Very good performance, especially Stratas. I wish you had been clearer about the technical aspects about the recording, especially the prologue.The opera in parts is a half a tone sharp.but as I said a very good performance. Darryl Donoian

Teresa Stratas is usually thought of as a "Met Singer"; she spent the majority of her career in New York and, in fact, came back to the role she sings here in 1994 (she sang it sporadically from 1963 to 1970). She's in fine shape in this Munich performance, singing as if her life depended on it. Her voice isn't as plush as Jurinac's or Ludwig's, but she brings an energy to the role that is memorable.Bjoner never had the most beautiful voice, yet she knew how to sing and, especially, how to sing Strauss. The monologues are very well-shaped and she soars to the climaxes with authority. Geszty was a famous Zerbinetta and demonstrates why with lovely top notes, energetic coloratura, and a true understanding of the role. Sergi is the surprise here. His isn't the largest of voices yet he sings with grace and polish. If his characterization is rather vague, his singing makes up for it. The supporting cast is made up of Munich regulars. The nymph trio is very distinguished; some of Zerbinetta's companions sound like they should think about retirement. Keilberth is a most musical conductor.The opening five minutes or so need a slight volume boost, but after that the sound is very listenable.

On all accounts, this is an extraordinary ARIADNE! To begin with, standing in the center of it is JOSEPH KEILBERTH. He knows where this music is coming from and where it is going, as does his fabulous orchestra of soloists. Nothing is static. The music breathes, expands and contracts at the flick of a finger, a drop of his hand, or a raised eyebrow! His cast is a willing and thrilling one. They are not merely along for the ride, they are the roller coaster, KEILBERTH the track upon which it races along. TERESA STRATAS is Teresa Stratas. She offers everything that one could desire. A soprano, which I prefer in this part, stands to deliver all the big moments with opulence, ease, while losing nothing in the dramatic process. Hers is a without parallel in conveying a young, desperate composer. INGRID BJONER needs no introduction, she was one of the great Hoch Dramatic Sopranos of her generation. The middle can be a bit foggy, but the bottom astonishes and the top blossoms. The delivery is one of total commitment to the word and emotion. The surprise is SYLVIA GESZTY! How wonderful to have full voiced Zerbinetta! The fatter the voice the more opportunities for vocal color. Too often the “Zerbinetta sound” can be annoying or cloying, not here. The Geszty voice is just too beautiful a sound and she never sacrifices the beauty of sound for dynamic or “clicky” fioritura. AND she almost achieves the SUTHERLAND trill! An absolute joy to listen that aria! And when it’s over, trust me, you’ll probably want to listen to it again! The small parts are all more than ably taken by names totally unknown to me, except IRA MALANIUK as Dryade, who does an excellent job anchoring the ladies’ trio throughout. This leaves only ARTURO SERGEI as Bacchus. And to that I say, “Why do I not know who Mr. Sergei is, or was?” I’ve read he was a cover artist at the MET, and sang lots of different roles. Here he delivers the goods as well as I’ve heard them delivered. The voice can get a bit dry and leathery here and there, but in general, it’s a fine, well-schooled vocal instrument, capable of some very exciting sounds and extraordinary nuances, which one doesn’t usually associate with this role. In the end, a tremendously satisfying performance with excellent period sound, voices up front and the orchestra recessed, throughout. The correct performance date is May 20, 1965. Purchased on sale - WHAT A DEAL! Thank you for making it available!

I love Bjoner and all her works.