Opera CDs and MP3s of live performances

John Stanton

“Verdi's I vespri Siciliani had it's premier at the Paris opera, and as was di rigeur for Paris it has big scenes, a busy chorus and a ballet. This version is the Italian reworking. It is a high quality radio broadcast of the kind that contributed to the admirable Italian Cetra catalogue. Vespri is a longish work and not one of verdi's most successful: it's libretto reworked by Scribe from an unperformed Donizetti opera is routine and the ending, the beginning of a revolution, bathetic.Verdi's music, as always, even when hampered by an inferior libretto, is vigorous melodic and demanding of attention.The recording is reduced to two discs. There is a number of routine cuts and the obvious choice of the removal of the ballet music is taken. A great loss is the scena at the end of Procida's aria at the beginning of Act 11 which includes his wonderful cabaletta. Anita Cerquetti glorious spinto voice with the fluidity to execute florid passages is the main attraction as Elena. Boris Christoff is an imposing Procida, and the great Italianbaritone Carlo Tagliabue is Monforte. Tagliabue had a large warm voice and was very famous in Italy. He is here dare I say; a little dull.The Tenor Mario Ortica, the Arrigo, is for me a revaluation. New to me, he possesses a lean athletic tenor voice the opens out admirably in the top reaches. He has the added bonus of being an expressive vocal actor.This is an admirable addition to the relatively small discography of this opera in excellent sound.”

thrilling performance

“A great Scotto in full voice is leading a performance in which each character is well designed and interacting with the others. Casoni is surprisingly growing in intensity and voice act by act, matching Scotto in the II act. Cecchele delivers a robust Pollione. Giaiotti brings allure to the Oroveso part. Patane' conduction is dynamic, dramatic and alive.”

Wonderful New Year's Eve Performance from 1975!

“This joyous performance was once available on Golden Age Melodram spread luxuriously over three CDs. Opera Depot has managed to fit the entire performance on two CDs (the sidebreak is after the Watch Duet in Act Two). If you thought Gundula Janowitz was an all-work-and-no-play type of singer, you'll find out differently here. She not only sings Rosalinde's difficult music extremely well, but sounds like she's having the time of her life. Wachter is past his prime vocally, but still manages a sexy, debonair Eisenstein. Carole Malone was an American soprano active in Germany at the time (she appeared briefly at the Met in 1978 as Gretel in Humperdinck's opera. She fits in very well with the ensemble, singing Adele's two arias with great flair. There is a lot of dialogue between the musical numbers so non-German speakers may get a little tired, but the entire cast brings it off with such "Schwung" as to be irresistible. The sound is very listenable and the pitch of the tape is correct. Highly recommended!”

Wagner at it´s best

“This is my 52 Ring Cycle, Brouwenstijn, Nilsson & Hotter vocaly it their Best, the recording transfer on the CD´s are exellent, comparible with the recordings in Bayreuth 1960-1962 by Kempe, and Leinsdorf Met 1961/62”

Faust

“Wonderful. Burrows was the real surprise. I always thought of him as a Mozart tenor but he was superb as Faust. Treigle was excellent as always. I only heard him live once in Philadelphia as the best Escamillo ever. Te Kanawa was radiant. I am so glad you made this performance available!”

Great performance, fantastic sound

“I have been wanting to hear this opera for a long time, and was very glad to see that Opera Depot was offering it. The performances by everyone, especially Sills and the under-recorded Triegle, are excellent. The CD release of this performance available on Amazon gets low points for the sound, but this is the opposite—stunningly good broadcast stereo. If I have one complaint, it is about the nature of the English libretto translation, which consists mostly of rhyming couplets. It feels as though this is being forced on the translation, since I cannot imagine that there is a one to one correspondence between English and Russian on this score, which therefore means that the meaning must be being distorted in order to fit the scheme. Having said that, the singers’enunciation is mostly clear, and what story we do get is easily understood. Hearing Norman Triegle’s performance is particularly personally meaningful to me, as my family is from New Orleans and he is closely associated with his hometown: my cousin is the archivist for the New Orleans Opera Association and saw him in many performances, and my recently late father once performed in the chorus during a church performance behind Triegle as soloist. A truly amazing bass with a voice as deep as the earth.”

Gurre-Lieder - Janowitz, Ludwig, Sergi, Dickie; Krips. Wien, 1969

“The performance is excellent as far as must be imagined. However, it is sad that the 1969 sound resembles the Stokowski 78 rpm set more than the state of the art sound of 1969. One would never suspect the massive forces involved in this performance, and climaxes aredefinitely diminished by the engineering. Solo singers predominiate over the probably over200 insstrumentalists and chrous. Worth a listen, but only if you know this piece pretty well.”

Edmund Barham

“Craig was a very underrated tenor in his own country but hghly cherished abroad,especially in Munich where they did not suffer bad tenors quietly.I have yet to hear a better high C in his opening ara,especially live where Del Monaco alvayd ducked it and so sometimes did Corelli himself.”

A real Fanciulla

“Stella is superb here and ably partnered by Colzani - as Andy says, the card game is really exciting. I have always underestimated Stella, falling for the idea that she was rather second-rate next to performers like Callas, Tebaldi, and Gencer. She brings a strong sense of character to the role and it is also beautifully sung with a stunning top to the voice. Limarelli is less impressive, but still perfectly acceptable. The sound of the orchestra is a little recessed, with the voices clear and forward. De Fabritiis whips things along with great energy.”

Like heavenly, not earthly roses

“Total bliss.I saw this production, although not with this particular permutation of singers together (I did see each artist with different colleagues) and still remember the excitement with which my father presented the cassettes to me which he had recorded so carefully. I still have them.Listening back through a haze of nostalgia, it's hard to be impartially critical but I can't see anyone being anything other than ravished by what they hear. Josephine Barstow, despite some hazy diction and curdled sounds, shows exactly why Strauss wrote Octavian for a soprano; Lois McDonall, who jumped in at the very shortest notice for Anne Evans and is audibly promoted during Act One - she was in the second cast but not yet fully prepared, makes some simply ravishing sounds in the Third Act; and words are not equal to describe the magic that is Valerie Masterson's Sophie. Later in her career, she was a most moving, and notably youthful, Marschallin, but her pianissimo singing in Act Two has never been equalled in my experience (also with a most tender plangency underlying the silver) and she is also able to match her colleagues in power during the Trio. Terrific playing under Sir Charles Mackerras and excellent sound. I loved it.”

David McKee

“Although Pierre Boulez doesn't fully unleash some of the beauties of Bartok's score as others have, this performance is a winner. The Fifth Door, to put it mildly, kicks ass, backed up by a powerful pipe organ. The conducting is -- there and always -- atmospheric, the orchestral playing superb and the singers are a memorable pair. David Ward bears Bluebeard's sufferings with admirable stoicism and Evelyn Lear is a quicksilver Judith, as tender, wheedling or desperate as the text demands. The prologue for narrator is included.”

Exzellente Liveaufnahme aus Salzburg

“Die Besetzung entspricht im Grunde der Studiogesamtaufnahme von Karajan mit Ausnahme der Sängerin der Ortrud. Diese Aufnahme nahm bekannter Weise mehrere Jahre in Anspruch, was man Ihr auch anmerkt. Die Live Aufnahme ist ihr weit überlegen mit einem alles überragenden Siegmund Nimsgern als Telramund, aber auch die restliche Sängerriege lässt keine Wünsche offen. Jedem, der eine packende Vorstellung des Lohengrin erleben möchte, sei diese Aufnahme ans Herz gelegt.Die Tonqualität ist keiner Studioproduktion unterlegen. Also: absolute Kaufempfehlung!”

Mea Culpa

“I don't know what the review below is talking about. The sound quality of this cycle is decent to very good broadcast stereo. The performances are also top notch, including Thomas Stewart's angry Wotan/ Wanderer. Maybe when that review was written, the reviewer was biased against any interpretation which diverted from traditional norms?. Well I feel totally comfortable scolding him since that reviewer was me. Revisiting this performance recently has been a very entertaining and humbling experience. Mea Culpa!”

Brian Morgan

“It was Giuditta Pasta who, in 1830, created the rôle of the ill-fated queen in Donizetti's masterpiece, "Anna Bolena," the character of whom bears little resemblance to the treacherous historical figure. In 1957, Maria Callas scored one of her greatest triumphs with the rôle at the Teatro alla Scala, in Luchino Visconti's production. Leyla Gencer, Beverly Sills, and Renata Scotto followed as important interpreters of Bolena.In November of 1975, Mme Scotto assumed the part for the Dallas Civic Opera. The following month, James DeBlasis staged the work for the Opera Company of Philadelphia, with Scotto, Susanne Marsee, and Samuel Ramey in the leading rôles, with the late Julius Rudel conducting; the recording under review emanates from the electrifying performance of December 16th. The soprano presents a gripping account of the eponymous part. She was entering the phase of her really great career as one of the important singing-actresses of the era. She was to have sung the opera again, in 1979, for the San Francisco Opera, but the management rather infamously changed it to "La Gioconda." By then, we would have probably experienced a "come scritto" traversal, since that had happily become her wont. Here, we have the usual cuts and interpolations of the time.Miss Marsee's interpretation of Giovanna (Jane) Seymour is thrilling. The greatest singing-actress among mezzo-sopranos, she is heard here in extremis, and is heart-rending in her unfortunate predicament as one of the countless victims of Enrico (Henry) VIII. Having sung the rôle opposite Miss Sills, she is a suitable rival for La Scotto, as well. In fact, though her répertoire extended from the Baroque to dodecaphony, she considered this (in 2012) to be "the most difficult opera I sang because of the length of the rôle and the tessitura."As the cruel Enrico, Samuel Ramey makes a towering impression, heard here only two years after his New York City Opera début, and in his only appearances opposite Mme Scotto. The voice seems limitless in size and force. The remainder of the cast is excellent, and Rudel conducts with his accustomed distinction.”

Aida/Colon/1971

“Excellent broadcast sound, as the Teatro Colon's normally are, which finds the soloists in fine voice. James King may not be ideal as Radames but his musical intelligence wins out. Martina Arroyo left several broadcast documents of her well-known Aida, and each reminds us what a fluid verdiana she was in her heyday. Cossotto, a famous Amneris, is powerfully declamatory, as expected, and her husband is at her side, as Ramfis. Mastromei is a baritone not as well-known on this side of the Atlantic, but sings strongly. Highly recommended.”

Best all round recording

“This performance was the highest recommendation of M. Owen Lee in his met opera talks and his book on the Meistersinger. I was not disappointed by this purchase. The sound is phenomenal the singers are without exception excellent and the conducting Beautifully recorded recorded”

James Mertins

“Again this shows how great a Wotan David Ward was. Veasey sang many a Fricka but always sounded beautiful if at little uninvolved. Solti always made too much noise with the orchestra at certain points but God they could play from him and Ted Downes who took over some Cycles. By the time Shuard had reached the Twilight of the Gods she was out of voice and screamed a lot of the high notes but she was always committed.”

Martin Ramor

“It is very interesting combination with Caballé and other above mentioned singers. Caballé is simply wonderful, perhaps her German could be better, but what a performance! And in a way her German is quite charming. I wasn't so much impressed by Cruz Romo, but she is still very worth listening to in Wagner, where we aren't so used to her. Parly, Wildermann and Grimm are real gems of this recording, since they are not so easy to find on Cds. And all are higly competent in their roles. Orchestra and chorus under Karp are great, too. It was interesting for me to listen to Karp's conducting, since I haven't heard him before.”

Janet Baker as Charlotte

“This CD was bought for Dame Janet. According to my opinion she belongs to the greatest artists for ever. And of course she is fantastic as Charlotte. Her personality is ideal for this role and she sings beautiful with full passion. The big surprise for me is John Brecknock in the title role. This total unknown singer is almost perfect like Werther.All the further voices are very good and the English language is also acceptable. British conductors have generally a very big affection into French music, this is valid also for Sir Charles Mackerras. He leads a very authentic performance. If you like this opera don't miss out this CD.”

Frau ohne Schatten

“Thank you for the posted excerpts and the remark of my “finesse”. I always searched for the truth in music. So often Strauss and Wagner are sung forte no matter what the composer wrote. I tried to sing my Elektra, Frau, Bruennhilde, etc. with the intended dynamic markings, even if it was difficult and, of course, dangerous! Elusive is how to sing Mahler's “Fahrende Gesellen” with phrases beginning in pp and decrescending to pppp! What IS pppp? Have always wanted to figure that out!. Thank you, Opera Depot for publishing this recording! Our GMD Layer was great. Sang Elektra, Frau, Ortrud with him for years. He took me to Dresden with Elektra as “his singer”.”

First rate. The best.

“Utterly fantastic. The cast is fresher and more immediate than in the common long-available 1966 records which have been around since the vinyl days, and Josef Greindl is far superior to Theo Adam as the Wanderer.”

Rock

“Great singing; great sound. I saw Sills as Lucia w/ the New York City Opera inthe 70s. A wonderful performance.I sent her a fan letter afterwards. She responded on a postcard w/ her photoon it. Had similar postcards from Rosa Ponselle and Lotte Lehmann.”

John

“I think Ronald Dowd was (is?) Australian but that almost counts as a Brit. He was a memorable Grimes, Samson and Aeneas, usually standing in for Vickers with similar vocal idiosyncrasies and intense involvement in the character . He very rarely sang Wagner on stage.Thanks for the Shuard Isolde at last, as I have treasured a tape of Act 3 from this broadcast for 40 years. Strangely she never got to sing the part on stage in London .Can we have recordings of her Elektra and Turandot now, only eclipsed by Nilsson at that period.”

An ARIADNE to bring you sheer joy

“Sheer pleasure from beginning to end. Christa Ludwig resplendent throughout (in her one and only performance, all in the cast superb, Reri Grist a total delight, Jess Thomas still splendidly heroic. Sena Jurinac owns the Composer. The great Karl Bohm - THE conductor for Ariadne!”

A triumphant Welsh National Opera 'Die Walküre' under Sir Reginald Goodall

“This is a truly magnificent and uplifting Wagner performance. No devotee of Sir Reginald Goodall’s Wagner should be without it. I managed to attend many of Reggie's Wagner performances between 1970 and 1984, but his Cardiff performances of ‘The Valkyrie’ were among the most exhilarating. The interpretation and casting were/are excitingly different from the excellent EMI recording based on three ENO performances at the London Coliseum in December 1975, which benefited from even better recording quality and great performances by Norman Bailey, Alberto Remedios, Rita Hunter, Margaret Curphey, Ann Howard, Clifford Grant, and the ENO orchestra (I attended one of these as well). The special qualities of the Welsh National Opera performances in Cardiff plus a concert performance in Swansea’s acoustically outstanding Brangwyn Hall (exceptionally, I attended three of these performances) included not only the extraordinary energy that Reggie mustered at the age of 83, but also the extent to which he managed to radically rejuvenate and revitalise his interpretation to match his relatively lithe and youthful cast, most of whom were singing these roles for the first time.”

Davyd Booth

“Another great Grob-Pradl document! she is simply one of the greatest dramatic sopranos of all time. There is a complete performance around of Tristan from La Scala with De Sabata but the sound is horrible. Maybe Opera Depot could find that in good sound. In the meantime this second act is simply sensational. Grab it now!”

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!”

A PERFECT RECORDING OF RICHARD WAGNER'S "PARSIFAL"

“A recording of Richard Wagner's "Parsifal" featuring and starring Jean Cox, Amy Shuard, Franz Crass, Thomas Stewart, Donald McIntyre etc., at Bayreuth (1968) and under Pierre Boulez's inspired baton cannot be but (almost) perfect. A must!”

FINE ENSEMBLE PERFORMANCE IN GOOD SOUND

“The New York City Opera’s 1970 production of this opera was a legendary showpiece for Beverly Sills, then at her vocal prime. I saw Sills during this run and find this recording an accurate document of the singer’s powers. In addition to spectacular coloratura, she added a keen dramatic sense to her scenes with Roberto, showing both feline playfulness that could at a moment shift to frightening authority. But a strength of the performance is the strong sense of ensemble. While Sills is the star, she is supported by a strong and dramatically committed supporting cast. Placido Domingo, then a relative newcomer, adds the golden tone of his young voice to Roberto and earns a generous ovation for his final-act cavatina. Susanne Marsee vividly puts across the dilemma of Sara. the hero’s other woman, a position that she knows will bring down the wrath of the jealous queen on them both. And I’d call out the outstanding work of Canadian baritone Louis Quilico in the role of Nottingham: he brings a mellow, tuneful timbre to the early scenes, where he is Roberto’s most devoted supporter. Once his pal’s affair with his wife comes out, Quilico adds a Verdian intensity to his vindictive actions that recalls Renato in “Masked Ball,” a similar role that the baritone also sang with success. The sound quality is quite good for both voices and orchestra, especially in the composer’s brooding orchestral preludes to scenes.”

The legendary 1954 La Scala Vestale in good sound

“This 1954 recording of Spontini's La vestale from La Scala with Callas and Corelli, both in top form (just listen to Callas' blazing high note at the end of "Tu che invoco"), is probably the best recording of the opera. Sadly, every version I have heard of this recording, going back to the UORC LPs from the mid-1970s, has been plagued with inferior sound, with lots of overload on the forte passages. Even the recent release on Warner Classics, probably the best one so far, has only solved this problem to a limited extent. I have heard that the problem is in the original broadcast which, it turns out, may not actually be the case. I don't know if Opera Depot has found a different source; whatever it is, this release is easily the best-sounding recording of this performance that I have heard. The overall sound is good-plus, and there is nary a hint of the overload that is in every other release of it that I know. Highly recommended to anyone who is interested in hearing, for the first or for the hundredth time, this magnificent Vestale.”

Jerry v.

“This is one of the most exciting performances of this opera you’ll ever hear…Glorious Carlo Bergonzi sings with relentless passion and endless beauty. In every way his Werther is an obsession..Bianca Maria Casoni is equally as effective….it’s a wonder she’s so unknown to many.”

Walter Hartman

“Leyla Gencer is a singer I discovered only after her career was over. I have been collecting her wonderful performances that are preserved and am very pleased to have this Cavalleria Rusticana. Gencer was a very instinctive performer and her Santuzza has both refinement and passion. There is always something exciting about her tone, her vocal control and her complete immersion in the character she is playing. It is a performance one should have if you love this opera and one that you should investigate if you have interest in this performer, who was unfortunately very much under represented in America. Zambon and Meliciani provide good support.”

WOW!

“This set is worth hearing just for Zoltan Kelemen's breathtakingly scary Alberich. Truly astonishing. My first experience at the Bayreuth Festival was in 1980 for the final year of this Ring, and the commercially released LPs that followed are still a treasured part of my collection. That later Rheingold can't hold a candle to the sheer visceral excitement generated by this 1976 performance, which is completely in the moment with some of the most rock steady, generous singing I've ever heard in Wagner (either live or on LP/CD). As an aside, track 15 of CD 2 of my copy wouldn't play (Wotan's "Abendlich strahlt..."). I dont know if the same error occurs in the download version, but it certainly doesn't affect my enthusiasm for this set. Magnificent.”

giancarlo stampalia

“As stated in the product description, the sound of this Don Carlo is indeed spectacular: clear, clean, with great balance between orchestra and the singers, and good depth. Compared to the 1978 studio recording (virtually with the same cast), which displays the customary 1970s EMI recessed voices and overpowering orchestra, this honestly reproduces the live experience.What a cast! All the singers except perhaps Cossotto are at the very top of their game, and Cappuccilli’s dramatic command of his role is even on better display here, together with his uncanny breath control. Ghiaurov is more dramatic and heartfelt here than in the studio, and his sonorous voice is just breathtaking. Carreras is heavenly, and Freni is her usual brilliant, charming self.About Cossotto: I don’t mean to say that she doesn’t sing well: just her top notes (lethal in Eboli’s part) are not as secure and daring as Baltza’s. But, she was indeed born to play Eboli, and it’s great to hear her in the part, and under Karajan.Karajan’s tempi are occasionally even broader here than in the studio recording, but I don’t think that hurts the opera at all: Rodrigo’s farewell tunes are just heartbreaking at that speed and with Cappuccilli’s sensitivity.As usual in the theater, Karajan makes some cuts: e.g., the second stanza of Eboli’s veil song in act I, and one of the most beautiful transitions that Verdi wrote, between the two parts of the duet between Carlo and Elisabetta, always in act I. Both are reinstated in the studio recording. Saving five minutes doesn’t seem so important with hindsight, but I guess the timing of festival evenings had its requirements.”

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!”

Remembering Liane Synek

“Living in Cologne, I had the opportunity to regularly attend Liane Synek's performances on stage and to meet her a couple of times for dinner. Especially in the great lyrique roles of the italian bel canto that she is predestined for by the beauty of her timbre and her agile, balanced voice-leading. But she was also brilliant as a Wagner singer, for example as Senta and Isolde. Unfortunately, at that time, Birgit Nilsson was the Queen of Bayreuth and Liane Synek never got a chance to sing the great Wagner roles at the Festpielhaus.”

Di Stefano Otello

“This recording of Di Stefano's only record of Otello is only for his many fans.He gives it all and then some but he is no Otello.The recorded sound is poor because the recorder sounds like it is in the orchestra pit and distant.However who can pass up this CD a great rembrance”

Björling sets the standard

“Amazing presence and clarity in this new remastered version. Björling’s performance is simply electric. Vesti la giubba is his most deeply felt version. As is his Non Pagliaccio non son. Both scenes display unparalelled vocal freedom and simply knock out every other version in recorded history. Highly Recommended.”

Kenneth Sherrill

“This performance is a barn-burner. Thrilling, exciting wonderful. Very Italian, not very French. It grabs you by the seat of your pants and leaves you exhausted at the end. I wish I had been in the house to hear it. Curiously, I once saw Corelli do it in French with Rosalilnd Elias in a Met in the Parks performance. I've never forgotten the intensity of that performance but, all in all, this is a better quartet. It's a feast for the ears.”

Brian Lowery

“A great Macbeth. As mentioned, Anja Silja is good as Lady Macbeth, but in my opinion, Thomas Tipton is even better in the title role. His confident baritone leaves nothing to be desired. He clearly understands the role and doesn’t “overdo it”. Macbeth is a powerful warrior and his voice should reflect that, but in many recordings Macbeth’s words waver and sound like that of a tired, old man. Tipton’s voice never falters and his Italian is clear and understandable. His Macbeth is now one of my favorites. It is a personal preference of mine, but I welcomed the addition of the “death aria”, from the 1847 version, at the end, and most of the great recordings: Cappuccilli, Verrett & Abbado; and Warren, Rysanek & Leinsdorf, also include it. There are the usual cuts, some of the witches choruses and ballet music, but it moves the drama along at a good pace. I highly recommend this 2 CD set.”

A must-buy

“Massenet feels the subject as a Frenchman, with the powder and the minuets” said Puccini, before composing his version of the Manon Lescaut story. “I shall feel it as an Italian, with desperate passion.” With this recording, we get the best of both worlds: Massenet’s fabulously rich score delivered with desperate passion and superlative singing by Freni and Pavarotti. Well, most of it: the Cours-la-Reine scene is deleted, with Obéissons inserted into Act 4 at the Hôtel de Transylvanie: no complaints from me. In fact, the work seems to benefit from it! The singing from the two leads really is miraculous: Freni is luscious and the very young-sounding Pavarotti is on fire. The stand-out arias are show-stopping, and the recorded quality is very good - this is a must buy!”

IMPORTANT SECTION MISSING!

“Be warned that Track 3 of Disc 2 (I'm talking about the download) is missing. This is the entire finale of Act Two.I have tried re-downloading the files twice more but the result is the same. This is a shame, because the last scene of Act 2 (a crucial moment, you will agree, leading up to Samson's cry of 'Traison!') is gone...straight after Dalila's aria, we jump straight into Act 3! There is no sign of Dalila's 'evil laughter' mentioned by David Reynolds in his review.The fact that the track listings display tracks 2 and 4 (but not 3) suggests that this is a simple glitch, not missing music (which would have been noted in the listing). HOWEVER, I HAVE EMAILED ANDY FOUR TIMES ABOUT THIS BUT HAVE FAILED TO RECEIVE A RESPONSE...”

A WONDROUS OCCASION FOR LOVERS OF ROSSINI AND “BELLISSIMO CANTO!”

“Imagine a time before a work like “La Donna” would be known to any of us. Caballe, Hamari, Bonisolli, Bottazzo, Washington are all youthful in tone, supple in line, sure in intonation, perfect in pitch and precision. This is a masterful and exuberant performance led by Bellugi. Sound excellent. Spoil yourself, add this to your library, and provide your own superlatives!”

Erich and Carlos Kleiber Opera Compilation

“I have been told that it would take some time to send me what I had ordered. All CDs arrived well wrapped and in perfect conditon. I can only recommend purchasing at Opera Depot. Margot Mueller, Frankfurt /Main.”

Some magnificent singing

“This performance, live from the Royal Albert Hall, makes a quite positive case for a work once widely appreciated but now mostly forgotten. Sutherland is truly astonishing in her role as the Queen; Tourangeau brings her distinctive timbre to the role of Urbain; I have never heard Martina Arroyo in such superb voice; Vrenios offers lyrical beauty and power; and the lower male voices are very fine as well. Truly a night of Seven Stars. Bonynge conducts with authority. He clearly loves and believes in the work. What a joy that we have this recorded document of such a rare and often thrilling work. Five stars.”

Great Lohengrin

“This is an excellent Lohengrin. Jess Thomas and Claire Watson are wonderful in their roles. This recording dates from Vienna in 1965 and the sound is excellent mono. I haven't heard Bohm in Lohengrin before and he does a very fine job with his great cast. Christa Ludwig and Walter Berry make a perfect couple of villains. Also, you won't find a better King than Talvela.A highly enjoyable performance.”

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.”

Alexander Gibson-Still hugely underrated.

“I enjoyed this Tristan immensely. As I did O.D.'s Siegfried and Strauss' Rosenkavalier conducted by Sandy. A rare individuality shines through in his conducting for me, as it did in his few commercial recordings. There must surely be a Scottish Opera Ring recording waiting to be found out there somewhere. That would be a treasure indeed.”