Here are the items that we found.
Featured Artist
Sylvia Fisher
This week, I came across a fascinating series of recordings featuring the great Australian soprano Sylvia Fisher.
Fisher was beloved for her gleaming, silvery soprano, ideally suited to the demands of Richard Wagner, as well as for the clarity of diction that made her an ideal proponent of Britten’s operas, particularly in the title role of Gloriana. Her recorded legacy is comparatively limited, making surviving broadcasts and live performances especially valuable documents of an important dramatic soprano.
Sylvia Fisher
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Bach (J.C.): Lucio Silla
Gaifa, Geszty, Varady, Hermann; Kehr. Schwetzingen, 1974
Britten: Albert Herring
MacDonald, Fischer, Sinclair, Vyvyan; Davies. English Opera Group, 1962
Britten: Gloriana
Fisher, Hillman, Garrard, Hammond-Stroud, Andrew; Bernardi. Aldeburgh, 1968
Charpentier: Louise
Neblett, Alexander, Devlin, Bible, Riegel, Densen; Wendelkon-Wilson. 1971
Massenet: Thaïs
Pilou, Edwards, Riegel; Buckley. Miami, 1976
Spotlight: Ernst Kozub
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Continued from Below
“Caballe had great high notes, especially in 1968, but she rarely ventured higher than D-flat though she did occasionally risk a D at the end of certain ensembles (Maria Stuarda, Anna Bolena, and Il Barbiere di Siviglia come to mind). This partiality to the higher options is, of course, unfair to Caballe and other sopranos who aren't comfortable with those notes; Massenet wrote lower variants that are just as acceptable. And Caballe is a wonderful Manon. She captures all the young lady's determination, hedonism, and charm. She is heard here in her prime, the voice beautiful and bold. The top C she sings at the end of "De lor! De lor!" quartet in Act Four is thrilling and her death scene, punctuated with some very realistic coughs, very moving.Vanzo sings Des Grieux to the manner born. He caresses the phrases of the "En ferment les yeux" with silken tone and rises ably to the challenges of "Ah! Fuyez!" in the Saint Sulpice scene. He was truly one of a kind. John Darrenkamp is a first-rate Lescaut, a decade or so before he joined the Met as an excellent comprimario. Felix Giband is a splendid Comte des Grieux and Diego Monjo a funny, slimy Guillot. The chorus sings in Italian. Guadagno gives a much fuller account of the score than was usually heard in those days. We not only get the first scene of Act Three (the Cours-la-Reine scene), but almost all the ballet music. The sound is very clear and listenable. All fans of the opera and/or the singers should get this.”
Shaun Greenleaf
“This sprawling work is captured in excellent radio sound with an all-Francophone cast including the very characterful Robert Massard and the fine Guy Chauvet. The women are less distinguished but do fine work and the piece is a lot of fun.”
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.”
John Stanton
“This is a completely satisfying performance of this much recorded opera. Anja Silja was a dynamic singing actress, her lean lovely body, made her a provocative Salome on stage, and with her lean athletic girlish voice she was the full package. Here she is 28 and at the height of her talent.For me, Franz Mazura's resonant, powerful and gritty Jochanaan is simply the best. Niels Moeller's Herod is marvellously fluid and oily and the rest of the cast is first rate. Ruth Hesse gives us a bright expressive Heriodas.The sound is very good.”
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!’”
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.”
A Memoerable Frau, but January 77, not October
“This performance is not from the run of performances in October 1977 that were used in the DGG CD issue, all of which featured James King, as per the Staatsoper online archive, which also shows that the only Frau performances sung by Mattu Kastu were 16, 20 and 27 January 1977. Nevertheless it is a fabulous performance, very likely 27 January, the unforgettable perfomance I attended.”
Fond memory
“I haven't bought this yet but I will when I get back from vacation. I can answer some questions the previous reviewer posed. Yes, it was in Minneapolis, and I was a ringer in the chorus tenor section, called at the last minute as we're other ringers, because, the chorus was too light. It was the Macalester College Choir plus those of us who could be found and trusted to sing the piece with only the final orchestra reheasal.”
An incandescent Tristan
“One reviewer of this performance, Solti's last as Musical Director of the Royal Opera, described it at the time as "sublime, intoxicating and torrential." He wasn't wrong. "Jess Thomas did not flag, sang most movingly in the third act.... The unsinkable Birgit Nilsson, cool, imperious and seraphic, rose to every climax.... But superlatives fail. What an Isolde!" He wasn't wrong. An incandescent Tristan in warm, vivid mono sound. A real treasure.”
A wonderful passionate performance!
“The pormance was great. The singers were in great voice. The conducting was great. Carlos klieber really has this opera in his blood. I l love that the applause was included. You can really tell the audience lived it. The sound was excellent too!. This performance was better than his commercial recording.”
A Defining Festival Performance--- As Good As It Gets!
“Of the dozen or so live performance recordings from Opera Depot, I believe this is the best!! For the most part, stereo sound quality rivals the best of the era's commercial releases. And the performance!!! Oh, my! Carreras is at his considerable best, gloriously singing a role that, unfortunately, was just one of those that shortened the peak of his career. Mirella Freni couldn't ever have been better than here; the same is true of Cappuccilli's Rodrigo. I only stop naming the cast because they are all tops! I can't recommend this recording too highly. Andy has produced a real winner here. All Verdi fans and fans of these great singers should avail themselves of this one asap.”
Superb cast & recording
“The cast, the conductor, and the sound quality are all superb. I am reminded of what an absolute stage animal Janet Baker was. It amazes me when people refer to her as a remote, cool, grand, and rather restrained artist. I once saw a review of her performances at the ENO claiming that she always sounds as if she doesn't enjoy singing! While I regret that she never took on the role of Sesto, it is wonderful to have her as this passionate, fiery Vitellia. Yvonne Minton is equally strong, and in fact there isn't a weak member of the cast, although Stuart Burrows on the commercial recording does have a slight advantage over Hollweg. I recommend this set with great enthusiasm.”
MISSING SECTION RESTORED - AT LAST!!
“Following my posting 5 June 2023, please note that I have now received a file from Andy, containing the missing section (Act Two finale). Thus one can assume that it has now been restored to the master files......and -my goodness- it was worth waiting for!!!”
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,”
One to treasure.....
“Wonderful to have this. A cliche, but it really is one of those recordings that makes you wish you had been there. If Act 1 seems a little on the slow side, Act 2 in particular shows Horenstein at his most dramatic, even at this very late stage. Among the voices, the Gurnemanz of Talvela has warmth as well as granite strength, while Shuard seems to have been caught at her very best: this is a Kundry who can sound genuinely seductive. Bailey's Klingsor is fiercely intelligent and massively authoritative - even with this acoustic, the quality of his diction is very clear. One or two of the Flower Maidens sound like off-duty Valkyries, but the minor parts seem generally well-taken.The sound of the recording is as described, and possibly taken from somewhere in the ROH stalls. On occasion the voices recede into the distance, but I doubt whether anyone interested in Horenstein or indeed the work as a whole should be at all deterred.”
Vickers in his prime in one of his best roles
“I bought this CD because of Vickers though I have the commercial record (1963) and the late Covent Garden (with Verrett) and Metropolitan (with Horne) performances with him. This performance from Amsterdam in 1964 masterfully conducted by Jean Fournet shows Vickers really in his prime. Andy has right: it is really a must-have for the Vickers fans. He sings marvellously without the later mannerism. His strong personality, his vocal splendour and his unique intelligence makes him an ideal Samson. Ernest Blanc is also glorious in the role of the High Priest of Dagon. Oralia Dominguez has a special, exotic voice which qualifies her for the role of Dalila. She is not the same level like Vickers but a perfect Dalila. Peter van der Bilt gives a very good job as the Old Hebrew. Excellent performance. Highly recommended!”
Kurt Hofmann Dr
“attended that performance as student and am pleased to be able to listen to it again.Never witnessed a omparable Salome performance afterwards.Rysanek in top conditiion,Varnay superb and on top Dieskau and Solze!!!The audience went absolutely mad!!!”
conductor, Location
“Here Come the almost complete Dates of this Performance:1/14/64: Don Giovanni: Philadelphia, Academy of Music (Philadelphia Lyric Opera Company), hour: 1945: stage directorAdolf Rott; set design Franco Zeffirelli; ballet master and choreographer Thomas Andrew; lightingdesign Nananne Porcher; assistant lighting design Elizabeth Holloway; furnishing Three Century,Ltd., Bryn Mawr, Pennsylvania; costumes Van Horn, Inc., Louis ValentinoDon Giovanni Cesare SiepiIl Commendatore Louis SgarroDonna Anna Ingrid BjönerDonna Elvira Diana DelmonteDon Ottavio Cesare VallettiLeporello Ezio FlagelloZerlina Ginetta La BiancaMasetto William Beckmaestro direttore George Schickmaestro del coro Rolando Fiore”
Martin Ramor
“It is nice to have Hollaender in Italian, also. With Italian orchestra and so on. It is like Wagner's brief encounter with Verdi, before taking a different road, he, he. Taddei is excellent Hollaender with very simpatetic, smooth singing, without any strain and without "barking". Gulin's Senta is very nicely done. The very stentorian and dramatic Erik of Pier Miranda Ferraro is amazing, he gives a totally new view to Erik. Unknown Daland and conductor are both very good.”
A Star was Born
“In 1957 Wieland Wagner ,after hearing Sandor Konya in multiple Italian and French Operas( in various Opera Houses in Germany ,like Hamburg,Berlin,Munich ,Dresden ) he was sure that this will be the right Lohengrin for his new Staging in Bayreuth in 1958.Konya was too busy and under Contract . In April of 1958 he finally went to Stuttgart to sing the main Sequences out of the Lohengrin Partitur.Wieland was sure he has his new Lohengrin.Konya's Debut in Bayreuth was the absolute Success ,and Wieland Wagner got what he was aiming for. Konya sung in the next Years to come more than 370 times Lohengrin all over the world. Until today he is one of the most exiting and enchanting Lohengrins. His Lyric Heroic Timbre made him very unique as the Swan Knight.Thank you Wieland to find him ,Thank you Sandor for your Art.”
Jerry V
“Gwyneth Jones is my favorite Brunnhilde of all time. On these cds she is in top form. Vocally her voice is as warm, even and expressive as Flagstads.It’s as huge as Nilssons with breathtaking high notes…and she as exciting as Varnay but with a more beautiful and rounded sound..and if you watch the video she is a superb actress filled with rare beauty…”
Just gorgeous
“It is simply a wonderful realization of Verdi's masterpiece. Antigone Sgourda, one of the most beautiful voices and gifted with a real outstanding musicality gives us a very touching Desdemona. Kari Nurmela is a very convincing Jago and of course Prevedi is an outstanding Otello. Nello Santi, one of the greatest Italian conductors has a very special authenticity in Verdi. Thanks for publishing this wonderful registration.”
The singers, especially the radiant Grümmer, take the spotlight
“Elisabeth Grümmer is one of my top favorite sopranos and I bought this live recording mainly for her. Pamina is a role to which she is eminently suited and yet never recorded complete commercially (only excerpts for Electrola - the German branch of EMI). She proves to be virtually ideal in the role - youthful, radiant, noble, and what a treat to hear her in a live performance in this role when she was still in the fullest bloom of her vocal prime. The rest of the cast feature the best that could be found at that time for the respective roles. Among them Dermota and Kunz are well-known quantities and they don't disappoint. Solti has often been criticised for being hard-driven. He certainly isn't an affectionate Mozartian, but here he is at least considerate to the singers, while effectively ensuring the forward momentum of the drama. The sound is typical for a broadcast recording of the period. The voices are at least forward and clear.”
Terrific Performance. Great Sound.
“I was surprised how engaged I got while listening to this recording. I've never heard Carrearas sound better anywhere. And, of course, Caballe was made for a role like this. Such control! The entire cast is in terrific form and it is a very tight production. Highly recommended.”
An important historical recording
“This recording is fascinating! First of all, Gwyneth Jones is magnificent, her Brunnhilde is absolutely thrilling! Overall, the cast from this recording is probably superior to the commercial release on DVD (although the DVD features Jeannine Altmeyer as Gutrune). Boulez was a very good Wagnerian, and the Bayreuth orchestra is excellent. The sound is quite good, and we are fortunate to have these 1976 and 1977 Bayreuth Rings from Opera Depot.”
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”
Exciting
“A really entertaining performance, with Bergonzi on wonderful form after a bit of warm up in Act I. Cruz-Romo is a marvelous Maddalena, her voice the right weight and texture for the role (better than some of the commercially recorded competition). I had to hit repeat for the ""Ora soave" duet in Act II, they were so good together. Manuguerra is also exactly on point, and there are some good supporting performances as well. I wonder where this performance took place; but anyway, it's well worth hearing.”
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 !!!”
Tebaldi As Butterfly In Naples, A Portrayal Of Wonder
“Tebaldi, in a role she sang infrequently, is glorious in her singing of this role in Naples; her voice soars with emotion and her portrayal is truly affecting.The downside of this recording is that the prompter’s voice is particularly prominent throughout; a debit, but Tebaldi’s committed and highly performance makes this cd one to cherish.”
Wonderful Rhinegold!
“This was the opening night of Goodall's complete Ring cycles that were played together for the first time in summer 1973, and the recording here captures the special excitement of these first cycles which swept over us at that time (as was also evidenced by EMI's taping of Siegfried from the same cycles).It would be interesting to know the provenance of this recording - broadcast? in-house recording? - but whatever the source it has fine presence and stereo spread even if it lacks the clarity of the later 1975 commercial recording. Dare we hope that recordings of the Valkyrie and Twilight from these 1973 performances may emerge from the same source? The Rhinegold performance itself shows Goodall and his singers (especially Norman Bailey) on peak form in the conductor's notably expansive interpretation. Thanks to Opera Depot for unearthing this!”
Rock
“I first heard Soulitis on her Decca recital in 1968, probably a year or twoafter the recording was made. The cover showed a vibrant young women. WhenI heard her, I thought, “My God! She already sounds famous, fat and forty.What is she doing singing this heavy music?”I wonder how many people advised her to take a different path.I was so happy to find live recording of her on this site. I wish she had mademore recordings in her mezzo days.Thanks, Andy.”
I was at that performance
“I was at that Galvany and Campora piano recital. It was a substitution for the scheduled Teresa Berganza recital that Berganza cancelled. I was there in the orchestra front row center and I'll NEVER forget how HUGE the sustained E Flat that Galvany sang at the end of the Puritani aria was!!!! Ah, such memories. I was 14 years old and I remember it like it was yesterday!!!!! I went with my dear friend Arthur Levy!!!!”
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.”
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!”
Top Satisfaction with quality and choices
“I do have a problem with one of my purchases.I had ordered 2 different Puccini operas:1) Tosca Nov 22,1978 Caballe, DiStefano, Herles2) Turandot 1973 Nilsson, Bjorling, Dose I has played other items I had purchased recently from Opera Depot. Last evening I started to play Turandot. It didn't take long to realize that it was Tosca.It seems I have received TWO c/d's of Tosca and no Turandot.Please advise,Thomas E. Geraghtytomgeraty@aol.com”
Dag Kyndel
“This cannot be bettered. And what a bonus! (see above). The Chrysotemis first asked to participate in Solti’s famous recording on Decca was Berit Lindholm; however she said no, thinking she had not experience enough. She also declined the offer to be Karajan’s Brünnhilde in DG:s Siegfried and Götterdämmerung – upholding she hadn’t sung the role enough many times!”
Xavier Otazu
“Famous Boulez 1980 version (DVD) was my favourite Ring version among many other video and audio versions (Solti, Barenboim, Krauss, Karajan, Bohm, Keilberth, etc) ... up to now! This 77 version is at the same level (if not higher) as the 80's one. It is not as fast as the 80, but you can feel the tension, passion and electricity of the 80 and the special feeling that have REAL "live" recordings. Boulez has a total control of the orchestra (perhaps because of the "strike" by the musicians) with extremely clear and transparent voices, and you can hear the usual "surgical" Boulez sound and direction. This version has become my Ring mielstone.”
Luxury cast and powerful performance!
“My shelf is filled with ”Rings” most of them have something very appreciable and unique. This is one of the most full blooded performances I ever heard. Thomas Stewards intensity through the whole cycle keeps it together in a beautiful way. His Wotan is virile and expressive, and the Voice rings with indefatigable strength from start to ”das Ende”. Wotans narration in Walküre act II is sung in a way that makes it one of the most interesting parts of the whole opera - something very rare! Berit Lindholm is my personal favorite Brünhilde. Her bright and beautiful timbre combines the steel of others with the female vulnerability of the softer ones. The voice sounds fresh and well-controlled throughout, and she paints a very credible portrait of the heroine’s development. Gwyneth Jones had her best years in Bayreuth 69-71 and her commitment is total, although the quality of the recording makes her voice a little injustice. The audiens reception of the Walküre act one says a lot about the beauty and devotion of Brilioth’s and Jones’ singing and acting. Jean *** actually SINGS the whole part, and even if his color of voice is light and steely the precision and beautiful phrasing makes up for the lack of heldentenor-darkness. Stein is a reliable Wagner-Conductor, his version is traditional and secure, but without any sensational specialities. I recommend this recording dearly. For all Lindholm fans - it’s a must and a desert-island recording!”
My Favorite Performance of all time.
“I was a young opera neophite when I first heard this performance. Since then I have become an avid fan of both Leyla Gencer and Shirley Verrett. This performance is fantastic and still remains my very favorite live opera performance of all time. The first act confrontation scene is utterly marvelous. I recommend it from beginning to end. I have never heard another Maria as impressive as Leyla Gencer. James Gentry”
Great Performance of The Bartered Bride.
“This recording, in good sound, features 3 very enjoyable leads with warm conducting of Krobhloc. Edelmann knows how to do buffo roles while still maintaining a firm singing line. Kmentt is a wonderfully enjoyable lyric tenor. Janowitz is lovely as Marenka. In 1965 the voice was beautiful and without the constriction at the top that it later developed. This is a wonderful performance of the part and a great souvenir of Janowitz's earlier career.”
An excellent Parsifal
“Although Boulez was still finding his marks at that stage, this is, for me, his ultimate Parsifal and a welcome illustration that another way is possible as compared to Knappertsbusch’s outstanding, slow, highly religious approach. A ‘human’ Parsifal much like his Ring cycle. It is also a fantastic opportunity to hear Astrid Varnay’s much under-recorded Kundry. 1966 was late for her and it shows - high notes are shouted rather than sung, but always perfectly on pitch... and the character is fascinating. The emphasis she puts on key words and phrases shows a deep bond with the role and profound understanding of the wretched Kundry. As for Konya he is in his best voice - just as ethereal yet strong and powerful as he was when impersonating Parsifal’s son, Lohengrin. Greindl, unfortunately, is in raucous voice but his gruff interpretation fits well with Boulez’s conception. And Thomas Stewart is an affecting Amfortas. The sound is very good - thank you for making this available in FLAC format! All in all - must have... all the more welcome here as the Golden Melodram commercial set has long been unavailable.”
David McKee
“This "Luisa Miller" comes up trumps in every aspect. The closest one can come to criticism is to note that Bruna Baglioni's Federica is only competent, but even that's saying a lot (the part is awkwardly written). Rodolfo was always one of Luciano Pavarotti's best roles and he is in prime estate here, which is high praise indeed. Similar things could be said about Montserrat Caballe, who has both the agility for Luisa's more delicate passages and the power for the role's dramatic aspects. Piero Cappuccilli's high baritone wraps itself fluently around Miller's music and, as was his wont, live-performance circumstances bring out the best in him. The worst that could be said about Carlo Zardo (Count Miller) and Carlo Del Bosco (Wurm) is that they sound too much alike, but "L'alto retaggio" has rarely been so gratifyingly delivered. Gianandrea Gavazzeni leads a febrile reading of the score, one that does Verdi proud.”
Wonderful
“I already had a recording of Tinsley's Elektra but it was in the most awful sound so to have it Broadcast quality and in English just ticks all of the boxes for me. The sound is really good.”
A great performance caught on the wing
“This performance is so exciting. Solti at his absolute best in the Sixties galvanising all at Covent Garden, as those of us old enough to have been there well remember. And what a cast - all in their absolute prime, and singing as if their lives depended on it. I am transported right back to those golden days.”
James Mertins
“Cross was better than I thought.Pears does not have the lyric quality really required for this, he was in essence a character tenor.A world Premiere performance is something special but I am sure the performances grew during the run.All told you have to have this performance. Sylvia Fisher was a better fit for Elizabeth and the Sadler's Wells recording shows a deeper understanding.Ava June probably was the greatest of them all in the title role, also at the Wells.”
EXCELLENT LIVE TROVATORE
“Funnily I recently reviewed this as a result of a request by email, but it must have got lost in transit. I like this as I am familiar with the principals with the exception of Kosseva. The singing all-round is up to the highest standard. Bonisolli is very good although I have a sneaking feeling that he was'nt in his usual free voice on the night-something that can happen, but he had such a secure technique. He sometimes sounded a little heavy in the middle. The 29- year old Ricciarelli is excellent and handles D'amor sull'ali rosee with ease, always my criterion. Mastromei is a competent di Luna, as is Kosseva in the taxing Azucena.The musical direction and Orchestra and chorus are fine, although I thought Weikert took Di quella pira at a much faster tempo than the rest of the opera.One little crib! Track 6 on disc 2-Quale d'armi fragor, although listed is missing. However it does not take from my overall satiusfaction./”
Bumbry beats them all
“Great performance, technically AND live it´s 1964, but you do know that, when you purchase sth like this. Gem by all means.Performance of opera depot: It worked, but I had to convert your mp3 via format factory, then it worked both as mp3 (new) and in wav.format (which I prefer after manual preparation, because most mp3s produce a slight break between the tracks. Not exacty a catastrophy, but annoying nevertheless)thx, and we will surely meet again!ep”
