It is interesting to find Donald Smith in this performance as he does NOT appear at all in the Royal Opera Archives...nor is Turandot listed for April 1965. The nearest I can find to Opera Depot's excerpts is a performance on 13 February, also with Shuard and conducted by Downes [a very sad loss - Google him], but with Elizabeth Vaughan as Liu [note that it was not unusual for house contract singers (of which both Vaughan and Collier were two] to "interchange", even within a single run of a particular opera. Here's the link: https://www.rohcollections.org.uk/performance.aspx?performance=14278&row=0&searchtype=performance&page=3&person=amy%20shuardI make these suggestions: - The Opera Depot performance is actually from February, with the listed Nikola Nikolov as Calaf, not Smith. I've never heard Nikolov, and the Smith, whilst excellent in everything he did, did not have a particularly distinctive voice, so overall I can't really judge.- Nikolov was off and Smith deputised - he was a regular at Sadler's Wells and it was often then the practice for SW leading singers to cover at Covent Garden.- The Royal Opera Archives simply forgot to list the April performance(s) with Donald Smith! However, think about this: if Smith WAS the listed tenor, and the performance(s) did take place in April, why did he not appear again at CG...he is/was certainly good enough [check out several of his performances, also on O/D, for evidence!]Anyone want to pick me up on my thoughts?

Shuard and Smith are in great shape in this disc of excerpts from Turandot. Some intrepid opera lover recorded all their big moments. We get the Riddle Scene from "In questa reggia" to the end of the act, "Nessun dorma", and "Principessa di morta" to almost the end of the opera (without the usual cut of "Del primo pianto") including Turandot's final line. Collier is heard in Liu's one line in the middle of the Riddle Scene. Too bad we don't get her arias from the Third Act!Andy has generously filled out the disc with Lady Macbeth's three big scenes from a 1960 Covent Garden performance (that had Tito Gobbi as the Scottish king). Shuard lives up to her reputation, singing and acting with terrific flair. She goes for the infamous D-flat at the end of the Sleepwalking Scene and splits it slightly though she regains the tone securely. Even so, she wouldn't dare the note again in her Teatro Colon performance just a few years later. The sound for the Turandot excerpts is good and pitched correctly as are the Macbeth excerpts (which sound even better taken as they are from a broadcast).Shuard and Smith fans should get definitely get this.

An enjoyable selection of excerpts. However it is a little misleading to highlight Marie Collier among the cast - she only sings one line on the whole disc!

Amy Shuard is an acquired taste that I am still trying to acquire. However, there can be no question that she (and tenor Donald Smith) is equal to the demands of Puccini's "Turandot." One's only regrets are that the excerpts are so brief -- with three of Lady Macbeth's arias thrown in as a generous makeweight -- and the radio sound is so woolly. However, this is an inexpensive way to take Shuard out for a spin and see if you want to further explore her artistry.

A great souvenir of one of the great Turandots, Amy Shuard. A brilliant vibrant voice and perfect for Turandot. I was unfamiliar with the name of Calf, the Australian, Donald Smith but he is more than a match for Amy Shuard. Sound is quite acceptable .

Shuard could certainly sing Turandot but at what price. There is some screaming here but we've heard a lot worse in the opera house. Smith's only performances at the Garden, it was a great voice. Downes was a very fine all rounder and it shows in this. Pity it's not complete.

Another great performance from Shuard so cruelly taken from us too soon,and in one of her signature roles

What a shame this isn’t in better sound! I remember seeing her in Turandot the year after Nielson(sp?), in a spectacular production from San Francisco on its (then) annual visit to Los Angeles. While the voice was neither as large nor as steely as Birgit’s, she was one of the best I’ve seen – and heard, if one includes recordings – and they were both very close to Alessandra Marc, who was the #1, believe it or not… If memory serves, she also made a very convincing pint-sized Brunhilde in Die Walkure, with Vickers and Siv Ericsson; and Wolansky in poor voice…