Despite the cut in the last act of this a superb performance of Werther, both Crespin and Lance are caught in their thrilling prime and the supporting cast are all major assets to the performance. Fournet is also in full command of both the lyrical and dramatic moments of the score and with excellent sound this release is a winner. I can't recommend it enough to fans of french opera and any of the singers involved. It will be a performance I will return to many times as my go to performance. Don't hesitate.

Albert Lance made the majority of his career in Europe, mostly in France, so people are usually surprised to find out he was actually Australian. He mastered the French style very well and it shows in this performance. His Werther is not as lacrymose as some and he phrases with real sensitivity. He earns a big hand after his "Pourquoi me reveiller" and performs the death scene (what's left of it) with dignity. Crespin was in her richest, creamiest voice at this time and sounds Charlotte to the life. Her two arias in Act Three are very enthusiastically received. What a pity Fournet cuts a huge chunk of the final scene. The entire passage where Charlotte finally confesses her love to Werther is left out. Werther is not a long opera, but this was a standard cut at the time (it can be heard in several Italian language performances of the time too.) Go figure.The supporting cast is very good. Mattiello gives us a detailed account of Albert, Victor De Narke is an excellent Bailli, and Olga Chevaline, a Buenos Aires regular, is a lovely Sophie. Too bad some of her part is missing. Andy mentions the last few minutes of Act Two are missing. I'd say it's more like the last ten minutes so we don't get to hear Lance's climactic high B. C'est la vie...The sound is excellent throughout. Werther lovers will want this, missing music and all.

Crespin and Lance are both marvellous in this fine performance. Pity there’s a big - but fairly standard in those days - cut in the final scene.

Albert Lance, born Lance Ingram in Australia, was one of the quintessential 'French' tenors of the 1960s. His was a robust voice, capable of the most passionate declamation, as this performance demonstrates. Alas, the score is savagely cut (the role of Sophie practically vanishes). Régine Crespin's big, pillowy voice is tailor-made for Charlotte and her ever-present sensuality suggests banked fires just waiting for Werther to release them. The supporting cast is up to the Teatro Colon's usual standard and Jean Fournet is an expert conductor of this score, even if handed a dog's breakfast that might be called 'Great Moments from Werther' -- this won't be your only Werther but it will supplement your collection nicely.

Como comenté en el Samson et Dalila del Teatro Colon, con Sarfaty en substitución de Verrett, en éste Werther, debia debutar en el Colon, Franco Corelli, que dió largas al asunto y canceló poco antes de las primeras representaciones. Albert Lance estaba contratado como doble, ya se sabía del carácter de Corelli, aunque nunca cantó en Buenos Aires, idem Shirley Verrett.

Very nice.

outstanding performance of werther (Lance, Crespin and Fournet, TOP)