Luchino Visconti directed subtly in stunning art nouveau sets. In a telegram afterwards, Hofmannsthal's son acclaimed Jurinac's warmly humoured Marschallin as the closest ever to his father's intentions - a very Maria Theresia-like interpretation as opposed to Schwarzkopf's all-too Parisian version which never received acclaim in Vienna - lovely but wrong. It was a great evening. Sadly, Decca enforced Regine Crespin on Solti for the commercial recording so this is doubly welcome! Thankyou.”
Une version de référence de Salomé
“Magnifique interprétation, dominée par Inge Borkh, Salomé sauvage et sensuelle, Hans Hotter, formidable Jochanaan, et le grand Max Lorenz , Hérode de luxe. Joseph Keilberth et les musiciens de l'orchestre de l'Opéra d'Etat de Bavière connaissent évidemment leur Strauss à la perfection. Le son est bon.”
Bel Canto Fan
“An excellent version of this opera. Better than the commercial discs I have.Caballe is in her prime and the Mezzo, Chookasian, whom I had never heard before was a very pleasant surprise. Oncina also in great voice. Sound is very good.As mentioned previously, the last track on disc one is faulty but seems to have been repeated on the first track of disc two, so it is not a problem. Very happy with my purchase.”
Rainer
“This recording is very special due to the participation of Ernst Kozub (Not even mentioned above!!), who died much too early in 1972. He was probably the only real Heldentenor around in the 60s and 70s apart from Hans Hopf and a worthy successor to August Seider and Ludwig Suthaus.”
KIRSTEN GLORIOUS!!!
“Dorothy Kirsten, mistress of unforced sound and vocal longevity, is glorious in this performance. Tosca was always a fine fit for her as a singing actress. In the third act her vocality is incandescent. James King is his usual stentorian self. Highly recommended, and clear sound.”
