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Free Streaming Recordings
Every week we offer 12 new titles available to stream for free
Compilation: Amy Shuard
Excerpts from Macbeth, Walküre, Götterdämmerung, Katya Kabanova, Tristan & more
Compilation: Anne Evans
Excerpts from Temistocle, Die Fledermaus, Dalibor, La Traviata, Lohengrin, Walküre, Elektra & Die Frau ohne Schatten
Compilation: Martina Arroyo in Concert
Amsterdam, 1967. BONUS: Martina Arroyo Sings Verdi
Donizetti: Maria Stuarda (In English)
Baker, Tinsley, Erwin, Garrard; Mackerras. London, 1973
Mozart: Così fan tutte (In English)
Harwood, Baker, Curragh, Westi, Van Der Bilt, Shirley-Quirk; Gibson. Glasgow, 1969
Spotlight: George London
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Very stylish. Brings this opera to life!
“I never paid much attention to Roberta Peters in the house, but she delivers a wonderful performance here, very attentive to every aspect of the role, not just the Bell Song (which she sings brilliantly.) She is a nice surprise and delivers a beautiful, sensitive, heartfelt performance in the title part. Pierre Duval, famous only for singing Arturo on the first Sutherland Puritani after Gedda pooped out (then disappearing completely from further commercial recordings) is very good as Gerald. A bit crude, perhaps, not a lot of finesse or modulation, but he sings the role well -- more Italianate than French, which is a bit surprising for a French-Canadian trained singer. Sgarro is menacing and powerful as Nalankitha, rounding out a very strong cast. There is everything to love about this performance, also well recorded. Delibes was a very great composer (Tchaikovsky admired him tremendously) and this recording of Lakme proves it.”
Leonore
“What an evening this must have been. The cast throw themselves into the piece with abandon and with Mackerras in charge it's a thrilling performance. I always loved Pauline Tinsley's singing and she does not disappoint, with heroic sound plus the necessary agility for the title role. No weak links in the cast and all in good sound.”
Exciting Performance in Good Sound!
“Grace Bumbry and Jon Vickers sang this opera together many times and starred in Karajan's Salzburg Festival production for several years (in addition to making a film of the opera with him). They are an incendiary couple in this Philadelphia Lyric Opera performance. Both were in excellent vocal shape that night and their portrayals build in tension before exploding in the final scene. Bumbry is so confident vocally she adds the optional high B in the second act finale. Vickers treats us to an exquisitely soft high B-flat at the end of his Flower aria.However, Bumbry and Vickers aren't the only stars here. Anne Elgar of the NYCO and elsewhere sings Micaela so beautifully one wants to listen to her big aria over again (I did!). Bacquier didn't sing Escamillo often in the States, but he captures the man's fatuous arrogance perfectly - and in excellent French too! The supporting cast is very strong. Guadagno makes a few short trims here and there, but plays more of the score than usual, including the entire Micaela/Jose duet.The sound is from a good in-house source and is very listenable. It takes the tapist a few minutes to settle down in the preludes and one can hear occasional comments from a very enthusiastic audience. But that's all part of the live recording experience. Carmen lovers as well as fans of the singers should snap this up!”
something to add to my previous comment
“I posted a comment while I was still on vacation, and since then I have the recording and have listened to it. It's interesting to compare the recording to my memory (albeit from almost sixty years ago) of the performance. At the performance Souzay and the young Horne were definitely received by the audience as "stars", and Valletti was an also-ran, despite the elegance of his performance. The large hall (the pre-remodeled Northrup Auditorium at the University of Minnesota, where the orchestra played before its present hall was built) was not kind to him and his voice simply didn't have the presence in the room that Horne's and Souzay's did. Souzay also had a more flamboyant performance personality going for him, quite suitable to the Devil, and was clearly having a lot of fun--the Devil always has so much fun! It's interesting that on the recording Valetti (for me) comes off far the best, and Souzay's personality (and even some of his voice) doesn't come across, at least compared to my memory of the performance. To whomever did this recording, many thanks (and to Opera Depot). I was young and full of eagerness, and to get to sing in the chorus on stage with these soloists and orchestra was wonderfully exciting, and a strong experience in my then very young musical life. I had no idea the performance existed in a recording, and it's a real treasure for me to have.”
Joseph
“I am very thankful for the release of this recording. Pauline Tinsley was a superb soprano with an exceptionally varied repertory (ranging from Mozart’s Elettra, recorded for Sir Colin Davis, to twentieth-century roles) who was unfortunately far too little recorded. In this performance of Santuzza, she displays all of her finest qualities: an unfailing dramatic instinct, a voice of color and appropriate range, and an ability to adapt her performance to the other members of her cast. All told, Tinsley sings a superb Santuzza, startling in her vehemence and very moving in her sorrow. Mastromei leaves little to be desired as Alfio. Domingo’s Turiddu is perhaps not quite as impressive as it should have been (this performance was in the period during which Domingo’s famed Otello was still a relatively new addition to his repertory) but is effective as drama and vocalism. Other principals are acceptable. The choral and orchestral sounds are occasionally somewhat muddy, but the sound is generally very good. Tinsley’s Santuzza is a classic performance that, unlike many classic performances, enjoys a good setting. Many thanks to Opera Depot for making this performance available.”
Walter Hartman
“This is a wonderful performance of Fanchiulla del West. Limarelli may not be the greatest of tenors but he has his moments and always is committed. The lower voice doesn't have much quality but the upper voice convinces more than not. Colzani is wonderful as Rance. He has a very strong characterization and his voice is up to all the demands of the music. He is utterly believable and gives the other cast members a lot to react to. I always find Stella "Live" much more exciting and spontaneous than Stella "Studio". She is excellent here. The voice does all she wants (including many great high notes) and offers a completely believable dramatic performance. One of my favorite Fanciulla's so far. De Fabritiis knows the style and how to make the score flow. Highly recommended.”
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.”
Classic Wagner
“There is a very strong cast here with the singers at the peak of their careers. I think it would be very hard to equal the singing here with today's singers. The sound is excellent. Highly recommended.”
Martin Ramor
“Great recording. Domingo's Otello is very good. Milnes is powerful and devilish Jago. Ricciarelli is in top form here, with nicely sung Ave Maria. Levine does a good job in the pit of Hamburg State Opera. You can hear very long applause at the end of recording. No wonder why.”
Deutekom an exciting Elena
“First of all, I couldn't be happier with the sound. It's very good in-house house from audience sound. It has always bothered me that Deutekom was not credited as the exciting performer she was. As she matured vocally, the voice retained it's brightness but increased it's BRILLIANT edge and plants and chest tones. All vocal elements needed to express character and drama are there. The coloratura rates as drop dead exciting. Bonisli is in top voice. And, the conductor pulls astounding power, nuance and rhythmic here He from the orchestra. THANKS!”
"THE" BORIS TO HAVE!
“This is such an epic artistic achievement, that it will demand repeated listening. Kubelik creates a vast seamless embroidery of musical and dramatic detail. Christoff, Resnik, Kraus, Rouleau cannot be rivaled. The cast, a Who’s Who of Covent Garden principals, is an embarrassment of riches! The Chorus is excellent. Sound on the whole is very good (becomes veiled briefly). For educational study and research purposes only, here is a link to the version of the score used for this performance.http://imslp.org/wiki/Boris_Godunov_(Mussorgsky,_Modest)”
Truly original
“I saw this production in 1958 - my first Peter Grimes - and yes it was shattering though memory tells me it was the chorus that really struck me then. Pears was not just a Britten interpreter, I'd already seen him at Covent Garden as Vasek in The Bartered Bride - a role which that other greatest of Grimes interpreters, though quite rightly different, Jon Vickers, later sang at the Met. - probably the best performer of that role I've ever experienced. Sylvia Fisher was my first Marshallin and the same year she sang Ellen she also sang her first Sieglinde. James Pease, whi died all too young, shared the role of Wotan with Hans Hotter in my first Ring in 1956. Kubelik was sadly underrated in his 3 year tenure at Covent Garden yet as well as this Peter Grimes he conducted an unforgettable Otello and the historic first complete performance of The Trojans anywhere - of which the superb BBC broadcast with Vickers, Shuard and Thebom is available on Opera Depot.”
historique !
“Pour ouvrir le festival du centenaire à Bayreuth. Représentation unique des Meistersinger dirigée par Karl Böhm.C'est donc une représentation historique ! De plus, elle est magnifique. Malheureusement, elle est réduite à la scène finale, on ne peut que le regretter.”
Lucrezia at last!
“Finally after all these years. I found a Sills Lucrezia in GREAT sound!Sills was in great voice for 1976 and Henry Price is so unrecorded,it was a pleasure to hear him again. I am so happy I found Opera Depot! Now if we can find an audible IL Trittico with Sills I would die a happy woman. No singer ever has moved me so. If you cannot find the Trittico I especially would love to own an audible Sour Angelica from Sills. All the ones I have are in horrible sound. Yet I still weep when I hear it. To have it in great sound would be sublime.Oh ...by the by. Some Marilla Devia would be wonderful if you could find some please. GRAZI guys!”
Charles Greenberg
“For the most part I loved it. La Nilsson is in gorgeous voice. So lyrical yet with all the power in reserve. The slower conducting allowed her to expand on the long lines. 1967 was prime Nilsson. Did NOT care too much for Nocker. He flatted many of his high notes. The rest of the cast was perfect. So glad to have another Salome featuring the incomparable Nilsson.”
So excited to see this here!
“I was so thrilled to see this recording become available on OperaDepot. I've been a fan of this recording for several years, having stumbled upon this on YouTube. Caballé delivers a truly out of this world performance and I can only imagine what it was like to be in the audience for this. Thank you again for brining this gem to us!”
Reinhold Föckersperger
“Ernst Kozub was one of the most important Heldentenors in the postwar aera, but he died prematurely. His voice was perfect for the interpretation of Tannhäuser! The live recording from Munich is therefore an important document. The other singers all are excellent, as it is usual in the Bavarian State Opera still today... Anja Silja sings the first scene and the duet of act two. Lindholm‘s Interpretation of Elisabeth‘s prayer in the third act is slightly overdramatic, the power of her voice is too great. The last words of Venus in my ears do not belong to Astrid Varnay as listed. It could be Marianne Schech? The voice sounds very different from Varnay‘s incomparable timbre.”
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!”
Fine Performance
“This is a fine performance of this opera. The cast is wonderful and the conducting strong. Nice choral singing and Ramey is great as the devil. The sound is excellent, which is a must in this opera. A nice find.”
Hans Kuschinsky
“I have already had my tape recording of the opening night of the Munich Opera Festival since its broadcast on 7/10/1977 on radio, but I wanted to have it on CD. That proves how much I appreciate this performance in spite of all the others which have been released since then, e.g. Böhm, Haitink, Bychkov.Why? It is all about two singers rarely recorded: Lilian Sukis and Peter Lindroos. Even after listening to them after some time I am again deeply emotionally touched by their rendering. Lindroos gives lies to the wide-spread opinion that Strauss did not write well for tenors, because he sings Apollo effortlessly with a belcanto-like approach. His god is heroic and vulnerable at the same time. Sukis is pleasantly natural with a beautiful tone in all registers. The rest of the cast shows the high standard of the Munich Opera with Schreier, Wenkel and the orchestra, also present in Haitink's studio recording five years later, Nikolaus Hillebrand (Peneios), Nöcker, Orth and even Erika Köth. And there is Wolfgang Sawallisch - the outstanding conductor, not only for Strauss.So treat yourself to a great listening experience of bucolic tragedy.”
Gene Elliott
“This is a marvelous recording and has become one of my favorites. It is way better than the commercial 1980 release in sound and performance. Jones is fantastic and in fine vocal form here. Rest of the cast is committed to the performance and in good voice. What an exciting find this was. Sound here is better than the '76 recording, which I also bought.”
LUCIA DI LAMMERMOOR = JOAN SUTHERLAND
“My favourite soprano, Joan Sutherland, as Lucia di Lammermoor, one of her best roles and, moreover, in her prime (1961). One of the best live performances of Gaetano Donizetti's masterpiece I have ever heard, featuring a starry cast, under the fine guidance and baton of John Pritchard. A must! Another must! Thank you ever so much, my dear friend Andy and my dear friends at OPERA DEPOT!”
A treasure trove
“These are three invaluable CDs. The first is largely occupied with excerpts of a 1954 German-language Macbeth. If you don't think of Astrid Varnay as a Verdian, listen to her shimmy up and down the runs of Or tutti sorgete. (The Macbeth is anonymous and deserves to remain so.) The bronzen *tinta* of Varnay's instrument was perfect for Verdi's Lady and would remain so for much of her career. Studio sessions under husband Hermann Weigert find Varnay assaying Italian dramatic standards, as well as pleasant offbeat surprises like Eboli and Thais, as well as a very composed Salome final scene with an unusual concert ending. A series of EMI sessions, also under Weigert, are devoted to Wagner but hint at why major record companies did not pick up on Varnay's services: Before the studio mike there is an air of circumspection to her performances. (Although she threw caution to the wind in some memorable DG recordings.) Entweihte Goetter from Bayreuth in 1962 is a real ear-opener: This is Varnay in her element. The same could be said for a 1966 Ewig war ich but especially of a rip-roaring (albeit fragmentary) Immolation Scene from Bayreuth in 1951, with Herbert von Karajan at the helm. If you have the Knappertsbusch '51 Gotterdammerung (Testament) this is an invaluable supplement. Varnay lovers will definitely want Opera Depot's new set.”
Excellent Performance in Very Good Sound!
“This delightful recording appeared on the Music and Arts label years ago. Dorati makes a few cuts that won't please Berlioz completists and places Ascanio's big solo piece in the third act rather than the fourth (that may have more to do with the edition used here). All the soloists are excellent. Lewis was a fine singer, not usually given to flaunting his voice, but Cellini calls for some of that and he is up to the task. Carlyle is a lovely Teresa and Veasey a first-rate Ascanio. John Cameron and Don Garrard are full of character in their roles and John Kentish is hilarious as the Innkeeper. Dorati conducts Berlioz's unusual opera with style and dash. The English translation takes some liberties with the French, insisting on rhyme over reason, but is clearly enunciated by the cast.The sound is very good though there is some occasional minor distortion around the voices in the latter half of the opera. The transfer level is very high so be prepared to turn down the volume!”
John Stanton
“I like this recording very much. Hopf is a terrifying Canio, the music sitting well with his baritonal tenor, his white sounding upper notes, shattering in their intensity. Unfortunately he is also somewhat threatening at his enterance, his invitation to the play rather like:"Get here , or else" His elderly sounding clown gives an inbuilt motive for Nedda's infidelity. Melitta Muszely's beautiful pure voice delivers a Nedda, provocatively calculating, her aria not particularly shot through with sexual anticipation. Her meeting with Silvio ( a loving and tender performance from Hermann Prey )is instilled with a welcome sense of urgency and danger. Marcel Cordes is a "singing Tonio" avoiding the histrionics so often adopted by baritones in this music, particularly in the final scene. His attractive nicely focused voice gives us a vengeful Tonio and a well sung prologue. Murray Dickie is a warm masculine sounding Beppe. All this and very good sound as well.”
Davyd Booth
“Another great Grob-Pradl document! she is simply one of the greatest dramatic sopranos of all time. There is a complete performance around of Tristan from La Scala with De Sabata but the sound is horrible. Maybe Opera Depot could find that in good sound. In the meantime this second act is simply sensational. Grab it now!”
Rienzi - Downes, London, 1976
“Excellent performances from John Mitchinson, Lorna Haywood and Lois McDonnell. The recording is in decent mono sound and, despite a bit of congestion in some of the louder passages in Act 1, presents the voices in a realistic and clear acoustic. I have two other (commercial) recordings of Rienzi and this one is by far the longest (by about 1 hour!) and the most enjoyable. It is the one I will be returning to most frequently for the individual performances and the excellent conducting. Thank you for making this astonishing document available.”
Chad Marcel
“Magical RING from Karajan and Company. My first RING was Karajan's studio version. After all these years, it was wonderful to hear the corresponding live performances. They're even more compelling than the studio counterparts.”
Superb. Performances caught on the wing.
“I have 23 complete 'Ring' cycles in my recording collection and numerous singletons from the 4 operas involved. THIS Horst Stein cycle from Bayreuth in 1970 has leapt handily to the top of the pile.The sound is excellent, everything I like about my favorite broadcasts from Bayreuth. Vivid, clear and natural, splendid balance between singers and orchestra. Orchestral details are there but not over-highlighted as so many over-engineered commercial releases. The great advantages of this set... 1. Horst Stein's conducting. He was one of the great conductors at Bayreuth, or anywhere else for that matter. Equal to Krauss, Karajan, Furtwängler, Knappertsbusch and Carlos Kleiber.Stein has the best cast of all the recorded cycles I've heard from there. Only Hans Hotter surpasses all Wotans. Here, Thomas Stewart lacks the basso undertones notes of his illustrious predecessor's voice. Otherwise his Wotan is a great performance, one of the solid highlights of this cycle.Their are other magnificent singers at work here. Roughly in order of impact... Berit Lindholm. This under-rated, under-utilized and under-recorded artist almost steals the show, which is saying something in this cast.She is astonishing. The power, steadiness and steely edge when needed is there but never tiresome on the ear as Nilsson could be. Her voice is truly beautiful and feminine, soft and subtle at key moments when Nilsson was relentlessly hard at times. I love Nilsson, but I like Lindholm more.Gustav Neidlinger, 25 years after his debut at Bayreuth, turns in a fine Alberich, as good as he was with Krauss in 1953. Karl Ridderbusch is splendid as Fasolt, Hunding and Hagen. Highlights: Act 1 of Walküre. Helge Brilioth and Gwyneth Jones are fabulous twins. Act 2 is also stunning. Lindholm's ''Todesverkündigung" is awesome and chilling. Joneses primal scream when Hunding kills Siegmund is one for the annals in all Wagner performance.Act 2 of Siegfried is another highlight. Jean Cox is one of the best heroes. His voice is strong, youthful, flexible and heroic. The Mime/Alberich squabbling in front of Fafner's cave is hilarious and menacing at the same time. Stein's leadership is particularly succinct and subtle in this opera. Cox is as fresh at the end of the Love Duet as he was in Act 1, and Lindholm doesn't hold back anything. Her high Cs are spectacular.Act 2 of Götterdämmerung is amazing. Norman Bailey's Gunther is, for once, strong, virile and equal to Hagen. It has to be remembered that Hagen is younger than Gunther and Gutrune and, yes he's a menace but he's also immature and insecure, hence all his bluster. Bailey's King stands up to Hagen and doesn't back down. Great singing from all the Gibiching's. Janis Martin's Gutrune and Fricka 1 are towers of strength and vocal beauty. The Vengeance Trio is riveting.Lindholm's Immolation is 2nd to none.The rest of the cast are excellent. All the tenors, in particular, are super. Esser's Loge, Paskuda's Mime (particularly) and Kollo's Froh are all wonderfully characterized and sung.If you don't have this cycle the fact that you are considering it at Opera Depot is strong enough reason to buy it. I was delighted by this purchase. It's half-price now(grrrr I paid full price two weeks ago) but it is still a valued addition to my library.”
Beautiful
“Exciting, excellent recording of a provocatively fast-paced, dramatic performance. Among the principals, only Calio is ordinary, the others are all stellar, and Schröder-Feinen’s amazing Kundry by itself is worth the price of admission.”
ESSENTIAL, REVITALIZED PERFORMANCE
“To begin with: some better information on the recording’s provenience, double-checked from other sources.Date: July 30, 1969.Place: Baldwin Pavilion, Meadow Brooks Music Festival, Rochester Hills, Michigan.Cast: As given above, plusFernando: Ara BerberianInes: Mary MooreRuiz: Richard VealeGypsy: John Seabury Chorus of the Meadow Brook Music Festival (Director Robert Sadin).The Cleveland Orchestra, conducted by James Levine. One source comments that the performing orchestra was “not the Cleveland Symphony Orchestra.” But the official name of the renowned musical group has always been simply “The Cleveland Orchestra,” and Levine was at this time its Assistant Conductor under George Szell. Anyhow, the richness of the first chords of the prelude leaves no doubt that a world-class orchestra is backing this performance. The conductor gives us a fresh impression of this familiar work, discarding the usual indulgent plod of the Molinari-Pradelli era for a brisk and lively reading. Some tempos seem to go past brisk to breakneck, especially the concerted ensemble ending Act 1 that is paced at a dramatic level, then sped up even more for the stretta. But the singers keep up with the pace, and the bracing result gives us a fresh way to hear the work.The central cast – Tucker, Tucci, MacNeil, and Barbieri – were familiar operatic forces in the Mid-20th-century; this group would ensure a good night at the Met. But don’t assume that familiarity means an undistinguished performance, for the drive that Levine brings to this warhorse energizes all of them. Tucci in particular sings a gutsy version of her role, particularly in the critical Act 4 aria and “Misereri” scene, and Levine allows her a verse of the (then) little-performed cabaletta for an exciting climax. Tucker’s voice was ageless, and here he surprises with an especially elegant “Ah si, ben mio,” earning him the ovation of the evening. MacNeil also sings well, particularly in repeated concertato pieces with tricky timing, a fine foil for the others. Barbieri often opts for camp that could have come straight out of the Marx Brothers; “A Night at the Opera.” But Trovatore is already permeated with camp, and the mezzo’s vocal antics are a good contrast with the others’ high seriousness.One interesting detail: after the opening scene, there is a huge roar of approval from the audience, lasting over a minute, during which one of the performers (Ferrando?? Really??) gets called back to the stage and cheered. I think the reason is that Ferrando’s performer, the bass Ara Berberian, was a Detroit homeboy. (Meadow Brook is located in the north suburbs of that city and often features the Detroit Symphony.) To be clear, he performs this tricky scene better than I’ve ever heard it, and for that he deserves all the huzzahs he gets. Up to this point he had seen only provincial exposure, mainly at the New York City and San Francisco Operas. His proud family and friends likely showed up in force to see him sing for the first time with a world-class ensemble, a kind of “Met debut.” (Ten years later the Met gave him the call he deserved, and he sang there for eighteen consecutive seasons.) The sound is mostly excellent, though a crackle is evident throughout. The only exception is the beginning of Act 4, where there is a lot of extraneous sound likely caused by a well worn disc recording. It’s possible that this part of the recording was played more often by its original owner, causing audible damage. Tucci’s aria is still quite listenable, however. I’d rate this an essential performance for Verdi lovers: one may disagree with some of Levine’s tempos, but the effect is a through deep cleaning and tightening of this masterpiece.”
At the Top of my list of FAVE Ring Cycles
“I was not prepared for the depth of vision that Heinz Wallberg brings to this music. The variation of tempi is always at the service of the drama and provides great understanding and comprehension of the emotional concerns of the cycle as well as a perfect understanding of the architecture of this spralling work. The orchestra plays with great feeling throughout and there so many solo lines that are shaped so superbly, you MUST hear it for a deeper understanding of this great music. The brass seems intonationally challenged in Walkure in particular. Yet the feeling of the strings makes this cycle soar! The singers are favorites of mine with many recordings and broadcasts to their credit in my collection. Yet,I was not prepared for how deeply musical, beautiful and interesting Uhl is in his traversal of Loge! I find the brightness of timbre unusual for Siegmund, yet I get great fulfillment from his interpretation there too. Nilsson is at a point of discovery. The freshness and sponteniety of her responses to Wotan and her total involvement in Gotterdammerung are very different than either of her published cycles. Hotter is working with a force of will that translates into a ripe interpretation of Wotan that I just love. I wouldn't want to be without this cycle. Browenstijn saves the day at the end of Act 1, You'll have to hear Walkuere to know what I mean! Boese is a beautiful voice as Fricka, a little bit challenged and Van Mill has a beauty of voice as Fasolt. Amazing.”
Janet Baker as Charlotte
“This CD was bought for Dame Janet. According to my opinion she belongs to the greatest artists for ever. And of course she is fantastic as Charlotte. Her personality is ideal for this role and she sings beautiful with full passion. The big surprise for me is John Brecknock in the title role. This total unknown singer is almost perfect like Werther.All the further voices are very good and the English language is also acceptable. British conductors have generally a very big affection into French music, this is valid also for Sir Charles Mackerras. He leads a very authentic performance. If you like this opera don't miss out this CD.”
Carlos Kleiber and Otello at La Scala
“I own lots of Otellos so I have to admit I bought this mainly to hear Kleiber conduct this opera. He does Verdi proud. He makes you feel you’ve never heard this music before! It is magical, thrilling and moving. Domingo, Freni, Cappuccilli give their all. Freni is totally superb. Beautiful tone, touching and Cappuccilli as Iago is as you would want Iago to be, a scheming madman with a voice to match. Inotherwords, a great recording despite Domingos raspy top! It is a new treasure. Sound excellent.”
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.”
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.”
Neidlinger+Varnay=terrifying
“Other reviewers have said how good Greindl, Varnay, and Konya are, but don't overlook Gustav Neidlinger (Klingsor). He's (almost) always excellent, but tonight he surpasses himself. With Varnay's sardonic, sneering laughter underneath his ranting, the two of them burn up the stage at the beginning of Act 2.”
David Fetz
“What I had said before that apparantly didn’t go through, Was WOW! what a cast! Hopf with real high notes and a Turandot that is almost perfect. The best that I’ve heard. Has Madame Goltz done other things? Hopf is deffinitly the hero. Some lovely legato in “Nessun Dorma”. Quite a surprise.”
Evans in great form
“Wonderful performance, Evans sounds better in the small Kings Theatre and he did at times at the Garden. John Shaw a great baritone in a role that suited him to a tee(in fact he was a very good Verdi baritone)Bainbridge in one of her first Quickly's and brilliant and good to have. Bosbalian a very good soprano whom I have a soft spot for as she was my first Mimi, again with Scottish opera with George Shirley as Rodolfo.The rest of the cast are indeed made up of Scottish singers except for Sarti,and very good they are , great ensemble work and Gibson is on form.”
Not just another Tosca
“Any live performance of Steber's is to be treasured but she is not the only star of this show,the young Richard Cassily is the real surprise. His lyric timbre and musicality make for ayouthful and ardent Cavaradossi alongside the beautifully sung Scarpia of Walter Cassel.This is a very special trio of artists with conductor Robert Lamarchina an exciting and supportive presence on the podium. The sound is very good though the orchestraoccasionally dominates but not enough to detract from one's enjoyment of this memorableperformance.”
Thrilling performance
“Horst Stein is sometimes thougth of as a safe but not the most exciting of conductors. Here however he strikes thrilling form. The performance takes off from the start. Thomas Stewart a wonderful Wotan and as his daughter Berit Lindholm is superb. Often singing at the same time as the mighty Nilsson were we inclined to overlook the glories of Lindholm ? Was there ever a more pasionate Sieglinde than Gwyneth Jones (dont think so) partnered with the excellent Helge Brilioth this recording should be in the collection of every Wagner lover. The sound is excellent.”
michal
“Renata Tebaldi was previously scheduled to sing this performance of Adriana but because of illness she had to give up after dress rehearsal.So Magda Olivero replaced her in the last moment.”
Massenet : WERTHER - Bergonzi
“For me Carlo Bergonzi is the best tenor in the world, for all italian operas and french also, my favorite tenor. His technic is perfect, but most importantly his musicality, style, phrasing. Wonderfull”
Don Carlos, 1968 Hamburg, unter Leopold Ludwig
“Dirigent und Sänger sehr gut. Ernst Kozub und Claire Watson sowie Irene Dalis, aber auch Franz Crass und Vladimir Rudzak machen die Don Carlos-Aufführung zu einem unvergleichbar höhrenswerten Erlebnis. Danke für die Veröffentlichung”
Karl Heinz Konrad
“Cox, Schröder-Feinen, Adam, Zednik und Neidlinger unter dem Dirigat von Horst Stein- was will man mehr? Jean Cox hat einen strahlenden Tenor und ist der Rolle immer gewachsen. Heinz Zednik ist ein famoser Mime und Neidlinger ein unheimlicher Alberich. Theo Adam sehr routiniert und bei guter Stimme. Ursula Schröder-Feinen ist von der Stimme her eine opulente Brünhilde, was in der Aufnahme aber nicht so zu hören ist. Eine gelungene Vorstellung aus Bayreuth.”
Would be even more "superb" ...
“... were it not a bit too "bootleggy", but it´s okay in the sense of "better than not having Tinsley in this role". You get used to the technical flaws, because the performance is just outstanding.I reprise the recommandation of Mr. Inverne, I pasted the first seconds into this recording from Keilberth´s 1948-Salome and the command to kill that bitch comes from Bernd Aldenhoff - it works quite fine.And while you´re at it with c/p-ing: Try Alexander Wassiljewitsch Mossolow: Iron Foundry as a substitute to Strauss´dance (as an extra kick) :-) ((you dont´s have to try this with this recordung, any will do))”
Cose d'altri tempi.
“Nessuno oggi canta così. Questo può bastare. Che l'edizione di Bonynge sia tagliata o altro non toglie nulla al fascino dell'esecuzione. Vivaddio non ci sono strumenti cosiddetti "originali" che sono una sciagura, sembrando sempre orchestre di chitarre. Sutherland meravigliosa, irreale, stratosferica e coloratissima, una vera regina. Tourangeau anche lei nella parte e lo stesso dicasi per la Lucia Popp, meno tedesca del solito. Bonynge grande accompagnatore, in queste opere bisogna saperlo fare e lui e' maestro anche nel clavicembalo di solito, e ottimo concertatore. A quei tempi Handel si faceva così e storcere il naso e' assolutamente ridicolo. E' meglio ascoltare la Sutherland con Bonynge o la Jarusski con gli odierni?”
Anonymous
“recording date: 17 Feb, 1959venue: Tokyo Takarazuka Theatre (東京宝塚劇場)b/w TV broadcast version with low image quality of this performance is also available.I'd say that February 1959 was literally "their finest hour" to lovers of Italian opera in Japan. Almost every day of the month, audience in Tokyo was given a golden opportunity to fully enjoy not only this Carmen but also L'elisir d'amore, La traviata, La Bohème or legendary Otello with the casts of Italian singers Dream Team including Del Monaco and Gobbi.Del Monaco came to very far Japan by sea(!) because of his flight phobia, and sang each five performances of Otello and Carmen during his first Japan tour. Simionato appeared on the stages in Japan as Amneris(1956 & '61), Cherubino('56), Carmen('59), Santuzza('61), Azucena in Il trovatore('63) and Rosina in Il barbiere di Siviglia('63).”
