Here are the items that we found.
Featured Artist
Sylvia Fisher
This week, I came across a fascinating series of recordings featuring the great Australian soprano Sylvia Fisher.
Fisher was beloved for her gleaming, silvery soprano, ideally suited to the demands of Richard Wagner, as well as for the clarity of diction that made her an ideal proponent of Britten’s operas, particularly in the title role of Gloriana. Her recorded legacy is comparatively limited, making surviving broadcasts and live performances especially valuable documents of an important dramatic soprano.
Sylvia Fisher
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Bach (J.C.): Lucio Silla
Gaifa, Geszty, Varady, Hermann; Kehr. Schwetzingen, 1974
Britten: Albert Herring
MacDonald, Fischer, Sinclair, Vyvyan; Davies. English Opera Group, 1962
Britten: Gloriana
Fisher, Hillman, Garrard, Hammond-Stroud, Andrew; Bernardi. Aldeburgh, 1968
Charpentier: Louise
Neblett, Alexander, Devlin, Bible, Riegel, Densen; Wendelkon-Wilson. 1971
Massenet: Thaïs
Pilou, Edwards, Riegel; Buckley. Miami, 1976
Spotlight: Ernst Kozub
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
FIRST CLASS! SUPERB!
“Schwarzkopf is impeccable, vocal perfection in legato and tireless in scale. Curiously and sadly, Konstanze’s first aria, “Ach, ich liebte” is cut. Loose is charming, with earthy low tones, pealing high tones. Dermota possesses one of the sweetest, most intrinsically beautiful timbres, matched by superior musicianship. Klein is a hard put-put upon Pedrillo, but fills out the quartet attractively. Alsen’s alpine bass is a marvel. Moralt gives a seamless, atmospheric reading, alternately elegiac and energetic. Am I imagining moments foreshadowing “Fidelio”?! Sound excellent.”
peter jensen
“No doubt we are all over familiar with the studio version, a performance I always felt had a slightly stately approach despite the inner intensity and flow. this recording takes us into a very different space indeed, with an attack and spontaneity that grips you from the get go. What I really love is that ever growing malevolence in Hagens music, karajan loved his villians, the whiff of sulphur, the grand malevolent gestures and as the stakes intensify so does the singing and the playing, we are literally carried along (a rhine journey) that devolves into tragedy in a tangible way. The singing is a marvel, everyone is on best voice and the sound transports us into the theatre, maybe slightly limited but a natural and consistent acoustic so any sonic inadequacies are soon forgotten. Just let yourself be transported back to a magical night when the world's greatest orchestra with a superstar conductor collaborated to give us sheer excellence in the service of Richard Wagner.”
Liane Synek is a thrilling Elektra!
“When I saw that Andy had described this as "Extended Excerpts" I had to get it if only to hear what he meant. In fact, about 85% of the opera is here. What's missing? The opening scene for the five maids and the Overseer and the meeting of Elektra and Orest, The music picks up just as Synek is beginning the monologue after her recognition of her brother. A pity the performance isn't complete because it's white hot. Synek is simply thrilling. Her soprano is steady from top to bottom and that top is enormous. She holds the high C at the end of "Was bluten muss?" longer than Strauss indicated, but given the visceral thrill Synek provides, so what? Nor does she just emit lovely sounds, but is fully into her role. Natalie Hinsch-Grondahl (Bayreuth fans will remember her as the Gutrune in the Krauss/Keilberth Ring cycles of 1953) easily matches both Resnik and Dalis as Andy mentions above. Her laughter at is hair-raising; her offstage screams are terrifying too, but I suspect someone else did them for her as the timbre doesn't match Hinsch-Grondahl's voice (I could be wrong about this!). Annemarie Leber is a beautiful Chrysothemis with exciting high notes. The men are equally good, sounding exactly like their parts should sound. The sound (a house tape?), though boxy and limited in dynamic range, favors the voices. Not a first choice Elektra by any means, but this performance is certainly worth having.”
Patricia Brooks, a major Massenet Manon (continued)
“Patricia Brooks benefited from close associations with Rudel and Beverly Sills, who held her in high esteem. Her voice and persona were especially well-suited to Manon (and, reportedly, Mélisande). Clear, engaged and idiomatic enunciation of French is crucial to the power, beauty and appeal of French opera. Great as they were, however, neither Sills (on OD-10756) nor Brooks fully matched the distinctive Gallic expressiveness and authenticity of the great French Manons (most notably Janine Micheau, Renée Doria, Natalie Dessay and Patricia Petibon). In this Manon, Robert Savoie (Lescaut) and André Lortie (le Comte des Grieux) are dependable French Canadians, while the other singers (including Brooks and Domingo) sound much more convincingly French than is usual in performances by largely non-Gallic casts. Domingo lightens his heavy voice more effectively here than in his 1969 NYCO recording with Sills and Rudel (four major scenes are currently available on YouTube). Although scene 1 of Act 3 is omitted here, the main aria is included in Act 4. There is some significant congestion/distortion in loud passages early on, but this blemish steadily diminishes. Indeed, the sound quality is mostly very good during the great arias and duets and Acts 2-5. Indeed, it is mellower than in the very good Sills/Gedda/Peter Maag Buenos Aires Manon (1970) on OD 10756. Both of these recordings are highly recommended! Robert Bideleux.”
Daniel
“After almost 60 years of listening to her, I can still be stunned, astonished, awed by Callas’ intensity. Others may have been better in one respect or another, but no one so fearfully articulated and spat out the Fury of the Diva scorned.”
Wonderful Butterfly from a wonderful soprano !
“My first performance at the Vienna Staatsoper was April, l973, Madama Butterfly starring Lotte Rysanek, a soprano I knew from her many operetta recordings from the Volksoper. I was mightily impressed with Lotte. This l972 performance verifies my memories of that 1973performance. It is uncanny the resemblance to her sister Leonie's voice, a glorious and soaring top included. At times I would swear I was hearing Leonie singing Butterfly. Thrilling! Needless to say Leonie is one of my favorite sopranos and I did manage to hear Leonie at least half a dozen times before her retirement. Sound is quite satisfying.”
Vital for Goodall fans
“It will surprise no-one that the Rhine flows rather sedately at this stage of its progress through the opera houses of Europe, but generally slow tempi yield carefully managed momentum at many points. In particularly, the 3rd scene is an absolute triumph. Overall, this is a performance that develops powerfully, in typical Goodall fashion. The first scene does not quite achieve a playful or seductive atmosphere, particularly at these speeds, but there is ample recompense in what follows. Orchestrally, there are one or two wobbles in exposed passages, but nothing to trouble any but the most fastidious of listeners. Ensemble work is a major strength - Hammond-Stroud, Bailey and Belcourt in particular strike sparks in their exchanges. All three are in excellent voice. The sound also is impressive- lower strings very much to the fore, but with overall clarity, very little stage noise, and nothing to suggest an audience, until the concluding applause. The only villain of the piece is the translation - the mixture of archaism, colloquialism, and Scrabble hacks gains nothing by familiarity from other Goodall performances. Huge thanks to Andy for making this recording available.”
Audio quality leaves a lot to be desired, mainly CD2. Otherwise though, a full on nuclear performance!
“Of the three greatest Nabucco recordings, of which this is one, none are more potent and explosive than this. It's too bad the audio quality is so poor on CD2. This is an otherworldly performance and literally the ONLY time Callas ever sang Abigaille. CD1 will make you sit on the edge of your seat the whole time. This is a unique recording, which cannot be bettered singing wise other than the horrid audio quality on CD2; rendering it basically unlistenable.In short, this recording is worth it alone for CD1. If you're wondering what the other two recordings are, 1951 RAI Previtali Rome with Mancini, then 1966 La Scala Gavazzeni live with Elena Suliotis ( at the zenith of her vocal powers ). Buy you've got to have this one with Callas in any case for the explosive experience. Like Callas' 1952 Norma at Covent Garden, there is really no equal vocally to this.”
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.”
Daniel Zara
“Without Wagner’s specially crafted, gravel-chewing, pseudo-quasi-Ur-Deutsch, the monster Fairy Tale loses a few clicks of Menace and Spookiness but gains a sort of close-up familiarity: certainly “kinder, friendlier”, this Brit-sung-Saga. and wonderfully sung. This Cycle is loaded with great voices–and The Wanderer of Don Garrard is especially notable. Too bad the Valkyrie 1st Act finale is so inartfully chopped up.”
WONDERFUL
“Here we can hear the young Carol Neblett (28) and the young Domingo (33) in a live performance from Torino three years before their famous DG record and their production can match either with the commercial record or the later DVD from the Covent Garden. Minnie is the emblematic role of Neblett and she sings and plays really fantastically. Domingo is also ideal as Johnson/Ramerrez. A pleasant surprise was Basiola's strong Rance. Sanzogno leads the performance masterfully. Listening his productions I think he was one of the greatest Italian conductors of the last century. Though the sound is sometimes not the best according to my opinion this is one of the most beautiful performances of this opera.”
Wonderful Meister
“This is a fantastic live Meistersinger from Vienna. From 1955, it is historic, celebrating the reopening of the State Opera after it was destroyed in the war. History aside, this is a great performance. Schoffler is at his best here and Kunz cannot be beat as Beckmesser. Seefried is a wonderful young Eva and Beirer is solid as Walter. The sound is also excellent for it's time. If you have an interest in this opera, this is a top live performance.”
Magnificent
“What a treat to hear this opera in a language I can understand! I agree with everything Stephen H. says in his review below. An excellent performance of this heart-wrenching work, with fine singing and crystal-clear sound. Best purchase I've made on Opera Depot.”
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.”
Richard Inverne
“Well, I bought this for Kostas Paskalis, an artist I have admired since being taken to see him as Macbeth at Glyndebourne in the 1960s. However, good though P. is (with his usual vocal & dramatic excesses!) the star of the show is Flaviano Labo! This is a tenor I had never heard, but he is amazing!!! Lyrical, sensitive, yet with an exciting heft and power to the voice – unusual for a tenor to have all the assets, but Labo is one of the most interesting of his generation. Why is he not better known?”
Wonderful Keepsake!
“Wonderful to have this record of some great voices (British and otherwise) from the ‘70s. Hope Opera Depot is soon able to make performances from the ‘80s available to us too. Performance recordings have an energy that most studio recordings just can’t seem to create.”
Jim Johnson
“I have this performance from another source. I agree after several minutes the Italian language is no longer an issue. Kraus is a wonderful Nadir. I prefer Leopold Simoneau, but Kraus is right up there.”
Stunning
“I bought this as a download sometime ago but have never got around to listening to it. What a mistake! This is stunning in every way. The first half of the concert sees Nilsson deliver a wonderful Liebestod and Solti conducting a marvellous performance of the Prelude to Tristan; but wait until the 2nd half where all guns are blazing in a performance of Act 3 of Götterdämmerung which will knock your socks off! Everyone seems totally immersed in their role, Windgassen sounding fresh and lyrical, the Rhinemaidens (including a future Brünnhilde in Gwyneth Jones) a well matched trio, Gottlob Frick is frighteningly menacing as Hagen and Nilsson radiant in as fine a rendition of the Immolation as I have ever heard. Solti brings it all to life in a superbly paced account of the Act, dramatic and fiery but never as hectoring and jerky as his Decca recording can seem. The Prommers can't wait to voice their approval at the end of the concert (and indeed a little too soon after the Liebestod) but you can understand their excitement at such a wonderful musical experience. The sound is excellent and the slightly resonant acoustic of the Royal Albert Hall actually makes everything glow. Recommended highly.”
Unique OTELLO
“Here is an English language performance of an opera that is about 95% understandable. Almost everyone has great diction and one can feel like they are hearing OTHELLO sung. Mackerras conducts well and the sound is broadcast quality. There supporting cast is solid. Glossop is excellent as Iago. Hearing him sing it in english is such a pleasure. He knows how to keep the tone clear and ringing while every word is given it's full value. Richard Cassilly sounds fresher and stronger than in his many Met broadcasts. Not everything is perfectly in tune but for the most part this is some of the best singing I ever heard him do. His performance is deeply felt. Teresa Stratas is not completely consistent in her vocal production but when she is in her best vocal production spots the voice is gorgeous. She, is always, a wonderful singing actress and I found myself completely involved in her character. Sometimes she sounds a bit girlish but then she hits part of her voice where the quality becomes that of a very sensuous woman. Interesting performance. I still prefer Otello in Italian but if you are a fan of any of these singers you will want this performace.”
Impressive performance
“Very expressive, lively and vivid interpretations. Very emotionant dark armonics of Cossotto and Pryce . Bergonzi heroic as usual. Exceptional baguette of de Fabritis. Thank a lot Opera depot!!!!!”
Giancarlo Stampalia
“Well, this alternative Karajan live recording from Vienna is really a peach. We knew Karajan could do justice to the piece from his “other” Vienna live recording with the other cast, but it’s the presence of Janowitz that makes the real difference here. She is as perfect an Empress as one could hope for (even Rysanek, who practically made a career of the role, cannot match her sweetness, beauty of sound, and precision). It’s a thankless role, with bits of coloratura that are near impossible to get right (in her entrance number), but Janowitz comes closest, never slurring a note, never ceating her way out of it. And Gladys Kuchta is a revelation (why wasn’t she Nilsson’s rival also in the recording studio?) as the dyer’s wife.”
Jeffrey Kurnit
“A great performance by a cast of singers who could have been international stars if the Soviets had let them. Melik-Pashayev was a brilliant conductor whose work should be better known.”
Strauss: Elektra - Varnay, Synek, Madeira, Esser, Meghor; Kaufmann. Wiesbaden, 1964
“Eine gute Vorstellung mit der damals noch jüngeren Astrid Varnay als Elektra und die leider zu früh verstorbene Liane Synek. Alle Sänger sind hervorragend. Die Aufnahmequalität ist gut. Es ist eine Freude diese Elektra Aufführung zu hören. A good performance with the then still younger Astrid Varnay as Elektra and the sadly too early deceased Liane Synek. All the singers are excellent. The recording quality is good. It is a pleasure to hear this Elektra performance.”
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.”
Jay Kauffman
“I was there for the 1978-1980 performances. The 1976 premiere was tremendously exciting and one of the greatest scandals in Bayreuth (or operatic history). The audience was not ready for this production and the booing with whistles and even automobile horns got progressively worse. Fights broke out in the theatre and one woman had her earring torn off. Half of the orchestra left after that summer in protest and Ridderbusch also walked out (Wolfgand then banned him from the Festival.) Of course by the end of the run in 1980 the applause went on forever and it is still the greatest operatic production I have ever seen,.”
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?”
David McKee
“This recording feels just like having a good seat in the Arena di Verona (judging by the audio perspective in Act III, I suspect the recordist moved to a better seat, even closer to the stage). Ignore the oom-pah-pah conducting of Eliahu Inbal and enjoy the singing of Renata Scotto, sensitively inflected and floating perfectly on the breath. Carlo Bergonzi is in peak form as Alfredo, meaning you will hear nothing finer. While Mario Zanasi had sung much of the nap off his voice by the time (1970) of this performance, he doesn't led the side down. There's a bit of heckling in Act III; I can't imagine why -- we'd kill for a "Traviata" like this today.”
STUNNING GOETTERDAEMERUNG!
“After attending multiple Rings and listening to many versions, this ismy favorite performance of the work. The cast is perfect overall, and Elizabeth Gruemmer as Gutrune is icing on the cake. Kna is "on" for this whole cycle, much more energetic than in 1956. Everyone throws themselves into their roles with total commitment. The recorded sound is good, decent radio recorded sound from the 1950s. Kna's slower tempos give extra weight to all the most dramatic passages. I always felt that John Culshaw was trying to recreate a great Knappertsbursch Bayreuth performace with Solti and the Vienna Phil, and this performance shows why.”
Matey
“First of all, I would be very thankful if anyone could confirm whether this is the same performance as the one released on CD from Boston, or if that's on the other night (which must be the 7th). Either way, this is cheaper and is still amazing. The only reason why I am asking is since the other one is a recording with no drop outs. It could also simply be another recording of the same night; if so, you should consider also getting this one!Sutherland's voice is very well captured indeed, and those D-flats and E-flats are enormous! The duets are also very beautiful and masterfully done. Finally the tenor has very decent coloratura! Ultimately, I highly recommend this recording.”
Joseph Brand
“The great Taddei was scandalously neglected by the record companies. This powerful portrayal of Macbeth certainly does him justice helped by the superb conducting of Previtali and the magnificent Shuard. Luckily I heard these two together in these roles at Covent Garden in 1960 and they are caught at their best here with an excellent supporting cast, chorus and orchestra. The recording quality it very good indeed. For once the ecstatic audience reaction is entirely warranted.”
Even more satisfying than the studio recording
“This live version of Karajan's celebrated Salzburg production offers a vivid window into Karajan's music making without the help of engineering. The orchestral detail is exquisite and this cast cannot be beat.”
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 !!”
Truly great evening
“Maazel sometimes unpredictable is in huge inspiration here and he knows the Orchestre National . Nurmela, who died too early, is an extremely fine and subtle Iago . Vickers in great form and probably inspired by an angelic and paradisiac Zylis Gara (the Desdemona he prefered) .”
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.”
Alfredo
“A SEARCH ON INTERNET REVEALS THAT THE RICCI BROTHERS HAVE BEEN TOTALLY NEGLECTED BY THE OPERATIC ESTABLISHMENT EXCEPT FOR THIS OPERA, WHICH APPEARS IN AN EXPENSIVE, IMPORTED ITALIAN LABEL. I DOUBT VERY MUCH THAT RECORDING CAN COMPETE WITH THIS ABSOLUTELY AMAZING ACCOUNT OF A LIVE 1977 RAI PERFORMANCE. THE SOUND IS INDEED 5 STARS. AND THE SINGERS, WHO ARE NOT KNOWN AT ALL IN THE USA, ARE ABSOLUTELY AMAZING. YOU CAN FIND A SUMMARY OF THE PLOT ON INTERNET: A COBBLER IS TURNED INTO A DOCTOR BY HIS FAIRY GODMOTHER (LA COMARE) AND WHEN HE ABUSES HIS GOOD LUCK, SHE RUDELY MAKES HIM MEND HIS WAYS IN A PLOT TWIST REMINISCENT OF “A CHRISTMAS CAROL”, WHICH IT SHARES A HAPPY ENDING. IF REVIVED, IT COULD GIVE “ELIXIR” AND “DON PASCUALE” A RUN FOR THEIR MONEY. BY ALL MEANS GET IT, SIT BACK AND ENJOY!!!!!”
Stunning sopranos in a very authentic reading
“I was at the first night of this run of performances and the experience is still vivid in my memory. Dalibor was a work I did not know, but I was thrilled by every aspect of the music, the staging and the singing. Anne Evans and Anne Connolly duetting at the end of the first scene is one of the most thrilling pieces of singing I have heard live; Anne Evans, well on her way to Brunnhilde at this point in her career, sweeps all before her in a deeply committed and gloriously sung performance; Anne Conolly was surely destined to follow in her steps, but her career does not seem to have developed further. Add in Neil Howlett (who died recently) and his persuasive, lovely baritone, a tireless John Mitchinson (maybe lacking a bit of poetry) and a conductor steeped in this music and you have a dream team! English diction is very good, and Mackerras's conducting ensures an authentic feel to the whole performance. Sound is good, and delighted to have this, many years after my tapes gave out after repeated playing. Don't miss this!”
Excellent and frustrating
“This performance was at once excellent and frustrating: excellent in terms of the sheer dramatic passion and intensity, frustrating in that it's only excerpts. Renata Tebaldi sings with far more commitment and drive than she did on her two studio recordings of "Aïda." Rita Gorr is a capable Amneris and brings just the right amount of imperious skill. Dimiter Uzunov is not at the level of the women, but he's a nice enough tenor (I've certainly heard worse – can you say "Mario Del Monaco"?) and I'd really like to have heard him and Tebaldi in the Tomb Scene. Georges Sébastian was a majorly underrated conductor who's at the top of his form here. If this "Aïda" existed complete it would be a performance for the ages.”
Interesting and well sung
“A good performance with an interesting cast. Beverly Sills is the big star here, giving a furious rendition of Donna Anna’s quest for revenge. In “Non mi dir” she shows soft, sweet tones, following with crisp coloratura, earning her the night’s biggest ovation. Sills sang Donna Anna a number of times in 1966, notably in her unofficial Met debut at one of the opera’s summer outdoor concerts. Three weeks after this performance came her breakout performance as Cleopatra in Handel’s Giulio Cesare at the NY City Opera. It’s a pity that she recorded so little of the Handel/Mozart repertory and so soon set them aside for showier bel canto roles. The rest of the cast deserves credit, Lucine Amara, a Met opera workhorse and understudy, brings a stout professional approach to a role she sang often. Luis (aka “Luigi”) Alva, also an old hand at his role, likewise charms the audience with his gallant rendering of this high-flying music. Sesto Bruscantini, an expert at the basso buffo repertory, is a superb Leporello. Interestingly, the quality of his voice here is more that of a baritone than a bass. In the Catalogue Aria, when he sings the repeated phrase “È la grande maestosa” (“The big women [the Don says] are ‘majestic’.”), one can hear the top of his voice opening up like a Verdi baritone. (Bruscantini in fact essayed Rigoletto and Germont around the time of this recording.) Mario Petri, the Don Giovanni, is by contrast no better than good. Respected by European houses for this role, he has the right kind of booming bass voice, but has trouble putting over the character’s seductive charm. His awkward Champagne Aria draws only a smattering of applause. He does better in dramatic moments: his refusal to repent in the opera’s climactic scene makes him admirable as an antihero. But Zerlina, sung by Mexican soprano Cristina Ortega, often outshines him: her “Batti, batti,” coming immediately after the Champagne Aria, gets loud cheers from the local audience, as does her second-act aria. At first I found her affected “little girl” intonation irritating, but her notes are on the mark, and she comes across sexy and devious, the audience clearly on her side. Ortega’s later career was largely devoted to zarzuela and Latina popular music, but in 1965 she had sung Violetta at the Palacio de Bellas Artes and also performed Lucia and Manon. This document of her work suggests that she should be better known to opera fanciers.The sound quality can become boomy at loud moments (notably in the final scene) but otherwise gives a fine record of the voices and of Mozart’s orchestral lines that play with them during the arias. Conductor Nicola Rescigno conducts briskly in a way that favors the singers but also keeps the numbers moving, often at a breakneck pace. The opening sinfonia is well played. Overall, an excellent record of an enjoyable performance.”
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.”
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.”
Great Manon
“I like beautiful voice of Caballe as Manon. That is her second great recording of Manon (first is her Manon from New Orleans 1967 on VAI). I like Vanzo and his rendition of Des Grieux two arias, his French style and noble phrasing. I enjoyed rich, powerful voices of John Derrenkamp as Lescaut and Felix Giband as Comte des Grieux. It is vivid, dynamic recording under competent conductor Anton Guadagno (especially first CD is nicely done). It is great to hear La Superba as Manon in her native Barcelona. Sound is good, also.”
Rienzi
“This is truly a legendary performance of Rienzi by Edward Downes, which deserves all the praise it has received over the last 42 years. Thanks to Opera Depot for making it available again on CD.Dr Michael Humble”
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”
Die Meistersinger - Beecham 1951
“Wonderful Beechanm Performance in good sound for its time. Shame Act 3 was never recorded but what we have is outstanding. Grummer is a great Eva. Also exc value for money as always”
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.”
Don't miss this!
“Even if you have several performances of Die Walkure in your collection you will want to hear this one. The cast is close to ideal with tenor Kolbjorn Hoiseth the real surprise as Siegmund. His is a more lyric voice than usually heard in this role but the youthful timbre and vigor of the performance are truly special. Ase Nordmo Lovberg, usually a rather dull interpreter, is here fresh voiced and more involved dramatically while Arne Tyren as Hunding has the darkest most sinister instrument you are likely toever hear in this role, he scared me. As for the rest, they are all in superb form under Michael Gielen's assured conducting, and with all in excellent sound, this performance does Stockholm proud.”
David Fetz
“I have to agree with Beethovens cecisions as to what to cut to form Fidelio out of Leonore. The only thing that i would have left might be the extended version of Oh Welch Lust In Leonore. It would slow the Action a bit but I love that rich male chorus sound. That Coment out of the way.BUY THIS RECORDING WITHOUT DELAY! The singing in this performance is GODLIKE. This version has some of the most beautiful and DIFFICULT that Beethoven ever Wrote. You are listening along to stratispheric singing for the Soprano and Tenor thinking “When is he going to give them a rest?” and then they REPEAT IT ALL AGAIN! Dame Gweneth and James King are stellar never leting down for a moment the level of singing and the rest of the cast is equally as stellar. Theo Adam holds his own with the best and Gerd Nienstedt is excellent as well.This is the WAGNERIAN OPERA that Wagner always wanted to write but couldn’t. If you are a fan of GREAT SINGING buy this. It is a true JOY to the ears.”
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”
