A lot of Opera Depot customers may well pass this performance by because it's sung in German, but they're making a big mistake, especially if they love this opera. This side of the Atlantic Hopf was often considered a bit of a lump, dependable and forgettable. This recording shows why that assessment is unfair. Hopf's Italian roles were always sung in his native German, yet his timbre was steadier and more mellifluous in this repertoire. His top notes have a squillo that, for whatever reason, they didn't often have in the German roles. Furthermore he is a terrifying, neurotic Canio. His shout when he discovers his wife with Silvio made me jump.Muszely was well known in Europe and made many recordings and television appearances. Her Nedda is beautifully sung and she is always on top of the drama. Her partnership with the young Prey is very hot. Marcel Cordes was another very popular baritone in Europe who didn't have a career overseas. He treats us to some thrilling top notes and is a vivid Tonio. Santi imparts some Italianate warmth to the proceedings. He makes the traditional cut in the Nedda/Silvio duet, but plays the rest of the opera uncut.The sound, complete with appropriate sound effects and crowd noises, is excellent. I don't know whether this was recorded for radio or television, but it's very effective as music and drama.Pagliacci goes well in German and lovers of the opera will really enjoy this performance.

I like this recording very much. Hopf is a terrifying Canio, the music sitting well with his baritonal tenor, his white sounding upper notes, shattering in their intensity. Unfortunately he is also somewhat threatening at his enterance, his invitation to the play rather like:"Get here , or else" His elderly sounding clown gives an inbuilt motive for Nedda's infidelity. Melitta Muszely's beautiful pure voice delivers a Nedda, provocatively calculating, her aria not particularly shot through with sexual anticipation. Her meeting with Silvio ( a loving and tender performance from Hermann Prey )is instilled with a welcome sense of urgency and danger. Marcel Cordes is a "singing Tonio" avoiding the histrionics so often adopted by baritones in this music, particularly in the final scene. His attractive nicely focused voice gives us a vengeful Tonio and a well sung prologue. Murray Dickie is a warm masculine sounding Beppe. All this and very good sound as well.