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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.
Great Performances, Excellent Sound!
“These extended excerpts from Lea Troyens were not drawn from a complete performance of the opera, but were arranged for concert presentation. Inevitably, there are a lot of cuts and one wishes Crespin, Chauvet and company could've performed the complete work. But I am grateful to have this souvenir of Crespin, singing even more of the two roles than she did for her two disc EMI set.We hear Cassandra's two big scenes from the first two acts and most of Didon's role from the remaining three, augmented by Hylas' lovely song and Enee's famous aria, and the two famous orchestral pieces, the Royal Hunt and Storm and the Vallon Sonore. Whoever chose the selections knew which scenes to focus on.It almost goes without saying that Crespin is magnificent. She ably captures the sadness and despair of Cassandre (even adding a loud, unscripted cry after the Trojan horse is marched into the city) and is every inch the regal, noble Didon. Both roles suit her voice perfectly and her tone is warm and beautiful. Chauvet was a very underrated singer. He doesn't have the pure head voice for the high notes in the big duet with Didon, but compensates with an accurate top C and ringing B-flats later on. The other singers are all more than adequate even if their French is a little iffy. Sebastian provides strong leadership.Highly recommended to all lovers of the opera or the singers!”
"L'ELISIR D'AMORE" TO BE LOVED
“A wonderful live performance and recording of a great "opera buffa", one of Gaetano Donizetti's masterpieces, "L'elisir d'amore"... A starry cast, featuring some of the greatest belcanto singers belonging the old great golden / platinum belcanto age. Strongly recommended!”
...And that Immolation...
“...would probably be either of these recordings:NDR Sinfoniorchester - Hans Knappertsbusch (1963) OROrchester der Deutschen Oper Berlin - Heinrich Hollreiser (1964).Can anyone clarify???”
Karl Heinz Konrad
“ich finde es wunderbar solche Aufnahmen hören zu können. Auch wenn die Aufnahme Qualität nicht sehr gut ist. Der Düsseldorfer Ring zeichnete sich durch ausgezeichnete Sänger aus. Pampuch hat den Mime noch jahrzehnte nach seinem Debut gesungen. Hans Hopf als Siegfried muss man live erlebt haben um seinen Leistungen gerecht zu werden. Er war der letzte Heldentenor mit einer strahlenden Höhe und einem ausgefeilten Piano. Lindholm und Roar waren guter Durchschnitt. Die Düsseldorfer Symphoniker spielten unter Wich nicht immer mit einer idealen Lautstärke. Insgesamt eine für Wagner Liebhaber interessante live Aufnahme.”
When NYC was advnturous
“This is relic to be treasured of a golden era in New York City. In 1958, I was in James Madison High School. Bernie Sanders was in my class, btw. Ruth Bader Ginsburg was a generation earlier and Chuck Schumer a decade later. Back then, Thomas Scherman's Carnegie Hall concerts presented great operas before City Opera and the Met did, often with great singers (Farrell and Dobbs) before the Met or City Opera had them. Not only were these nights to be cherished, they built up demand for these operas and these artists. This is a performance to be treasured on its own merits but it is also a memento of wonderful times gone by.”
John Querns
“Terrific performance. I remember seeing this cast. Pauline Tinsley as the Kostelnicka is wonderful and the rest of the cast are not far behind in intensity. A brisk and tightly-controlled performance from the conductor. Thrilling stuff!”
Great Don Giovanni
“Vivacious conducting, sublime, stylish Don Ottavio (Leopold Simoneau). He proves once again that he was one of greatest lyric tenors. His phrasing and coloraturas are excellent. Elisabeth Grümmer is powerful Donna Anna, Lisa della Casa noble Donna Elvira. What do you want more? A great Don Giovanni. Well you have it. Cesare Siepi is every inch Don Giovanni from beginning to the end. Fernando Corena is witty Leporello. Commendatore (Gottlob Frick), Zerlina (Rita Streich) and Masetto (Walter Berry) are great in their respective roles. Don Giovanni for ages. My advice: Grab it.”
Memorable Salome first night
“This was the premiere of a new Salome directed by Wieland Wagner. His relation to Anja Silja was well-known, and it would prove that he had less than one year to live. Several of the singers take their roles also in other recorded performances, but I found this to be well worth adding to my collection. It is well conducted and in good broadcast sound (although I don't hear it as stereo).Nils-Göran”
SUPER
“Si la perfection existe alors cette représentation en fait partie. Il y a beaucoup d'enregistrements superbes du Trouvère mais celui-ci est au sommet. Le quatuor vocal est exceptionnel. Le son est excellent.”
John Stanton
“Souliotis is wonderful in this recording, the voice is full and powerfull, her Leonora a moving, flesh and blood heroine. Her second act aria is very fine,(The audience thinks so too) and she is heartbreakingly touching in the final trio. The Alvaro, Carlo Menippo while not in her class, and in spite of some moments of unsteadiness has an attractive voice and sings the role well enough. Mario Sereni had one of the most attractive baritone voices of the 50's and 60's and gives us an energetic and appropriately young sounding Carlo. Ivo Vinco is a sonorous and dignified Pardre Guardino and Alfredo Mariotti a "singing" Melitone, avoiding the unnecessary histrionics often associated with this role. Franca Mattiucci is a vibrant Preziosilla.The sound is particularly good.”
Fine document of Olivero's Tosca
“Although I adore Olivero I don't find her voice here as compelling as it often is; it could be the recording, or maybe something subjective, but the trademark vibrato is not always pleasant. Her artistic/emotional choices are always interesting and effective, nothing is taken for granted. The Butterfly excerpts are fine and exciting.”
Only Frau in English
“I saw this production in Coventry when WNO toured it across the UK and still have strong visual memories of a basic, but very effective staging. WNO managed to assemble a stellar cast from (with the exception of Katsu) home grown talent, showing what a depth of resource opera had in the UK in the 1970s and 1980s. All the performances are committed, strong and vocally persuasive: Tinsley is as characterful and tireless as ever as the Dyer's Wife, and Bailey is a warmly communicative Barak, both singing with great insight and strength. Anne Evans, then on her way to Brunnhilde, is a silvery Empress with deep reserves of power for the awakening scene. Patricia Payne really makes her mark as the Nurse and commands the huge range of the part with ease and if Katsu is a little wooden vocally, maybe that suits the part! All the minor parts are well filled (with a gourgeous tenor for the Apparition) and the orchestra plays superbly well under Richard Armstrong. Reservations? Well, the words do not always come across as clearly as you would like (Tinsley sadly at fault here) but maybe the blame lies with Strauss, rather than the singers. Having said that, it is a good translation, of which I have a copy and this is the only Frau in English ever likely to be available. I think it is wonderful, and well worth exploring. Sound is excellent.”
Great voices live in your living room!
“This is a must have if you love Bellini and great singing. Sound quality is fine.Packaging is slick and not bulky leaving room in my cabine for more,I wish some of my other “live” recordings I’ve purchased from other vendors were as great as this!”
Parsifal, Knappertsbusch, Bayreuth (1963)
“Hans Knappertsbusch was the champion of Parsifal at the Bayreuth Festival. The 1963 version was only available on the Melodram label at a excessive cost. Thanks for making this recording accessible at a friendly price.”
Great Meistersinger
“Norman Bailey is excellent as Sachs, singing with authority in his unique, dark timbred voice with its heavy vibrato. The ladies are equally fine, especially Janis Martin's surprisingly youthful sounding Eva. Cox is a known quantity, not the best Walther out there but more than adequate. Hermin Esser's David is more heroic sounding than one usually hears in this role (I wonder if he ever sang Walther?). The real surprise of this performance though is the fantastic conducting of Hans Wallat who manages somehow to bring out elements in this score that I've never noticed before. His pacing is also just about perfect with no peculiar tempo choices that a lot of otherwise great conductors have imposed on the score (Knappertsbusch, Boehm). Bravo maestro!The sound quality of this Bayreuth performance is quiet good overall but there are several episodes of tape overload and distortion which will bother some people more than others. I found that importing the tracks into my Audacity software, applying the Clip Fix editing feature, and then reducing the amplitude between 2-6 db significantly reduced these problems, making for a much improved listening experience.”
Boyd Cathey
“This excellent performance of LOHENGRIN comes from apparently an air check of a performance given in Stockholm, at the Royal Opera House, January 29, 1966 (the Opera Depot flyer lists "Royal Opera House, Covent Garden," but I wonder if that is a misprint?). In any case, it is a spectacular performance in excellent sound, and, to my knowledge it has only appeared, briefly in the past, on the Ponto label (which I think no longer available).As might be imagined, Nicolai Gedda is a principle reason to acquire this set, and he does not disappoint at all. In fact, he is simply magnificent. His "In fernem Land, " of course, is a true high point, but elsewhere he is a real model of how a lyrical Lohengrin should sound, portraying the knights' feelings and views through superb streams of gorgeous music.But then there is Aase Nordmo-Lovberg as Elsa, and artist not that familiar to me (although she sang at Bayreuth). Her voice reminds me a bit of Elisabeth Grummer, with its shimmering, silverly tone. She does extremely well.And the rest of the cast is strong, in particular Barbro Ericson's Ortrud and Bengt Rundgren's Heinrich and Rolf Jupither's Teleramund.Thus, this is a treasurable performance, superb in every way.”
Shaun Greenleaf
“This sprawling work is captured in excellent radio sound with an all-Francophone cast including the very characterful Robert Massard and the fine Guy Chauvet. The women are less distinguished but do fine work and the piece is a lot of fun.”
A revelation!
“My expectations for this 65 year-old recording were low. This premiere performance has acquired a reputation as a disaster, as the highest of high society, in the presence of the Queen in her Coronation Week, supposedly sat on their hands in response to modern music and the sight of an ageing Queen being portrayed on the stage.Well, so much foe received opinion. The recording, which seems to be of a BBC broadcast is fantastic for its age. Not only does it capture an historic performance in clear, plain sound, but it also captures what seems to be an enthusiastic reception from the audience. Applause at the ends of Acts is immediate and keen.I have seen three productions of Gloriana and have the Mackerras stereo set with Josephine Barstow. I think it would be impertinent to attempt critiques of Joan Cross, Peter Pears and the creators of this opera. What we have here is a fantastic piece of musical history which I am very moved to own.Bravo Opera Depot!”
Jones, Boulez triumphant
“This is one of the great Gotterdammerung performances, to go up there with Knappertsbusch '51 (Testament), Konwitschny/Covent Garden and Solti's Vienna commercial recording. To get the flies in the ointment out of the way first, Karl Ridderbusch's Hagen sounds quite nappy but tends to coast on his superior vocal endowment. Hannelore Bode's shrewish Gutrune is barely tolerable and the Norns, solidly anchored by Patricia Payne, are a mixed lot.Do not be discouraged! Pierre Boulez sweeps all objections before him in a performance of tremendous sweep. It is definitely on the fast side (110 minutes for Act I) but neither lacking in the joyous froth of Siegfried's Rhine Journey nor the tonal mass of Hagen's machinations. His improvement of the Bayreuth orchestra is not always a finished job (the woodwinds betray him in the Act I interlude) but the brass has crushing weight and unanimity.Boulez has a stalwart ally in Dame Gwyneth Jones. This is one of the few recordings (in spectacular stereo) that captures both the power and the warmth that her glorious instrument possessed. She has all the femininity you'd want in a Brünnhilde, allied with textual acuity and unflagging energy. She propels this performance almost as much as Boulez. After the mature René Kollo as the young Siegfried (in Siegfried), Manfred Jung is disconcertingly boyish, although his generally agreeable timbre—which flags in Act III—is unmarred by the sandpaper that sometimes invades Kollo's sound. Franz Mazura is an unusually magnetic Gunther, flintier and more assertive than is the norm for this role. By 1977, Zoltan Kélémen was the world's preeminent Alberich and he provides a jolt of evil in his Act II cameo. The Rhinemaidens are a strong trio and Yvonne Minton almost steals the opera with her lush, affecting Waltraute, a role that seems to bring out the best in its interpreters.”
Highly recommended.
“A very enjoyable performance. I am big fan of opera in English and I think the Janacek operas especially benefit from translation. This set makes a great addition to Mackarras’ studio recordings of the Janacek operas in English. A terrific find.”
Elektra
“An excellent performance. Mostly a cast I have never heard of, but excellent singing. Recording quality very good for a live 1977 production. The only recording I know of sung in English. Highly recommended.”
Herrlich!—Himmlisch!—Göttlich
“Wiener under the baton of Karajan is something very interesting to listen to—you could hear the very articulation of the strings, that "character" of the woodwinds, and the triumphant of the brasses. But the absolutepoint to get into this record is the Königin, that "Gruberova" sensation always worth every penny.”
Excellent performance
“Most of the cast rarely or never sang in North America, so they aren't as well remembered as they deserve.Even if they are not as dramatically strong as say Hotter and Varnay at the time, they all have strong voices and play well to the microphone, whispering some of their lines.It is a radio broadcast with no audience in near studio level sound.Recommended.”
Anja Silja, Salomé, Marie, Lulu and some others for ever
“Thanks to Andy for celebrating Anja Silja’s birthday. The catalog he offers is very interesting and is roughly representative of the artist's repertoire, at least between around 1960 and 1975. Anja Silja is a star in the opera world. She was said to be the German Callas. I do not believe so. Callas was a great tragedian who revived 19th century Italian romantic operas. But Anja Silja was above all the first modern singer and for a long time the only one. She is a great actress and has phenomenal vocal capacities, from the soprano colorature to the soprano dramatic. I think that since a decade, some singers who have some similar qualities: A Grigorian, C Schäfer, M Petersen and B Hannigan. But Anja Silja actually includes them all by her very wide repertoire. She has been accompanied my life when listening to the opera : Bayreuth’s broadcasts since 1961. Then Salomé, Walküre, Marie (Wozzeck), Emilia Marty (Aix and Lyon), Geschwitz, Kostelnika, die Ame (Die Frau), sister Marie, Erwartung, Schönberg’s lieder, Pierrot Lunaire (Aix and Lyon). I had the chance to have some exchanges with her. What a personality, a very clear understanding of her roles. One can add to Andy’s catalogue, the video of Wieland Wagner's Lulu, Fidelio and various sequences on YOUTUBE, recordings of Tristan in Naple and Salomé in Vienna and the remarkable recordings with Christoph von Dohnanyi of Wozzeck, Lulu and Erwartung. What an outstanding artist! Anja Silja… Salomé, Marie, Lulu forever. Ewig, ewig, ewig….”
Alfredo
“Yes, the sound is excellent. And what a refulgent dream cast! Lorengar, Cosotto, Tagliavini, Guelfi, Zaccaria, Molinari-Pradelli at the helm. As far as I know, this is the only available recording. Not to be missed!!!!!!!!!!!”
Beautiful Figaro
“This performance surprised me. I did not expect it to be so beautiful. I never heard of Liliane Berton who sings Susanna but she has a perfectly light voice and is clearly enjoying herself. I need to hear more of her. Caballe is wonderful as the Countess and Blankenburg is an experienced Count. Bacquier is also perfect as Figaro. Pritchard leads a lively performance and the remaining cast is also fine with their respective roles. The sound is excellent: just what one would want from a live performance. Bravo to all concerned. I'm glad I took a chance on this one.”
Don't overlook ...
“There's so much to love about this performance, but don't overlook Hans Sotin as Veit Pogner the Goldsmith. He sings so naturally, and easily, in his penetrating golden voice. It's one of those voices that crawls into your skull and directly massages the pleasure-centers in your brain.”
PHILIPPE GUILLON
“J'ai acheté cette version de Siegfried car je voulais connaître le Wanderer de Greindel. J'en suis très heureux. Bien sûr la voix est plus noire que celle d'un "Wotan habituel" et cela me fait penser au "Wotan-wanderer" de Uhde (Bayreuth 1960) que j'aime beaucoup. Greindl est un immense chanteur (grand Gurnemanz de Knappertsbusch 1954 par exemple et lieder de Schubert aussi). Et je trouve que c'est important d'écouter des versions un peu "alternatives" comme celle-ci, même si j'adore Hotter et aussi Hines bien sûr! Version à connaître!”
FIDELIO IN ITALIANO? SI!
“This is likely a RAI Roma broadcast, with actors (uncredited) doubling the singers in dialogue, which is kept to a sensible measure. Gui leads a briskly paced reading, placing the score firmly in the classical school. None of the melodrama is lost. If anything, the precision of singers and orchestra adds immediacy to the action. The cast is uniformly superb. Dow is lyric and brilliant with a gleaming top. Gasperoni rivals any other “Marcellina”, blending beautifully with Dow in ensemble. Berdini blends lyricism and heroic ring. Christoff is father and confessor, soulful and intimate. Taddei is a terrific blackguard of a villain. Monti personifies humility and charm. Calabrese is excellent. Sound very good.”
Exquisite Rake
“This is an exquisite performance of Stravinsky's rarefied opera, and the only one of many I've heard to make me fall in love with this score. Sanzogno's conducting is the key, flowing with classical grace that allows the emotion to emerge, as in bel canto, through vocal and musical values. The singing is also a marvel. Picchi sings superbly as Tom, and manages even to make him touching. Sciutti, whose narrow, sometimes hooty tone has always struck me as an acquired taste, is the best Anne I've heard, singing with precision but also revealing the depth and steadfastness. I'm a Rehfuss fan anyway, and he here sings beautifully, in dramatic contrast to his character's malevolence. Maybe best of all is Jolanda Gardino, super as Baba.”
Love this Gurrelieder recording!
“I absolutely love this piece, and as a chorister I've been able to perform it on two different occasions, onstage with singers like Jessye Norman and Hans Hotter, so I know this piece. I'm a Gundula Janowitz fan, so it was wonderful to hear her soar through this part. Christa Ludwig was perfect in her one scene, hardly brief, nailing every bit of it including all the optional high notes. The surprise for me was the tenor, Arturo Sergi (stage name...), who could actually sing Waldemar's part. Sing it! Most tenors strangle at some point but Sergi sang every inch of it really, really well.Bravo! The sound is quite good for the time, and overall it's simply a great performance of a stupendous work.”
Beautiful performance
“When I first became aware of Peter Hofmann in the 1980s, well after the noticeable wobble had started, so for me this 1976 performance was a revelation of what his voice had been capable of: secure through the range, with a youthful lyricism backed up with the power when needed. And no wobble. Bernd Weikl was to me an admirably elegant singer, and I was fortunate to see him in several roles at the Metropolitan Opera, including Amfortas. As he was only 34 years old here is Amfortas has less of the world-weary King and more of the "fear of the unknown" to me, but still glorious singing. Eva Randova is surprisingly good as Kundry -- I guess I am used to her more as Kostelnicka -- and her high notes are secure. I was good to hear Heinz Zednik, one of my favorite character-role tenors. i agree with the other reviewer that the sound is excellent in Acts Two and Three, but the Act One sound is like listening through a large, gauze bandage covering both ears.”
A magical evening
“I attended the premiere of this live performance at the Staatsoper, and also a second premiere a day or two later with Hilde Güden, Graziella Sciutti and Paul Schöffler, myself being a singing student in Vienna at the time. Günther Rennert’s production was light as a feather und delicate colours, quite magical and the singing of both casts some of the final examples of the great post-WW2 Vienna Mozart Ensemble. Maybe not today’s style, but the phrasing, the feel for Mozart has never been bettered and Krips was the ultimate master of this style, far more so than Karl Böhm ever was. So good to re-live the experience now.”
Little Known Gem
“I thoroughly enjoyed listening to Alzira. The singing was quite good and the sound was pretty decent considering this was from a 1967 live performance. There are some (including Verdi) who don't care for the opera; however, there is much to like here: lots of good melody, plenty of blood and thunder that you find in early Verdi, and a very exciting performance. Don't compare this opera to other Verdi works. Forget the plot and just enjoy the music. It's better than the masterpieces of a number of lesser composers.As a bonus there are excerpts from Anna Bolena, I Puritani, and L'elisir d'amore. I would like to know who the singers were in each of the excerpts, especially the Puritani, which was superb.”
Superlative gathering of representative selections by one who was NOT recorded nearly enough!
“What a wonderful example of an truly under recorded artist! These selections present Zylis-Gara in prime voice throughout. I particularly enjoy Desdemona's Willow Song and Ave Maria which I heard on a MET Opera tour in1972 with co-stars James McCracken and Sherrill Milnes! In the mid-1980's with New Orleans Opera, Zylis-Gara performed Cilea's "Adriana Lecouvreur" with the wonderful Bianca Berini and the stalwart Ermanno Mauro. The two ladies brought down the house! I regret, though, that I never heard Zylis-Gara in Mozart. The recording features a couple of Dona Elvira's arias. It's also interesting to hear Zylis-Gara as Octavian in the astounding trio from "Der Rosenkavalier." The Princess is Caballe! Wow!”
Interesting
“The singers are great as expected , the sound is decent but the performance is not as polished as other recordings with the same cast but still a testament of Dame Joan’s virtuosity! 🙃”
OUTSTANDING PERFORMANCE
“I have a number of Lohengrin recording of both studio and live origins. This one is quite special. Konya is captured at the height of his artistry. The voice coupled with his technique is able to fully express all aspects of character and drama at hand- yes, and often with arresting wow factor. If the conducting encouraged a slightly slower tempo, all of this well healed (vocally) cast would be fully expressive. There's one very happy surprise among the cast. Paoli Dari took on the role of King Henry. His is one of those crackling authoritative bass voices that never plods but captures one's attention with every phrase. He actually moves the proceedings along in such a way as to heighten our interest in what's unfolding for these characters I'm these often unhappy circumstances. Yes, this is a valuable recording in wonderful sound.”
La Fanciulla del West - Neblett, Domingo, Carroli, Lloyd, Summers; Mehta. London, 1977
“Wonderfull performance in great sound. But your advertise is not correctbecause you, obviously use the BBC broadcast which was onJanuary 21r, 1978. Anyway just for information of correction but, musically this is a great Fanciulla!!!!.”
Date Correction
“Further to my review above, I spoke with Margaret Curphey today and she confirmed that the recording will have been taken on 29 September 1977, which was her first public performance of the Siegfried Brünnhilde. Perhaps the cover might be corrected for the future. It's a wonderful disc: thanks again for issuing.”
A triumphant Welsh National Opera 'Die Walküre' under Sir Reginald Goodall (continued)
“The great Anne Evans was singing her first Brünnhilde. Kathryn Harries, who had only started singing operatic roles as a Flower Maiden in the WNO Parsifal the year before, was a strikingly youthful, good-looking, and well-sung Sieglinde. Although Phillip Joll was younger, higher-pitched, and less god-like in appearance and voice than Norman Bailey, he nevertheless offered a very coherent, convincing and youthful characterization and a very well sung performance, which fully came into its own in the final scene with Anne Evans. Warren Ellsworth (aged 34) was a show-stealing Siegmund (he generated much more presence and Vickers-like intensity in this role than did much-loved Alberto Remedios, who unfailingly sang this role very beautifully, but was always much more distinctive, engaging and characterful as Siegfried). His death from lymphatic cancer in 1993, aged only 42, was a very tragic loss. The singers, the WNO orchestra and Andrew Porter’s excellent English translation come across amazingly clearly and vividly. Aside from one brief gap/jump towards the end of Fricka’s big scene with Wotan in Act 2, the excellent stereo sound is almost completely fault-free. In a review of the first night, Rodney Milnes wrote: ‘every aspiring Wagner conductor across Europe should be corralled into Cardiff’s New Theatre to see how it should be done!’”
The singers, especially the radiant Grümmer, take the spotlight
“Elisabeth Grümmer is one of my top favorite sopranos and I bought this live recording mainly for her. Pamina is a role to which she is eminently suited and yet never recorded complete commercially (only excerpts for Electrola - the German branch of EMI). She proves to be virtually ideal in the role - youthful, radiant, noble, and what a treat to hear her in a live performance in this role when she was still in the fullest bloom of her vocal prime. The rest of the cast feature the best that could be found at that time for the respective roles. Among them Dermota and Kunz are well-known quantities and they don't disappoint. Solti has often been criticised for being hard-driven. He certainly isn't an affectionate Mozartian, but here he is at least considerate to the singers, while effectively ensuring the forward momentum of the drama. The sound is typical for a broadcast recording of the period. The voices are at least forward and clear.”
Un superbe Otello
“Magnifique version, malgré un son parfois confus et quelques coupures. On connaissait déjà Ramon Vinay, Otello de référence, et on découvre Gino Becchi, Iago démoniaque (peut-être un peu trop parfois), et Maria Caniglia, Desdémone incandescente. Et la direction vive et dramatique de Victor de Sabata réalise une synthèse unique de Furtwängler et Toscanini, tous deux enregistrés dans cette même œuvre.”
Just a brief note...
“Just to make note, unlike the two commercial recordings of this opera, which omit Act II, Scene 1, this performance is complete !Sills, whether or not she liked the composer and his music, is astounding !”
Walter Hartman
“Here is a very rare performance featuring Nilsson and Caballe in the same performance. Nilsson is a known quality and is here in very fine form, singing Brunnhilde as only she could. Caballe is a very successful Sieglinde. The voice is in great shape and she sounds very involved. Cassilly may not be to everyones taste as Siegmund but he is in very good shape here and indeed I don't remember hearing him sound this good elsewhere. Stewart was a well known Wotan and delivers a strong performance here as well. Patricia Payne and Matti Salminen bring strong solid voices to their roles with Salminen sounding particularly menacing as Hunding.”
Wonderful Rhinegold!
“This was the opening night of Goodall's complete Ring cycles that were played together for the first time in summer 1973, and the recording here captures the special excitement of these first cycles which swept over us at that time (as was also evidenced by EMI's taping of Siegfried from the same cycles).It would be interesting to know the provenance of this recording - broadcast? in-house recording? - but whatever the source it has fine presence and stereo spread even if it lacks the clarity of the later 1975 commercial recording. Dare we hope that recordings of the Valkyrie and Twilight from these 1973 performances may emerge from the same source? The Rhinegold performance itself shows Goodall and his singers (especially Norman Bailey) on peak form in the conductor's notably expansive interpretation. Thanks to Opera Depot for unearthing this!”
Magic
“Thanks a lot for giving us the opportunity of being buy listening it, in this world premiere !!!!! Strauss directing !!!!!The composer directing, the amazing singers choosen. A delightful moment listening it.Thank you so much !!!!!”
very interesting performance
“Tassilo has right: the choir sounds sometimes like a local community chorus, the orchestra is not first-class, Merighi has not the authority of the best Fausts but...Santi conducts fantastic combining passion with poesy, Merighi has beautiful high tones, Siepi is excellent in one of his emlematic roles (I think he is the best in Rio de Janeiro also with Olivero) and no other soprano knows better this style than Olivero: she is simple unsettling and shocking in the final of the 3rd act. In short: great performance.”
Corelli als Jose ist immer ein Erlebnis
“Corelli als Jose ist unübertroffen und hier ist eine von seinem besten späteren Carmen.Cortez und Bruscantini machen tolles Job auch, Oliviero De Fabritiis ist ,wie immer, absolut perfekt.Sound ok( es gibt keinen besonderen Wahl - entweder sind die Sängern gut oder ist das Sound gut. Seltener trifft das sich zusammen)”
