Tassilo

“What a wonderful conductor Franco Capuana was! There were so many underrated Italian conductors of Italian opera active in the second quarter of the 20th century, conductors dismissed as routiniers because they made their careers in the opera house conducting Italian opera, and Capuana was one of the finest. Moreover, he turns in a more lively and distinctive performance here than in the Urania studio recording from the early 1950’s. In this repertory, I’ll take the Capuana’s of the world over Karajan, Solti, Carlos Kleiber, Abbado, and Muti any day of the week. Capuana conducts with both the requisite energy and a consummate grasp of Boito’s style, phrasing beautifully at every turn. For me, the weak link here is Ghiaurov. Ghiaurov fans accustomed to his performances from the period will not be disappointed, and the basic instrument was magnificent, of course, but I dislike his over the top theatrics, and I find his approach excessively coarse and unsubtle. Fortunately, Tucci and Bergonzi more than make up for it. Bergonzi’s performance is everything you’d expect from this sensitive and passionate but essentially patrician musician during his best years, and Tucci proves to be a viable partner. She may not have had the smoothest technique or the most gorgeous instrument, but the rôle of Margherita is not all that demanding vocally, and unlike her contemporary, Tebaldi, Tucci consistently sang in tune. She doesn’t really sound like a young and ingenuous girl, which Tebaldi certainly did, but she turns in a very sensitive and expressive performance. The recorded sound is not quite as good as I had expected, but you can hear what’s going on well enough to discern that Tucci, Bergonzi, and Capuana were first rate musicians reared in the Italianate style necessary to project this piece.”

Great Performance, Excellent Sound!

“Other writers have already left positive reviews of this exciting performance. I heartily agree with all of them. Tinsley is magnificent. How and why she didn't become better known is a topic best left to another venue, but she certainly lives up to her reputation as a thrilling singing actress here. Evans is a lovely Chrysothemis and White is a memorable Orest. Debria Brown was an African American mezzo who created Tituba in Robert Ward's opera of The Crucible. She had a successful career both in Europe and the US. She makes Klytemnestra into a real queen with a full, rich contralto that she uses with imagination. I'm pretty sure she performs her own offstage screams too (it certainly sounds like her). The supporting cast includes Rita Cullis as the Fifth Maid and a young Suzanne Murphy as the Overseer. Armstrong leads a strong, less hectic performance than I've heard in awhile. He also plays the entire second Chrysothemis/Elektra scene, usually trimmed. The English translation is accurate and singable. I would probably make out more of it had I listened to this performance on headphones (I didn't). The sound is excellent broadcast stereo. All Elektra fans or admirers of the singers should have this.”

Krips Rosenkavalier

“Viennese born Krips paces this performance brilliantly and reveals special mastery of its tender moments. A fine memento of Ludwig’s matured Oktavian (her last performance of the role was in June 1972). Thoughtful Rysanek is in splendid voice. A rare opportunity to hear the delightful De Groote. Adequate sound.”

James Davidson

“For many years Modl for von Karajan has been my standard for this work. Her wonderful passion, intensity and oddly moving voice are wonderful. However here is a very different and just as valid standard, without Modl's difficulties such as her odd breathing technique. Davis conducts a beautifully realised performance with Shuard singing passionately, beautifully and accurately. Simply wonderful. Dowd's Tristan, so very different to Vickers, my first and favourite live Tristan, is hugely touching and very moving, and also beautifully sung. Highly recommended. Thank you Opera Depot for allowing me the opportunity to hear this. I'm most grateful!”

Superlative “Giovanni”

““Don Giovanni”, with so many vital characters and such a variety of musical mood, is a most elusive opera, seldom satisfying in the theatre. I have at least thirty recordings of it on my shelves; this live Solti one is one of the few to which I often return, and is in several parts classic, even definitive, certainly worthy of obsession. Those parts range from the dark, dramatically crucial, comic/tragic trios for three bass/baritones to the incomparably celestial trio for Anna (Margaret Price), Elvira (Kiri Te Kanawa), and Ottavio (Stuart Burrows), all in top form and taking the music onto another plane. Soyer is seductive and voracious in voice (as he was in person) as Giovanni. Solti shows the different facets of the opera with great power and colour; every part is extremely well taken.”

Martin Ramor

“It's an excellent recording of I Vespri Siciliani. Santi does a great job as the conductor. I heard him few times live also, and orchestra under him was allways like on this recording - a thing to cherish. I enjoyed all listed singers (the singers in small roles are not given in the notes). Deutekom (with her sometimes something like "basso" quality in her voice) is amazing (for this hear the second CD). The high notes were rarely a problem for her. Bonisolli is great, powerful Arrigo, who is able to bring the house down with his with his stentorian voice (Giorno di pianto). It is interesting to hear how polished he can be in La brezza allegia intorno. Glossop and Raimondi are both very fine in their respecitve roles. The very important duets (Monforte - Arrigo) and ensembles are nicely done. My advice: Grab it!”

divino Corelli und Top Sound

“Ton Qualität ist ausgezeichnet gut.Interpretation-die Stimmen sind absolut, das Schauspiel ist vollkommen - man braucht und will keine andere Interpretation mehr, es kann nix besseres sein.”

Matey

“NOTE: I did not purchase this recording from Opera Debot. Nonetheless, it is definitely the same recording, so I though I might as well leave a review.Joan Sutherland in her prime is irresistible here, and this is reason enough to buy this immediately. Although this recording misses out on a few of the top notes she would later add (one in \""Son vergin vezzosa\"" and the other one being the very lyrical one following the multiple High Cs before the end of Act I) and the opera finally aria wasn't \""rediscovered\"" back then, she is still great. The tenor, Filacuridi, is a little shaky on some parts, and does not sing a few of the high notes, including the high D in the duet with Sutherland. He also does not go to the high F, something not uncommon in tenors, yet neither does he attempt the D-flat. At the end of \""Vieni fra queste braccia\"" Joan Sutherland sings the higher harmony usually done by tenors and goes to the high D alone, but Filacuridi does accompany her to the high C, which they hold for quite a bit. I am not that good a reviewer, so I'll let you decide for yourself. It's ultimately worth buying, especially at this price.”

I was there

“The live performance was excellent (despite Jon Vickers shouting) and disc 1 helped me relive the evening. Disc 2, unfortunately, was not Fidelio, but I have been promised a replacement.”

Eda-Pierre excels

“This is a splendid rendition of Delibes' opera, almost as good as Opera Depot's Ruth Welting recording. Christiane Eda-Pierre is more of a Flower Duet Lakmé than a Bell Song one, but her limpid tones and sinuous phrasing put her near the forefront. It does not hurt that she is surrounded by first-rate colleagues as well, making the opera more of an ensemble piece than usual. John Stewart's liquid, sweet tenor is just about ideal for Gérald and Jacques Mars is a fine *basse chantante,* at his best in Lakmé, ton doux regard. William Elvin is a sympathetic Frédéric, and orchestra and chorus give conductor David Lloyd-Jones their best. I can't think of a single reason *not* to have this recording. Even if you are deathly allergic to Delibes, this might change your mind.”

The date of this performance...

“According to the Royal Opera Archives, this was surely the broadcast of the UK premiere 2 December 1963 [not 13 December 1966 as stated]. The cast is identical to that provided by Andy.As far as I can ascertain, the opera in this production was only presented in 1963 and again in December 1964, with largely -but not completely- the same cast. It does not seem to have been revived in 1966.Small points, made out of respect to the singers: I should point out that the Police Inspector is the Canadian baritone Robert SAVOIE (not Sovie...add a 't' and that name would indeed have been topical!) Also that the 2nd Workman is DANIEL McCoshen (not David). Despite being the inferior, revised version -forced upon Shostakovich by Stalin's government- this is a marvelous, musically and dramatically vital performance of an important opera, in excellent sound, with every singer giving their all!”

Rock

“Gavazzi is wonderful. Used to have a Cetra recording of Don Giovanni w/her and Mary Curtis Verna, Cesare Valetti and Giuseppe Taddei.Prandelli recorded La Boheme w/ Tebaldi. Elena Nicolai said he was perhaps the most aristocratic tenor she ever appeared with.I suspect that he sounded even better on stage than on recordings. Somany tenors do.”

Kempe's Earlier Meistersinger

“I'd always heard that Kempe's second Meistersinger from 1956 was far superior to this earlier effort from 1951, thus I avoided it. That was a mistake because this is a very good performance in its own right. The cast is mostly excellent, especially Ferdinand Franz's commanding and gorgeously sung Hans Sachs. Here's a cobbler that leaves little doubt that he is the greatest of the Mastersingers. Tinana Lemnitz also sings very well although I found her voice a little deep for Eva, often making her sound older than Magdalene(!). But the only serious casting flaw is Bernd Aldenhoff who has pitch problems and a tendency to wobble and strain (parts of his Preisleid made me wince). The sound quality on this recording is crystal clear mono and sounds better than many recordings from more than a decade later. In fact, this recording sounds like it was made in a studio which seems to contradict Opera Depot's mantra of only offering live opera recordings.”

Surprising Scotto

“I knew Scotto as a very sensitive singer and fine musician in the 70' and 80', and also a young, "not-yet completely finished" voice, but vibrant and incredibly talented in the 50', but I didn't know how beautiful, rich, firm, controlled, intense Scotto's voice was in the 60', one of the most beautiful I've heard.”

Swedish Manon

“First of all: Swedish language didn't disturb me in the pleasure. The absolut hero of this performance is Bjoerling, the only singer who sings in Italian. He is simple phenomenal. I have three Manon Lescaut performances with him and I think this is his best production. Here he sings like a god. Hjördis Schymberg who had her last active year in the Swedish Royal Opera House in 1959 is a worthy partner of Bjoerling. She sings not in the style of the great Italian tragediennes like Olivero, Scotto or Zeani, her production is more lyrical but she is very convincing. The supporting cast is very strong with very good voices. Nils Grevillius leads a very passionate performance. It's a secret why to move the Intermezzo into the 4th act but finally didn't disturb me. Excellent performance, highly recommended.”

Great Performance

“This has all the ambiance of live opera theater. Gencer's performance represents complete assumption of the character through greatly expressive singing. The men are specific to character in their singing as well. This is all in good sound and does Forza and Verdi proud.”

Jeffrey Ouellette

“This Macbeth may be one of my new “desert island” faves! Astrid Varnay is in her extraordinary vocal prime, with full range of dynamics and all fioratura in place. Her Lady may wear the vocal pants, but Ivan Petroff is not to be underestimated. His voice is warm, and he sings with beautiful legato. Italo Tajo’s basso cantante may be soft grained for some, but he sings beautifully. Gino Penno is a full blooded Macduff, just the guy to take down Mr. M. Unfortunately, their confrontation is lost in the “hurly burly” of the orchestral battle. Vittorio Gui leads an exceptionally musical performance (ballet included). Sound excellent.”

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.”

“Having seen this production when it was new and also having the broadcast on cassette for years ,it was a pleasure to buy in decent sound.Mitchinson was underrated and here shows a commitment to the character of Dalibor that is very affective.Although Evans sang a variety of roles for the ENO ,for me this was the one that showed her true potential in every way. Great performance all round,the only quibble is Neil Howlett,could never listen with much joy to his quick vibrato.”

Reinhold Föckersperger

“As far as I know is this recording the document of Leonie Rysanek‘s debut as Salome. A performance of the Munich Opera Festival 1971 under the baton of Karl Böhm. Rysanek is absolutely amazing! Varnay and Stolze a brilliant couple and Fischer-Dieskau very impressive as the Prophet. The rest of the cast is built from members of the famous Munich ensemble. The sound is very good.”

Another del Monaco surprise.

“This recording contains what could possibly be the best ever Addio, fiorito asil. A shame that heavier roles affected del Monaco's voice production. What he gained in volume he lost in flexibility and in singing softly. Good performance from Oralia Dominguez too.”

A great opportunity to hear a masterpiece

“This opera is a truly neglected masterpiece. It is as great as Janacek’s other operas such as Jenufa, the Cunning Little Vixen and From the House of the Dead, and to boot the plot is as zany as they come, typical of the composer, with time and space travel, probably the first science fiction opera. I have the Jilek recording on Supraphon and the BBC recording on Deutsche Grammaphon, and this one is right there with them, no surprise given the man at the helm. I did not know this recording existed until I saw it listed with Opera Depot, but once known I had to get it. It’s great to hear it in English, not all operas transfer well to it, but I think this one works. The sound is excellent. While my favorite recording overall is the BBC one, that is getting harder to find, while OD makes this one readily available. If you enjoy Janacek, getting this opera is a must.”

Royal Opera House Heritage Series names another date and R. Kubelik als conductor

“The recording mentioned below conducted by Rafael Kubelik was performed on 19 October 1955 how to read on the cover. The cast is completely identical, as herald is additionally named Forbes Robinson.”

A VERY BEAUTIFUL PARSIFAL

“Beautifully conducted, sung and played, with excellent sound in stereo. Crass is superb as Gurnemanz, Konya projects innocence and sings beautifully in the title role, and Janis Martin is a dramatic and vivid Kundry. Nienstedt is an amazing at Klingsor. The Bayreuth chorus and orchestra are terrific. Not to be missed if you're a Wagnerian and love this opera.”

Richard Bernas

“This live performance is better cast and more engaged than Karajan's studio recording. The lyric scenes are especially enjoyable and Ridderbusch has a the vocal richness and gravitas that Sachs requires.”

An enjoyable romp.

“This opera was completely new to me. I took a chance and thoroughly enjoyed it. I suppose you could describe it as a "conversational opera". It is a more or less literally translated version of Wilde's text, but without his satire of Victorian society (scarcely possible in its new manifestation). It doesn't have much depth or structure, but that hardly matters - just sit back and enjoy! Singing and sound are excellent. And you can have great fun seeing how many quotations (operatic and lieder) you can identify. Grove says there are nearly 50, though I fell well short of that.”

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.”

Sensitive Tosca

“Under the many Toscas I heard live Pilar Lorengar was the most sensitive one.She has sung this role many toimes at Deutsche Oper Berlin, and often her partners were F.Tagliavini and Wixell, under the direction of Maazel. So the record is a wonderful evidence for harmony and quality of the performances at DOB.”

Luis Lopez Bonilla

“This is an authoritative Meistersinger conducted by someone who apparently won a conductor's prize tied with Furtwangler in their youth. It shows. The cast is excellent all round. I enjoyed particularly Schoeffler and Suthaus. For me it compares very well with Kna's 1955 Munich version with F. Frantz and is better than most.”

Stellar cast, great performance

“There are no weak spots in this cast, and the conducting of Herbert von Karajan is superb. The audio quality is very very good, although the occasional stage noises are a bit distracting.”

Brilliant

“A polished, scintillating performance, with Caballé’s brilliance matched by Tucker’s dramatic verve. As compelling a rendition of this work as I can imagine. Very good sound. One product defect: all tracks are mislabeled “Shuard Taddei,” apparently referring to the 1964 Teatro Colon “Macbeth” also in the Opera Depot catalog.”

Magnificent

“Many opera-goers, whether seasoned Wagnerians or not, rate performances by the WNO under Goodall as among the most memorable of their lives. This recording helps one understand why. The cast may all not be particularly well-known to international collectors, but, inspired by Goodall, rise magnificently to the challenges of the score. I was particularly taken with Kathryn Harries’s fresh-voiced Sieglinde, while Warren Ellsworth has a youthful firmness of tone that supports a fine characterisation. Anne Evans is also in glorious voice, again younger-sounding than many rivals on disc. Philip Joll conveys Wotan’s vulnerability, but there is authority there too. Fine, detailed sound makes it even easier to hear Goodall’s understanding of the score: tempi that are occasionally on the slow side, by modern standards, actually enhance rather than diminish the drama. A triumph.”

GWYNETH JONES AS SALOME

“Gwyneth Jones as Salome... Gwyneth Jones is Salome... Leading a starry cast, Dame Gwyneth is the embodiment of Salome, both gorgeous and youthful... All in all, an excellent cast and, in the pit, Christoph von Dohnanyi, a great master of this repertoire... A real treasure! Thank you you so much, dear Andy! Thank you very much, dear friends at OPERA DEPOT!”

EXCEPTIONAL MUST HEAR/BUY

“If this had been around when I bought my first recording back in the early 1970s (Bohm's recorded in 1966 in Bayreuth) I doubt I would ever have felt a need to seek out any other recordings. It is a truly magnificent performance. I read recently that Kleiber spent much time before the initial run in 1974 studying the score in minute detail as well as exploring every aspect of the Bayreuth Festspielhaus familiarising himself with the sound of the place. It shows. Act 2 has a miraculous stillness to it contrasting the amazing tension in Act 1 and the desperation in Act 3. Wenkof in Act 3 is unequalled by anyone anywhere and Ligendza unleashes a gloriously full, bright, unforced sound in the Liebestod. It's a must have.”

Exzellente Liveaufnahme aus Salzburg

“Die Besetzung entspricht im Grunde der Studiogesamtaufnahme von Karajan mit Ausnahme der Sängerin der Ortrud. Diese Aufnahme nahm bekannter Weise mehrere Jahre in Anspruch, was man Ihr auch anmerkt. Die Live Aufnahme ist ihr weit überlegen mit einem alles überragenden Siegmund Nimsgern als Telramund, aber auch die restliche Sängerriege lässt keine Wünsche offen. Jedem, der eine packende Vorstellung des Lohengrin erleben möchte, sei diese Aufnahme ans Herz gelegt.Die Tonqualität ist keiner Studioproduktion unterlegen. Also: absolute Kaufempfehlung!”

Donald Honan

“It’s good to know that these priceless documents are being saved and disseminated!! I’d love to have things by Rudolph Gerlach-Rusnak from German Radio or wherever. I may decide that I cannot live without Kuchta, also!”

Ring Bayreth 1963

“eine überragende Ring-Vorstellung aus dem goldenen Zeitalter von Bayreuth. So ein Sänger Ensemble ist Heute kaum noch zu finden. Die Aufnahmequalität ist durchgehend sehr gut nur Hans Hopf erscheint mir des öfteren stimmlich zu **** und hart.”

Dernesch at her best

“Helga Dernesch sings fearlessly and imaginitively in this complete rendering of her Siegfried Brünnhilde, considered the hardest of the three, and one in which she excels. She is ably partnered by the spontaneous flow of Alexander Gibson’s support. Ticho Parly essays Siegfried confidently. The sound is decent. The applause ecstatic upon conclusion with a huge high C from Dernesch. The whole of the scene is presented and that works well.”

Thomas

“I discovered opera-music live when I attended a classical concert in Paris “Salle Pleyel” during the autumn 1967.It was a serie of concerts called “Prestige de la Musique” organized by a famous radio producer Jean Fontaine. I heard Miss Weathers performs different arias and among them Puccini’s “Un bel di, vedremo” from “Madama Butterfly”. I had never been so deeply moved by a singing performance ! Each time I hear this aria I remember that precise evening and I’m forever thankful to Miss Weathers for opening my ears and heart to the wonderful world of opera where I spent so many fantastic hours eversince !!!”

Jeffrey Kurnit

“This is just what I expected, a gorgeously sung but strange edition of the score. There are numerous cuts and several passages that I can't identify, but the performance trumps all such issues.”

What a wonderful memory

“Absolutely loved this. Margaret Curphey and Jon Weaving were definitely second fiddle to Rita Hunter and Alberto Remedios as far as the UK critics were concerned but they sound wonderful here, with superb diction and musicianship. Weaving is unbelievably fresh and youthful sounding at the end of what would have been a long evening. Margaret Curphey is still alive and is a most lovely lady (and back living on the Isle of Man). I heard her many times at ENO, her repertoire ranged from Micaëla to Sieglinde and Eva via Maria Stuarda, Mimi and Elisabetta di Valois. She had been due to be Isolde in the 1981 WNO Goodall Tristan but a medical condition intervened and Linda Esther Gray took over. That might have given her career the boost it needed. I think this recording might be from August 1977 not 1976 but will check with Margaret and let you know. Do you have any of her Valkyrie or Twilight of the Gods? Thanks so much for this completely unexpected delight,”

Souliotis--A thrilling, Unique Artist, even in Twilight of her Career

“I had no idea that Souliotis even sang beyond 1972, and assumed that--if she had--she would have sounded like a vocal ruin. I was wrong on both counts. . . .this recital from 1976 indicates that she was not only singing this late in the day, but that she sounded terrific. Her singing still had some of the defects that it had during her brief but meteoric heyday, but the intelligence and thrust of her singing is still there, as is her command of full-throated high notes, lovely pianissimi, and a sound that is still very much unique and utterly captivating. BRAVA!”

Ravishing

“I have loved this opera since Dame Kiri te Kanawa's recording appeared in the 1980's. I also had the vhs of Gundula Janowitz's performance (lovely also). And I have known for quite a while that ARABELLA was the signature role of Lisa Della Casa, so I was excited to hear this recording. She was stunning and Fischer Dieskau was magnificent, too. The recording itself is a little noisy with tape hiss, but that is a minor flaw. It is a gorgeous musical treasure.”

Walter Hartman

“This is a really marvelous recording of Ballo. Caballe is in great form and sings better than any of the 3 other Ballo's I currently own with her. It is wonderful to have Labo's Riccardo. He was a genuine Italain spin to and he sings the role marvelously. Sereni (a much under appreciated artist) is a really exciting Renato with a wonderfully grand masculine tone. Bartoletti conducts Ballo as one feels it should be conducted.”

Otherworldly performance with no equal anywhere.

“I have this recording and will tell you plainly there truly is no better recording in existence than this one. Yes, there is plenty of audience and stage noise. Further, it is probably a house recording with, at times, recording issues. However, this is a masterpeice of an opera and one of the most brilliant Verdi operas until Rigoletto. Yet, this is the ONLY recording I know of where the male voices—which are absolutely essential to bring this opera off well—are in place here. Not only this, but the conduction, the singers, and choir are at their zenith of energy. Christina Deutekom has a strong, yet kind of odd voice at volume—which can get tiring to the ears. Nonetheless, I still love her and frankly it is the male voices that make or break this opera anyway. A clear recording it ain't. But it is a stone cold nuclear performance.”

If only it were easier to pronounce......

“If only for the fact that it is much harder to pronounce, Terence McNally could easily have written "The Naples Adriana Lecouvreur" rather than "The Lisbon Traviata." Both are landmark recordings to the gay male opera fanatic experience, but for this GMOF I give the nod to the "Adriana" recording as having a lasting impact. I was able to see Magda Olivero during the 1979 Metropolitan Opera tour in Dallas, Texas. I knew the voice well from the 1938 Turandot, a couple of compilation albums of individual aria recordings done for Cetra, and the Decca recordings of Fedora and Francesca da Rimini excerpts, but nothing could have prepared me for that visceral experience of Olivero live, on stage. That led me to look for "pirate' live recording of Olivero which, of course, led me to this performance. That the rest of the cast is as top notch as she in sheer vocal splendor and in communicating the drama through the voice is what elevates this recording from merely an Olivero fanatic must-have to perhaps one of the top five greatest live recordings of an opera, in my opinion. If you do not have this recording, you are missing out on a singular opera experience.”

Brian Morgan

“Opera Depot has score a real coup in publishing this newly-found copy of a great performance. All previous incarnations of this “Faust” were in dim sound, and this copy sounds as if it were recorded yesterday. Three times studio recordings of “Faust” with Norman Treigle in one of his greatest roles were attempted–and failed. It is therefore a great achievement to have this new set. The rest of the cast is magnificent, with Molese a fine Faust, Sills an incomparable Marguerite, Cossa a terrific Valentin, and Muriel Costa-Greenspon a delightful Marthe. Bravo!”