Great performance (Roswange! Lemnitz!) and (what a surprise) great sound. Highly recommended.

Until I'd seen this on Opera Depot, I had no idea there had ever been a CARMEN with Inger Karen, let alone with her, Rosvaenge, Lemnitz and Bockelman. The three or four times I've heard Karen who, as far as I know, never made commercial recordings, she was downright terrific. Anyway, There are some pieces missing, mostly unimportant ones at the beginning, but what's left is very exciting. As always, Rosvaenge sings the text like he was eating it up and spitting it out while still producing a healthy sound, and his Flower Song is about as well-phrased as they come, even better than his HMV recording of it from about the same time. Karen has much more personality going here than as Azucena, Amneris and Herodias (although she doesn't let loose with the volume the way she does with those other characters), and Tiana Lemnitz on voice alone could set a standard for all other Micaelas. Bockelman is the least impressive, but he's okay for a Wagnerian baritone slumming in Seville. The sound is quite good for 1936, and I'm thrilled to own this.

It is unfortunate that this entire performance has not survived, but I am grateful that a good three quarters is extant.Helge Rosvaenge was extremely popular at this time and for good reason. His singing here is spectacular with a stunning soft B-flat at the end of his Flower Aria and a ringing top C for the end of Act Two. He's also well within character and his almost frightening in his vehemence in the last two acts. Inger Karen was well-known in German-speaking countries. She sings the heck out of the music and creates a fascinating Gypsy, adding the optional top B in the second act finale before joining Rosvaenge on the final C. My only disappointment is that she doesn't cry out when "stabbed" by Jose in the final scene, but some will see that as a virtue.Tiana Lemnitz sings Micaela's music with lovely tone. She is a bit self-indulgent in her aria, but with singing this beautiful, who cares? Bockelmann is a very good Escamillo. The sound is excellent for the period and is also pitched correctly.What's missing? Act One - all music up to the Jose/Morales recitative; rest of Act One complete. Act Two: complete. Act Three begins just as Carmen is beginning to read the cards and is otherwise complete. Act Four: opening prelude through most of the Carmen/Escamillo duet. The sound fades out, picking up shortly after Carmen and Jose begin their final scene and is complete to the end. The audience is, understandably, very enthusiastic.

I enjoyed this rather old fashioned performance. Rosvaenge and Lemnitz need no introduction and both are on fine form and it is interesting to hear them in rep not normally associated with them. The less well known, Inger Karen is a potent Carmen with a solid technique and is capable of bringing vibrancy and excitement to the role. I would have given the performance 5 * had it been complete.

Fun to listen to in German. Sound quality excellent for possible AM radio aircheck

Very special, particuraly because of the underestimate Karén and the speldid mellifluous Lemnitz. Both of the male singers are also excellent.