Silja didn't do Lady Macbeth often; I don't know whether or not she sang it again after this run. She was filling in for Rysanek and had to learn the role quickly. Her confidence is amazing and she is superb. Her rhythmic incisiveness, her response to the text are almost feral. She is present every moment. Technically she has no problem with the coloratura and the fil de voce D-flat at the end of the Sleepwalking scene is perfect. She doesn't have a trill though.Tipton was an American baritone who made most of his career in Europe. He is just as vivid as Silja in his response to the text and knows how to sustain the Verdi line. At times he sounds like Leonard Warren although he doesn't indulge in an A-flat at the end of his aria. He and Silja work together well. Engen, another American, is a very good Banquo and Nikola Nikolov is an unusually assertive Macduff. He sings his big aria very movingly and can be clearly heard in all the ensembles. Von Dohnanyi leads a taught, dramatic performance. Some listeners won't like the Witches' extra cackles in their scenes, but I think it makes the performance even more fun. I regret Von Dohnanyi's cutting of some of their music in the first scene (common practice in Germany), but am glad he didn't include the ballet. Tipton does get to sing the "Mal per me" aria at the end.The sound is quite clean and listenable, the voices caught clearly over the orchestra. Silja and Verdi fans should have this!

Anja Silja ist in dieser Vorstellung für die verhinderte Leonie Rysanek eingesprungen und gibt eine gute Lady Macbeth ab. Eine gelungene Aufführung alles Sänger. Die Tonqualität ist gut.

A great Macbeth. As mentioned, Anja Silja is good as Lady Macbeth, but in my opinion, Thomas Tipton is even better in the title role. His confident baritone leaves nothing to be desired. He clearly understands the role and doesn’t “overdo it”. Macbeth is a powerful warrior and his voice should reflect that, but in many recordings Macbeth’s words waver and sound like that of a tired, old man. Tipton’s voice never falters and his Italian is clear and understandable. His Macbeth is now one of my favorites. It is a personal preference of mine, but I welcomed the addition of the “death aria”, from the 1847 version, at the end, and most of the great recordings: Cappuccilli, Verrett & Abbado; and Warren, Rysanek & Leinsdorf, also include it. There are the usual cuts, some of the witches choruses and ballet music, but it moves the drama along at a good pace. I highly recommend this 2 CD set.

This was the first collaboration between Anja Silja and her future husband, Christoph von Dohnanyi, in which she was substituting for the ill Leonie Rysanek.