Olivia Stapp, Johanna Meier, and Patricia Wise all had appreciable careers both here in the US and in Europe - yet none of them had lengthy recording careers. Meier did appear in a Bayreuth Tristan und Isolde (now on DVD) and Wise sang Lulu for EMI (under Jeffrey Tate). I can't trace any commercial recordings for Stapp. At any rate, they were three splendid singers who live up to their reputations in this performance, probably from the NYCO in 1974. The Ariadne portions are sung in the original German, the Prologue and Zerbinetta's scenes are sung in English.Stapp's thrilling top register make it easy to understand why she soon began singing soprano roles. Wise sings Zerbinetta's music with great charm and virtuosity, easily nailing the high D's and E's and sporting an excellent trill as well. Meier is able to soar to Ariadne's top B-flats and yet display a resonant low range (very necessary for this role). Richard Kness, another underrated singer, is an excellent Bacchus. He is joined in his final phrase by Meier, an alternate I've never heard before.The supporting cast boasts names like Dominic Cossa, Samuel Ramey, Diane Curry, and Joaquin Romaguera who created the role of Pirelli in Sondheim's Sweeney Todd just a few years later. The sound is good with the voices heard clearly over the orchestra although there is some slight deterioration in the last ten minutes (another tape source?). Christopher Keene leads a lively, beautiful performance.

A wonderful performance ,in clear broadcast sound and with amazing principals, However, lest we forget that this opera is also very much an ensemble piece, note SAMUEL RAMEY (say no more!) as Truffaldino, and Joaquin Romaguerra as the Wig Maker......Who was he, you may ask, if not familiar with singers in the US.? Romaguerra was to create the role of Pirelli in Sondheim's Sweeney Todd in 1979 and can be heard in the Original Cast Recording - and very good he is, too!

Olivia Stapp, whom I was fortunate enough to meet and to converse with, was one of the most promising rising stars of American opera during her vocal prime. Somehow her great potential never materialised into a major international career, i.e. one with a recording contract with a major record label. We are so lucky to have live recordings, like this one, to document her splendour vocally and as an interpreter. I won't say more about this recorded performance. I truly wish to concentrate on its greatest point of uniqueness and greatness. That is Olivia Stapp.