I avoided this issue for some time because of the sample sound but -because I lived in London during this wonderful Jonas/Pountney/Elder company period at ENO and saw many of these singers perform at the Coliseum- I eventually "bit the bullet" and decided to have a go!Well, I'm so glad I did! The sound needs boosting...turn the volume high and/or listen through headphones and you will be able to enjoy the performances, even if the English translation is sometimes compromised (and Barstow's diction was never the clearest...).David Lloyd-Jones leads the company with taste and care, yet with plenty of passion where required; the orchestra, chorus and soloists respond splendidly in a really "Puccinian" performance. Yes, folks, this is what ENO was like back then, and this was "just an ordinary night at the Coli"!Josephine Barstow’s Mimi is a find, a young(ish) performance from her which displays her remarkable vocal acting skills, even if she’s not the most lyrical soprano to sing the role. Barstow’s emotional strengths are heard to best advantage in Act Three. Robert Ferguson displays a sweet tenor with plenty of heft and spinto to fill the large theatre. He was a “useful” company member: Don Jose, Turridu, Froh, Cavaradossi, Nero (Monteverdi...with Janet Baker and recorded live), etc., who did not, in my opinion, receive enough recognition. However, with other tenors around like Arthur Davies, Donald Pilley, Alberto and Ramon Remedios, David Hughes, Ferguson was in good company! Splendid, wholehearted ensemble support from the other bohemians (du Plessis perhaps a little light-voiced for Marcello?) and Margaret Haggart, the wonderfully over-the-top Musetta (yet most sensitive in Act Four). And a very special nod to Eric Shilling and Dennis Dowling, wonderful character singers at a late stage in their long careers with Sadler’s Wells/ENO. Every production with one or both of them in the cast was a privilege!So...don’t delay – enjoy it today!

I'm very happy when Dame Josephine Barstow's performances from early in her career are found and made available to the public. She had a fine, distinctive voice and always made specific, interesting choices for the many roles she played. Opera Depot already has a Tosca and Violetta that were recorded during her years with the ENO. BUT (and this is a big but) one must be patient with the sound. The voices are audible, but because the tapist is far away the subtleties of the characterizations are lost, not to mention understanding the translation. The performance might make a stronger impression if one listens on headphones (I haven't tried that yet). Andy really ought to put the sound issue in the Cons above. Robert Ferguson, the Froh on Goodall's Rhinegold recording, doesn't have the sheer beauty of tone that Pavarotti or Carreras had, but is very musical. He sings the big aria in key and then adheres to Puccini's written ending for the end of Act One, making for a lovely finish. Margaret Haggart is probably best known to opera lovers as the zany, frightening Witch in Elijah Moshinsky's wonderful production of Humperdinck's Hansel and Gretel for Opera Australia. Here she is a strong Musetta who would stand out more if we could hear her better. Christian du Plessis is a fine Marcello. The other singers all exemplify the high standard reached by the ENO during this time. David Lloyd-Jones conducts a moving performance.For fans of the singers.