Siegfried Bayreuth 1957

“This may be my favorite Siegfried recording. As opposed to his very lethargic 1956 Ring cycle, Knappertsbusch was on in 1957. The energy is palpable and the forward momentum is unstoppable. Astrid Varnay displays her usual scooping but that is a small price to pay for her strong, steady, expressive voice. Bernd Aldenhoff is somewhat of an acquired taste, with his unusual voice production in the higher ranges. Once you get used to that, you can appreciate the beautiful lyric singing he gives in the forest murmurs and duet with Brunnhilde. Hans Hotter is a bit below par vocally, but top of the heap interpretively. Knappertsbusch's conducting is absolutely ideal. And the sound is very good, better than the 1956 Ring where the orchestra is so distant. I can recommend this recording without reservations.”

Very Special!

“I have 25 complete Ring cycles in my collection and a number of singleton Ring operas as well. This Kempe recording from Stockholm has jumped to the top of the list. It is the Götterdämmerung that has determined this surprise result. Everything about it is wonderful. This far supersedes Kempe’s 1960 Ring, commercially available. He was apparently effected by the Viking atmosphere of the final opera.His cast is in G’dämm is hard to beat. Yes, there are superior Rings out there in terms of overall casting but not many, if any, that can match these lead singers in a live event. Act two, in particular, is very exciting. The amazing Berit Lindholm even surpasses Nilsson, live for Böhm at Bayreuth, in impact. She possesses the ability to soften her huge voice and sound vulnerable which was something the titanium-voiced Nilsson could never do, Helga Brilioth’s Siegfried is even better than he was for Karajan on DG. The live event set these singers alight. Bengt Rundgren, Eric Saedén and Laila Andersson-Palme are superb Gibichungs as well. She is especially notable as Gutrune, feminine and conniving as she should be. And last but not least Barbro Ericson’s deeply moving and vividly acted Waltraute.The chorus of men in Act 2 are thrilling. I saw in my mind’s eye the village men from Kattegat (Vikings), all hairy and burly and singing like Asatru gods. Bengt Rundgren may not have been Matti Salminen, but Kempe’s direction and the overwhelming atmosphere of pagan frenzy are awesome. The sound is brilliant and detailed, the orchestra plays like the best of them and Kempe urges, or simply allows them, to express their high level of accomplished performance without constraint and nary of hint of imperfection. Intonation in the winds is notably perfect in all those touchy long held chords.There is a wink link, it has to be said, in Siegfried, with an underpowered, though well-sung, Wanderer of Jerker Arvidson. Bjorn Asker’s Alberich would have been a better Wanderer. Ranger Ulfung’s Mime is the best I’ve ever heard. Die Walküre is very successful with Brilioth’s strong Siegmund, as he is for Horst Stein at Bayreuth in 1970. David Ward is a very strong and powerful Wotan, which surprised me. And Barbro Ericson Fricka is right up there with Christa Ludwig, Yvonne Minton and Waltraud Meier (Haitink) and other great singers that have recorded this role. Siv Wennberg, who also sings Skuld (the third Norn) has a less powerful voice than Lindholm (who doesn’t?). The valkyries are well-matched, sing in tune, and project individuality.The audience if silence, as if mesmerized, until the ends of the acts. The ovation at the end of Acts 2 and 3 of Götterdämmerung are overwhelming. Bravo Stockholm!This Ring, sadly missing Das Rheingold, is a must-have for all Wagnerians, especially for Lindholm’s antidote to the ubiquitous, and tiresome hardness of voice in these roles.”

Several serious flaws, but the good things about it are so damm good that I have to give five stars anyway.

“I don't usually rate a flawed recording five stars. But this one is an exception. (I own a CD of it.)The TWO serious flaws are: 1. As Andy said, Ludwig Hofmann falls flat trying to sing Wotan. He's not up to it. And 2. Act 2 and Act 3 are SEVERELY cut. MOST of the pivotal exchange between Brunhilde and Siegmund--where she tells him he's gonna lose and die, and he threatens suicide--is cut. This is unforgivable, an outrage. And it's just one of numerous infuriating cuts in these two acts. BUTExcept for Hofmann, the principal singers are UNBELIEVABLY FANTASTIC. Torsten Ralf is as heroic as anyone, but has a gorgeous, sweet timbre and impressive dramatic intelligence. He's my favorite Siegmund of all time. And the same can be said of Helene Werth as Sieglinde. Silky, gleaming tone, a little like Gundula Janowitz, but more HUMAN-sounding, and her voice (unlike Janowitz's) is actually large enough for the part, and she really inhabits the character. It's a shame that she recorded so few operas and is in danger of being forgotten. Herbert Alsen is outstanding as Hunding: formidable, and interesting. If an oak tree could sing, it would sound like him. So this is the best Act 1 I've ever heard. And, of course, GGP's Brunhilde is second-to-nobody, MUCH better than Birgit Nilsson in many ways: bigger, deeper voice (no fooling!), tight, rapid vibrato, and a unique burnished-steel timbre. So this cannot be your only WALKURE, but you need to have it.”

elenigold

“Konwitschny led an absolutely fine performance in what was most likely his final Ring. The Royal Opera House orchestra of those days was mediocre at best, but rose to the occasion and played with inspiration under this great conductor.This Ring boasted of 6 great singers — Hotter, Varnay, Windgassen, Vinay, Uhde and Frick all of whom were in top form; and some very good singers, Hoffgen, Shuard, Boese, Siebert, Veasey, Bohme, Holm, Klein and Kraus who offered strong support. Of the four operas Die Walkure and Gotterdammerung were the more compellingly performed with Das Rheingold and Siegfried slightly less exceptional.By the way, unlike Bayreuth, there were four full days between each performance and it worked to the benefit of Hotter, Varnay and Windgassen who were magnificent.”

John Querns

“I saw Ursula Schröder-Feinen sing Elektra in 1977 and then she vanished off my radar, for reasons I now understand, until I discovered by chance that very performance of Elektra on CD. I was attracted to this Parsifal because of the soprano. She sings up a storm in the second act and is thrilling. Franz Crass is another favourite as I love his easy, beautiful sound. I tend to favour faster Parsifal performances - I know it's a generalisation, but when it is too slow for me it can drain the drama away and I think it's possible to have the beauty of the music WITH the drama and not instead of the drama. So Sawallisch is a hit too.Highly recommended.”

Unlikely triumph for Suliotis

“Elena Suliotis' take-no-prisoners singing technique and the gentler demands of Zandonai's Francesca would, on paper, seem a mismatch. Not so. Suliotis moderates her approach, singing with a softness and delicacy not commonly associated with her work. Giorgio Merighi is everything one could ask for in a Paolo, while Piero Guelfi's gnarled, nasty baritone finds an ideal outlet as Gianciotto. Conducting with appropriate fervor, Oliviero de Fabritiis eschews most of the routine cuts commonly inflicted upon Zandonai's masterpiece. Only a crabbed Biancofiore mars the proceedings. The sound is excellent.”

Outstanding cast and performance.

“Some really great singers in what sounds like it was a wonderful live performance. Some issues with fading with regards to volume in places, sometimes for minutes at a time, but so great to get to hear Kozub in particular along with some exceptional work from the cast over all.”

German Don Carlo in Excellent Sound!

“I don't know the specifics of this production, but I can hear that the Germans have altered the end of this opera to be closer to the end of the play as Friedrich Schiller wrote it. One of the basses (I can't identify which one) sings "Gott allein ist dein Richter!" (God alone is your judge!) and the opera ends. Elisabetta does not sing her high B on "O Gott!" or anything else. In addition, there are quite a few cuts in the first two acts (mostly second verses of arias, Eboli's Veil Song cadenza is also cut). I don't there are any cuts in the third and fourth acts (this is performed in the four act version).Adam sounds beautiful as King Filippo, the voice steady and colorful, the diction crisp as always. Dvorakova sings well though this isn't really a Verdi voice. The top doesn't really float or expand the way one wants though she has no trouble with the actual notes. Ritzmann and Jedlicka are very good as Carlo and Posa, Muller-Butow good, but miscast as Eboli (it lies too high for her). Frei is a terrifying Inquisitor and Vulpius a lovely treat as the Celestial Voice.Konwitschny leads a very effective performance that is different from the ones we normally hear and not just because of the language.This shouldn't be anyone's first Don Carlo, but if you know and love the opera it is a fascinating alternative.”

Little known Gianni Schicchi

“I am very satisfied with this performance. The 1950s mono sound is good. The performance is a little short on slapstick, but it gives a good representation of the opera. I bought the recording to hear Renato Capechi, and he does not disappoint. He is in good voice and takes command of the situation at his entrance. I will look for more performances with Capechi in them. The supporting cast is excellent, with a lot of familiar voices like De Palma and Clabassi. I would recommend the recording.”

Martin Ramor

“It is great music, worth listening to. No wonder Muti made two recordings (one with Caballe and this one with Gencer. She dramatically very convincing, but she a bit over her prime. Luchetti, Martinucci and others are very good. Orchestra is excellent.”

David Fetz

“Bravo to an AMAZING performance of Faust. Gone is any sence of lagubriance. Everything is Bright and with verve. The chorus ,the orchestra and WHAT A CAST!!!Rudel holds them together with a light touch and alows the sentiment to bloom when it is appropriate. Treigle sings an amazing Mephistophele,the full range of emotian and Molese stays right with him.And Sills. Could there be a finer Margurite. Never have I heard the roll performed so COMPLETELY! Transfixing. And not a weak link anywhere in the rest of the cast either.Thank you for giving us such a wonderful performance.”

Un Enlèvement de référence

“Magnifique interprétation, dominée par la merveilleuse Christiane Eda-Pierre, trop méconnue, et l'inusable Kurt Moll. Les autres rôles sont bien tenus et Karl Böhm fait jouer l'orchestre de l'Opéra de Paris comme des viennois ! Le son est excellent.”

Neville

“Could not agree more about Pauline Tinsley. She is a personal friend and lives near to me and I visit her from time to time. She celebrates here 80th birthday on March 27th this year so any tributes or contributions can be sent c/o me. Email me direct for my address. She is the only singer apart from perhaps Caballe who has sung just about everything from Purcell, through Handel, Bellini, Donizetti, Veri, Puccini to Wagner and Richard Strauss all with tremendous success. It is one of the great tragedies that she made so few commercial recordings but there are numourous “Pirates” available. I would go as far as to say her Turandot, Lady Macbeth and Abigaile(Nabucco) were the definitive performances in these roles and people like Dimitrova and Souliotis pale into insignificance after her. Why she has had no honours from the British Government is beyond me and many others and I think she should certainly be made Dame Pauline Tinsley!Best wishes to all.Neville”

What a voice!

“I’d never heard Lotte Rysenek before, and now I’m a huge fan. Hesitated buying, because no opening? No Dovunqe al mondo? Eh, I lived. Voices are verrrrry recessed, but sound is pretty clear.”

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.”

Tassilo

“There was a period when, like several close friends of mine and for similar reasons, I despised Karajan and enjoyed quoting Bruno Maderna’s dismissive remark about “Karajan’s chocolate Beethoven.” Of course, our opinion of him was entirely formed on the basis of DG studio recordings from a certain period, and Exhibit A in our brief against him could easily have been what everybody refers to as “The Karajan Ring,” Karajan’s DG studio recording of the cycle. Since then, I’ve heard more performances both live and studio from earlier in Karajan’s career, and I have a more nuanced perception of his abilities. But the performance that really administered the coup de grace to my preconceptions was the live Salzburg Siegfried that preceded the DG studio recording, which I was able to hear in less than ideal sound a couple of years ago. I’ve also heard great bleeding chunks from the Walküre that preceded the DG recording. On the basis of these experiences, I think that the real “Karajan Ring” is not what was released on DG—a recording made in the relaxed and artificial context of the studio, where the conductor himself was complicit in the engineering of a kind of smooth perfection—but in the extremely interesting and more distinctive live performances that preceded the recording of the installments of the studio Ring. I don’t know whether this remark will be intelligible or not, but, in the live performances, you experience the sheer force of Karajan’s monomaniacal focus and control as it is being deployed in the thick of battle, whereas in the studio recordings you only hear a byproduct, what the control freak engineered under controlled circumstances.It is worth remarking that the very consciousness on the part of Karajan and his DG engineers and producers that they were undertaking a cycle in competition with Solti and Decca, a cycle they intended to be THE Ring that consumers should buy, would have had an equivocal impact on the recordings that were eventually released. On the one hand, convinced of the importance of their undertaking, everyone involved would have aspired to the highest professional standards. On the other hand, the sheer pursuit of the kinds of technical perfection for which Karajan, DG, and the Berlin Philharmonic were famous to the exclusion of other musical virtues would have resulted in a loss of the spontaneity and excitement so infinitely more characteristic of the live performances. (Where the tempi in the studio recordings differ from the tempi in the live performances, the live performances feature quicker tempi.)Which is why I welcome Opera Depot’s release of the live Karajan Ring in better sound than the transfers I’ve heard.”

“Dame Janet has been someone I've admired deeply since a child. Anything I could say about her would seem prejudiced. However this collection shows a different and potent side of Dame Janet's art and should be purchased by anyone who treasures this artist. Anything available by Dame Janet is self-recommending.”

Karl Heinz Konrad

“Cox, Schröder-Feinen, Adam, Zednik und Neidlinger unter dem Dirigat von Horst Stein- was will man mehr? Jean Cox hat einen strahlenden Tenor und ist der Rolle immer gewachsen. Heinz Zednik ist ein famoser Mime und Neidlinger ein unheimlicher Alberich. Theo Adam sehr routiniert und bei guter Stimme. Ursula Schröder-Feinen ist von der Stimme her eine opulente Brünhilde, was in der Aufnahme aber nicht so zu hören ist. Eine gelungene Vorstellung aus Bayreuth.”

Historical version of Turandot

“Thank you so much for that great version of Turandot !!!!Monserrat Caballé and Birgit Nilsson together !!!!! Amazing !!!!!One of the greatest Turandot with Birgit Nilsson with the most beautiful Liu that we ever heard : Montserrat Caballé”

Excellent Performance

“This is a wonderful version of this difficult opera. Each singer is the best in his/her role, and they are all in better vocal shape than the famous recording in '77, especially King. Bohm is always at his best in Strauss operas. This might be the best version available, especially because of Operadepot's excellent remastering. There is some distortion at a few of the climaxes, but for the most part it is very clear to listen to, and the voices sound great.”

Impressive performance

“Very expressive, lively and vivid interpretations. Very emotionant dark armonics of Cossotto and Pryce . Bergonzi heroic as usual. Exceptional baguette of de Fabritis. Thank a lot Opera depot!!!!!”

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.”

AN INTERESTING GIUSEPPE VERDI'S "IL TROVATORE"

“Another great live performance of one of Giuseppe Verdi's masterpieces that is part of the so-called "popular trilogy". James King (Manrico, tenor), Renata Scotto (Leonora, soprano), Shirley Verrett (Azucena, mezzo-soprano) and Piero Cappuccilli (Di Luna, baritone), with conductor Reynald Giovaninetti in the pit, a master of this score! There are however some "typo" mistakes: Di Luna is arguably Piero Cappuccillli (and not Matteo Manuguerra, although I would have preferred the latter), and on the front cover (I can't see the back cover) it is Renata Scotto (not Renato Scotto) and Reynald Giovaninetti (not Reynold Giovanetti). Thank you very much, dear Andy! Another great and wonderful surprise!”

Sheer delight

“I have known this performance since I taped it in 1975 and it shows the ENO at its very best. Every performance has character and vocal quality stamped all over it, and although it is in English, it has a real sense of Viennese laughter and danger about it beautifully balanced by Charles Mackerras and the orchestra. Anne Evans is a generous voiced Rosalinde (she went on to sing Brunnhilde at Bayreuth) and with the likes of Alan Opie (Beckmesser at Bayreuth), John Brecknock (ENO's spectacular Rossini tenor) and Ann Hood in support, there are no weak links. The crowning jewel is however Valerie Masterson's Adele - she would go on to sing Rosalinde at the ENO in later years - and she is a delight to hear, with a great sense of fun and a gorgeous Mein herr Marquis. Listen out for her altering of the text in her third act aria! Sound (apart from an early blip in the overture, which was the same as on my tape) is great - just get this, sit back and enjoy the very best of the ENO which can rival any performance anywhere!”

Bill Russell

“Just thought you might like to know that Windgassen was not a heldentenor by his own definition. In an interview, the interviewer began by addressing him as heldentenor and Windgassen said “no, I am not a heldentenor. I am a dramatic tenor who can sing Wagner.” Too bad today’s tenors don’t take that advice.”

Anthony WILLIS

“Considering my only Nabucco is the 1949 Callas recording anything would be a benefit! I love it though and enjoyed it. Pauline Tinsley was so vastly under-represented in the recorded music field.”

Guido Bathe

“This recording is of a Premiere, which it is coducted by Fricsay, not by Lenzer. The date which is noted in other publications is about of a performance of "Boccaccio". This Performance shows the work of an Ensemble, not of stars.”

Not what it seems

“This is a concert version of the opera prepared by Adrian Boult in collaboration with Dietrich Fischer -DIeskau. There is much that is missing from the score but as a taster (F-D recorded a fuller version for DG) of an often enigmatic work this is an evocative performance complete with BBC announcements pf the time.. A sterling, largely British cast does great service and of course F-D is magnificent as one would expect but it is only half the story…...”

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.”

Dieter

“I shall certainly order this AIDA with Elinor Ross. Hers is a dramatic soprano voice of magnificent beauty and power. It is infuriating that her legacy is only a small number of live recordings. Nowadays international “stars” (Ms. Ross should have been one of the first order !) are created entirely by Public Relation,and we have to live with each and every mediocre interpretation of singers like Anna Netrebko captured on disc and DVD.BTW, there is a Video DVD of Elinor Ross`s NORMA available. Simply divine singing !”

Tinsley - The Early Years of a Great Artist

“It's 5 Star from me - really clear with excellent sound. Not one of my favourite operas but I'm a Tinsley fan and had not heard this performance before. Great to hear her before she became such a thrilling Elektra.”

John Johnston

“Classic Munich ensemble including the producer Otto Schenck as for one amusing Frosch. Those with no appreciation of Viennese dialect may struggle with the lengthy dialogue but it all adds to the atmosphere.”

Rheingold at Covent Garden 1949-1951

“Just some precisions : RHEINGOLD has been played 4 times at Covent Garden from 1949 to 1951 : 12/05/1949, 8/06/1950, 4/5/1951 and 7/5/1951. Wotan was sung 3 times by Hans Hotter and just 1 by Andreas Boehm on the 8th of june 1950.. Fricka was only played by Edith Coates (from archives of CG), never by Constance Schacklock. At last, Mime was sung 3 times by Peter Klein in 1949 and 1951, but in june 1950 (this recording), Mime was The well-known Erich Zimmermann who played in Bayreuth before the war. All these Information come from the archives of the Royal House Covent Garden.”

Joseph Brand

“This is amazing. Despite its age the singers seem to leap out of the speakers into your room and though there are stage noises one is aware this is a living real performance of stature. For lovers of this masterpiece these cds are essential. It was probably the 1st ever performance of the complete Boris without any input from Rimsky. But more than that it seems to contain every note Mussorgsky wrote for the different versions even if that means hearing some of the music twice. I actually saw one of these 1958 performances and I can tell you it was shattering. The whole cast is superb and Christoff beyond praise. The overall sound is remarkable.”

A great Jenufa

“As one might expect, Sena was a deeply moving, vocally impeccable Jenufa before moving on to the Kostelnicka towards the end of her career, a role she also sang in San Francisco with Elisabeth Söderström as Jenufa. This recording is in German, as was then common and the version works well, as the German libretto was by no less than Max Brod. Kmennt and Uhl as the rivals for Jenufa’s hand, Grace Hoffmann a thrilling Kostelnicka and even Hilde Konetzni right at the end of her career as the local justice’s wife. I recall the performance well having attended in the legendary Vienna Stehplatz (standing room) at the back of the State Opera stalls.”

complete cast

“Here comes the complete cast of the performance, 13th May 1973:Macbeth: Wassilio JanulakoLady Macbeth: Liane SynekMacduff: Herbert SchachtschneiderBanco: Kunikazu OhashiMalcolm: Willy CaronDama: Alena CihankovaMedico: Francisco VergaraDomestico: Klaus BruchApparizioni: Werner Sindemann, Marita Knobel, Vicki HallChorus of the Cologne Opera, Chorus Master: Hans-Wolfgang SchmitzConductor: Nello Santi”

a great time was had by all!

“This momento of Caballé's breakthrough performance would be wonderful even if it were not a recording of a historic performance. She is ravishing, and I also enjoy Vanzo more that the reviewers did at the time. Caballé later recorded the work commercially, with musical material not included here, and with Kraus in fine form. But I prefer this recordng, it has the lustre of a great live performance.”

Wouter de Moor

“This recording of Götterdämmerung is the best I have heard so far. Pierre Boulez finds a pulse in the score that turns the music into a perpetuum mobile. It is irresistable. Fast without rushing, swift with all ear for detail. Gwyneth Jones is in better voice than on the 1980 video-release (which, for the brilliant Cheréau-regie, I would not like to be without). For me the booiiing (at the beginning of act 3 and at the end) adds to the magnitude of this historical recording. It not only illustrates the hostility towards this production but it is also a reminder of the controversy and scandal that more than once surrounded Wagner's music throughout the years. It is Bayreuth 1976, but I also hear Tannhauser in Paris 1861.”

Ken Caswell

“This a truly superb recording. All the principals are terrific. Wonderful to hear Te Kanawa and Burrows in such deliciously sensual and romantic form.The recording quality is also excellent giving us a real feeling of being there. I shall play this set over and over again.”

Vintage sound of a great performance

“In this year I was in Bayreuth watching the Ring live. It was great performances of almost everyone in an quite sober environment. (Chereau was the next director with a sensational new approach in Bayreuth, Wolfgang (from Wieland who had died) Wagner had taken a minimalistic approach. I liked both.)The sound quality is not sooo great. (I knew a sound engineer then, the sound recording was never set up for publication. Only some "totals" microphones.) Some interruptions, some sudden jumps..., tapes these days were finite... But it triggers my memory of another aera of conducting and swinging with the composer. The softness of a live performance of the 70s is different from the high fidelity recordings these days even if live and it's really better for my heart. That's why it's Excellent.”

Superior to Davis's studio set

“A fine recording of Mozart’s first operatic masterpiece. Norman and Harper deliver breathtakingly beautiful singing throughout. Gedda’s coloratura is at times muddy (Fuor del Mar is a disappointment), but otherwise his sensitivity and elegance are all one expects; in the last act he is quite moving. Davis is attuned to the underlying turbulence and nuance of the score; this is far livelier than his dull 1968 studio recording on Philips. (I am unfamiliar with his second set from the 1990s.) The sound, though cramped and muddy at the beginning, opens up as the work proceeds.”

Entre Knappertsbusch et Boulez

“Cluytens est décidément un grand wagnérien d'un merveilleux équilibre . Varnay très en voix impressionne toujours par la profondeur de sa composition du personnage et son glorieux médium est ici à son affaire . Hotter bouleversant est sans doute le plus grand Gurnemanz de l'après-guerre . Adam une belle découverte dans ce rôle et Thomas intelligent et sensible . Le son est assez bon mais en-dessous de l'excellence habituelle pour Bayreuth .”

Meistersinger-Varviso-Bayreuth-73

“La fecha es -25-Julio, 1ª función de 7, estreno de esta producción de Wofgang Wagner , según archivo del Festival.También lo dice en "Wagnerdisco.net", que no se como sonará esta grabación.Si es un poco molesto, pero casi no se nota, de todas formas, ya aparecerá alguna grabación mejor.No puedo comprobar la de "Wagnerdisco.net", porque vendía por PayPal, y cambió el sistema de venta a no se que de tarjeta Master o algo parecido y ya no pude comprarle mas, al ser mas complicado.”

Parsifal/Boulez

“Many thanks for sending the replacement CDs and the insert. I've played through Side 2without a hitch and assume that I'll have the same result with the last act. Performance magnificent and recording quality astonishing..Congratulations and thanks for all your work, Sydney McMinn.”

A justly legendary "Traviata"

“The “Lisbon Traviata” was among Callas’ final performances as Violetta, followed by Covent Garden and Dallas during the same season. “La Divina” is at the height of her vocal and interpretive powers. She is steady of line and pitch precise, in full command of dynamics and imbued emotion, ringing true up to a sonic Eb! Kraus is youthful, impassioned, elegant, achieving a personal caliber of style he would sustain over the next 35 years. Sereni’s timbre possesses an individual gruffness, appropriate for a gentleman defending family honor, but he lacks nothing in pathos and bel canto line. Ghione is attentive to every Verdian detail. Mono recording favors vocals slightly (happily).”

Rest of the cast...

“The rest of the cast in this splendid performance deserves to be mentioned:Flavio is the stalwart leading lyric-turned-character tenor John Lanigan.Clothilde is the equally stalwart Elizabeth Bainbridge, mainly known as maids, companion in a plethora of Covent Garden productions over many years. However, she was fully capable of stepping in (I remember an Amneris) at short notice and decidedly NOT short-changing her audience!”

A Memorable Rondine

“I was actually at this performance, Portland Opera's 1971 season opener, and to be honest, I've been waiting over 50 years for a chance to revisit what was one of the most affecting nights of my young opera-going life. Rondine wasn't a work often programmed at the time, and beyond the Act I soprano aria few folks really knew it--certainly I didn't; but Stefan Minde clearly believed in the opera and threw his heart and soul into it, creating out of all those charming waltz tunes something much grander and more rhapsodically expressive than the slight operetta it's often seen to be. Costa and Campora are wonderfully in tune with this conception and clearly believe in these characters, singing with both passion and delicacy throughout: Campora's characteristically fruity tenor rings out in the Act II ensembles and is particularly moving in the last act pleas, and Costa (if once or twice a touch under pitch) deploys her lovely instrument with real nuance and feeling, filling out the big arias with rich, affecting tone and ending the drama with a final beautifully floated A-flat which lingers hauntingly in the air--just as it has in my memory for half a century. For me this is obviously a recording of great personal interest, a document of a tremendously moving night of music and song, conjuring up a whole bundle of emotions and images, not least the sight of the audience members around me, all of whom were as ecstatic as I at having made this wonderful operatic discovery and experienced such a surprisingly emotional journey; but I suspect for any listener coming to it now the effect won't be all that different. It just seems an inspired performance, led by two veteran singers in real expressive control of their voices, strongly cast right down the line, and lovingly conducted with unabashed sentiment and romantic flair. I'm so grateful to have this available.”

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.”