Here are the items that we found.
40% Off
The Divas of Sadler's Wells
Josephine Barstow
Margaret Curphey
Anne Evans
Lorna Haywood
Rita Hunter
Ava June
Rosalind Plowright
Amy Shuard
Pauline Tinsley
Elizabeth Vaughan
In Memoriam
Martina Arroyo
This week we say goodbye to the great Martina Arroyo.
Born and raised in Harlem, Arroyo won the Metropolitan Opera's Auditions of the Air in 1958 and made her Met debut the following year. Her breakthrough came in 1965 when she stepped in for Birgit Nilsson as Aida, establishing herself as one of the great Verdi sopranos of her generation. Her illustrious career took her to La Scala, Covent Garden, the Paris Opéra, and many of the world's leading opera houses. In later years, she devoted herself to nurturing young singers through the Martina Arroyo Foundation, which she established in 2003.
She possessed a voice of unparalleled beauty and power, as well as a razor-sharp wit that allowed her to move effortlessly from the Metropolitan Opera to The Tonight Show Starring Johnny Carson.
In commemoration, all recordings featuring Arroyo are 40% off. I am also making many available as part of our Free Streaming series.
Martina Arroyo
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Britten: War Requiem
Jones, Pears, Shirley-Quirk; Kubelik. München, 1976
Compilation: Martina Arroyo in Concert
Amsterdam, 1967. BONUS: Martina Arroyo Sings Verdi
Handel: Samson
Vickers, Carlyle, Sutherland, Rouleau; Leppard. London, 1959
Purcell: Dido and Aeneas (In German)
Mödl, Prey; Schmidt-Isserstedt. Hamburg, 1955
Schoenberg: Gurre-Lieder
Arroyo, Baker, Young, Patzak; Ferencsik. Copenhagen, 1974
Spotlight: Hilde Güden
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Thrilling Performance in Excellent Sound!
“This famous performance has been on the bootleg circuit for so long it's easy to take it for granted. Opera Depot has gotten hold of an excellent copy of the original tape at the correct pitch throughout the recording.Callas was all of 27 when she sang this performance and she is on fire. Yes, the top E-flat at the end of Act 2 is thrilling, but so are many other things she does here. Listen to the very specific choices she makes in her great Act 1 aria "Ritorna vincitor". She isn't just generally conflicted, but brings different shades and colors to the words. It sounds spontaneous, not rehearsed. Similarly, listen to how she ushers in "O patria mia" in Act 3, her voice full of longing and nostalgia, not just generalized sadness (what we usually get).The other singers all give Callas a run for her money. Dominguez was also very young (25), yet she sounds as if she has already had a lifetime of experience in the role. Her Judgement Scene is simply superb as she generates an excitement you won't hear very often in today's opera houses. What a pity she and Callas never got to record the Verdi Requiem together (it almost happened in 1954). Del Monaco hurls out squillo-filled high notes and partners Callas admirably in their scenes together; he does not just shout his way through the role. Taddei is a terrifying Amonasro: no wonder Aida capitulates to his wishes. The two basses are also first-rate. De Fabritiis knows this score like the back of his hand.This recording is the perfect specimen to demonstrate to opera newbies why live performances are almost always more exciting than studio recordings.A classic: every opera lover should have this.”
David Fetz
“This was a wonderful performance. All of the cast was superb. I still have favorites in other recordings but this one is excellent. The flower ladies were the best I have heard. Probably due to the leadership of Caballe.”
Richard Evans
“I heard many performances by Welsh National Opera led by Armstrong, including two of Jenufa. Barstow was a fine singing actress, also Tinsley. Armstrong is an inspired conductor of opera, overlooked here despite his excellence in Verdi, Wager, Janacek and others.”
John Stanton
“For me the main interest was in hearing Janowitz's Mimi, and all my expectations were fulfilled. Her luminous seamless voice is well suited to this music, bringing with it a fragility and even a sense of her own doom. Carlo Cossutta is a poetic, musically sensitive and responsive Rodolfo. Pleasingly, unlike most tenors, he takes the lower alternative at the end of the love duet, an infinitely better choice.Rolando Panerai is an attractive and expressive Marcello, even if his voice is not as sappy as it was five or ten years before,Caesars Seipi is the Colline. He is in fine voice, although he offers a somewhat uninteresting performance.Anneliese Rothenberger is a pert attractive, if not particularly alluring, Musetta.There is also a perticularly good Benoit (uncredited)The sound is very good.”
Nilsson and Vickers? Must have!
“I have to admit, prior to discovering Opera Depot, I did not know of the conductor Horst Stein. I purchased one of the Ring Cycles with Stein conducting and loved the energy he brought to it. So when Opera Depot was having their Birgit Nilsson sale and I saw there was this recording with Birgit Nilsson, Jon Vickers, and Horst Stein there was no doubt I had to order it. I thought the sound was fantastic, my only issues were two very brief moments in I believe the first act and the final act where there was some odd sort of interruption to the sound. Neither instance lasted more than a second or two and these blips certainly did not distract me from the rest of the opera. How could it? Nilsson is one of my favorites and I am very happy with this recording.”
Matthieu DEGOTT
“Excellente interprétation. Gedda et Eda-Pierre sont sensationnels. Elle trille comme personne ne l'a fait, et tout son chant illumine la soirée. Bruson ne maîtrise pas le français, mais quelle voix!”
MUCH MORE THAN JUST A STRATAS-PHERIC ARIADNE
“On all accounts, this is an extraordinary ARIADNE! To begin with, standing in the center of it is JOSEPH KEILBERTH. He knows where this music is coming from and where it is going, as does his fabulous orchestra of soloists. Nothing is static. The music breathes, expands and contracts at the flick of a finger, a drop of his hand, or a raised eyebrow! His cast is a willing and thrilling one. They are not merely along for the ride, they are the roller coaster, KEILBERTH the track upon which it races along. TERESA STRATAS is Teresa Stratas. She offers everything that one could desire. A soprano, which I prefer in this part, stands to deliver all the big moments with opulence, ease, while losing nothing in the dramatic process. Hers is a without parallel in conveying a young, desperate composer. INGRID BJONER needs no introduction, she was one of the great Hoch Dramatic Sopranos of her generation. The middle can be a bit foggy, but the bottom astonishes and the top blossoms. The delivery is one of total commitment to the word and emotion. The surprise is SYLVIA GESZTY! How wonderful to have full voiced Zerbinetta! The fatter the voice the more opportunities for vocal color. Too often the “Zerbinetta sound” can be annoying or cloying, not here. The Geszty voice is just too beautiful a sound and she never sacrifices the beauty of sound for dynamic or “clicky” fioritura. AND she almost achieves the SUTHERLAND trill! An absolute joy to listen that aria! And when it’s over, trust me, you’ll probably want to listen to it again! The small parts are all more than ably taken by names totally unknown to me, except IRA MALANIUK as Dryade, who does an excellent job anchoring the ladies’ trio throughout. This leaves only ARTURO SERGEI as Bacchus. And to that I say, “Why do I not know who Mr. Sergei is, or was?” I’ve read he was a cover artist at the MET, and sang lots of different roles. Here he delivers the goods as well as I’ve heard them delivered. The voice can get a bit dry and leathery here and there, but in general, it’s a fine, well-schooled vocal instrument, capable of some very exciting sounds and extraordinary nuances, which one doesn’t usually associate with this role. In the end, a tremendously satisfying performance with excellent period sound, voices up front and the orchestra recessed, throughout. The correct performance date is May 20, 1965. Purchased on sale - WHAT A DEAL! Thank you for making it available!”
Fine Tosca
“This is a fine Tosca. Cioni has a light voice but he is effective in his role. Stella has a steely voice that is well suited to Tosca. I would compare her to Tebaldi in timber. Basile moves this live RAI performance briskly. The sound is very very good mono. The voices are clear as one would hope. This is a worthy performance.”
Tremendous Ring Cycle
“What a great performance this is in every way. It was Wolfgang Wagner's second production of the Ring and I think much underrated. He was always in the shadow of his brother Wieland and like you I have always enjoyed the classic Bohm recording from 1966/67. This recording however and the one from the following year with Ligendza as Brunnhilde are fast becoming favourites of mine. I remember seeing *** and Lindholm in the Friedrich Ring Cycle at Covent Garden in the late seventies and they were great there but here they are tireless and in much fresher voices. It's also wonderful to have Thomas Stewart in a complete performance as Wotan. I have always appreciated him in the Karajan recording but he doesn't appear in the Rheingold and he is much better here caught live. It's great to also have Gwyneth Jones as Sieglinde and Norman Bailey as Gunther. Being British and a regular visitor to ENO and the Royal Opera House I grew up with them as Brunnhilde and Wotan. Horst Stein has always been one of my favourite Bayreuth conductors much underrated at the time. Now this era seems like golden age of Wagner singing the likes of which we rarely hear today. There doesn't appear to be a weak link in this cast. As I said a tremendous performance and I highly recommend it. You won't be disappointed, I promise.”
Walter Hartman
“Like Aida, Leonora in Il Trovatore was a role Arroyo never got to make a studio recording of. While that was a loss it is great to find this recording of her in the role. She sings it beautifully. In 1973 her voice was at its best. Cossotto is wonderful as Azucena (as always). Cossutta is quite wonderful, as well, as Manrico. His quality is very beautiful and quite lyrical, yet, he mangoes to be heroic at the same time. There should have been more recordings with him. He was a very much underrated artist in his time. Today he would be considered one of the greats. Konya is OK but not much more. Vinco is always reliable. Recommended!”
JÁNOS KÁDÁR
“Excellent performance (with the traditional cuts) due to the wonderful singers and the legendary conductor. Gwyneth Jones shows herself here a true Verdian singer with a crystal clear voice, wonderful pianos and full of passion. Cossotto gives her usual quality in one of here best roles and Sereni is a very good count. His famous aria, "Il balen del suo sorriso" is sung very fine. Mc Cracken makes also a good job as Manrico."Di quella pira" and the final scene are the high points of his performance. But according to my opinion the hero of this performance is the conductor. In the hands of Argeo Quadri this well-known opera takes a new lease of life.”
One of the truly great performances
“I was fortunate to actually have attended this performance. It was a thrill to hear it again in all its glory. Ligendza and Wenkoff were the perfect pair (vocally and physically), and Carlos Kleiber's electrifying conducting of the stellar Bayreuth orchestra was breath-taking. The orchestra sounded glorious. I had never heard of Spas Wenkoff before, but he struck me as a true Heldentenor, with a rich, powerful, almost baritone voice. I was also impressed with his acting ability (the contrast of his beautiful and powerful voice in Acts 1 and 2 to the weakness portrayed in Act 3 while mortally wounded comes across well in this recording). Ligendza was a perfect Isolde, looking and sounding the part. While I loved Nilsson in this role, Ligendza has a more feminine, subtle and vulnerable performance. This recording does that magical day justice. My only critique would be the volume level for the second act seems slightly lower than the other two, but that might just be my playback equipment.One final personal note: I remember being so stunned by this performance that I walked back to my hotel oblivious to the fact it was raining. I enthusiastically recommend this recording! I hope you find it as thrilling as I did.”
Modl rules!
“I'm so glad that the reviews of this recording persuaded me to purchase it. I couldn't have enjoyed it more. Modl is indeed in amazing form - she is definitely my preferred Brunnhilde, so warm and so human. The rest of the cast is also great, and the sound remarkably good for 1955.”
Anna e la Tosca
“A wonderful surprise. Her melting middle voice, her powerful high C's, her whole demeanor is of a romana. Her Quanto, il prezzo is said almost matter of factly. Her manner, as well as her voice obviously, place her in Carolina's coterie. Dominguez excellent. A large, bright voice, secure top register. Fredericks fine though he could color the voice, a little more nuance. Coppola really keeps things moving. A very enjoyable performance”
PHILIPPE GUILLON
“Resnik dans le rôle de Marina est fantastique. Quelle immense chanteuse! Et sa voix très dramatique correspond parfaitement à ce rôle. Ecoutez la aussi dans sa "Walkyrie-Kempe-1961" (immense!) elle est certainement une des plus grandes Fricka ! (Je la place même devant Rita Gorr que j'adore pourtant)”
GLORIOUS
“And exciting too. I've never been so caught up in the action of act 3 as in this performance. It blazes from start to finish. Dame Gwyneth and Rene Kollo are magnificent, and Donald McIntyre is superb too, as is the playing of the fabulous orchestra. Yes, it's relatively fast, but everything about it is right - the ebb and flow, the tender, quiet passages throughout, the thunderous opening of act 3 and the edge of your seat wonder and excitement of Brunnhilde's awakening and the final duet.”
A revelation!
“Like another reviewer here, I wish this (radio?) performance had survived in its entirety. The sound is often amazingly transparent and there're very few instances of overload. The crowd scenes are congested, but not unduly so. The orchestra is astoundingly good (barring a few horn slips) and Klemperer shapes phrases beautifully. The opening of the final scene brims with joy and everyone seems to be caught up in the festivities. Hungarian is not a beautiful language but the singers here make it sound lovely. I'm familiar with Osvath and Simandy. Osvath is often over-miked, a bit out of tune and a tad shrill - but not a deal-breaker. Simandy is a revelation compared to his early 60's wobbly, effortful self: his voice is clear, bright, youthful and soaring. (I do not hear any resemblance to Windgassen.) Sachs is in the same mold as Karl Ridderbusch or Ferdinand Franz, but with more secure high notes. The David is a joy and Beckmesser often sings beautifully, demonstrating why he is a mastersinger. This pedant sounds more frustrated and embarrassed rather than mean and spiteful.I listened to this recording immediately after listening to the MET broadcast of 1953 under Reiner. Almost everything about the Klemperer is, to me, better than the MET performance: the tempi, the orchestra, the involvement of the cast... even Osvath might be preferable to the lovely, but somewhat bland, de los Angeles.This is one of those "must hear" performances.”
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!”
Blimey!
“Before buying this Opera Depot version, I have had at least four other versions (and probably one or two I've forgotten), got shot of most (no names) and kept IDIS and Myto (though I think Myto actually has the edge). Now, I may as well toss these other two because this OP edition is stunning. Admittedly, a lot depends on one's play-back system, but I have seldom heard Callas sound so natural. Often recordings emphasize the edge in her voice and lose the rich undertones. Not here. I am SO glad to have this, and I bought several copies to give to friends. I leave it to you to decide but, if I were you, I'd buy it now!”
Josef Greindl can do anything
“In this performance, the mighty heldenbasso Josef Greindl, having sung ALL Wagner's big-low-bass roles so many times that he was bored with them (including owning the roles of Hagan and Pogner throughout the '50s and '60s and most of the '40s) decides, just for kicks, to take on the Wanderer, one of the most demanding bass-BARITONE roles in all of opera. And it's easy for him! And he sounds sensitive and vulnerable in Act 3. He clearly can do anything, absolutely anything. We look forward to hearing him perform next as Elektra or the Queen of the Night.The rest of the cast is wonderful as well, especially Mime, sung by the shooting star Erwin Wohlfahrt, who died in his mid 30s. He enhances his inherent creepiness with a touch of genuine sweetness on the high notes, plus a maniacal laugh which would have done credit to any mad scientist in any cartoon or horror-movie. Gustav Neidlinger, here giving his ten-millionth performance as Alberich, still sounds fresh and spontaneous, uniquely malevolent. Karl Bohm's conducting is, as always, tough-minded and gritty.”
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.”
THIS TANNHAUSER IS A MUST!
“1961 was Windgassen’s 11th season at Bayreuth. Here, he may forego some musical grace figures and triplets, but his voice is still fresh and has heroic gleam. Bumbry is glorious in her historic Bayreuth debut. This production also served as De Los Angeles’ debut and Fischer-Dieskau’s “leb wohl” to Bayreuth. De Los Angeles pours out line upon line of vocal gold and personifies spiritual purity. Fischer-Dieskau is the epitome of honor and valor, creating the definitive Wolfram. They will shatter you in Act 3! Sawallisch leads this magnificent performance, which demands hearing again and again.”
Davyd Booth
“My god this should be in every vocal lovers collection. Grob-Prandl is sensational!!! This is a great performance all around, but she is one of the greatest Elektras I have ever heard. Rather unusual is the fact that it is an enormous voice, very gleaming throughout her whole range and she always sounds like a soprano rather than a mezzo. Opera depot is to be commended for releasing her performances. She is a real treasure!!!”
Superior sound
“There are many recordings available of this well known performance, so the deciding factor in choosing a version isthe sound. The the sonics on this Opera Depot version are excellent and comparable to the Myto edition, using direct master tape transfers, so favorably reviewed on Amazon.”
Une version de référence
“Très belle version d'Orphée et Eurydice, dominée par la grande Rise Stevens, vocalement et dramatiquement admirable du début à la fin. L'autre grand intérêt de cette version est la direction d'Erich Kleiber, vive et animée, mais toujours très lyrique, comme il savait si bien le faire dans Mozart, auquel on pense d'ailleurs souvent dans cette version. Le son est d'une qualité très correcte pour l'époque.”
My favorite brunnhilde
“My enthusiasm for this '71 Ring has only increased in the months since I wrote the review below. The overall sound quality is among the best of any of the Ring cycles I've purchased from Opera Depot (15 to date), the occasional patch of distortion nonwithstanding. Catarina Ligendza may now be my favorite Brunnhilde of all time, sweeter in tone than Nilsson with none of Varnay's unpleasant tendency to scoop up to notes (although she's still amazing). Ligendza and Cox have real chemistry together and their duets are simply gorgeous! Even Theo Adam, whom I bashed rather severely in my previous review, has become much more tolerable to the point that I now consider him an asset instead of a liability. This Ring deserves 6 stars out of 5. Thanks Andy!”
Les Troyens in English
“I was amazed to discover that a recording existed of one of Janet Baker's/Jon Vickers' performances of this production. Two great stars of the stage together and in such good theatrical sound (I love the occasional thump and soft noises off. It really makes it sound like a live theatre performance, which of course it is.I'm very interested to see some of the other recordings that Opera Depot offer, so I shall be back to see what to add to my colection.”
The indispensable live “Clemenza”
“This recording represents the third consecutive revival of what everyone knew was a classic cast. The production by Besch and Stoddart had been new in 1974; Janet Baker, Yvonne Minton, Anne Howells, Teresa Cahill, Robert Lloyd sang it all three seasons. Colin Davis conducted the 1974 original, very powerfully; it remains a puzzle that his 1976 studio recording with almost all this cast (Lucia Popp replacing Cahill) was tepid. Will his 1974 semi-staged Proms performance with this cast ever surface? It would include Eric Tappy, a very fine Tito. John Pritchard, conducting the 1975 and 1976 reveals, was a perfect Mozartian, and he kept the force that Davis had unleashed, with yet more orchestral lucidity. Minton, always superb, grew each year in intensity in the role of Sesto, and had just been especially acclaimed when this production visited La Scala with this cast. Howells and Cahill were never better; I feel the fortune now of having them as regular house artists then. But the greatest fascination was Janet Baker, markedly different in each year of this revival. (Her 1974 one was freest but also most restrained; her 1975 one was vocally troubles but also flooded with new colours.) She has neither the top D flat (omitted) nor the chest depths (sketched) for Vitellia, and yet what she provides is more imaginative than any who have those virtues. In the Act One trio, the contrast of the inward pianissimo triplets “O dei!”and the fortissimo top note in the next phrase: searing.”
A surprise
“I was attracted to this performance because of the presence of di Stefano and Price. They and Nilsson exceed my expectations: they possess three of the greatest post-war voices in opera and perform at their peak. What I was not expecting was the truly passionate conducting of Molinari-Pradelli. His EMI recording was hardly of the top-drawer (under-powered and routinely played), but given the occasion (live + voices + the VPO), he turns in a great performance, on a par with early Mehta (my previous benchmark). He paces perfectly and provides the necessary thrust that a successful Turandot demands. This is now among 2-3 great performances for mine.”
Excelente "Piccolo Marat"
“Memorable caracterización de Nicola Martinucci en el papel titular. Virginia Zeani aporta su excelsa experiencia en un rol que representó con éxito a lo largo de su carrera. Nicola Rossi-Lemeni aporta su personalidad ya alejado de sus mejores años y sobresale actoralmente. El resto del elenco se muestra comprometido en la interpretación de sus respectivos personajes. Nada queda librado al azar en esta espléndida relectura de la obra, en la que se destacan el coro y la orquesta bajo la dirección de Francesco Maria Martini.Buen reprocesado digital, aunque a veces, en función de los movimientos escénicos, las voces quedan en un segundo plano. De todos modos, esta mínima deficiencia técnica, propia de las grabaciones "en vivo", no desmerece el valor superlativo de esta interpretación de la difícil partitura mascagniana.La recomiendo en un 100%.”
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.”
Regardless of who the tenor may be, Zeani is outstanding
“I purchased this recording for Virginia Zeani. She is everything one could want in the role of Gilda. It’s remarkable that she had the vocal range, technical ability and dramatic instincts for such a wide variety of roles throughout her career. She never disappoints. The other singers are all fine. The performance is well conducted, and the sound quality is good for the time.”
Edmund Barham
“I was priviledged to hear some of Rita Hunters prformances in her prime as a singing student and appered on stage with her when she sang Gotterdamerung,I was then in the extra chorus at E.N.O.i HEARD HER ALSO ON THE NIGHT SHE MADE A HUGE BREAKTHROUGH IN HER CAREER THAT of the first night of The Walkyrie as it was then known in English in the famous performance with Alberto Remedios,Norman Baileyetc conducted by Reginald Goodall,I heard her Trovatore,Santuzza,she was a vocally phenomenal let down a lot by her very corpulant size,a vey nice person also”
Excellent and frustrating
“This performance was at once excellent and frustrating: excellent in terms of the sheer dramatic passion and intensity, frustrating in that it's only excerpts. Renata Tebaldi sings with far more commitment and drive than she did on her two studio recordings of "Aïda." Rita Gorr is a capable Amneris and brings just the right amount of imperious skill. Dimiter Uzunov is not at the level of the women, but he's a nice enough tenor (I've certainly heard worse – can you say "Mario Del Monaco"?) and I'd really like to have heard him and Tebaldi in the Tomb Scene. Georges Sébastian was a majorly underrated conductor who's at the top of his form here. If this "Aïda" existed complete it would be a performance for the ages.”
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!”
Convincing version
“It is due to Wieland Wagner creating this shortened version for todays use. Adriano sung by a tenor is much more convincing. The cast with Windgassen, Traxel, Neidlinger and Brivcalne was great -- have seen it.”
Joseph Giles
“In the early 70's, many called Gedda the successor to Björling, I always felt the accolade should have gone to Carreras. Listen carefully to the examples on this recording and I think you will see why I say this. Carreras is one of the 20th Century's Greatest Tenors. Like Björling, he was a lyrico-spinto tenor with a sumptuous middle register and the spinto heft when necessary. If you want sublime singing, I highly recommend this album.”
Tinsley Rocks!
“Excellent performance from Tinsley and Herincx Great hear them again as Nabucco and Abigaille. The recording is good. The amateur WNO chorus as thrilling as they often were in those far off days. Very enjoyable.”
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!”
A joy to hear
“Eleanor Steber was one of our great American singing treasures. This is a major addition to her legacy of performances of Tosca. It was wonderful to get the full performance after Opera Depot's previous release of Act III. BRAVO”
Fire!
“This is obviously an in-house and we ought to be thankful to whomever did this. As for the performance, there is only one thing to say: If this had taken place in Italy, the performance would have been brought to a halt, full stop, after those Vittoria high As that Bergonzi unleashes on act 2. The screaming would have never ended.”
GIACOMO PUCCINI'S "MADAMA BUTTERFLY"
“A wonderful live recording of this masterpiece featuring and starring some great opera singers, e.g. Renata Scotto (Cio-Cio-San was arguably one of her signature roles) and George Shirley... Highly recommended! A must!”
ONE OF THE GREAT WOZZECKS!!
“Aside from the incredibly great singing in all the roles, Sanzogno's conducting rivals the best!! He studied with Hermann Scherchen which may explain the wealth of probing detail exposed at every measure. The sound is excellent and should not be a factor. I far prefer this Italian Wozzeck to the one conducted by Bohm.”
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 roller-coaster soprano
“Part of the adventure of listening to Elena Souliotis is that she sounds like she might go flying off the rails at any time. In this Carnegie Hall performance it finally happens - not in a big way - but enough to offend some NYC cognoscenti. The rest is history. Excellent sound.”
jerry vezzuso
“A superb recording with Rysanek in one of her best roles and an incomparable James King. The rest of the cast cannot be faulted Troyanos is wonderful as is Schoeffler..Scovotti is a charm. The masterful Bohm conducts.”
Matey
“This is indeed a fantastic Lucia. I will try to brief with this review, as your time is better spent buying and listening to this amazing performance. Joan Sutherland is out-of-this-world here, at least as amazing as in her first Lucia, and the sound quality is great. This recording manages to capture the size of her voice in a way that hundreds of others have failed, and when listening to this with headphones, one can truly begin to understand how large the voice was even this early in her career. The E-flat at the end of \""Spargi d'amaro Pianto\"" is one of the longest she ever did live, long enough, in fact, to rival her studio recording in 1961. Truly a must-have.”
