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Featured artist
Catarina Ligendza
This week we are looking back at the career of Swedish dramatic soprano Catarina Ligendza. Born in Stockholm to soprano Brita Hertzberg and tenor Einar Beyron, she went on to sing at the Deutsche Oper Berlin, the Metropolitan Opera, Covent Garden, La Scala and the Bayreuth Festival, where she became particularly admired for her Wagner roles, including Brünnhilde and Isolde. She was a favorite collaborator of Carlos Kleiber, particularly in the role of Isolde.
In celebration, we are offering 40% off all of her recordings.
Catarina Ligendza
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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.
Wonderful performance
“I don’t have anything to add to what other reviewers have said already. The performance is beautifully sung and conducted. Ruth Welting had a beautiful voice and amazing technique. It is very unfortunate that she made so few commercial recordings, making live recordings like this all the more valuable.”
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!”
Historic Don Giovanni From a Terrible Time in History!
“Picture it: Dresden 1943. The Third Reich has already been responsible for the murders of millions of people with millions more to come. And during this horrific time one could turn on the radio and hear a strong performance of Don Giovanni just to reassure the people that all was still well.As Andy points out above most if these singers were associated with Strauss and Wagner, but singers of that time were expected to be able to negotiate Mozart a well. The three women are very distinctive. Weidlich is all right as Zerlina; she has the type of soprano popular in the soubrette roles at this time. Schech is actually quite impressive, imperious in "Or sai chi l'onore" and able to handle the coloratura of "Non mi dir" fluently. Teschemacher is a fine Elvira although her "Mi tradi" is cut (a common cut in those days.)Ahlersmayer is an aggressive Giovanni with some charm and Bohme is a funny, if dark-voiced Leporello. Frick's voice sounds lighter in color, but it's unmistakably his voice. Pflanzl is a good Commendatore. Hopf sings Ottavio's music very well, his voice less lumpy than it would become as he got older. Elmendorff conducts in the rather dour manner familiar from that period. No one uses appoggiaturas or ornaments - that wouldn't happen for several decades.The sound is excellent and is pitched correctly. Considering that Dresden would soon be reduced to rubble, we are lucky to have this souvenir of a frightening time.”
Extraordinary Concert
“Behrens, King, and Adam all in top form here. We all know about these artists’ achievements in German rep. So you’ll be amazed by Behrens’s Desdemona in selections from Verdi’s Otello. Her voice is as ethereal as Renee or Kiri in this role.”
Dido and Aeneas with Janet Bake
“A superb performance from Dame Janet. Somehow, she seems more involved than either of her two studio recording which are both fabulous and involving. If this seems confusing, it won't to those who, like I, venerate Dame Janet. The present performance finds her in stupendous voice. Thomas Hemsley does take some getting used to as he sounds startlingly like Peter Pears. John Pritchard conducts what is obviously a loving performance. The sound is taken from a television video tape, so sometimes that low rumble from video tapes intrudes but does not in any way spoil such a magnificent performance. Purchase this, pour a glass of wine, sit back, enjoy and thank heaven this exists!”
Joseph Brand
“A truly epic interpretation with a stunning cast all in their prime. Goodall's tempi could change quite considerably from performance to performance and here he is at his most magisterial. This performance dates from some five years before the commercial recording and is fresher in every department. Hunter's magnificent Brunnhilde is built on a technique that also made her a great Verdi soprano, an outstanding Donna Anna and a fine Norma - and despite her generous physique she was a real stage animal who completely inhabited whatever role she was performing.”
Martin Ramor
“Great singers. Ward is superb Hollaender, would be nice to hear him alive in any Wagner. Frick also very convincing. The same goes for Jones, young but dramatically convincing Senta with great and beautiful voice. A great treat is also Czech tenor Vilem Prybil as good Erik. There are not many recordings of him, (esp. made in the West), so this is quite a rarity. It was nice to hear Kenneth McDonald as very good Steuermann. Orchestra under Solti is very lively.”
Daniel Zara
“I once witnessed one of those Parpignols that sent McCracken, in his Bing/Met frustrated youth, howling desperately for roles equal to his measure, to bedraggled Old Europe. Quite unaware, of course, who he was anyway or that he would one day return to storm and subdue Manhattan with such unique spinto authority.In a thickly overgrown forest of recorded Trovatores, McCracken’s stands out for its almost frightening intensity, its frantic, affecting urgency. This performance is about as good as the Grand Old Warhorse gets.”
Hildegaard Kiel
“I had just arrived in the UK 3 months prior, and it so happened, that for half-a-crown I managed to get a seat in the (I believe) fifth tier at Covent Garden for Joan Sutherland’s performance on 17FEB59. It was – as you said – completely dazzling! Not only her singing was “out of this world” but the entire stage scene during the madscene looked like a Rembrand painting having come alive! Already the following day Lucia di Lammermoor was broadcast over the network in London!With profound thanks for the 26FEB59 CD recording, H. Kiel”
A magical evening
“I attended the premiere of this live performance at the Staatsoper, and also a second premiere a day or two later with Hilde Güden, Graziella Sciutti and Paul Schöffler, myself being a singing student in Vienna at the time. Günther Rennert’s production was light as a feather und delicate colours, quite magical and the singing of both casts some of the final examples of the great post-WW2 Vienna Mozart Ensemble. Maybe not today’s style, but the phrasing, the feel for Mozart has never been bettered and Krips was the ultimate master of this style, far more so than Karl Böhm ever was. So good to re-live the experience now.”
Historical
“Andrew is absolutely right although I don't enterely agree with him.This is indeed one of the greatest Tristan in the discography. It can sit without shame next to that conducted by Beecham 1937, Kleiber (Carlos) Bayreuth 1974, Keiber (Erich- already) Buenos Aires 1938.Tristan is definitely a Kleiber ‘s family « business» . Erich Kleiber is the big winner of this recording. He confirms that he was the greatest German conductor of the 20th century. Far ahead of Furwangler…Hans Hotter and Ludwig Weber are transcended, invested and much better than in the Karajan’s performance (Bayreuth 1951).Set Svanholm is a very great Tristan and rises to the Kirsten Flagstad ‘s level without problem. His vocal and dramatic investment is total. One of the great testimonies of this artist.Regarding Kirsten Flagstad, to hear what this artist was, just listen to the Tristan conducted by Beecham in London in 1937, with an exceptional sound that does justice to all aspects of this immense artist: immensity, color, flexibility, capacity for projection, power of the voice ; mastery of technique placed at the service of total dramatic investment.In 1947, Kirsten Flagstad was not at her prime, but in the middle of her career. His voice no longer has as many of the qualities mentioned above. But it doesn't have the heaviness of Furwangler's recording. Kirsten Flagstad's voice and artistry are simply coming of age. Always great art!The sound is much worse than that Beecham 10 years before ...”
Interpreting Salome
“I am so thrilled with this recording of Salome and my Elektra Monologue. My favorite roles with the Dyer’s Wife all Strauss. I do hope we can offer my complete Salome. Salome begins very softly and sweet as the young (still innocent, I believe) girl she is, spoiled yes but not yet corrupted. This interpretation reflects Strauss‘ composition. A lot of piano and pianissimo singing – usually, I must say, rampantly and recklessly sung forte by most Salome sopranos. No, no. Softly. She works herself into a frenzy with Jochanaan. For the record, I sang the premiere in Wiesbaden the fall of 1978 and was already 5 months pregnant. Thank you Andrew Whitflield and Opera Depot for giveing us this recording!”
So glad I purchased this!
“This is one of the best performances of Das Rheingold I've heard! The entire cast is first rate, even the small parts (including one of the most memborable Froh's ever in Han Hopf). I've never been a huge fan of Theo Adam, but here his characteristic wobble is almost wholely absent. And, as Andy mentioned above, it's a real treat to hear him spar with Stolze's characterful Loge, instead of the dull demi-god Windgassen gave us. Klobucar was new to me, but he gives a juicy, red meat performance of the score. The sound is also excellent, and so far I've only listened to the mp3. Highly recommended!”
RICHARD STRAUSS'S "DER ROSENKAVALIER" CONDUCTED BY CARLOS KLEIBER
“Richard Strauss's "Der Rosenkavalier" conducted by Carlos Kleiber and displaying a starry cast of singers (Evelyn Lear, Brigitte Fassbaender, Lucia Popp, Karl Ridderbusch, etc.) is arguably the best you can get in 1976 at Teatro alla Scala di Milano. Highly recommended! A must!”
Date Correction
“Further to my review above, I spoke with Margaret Curphey today and she confirmed that the recording will have been taken on 29 September 1977, which was her first public performance of the Siegfried Brünnhilde. Perhaps the cover might be corrected for the future. It's a wonderful disc: thanks again for issuing.”
Seek no farther
“Sir Michael Tippett's most accessilbe opera, "King Priam," is angular and fast-moving. However, it doesn't 'play itself,' as performances with lesser casts have demonstrated. For this world premiere, Covent Garden fielded its first team, headed by Forbes Robinson's stalwart protagonist. Richard Lewis is a standout as Achilles, and the combination of Marie Collier, Margreta Elkins and Josephine Veaaey in the female leads speaks for itself. John Pritchard tucks into the score with gusto and the result is a performer that ought to satisfy opera fans who think of Tippett as knotty and inscrutable (a reputation that he did a lot to perpetuate). Highly recommended.”
For Berit Lindholm in love
“Great! I heard this wonderful singer live in the seventies and every times I was overwhelmed by her performance. So I am very grateful for these records demonstrating her unforgotten art.Thank you very much!”
Revelatios
“This is a super performance and a good recording (the first 15 seconds aside).I missed seeing Ava June in the theatre and didn't know what to expect. She simply superb, as is Valerie Masterson, whose work I do knew well and because of whom I bought the set. These are world-class performances.It's a fun translation and the audience clearly love every minute. This is a lovely reminder of Sir Charles Mackerras's talent and his dedication to ENO. I would love to have attended this performance.”
Exquisite Rake
“This is an exquisite performance of Stravinsky's rarefied opera, and the only one of many I've heard to make me fall in love with this score. Sanzogno's conducting is the key, flowing with classical grace that allows the emotion to emerge, as in bel canto, through vocal and musical values. The singing is also a marvel. Picchi sings superbly as Tom, and manages even to make him touching. Sciutti, whose narrow, sometimes hooty tone has always struck me as an acquired taste, is the best Anne I've heard, singing with precision but also revealing the depth and steadfastness. I'm a Rehfuss fan anyway, and he here sings beautifully, in dramatic contrast to his character's malevolence. Maybe best of all is Jolanda Gardino, super as Baba.”
Phenomenal Arabella
“It’s difficult to say what you will love more in this unique live recording: the wonderful cast, the ideal conducting of Clemens Krauss or the perfection of the orchestra. You will remain with an unique regret: to not have been there….”
Superior to Davis's studio set
“A fine recording of Mozart’s first operatic masterpiece. Norman and Harper deliver breathtakingly beautiful singing throughout. Gedda’s coloratura is at times muddy (Fuor del Mar is a disappointment), but otherwise his sensitivity and elegance are all one expects; in the last act he is quite moving. Davis is attuned to the underlying turbulence and nuance of the score; this is far livelier than his dull 1968 studio recording on Philips. (I am unfamiliar with his second set from the 1990s.) The sound, though cramped and muddy at the beginning, opens up as the work proceeds.”
Theodore Shulman
“A very beautiful, note-perfect MEISTERSINGER. Gundula Janowitz is like no other Eva, unbelievably beautiful, like the sound you get when you dip your finger in wine and then stroke the edge of the glass, that eerie, penetrating harmonic. Franz Crass as Pogner is also very beautiful, lyric. Sandor Konya completes the poetical, lyric-sounding cast”
thrilling performance
“A great Scotto in full voice is leading a performance in which each character is well designed and interacting with the others. Casoni is surprisingly growing in intensity and voice act by act, matching Scotto in the II act. Cecchele delivers a robust Pollione. Giaiotti brings allure to the Oroveso part. Patane' conduction is dynamic, dramatic and alive.”
Superb!
“I can only agree with the other reviewers. This is a superb performance with Dame Gwyneth at her absolute electrifying best, along with an outstanding cast and a good quality recorded sound. Very highly recommended.”
Fidelio with Ansermet
“Though I bought this CD after enjoying Inge Borkh's fantastic Salome production (available also by OperaDepot) it was also very interesting because of the conductor. We know Ernest Ansermet as a brilliant concert conductor especially as the unrivalled interpreter of the impressionist music and now we got the possibility to discover him as the leader of an opera performance (I knew only his Pelléas and Melisande interperetations till now). Now we can here him as the head of his Suisse Romande Orchestra and though his reading is not so exciting like Bruno Walter's or Furtwaengler's interpretations it is a beautiful performace. Especially the lyrical scenes like the Quartett or the Prisoners chorus are memorable. Ansermet has a very strong cast all of the artists are excellent. Borkh proves that she is not only a Strauss hero, her Leonore can match with the greatest interpreters of this role. Beirer is a first class Florestan, a true Heldentenor with passion. Neidlinger is the villain and Greindl gives us a beautiful portret of a layman. Unfortunately his aria is omitted from this performance. Tappy's voice sounds very fresh as Jacquino and Elisabeth Schwarzenberg is also acceptable (sometimes very good) like Marzelline.Because the Overture Leonore No. 3 is also missing from this evening we get a thrilling performance of this work from 1958 under the baton of Sir Thomas Beecham. Do we not need more? Highly recommended.”
An excellent Ring with a top-notch cast
“This Ring with Karl Bohm conducting will invite comparisons with the commercial release on Phillips issued in the 1960s. The principals are a fine group of Wagnerian singers, with Birgit Nilsson as the premier Brunnhilde of her time, a mature Wolfgang Windgassen as SIegfried, at very good Theo Adam as Wotan, and Leonie Rysanek and James King as the Walsung twins. The recording quality is pretty good.”
messa di requiem...torino 1960
“Ottima esecuzione live della Messa verdiana, molto bravi tutti e 4 gli interpreti.Molto interessante ascoltare Gianni Raimondi, su tutti la Marcella Pobbe e molto bravo Ferruccio Mazzoli che io considero autentica voce di basso, cantante dalla linea pulita e molto educata, appena un pò sotto la Lucia Danieli, come sempre la bacchetta di Mario Rossi è sicura, ritmi un tantino veloci, ma la conduzione è ottima, così come l'orchestra RAI di Torino.”
Wonderful Faust
“Just briefly, this is a beautiful performance of Faust. Kiri is wonderful as M and Burrows is also perfect as Faust. The sound is great for a live performance. Mackerras leads a very musical production. Do not hesitate to buy this set.”
Rare version
“It is excellent and besides this the most comprehensive recording of the piece. I only wished that you would also publish a new version of the recording of Wagner´s Die Feen by Downes as well.”
Mein TRISTAN
“Fundamental edition. First of all, the HiFi sound recording: full, full-bodied, round, free, deep, powerful, with voices hovering naturally in the unlimited, demoralized space of the great hall of the Festspielhaus. Then the interpretation of these Wagnerians, here at the absolute top of their day, in the central phase of their collaborations in this iconic work in Bayreuth. So thank you to OperaDepot for such wonderful remastering (I took the Flac format and I recommend it) and above all thanks for having made this live untraceable elsewhere. I forgot: the choir of the Festival directed by the great Pitz is also excellent. Among other things, this is already the fifth "Tristan un Isolde" that I take from OperaDepot and four of them have the steel voice of Birgit to which I raise my ideal cup of centenary party!”
Bel Canto Fan
“I have always liked this opera and also always liked Leyla Gencer. With Shirley Verrett as well, this makes for a powerful double billing and a great performance. As a previous reviewer mentioned, the last track on Disc 1 is faulty, but this is no problem, Thank you Opera Depot! Your remastering of these discs is bringing new life to the old opera performances.”
A great Kempe performance
“This a great performance under one of the finest Strauss conductors of the 20th century (only two years before his tragically early death) and with a first-class cast. The recording quality is equally remarkable.”
A triumphant Welsh National Opera 'Die Walküre' under Sir Reginald Goodall (continued)
“The great Anne Evans was singing her first Brünnhilde. Kathryn Harries, who had only started singing operatic roles as a Flower Maiden in the WNO Parsifal the year before, was a strikingly youthful, good-looking, and well-sung Sieglinde. Although Phillip Joll was younger, higher-pitched, and less god-like in appearance and voice than Norman Bailey, he nevertheless offered a very coherent, convincing and youthful characterization and a very well sung performance, which fully came into its own in the final scene with Anne Evans. Warren Ellsworth (aged 34) was a show-stealing Siegmund (he generated much more presence and Vickers-like intensity in this role than did much-loved Alberto Remedios, who unfailingly sang this role very beautifully, but was always much more distinctive, engaging and characterful as Siegfried). His death from lymphatic cancer in 1993, aged only 42, was a very tragic loss. The singers, the WNO orchestra and Andrew Porter’s excellent English translation come across amazingly clearly and vividly. Aside from one brief gap/jump towards the end of Fricka’s big scene with Wotan in Act 2, the excellent stereo sound is almost completely fault-free. In a review of the first night, Rodney Milnes wrote: ‘every aspiring Wagner conductor across Europe should be corralled into Cardiff’s New Theatre to see how it should be done!’”
Donald Honan
“I’m older than I thought! …and a fanatical record collector since age 12 in 1948, especially of the Golden Age singers. Although I prefer the original language, I have heard this thing so often in Italian that it was only jarring to hear you say it was so! …and make no mistake, that’s Italian style and word emphasis here. Kraus, like Bergonzi, just got better and sounded more gorgeous over the years, so it’s good to be reminded that he was pretty darn good to begin with! It will be a hoot to have this performance in my collection along with Simoneau & Legay…”
Superb Performance - Terrible Sound
“Performance (with some cuts) is absolutely riveting. The sound, however, even for those days, is absolutely execrable. One has to listen through its deficiencies to really appreciate this great performance.Opera Depot doesn't tell you about the cuts until AFTER you've bought this set. The poor sound quality is a known given due to the fact so many of these pirate recordings have totally variable sound quality.But be warned on this one.Steve”
Di Stefano Otello
“This recording of Di Stefano's only record of Otello is only for his many fans.He gives it all and then some but he is no Otello.The recorded sound is poor because the recorder sounds like it is in the orchestra pit and distant.However who can pass up this CD a great rembrance”
Intense and beautiful
“This performance features fresh-vpiced, vibrant singing from all involved. Nilsson and Thomas are in prime voice here. Conductor Otmar Suitner was a brilliant Wagnerian and we here it in this performance. There is a wonderful balance between light and dark, between clarity and richness of sound, a powerful sense of the line of the music. The sound is very good. If I could take only one of the many performances I know of this work to a desert island, this would be intense”
Frank
“Just purchased this opera. I agree the sound is outstanding. Koln radio captured a nice clear production with voices well balanced. The performance is very good considering the cast of virtual unknown, except for TSR and Wolfram. Stich Randall fans must have this disc.”
Karajan on the top
“This is an interesting document of Maestro von Karajan‘s Salzburg TRISTAN. His conducting and the playing of the Berlin Philharmonic are fabulous! The musical texture of this incomparable masterwork is transparent in a way that makes astonish.Vickers is a wonderful Tristan, but at the end of act three his voice is nearly at an end. Dernesch makes great impression with her Isolde, but is not able to hold on the last note of the Liebestod, which is very disappointing.Ludwig and Berry are top, so is Ridderbusch as Marke.Luxury is also present at the small parts with perfect performances of Peter Schreier, Gerhard Unger and Bernd Weikl.The sound is good.”
Patrick McCabe
“Great performance ? -yes. I do not know whether it was because of her position on stage, but sometimes Dame Joan seemed to ebb and flow a little in volume. It's a small quibble.We in Ireland have always admired Charles Craig, and he does not disappoint here. Just one thing; Is it not a B natural in" Meco all' altar" ?. When I listen to Bonisolli on the live Munich with our great Irish soprano Suzanne Murphy' and Alicia Nafe, his top note in " Meco " is high C on my piano. Charles is a half tone below.I have read with interest Richard's comments re Vanne si mi lascia. I respect his opinion, but I cannot agree. It sounds fine to me and I do not think she screams. Surely Bonynge had a say. Incidentally on the live performance from Tokyo of 30/8/71 with Suliotis and Cecchele, she sings an A natural to the D of Suliotis and it also sounds fine.Anyway, this recording rates a prominent place on any Collector's shelf.”
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.”
Cotrubas on fire!
“This was a very pleasant Traviata to listen to. Ileana was on fire from beginning to end: safe in the upper tessitura, collected when needed, expressive when needed, it was beautiful to hear. The same can be said of Carreras who was in nice form though not as stellar as one should expect but beautifully sang his part and was very involved. At the end of the opera in the terzetto he was a bit out of tune (but higher not lower than the right note) but it was a moment. The baritone was fine. Yeah, perhaps this was not her night though he did a commendable work in spite of some pitch problems here and there but it felt more related to health than lack of artistry but it worked fine anyway.The sound is pretty good and the orchestra and conductor were attentive to the plot. Loved it!”
Excellent Performance in Good Sound!
“Carol Neblett was all of 25 when she sang this performance. It is incredible how mature she is vocally and how she's able to use her voice to convey Violetta's heartbreak. Her top notes are enviable in their security (yes, she sings a great E-flat at the end of "Sempre libera") and she has enough color in her tone to reflect Violetta's many moods. I agree with Andy above: she was a great Violetta.John Stewart was a handsome tenor who made much of his career in Europe; he sings a very creditable, passionate Alfredo. Dominic Cossa is an excellent Germont who gets a very enthusiastic hand after his beautifully sung "Di Provenza". The supporting cast includes Joaquin Romaguera in the small role of Giuseppe; a few years later he would create the role of Pirelli in Sondheim's Sweeney Todd. Chris Nance conducts capably, making all the traditional cuts. This was the Frank Corsaro production so be prepared for a long pause before Violetta begins "E strano!" in Act 1 (I'm glad it wasn't edited out).The sound is good, the voices slightly recessed, but always audible. Fans of the opera or the singers should acquire this set.”
"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)”
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.”
Maliponte-Serene
“This is one of three finest opera recording I own. The performance is strongly sung answers more. Maliponte's voice has deeply sensuous overtones which create an unparalleled mad scene. The voice is darkly coloured yet flexible and easily lightened in order to create the otherworldliness demanded by a mad scene.”
I had this performance on
“I had this performance on LP-long gone!Callas is careful with her voice,but still a great performance from her,the stars are Corelli and Bastianini,both sing very well,Corelli puts a few of his "slides to the top" in to great effect.A very exciting performance”
John Stanton
“La Wally is Catalani's most famous opera, highly regarded by Toscanini.It's discography is small with one studio recording and a number of live performances of which this one is arguably the most satisfying.Magna Olivero is La Wally. Here at the age of 61 her voice seems undiminished. Her plangent sound vibrates with feeling giving a compelling picture of the untamed Wally. Her Hagenbach is the admirable Amadeo Zambon sounding uncannily like a young Mario del Monaco. The top notes burnished and resonant. The Gellner, Silvano Carroli with his warm Italinate voice completes this admirable trio of leading singers.The two great basses Zaccaria and Foiani in minor roles contribute considerably to this fine recording.An oddity: Hagenbach's music in the final scene is marred by the damaging loss of half his aria: "M'hai salvato" which is then given as a bonus!The sound is very good.”
