Opera CDs and MP3s of live performances

Enchanting Performance of a Bittersweet Opera!

“Everything clicks in this performance of La Rondine, an opera that until the last 25 years was only rarely heard. With its bittersweet ending and romantic, tuneful score Rondine is unlike a lot of Puccini's other scores. He wanted to compose an operetta and he did - sort of. I'm glad this recording uses his preferred ending without the silly suicide imposed on it more recently by a misguided Marta Domingo.Carteri is enchanting as Magda; it's completely believable that the men are besotted by her. She makes specific choices in her phrasing and singing, allowing Puccini to make his points without imposing on them. Gismondo does not have the most melting of voices, but he phrases intelligently and with such passion without going overboard as some tenors do at the end. Sinimberghi and Rovero are charming as the secondary couple and Valdengo makes his mark as Magda's sugar daddy Rambaldo. The native Italian cast all assist with excellent diction. Bellezza knows this music intimately and assists his singers without crushing them. The sound is also very good with no glitches that I heard.Highly recommended.”

Martin Ramor

“Nice conducting, very good singers. Kmentt, Dernesh, Bailey and Ridderbusch really excellent. There are some interesting singers and known names also in small roles: Rundgren as Nightwatchman, Esser as David, Kollo as Vogelgesang, Johns as Moser, Nienstedt as Kothner and Feiersinger as Zorn.”

So excited to see this here!

“I was so thrilled to see this recording become available on OperaDepot. I've been a fan of this recording for several years, having stumbled upon this on YouTube. Caballé delivers a truly out of this world performance and I can only imagine what it was like to be in the audience for this. Thank you again for brining this gem to us!”

Olivero Leads a Terrific Performance!

“The opening music of Fanciulla always makes me think of those old Westerns from the 30's and 40's; one can almost picture the opening credits: The Girl of the Golden West starring Magda Olivero! Olivero is magnificent. The voice is in great shape and she never flinches from any of Minnie's vocal challenges. The top Cs and Bs pour out like liquid gold. Some might insist she's over the top, but this isn't Mozart. Her hair-under-the-arms response to the drama is completely convincing because she so passionately believes in the character and her dilemma. No wonder the audience goes crazy!Limarilli and Puglisi give it right back to her, both vocally and dramatically. Limarilli was taken for granted in his day, but his ringing, Italianate, handsome voice would be cause for rejoicing today. He also has excellent diction ( really the entire cast does). Puglisi was considered a second or third stringer in his day too. Yet he commands the stage and is a worthy foil to his leading lady.Basile directs a thoroughly enjoyable, exciting performance assisted by the many excellent comprimarios in the cast. The sound is very clear broadcast mono. Olivero fans and, perhaps more importantly, Fanciulla fans should not hesitate to get this!”

A Dynamic Duo + One

“I saw GIlda Cruz-Romo and Mignon Dunn several times (together and separately) in the 1970s and early 1980s at the Metropolitan Opera in New York and at the Teatro de Bellas Artes in Mexico City. I only saw them together with Carlo Bergonzi once, Aida at the Met in November, 1978. That was a fabulous evening. This performance is even better. Mackerras has a better grasp of the score than Patane, the conductor of the Met performance, and the soloists were all in better voice. I was always fond of Dunn's Amneris and it is displayed here in its full-throated glory. Cruz-Romo remains one of my favorite Verdi sopranos and it is such a shame that much lesser sopranos made dozens of mediocre studio recordings during the height of her career. Bergonzi is always an elegant singer, though incapable of communicating the drama of the moment in the same dynamic way Cruz-Romo and Dunn were able to do. No matter; his voice was still capable of producing the beautiful tone and line for which he was justly famous. The sound is better than most live broadcasts of the era. All in all an excellent performance.”

Another memorable Parsifal from Kna!

“Hans Knappertsbusch owned the Bayreuth Parsifal podium following the post-war reopening of the Festspielhaus. This is another first-rate performance demonstrating his attention to detail in each bar along with his grasp of Wagner's extended dramatic paragraphs. Yes, the overall timing is slow compared to later versions, but the incandescent beauty of the score is well conveyed. Windgassen is slightly more baritonal than one would expect from his forays as Siegfried, he has the part thoroughly under control, and he injects true drama into his portrayal. Mödl is a strong yet feminine Kundry - the hysterical pain of her 2nd Act cry of lachte is heart-wrenching. Hans Hotter's Amfortas is spectacular, beautifully sung, acted with conviction. Compared to his usual granitic bass turns as Hagen and Hunding, Greindl is a warm and sympathetic Gurnemanz, lyrical in the Karfreitag scene. Neidlinger, as always, clearly conveys Klingsor's malice and self-loathing. The recording is very good: the microphone placing was most fortunate in capturing both singers and orchestra in good 1954 mono sound, and the mastering for CD is excellent. Even if you have other Parsifals in your collection, this release is definitely worth exploring. Highly recommended.”

Richard Inverne

“The extracts sound much more gutsy and involving than the rather unemotional and uninteresting performances from TV (1983, was it?), which were filmed without audience. However, perhaps a pity to lose the Siegfried (in both operas, I think) of Manfred Jung. Although less starry than Thomas and Kollo, Jung rose to the occasion and presented a fantastic hero.”

Bella figlia

“Opera Depot has released a 1973, performance of “Rigoletto” from the Philadelphia Lyric Opera Company. Featured are Peter Glossop, Luciano Pavarotti, and Patricia Brooks, as well as Susanne Marsee as Maddalena. Anton Guadagno conducts a brisk, exciting account.Glossop was a true singing-actor, and while he is vocally taxed by the difficult assignment, he is expressive throughout. Pavarotti is in resplendent voice, and the role of the Duke of Mantua was arguably his finest.The under-recorded Brooks is an exquisite Gilda, even if a few interpolated high-notes go awry. Marsee’s definitive Maddalena was preserved at least four times, all of which have their decided merits.First was the present “Rigoletto.” Miss Marsee amusingly recalls her only production opposite the famous tenor: “I remember it very well. Luciano flew in at the last moment and wasn’t happy with his voice that night, so he hid behind me whenever he could. He was fabulous and I wasn’t large enough to shield him.”Later that year, Marsee sang the masterpiece at the New York City Opera, opposite Louis Quilico, José Carreras, and Patricia Wise, which was recorded, though never released on CD. In 1977, the mezzo-soprano sang the role for the only stage appearances of the great Beverly Sills as Gilda, for the Opera Company of Boston, conducted by Sarah Caldwell. That performance is gripping. In 1988, Miss Marsee was televised in this opera from the City Opera.”

Great Parsifal

“I loved this performance. Most of the cast we’re familiar to me from other performances at Bayreuth conducted by Boulez but Christa Ludwig’s Kundry was something new. She certainly shows how it should be done. Thrilling singing and, as always, technically so secure.Crass as usual delivers a beautifully sung Gurnemanz. Thomas Stewart and James King both repeat their exemplary performances. I loved especially Nienstedt as Klingsor. This part does seem to bring out the best in many singers. Boulez leads a faster Parsifal than most, something I like. Highly recommended performance.”

Very interesting recordings

“I bought these recordings because I love Varnay and Moedl. I have never had doubts about Varnay, it looks like when she went on the stage she calculated all the notes she was able to sing. The most interesting for me was Martha Moedl in Gotterdammerung. Her last recording of this opera was in 1955, she finished singing Kundri on Parsifal in 1959. After this period she sung some mothers, nurses, dutchess... I was astonished to find this recording from 1966. Moedl is very recognizable here, sometimes she can't reach some notes, but she is in wonderful voice in some scenes, like: Altgewohntes Gerauch, wedding scene, Sweight eures Jammers... We should understand that to sing Brunnhilde in Gotterdammerung is not as to do it in Walkure. I noticed that Blitzend Gewolk is one of difficult scenes in Gotterdammerung for her, here she did it masterly. So I can't recommend it if you want to listen to clear sound and accurate singing. But if you know who Martha Moedl was, if you remember that she "lived" in Walhalla it'll be the right choice.”

Pavel Reyes

“I absolutely adored this performance. Silja was just amazing as Lulu and Bohm' conducting is heavenly! Overall this particular performance is just superb and the singing top down is unsurpassed. I didn't know such recording is around. Opera Depot has been my source of amazing hard to find opera performances. Their catalog is to die for and the search engine is good. Thanks to Opera Depot opera history will never be forgotten and has also allowed a new generation to discover great opera.”

Strauss: Elektra - Nilsson, Bjoner, Varnay, Esser, Crass; Sawallisch. München, 1972

“Die Wiedergabequalität ist sehr schlecht und nur wenn man unbedingt nostalgische Gefühle hegt sollte man die Aufnahme kaufen. Das Sängerensemble ist ein Traum mit den besten Solisten dieser Zeit (1972). Nilsson und Varnay gibt es mit besserer Qualität zu hören.----------------------------------------------------------------The reproduction quality is very poor and you should only buy the recording if you have nostalgic feelings. The ensemble of singers is a dream with the best soloists of the time (1972). Nilsson and Varnay can be heard in better quality.”

David Fetz

“This is truly a fine performance of an oft neglected Masterpiece of Stravinsky.Peter Pears is at his best and Martha sounds great too. The chorus and orchestra are also very fine. The all male Chorus plays a pivital part in this opera and needs to be top notch. It is not an easy Opera to put together. I have had the pleasure of singing in the chorus for a productin and It is very challenging, But also very rewarding once you get it under your belt. I was surprised at the casting of Pears in the lead as most of the productions that I’ve heard have had a more spinto tenor cast as Oedipus. I realy like the more lyric sound of Pears voice in the roll. It works Very Well. The sound quality is really great for a recording of that vintage. Thanks for an excellent addition to my Opera library.”

Performance très belle

“Je connaissais déjà l'enregistrement du 3eme act de Die Walküre par Karajan et Astrid Varnay; cet enregistrement que j'ai acheté est vraiment beau et ce Ring donne des frissons plus que l'enregistrement en studio. Je l'ai beaucoup apprécié.”

Anonymous

“recording date: 17 Feb, 1959venue: Tokyo Takarazuka Theatre (東京宝塚劇場)b/w TV broadcast version with low image quality of this performance is also available.I'd say that February 1959 was literally "their finest hour" to lovers of Italian opera in Japan. Almost every day of the month, audience in Tokyo was given a golden opportunity to fully enjoy not only this Carmen but also L'elisir d'amore, La traviata, La Bohème or legendary Otello with the casts of Italian singers Dream Team including Del Monaco and Gobbi.Del Monaco came to very far Japan by sea(!) because of his flight phobia, and sang each five performances of Otello and Carmen during his first Japan tour. Simionato appeared on the stages in Japan as Amneris(1956 & '61), Cherubino('56), Carmen('59), Santuzza('61), Azucena in Il trovatore('63) and Rosina in Il barbiere di Siviglia('63).”

1957

“In fact, a few years after the opera's premiere, Rossini created a version for a baritone Iago, and that became the most frequently performed version for the rest of the 19th century. So, if this recording uses Rossini's version (I have no way of knowing), there's nothing inauthentic about the baritone Iago. However, to enjoy this--and I do recommend it--you really do have to be prepared for what it is: the goal in 1957, when this opera was totally unknown, appears to have been to do whatever it took to present as much of the opera's best music as possible, while cutting as much as possible of everything else. This includes some drastic and musically unnatural resequencing and even the transfer of some music from one character to another. Recitativo is cut to the barest of minimums. As a result, the flow and pacing of scenes is sometimes quite different from what Rossini had in mind, and at times the opera also becomes dramatically odd--for example, this version ends abruptly with the murder of Desdemona. In addition, the overall feel of the performance emphasizes passion over grace, so this becomes a very Verdian take on Rossini's music. All of this said, though, if you can accept it for what it is, and forget about what it isn't, this is really a quite wonderful performance.”

A fantastic performance with enjoyable (at least not objectionable) sound.

“Before buying this recording from Andy I was terrified of dismal sound for this opening performance of the new Bayreuth Ring. The sound is actually quite good, much better than I had heard on other releases, including the old Melodram LPs. Well, not great, but full enough to enjoy the performance without thinking about its limitations. The anvils are fantastic, better than in 1953 with Keilberth and Krauss, and of course infinitely superior to the stupid Theremin electronic sounds that Wieland Wagner substituted starting in 1955. Poor grandfather turning in his grave: Richard had taken great care annotating the anvil chorus in the score. (Not unrelated is the odious Theremin also substituting for the Parsifal Bells). For those opera lovers who value the younger Karajan in all his energy, passion, and monomaniacal devotion to dramatic flow, this is a monumental recording. Things got out of hand later, when Herbert took control of mixing the sound of his recordings and muddied up the spontaneity of his live performances. Curious bit: Fricka had to learn her role in 24 hours because the original singer went to hospital. Ira Malaniuk does a great job despite some false entrances. Highly recommended.”

Solid

“So nice to hear a young, healthy, bright voice singing the title role in Elektra rather than an old, heavy, dull, wobbly one. Silja here reminds me of Inge Borkh who is just a ferocious Elektra. Very pleasantly surprised by Berit Lindholm's Chrysothemis. I had never heard her before, and Elektra is notoriously difficult to cast with its two dramatic soprano roles. This pair made a fine ensemble.Be forewarned that there's a little distortion at the very beginning, on Klytämnestra's hishest notes, and a little bauble in the Recognition Scene. Otherwise the sound is very good to excellent. A nice live Elektra for your collection.”

Erwin Wohlfahrt!! (Mime)

“Erwin Wohlfahrt is so utterly fantastically great as Mime. He plays the part sincerely, not like a caricature, and besides the usual harsh Mime-sound he puts an unusual touch of honest sweetness into his voice. The reason he never became a household name is he died (of cancer, I think, although I can't seem to find the cause of death now) two years after this performance, when he was thirty-six years old. (Yes, you read that right: you are listening to him singing Mime at age thirty-four.)You can hear him as Pedrillo, and, if you search a bit, as the Maler in LULU. He's on blurry b-&-w video (on YouTube) as David, with Windgassen as Walther and Greindl as Sachs.”

Worth it for Vickers alone!

“Since this is the only recording of Lucretia I've heard, it is hard to be critical. Vickers is great, and the others very good, but what stands out most is Britten's brilliant music!”

something to add to my previous comment

“I posted a comment while I was still on vacation, and since then I have the recording and have listened to it. It's interesting to compare the recording to my memory (albeit from almost sixty years ago) of the performance. At the performance Souzay and the young Horne were definitely received by the audience as "stars", and Valletti was an also-ran, despite the elegance of his performance. The large hall (the pre-remodeled Northrup Auditorium at the University of Minnesota, where the orchestra played before its present hall was built) was not kind to him and his voice simply didn't have the presence in the room that Horne's and Souzay's did. Souzay also had a more flamboyant performance personality going for him, quite suitable to the Devil, and was clearly having a lot of fun--the Devil always has so much fun! It's interesting that on the recording Valetti (for me) comes off far the best, and Souzay's personality (and even some of his voice) doesn't come across, at least compared to my memory of the performance. To whomever did this recording, many thanks (and to Opera Depot). I was young and full of eagerness, and to get to sing in the chorus on stage with these soloists and orchestra was wonderfully exciting, and a strong experience in my then very young musical life. I had no idea the performance existed in a recording, and it's a real treasure for me to have.”

Wonderful Gluck

“I love this recording. I was expecting something rather old-fashioned and perhaps rather heavy, but in fact Kleiber conducts with great pace and energy, and the dances go at an incredible lick! For a performance given over 80 years ago it sounds remarkably up-to-date to me. Konetzni is great in the title role, passionate and moving with some glorious top notes. The rest of the cast does a good job too, and I think the quality of the recording is good for 1937.”

Another brilliant Parsifal from Knappertsbusch

“Bayreuth's casting from the early 60s was stellar, and Knappertsbusch owned "Parsifal." The commercially available 1962 recording in stereo is a must-have, and this recording from two years later is outstanding. Excellent conducting, sensitive vocal soloists, and wonderful sound.”

Ok

“Poor Virginia was struggling. Maybe it was the first time she sang the role of Alzira. Everyone else good and even her many times as well. Not always struggling. A very nice opera that should be performed much more often.”

The Real Deal!

“The audio quality is surprisingly good for the 1957 (or so) time period. The excellent mostly Italian cast perform with an Italian vocal technique that I don’t hear enough of in today’s vocal techniques— a certain body and heart connection and parlato that convey a deeper passion. I also like that the CDS are packaged with the color photo and cast list. In learning one of the main roles for an Italian performance, this CD is a tremendous help. Grazie!”

A great, incisive, dramatic Parsifal

“One can’t have too many recordings of Parsifal sung by Jon Vickers. He gave extraordinarily intense and elemental performances of the title role, and this one is as interesting as those under Knappertsbusch and Goodall. This recording also provides a better ambience for Kurt Moll’s great Gurnemanz (the other main role) than does Karajan’s somewhat uneven and somnolent studio job. The French cast-members and the Paris Opera orchestra and chorus acquit themselves very well and help to make the overall sound warmer and less Germanic than usual. This superbly played, sung and conducted performance is considerably faster and more dramatic than the great Parsifal recordings conducted by Knappertsbusch, Goodall, Solti and Kempe, who focus more on incandescence and spirituality. It is closer to the approaches associated with Boulez and Armin Jordan, but is less hard-driven. To considerable degrees, like Barenboim and Philippe Jordan, Horst Stein manages to heighten both drama and spirituality. Although he was long underrated, videos and non-commercial recordings (including those on OD) have been gradually redressing that. This recording is well worth hearing for refreshing variety of sound and approach, and both the performance and the sound quality are excellent.”

Jeffrey Kurnit

“This is just what I expected, a gorgeously sung but strange edition of the score. There are numerous cuts and several passages that I can't identify, but the performance trumps all such issues.”

Wonderful Mefistofele

“This is a wonderful performance. The sound is good, the musical performance is full and exciting under Argeo Quadri, and the 4 leading roles are well taken. Hayashi is lovely as Elena, Chiara is a very communicative, involved performer and it is nice to have more than is commercially available from her. Buzea is a solid Faust and Ghiaurov is superb as Mefistofele. This was caught at the height of his vocal powers. Excellent!”

EXCEPTIONAL MUST HEAR/BUY

“If this had been around when I bought my first recording back in the early 1970s (Bohm's recorded in 1966 in Bayreuth) I doubt I would ever have felt a need to seek out any other recordings. It is a truly magnificent performance. I read recently that Kleiber spent much time before the initial run in 1974 studying the score in minute detail as well as exploring every aspect of the Bayreuth Festspielhaus familiarising himself with the sound of the place. It shows. Act 2 has a miraculous stillness to it contrasting the amazing tension in Act 1 and the desperation in Act 3. Wenkof in Act 3 is unequalled by anyone anywhere and Ligendza unleashes a gloriously full, bright, unforced sound in the Liebestod. It's a must have.”

LA RONDINE - Portland 1971

“This previously unknown recording is a most welcome addition to the list of recordings of LA RONDINE. Mary Costa brings superb vocalism and perfectly expresses Magda's changing emotions. Ruggero is sung by Giuseppe Campora, in particularly strong voice. The rest of the cast is quite good, also the pacing. This must have been a joy to watch.”

Andrea Chenier

“Excellent. I'm particularly saddened that I never heard Magda Olivero in my early opera going days. I always bracket this opera with Andrea Chenier - to which it is much superior - and perhaps that opera was really Corelli's forté. Bastianini is, as ever, a delight to hear.”

Great voices live in your living room!

“This is a must have if you love Bellini and great singing. Sound quality is fine.Packaging is slick and not bulky leaving room in my cabine for more,I wish some of my other “live” recordings I’ve purchased from other vendors were as great as this!”

Jeffrey Ouellette

“Corelli, Tebaldi, Bastianini are titans! Just as heroic is conductor Lovro von Matacic. Relish the cameos of Elisabeth Hoengen and Hilde Konetzni, but be sure to hear each of these prima donnas elsewhere in her prime. Viva Giordano! Sound excellent.”

Bel Canto Fan

“One of the best 'Barber' recordings I have heard. The leads are all Italian and it shows. Very fluent at, I think, a faster tempo than usual. The whole cast is very good, with Cossotto really shining and Alva at his best, The sound is excellent. A good choice for anyone.”

James Mertins

“I saw every one of these performances, the best singer on the stage was Howell, ever word heard and superbly sung. Luxon was always a singer of great note but, for me certainly at the Garden and the Coliseum never came over like he did in the smaller houses, it was really a pity that he went deaf. Kiri is very good but Cotrubas even in English got to the heart of the role.”

Stunning singing & drama

“Would advise referring to the website description, which is spot on. This is an excellent recording, full of drama and beautiful, clear singing. Rinaldi and Pavarotti are superb, both technically and dramatically. Their 'Parigi, o cara' is pared back to create a wonderfully intimate rendition. Taddei is also good, subtle and compassionate as the description mentions. I enjoyed the conducting from Guarnieri. You could feel the drama behind the music in the tempi, every now and again slowing towards the end of a phrase reflecting Violetta's gradual tiredness and decline. At some of the bigger parts/ensembles, others would take the pace much faster to the climaxes, and at first I had felt it was a bit too slow - until you could hear the clarity of the vocal lines and words come through (not being swamped by the orchestra). The missing sections as mentioned are the only disappointment, particularly the end of 'Sempre Libera' as the rest of the aria is fantastic, and you wanted to hear the audience's rightful appreciation of her fantastic performance.”

I saw this!

“I haven’t listened to the recording, but I saw this live at NYCO and was blown away! Very early in my opera career, so the piece was unknown to me but I loved it. Also saw Sills and Treigle in Giulio Cesare in the same college spring break week - amazing!”

Femmes folles

“16 Avril 1975 J'y étais Soirée en présence de Giscard et Walter Scheel marquée par une panne électrique au beau milieu (la radio a dû faire un montage) . Les 3 dames sont en forme exceptionnelle, Nilsson plus fouillée que dans les années 60, Rysanek et Varnay ont marqué leurs rôles à jamais . Böhm toujours chez lui dans cette oeuvre estimait avoir ici sa meilleure distribution .”

An ELEKTRA in which vengeance wields beauty, courtesy of Brenda Roberts

“By any standard, performing Richard Strauss’s ELEKTRA is a formidable challenge for singers, conductors, and musicians; a challenge that defeats many artists.Not only did singing the daunting title rôle in ELEKTRA not defeat American dramatic soprano Brenda Roberts, but she actually sounds in this Hamburg performance, here available in fine sound, as though singing this music required no more effort than reciting lines from Hofmannsthal’s libretto. The dramatic immediacy of her performance of Elektra's opening monologue never distorts the firm core of her tone, which is secure to the top C. Frustration and anger explode in her scenes with Chrysothemis and Klytämnestra, sung with intelligence and musicality by Arlene Saunders and Martha Mödl. Greeting Tom Krause’s Orest, tenderness floods Roberts’s voice and demeanor. Roberts lends Elektra emotional intensity, youthfulness, and sensuality, whilst singing with astonishing assurance.If you do not know Horst Stein’s work, his leadership of this ELEKTRA may compel you to question the depth of your familiarity with the best Strauss conducting of the 20th Century. With a singer of Roberts’s capabilities in the name part, many conductors might be tempted to push a performance of ELEKTRA too hard, but Stein supports the singers with eloquence.ELEKTRA is a violent score, but there is much beauty waiting to be discovered by those who seek it. In this performance, Roberts and her colleagues make that beauty uncommonly accessible.”

Concert

“Karajan them was chief conductor of Wiener Symphoniker and had a cycle in the Musikverein. Thus, some operas were performed at Musikverein instead of Theater an der Wien or (yet not reopened) Staatsoper. As far as I know, also Aida and Carmen were performed in that setting.”

Wonderful

“This is a superb performance in excellent sound. I tend to agree that Windgassen sounds rather narrow of tone next to Nilsson but he's honest and often moving. Kerstin Meyer, of whom I had no clear impression before, sings most beautifully as Brangäne and Nilsson is extraordinary. We think of her as shining steel but as her auto-biography proudly states, Wieland Wagner thought that she was "the loving Isolde" and that is what we have here: yes, there is fury in Act One but also an underlying tenderness and pain and the final note of the Liebestod (approached without a breath) has to be heard to be believe. Compulsive conducting from Böhm that sweeps you through an epic journey. Wonderful.”

Barry Allen

“Margaret Harshaw was on the voice factulty at Indiana University when I was a student. I heard her do Kundry and Brunhilda at IU. Recently, the Met on satellite broadcast the TRISTAN she did in’58. There was an abriviated version of Walkure with Harshaw that is excellent. It’s probably in domain and someone should put it out on CD. I did not know Madame Harshaw but I saw her all the time on campus. The day Svanholm died, someone who knew Harshaw told me that she was devastated by the news. Don’t let Margaret Harshaw be forgotten. Grab one of her live performances.”

full cast list

“RICHARD STRAUSS(1864 – 1949)Der RosenkavalierKomödie für Musik von Hugo von Hofmannsthal. Opus 59Die Feldmarschallin, Fürstin Werdenberg ∙ Christa LudwigOctavian, ein junger Herr aus großem Haus ∙ Yvonne MintonDer Baron Ochs auf Lerchenau ∙ Hans SotinHerr von Faninal, ein reicher Neugeadelter ∙ Raymond WolanskySophie, seine Tochter ∙ Lucia PoppJungfer Marianne Leitmetzerin, die Duenna ∙ Janine BoulogneValzacchi, ein Intrigant ∙ Michel SénéchalAnnina, seine Begleiterin ∙ Jane BerbiéDer Haushofmeister bei der Feldmarschallin ∙ Michel PhilippeDer Haushofmeister bei Faninal ∙ Robert DuméEin Sänger ∙ Alain VanzoEin Notar ∙ Jean-Louis SoumagnasEin Wirt ∙ Jacques Loreau Ein Polizeikommissar ∙ Fernand DumontEine Modistin ∙ Janine Cadet Ein Tierhändler ∙ Mario AgnettiDrei adelige Waisen ∙ Marie-Thérèse Dietzer │ Annick Dutertre │ Gisèle OryLakaien der Marschallin ∙ Michel Marimpouy │ Jean Deguara │ Jean-Jacques Nadaud │ Paul ThoronEin Hausknecht ∙ Jean RalloChœurs de l’Opéra national de ParisChef des chœurs ∙ Jean Laforge Orchestre du Théâtre national de l’Opéra de ParisHORST STEINMise en scène ∙ Rudolf SteinböckPalais Garnier ∙ Paris ∙ le 31 janvier 1976”

JÁNOS KÁDÁR

“Though the poorer sound this performance can match with the famous Callas/diStefano/Gobbi/de Sabata commercial record. Di Stefano is incredible, he is simply the best Cavaradossi for ever. His "E lucevan le Stelle" is unmatched (and the repetition is more beautiful). Taddei is terrifying as Scarpia. Tebaldi is also very good in one of her most famous roles but I find Callas or Kabaivanska better. Modesti is the best Angelotti I have ever heard, I think he is a luxury in this role. But the biggest surprise for me was the conducting of de Fabritiis.He is a little underrated conductor though he made very good records in the past (e.g. a lot of complete operas with Gigli, among them the famous Tosca with Caniglia and Armando Borgioli). He leads the orchestra masterful presenting us a very exciting performance.”

What an amazing gift!!!

“I know it was a purchase, but being able to buy performances of singers that I have looked up to ever since I began my career, meant so much to me. Hearing James King sing Don Jose, or Wolfgang Windgassen sing Florestan made me cry. I am so thankful that you are here!!”

Wonderful performance of a wonderful opera

“Ileana Cotrubas was one of the first singers I discovered when I first started listening to opera as a teenager. My love for her has only grown over the years. Because of her, I purchased Pritchard’s commercial recording of “L’elisir d’amore” shortly after it was released. It remains my favorite recording of one of my favorite operas. I have known for years that the recording was based on a Covent Garden production with the same cast except Domingo for Carerras. I was thrilled to learn there was a recording of a live performance of this production and couldn’t wait until it was released! Although the recording was made by someone in the audience, anyone who is used to these “pirate” recordings should have no trouble with the sound quality. There is minimal audience conversation, and only during the applause. My only disappointment is that the sound becomes more recessed at the beginning of “Prendi per me” lasting until the end of the opera, but it’s still very listenable. I agree with everything in the description about the singers and the performance. Highly recommended.”

TWO MAHLER GREAT PERFORMANCES

“Two great performances of Gustav Mahler's masterpieces "Das Lied von der Erde" and "Lieder eines fahrenden Gesellen". If Rita Gorr's deep and opulent mezzo-soprano voice is no longer a surprise (she was in her prime then), the great surprise is Kenneth MacDonald's fine tenor voice who matches hers. A highly recommendable live recording! Thank you very much, dear friend Andy and Thank you very much, dear friends at Opera Depot!”

One for the history books

“Captured in breathtaking stereo sound, this is almost the best performance of Adriana on CD. One says almost because of the presence of the epoch-making Olivero/Simionato/Corelli/Bastianini account (OD 10490). However, the closest one can come to making a knock on this Tokyo transmission is that the NHK Symphony is clearly not conversant with Cilea's idiom, as some watery brass playing and frayed string entries suggest. Gianfranco Masini's conducting occasionally lapses into brashness but it is mostly *con amore* for a score that responds to tender, loving care.If you didn't think Montserrat Caballé was a fine singing actress, this performance (and any of her Salomes) ought to change your mind. She not only spins the most beautiful tone imaginable, it always in the service of characterization, while her 'Fedra' recitation is up there with the best of them. She is ideally partnered with José Carreras, a perfect Maurizio. As this broadcast shows, his voice was the most intrinsically beautiful of the Three Tenors in their respective primes. Fiorenza Cossotto was the go-to choice for the Princess, as you will appreciate from her vocalism here, although she gets serious scene-stealing competition from Piero de Palma's Abbé, lightning in a bottle. Last but far from least is Attilio D'Orazi's Michonnet. The baritone made a career of this role and his lovable characterization is just what the role demands. This is must-have opera.”