Tatiana Troyanos got to record her Carmen for Solti, possibly as a replacement for Shirley Verrett; that recording is still highly recommended by most critics. Troyanos is very good there, but heard in the context of this live performance she is even more uninhibited while singing with that luscious, distinctive mezzo sound that set her apart from so many competent, but unmemorable singers. By the way, she is just as effective in German so if you love Troyanos you'll want to hear the German language performance under Bohm also available from Opera Depot.Ellen Shade (whatever happened to her?) sings a powerful Micaela; her big aria is certainly a highlight of this recording. Jean Bonhomme is a sturdy, musical Jose. His Flower aria goes well though he cuts the B-flat a little short. Robert Bickerstaff is more than adequate as Escamillo. The supporting cast is good, the chorus and orchestra a little provincial. There are some weird cuts in the choral music in the last act.Individual tolerance for in-house sound will determine whether or not you like this performance. As Andy says above, the voices come through - mostly - and the ear adjusts, but be aware that snippets are missing here and there, mostly at the top of scenes. The muc is knocked around disconcertingly

The mic is knocked around disconcertingly at times, but if you love Troyanos you'll want to hear this performance of a role she didn't do all that often.

A little research suggests that this performance comes from Pittsburgh Opera. I agree with Andy's comments (don't miss Troyanos here!!) but would like to add a word of appreciation for Australian baritone, Robert Bickerstaff. He was a stalwart with English National, Welsh and Scottish Operas in the mid-late-'60s and always brought grace and thoughtfulness to his assumptions of the great baritone roles. he can also be heard in Ernani and Forza in the O/D library.