Helga Pilarczyk did not have a big career in the United States (she sang only three Maries in Wozzeck at the Met). So closely us she associated with Strauss and Berg, that often fans are surprised she sang Puccini at all. Though she doesn't bring the Italianate colors to the role of Giorgetta like Scotto, Olivero, or even Gencer would she makes the role her own by her intense singing and characterization. She has no trouble with any of the high notes (both high Cs are exciting) and conveys amply Giorgetta's deep depression and desire for release from her pressure cooker marriage to Michele (called Marcel in the German translation). Her colleagues are equally distinguished. Kozub's entire career was mostly in Europe where he was very popular. His Luigi (Henri) is a driven, desperate man who matches Pilarczyk very well. Cordes was also better known in Europe. His Michele is a frightening man with a lot of pent-up emotions. The supporting cast is truly outstanding. A young Erwin Wohlfahrt is heard briefly as the song vendor, a role he sings very sweetly. Erede brings many colors out in Puccini's sizzling score. Some of his tempi are little drawn out, especially the final bars.The sound is terrific, the producers using a variety of sound effects to bring the drama to life. This opera works well in German. All Puccini fans should give this a listen.

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This 1963 Concert Version for Cologne radio of "Il tabarro" is fascinating. Immediately, it reminds one of the 1966 studio recording of excerpts from the same composer's "Tosca," for Decca, also sung in Italian translation, with Anja Silja as the prima donna.Helga Pilarczyk, celebrated particularly for her important interpretations of the works of Schoenberg and Berg, is an unexpected choice for the rôle of the hapless Giorgetta, but is a success nevertheless. The Kammersängerin does not provide the visceral thrill and catharsis of the great Italian sopranos, like Magda Olivero and Renata Scotto, in this music. Rather, the German artist provides a searing psychological penetration of the character with a precise examination of the score. As with the aforementioned Decca recording of "Tosca," this performance has an Expressionistic slant which is intriguing and extraordinary.The Heldentenor Ernst Kozub, principally remembered for his Erik in Otto Klemperer's 1968 recording of "Der fliegende Holländer" (with Theo Adam and Silja) is a marvel as Luigi. Despite such a large, dark voice, he sings for far more dynamics than the average tenor, and Marcel Cordes roars splendidly, like the dragon Fafner, as Michele. The mellifluous voice of Erwin Wohlfahrt is heard in the secondary part of the Song-seller, and Alberto Erede conducts con slancio. Opera Depot's pressing is exemplary.