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Over a thousand Coming Soon recordings in lossless audio
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Free Streaming Recordings
Every week we offer 12 new titles available to stream for free
Castelnuovo-Tedesco: The Importance of Being Earnest (in Italian)
Andreolli, Misciano, Zanini, Adani; Campori. RAI, 1972
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
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.
WOW!!
“This presents a fabulous performance from Callas - she is on superb form and this performance shows her at her absolute best in this repertoire. Her coloratura is spell binding and unbelievable in its accuracy, her covered chiarascuro tone reflecting the sadness of Ah credea is heartbreaking and then the contrasting joy and stunning vocal pyrotechnics of Ah non giunge is a thing to wonder at (also Sovra il sen in Act 1)). Would that one had been there in the opera house that evening! But this is the next best thing in very presentable sound. At every turn she demonstrates a singing lesson to any aspiring bel canto singer of whatever voice. The supporting cast is more than adequate but then you hardly listen to Sonnambula for anyone else in it.”
Sergey Khokhlov
“I do like it, because Flagstad is in her best voice. It's a very rare recording. It's only highlights, there are neither Brunnhilde and Waltraute duet (only final part) nor wedding scene. The sound is good enough for those years. I enjoy listening to it.”
Superb Aida from Everyone in Great Sound!
“Gwyneth Jones was a fantastic Verdi singer and her Aida was truly special (Opera Depot has four different performances with her as Verdi's eponymous heroine). She is just as marvelous here, despite the fact that this was recorded in 1973 and some music critics insisted her voice was kaput by then. Domingo sings very well though his top notes tend to be tight. Cortez is a very fine Amneris, singing a thrilling Judgement scene. Her voice isn't a particularly individual sound, but she lives up to her considerable reputation. Holmes is a fiery Amonasro who denounces his daughter with great ferocity and Giaiotti is an extremely strong Ramfis. Sona Ghazarian stands out as a lovely Priestess in the Temple scene. Muti conducts a shipshape performance, notable for its power and confident pacing. In 1973 he was just coming into his own and hadn't yet become so rigid in his approach to Verdi. The sound is superb. Recommended to fans of the opera and singers.”
Nicholas Allen
“The greatest, most deeply conceived Isolde I ever heard, every syllable crysal clear - in itself worth five stars. strange how she has become reognised so soon after her death, I sppose she got a bit eclipsed by Nilsson. OF course Nilsson was unique, voicewise, but Varnay has it over hr every tme for drama, clarity and utter thrill. Another fine performance from Opera Depot - thankyou.”
David Beall
“Excellent performance with Scotto not sounding as 'wiry' as she was to become, Cortez clearly an audience favourite and the men keeping up their high reputation. Paris ending (with reprise of the Miserere) is used.”
John Stanton
“Corelli and Milanov create tremendous chemistry here. She is a sensuous Tosca and he an ideal Cavaradossi, heroic and romantic, giving probably the best (and longest held) vittorias ever.Guelfi was a famous Scarpia. His voice is large,gritty and impressive. He is however unrelenting loud without the nuances of other exponents of the role.The sound is excellent”
My first (and probably only) Ring recording
“After listening to opera for about 50 years, I’ve finally purchased my first Ring! While I appreciate much of Wagner’s music, I will never be a huge fan of all of his complete operas. I did think it was important to have at least one Ring in my collection and this one seemed like a good choice, above all because of Gwyneth Jones. She was the Brunnhilde in the only complete Ring cycle I attended at San Francisco Opera in the late 1980s and she was amazing, as she is here in this recording. I don’t have the experience listening to a lot of other recordings to be able to compare all of the singers to others who have sung the same roles, but on the whole I find this recording very enjoyable.”
Meistersinger-Varviso-Bayreuth-73
“Es la 1ª función de 7, de estreno de esa Producción de Wolfgang Wagner, Fecha de la web del Festival, 25-Julio, También da esta fecha en "Wagnerdisco.net".No se como se oirá esta grabación, ya que lo puso mas dificil para comprar , desde hace tiempo, pasó de PayPal, a no se que de tarjeta Mastercard o algo asi, y me fué imposible contactar.”
Adam Frei
“Really wonderful to get to experience such a wonderful cast of singers bringing this bracing and dramatic work to life. Vickers in particular is searing, grabs and holds you from the very start. At times, hair raising, at others, caressing and gentle.”
Louis Newton
“This Lucia was the one which came to Dallas later in the same year when Callas gave what was, I think, her last series of her Lucia. (In turn, Dallas traded its Medea/Minotis production for this Covent Garden Lucia.) As you say, it was magical, like a Rembrandt come to life, all misty, shadowed lavenders in the outdoors portions and, inside, warm dark gold chiaroscuro. It was one of the most beautiful and atmospheric productions I’ve ever seen, even to this day. I saw the same production, years later, at Covent Garden with June Anderson as Lucia. The Lighting Director should have had unspeakable things done to his person. The lighting was glaring, flat, one-dimensional; the sets were barely recognizable – but they were indeed the same ones from that wonderful 1959 season. Never underestimate the genius of good lighting!”
Not Just a Performance
“I've previously reviewed this "performance". It cannot be considered just a performance as these performers are so immersed in this lyric drama that through the vehicle of their superior talents,one is removed to another reality. I made the current purchase for a friend.”
Rienzi - Downes, London, 1976
“Excellent performances from John Mitchinson, Lorna Haywood and Lois McDonnell. The recording is in decent mono sound and, despite a bit of congestion in some of the louder passages in Act 1, presents the voices in a realistic and clear acoustic. I have two other (commercial) recordings of Rienzi and this one is by far the longest (by about 1 hour!) and the most enjoyable. It is the one I will be returning to most frequently for the individual performances and the excellent conducting. Thank you for making this astonishing document available.”
David Fetz
“I have always thought that McCracken is the very best of our “modern” Otellos.Even his recording on EMI with Gweneth Jones and Dietrich Fischer Dieskau is Fantastic. No one else has his fire and the deep emotion in the role. It would destroy any other tenor to sing it as intensely.”
Jim
“Having heard Corelli live at the Met many times I can say that his vice was a golden trumpet in many ways reminiscent of the great Giovanni Zenatello. His was a unique gift and if not subtle in his singing he was always thrilling.”
Don't miss this!
“Even if you have several performances of Die Walkure in your collection you will want to hear this one. The cast is close to ideal with tenor Kolbjorn Hoiseth the real surprise as Siegmund. His is a more lyric voice than usually heard in this role but the youthful timbre and vigor of the performance are truly special. Ase Nordmo Lovberg, usually a rather dull interpreter, is here fresh voiced and more involved dramatically while Arne Tyren as Hunding has the darkest most sinister instrument you are likely toever hear in this role, he scared me. As for the rest, they are all in superb form under Michael Gielen's assured conducting, and with all in excellent sound, this performance does Stockholm proud.”
Martin Ramor
“It is great recording. I like all singers, chorus and orchestra. I like Cox - he is very noble Parsifal and does a great job singing, the same goes for Shuard. Now I should not be surprised anymore. Before operadepot Cd's I knew only a few recorded arias by her. Now I can really enjoy this great dramatic soprano. Orchestra is great, sublime, energetic. It is real joy to listen to Orchestra de Bayreuther Festspiele under Boulez.”
Walter Hartman
“This is a wonderful performance of Fanchiulla del West. Limarelli may not be the greatest of tenors but he has his moments and always is committed. The lower voice doesn't have much quality but the upper voice convinces more than not. Colzani is wonderful as Rance. He has a very strong characterization and his voice is up to all the demands of the music. He is utterly believable and gives the other cast members a lot to react to. I always find Stella "Live" much more exciting and spontaneous than Stella "Studio". She is excellent here. The voice does all she wants (including many great high notes) and offers a completely believable dramatic performance. One of my favorite Fanciulla's so far. De Fabritiis knows the style and how to make the score flow. Highly recommended.”
Donald Honan
“hehe! Since I don’t speak German and don’t understand more than a few words when I hear them, I won’t mind a bit! Besides, when SHE’s singing it’s like Sutherland or Horne – It’s the telephone book?? So what???”
A Surprise Hit
“I'm VERY taken with this performance. Both Wenkoff and Ligendza are superior in their roles. Even if you have many other Tristans, this one is worth buying. A VERY beautiful performance and fabulously conducted.”
Frank Leto
“This is a beautiful performance of an opera that is not well represented on disc. I bought the disc version of this opera from this cite and I am very pleased. The sound is very good mono and all the performances are wonderful. Don’t hesitate. Get this set.”
A great evening
“This was a great evening of operatic singing in the Arena di Verona. I was visiting one of these La Traviatas back in August 1970 - unforgettable! So I am happy to have the sound photography of this wonderful performance with Renata Scotto an Carlo Bergonzi as incomparable duo. The sound is good!”
A STARRY "PARSIFAL"
“A great live recording of Richard Wagner's "Parsifal", starring some of the finest Wagner singers and artists, such as: Jean Cox, Janis Martin, Franz Mazura, Donald McIntyre, Hans Sotin and Gerd Nienstedt! It is Bayreuth 1973 and Maestro Eugen Jochum is in the pit! Highly enjoyed and strongly/firmly recommended!”
roger bryson
“As a young regular opera goer this Frau was aseminal experience. Solti was well establishedat the Garden, but this was his finest hour...thefire brand Hungarian conducting an unknownStrauss epic.The house was crackling withexcitement, as the orchestra and cast gave theperformance of their lives.I came out reeling ,and decided to embark on a singing career,inspired by Donald MccIntyres magnificentBarak. How good to have this record.”
Always excellent and reliable Seller, rich of significant recordings: definitely recommended.
“The three most relevant and interesting evidences of this historical recordings of the splendid Opera are first of all, naturally, the concertation and orchestral conduction by M° Rudel, always qualified and appropriate for the stage; the magnificent interpretation of the very difficult and complex role of Vitellia by Mme Moser, in addition with beautiful and spectacular embellishments; and the fresh Servilia by Mme Auger. A confirmation is the interpretation of the title role by M° Hollweg, whose «Se all'Impero, amici Dei» is particularly incisive and persuasive.”
A Reflection on Cassilly
“Opera Depot has performed a great service for the opera-going public by publishing a Compact Disc entitled, "Richard Cassilly: A Retrospective," which has "live" excerpts of the Heldentenor (who died in 1998) performing in "Beatrice di Tenda" (with Marilyn Horne, conducted by Nicola Rescigno), "Anna Bolena" (with Giulietta Simionato), "Otello" (led by Sir Georg Solti), "Tosca," "Tannhäuser," "Die Walküre," "Tristan und Isolde," "Elektra," "Jenůfa" (conducted by Rafael Kubelík), "Il prigioniero" (with the great Norman Treigle, and led by Leopold Stokowski), "Troilus and Cressida," and "Peter Grimes" (with Heather Harper, and David Atherton conducting), from 1957 to 1977.One can trace the rather sweet-sound tenor of his youth to his position of a leading dramatic tenor, with the vocal maturation in conquering many of the most difficult roles in the repertoire. His singing was not of the purest sort; he was, by inclination, a great singing-actor, with some of the usual flaws of that breed. At full roar (his was one of the largest voices I ever heard in the theatre), the timbre could turn harsh, with a somewhat gritty quality. But, for Cassilly, all was turned to expression.This writer had the privilege of seeing him at the Metropolitan Opera, in 1984, in three operas. These were extraordinary experiences. The present anthology brings back glorious memories of one of the last century's greatest tenors.”
Enjoyable early Verdi
“A couple of years ago I listened to all Verdi operas in chronological order, some of the early ones for the first time. Every one of them has redeeming value but of those new to me, I Lombardi and its French reworking as Jerusalem stood out for the wonderful arias, ensembles and choruses, and I have returned to it many times since. Verdi's revised French version, Jerusalem is sung here in Italian translation as Gerusalemme. The revision includes a number of improvements including a more streamlined and less confusing plot and a new overture. This recording captures an excellent vocal performance in good sound. Highly recommended for repeat listening.”
Three Divas, Four Songs
“A great chance to compare three legends, each bringing something of “themselves” to the music, Nilsson those clarion, sunny high notes, Caballè’s chracteristic sweetness and legato. Perhaps Zylis-Gara is the best all around perrformnce while being the least spectacular.”
Stockholm's first Elektra nine years later - matured and refined
“In 1965, Stockholm finally got to see Strauss's opera when Birgit Nilsson undertook its title role. Nine years later in Edinburgh four of the protagonists, the same conductor and orchestra repeated it after occasional revivals in Stockholm during the intervening years. Nilsson at 56 may sound a little more edgy, but still the era's best Elektra. Lindholm is now 40 and not 31 which is an advantage both soundwise and for mastery of the character, and the others remain excellent. That the show has become well-oiled and less nervous is just to the good, and certainly the occasion of a guest performance at an international festival made everyone concentrate. And the theatre is small enough for projecting the psychological drama. I saw the 1965 performance and several revivals, and this Edinburgh version may be the best the production ever had, here in reasonable mono broadcast sound.”
Excellent Performance in Very Good Sound!
“Stravinsky's Oedipus Rex is not for everyone, but this performance makes a fantastic case for it. From the names of the singers I would guess this is connected with the NYCO - did they stage it? Shirley had a fine lyric, later more spinto voice, and he is superb in the title role, handling Stravinsky's difficult intervals and challenging rhythmic patterns with aplomb. He has no difficulties with the role's occasional coloratura. Bible shows again what a fine mezzo she was. She probably would've been better known had she sung across the plaza at the Met (she turned Bing down several times and he lost interest). The smaller roles are sung by up-and-coming talents like Malcolm Smith, John Stewart, and Michael Devlin (who may still be singing!). Robert Trehy provides clear narration. Andy is a choral director himself and is critical of the chorus; they certainly participate in the drama. Rudel shows yet again he could conduct just about anything well.Good sound. Occasionally the solo voices are covered by the orchestra, but this may well reflect what was heard in the house.”
Matey
“I think that this recording is probably the most magnificent I have ever heard Dame Joan Sutherland sing this role live. I probably should note that I did not get this recording from the Opera Depot, as there was a CD release probably ten years ago of this opera. However, that has been unavailable for years, and you probably do not understand just what a treasure Opera Depot has made available once more!First, unlike 1963 Vancouver debut, Sutherland here sings both verses of the Casta Diva, in G, with the repeat in the cabaletta! On top of that, Horne and Sutherland sing the "Mira, O Norma" duet in the higher key of F, allowing Sutherland to sing some magnificent High Cs. Finally, in this recording you not only get a huge, huge, huge high D at the end of Act 1, but you also get a superb E-flat in the Norma-Pollione duet. (Yes, it's not quite as long as the 1963 one, but there is just something inexplicably alien-like about it.”
Grateful for a new experience
“I remember my reaction the first time I saw Figaro in German: it was as if all the vowels and the consonants had been inverted. It seemed an almost comical perversion, not only of the text but of the music itself. However, I did not entirely avoid seeing other operas when they were in German. Fortunately in the late 1960s the practice was on the wan in Hamburg. Never having lived in Italy, I have not had occasion to see an Italian version of a German opera; nor was I interested. This recording is therefore a "first" for me, and I am very grateful to Operadepot for offering it as a free download, because it surely would not have occurred to me to buy it! But now I am glad for the experience. For aficionados (as many surely are who come to this site), this performance is well worth hearing. For Callas, of course; but Panerai, Christoff and in particular Gui's conducting are also of interest.If you know Italian or only German, I recommend the Italian/German libretto available at http://www.dicoseunpo.it/W_files/Parsifal.pdf”
A Lucia to stand with the best
“This is Lucia with a chip on her shoulder -- a good thing for opera often relegated to the tender mercies of routine. Conductor Charles Wendelkon-Wilson sets a firm pace from the outset and doesn't weaken. Niggling cuts are opened by the dozen and there are a couple of major restorations, including the Wolf's Crag Scene. You could roll together all the coloraturas (other than Joan Sutherland) performing Lucia across the plaza at the Metropolitan Opera and not come up with Beverly Sills. Not only does she infuse even the most passing utterance with relevant meaning, her high notes galvanize the ear and her runs sound every note cleanly. (Every principal has their own style of ornamentation.) Michele Molese has one of the beefiest tenor voices Sills faced and his Edgardo seems as deranged as Lucia. Dominic Cossa is a bit light but fleet and has brilliant high notes, while Robert Hale's fluent Raymond is the most aggressive employer of appoggiature. The in-house recording has plausible balances and the animalistic roars provoked by Sills' are a sound to behold.”
Female Oberon
“In my humble opinion, Britten's A Midsummer Night's Dream is the greatest English opera since Peter Grimes, and one of the greatest of Shakespeare operatic adaptations. But I am biased. I was Moth (and later Cobweb) over a period of three years from the London performances with Solti onwards. I have the distinct recollection of a nightmare moment when the gauze curtain failed to rise on the final scene of Act III, leaving the fairies uncertain whether to sing "Now, now the hungry lion roars". Disaster was averted by the stern tones of Ms Veasey (as Oberon) hissing "SING!!!!!", and we obeyed the command. Ms Veasey may have been a late replacement for countertenor Grayston Burgess.This did not occur at Covent Garden or Edinburgh, so it must have been at the New Theatre Coventry or the Grand Theatre Leeds - and definitely before 1966 because I was a tenor by then! I don't believe any of us thought a mezzo Oberon felt quite 'right', no matter how well it was sung. As someone has already pointed out, the other-worldly quality was missing. There had been much fuss about the importation of Russell Oberlin (what a lovely guy he was!) but he sang it superbly in 1961. It is his sweet but clarion voice I hear in my head, even today.”
VĔC MAKROPULOS, performed in French
“This success of the present gorgeous account of this shocking opera is in no small way due to the idiomatic, and loving, conducting of Charles Bruck. Everything Janáček asks for is here. Enough said. Most will rightly focus on the fact that this is the first run of performances as Emilia Marty by Elisabeth Söderström, a role for which she has become so justifiably celebrated the world over. She performs the role with exceedingly clear French diction in a translation that seems to defy the difficulties inherent in translating the Czech language. It is also a true feat of genius that Elisabeth Söderström also sang the role in German and English, but, astoundingly, never performed the role onstage in Czech. In fact, her first performance in the original came only with the studio recording made for Decca under the baton of Charles Mackerras.As for the 1968 (only) date and venue ORTF (only), difficult and time-consuming sleuthing came up with a true date and venue. The ORTF only performs at the Théâtre des Champs-Élysées. Looking through what they have online, and corroborated by that theater, the opera only made its first appearance there in 1979. Following help from interested parties at both theaters, it has been ascertained the performance at hand actually took place on Tuesday, 29 October 1968 at L'Opéra de Marseilles. Unfortunately, I was unable to find the names of the four missing characters.The sound is excellent for the time, which is saying much. This is a beautiful performance that belongs in any collection. One cannot recommend the performance highly enough and for all the parties involved. Sit back and enjoy!!!”
Magic
“Thanks a lot for giving us the opportunity of being buy listening it, in this world premiere !!!!! Strauss directing !!!!!The composer directing, the amazing singers choosen. A delightful moment listening it.Thank you so much !!!!!”
PHILIPPE GUILLON
“Pour moi c'est l'une des meilleures versions des Kindertotenlieder de Mahler (je la possédais en 33T). La voix très expressive et dramatique de Rita Gorr convient parfaitement à ces lider. C'est merveilleux !!”
Thrilling performance
“Horst Stein is sometimes thougth of as a safe but not the most exciting of conductors. Here however he strikes thrilling form. The performance takes off from the start. Thomas Stewart a wonderful Wotan and as his daughter Berit Lindholm is superb. Often singing at the same time as the mighty Nilsson were we inclined to overlook the glories of Lindholm ? Was there ever a more pasionate Sieglinde than Gwyneth Jones (dont think so) partnered with the excellent Helge Brilioth this recording should be in the collection of every Wagner lover. The sound is excellent.”
Great early 1950's Parsifal
“This is a very good sound and worth the purchase since Vinay takes on the title role. He is particularly good in the Act Ii confrontation with Modl and carries on the strong performance into Act IiI. Modl is superb throughout and the orchestra also under the solid control of Knappersbusch. No weak soloists in the cast.”
Patrick McCabe
“This is excellent for a live recording. Bergonzi is still at his best here vocally, and goes to town on the feature arias. This is my first experience of Gulin and she had the voice for this role. Having researched her career, it seems severe ill health cut short her career. I have always found the timbre of the Milnes baritone unattractive but he does well here.Gorr also is adequate, but Joan Carlyle as Oscar is rediculous casting. She lacked the vocal agility for this trouser role. My all-time favourite here is Rere Grist.”
Charlie Edwards
“Pretty amazing how consistent Böhm is in Bayreuth 15 years after the Buenos Aires performances - his direction was always so intense and driven, the only caveat being thet the Todesverkündigung scene is too fast and perfunctory (1965). I wish there was more of the glorious Grob-Prandl - I've actually never heard anything to compare with her combination of athletic,tireless singing and warmth of expression - a cross between Nilsson and Flagstad! And any recording with Suthaus is worth hearing - such virility and tragic utterance. By the way it's definitely NOT Greindl as Hunding in Buenos Aires - doesn't even sound like a native German speaker. King, Rysanek and Nilsson in 1965 are pretty astonishing too.... though better known from the 1966/7 recordings - here it's a little more hectic and messy but pretty exciting. King is SO much better here than in Solti's studio-bound effort the same year.”
Manon starring Mary Costa and Giuseppe Campora
“How exciting to hear this exciting performance. Mary Costa's performance is truly remarkable in a role she sang at the Met, Geneva, Lisbon, and many other great houses of the world. Campora is in amazing voice as well.”
Five stars without stars
“This is a very satisfying performance of Puccini’s “spaghetti Western.” There are no stars of that period such as Corelli or Tebaldi, but the cast is up to the demands of the role. I do not consider this recording to be one’s first choice, but it has no weak links and is in good sound. I think for many, A plus is hearing the opera in English which makes sense given the opera’s setting. But don’t expect to follow everything without knowledge of the libretto. As is often the case in opera in English, the lower voices come through more clearly than the upper ones.”
A Fine Cast
“It is a pleasure to listen to this broadcast of Louise, a work that doesn't receive many performances these days . Carol Neblett has always been a favourite singer of mine. Her vocal beauty and commitment to the charater are impressive. As Julien she is partnered by Georges Liccioni , a member of the Soloist Troupe of the Paris Opera who had a notable international career. His plangent and ringing tenor is ideal for the role. It is a pleasure to hear such an authentic and characterful performance. Several notable performers in supporting roles attest to the strength of the New York City Opera at this time, as does the playing and conducting.”
Correct cast
“David R made the astute observation, that Don Fernnado doesn't really sound like Nimsgern. Correct. Nimsgern undoubtedly sings Pizarro. A google search shows that Luigi Roni sang Fernando. Walter Berry is not featured at all in this recording.”
Ravishing
“I have loved this opera since Dame Kiri te Kanawa's recording appeared in the 1980's. I also had the vhs of Gundula Janowitz's performance (lovely also). And I have known for quite a while that ARABELLA was the signature role of Lisa Della Casa, so I was excited to hear this recording. She was stunning and Fischer Dieskau was magnificent, too. The recording itself is a little noisy with tape hiss, but that is a minor flaw. It is a gorgeous musical treasure.”
Theodore Shulman
“I have spent many years looking for a recording with a baritone who does an adequate job of singing the role of Count Almaviva. It's so hard to play this role convincingly--you have to be aloof, but also passionately angry; nasty and manipulative, but also sympathetic during the aria at the beginning of Act 3. Tito Gobbi is the first I have heard who meets all these requirements. After listening to his masterful performance as Don Giovanni under Furtwangler (1950), I had high expectations, and he does not disappoint. He has the snarling vocal muscle and also the precision and virtuosity necessary for the part, as well as the acting ability.The other members of the cast are very good as well, particularly Sir Geraint Evans as Figaro, and Mirella Freni as Susanna. Solti sometimes goes a bit too fast during the ensembles for my taste, but for the most part he does a good job.This is one of the two recordings of FIGARO which I consider essential; the other is the live recording from Aix-en-Provence (1956), conducted by Hans Rosbaud, with Teresa Stich-Randall as the Countess, Rita Streich as Susanna, and the great Rolando Panerai as Figaro.”
A WARM, CLEAR, VIVID AND UPLIFTING PERFORMANCE AND RECORDING
“This is an outstanding performance of Die Frau ohne Scatten, thanks mainly to Norman Bailey’s warm, noble and moving Barak (on a par with his great portrayals of Hans Sachs, Wotan and Jupiter), Pauline Tinsley’s characteristically ardent, intense and charismatic performance as Barak’s wife, and Anne Evans’s warm, feminine, poised and precise Empress. Patricia Payne and Geoffrey Moses are also strong as the Nurse and the Spirit Messenger. Although Matti Katsu is no match for the likes of Jess Thomas, James King, Ben Heppner, Plácido Domingo, or (in the 1989 revival of this great production) Jeffrey Lawton, he manages not to let the side down. Indeed, he sounds considerably better here than in some of his other Strauss recordings. Richard Armstrong’s conducting is as assured and well judged as ever – sadly, far too little of his outstanding work for the WNO and Scottish Opera has remained available. The recording is warm, spacious and clear, allowing the performance to come across very vividly and intelligibly. Highly recommended to all Straussians and Wagnerites. Robert Bideleux”
