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Featured artist
Catarina Ligendza
This week we are looking back at the career of Swedish dramatic soprano Catarina Ligendza. Born in Stockholm to soprano Brita Hertzberg and tenor Einar Beyron, she went on to sing at the Deutsche Oper Berlin, the Metropolitan Opera, Covent Garden, La Scala and the Bayreuth Festival, where she became particularly admired for her Wagner roles, including Brünnhilde and Isolde. She was a favorite collaborator of Carlos Kleiber, particularly in the role of Isolde.
In celebration, we are offering 40% off all of her recordings.
Catarina Ligendza
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120 New "Coming Soon" Titles
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Free Streaming Recordings
Every week we offer 12 new titles available to stream for free
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
Donizetti: Maria Stuarda (In English)
Baker, Tinsley, Erwin, Garrard; Mackerras. London, 1973
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.
Turandot, deutsch gesungen
“Eine Rarität ist diese deutsch gesungene Turandot Aufnahme. vor allem durch die ausgezeichnete, stählerne , trotzdem aber hochdrammatische Ausdruckskraft der Stimme von Gertude Grob-Prandl als Turandot. Karl Terkal ist ein ihr ebenbürtiger, klar singeneder Kalaf, von dem es leider zuwenig Dokumente seiner wienerisch geprägten Gesangskultur gibt.”
Giselbert Wolfgang Kassel (1924 - ?)
“Eine der raren Aufnahmen dieses hervorragenden Tenors. Für mich ist dieser Sänger eine Entdeckung, ein Tannhäuser wie ich ihn hören möchte. Kassel verfügte zu dieser Zeit über eine stämmige, gesunde Heldentenorstimme mit baritonalem Kern, die keine Klippe der Partie fürchten mußte, nirgends gefährdet war und einem Vergleich mit den Bayreuther Rollenvertretern dieser Zeit (Beresford, Esser, Wenkoff) standhält. Der Live-Mitschnitt zeigt eine beeindruckende Physis. Die Stimme ist immer kontrolliert, kein tenorales Leichtgewicht. Ein intelligenter, musikalischer Sänger, der zu jedem Zeitpunkt weiß was er singt.”
Magnificent
“What a treat to hear this opera in a language I can understand! I agree with everything Stephen H. says in his review below. An excellent performance of this heart-wrenching work, with fine singing and crystal-clear sound. Best purchase I've made on Opera Depot.”
Excellent Performance in Excellent Sound!
“This performance has already been reviewed in detail by Richard I. and other reviewers below. It is as wonderful as they say it is. Vickers would make the role of Aeneas even more his own in subsequent performances through the next decade and a half, but he is at his freshest vocally here. He ducks the top C-flat in the duet with Didon, but nails the top C in his aria. Shuard and Thebom are superb in their roles as are Lauris Elms and David Kelly as Anna and Narbal. Dermot Troy sings Hylas' nostalgic, sad song with sweetness and simplicity. I could only make out a little of the translation, but it's good to hear this opera in English. The sound is very good; one hears the announcer speaking over the music a few times. This performance was also issued on the Testament label; not having heard it, I don't know whether or not they managed to excise the announcer or not (it's not that extensive).If you love this opera as I do, you need to hear this set.”
Another piece of the Jigsaw
“The sound isn't brilliant but it cannot disguise the great performances of Leonie Rysanek as Sieglinde and Gunther Treptow, the Siegmund also on Furtwangler's Ring Cycle at La Scala in 1950, which I also have in my collection. I love live recordings and have most of the performances broadcast by Bavarian Radio from Bayreuth over the years. I have a complete Das Rheingold (Karajan), Siegfried (Karajan) and Gotterdamerung (Knappertsbush) from the 1951 season but only an Act 3 from Die Walkure also conducted by Karajan so to have this fragment from Act 1 is so valuable. Maybe one day a complete Walkure will appear but for now this a great addition to the collection. Thanks for finding it.”
Richard
“Irene Dalis was one of the most intense and committed performers I have ever seen. She also had a formidable coloratura technique, as anyone who has ever heard her studio recording of “Bel Raggio” can attest. For me, her most unforgettable role was as Amme in “Frau”. The stakes were life and death every night for Dalis in this role, and nobody has equalled the excitement of her Bb at the end of Act II on “Her zu mir!”, followed by her headlong run into that driftwood boat with Rysanek.”
Götterdämmerung
“I suppose Goodall was not to everyone's taste. But however the tempi feel to you, there's no doubting his mastery of the structure over long spans. When you reach the end it really does feel like the end of something monumental which has been building since the beginning of the work, or even since Das Rheingold! The singing is of course wonderful, with Alberto Remedios and Rita Hunter singing rings around many others in their roles. A real treat to have Norman Bailey and Clifford Grant in this performance, both improvements on the commercially issued recording. No weak link in the cast and don't let the fact it's in English put you off. I think you adjust to the sound of the language quickly and it's worth it for the pleasure of hearing this historic evening. The sound for,the most part is fine.”
Jim Johnson
“I have this performance from another source. I agree after several minutes the Italian language is no longer an issue. Kraus is a wonderful Nadir. I prefer Leopold Simoneau, but Kraus is right up there.”
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.”
A superlative Siegfried
“Discovering Treptow's Siegfried and Grob-Prandl's Brunnhilde (in both Siegfried and Gotterdammerung) has been a revelation. I was totally unaware of these performances until I saw them advertised on Opera Depot - and I knew very little of Moralt. I was initially attracted by Treptow who has long been one of my favourite heldentenors, but I had never heard his Siegfried. How can a performance as great as this since 1949 have escaped my notice I think it is magnificent, and am very impressed by Moralt as well. And Grob-Prandl is clearly one of the great Brunnhildes of all time. This performance is so much better than many modern, commercial recordings.”
Delicious cast
“A young Caballé reveals to be a wonderful mozartian and what a chance to be able to hear Berton in one of her best role. Bacquier is the true grand seigneur, Blankenburg always a very sympathetic Figaro and Steffek a soprano Cherubino. Sénéchal inenarrable Basilio. Pritchard an underrated mozartian.”
Hard to surpass
“An outstanding performance from all concerned. Vickers, whom I saw many times as Parsifal, has never been surpassed. Hotter is even finer than on the Philips 1962 Bayreuth version. Neidlinger probably the best Klingsor I've ever heard. Stewart, perhaps a bit subdued in the 1st act is magnificent in the 3rd. Perhaps Ericson is not quite in the same class as the men but she's still extremely good only showing she's almost (but no quite) at the end of her tether in the climactic moments of the 2nd act (as are nearly all mezzos who sing this soprano role). The chorus is stunning and over all the conducting of Knappertsbusch sounding perfectly natural with the wonderful Bayreuth orchestra. Recording quality is superb. 5 stars+.”
JÁNOS KÁDÁR
“Beside Callas I find Scotto the greatest Norma and here at her prime she can give all nuances of this role. Her partners are also in excellent form and Patane leds an exciting performance”
Fantastic “Rape of Lucretia”
“Here we have a live performance with an outstanding cast and, more importantly (in my view), a conductor who drives the music forward with even greater force than Britten. The stars of this show are obviously Jon Vickers as the Male Chorus (the only Britten role he ever sang other than Grimes), Patricia Rideout as Lucretia, and the great Allan Monk as Tarquinius. The drawback is that it is recorded from the audience, which recesses the voices somewhat even as it gives a natural “space” around the voices, and is in mono.But what a great performance it is! Lively in every respect, sung and acted splendidly, and conducted with a tautness ever greater than Britten’s own version. And once you get used to the sound, it isn’t bad at all; in fact, if anything, the orchestra is recorded with an almost 3D effect, with both the upper-range instruments (strings and winds) and percussion practically leaping out of the speakers at you.See my full review at https://artmusiclounge.wordpress.com/2018/04/28/fantastic-rape-of-lucretia-with-vickers-rideout/”
An first-rate Elektra
“There is a more well-known version of this recording from Vienna with almost the same cast. This performance, however was from a tour to Montreal. Nilsson, Rysanek and Resnik prove to be the definitive (dysfunctional) family, each bringing a unique approach to these three very different roles. Great recording”
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!”
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.”
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.”
Goldstar Standard
“I agree. It is shameful to cut or shorten any opera and especially when you have a voice such as Raimondi's but with all the cuts - this performance, with this powerhouse cast, is *the* one. Better than any other you'll find and those include the later performances of Joan in 64 and 65 on here. The casting here is one to envy and Joan only gives us that one glorious 'E' among other stellar moments...worth it.”
Swedish Meistersinger from Stockholm 1962
“An excellent performance, even in a different language. All the soloists are magnificent, especially S. Björling and Söderström. Svanholm pushes a bit but it was late in his career. The glory of the performance is the orchestra under the direction of Sandberg. The sound quality is amazing. This is a Meistersinger to treasure.”
John Stanton
“For me the main interest was in hearing Janowitz's Mimi, and all my expectations were fulfilled. Her luminous seamless voice is well suited to this music, bringing with it a fragility and even a sense of her own doom. Carlo Cossutta is a poetic, musically sensitive and responsive Rodolfo. Pleasingly, unlike most tenors, he takes the lower alternative at the end of the love duet, an infinitely better choice.Rolando Panerai is an attractive and expressive Marcello, even if his voice is not as sappy as it was five or ten years before,Caesars Seipi is the Colline. He is in fine voice, although he offers a somewhat uninteresting performance.Anneliese Rothenberger is a pert attractive, if not particularly alluring, Musetta.There is also a perticularly good Benoit (uncredited)The sound is very good.”
Bellini : I Capuleti ed I Montecchi
“I have already a mono tape recording of the 1966 Amsterdamperformance with Margherita Rinaldi as Giulietta. Unfortunatly,the recording is rather bad and I was very pleased with your offer because your recording is so much better technically and so is also the performance with young Pavarotti in ottima forma.is”
Giancarlo Stampalia
“Well, this alternative Karajan live recording from Vienna is really a peach. We knew Karajan could do justice to the piece from his “other” Vienna live recording with the other cast, but it’s the presence of Janowitz that makes the real difference here. She is as perfect an Empress as one could hope for (even Rysanek, who practically made a career of the role, cannot match her sweetness, beauty of sound, and precision). It’s a thankless role, with bits of coloratura that are near impossible to get right (in her entrance number), but Janowitz comes closest, never slurring a note, never ceating her way out of it. And Gladys Kuchta is a revelation (why wasn’t she Nilsson’s rival also in the recording studio?) as the dyer’s wife.”
Sublime
“I just re-listened to this performance after several years and must say it's even better than I remembered. Vocally, Eileen Farrell is a sublime Ariadne, with her rich, powerful voice, but what I find most extraordinary in her performance is that she makes Ariadne funny. The character is clearly meant by Hofmannsthal as a send-up of the opera seria diva, and that is what Farrell gives us with her excellent treatment of the English text. Mattiwilda Dobbs is a delicious Zerbinetta, with a full, rounded tone, spirit, and technique for days--for once, one wishes she had more to sing. The three nymphs (singers otherwise unknown to me) do some quite virtuosic singing of their own. Jon Crain is a youthful-sounding god, not at all heroic, but sounding mostly quite comfortable with the impossible tessitura and matching Farrell in the duet. The only let-down is the four comedians, who perform gamely but sound anemic. The conducting and orchestra are as good as need be, and the sound is, too.”
RICHARD STRAUSS'S "ARIADNE AUF NAXOS" IN ROLF LIEBERMANN'S HAMBURG (1960S)... WHAT COULD BE BETTER?!...
“First of all, HAPPY BIRTHDAY, dear ANDY! You are a special and wonderful person and you and your wonderful colleagues are opera addicted. I would like to thank you all for these great and fine opera(tic) gifts! What could be better than Richard Strauss's "Ariadne auf Naxos" in Rolf Liebermann's Hamburg (1960s)?!...”
Charlie Edwards
“I have recordings of nearly every singer in his or her role in other recordings, so why go for this one? Every member of the cast is in amazingly fresh and easy voice. Windgassen's best Loge without doubt, as the voice is ductile and commanding in a way not found on the Böhm or Furtwängler recordings (he is in tired voice by 1966 and seems less alive in Rome in 1953.) Frantz is his usual self, but perhaps more imposing and much better recorded by Hamburg Radio. Neidlinger remains a non-pareil of an Alberich - saturnine, menacing, vivid. Amazing vocal acting and completely unaffected by being in a studio rather than on a stage. I disagree with the other reviewer about Res Fischer - I find her full of character and her tone is interesting. As far as I know it's the only evidence of her in the role, and she is a rather poorly represented singer in terms of recordings, a dazzling Klytaemnestra a year later with Varnay, Hotter and Rysanek (!!) aside. I love Schüchter's way with the score - a real Schauspiel and well played by the excellent orchestra. The two giants are magnificent and perfectly cast. I always thought it a mistake that Furtwängler cast them in opposite roles in Rome - Frick is much better suited to the gentle Fasolt, and Greindl owned every note Fafner ever has to sing. The only weird thing is that Res Fischer sings Erda as well as Fricka, though some engineering was done to try to distance her voice as Erda. Surely there were plenty of deep voiced contraltos around Hamburg in 1952? Where was Maria von Ilosvay... oh wait, in the Rhine with her sisters!”
Fasten up!
“This is opera without artifice. Each lead leaps into their part and turns out real verismo without stage manner or hammy gimmicks. If we normally communicated through singing, this would be it. Lorengar is exciting as is Taglavini. Wixel's singing and voice are beautifully nuanced. Mazel draws beauty and electricity from the orchestra. The sound is crackling excellent in- house. This is a singularly satisfying Tosca. The minor roles are wonderfully handled. I wish I owned this years ago!”
Great Performance
“This is absolutely terrific. I am happy with my purchase, but just one problem. I have usually bought CDs from you but because it was sold out, I got the MP3. Unfortunately it will not play the chapters continuously. How may I correct this problem on my computer?”
giovanni martini
“Il Maestro riesce ad ottenere da ognuno, una omogenea perfetta vibrante tensione, che scioglie le vele al vento della Sua luce unica, onde realizzare ancora quel miracolo di pura gioia : raro e sublime !”
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.”
PAVAROTTI IS HOT, SILLS NOT SO MUCH
“This very interesting performance combines the star quality of Beverly Sills, then at the height of her powers after breaking into international celebrity, with a glimpse of the growing talents of Luciano Pavarotti. The tenor was hardly “unknown,” as he had made his debut at the Metropolitan Opera the previous year to good notices, but he was then seen as a tenore di grazia, with his burst into international fame two years in the future. Sills is in good voice, with accurate fioriture and high notes full of sparkling color. But her voice, as always, was rather small, heard more to advantage in smaller houses like her NYCO home, and during recitatives and low-lying passages one has to strain to hear her. The beginning of the Mad Scene is an example. Pavarotti by contrast has the larger voice and more vivid personality, and there is a telling moment when he takes over the melody in the Act One duet “Veranno a te.” The melody lies right in the tenor’s most honeyed register, and you can hear him leaning into it, his voice audibly filling the hall. The audience’s reaction amps up here, and at each subsequent time Pavarotti is on stage. In Act Three he throws a ferocious curse at Lucia, and while the audience gives a generous reception to Sills’s Mad Scene, Pavarotti’s intense rendition of “Frà poco me ricovero” audibly brings the house down. House baritone Roberto Banuelas is a strong Enrico, his voice picking up tenor-like qualities on the high notes. The recording is a good document of the live performance, with a helpful track list.”
Powerful and Passionate!
“As usual wth Jurinac she manages to generate a thrilling power in the entire cast which, being live here, creates great theatre. At the same time this is a very musical performance. All we need now is the 1969 Florence, Maggio Musicale performance which must surely be lurking somewhere given the cast: Mehta, Jurinac, King in Strehler’s unforgettable production.”
Wonderful Keepsake!
“Wonderful to have this record of some great voices (British and otherwise) from the ‘70s. Hope Opera Depot is soon able to make performances from the ‘80s available to us too. Performance recordings have an energy that most studio recordings just can’t seem to create.”
Matey
“This is easily one of the best documents to listen to if you want to begin to grasp how large Dame Joan Sutherland's voice must have been in the opera house. Although there are a few drop outs (the overture is altogether missing, the first duet is mostly but not fully there, and the opera ends very abruptly due to the last few minutes not being there) and a few talkative audience members, this is absolutely perfect. The blend of Horne and Sutherland is supreme, and to hear them both sing this in their prime is truly amazing. The tenor also has quite a flexible voice and handles some of that coloratura very well!Ultimately, a very big recommendation on my part!”
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.”
Marvellous Rossini
“Possibly one of the best things of the many highlights of my Operadepot collection. I rediscovered Bonisolli here thanks to Andy and he sings up a storm in this, as do the others. Caballé is in fine form and on her best behaviour too, with needle-sharp coloratura, fabulous legato, her trademark breath control and gorgeous tone. Altogether a thrilling performance and one I would encourage any bel canto lover to have.”
Fiery "Tannhäuser" from La Scala
“Passionately conducted (albeit in the Dresden version) by Wolfgang Sawallish, this performance grips one from first to last. Hans Beirer was having a good night, sounding much younger than his 57 years. His interpretation is, for my ears, one of the best ever committed to top. Victor Braun's sound has a pronounced grain to it, but this does not prevent him from purveying a wise Wolfram, one who takes some of the starchiness out of "Black ich usher." Sung in magnificent, opalescent tones, Sent Jurinac makes for a very strong Elisabeth: almost too much so. It's a little difficult to imagine this substantive a woman wasting away over Tannhauser. Martti Talvela brings both tonal opulence and verbal acuity to the Landgraf (unlike, say, Josef Greindl, who succeeded *despite* his voice). Too briefly heard, Janis Martin is a fresh and alluring Venus, while Carol Malone is a capital Shepherd and Konrad Peitzke's thoroughly disagreeable Biterolf stands among the minnesingers. The sound is good broadcast mono.”
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!”
Patrick McCabe
“I have been comparing this to my Decca Fanciulla with Tebaldi, del Monaco etc. and Bonisolli's 1982 Berlin with Dimitrova, and boy does it compare favourably.You would not use Fanciulla to introduce a beginner to Opera,but to an experienced Buff this is really something. The sound on this recording is amazing, in fact it would pass for a Studio recording.This is my first experience of Neblett, and while not having the vocal heft of Tebaldi or Dimitrova, she still does a super job on a very taxing role. The clarity of the voice is striking.I am an unashamed Bonisolli admirer and he does not disappoint here and is in great voice.I have played the cabin scene again and again since I got it and what about Ch'ella mi creda.My old favourite Guelfi at 52 was showing signs of vocal wear and tear but still brings off Rance convincingly. All the supporting roles are ably filled and Varviso keeps the Vienna forces moving at a nice pace. Want a great Fanciulla ?. Get this!!.”
A Nilsson, you mustn´t miss ...
“... and there is not so much to add to this recording, it´s just one of the greatest (ever) sopranos in an exceptionally good performance ... and Ulfung adds sth like "another" - let´s say: nuanced - aspect to the role her Mario. I really love this rendition since I recorded it in 2018 from a broadcast of P2, Swedish radio, for Nilsson´s sake in the first place and for Saeden´s part as Scarpia, which leads to one of the best 2nd acts.Get it, where you can, preferably here at OperaDepot :-) and while you can, before it vanishes again in the void of highly praised and hard to get rarities.”
Best Meistersinger
“The best version of this opera available. The sound is excellent stereo, as good as a studio recording. Kubelik's direction is perfect, and each singer is perfect for his role. Janowitz and Konya are probably the best on record, and Stewart, Unger, Crass, and Hemsley all give top tier performances. The quintet is a real highlight.Thanks to Opera Depot for making this hard-to-find performance available!”
As always, excellent and reliable Seller: definitely recommended for the highest artistic quality.
“This beautiful performance of M° Donizetti’s «Lucrezia Borgia» (a wonderful and elegant Opera) is distinguished for no less than four reasons: first of all, the artistic, musical and vocal concertation and orchestral conduction by M° Julius Rudel, very competent about the interpretative practices of Italian Early Nineteenth-Century Operas; then, naturally, the very intense and florid interpretation by Mme Sills, whose embellishments are precious and in style (less, the high notes at the end of the musical numbers); the very valuable rendering of the not easy role of Gennaro by M° Henry Price, each time incisive, pathetic and soft-tone; and the appropriate choice of a Bass-Baryton for the role of Duke Alfonso, the valent M° Adib Fazah. In particular, a very intelligent support is offered by M° Rudel to Mme Susanne Marsee, an high mezzo-soprano in the role of Maffio Orsini (written for the contralto Mme Marietta Brambilla). To “compensate” for the little cuts in the performance (cuts which are always a pity), at the end of the recording there are five bright cadeaux of the Belcanto Art of Mme Sills: three numbers from M° Donizetti’s «Lucia di Lammermoor», and two from M° Bellini’s «I Puritani», both recorded live in 1972 (San Francisco, Philadelphia). All very remarkable artistic achievements, definitely recommended also for the quality of the sound.”
So glad I purchased this!
“This is one of the best performances of Das Rheingold I've heard! The entire cast is first rate, even the small parts (including one of the most memborable Froh's ever in Han Hopf). I've never been a huge fan of Theo Adam, but here his characteristic wobble is almost wholely absent. And, as Andy mentioned above, it's a real treat to hear him spar with Stolze's characterful Loge, instead of the dull demi-god Windgassen gave us. Klobucar was new to me, but he gives a juicy, red meat performance of the score. The sound is also excellent, and so far I've only listened to the mp3. Highly recommended!”
A later Requiem
“I was lucky enough to hear Jessye Norman many times at the Edinburgh International Festival. A majorly highlight was the Requiem by Verdi. The cast was led by Abbado and included Margaret Price in the soprano role, Jessye Norman on the mezzo role and we also had Carreras and Raimondi! Now, please find that recording!”
Great that you share this recording
“Wonderful! Especially as I created editions of Kozub and Watson with the Hamberger Archiv für Gesangskunst in the past. At this time this great recording that was completely missing. Best greetings! T.”
Dunn IS Dalila
“Mignon Dunn is stunning in this performance, sings it like a movie star part, deep, rich, immediate! Tucker is a very great Samson! There's nothing to quibble about here and of all the Samson and Dalilas out there, this is perhaps the strongest, even better than the much-lauded Rita Gorr and Vickers. OK, not the greatest opera ever, but if you want to hear what this old warhorse SHOULD sound like, this is the recording for you.”
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.”
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).”
