{"title":"My Favorite Recordings","description":"\u003cdiv class=\"od-favorites-frame\"\u003e\n\u003cdiv class=\"od-favorites-inner\"\u003e\n\u003cp class=\"od-favorites-kicker\"\u003eA Personal Selection\u003c\/p\u003e\n\u003ch2\u003e40 of my Favorite Titles\u003c\/h2\u003e\n\u003cdiv class=\"od-favorites-divider\" aria-hidden=\"true\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003eOver the years, many of you have asked me what my all-time favorite recordings are. With the catalogue now approaching 3,000 titles, I have always found that question difficult to answer.\u003c\/p\u003e\n\u003cp\u003eThis week, though, I decided to set aside some time to go through the collection and choose the performances that have stayed with me over the years. After much deliberation, I managed to narrow it down to these 50 remarkable recordings.\u003c\/p\u003e\n\u003cp\u003eI am happy to offer all of them to you this week at \u003cstrong\u003e40% off\u003c\/strong\u003e. I hope you come to love them as much as I have.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstyle\u003e\n  .od-favorites-frame {\n    max-width: 900px;\n    margin: 28px auto 40px;\n    padding: 8px;\n    border: 1px solid rgba(51, 0, 101, 0.28);\n    border-radius: 18px;\n    background: linear-gradient(\n      135deg,\n      rgba(51, 0, 101, 0.08),\n      rgba(175, 133, 29, 0.08)\n    );\n  }\n\n  .od-favorites-inner {\n    padding: clamp(28px, 5vw, 52px);\n    border: 1px solid rgba(51, 0, 101, 0.16);\n    border-radius: 12px;\n    background: #ffffff;\n    text-align: center;\n    box-shadow: 0 12px 32px rgba(30, 18, 42, 0.08);\n  }\n\n  .od-favorites-kicker {\n    margin: 0 0 10px;\n    color: #af851d;\n    font-size: 0.78rem;\n    font-weight: 700;\n    letter-spacing: 0.16em;\n    line-height: 1.4;\n    text-transform: uppercase;\n  }\n\n  .od-favorites-inner h2 {\n    margin: 0;\n    color: #330065;\n    font-family: Baskerville, \"Baskerville Old Face\", \"Times New Roman\", serif;\n    font-size: clamp(2rem, 5vw, 3.1rem);\n    font-style: italic;\n    font-weight: 400;\n    line-height: 1.08;\n  }\n\n  .od-favorites-divider {\n    width: 70px;\n    height: 2px;\n    margin: 22px auto 26px;\n    background: #af851d;\n  }\n\n  .od-favorites-inner p {\n    max-width: 700px;\n    margin: 0 auto 18px;\n    color: #29242e;\n    font-size: clamp(1rem, 2vw, 1.1rem);\n    line-height: 1.75;\n  }\n\n  .od-favorites-inner p:last-child {\n    margin-bottom: 0;\n  }\n\n  .od-favorites-inner strong {\n    color: #330065;\n    font-weight: 700;\n  }\n\n  @media screen and (max-width: 749px) {\n    .od-favorites-frame {\n      margin: 20px auto 30px;\n      padding: 5px;\n      border-radius: 14px;\n    }\n\n    .od-favorites-inner {\n      padding: 28px 20px;\n      border-radius: 10px;\n    }\n\n    .od-favorites-inner p {\n      line-height: 1.65;\n    }\n  }\n\u003c\/style\u003e","products":[{"product_id":"beethoven-fidelio-jones-king-bernstein","title":"Beethoven: Fidelio - Jones, King, Crass, Adam, Popp, Dallapozza, Nienstedt; Bernstein.  Wien, 1970","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eIn her earlier years, \u003cb\u003eGwyneth Jones\u003c\/b\u003e emerged as perhaps the ideal Leonore, capturing both the dramatic depth and classical poise required for Beethoven's only opera. Her voice—already brimming with dramatic potential—remained agile and credible within the classical repertoire, making her portrayal both powerful and authentic. Opposite her, \u003cb\u003eJames King\u003c\/b\u003e delivers a masterclass in vocal ease, his thrilling stentorian tone and effortless production lending a heroic weight to his performance. The supporting cast shines as well: \u003cb\u003eLucia Popp\u003c\/b\u003e brings a delightful energy to Marzelline, her bubbly charm perfectly offsetting the opera's weightier themes, while \u003cb\u003eFranz Crass\u003c\/b\u003e lends a warm and avuncular presence as Rocco, grounding the story with his rich bass. Under \u003cb\u003eLeonard Bernstein\u003c\/b\u003e's direction, Beethoven's monumental score soars. Bernstein highlights the work's vast emotional scope and architectural brilliance, bringing to life the triumph of love, justice, and freedom that lies at the heart of \u003ci\u003eFidelio\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eIn Stereo\u003c\/p\u003e\n\u003cp\u003eOD 10175-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292660613256,"sku":"10175-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098596228,"sku":"MP3 10175-2","price":9.95,"currency_code":"USD","in_stock":true},{"title":"FLAC","offer_id":49813958689089,"sku":null,"price":11.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/12144-2front.jpg?v=1751037175"},{"product_id":"leoncavallo-edipo-re-lormi-vaina","title":"Leoncavallo: Edipo Re - Lormi, Vaina, Vertecchi, Mazzieri; Argento.  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Musically, the score blends the emotional immediacy of verismo with the elegance and polish of the beaux-arts style, offering both glamour and soaring melody.\u003c\/p\u003e\n\u003cp\u003eFar more than a historical curiosity, this opera makes a strong case for rediscovery.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNEW MASTER:\u003c\/b\u003e\u003cbr\u003e-Clipping\/distortion removed, skips removed, track information added.\u003c\/p\u003e\n\u003cp\u003eIn Mono\u003c\/p\u003e\n\u003cp\u003eOD 10256-1\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292657959048,"sku":"10256-1","price":9.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098707460,"sku":"MP3 10256-1","price":5.95,"currency_code":"USD","in_stock":true},{"title":"FLAC","offer_id":50266050134337,"sku":"FLAC 10256-1","price":6.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10256-1front.jpg?v=1751037117"},{"product_id":"verdi-don-carlo-domingo-price-obraztsova-abbado","title":"Verdi: Don Carlo - Domingo, M. Price, Obraztsova, Bruson, Nesterenko, Roni; Abbado.  Milano, 1978","description":"\u003cdiv class=\"two-column-grid\"\u003e\n  \u003c!-- Left Column: Title, Composer, Description --\u003e\n  \u003cdiv\u003e\n    \u003ch1 class=\"title-header\"\u003eDon Carlo\u003c\/h1\u003e\n    \u003cp\u003e\u003cstrong\u003eGiuseppe Verdi (1813–1901)\u003c\/strong\u003e\u003c\/p\u003e\n    \u003chr\u003e\n    \u003ch3 class=\"section-heading\"\u003eDESCRIPTION\u003c\/h3\u003e\n    \u003cp\u003eIn the 1970s, newly rediscovered music from the Paris premiere of \u003cem\u003eDon Carlo\u003c\/em\u003e sparked a trend of presenting the opera complete — a stark contrast to earlier, heavily cut performances. During his legendary tenure at La Scala, \u003cstrong\u003eClaudio Abbado\u003c\/strong\u003e mounted this production with a cast originally slated to include \u003cstrong\u003eMirella Freni\u003c\/strong\u003e and \u003cstrong\u003eJosé Carreras\u003c\/strong\u003e. However, contractual obligations with Karajan required replacements — and what replacements they were! \u003cstrong\u003ePlácido Domingo\u003c\/strong\u003e takes on the daunting title role with remarkable energy and commitment, turning what some consider a thankless part into a gripping portrayal. \u003cstrong\u003eMargaret Price\u003c\/strong\u003e sings Elisabetta with a voice of impressive size and astonishing purity of tone, making the role feel tailor-made for her. Known for her dramatic intensity, \u003cstrong\u003eElena Obraztsova\u003c\/strong\u003e does not disappoint here; her wild, electrifying performance — especially her show-stopping \u003cem\u003e\"O Don fatale\"\u003c\/em\u003e — leaves a powerful impression. The sound is very good, though a persistent hiss is audible throughout.\u003c\/p\u003e\n    \u003chr class=\"mobile-only-hr\"\u003e\n  \u003c\/div\u003e\n\n  \u003c!-- Right Column: Cast and Details --\u003e\n  \u003cdiv\u003e\n    \u003ch3 class=\"section-heading\"\u003eCAST\u003c\/h3\u003e\n    \u003cp\u003e\n      Don Carlo – \u003cstrong\u003ePlácido Domingo\u003c\/strong\u003e\u003cbr\u003e\n      Filippo II – \u003cstrong\u003eEvgeny Nesterenko\u003c\/strong\u003e\u003cbr\u003e\n      Rodrigo – \u003cstrong\u003eRenato Bruson\u003c\/strong\u003e\u003cbr\u003e\n      Il Grande Inquisitore – \u003cstrong\u003eLuigi Roni\u003c\/strong\u003e\u003cbr\u003e\n      Un Frate – \u003cstrong\u003eGiovanni Foiani\u003c\/strong\u003e\u003cbr\u003e\n      Elisabetta di Valois – \u003cstrong\u003eMargaret Price\u003c\/strong\u003e\u003cbr\u003e\n      La principessa Eboli – \u003cstrong\u003eElena Obraztsova\u003c\/strong\u003e\u003cbr\u003e\n      Tebaldo – \u003cstrong\u003eMaria Fausta Galamini\u003c\/strong\u003e\u003cbr\u003e\n      Il Conte di Lerma – \u003cstrong\u003eGianfranco Manganotti\u003c\/strong\u003e\u003cbr\u003e\n      Un Araldo Reale – \u003cstrong\u003eFrancesca Caldara\u003c\/strong\u003e\u003cbr\u003e\n      Una voce dal cielo – \u003cstrong\u003eAntonio Savastano\u003c\/strong\u003e\u003cbr\u003e\n    \u003c\/p\u003e\n    \u003chr\u003e\n    \u003ch3 class=\"section-heading\"\u003eDETAILS\u003c\/h3\u003e\n    \u003cp\u003e\n      Location: \u003cstrong\u003eMilano\u003c\/strong\u003e\u003cbr\u003e\n      Date: \u003cstrong\u003e1978\u003c\/strong\u003e\u003cbr\u003e\n      Conductor: \u003cstrong\u003eClaudio Abbado\u003c\/strong\u003e\u003cbr\u003e\n      Catalogue Number: \u003cstrong\u003eOD 10296-3\u003c\/strong\u003e\u003cbr\u003e\n      Label: \u003cstrong\u003eOpera Depot\u003c\/strong\u003e\u003cbr\u003e\n      Number of Discs: \u003cstrong\u003e3\u003c\/strong\u003e\u003cbr\u003e\n      \u003cstrong\u003eIn Mono\u003c\/strong\u003e\u003cbr\u003e\n    \u003c\/p\u003e\n    \u003chr\u003e\n    \u003ch3 class=\"section-heading\"\u003eNOTE\u003c\/h3\u003e\n    \u003cp\u003e\n      This is the complete 5-act French version translated into Italian\n    \u003c\/p\u003e\n  \u003c\/div\u003e\n\u003c\/div\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292656582792,"sku":"10296-3","price":26.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14099093508,"sku":"MP3 10296-3","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10296-3front.jpg?v=1751651071"},{"product_id":"strauss-ariadne-auf-naxos-amara-lewis-streich-lorengar-pritchard","title":"Strauss: Ariadne auf Naxos - Amara, Lewis, Streich, Blackenburg, Lorengar; Pritchard. Glyndebourne, 1958","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eWhen I first saw the cast for this performance, I assumed it would be an oddity—one for the curiosity shelf. But as I listened, I was astonished by how much it revealed about the brilliance of this opera in ways I had never fully appreciated.\u003c\/p\u003e\n\u003cp\u003ePerhaps the most remarkable aspect of this recording is the venue itself. The old barn at Glyndebourne was one of the most intimate theaters in the world, and that intimacy is palpable here. Strauss composed this work for an orchestra of about 35 players, allowing each instrument—including every string player—a moment in the spotlight. The effect is closer to chamber music than grand opera, and the setting allows the singers to approach their roles with a Mozartian fluidity, none more so than \u003cb\u003eRichard Lewis\u003c\/b\u003e as Bacchus. A stroke of casting genius, he was still performing roles like Tamino at the time, bringing a youthful freshness to Bacchus that is almost always absent. Given that the libretto repeatedly refers to him as \u003ci\u003eder junge Gott\u003c\/i\u003e (the young god), this feels like an interpretation close to what \u003cb\u003eStrauss\u003c\/b\u003e and \u003cb\u003eHofmannsthal\u003c\/b\u003e envisioned.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLucine Amara\u003c\/b\u003e is equally compelling, with the role sitting squarely in the part of her voice where she excelled. Her impeccable sense of line and ability to spin luxurious pianissimi make a strong case for renewed appreciation of her artistry. \u003cb\u003eRita Streich\u003c\/b\u003e is utterly charming as Zerbinetta, her coloratura precise and dazzling, though one senses a touch of fatigue near the end of her aria. A young \u003cb\u003ePilar Lorengar\u003c\/b\u003e also makes an appearance in the small role of Echo.\u003c\/p\u003e\n\u003cp\u003eAt the helm is \u003cb\u003eSir John Pritchard\u003c\/b\u003e, whose leadership is nothing short of masterful. In 1958, this opera was still something of a rarity, yet his interpretation is so layered with nuance that one would think he had lived with it for decades.\u003c\/p\u003e\n\u003cp\u003eCuriously, the prologue is missing from this recording, and the Glyndebourne archives offer no clues as to whether it was performed in the original run. One indication that it may have been omitted is the inclusion—albeit in heavily cut form—of Zerbinetta’s second aria from the 1912 version, \u003ci\u003ePrinzessin! Welchen Botenlohn \u003c\/i\u003esuggesting that this was meant to present something closer to the the original version. Otherwise, the performance follows the revised edition.\u003c\/p\u003e\n\u003cp\u003eThe recording was transferred from LP, so a slight surface noise remains, but the sound is otherwise clear. A fascinating document of an intimate and revelatory \u003ci\u003eAriadne auf Naxos\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNEW MASTER\u003c\/strong\u003e\u003cbr\u003e-The previous version was almost a half-step flat. 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Both deliver their lines with crisp diction, effectively capturing the mystery and tension that permeate Bartók’s score.\u003c\/p\u003e\n\u003cp\u003eThe orchestra is the third, and perhaps most important, character in the drama, charged with creating a sense of mood and atmosphere in a way few other operas require. In this regard, \u003cb\u003ePierre Boulez\u003c\/b\u003e leads a performance that is both haunting and vividly descriptive.\u003c\/p\u003e\n\u003cp\u003eIn Stereo\u003c\/p\u003e\n\u003cp\u003eOD 10529-1\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292644524168,"sku":"10529-1","price":9.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098595140,"sku":"MP3 10529-1","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10529-1front.jpg?v=1751036854"},{"product_id":"rimsky-korsakov-le-coq-d-or-christoff-d-angelo","title":"Rimsky-Korsakov: Le Coq d'or (In Italian) - Christoff, D'Angelo, Frascati, Monacchi; Freccia.  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Her voice, while possessing great thrust, carries a fragility that makes Katerina a sympathetic figure despite her crimes. \u003cstrong\u003eCharles Craig\u003c\/strong\u003e, with his powerful tenor, showcases impressive refinement and delicacy in his singing, adding nuance to the performance.\u003c\/p\u003e\n\u003cp\u003eThe sound quality is excellent, and the singers’ diction is clear, ensuring the text is easily understood.\u003c\/p\u003e\n\u003cp\u003eOD 10628-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292639969416,"sku":"10628-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098806916,"sku":"MP3 10628-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10628-2front.jpg?v=1751036713"},{"product_id":"strauss-salome-rysanek-vickers-stewart-hesse-kempe","title":"Strauss: Salome - Rysanek, Vickers, Stewart, Hesse; Kempe.  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While his performance is filled with the requisite fire and brimstone, the beauty of his tone makes it easy to understand why Salome becomes so infatuated with him. The sound quality is excellent.\u003c\/p\u003e\n\u003cp\u003eOD 10706-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292637020296,"sku":"10706-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14099062340,"sku":"MP3 10706-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10706-2front.jpg?v=1751036618"},{"product_id":"wagner-der-ring-des-nibelungen-jones-kollo-thomas-mcintyre-hofmann-bode-boulez-bayreuth-1976","title":"Wagner: Der Ring des Nibelungen - Jones, Kollo, Thomas, McIntyre, Hofmann, Bode; Boulez.  Bayreuth, 1976","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eMy first experience with opera came when I was 3 years old. My father was watching the Chéreau \u003cem\u003eRing Cycle\u003c\/em\u003e. According to him, I went and sat on his lap and watched the whole thing with him in rapt silence. It seems fitting that I should be initiated in such a way and even though I don’t remember this experience, as I would go on to cultivate an obsession both with Wagner and with Gwyneth Jones (as many of the regulars already know.) I was beyond pleased to encounter this \u003cem\u003eRing Cycle\u003c\/em\u003e and find that on almost every front it is better than the commercial release. Pierre Boulez’s conducting is nuanced and varied favoring brisk tempi but not being afraid to slow down when the music calls for it. Gwyneth Jones is at her absolute best delivering a performance that is remarkable both for its beauty and dramatic force (and not to mention some unparalleled high Cs.) In addition there are some interesting variations including René Kollo as \"Der junge\" Siegfried, Jess Thomas as the \u003cem\u003eGötterdämmerung\u003c\/em\u003e Siegfried, Karl Ridderbusch as one of the most suave Hagens you will ever come across and Eva Randová as a wonderfully hysterical Fricka. The sound is excellent!\u003c\/p\u003e\n\u003cp\u003eOD 10750-12\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292634923144,"sku":"10750-12","price":99.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14099171332,"sku":"MP3 10750-2","price":51.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/products\/10750-12front.jpeg?v=1751036556"},{"product_id":"gluck-orphee-et-eurydice-gedda-pilou-eda-pierre","title":"Gluck: Orfeo ed Euridice (In French) - Gedda, Pilou, Eda-Pierre; Rosenthal.  Roma, 1975","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eGluck's Orpheus is a unique role within the operatic cannon in as much it has been championed by great mezzo-sopranos, counter-tenors, baritones and tenors (I can't think of an instance in which a soprano assumed the title role, but Maria Callas did record one of the finest renditions of \u003cem\u003e\"J'ai perdu mon Eurydice\"\u003c\/em\u003e I have ever come across.) This permutation finds a tenor in the lead role. And what a tenor at that! Nicolai Gedda is unflinching in face of the impressive tessitura of this role (the tenor being more or less compelled to sing in the same range as a mezzo.) The result is an Orphée that is more heroic in nature and whose ultimate despair seems all the more heightened. Gedda is well supported by Jeannette Pilou as Eurydice and Christiane Eda-Pierre. The one detriment (depending on your point of view) to this recording may be the overly romantic approach of Manuel Rosenthal, although he does get a very nice sound out of the Rai di Roma Orchestra. The sound is excellent.\u003c\/p\u003e\n\u003cp\u003eOD 10759-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292634726536,"sku":"10759-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098694340,"sku":"MP3 10759-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10759-2front.jpg?v=1751036546"},{"product_id":"wagner-die-meistersinger-von-nurnberg-bailey-byrne-curphey-hammond-stroud-goodall","title":"Wagner: Die Meistersinger von Nürnberg (In English) - Bailey, Byrne, Curphey, Hammond-Stroud; Goodall.  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Norman Bailey seems completely at ease for the entire evening and brings an avuncular warmth to the cobbler. Margaret Curphey, as Eva, brings a lush, if somewhat mature sound to the role of Eva along coupled with Girlish charm. Connell Byrne replaces Alberto Remedios as Walther. His voice is youthful and has a quality that brought to mind Windgassen. Occasionally Goodall's broad tempi get the better of him, especially in the scene where Walther and Sachs are composing the Meisterlied, but he manages to regroup and delivers a \u003cem\u003ePreislied\u003c\/em\u003e worthy of a Mastersinger. The sound is superb.\u003c\/p\u003e\n\u003cp\u003eOD 10770-4\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292634398856,"sku":"10770-4","price":34.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14099189060,"sku":"MP3 10770-4","price":18.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10770-4front.jpg?v=1751036533"},{"product_id":"gounod-faust-sills-molese-treigle-bible-rudel","title":"Gounod: Faust - Sills, Molese, Treigle, Cossa, Bible; Rudel.  1968","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eThis may be one of my all-time favorite recordings of \u003cem\u003eFaust.\u003c\/em\u003e There is a synergy between the performers, all of whom were world-class, which creates a performance that is even greater than its formidable parts. Norman Treigle was an actor of the first order and his characterization at times is so vivid that it becomes easy to overlook how beautiful his voice was. Beverly Sills is an ideal Marguerite delivering with ease both the spinto and the coloratura aspects of this role. In addition, her sensitivity to the text and music is outstanding and demonstrates why a voice, which may not have been the most beautiful, couldn't keep her from super-stardom. Michele Molese, hitherto unknown to me, is surprisingly good and actually holds his own quite well next to Sills and Treigle. In an effort to keep these description from getting too verbose, I generally don't say much about the conductor but I have to make an exception for Julius Rudel. Rudel was a true opera conductor, and every gesture seems to be motivated by the action on stage so that musical licks that could come across as sounding trite otherwise, are ripe with meaning. The sound is excellent.\u003c\/p\u003e\n\u003cp\u003eOD 10772-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292634300552,"sku":"10772-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098696004,"sku":"MP3 10772-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10772-2front.jpg?v=1751036531"},{"product_id":"wagner-tannhauser-kassel-norman-veasey-bailey-ridderbusch-davis","title":"Wagner: Tannhäuser - Kassel, Norman, Veasey, Bailey, Ridderbusch; Davis.  London, 1973","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eInitially I was drawn to this recording because of the stellar pair of leading ladies in the form of Jessye Norman as Elisabeth and Josephine Veasey as Venus, but the real reason to get this recording has nothing to do with the cast. It is a rare performance that uses the Paris revision. By 1861, \u003cem\u003eTristan und Isolde\u003c\/em\u003e and a good amount of the \u003cem\u003eRing\u003c\/em\u003e were already written and Wagner's composition style had completely veered from the rather conventional forms he embraced in 1843. The harmonies are lusher and the music just seems so much more advanced. It had been his intention to go back and revise the rest of the opera but it never came to pass which is a real pity given how much richer the Venusberg scene is after he revisited it. Norman is sensational as Elisabeth. In the 70′s her voice has all of the richness she would become known for, coupled with a remarkable security in her upper range. Josephine Veasey offers a lush and alluring Venus equally comfortable in the dramatic outbursts as in the delicate lyric singing. Wolfgang Kassel was a last minute replacement in the title roll and he gets the job done admirably (although his somewhat dowdy tone makes it is hard to see why these women would be that taken with him.) Norman Bailey and Karl Ridderbusch are also quite good as Wolfram and Landgraf. The sound is good.\u003c\/p\u003e\n\u003cp\u003eOD 10855-3\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292630368392,"sku":"10855-3","price":26.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14099254596,"sku":"MP3 10855-3","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10855-3front_9147586b-49ff-45b6-bbb6-6d58db5497ee.jpg?v=1751036422"},{"product_id":"schoenberg-moses-und-aron-lewis-robinson-jones-minton-solti","title":"Schoenberg: Moses und Aron (In English) - Lewis, Robinson, Lanigan, Kelly, Jones; Solti.  London, 1965","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003e\u003cem\u003eMoses und Aron\u003c\/em\u003e is certainly a more challenging work that \u003cem\u003eWozzeck\u003c\/em\u003e both dramatically and musically.  The music lacks the atavistic romanticism of Berg's score and the drama does not have the same kind of power.  That is not to say that this opera is any less of a satisfying experience.  The colors Schoenberg creates have an otherworldly quality much like the Rite of Spring.  For example, in the opening scene Moses is depicted speaking to God through the burning bush.  Schoenberg sets the voice of God as a six voice choir juxtaposed with a chorus of children singing in \u003cem\u003eSprechstimme\u003c\/em\u003e.  The effect is mesmerizing.   Although I have seen this opera live twice now, I don't think it has ever really made sense to me until I came across this performance.  This is due mostly to the fact that it is sung in English.  When you hear \u003cem\u003eSprechstimme\u003c\/em\u003e in your native tongue you will find that the style begins to make sense and Forbes Robinson, as Moses, seems devoted to the idea of approaching this style as if it were a spoken play with music underneath even to the detriment of his otherwise mellifluous bass voice.  Richard Lewis's charismatic tenor makes him a wonderful counterpart as Aron to the otherwise taciturn Moses.  The rest of the cast includes such notable up-and-coming singers as Maureen Guy, Yvonne Minton, Gwyneth Jones and Delme Bryn-Jones.  It is to Sir Georg Solti's enormous credit that he would not only tackle this very thorny score but he could find music and even at times lyricism within it.  The sound is very good.\u003c\/p\u003e\n\u003cp\u003eOD 10881-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292629549192,"sku":"10881-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098804420,"sku":"MP3 10881-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10881-2front.jpg?v=1751036394"},{"product_id":"strauss-die-schweigsame-frau-holt-ward-macdonald-vaughan-kempe","title":"Strauss: Die schweigsame Frau (In English) - Ward, Holt, MaCDonald, Sinclair, Vaughan, Berry; Kempe.  London, 1961","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eIf you have never given \u003cem\u003eDie schweigsame Frau\u003c\/em\u003e a chance, now is your opportunity! The opera is based loosely on the same premise as \u003cem\u003eDon Pasquale\u003c\/em\u003e and flirts with all the same ideas of class and geriatric delusion. And although Strauss does tip his hat to a style that seems born out of the old tradition of opera buffo, he was not about to shortchange the audience on orchestral color and rich harmonies. It was quite wise for the Britons to present this performance in English as it gives the witty libretto a chance to shine, especially when in the hands of some first rate English singers. As Sir Morosus, the excellent bass-baritone, David Ward, gets a chance to display his cheeky side. Barbara Holt manages a demure and shrinking Aminta and then unleashes a monster of Elektra-sized proportions. She also congers up some lovely lyrical singing with tenor Kenneth MacDonald. MacDonald deserves double kudos for both his lovely lyric tenor as well as his keen skills as an actor. With all the spoken dialogue the character has, this proves to be an enormous blessing (there is nothing worse than listening to a singer embarrass themselves when made to speak without the crutch of music.) The sound is excellent.\u003c\/p\u003e\n\u003cp\u003eOD 10890-3\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292628500616,"sku":"10890-3","price":26.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14099044612,"sku":"MP3 10890-3","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10890-3front.jpg?v=1751036376"},{"product_id":"britten-gloriana-fisher-pears-vyvyan-robinson-herincx-fairfax","title":"Britten: Gloriana - Fisher, Pears, Vyvyan, Herincx, Robinson; Fairfax.  London, 1963","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eI have to admit something I am not proud of… For years I shied away from \u003cem\u003eGloriana\u003c\/em\u003e due to the Elizabethan setting. I assumed that Britten would have used it as an exercise in exploring outdated forms and would have turned it into an academic parade of puffy dresses and cod pieces. I could not have been more wrong. Although Britten does capture the Elizabethan flavor musically, this opera is one of the most dramatically raw of Britten's I have ever heard. It is based on Elizabeth I and her relationship with Robert Devereux. Britten creates a monarch who is both blood thirsty and tortured and provides and excellent vehicle for Sylvia Fisher in the title role. Although Peter Pears' voice may not be as dramatic as the writing demands, you never get the sense that we are being cheated as he more than makes up for it with his honest yet impassioned acting. The sound is very good.\u003c\/p\u003e\n\u003cp\u003eOD 10959-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292627320968,"sku":"10959-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098617924,"sku":"MP3 10959-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/10959-2front.jpg?v=1751036342"},{"product_id":"britten-peter-grimes-cassilly-harper-bailey-allen-robinson-atherton","title":"Britten: Peter Grimes - Cassilly, Harper, Bailey, Robinson, Allen, Lloyd; Atherton.  London, 1977","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eJon Vickers' contribution to advancing \u003cem\u003ePeter Grimes\u003c\/em\u003e from curio to staple of the repertory cannot be overstated. The downside to Vicker's domination of that part was that it tended to drown out other valid approaches from other gifted singers. Richard Cassilly's Grimes is more human in scale and his ability to float high lying phrases with the sweetness of an Irish tenor (which he was by ancestry) gave the role a softer and more sympathetic tone. Although he may not have been as dynamic on stage as Vickers, his approach is more of a return to the sensitive outsider that Peter Pears created. Heather Harper reprises her celebrated Ellen Orford along with Norman Bailey as Balstrode. The smaller roles are filled with the likes of Thomas Allen as Ned Keene, Robert Lloyd as Hobson and Forbes Robinson as Swallow. The sound is very good.\u003c\/p\u003e\n\u003cp\u003eOD 11010-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292625911944,"sku":"11010-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098619716,"sku":"MP3 11010-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/11010-2front.jpg?v=1751036297"},{"product_id":"dallapiccola-prigioniero-cassilly-treigle-stokowski-tosca-steber-zsschau","title":"Dallapiccola: Il Prigioniero (In English) - Treigle, Cassilly, McNight, Stern, Macurdy; Stokowski. 1960","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eListen to a Sample of \u003cem\u003eTosca:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003caudio controls=\"controls\"\u003e\n  \u003csource src=\"https:\/\/s3.amazonaws.com\/OD-Downloads\/S11016-1a.wav\" type=\"audio\/wav\"\u003e\n  \u003csource src=\"https:\/\/s3.amazonaws.com\/OD-Downloads\/S11016-1a.MP3\" type=\"audio\/mpeg\"\u003e\nYour browser does not support the audio element.\n\u003c\/source\u003e\u003c\/audio\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eI am always fascinated to hear Italian music post-Puccini. Some like Montemezzi carried on many of the traditions whereas Zandonai's palate seemed to borrow equal parts from French, Italian and German styles. Luigi Dallapiccola's \u003cem\u003eIl Prigioniero\u003c\/em\u003e seems to have taken the most from Alban Berg's playbook. Although there are aspects of atonality throughout the opera, a keen ear will note that, like Berg's music, it is still rooted in a tonal center. Likewise the nightmarish subject matter of an abject prisoner, alienated from society and tormented by superiors certainly contains many of the same themes as \u003cem\u003eWozzeck\u003c\/em\u003e. That said, his Italian roots do manage to come through in the form of the occasional melody. This performance, sung in English, features the great Norman Treigle in the title role. Treigle's ability to fully inhabit a role make him an ideal exponent, and the doomed optimism that he conveys goes a long way to make the ending all the more tragic. Richard Cassilly was also a good choice as the jailor and grand inquisitor alternating sweet lyricism with dramatic heft making the motivations of the character seem all the more uncertain. The sound is very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBONUS:\u003cbr\u003eAct III of\u003c\/strong\u003e \u003cstrong\u003e\u003cem\u003eTosca\u003c\/em\u003e\u003c\/strong\u003e with Steber and Cassilly.\u003c\/p\u003e\n\u003cp\u003eTo fill out the rest of the CD I have included this glimpse of a wonderful performance of \u003cem\u003eTosca\u003c\/em\u003e featuring the great Eleanor Steber. Steber was nearing the end of her career when this performance was made. Although some of the bloom of her early days may have worn off, she still sings Tosca with ruthless abandon delivering, among other things, a spine-tingling high C. She is joined by Richard Cassilly as Cavaradossi and a young Marilyn Zschau as the Shepherd. The sound is very good.\u003c\/p\u003e\n\u003cp\u003eOD 11016-1\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292625715336,"sku":"11016-1","price":9.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098658116,"sku":"MP3 11016-1","price":5.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/11016-1front.jpg?v=1751036290"},{"product_id":"puccini-tosca-maris-galvany-jose-galvany-shinall","title":"Puccini: Tosca - Galvany, Carreras, Shinall; Morelli.  1974","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eDespite the fact that Marisa Galvany and José Carreras were very different artists whose career trajectories went in completely different directions, they still manage to achieve the alchemy needed for a great performance of \u003cem\u003eTosca.\u003c\/em\u003e Galvany throws herself into the title role with the gutsy abandon that made her a great Lady Macbeth and Abigaille without sacrificing Tosca's femininity. José Carreras sings Cavaradossi with exquisite style and youthful virility. Vern Shinall brings a suave malevolence to the role of Scarpia. The sound is fair to good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBONUS:\u003c\/strong\u003e\u003cbr\u003eJosé Carreras sings arias from \u003cem\u003eMadama Butterfly, La Bohème\u003c\/em\u003e and \u003cem\u003eAdriana Lecouvreur.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOD 11025-2\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":31292625485960,"sku":"11025-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":14098778948,"sku":"MP3 11025-2","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/11025-2front.jpg?v=1751036282"},{"product_id":"thomson-the-mother-of-us-all-world-premiere-dow-kibler-gravell-grooters-stich-randall-luening-1947","title":"Thomson: The Mother of us All (World Premiere) - Dow, Kibler, Gravell, Grooters, Stich-Randall; Luening. 1947","description":"\u003ch1\u003eDescription:\u003c\/h1\u003e\n\u003cp\u003eAmerican Opera didn’t really have a cohesive voice until the second half of the 20th Century, making Virgil Thomson’s \u003cem\u003eThe Mother of Us All\u003c\/em\u003e all the more remarkable as the idioms that he was creating from scratch would become enduring features of American Operas to follow. The musical language is militantly diatonic and almost intentionally oblivious to any of the musical trends of the day. However, Thomson’s voice is far from simplistic. The interest in the score lies in Thomson’s improvisational take on Americana, as if Thomson were inventing a hymn on the spot. The libretto, by Gertrude Stein, is pure theater of the absurd, bearing a clear influence from Ionescu and Brecht. This recording marks the World Premiere and features a wonderful cast headed by Dorothy Dow. Dow brings righteous indignation as Susan B. Anthony, bringing to mind Margaret Dumont, without descending into caricature thanks in no small part to her luscious soprano. The rest of the cast is mostly unknown singers with the exception of Teresa Stich-Randall as Henrietta. The recording was transferred from LPs and at times bears some scratchiness that those of us who remember LPs know all to well. 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The sound is excellent.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBONUS:\u003c\/b\u003e\u003cbr\u003eMartha Mödl sings Jocasta's aria from \u003cem\u003eOedipus Rex\u003c\/em\u003e\u003cbr\u003eKöln, 1951\u003c\/p\u003e\n\u003cp\u003eIn Mono\u003c\/p\u003e\n\u003cp\u003eOD 12155-1\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":49833551954241,"sku":"12155-1","price":9.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":49833551987009,"sku":"MP3 12155-1","price":5.95,"currency_code":"USD","in_stock":true},{"title":"FLAC","offer_id":49833552019777,"sku":"FLAC 12155-1","price":6.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/12155-1front.jpg?v=1751034953"},{"product_id":"weill-mahagonny-arnold-witte-peter-schreier-fricke","title":"Weill: Aufstieg und Fall der Stadt Mahagonny - Witte, Arnold, Stilo, Frei, Schreier; Fricke. 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That closeness to the cultural landscape of Weimar-era Germany lends the performance a striking authenticity, arguably more so than \u003cstrong\u003eLotte Lenya\u003c\/strong\u003e's more polished but somewhat sterile recording. \u003cstrong\u003eErich Witte\u003c\/strong\u003e imbues Jimmy Mahoney with Wagnerian grandeur, while \u003cstrong\u003eIrmgrad Arnold\u003c\/strong\u003e’s slightly worn vocal quality serves the world-weary character of Jenny exceptionally well. 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Adding to the recording’s excellence, \u003cstrong\u003eJanet Baker\u003c\/strong\u003e brings her impeccable style to Mahler, her deeply expressive phrasing and warmth giving the sense of time standing still. \u003cstrong\u003eWaldemar Kmentt\u003c\/strong\u003e’s otherwise elegant tenor manages to sound appropriately brash in his solos.\u003c\/p\u003e\n\n\n\n\n\n\n\u003cp\u003eIn Mono\u003c\/p\u003e\n\u003cp\u003eOD 12199-1\u003c\/p\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":50274564833601,"sku":"12199-1","price":9.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":50274564866369,"sku":"MP3 12199-1","price":5.95,"currency_code":"USD","in_stock":true},{"title":"FLAC","offer_id":50274564899137,"sku":"FLAC 12199-1","price":6.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/12199-1front.jpg?v=1751034896"},{"product_id":"mozart-le-nozze-di-figaro-berry-stratas-harwood-krause-berganza-herbert-von-karajan","title":"Mozart: Le Nozze di Figaro - Stratas, Berry, Harwood, Krause, Berganza, Sénéchal, Montarsolo; Karajan. 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Instead, he unearths subtleties in the orchestration—small gestures that illuminate character and situation—elevating the orchestra to the role of a Greek chorus, active in the drama rather than merely supporting it.\u003c\/p\u003e\n    \u003cp\u003eThe cast responds in kind, forging an ensemble dynamic as cohesive and responsive as a seasoned opera chorus. \u003cstrong\u003eTeresa Stratas\u003c\/strong\u003e and \u003cstrong\u003eWalter Berry\u003c\/strong\u003e are finely matched as Susanna and Figaro, each bringing a grounded elegance to their portrayals. \u003cstrong\u003eElizabeth Harwood\u003c\/strong\u003e’s Countess, lighter in tone, provides a graceful counterpoint to Stratas, whose Susanna carries a touch more weight; at times, their vocal blend creates an almost fluid interchangeability. \u003cstrong\u003eTeresa Berganza\u003c\/strong\u003e’s Cherubino, meanwhile, is both sumptuous and spirited, capturing the youthful impulsiveness of the role with boyish charm and vocal warmth.\u003c\/p\u003e\n    \u003chr class=\"mobile-only-hr\"\u003e\n  \u003c\/div\u003e\n\n  \u003c!-- Right Column: Cast and Details --\u003e\n  \u003cdiv\u003e\n    \u003ch3 class=\"section-heading\"\u003eCAST\u003c\/h3\u003e\n    \u003cp\u003e\n      Il Conte d'Almaviva – \u003cstrong\u003eTOM KRAUSE\u003c\/strong\u003e\u003cbr\u003e\n      La Contessa d'Almaviva – \u003cstrong\u003eELIZABETH HARWOOD\u003c\/strong\u003e\u003cbr\u003e\n      Figaro – \u003cstrong\u003eWALTER BERRY\u003c\/strong\u003e\u003cbr\u003e\n      Susanna – \u003cstrong\u003eTERESA STRATAS\u003c\/strong\u003e\u003cbr\u003e\n      Cherubino – \u003cstrong\u003eTERESA BERGANZA\u003c\/strong\u003e\u003cbr\u003e\n      Basilio – \u003cstrong\u003eMICHEL SÉNÉCHAL\u003c\/strong\u003e\u003cbr\u003e\n      Marcellina – \u003cstrong\u003eJANE BERBIÉ\u003c\/strong\u003e\u003cbr\u003e\n      Dr. Bartolo – \u003cstrong\u003ePAOLO MONTARSOLO\u003c\/strong\u003e\u003cbr\u003e\n      Antonio – \u003cstrong\u003eZOLTÁN KÉLÉMEN\u003c\/strong\u003e\u003cbr\u003e\n      Barbarina – \u003cstrong\u003eEVELYN MANDAC\u003c\/strong\u003e\n    \u003c\/p\u003e\n    \u003chr\u003e\n    \u003ch3 class=\"section-heading\"\u003eDETAILS\u003c\/h3\u003e\n    \u003cp\u003e\n      Location: \u003cstrong\u003eSalzburg\u003c\/strong\u003e\u003cbr\u003e\n      Date: \u003cstrong\u003e1973\u003c\/strong\u003e\u003cbr\u003e\n      Conductor: \u003cstrong\u003eHerbert von Karajan\u003c\/strong\u003e\u003cbr\u003e\n      Catalogue Number: \u003cstrong\u003eOD 12214-3\u003c\/strong\u003e\u003cbr\u003e\n      Label: \u003cstrong\u003eOpera Depot\u003c\/strong\u003e\u003cbr\u003e\n      Number of Discs: \u003cstrong\u003e3\u003c\/strong\u003e\u003cbr\u003e\n      \u003cstrong\u003eIn Stereo\u003c\/strong\u003e\u003cbr\u003e\n    \u003c\/p\u003e\n  \u003c\/div\u003e\n\u003c\/div\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":50345120497985,"sku":"12214-3","price":26.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":50345120530753,"sku":"MP3 12214-3","price":14.95,"currency_code":"USD","in_stock":true},{"title":"FLAC","offer_id":50345120563521,"sku":"FLAC 12214-3","price":17.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/12214-3front.jpg?v=1751034881"},{"product_id":"paer-leonora-carson-frusoni-savru-casula-maag","title":"Paër: Leonora - Carson, Frusoni, Savru, Casula; Maag. 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This sequence, which opens with an extended orchestral prelude followed by a rondò that mirrors “Gott! Welch’ Dunkel hier!” from Beethoven’s version. Later in the act, Florestano’s plea “Deh per pietade solo una goccia d’acqua” contains a motivic idea strikingly similar to the one Beethoven employs in “Euch werde Lohn in bessern Welten,” suggesting more than just coincidental inspiration.\u003c\/p\u003e\n\u003cp\u003eYet Beethoven’s alterations often expose the limitations in Paër’s dramaturgy. The Act I finale in \u003cspan style=\"font-style: italic;\"\u003eLeonora\u003c\/span\u003e adheres closely to the conventions of opera buffa, undercutting the gravitas of the plot. By contrast, Beethoven’s decision to end Act I with the prisoners' quiet return to their cells instills a chilling sense of foreboding that flows seamlessly into the second act. Additionally, in Paër’s version, Marcellina’s role is considerably expanded, including an extraneous subplot in which she attempts to rescue Leonora from the cistern—an insertion that disrupts narrative momentum. Such contrasts reinforce Beethoven’s oft-underestimated dramatic instinct, particularly in matters of pacing.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eClarice Carson\u003c\/b\u003e, in particular, brings expressive strength to the role of Leonora. The performance under \u003cb\u003ePeter Maag\u003c\/b\u003e is commendable for its advocacy of this seldom-heard work. However, Maag’s tempi tend toward the sluggish, occasionally dulling the classical contour of the score.\u003c\/p\u003e\n\u003chr class=\"mobile-only-hr\"\u003e\n\u003c\/div\u003e\n\u003c!-- Right Column: Cast and Details --\u003e\n\u003cdiv\u003e\n\u003ch3 class=\"section-heading\"\u003eCAST\u003c\/h3\u003e\n\u003cp\u003eLeonora – \u003cstrong\u003eClarice Carson\u003c\/strong\u003e\u003cbr\u003eFlorestano – \u003cstrong\u003eMaurizio Frusoni\u003c\/strong\u003e\u003cbr\u003ePizarro – \u003cstrong\u003eCarmel Savru\u003c\/strong\u003e\u003cbr\u003eMarcellina – \u003cstrong\u003eMaria Casula\u003c\/strong\u003e\u003cbr\u003eRocco – \u003cstrong\u003eGiorgio Tadeo\u003c\/strong\u003e\u003cbr\u003eJacquino – \u003cstrong\u003eGiancarlo Luccardi\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3 class=\"section-heading\"\u003eDETAILS\u003c\/h3\u003e\n\u003cp\u003eLocation: \u003cstrong\u003eSchwetzingen\u003c\/strong\u003e\u003cbr\u003eDate: \u003cstrong\u003eMay 23, 1976\u003c\/strong\u003e\u003cbr\u003eConductor: \u003cstrong\u003ePeter Maag\u003c\/strong\u003e\u003cbr\u003eCatalogue Number: \u003cstrong\u003eOD 12262-2\u003c\/strong\u003e\u003cbr\u003eLabel: \u003cstrong\u003eOpera Depot\u003c\/strong\u003e\u003cbr\u003eNumber of Discs: \u003cstrong\u003e2\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eIn Stereo\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Opera Depot","offers":[{"title":"CD","offer_id":50730168484161,"sku":"12262-2","price":17.95,"currency_code":"USD","in_stock":true},{"title":"MP3","offer_id":50730168516929,"sku":"MP3 12262-2","price":9.95,"currency_code":"USD","in_stock":true},{"title":"FLAC","offer_id":50730168549697,"sku":"FLAC 12262-2","price":11.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/files\/12262-2front.jpg?v=1755543136"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/9583\/collections\/Whitfield-Enhaned.png?v=1783704231","url":"https:\/\/operadepot.com\/collections\/my-favorite-recordings.oembed?page=3","provider":"Opera Depot","version":"1.0","type":"link"}