If you only know Troyanos' Carmen from the well-groomed and somewhat staid Solti studio recording, you're in for a great treat. Troyanos is just fine in the Solti set (especially in the spoken dialogue), but here onstage she is much more spontaneous and lively. Her distinctive voice is a joy to hear as is her total involvement with the role. Carmen was a role Troyanos avoided later on so it's a pleasure to hear her in it early on in her career.Ilosfalvy is probably best known to Western audiences as the Devereux in Beverly Sills' studio recording of Donizetti's opera. He was a fine singer and makes a believably psychotic Jose. The audience adores him. Donath is a terrific Micaela, her Act Three aria sung with real distinction. Andy finds Braun underpowered, but I thought he sounded sexy with a manly, strong baritone. The supporting cast is first-rate. Bohm leads a solid, well-rehearsed performance in the then new Oeser edition. The chorus sings the extra music very well. The Guiraud recitatives are used instead of the dialogue.The sound is very good. A phrase or two disappears now and then (one in the Seguidilla), but if you're not listening closely you'll miss it. Any Carmen lovers should get this; yes, it's in German, but we've all heard it in French umpteen times!

I am a fan of Ilosfalvy I have heard him several times in live. Comparing him with other tenors in the second part of the twentieth century I should state he was the very best among them!