Dynamic Performance in Excellent Sound!

“From the clear sound reproduction I'm going to guess the source of this exciting Cavalleria Rusticana was a broadcast. Looking at the cast many opera lovers may shrug and move on as I did a number of times before acquiring this. Collier was a passionate, skilled singer whose go-for-broke approach was ideal for Santuzza. She is unafraid of the larger than life emotions of verismo and yet she still sings well and doesn't overact. My admiration for her is strengthened by this stirring performance. Her Turiddu, Francisco Lazaro, is not a well-known name to most of us, but he sings with a beautiful, lyrical tone that he never forces. His performance doesn't shake one's world the way a Corelli or Domingo might in this music, but he is believable as an immature young man in over his head. Robert Savoie's baritone is a little wobbly in tone yet he ultimately makes a strong impression, especially in the short scene after the Brindisi. Judith Forst sings Lola's catchy song very well and Audry Glass is a strong Mamma Lucia. The actress who screams the final two lines is superb; she brings this tale of Sicilian love and retribution to an appropriately fiery climax. Otto Werner-Mueller leads and follows his singers very well.Performances like this are why most of us live-opera collectors enjoy collecting so much.”

Always excellent and reliable Seller, rich of significant recordings: definitely recommended.

“The three most relevant and interesting evidences of this historical recordings of the splendid Opera are first of all, naturally, the concertation and orchestral conduction by M° Rudel, always qualified and appropriate for the stage; the magnificent interpretation of the very difficult and complex role of Vitellia by Mme Moser, in addition with beautiful and spectacular embellishments; and the fresh Servilia by Mme Auger. A confirmation is the interpretation of the title role by M° Hollweg, whose «Se all'Impero, amici Dei» is particularly incisive and persuasive.”

Kna Rocks!

“It wuz goooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooood.”

A fine performance

“Like Andy, I am a fan of the soprano Pauline Tinsley. I saw her many times, including some performances as Lady Macbeth, and she was magnificent. This performance finds her in thrilling voice with full-blooded coloratura as well as much subtler effects, but just listen to her final note of Act 1. High notes aren’t everything, but my word, they can be exciting! None of the cast lets the side down but the main reason to acquire this is for Pauline Tinsley. You won’t regret it.”

roger bryson

“As a young regular opera goer this Frau was aseminal experience. Solti was well establishedat the Garden, but this was his finest hour...thefire brand Hungarian conducting an unknownStrauss epic.The house was crackling withexcitement, as the orchestra and cast gave theperformance of their lives.I came out reeling ,and decided to embark on a singing career,inspired by Donald MccIntyres magnificentBarak. How good to have this record.”

A great, incisive, dramatic Parsifal

“One can’t have too many recordings of Parsifal sung by Jon Vickers. He gave extraordinarily intense and elemental performances of the title role, and this one is as interesting as those under Knappertsbusch and Goodall. This recording also provides a better ambience for Kurt Moll’s great Gurnemanz (the other main role) than does Karajan’s somewhat uneven and somnolent studio job. The French cast-members and the Paris Opera orchestra and chorus acquit themselves very well and help to make the overall sound warmer and less Germanic than usual. This superbly played, sung and conducted performance is considerably faster and more dramatic than the great Parsifal recordings conducted by Knappertsbusch, Goodall, Solti and Kempe, who focus more on incandescence and spirituality. It is closer to the approaches associated with Boulez and Armin Jordan, but is less hard-driven. To considerable degrees, like Barenboim and Philippe Jordan, Horst Stein manages to heighten both drama and spirituality. Although he was long underrated, videos and non-commercial recordings (including those on OD) have been gradually redressing that. This recording is well worth hearing for refreshing variety of sound and approach, and both the performance and the sound quality are excellent.”

Grand Discovery

“This is a superb performance of the Donizetti Comedy with Bonisolli and Grist in their youthful prime supported by the great Corena in one of his Buffo roles. The sound is very good, if a little boxy, but then that is to be expected given that it is live and the period. I never tire of listening to Com' e gentile followed by Tornami a dir. They blend beautifully in the latter, and I have never heard a better version of it..Sometimes we read about mannerisms of Bonislllis singing in the 80s but in a live concert in 1988 in Vienna he does Com' e gentil (Two verses), and Pourqoi me reveiller from Werther in the same lyric fashion as the Pasquale The only quibble I had with him in the later years was the annoying habit of interpolating high Cs where they did not seem right.. However that is a debate for another time. To sum up--A delightful performance which I'm so happy to own.”

“Magnificent. A great historical document and with lovely singing from Janet Baker and Heather Harper. The sound is remarkably good. A real sense of occasion with Klemperer building tremendous momentum.”

A Stunning and Historic Performance

“This is worth it just for Pavarotti's rendering of Cujus Animam - absolutely how this music is supposed to be sung. Pavarotti combines the technical perfection, vocal ease, sustained intensity, and complete command of a Bjorling with magisterial phrasing and both great warmth and brilliance of tone. Breathtaking. His singing is like this throughout in fact - arguably at the peak of his powers and form at the great Italian tenor he was.This stunning quartet of soloists and Giulini as conductor make this a truly great performance. Verrett is also at the peak of her powers, with great tone, power, passion as the great artist and musician she was. Zaccaria provides truly beautiful singing, rich bass tone, and sophisticated technique which shows us once again why he was in demand for a long time from conductors like Karajan and Giulini, and frequently partnered great singers such as his countrywoman, Maria Callas. Zylis-Gara sings very well with what is a lovely though essentially lyric voice - and respects its lyric nature even in the more dramatic passages, such as the Inflammatus. Ideally I would prefer a bigger, richer voice in this music - such as the young Tebaldi - but Zylis-Gara is quite up to the demands of Rossini and Giulini.This is sacred music written in an unapologetically operatic style - memorably and beautifully sung start to finish, with great style, taste and artistry.”

Best Fanciulla ever.

“The performance that defines the role. I believe Olivero was competing, in a certain sense, with Tebaldi in some of the Puccini and other verismo roles. Oliver's silvery voice, which she never pushes but colors in extraordinary ways with great freedom of tempo, and while perhaps not as conventionally beautiful as Tebaldi's with her inimitable portamentos, is ultimately the more expressive: Olivero lives the characters from the inside. I have always considered Fanciulla one of the greatest Puccini operas and this performance will win over any doubters, if anything can.”

Lovely BOHEME

“Being a fan of Pilar Lorengar, it is wonderful to have this moment. She is in her loveliest silvery feminine voice. She is radiant. Merighi is excellent as Rodolfo with a robust italiante sound. Gayer is charming as Musetta. The other men are truly festival quality. The sound is what sounds like very good in-house. Certainly if you like any of these singers or want to get to know them, give this a try.”

Captivating!

“I didn't know any of these recordings, although I did once hear Te Kanawa performing the songs in concert. I obtained the recording last week and have already played it four times! It's fascinating to hear these three great singers, all with very beautiful voices, performing the same work in succession. I think Te Kanawa's voice is probably closest to what is traditionally thought of as 'Straussian', and she gives a lovely performance although, like everything I heard her sing, she could be accused of being bland and not conveying the meaning of the words. Grummer is lovely too, and it is moving to hear how well the beauty of the voice was preserved at this fairly late date. She also does really convey what these texts are about. Best of all for me was Arroyo, singing with rich tone and a passionate conviction that I don't normally associate with her. All three recordings are of very good quality.”

David Fetz

“I have to agree with Beethovens cecisions as to what to cut to form Fidelio out of Leonore. The only thing that i would have left might be the extended version of Oh Welch Lust In Leonore. It would slow the Action a bit but I love that rich male chorus sound. That Coment out of the way.BUY THIS RECORDING WITHOUT DELAY! The singing in this performance is GODLIKE. This version has some of the most beautiful and DIFFICULT that Beethoven ever Wrote. You are listening along to stratispheric singing for the Soprano and Tenor thinking “When is he going to give them a rest?” and then they REPEAT IT ALL AGAIN! Dame Gweneth and James King are stellar never leting down for a moment the level of singing and the rest of the cast is equally as stellar. Theo Adam holds his own with the best and Gerd Nienstedt is excellent as well.This is the WAGNERIAN OPERA that Wagner always wanted to write but couldn’t. If you are a fan of GREAT SINGING buy this. It is a true JOY to the ears.”

Outstanding cast and performance.

“Some really great singers in what sounds like it was a wonderful live performance. Some issues with fading with regards to volume in places, sometimes for minutes at a time, but so great to get to hear Kozub in particular along with some exceptional work from the cast over all.”

giovanni martini

“Interpretation vivid and dramatically superb voice cast and orchestra subjugated by perfect freedom granted by the Master, the intrinsic value of each singer and instrumentalist, fully exercised in the compactness of an Absolute: that of Herbert von Karajan!”

Evans in great form

“Wonderful performance, Evans sounds better in the small Kings Theatre and he did at times at the Garden. John Shaw a great baritone in a role that suited him to a tee(in fact he was a very good Verdi baritone)Bainbridge in one of her first Quickly's and brilliant and good to have. Bosbalian a very good soprano whom I have a soft spot for as she was my first Mimi, again with Scottish opera with George Shirley as Rodolfo.The rest of the cast are indeed made up of Scottish singers except for Sarti,and very good they are , great ensemble work and Gibson is on form.”

Nilsson and Vickers? Must have!

“I have to admit, prior to discovering Opera Depot, I did not know of the conductor Horst Stein. I purchased one of the Ring Cycles with Stein conducting and loved the energy he brought to it. So when Opera Depot was having their Birgit Nilsson sale and I saw there was this recording with Birgit Nilsson, Jon Vickers, and Horst Stein there was no doubt I had to order it. I thought the sound was fantastic, my only issues were two very brief moments in I believe the first act and the final act where there was some odd sort of interruption to the sound. Neither instance lasted more than a second or two and these blips certainly did not distract me from the rest of the opera. How could it? Nilsson is one of my favorites and I am very happy with this recording.”

Love this Gurrelieder recording!

“I absolutely love this piece, and as a chorister I've been able to perform it on two different occasions, onstage with singers like Jessye Norman and Hans Hotter, so I know this piece. I'm a Gundula Janowitz fan, so it was wonderful to hear her soar through this part. Christa Ludwig was perfect in her one scene, hardly brief, nailing every bit of it including all the optional high notes. The surprise for me was the tenor, Arturo Sergi (stage name...), who could actually sing Waldemar's part. Sing it! Most tenors strangle at some point but Sergi sang every inch of it really, really well.Bravo! The sound is quite good for the time, and overall it's simply a great performance of a stupendous work.”

Varnay is fantastic and there are other assets as well

“All I need to say about Astrid Varnay is: she lives up to her reputation, and, this role is perfect for her: ultra-butch, incandescent, super-athletic, and e-e-e-e-evil. But she is not by any means the only asset.Other reviewers are criticizing Ivan Petroff for being "unremarkable", and tonight he's not flashy like Tito Gobbi or Renato Bruson, but he's very competent and sympathetic and, in his own scenes, commanding. In fact, I have the impression that he is making a deliberate decision to cede the center of attention to Astrid Varnay when she's on stage--for which he deserves extra credit, not criticism! He knows whom the audience paid to hear.Italo Tajo is similarly modest, conscious of his position as supporting cast. Tenor Gino Penno sings his brief aria impressively; he sounds like a smaller version of Richard Tucker. I'd love to hear him do a larger role.And the other big superstar here is Vittorio Gui. He leads a crisp, muscular performance, making the opera an action-thriller rather than a morality-play, and he keeps the singers together (almost) all the time, and avoids getting bogged down in the big ensembles, which for many other conductors are deadly quicksand.”

Leyla Gencer pushes the boundaries.

“Without doubt: Leyla Gencer is the only soprano to touch Maria Callas in terms of interpretation and character symbolism and projection. Out of the cast of vocals you know it's Leyla Gencer, the dark sombre that comes and falls at your knees. It's 57' and Leyla is in excellent voice. Even Leylas' 80s material is worth listening to because she makes every effort to convey the composer's medium. Leyla Gencer listened to all of Callas's recordings because you can correlate the line and extensions in vocal interplay when studying each recording.”

Wonderful!

“This is a wonderful Parsifal interpretation. The singers are all at their best, in my humble opinion, and the orchestra is superb. There are some dynamics that allow you to listen even some lines that, in other recordings, are a bit more hidden. The sound is very good, although some noise appears in the Prelude, but in general, it's a pleasure to listen it. Totally recommended”

Charles Greenberg

“For the most part I loved it. La Nilsson is in gorgeous voice. So lyrical yet with all the power in reserve. The slower conducting allowed her to expand on the long lines. 1967 was prime Nilsson. Did NOT care too much for Nocker. He flatted many of his high notes. The rest of the cast was perfect. So glad to have another Salome featuring the incomparable Nilsson.”

A STARRY "PARSIFAL"

“A great live recording of Richard Wagner's "Parsifal", starring some of the finest Wagner singers and artists, such as: Jean Cox, Janis Martin, Franz Mazura, Donald McIntyre, Hans Sotin and Gerd Nienstedt! It is Bayreuth 1973 and Maestro Eugen Jochum is in the pit! Highly enjoyed and strongly/firmly recommended!”

Another piece of the Jigsaw

“The sound isn't brilliant but it cannot disguise the great performances of Leonie Rysanek as Sieglinde and Gunther Treptow, the Siegmund also on Furtwangler's Ring Cycle at La Scala in 1950, which I also have in my collection. I love live recordings and have most of the performances broadcast by Bavarian Radio from Bayreuth over the years. I have a complete Das Rheingold (Karajan), Siegfried (Karajan) and Gotterdamerung (Knappertsbush) from the 1951 season but only an Act 3 from Die Walkure also conducted by Karajan so to have this fragment from Act 1 is so valuable. Maybe one day a complete Walkure will appear but for now this a great addition to the collection. Thanks for finding it.”

Eda-Pierre excels

“This is a splendid rendition of Delibes' opera, almost as good as Opera Depot's Ruth Welting recording. Christiane Eda-Pierre is more of a Flower Duet Lakmé than a Bell Song one, but her limpid tones and sinuous phrasing put her near the forefront. It does not hurt that she is surrounded by first-rate colleagues as well, making the opera more of an ensemble piece than usual. John Stewart's liquid, sweet tenor is just about ideal for Gérald and Jacques Mars is a fine *basse chantante,* at his best in Lakmé, ton doux regard. William Elvin is a sympathetic Frédéric, and orchestra and chorus give conductor David Lloyd-Jones their best. I can't think of a single reason *not* to have this recording. Even if you are deathly allergic to Delibes, this might change your mind.”

Fine document of Olivero's Tosca

“Although I adore Olivero I don't find her voice here as compelling as it often is; it could be the recording, or maybe something subjective, but the trademark vibrato is not always pleasant. Her artistic/emotional choices are always interesting and effective, nothing is taken for granted. The Butterfly excerpts are fine and exciting.”

Congratulations

“I attended the opening night in Florence 1969 and have waited till now for a recording of any sort. The performance was from start to finish amazing, unique; not least for the stunning staging by the great Giorgio Strehler with his designer, Ezio Frigerio, which, of course, we cannot see, but it infused the musical performance and inspired Sena Jurinac and the others to give their all. For me it was an ultimative performance, alongside the 1961 one with Sena at Covent Garden, also soon available, under Klemperer; I had attended that as a young teenie and the evening sold me to opera forever) so, although I have heard many a performance since, I have never returned to an opera house for one live. Silly, perhaps, but I still live with the experience sdn opera, as we all know, is a very personal passion und gut so. Congratulations and thanks to Andy and his team at Opera Depot for keeping up the search for so long, until they finally tracked it down! You are all just great!”

Excellent Carmen in English!

“The recently departed Katherine Pring was my first , and to this day, best Carmen. Here she is supported by a classic ENO glory days cast. The English language makes the drama even more immediate and engaging than ever ( to English speakers of course!) Sound is excellent broadcast quality.Thrilled to find this on Opéra Depot!”

Excellent performance, Excellent sound

“I have always been a fan of Welting's sweet voice and found her sadly under-represented on recordings. This set is fantastic. Gines Sirera has a light and easy voice with plenty heft when required. Will investigate him a lot more.Well sung by everyone, and the sound studio quality. Don't hesitate.”

A RING to have

“This RING has cuts, but I can forgive this recording, sound is great, cast is out of this world. Birgit Nilsson love duet in the prologue of Gotterdammerung outstanding, she made me turn my head as she held out that last note of the duet. Everyone is top notch and the conducting never slow, very fast paced. There are little and I mean little blurbs from the orchestra. I will hear this RING again.”

Martin Ramor

“I liked all the singers. I loved young, powerful and dramatic Suliotis (she was not even 26 years old on this recording), elegant phrasing of Cossotto, powerful and heroic Limarilli, reliable Vinco. Bartoletti and orchestra good.”

Conductor and ladies first !

“Schippers is always a success in Aida, this one as a testament with a transcended orchestra. Cruz-Romo in a great night, Bumbry still sensational, Gugalov not ideal with italian and timbre not constantly seduces but musician, Wixell at his best.”

Olivier Bergeron

“This is one of my favorite recordings of Manon Lescaut.Young, fresh Domingo and the incredible Virginia Zeani (who is, by the way, 20 years older than Domingo!) are both in top form and make an incredible team. If only we could find more recordings of the great Zeani on this website, the sales would most certainly go up!”

Three Divas, Four Songs

“A great chance to compare three legends, each bringing something of “themselves” to the music, Nilsson those clarion, sunny high notes, Caballè’s chracteristic sweetness and legato. Perhaps Zylis-Gara is the best all around perrformnce while being the least spectacular.”

Luis Lopez Bonilla

“This is an excellent performance. I expected a lot from Siepi and Neri as Philip and Grand Inquisitor and they deliver. So do Cerquetti, Bastianini and Barbieri and conductor Votto. Tenor Lo Forese is at a very good level too, even if Don Carlo is not the greatest role to sing. He apparently substituted often for Del Monaco and Corelli and was a spinto to dramatic tenor with a round voice and very good high notes.”

KEMPE'S LOHENGRIN

“The true hero of this performance is the conductor: Rudolf Kempe. He has long been considered one of the greatest Wagnerians and his conducting proves this opinion. The wonderful orchestra and choir of the Bayreuth Festival perfectly accomplish his conception. According to my opinion nobody can match with the portrayal of Lauritz Melchior the greatest Lohengrin (and Wagner tenor) for ever.Sándor Kónya in the title role is also far from the genius of Melchior but he gives a very good job. He represents the artistical approach of Franz Völker. They belong to the transcendent, spiritual, lirical so-called „silver tone” Lohengrins. In the role of Elsa Heather Harper follows the reading of Maria Müller, Eleanor Steber, Elisabeth Grümmer and Pilar Lorengar and instead of using a big voice she gives us a nuanced portrait. Grace Hoffman is very good as Ortrud but she cannot match with the intensity of Astrid Varnay. Donald McIntyre is one of the best Telramunds I have ever heard full with passion but this never comes at the expense of singing. The young Karl Ridderbusch a newcomer in Bayreuth is convincing in the role of the King with beautiful high voices but a little bit far from the earlier impersonators of this role. Thomas Tipton as the Heerrufer is acceptable. I think it was one of the last minutes when this opera could be performed to such a high standard.”

A worthy Tristan und Isolde

“Aside from the fact that I failed to read "extended excerpts", which was my fault, this performance is well worth a listen, especially for the Isolde of Berit Listen & enjoy!.”

Beautiful Missa Solemnis

“This performance is wonderful. A radio broadcast with very good sound. Horenstein broadly paces the Mass to excellent effect. The chorus is a tad muddy but that is to be expected from a 1958 radio broadcast. Soloists are also excellent with my favorite Stich Randall heavenly in her solos. Thank you for making this available.”

Luxury cast and powerful performance!

“My shelf is filled with ”Rings” most of them have something very appreciable and unique. This is one of the most full blooded performances I ever heard. Thomas Stewards intensity through the whole cycle keeps it together in a beautiful way. His Wotan is virile and expressive, and the Voice rings with indefatigable strength from start to ”das Ende”. Wotans narration in Walküre act II is sung in a way that makes it one of the most interesting parts of the whole opera - something very rare! Berit Lindholm is my personal favorite Brünhilde. Her bright and beautiful timbre combines the steel of others with the female vulnerability of the softer ones. The voice sounds fresh and well-controlled throughout, and she paints a very credible portrait of the heroine’s development. Gwyneth Jones had her best years in Bayreuth 69-71 and her commitment is total, although the quality of the recording makes her voice a little injustice. The audiens reception of the Walküre act one says a lot about the beauty and devotion of Brilioth’s and Jones’ singing and acting. Jean *** actually SINGS the whole part, and even if his color of voice is light and steely the precision and beautiful phrasing makes up for the lack of heldentenor-darkness. Stein is a reliable Wagner-Conductor, his version is traditional and secure, but without any sensational specialities. I recommend this recording dearly. For all Lindholm fans - it’s a must and a desert-island recording!”

Hard to surpass

“An outstanding performance from all concerned. Vickers, whom I saw many times as Parsifal, has never been surpassed. Hotter is even finer than on the Philips 1962 Bayreuth version. Neidlinger probably the best Klingsor I've ever heard. Stewart, perhaps a bit subdued in the 1st act is magnificent in the 3rd. Perhaps Ericson is not quite in the same class as the men but she's still extremely good only showing she's almost (but no quite) at the end of her tether in the climactic moments of the 2nd act (as are nearly all mezzos who sing this soprano role). The chorus is stunning and over all the conducting of Knappertsbusch sounding perfectly natural with the wonderful Bayreuth orchestra. Recording quality is superb. 5 stars+.”

Gene in LA

“I had the good fortune to see the New York City Opera’s production in L.A., with Norman Bailey as Sachs, Johanna Meier as Eva and the great, greatly-missed John Alexander as Walther. Julius Rudel conducted. I believe NYCO was borrowing the English National Opera production, done in Andrew Porter’s English as The Mastersinger. It was quite possibly the greatest single opera performance I’ve ever seen.”

Anthony Debney

“I have always felt that both Crespin and Waechter were underrated singers. Waechter was not only an excellent Amfortas at this time he also gave performances of Wolfram and Kurnewal that have stood the test of time. Crespin recorded for both Solti and Karajan Ring cycles. Knappertsbusch is often thought of as slow but I possess PARSIFALS with Kna at the helm from 1951, 1954, 1956, 1958, 1962 AND 1964 and have heard the opera in live broadcasts many times and he actually is about the median. I think only Boulez and Clemens Krauss were much faster and Toscanini at one time held the record as the slowest.”

Boyd Cathey

“This is the most complete recording of Wagner's early opera, RIENZI, available. It was a BBC broadcast performance (1976), and it was from that broadcast that this presentation was eventually derived. For a time, it was available on the Ponto label. On all counts it is a solid presentation, in decent and quite acceptable sound. John Mitchinson, the eponymous major character has a good voice, and he doesn't seem to tire, despite the length of the work. His show-stopping aria/scene "Almacht'ger Vater" is well handled. While Mitchinson doesn't compare to a Lauritz Melchior as a heldentenor (who does?), he does quite well. The release also gives us all (or most) of the beautiful ballet music. Ths incarnation includes ample cue listings. This is a valuable release, strongly recommended to those who enjoy grand opera and its development.”

Björling sets the standard

“Amazing presence and clarity in this new remastered version. Björling’s performance is simply electric. Vesti la giubba is his most deeply felt version. As is his Non Pagliaccio non son. Both scenes display unparalelled vocal freedom and simply knock out every other version in recorded history. Highly Recommended.”

Stabat Mater

“The performance is well-sung and played. The setting of the religious text is dramatic in the same sense as the Verdi Requiem, and the artists are committed to the work.We know the tenor and soprano showpieces from the likes of Pavarotti and Caballe, but the whole work is quite compelling. The sound is very good.”

Une version de référence

“Très belle version d'Orphée et Eurydice, dominée par la grande Rise Stevens, vocalement et dramatiquement admirable du début à la fin. L'autre grand intérêt de cette version est la direction d'Erich Kleiber, vive et animée, mais toujours très lyrique, comme il savait si bien le faire dans Mozart, auquel on pense d'ailleurs souvent dans cette version. Le son est d'une qualité très correcte pour l'époque.”

Note

“Roberta Knie went on to sing Isolde to great effect. I disagree that her voice was too light for Wagnerian repertoire. As Knie herself was to say in interviews, the act of placing the voice in the mask and singing Wagner produced vibrations that detached her retinas. "I'd rather see than sing" she said, and promptly retired.”