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Free Streaming Recordings
Every week we offer 12 new titles available to stream for free
Beethoven: Leonore (In English)
Tinsley, Beresford, Bailey, Garrard; Mackerras. London, 1970
Bellini: Norma
Caballé, Vickers, Veasey, Ferrin; Patanè. Orange, 1974
Donizetti: Anna Bolena
Cruz-Romo, Flagello, Tagliavini; Rescigno. 1968
Mozart: Die Zauberflöte
Carlyle, Schreier, Mesplé, Crass, Prey, Holm, Mattiello, Putz; Suitner. Buenos Aires, 1968
Mozart: Don Giovanni
Ghiuselev, Moser, Zylis-Gara, Mathis, Wohlers, Moll; Leitner. Wien. 1977
Spotlight: Grace Hoffman
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Great Performance, Eccentric Title Card
“I'm in the process of enjoying Karl Bohm's conducting, and the fine singing of Tristan spearheaded by Birgit Nilsson and Wolfgang Windgassen, hoping to draw a clear comparison with Bohm's better-known, superlative 1966 version with a similar cast. But I couldn't help noticing the slight oddity of the title card enclosed with the two disks. To wit:Reversible TristanTristan und Isolde, live recording from Bayreuth, July 24th, 1962That’s right, in Act Two’s Love DuetIsolde, Tristan swap their genders:Says so in Wagner’s tangled textCompounding passion with surrenders.He sings how he’s become Isolde,She sings about her turning Tristan;She who could not decipher “Tantris”— Could anyone that corybanticMiss the hint of congress Tantric?—No fitter name for her than Sole Id.Outstripping Sole Id and her Tantris,Opera Depot issues two disks,Tristan, Bayreuth, ’62.It boasts a title card like few;Gives names to roles and singing players,To wit: Tristan is Birgit Nilsson,Wolfgang Windgassen plays Isolde.It just gets better: Kurwenal,Tristan’s blustery manservant,Is played by mezzo Kerstin Meyer.Brangäne, house-girl to Isolde,Is baritone, trusty Eberhard Wächter.(Come to think of it, what parentsName their bright boy Eberhard?But that’s a construct to be filedWith names like Hildegard and Behrens,Walküre-typical, totally wild.)So doth the white-bread title cardReverse poor Tristan’s cast of players,Sure to confound the already jarredBy Tristan’s multiverse of layers.Such gender-bending like a tuxFits operas of love and flux.”
Fine Tosca
“This is a fine Tosca. Cioni has a light voice but he is effective in his role. Stella has a steely voice that is well suited to Tosca. I would compare her to Tebaldi in timber. Basile moves this live RAI performance briskly. The sound is very very good mono. The voices are clear as one would hope. This is a worthy performance.”
Exciting Performance in Very Good Sound!
“If he had any concern for his vocal longevity Giuseppe Di Stefano should not have been singing Radames and yet (in this performance at least) he does very well. Andy mentions the loggionisti in his comments above, but I don't hear them giving the tenor or anyone else any trouble. Di Stefano makes some beautiful sounds although he can't escape the fact that his natural voice was about two sizes too small for this role. He sings an attractive "Celeste Aida" and sings lyrically elsewhere. He also joins Stella on the top C in the Triumphal Scene ensemble.Stella is an excellent Aida with a confident top and a persuasive, if rather generic, characterization. She indulges in too much sobbing, but that was a gimmick she used in a lot of roles. Simionato is simply smashing as Amneris, every inch the noble, spoiled princess. At the end of the Judgement Scene she sings the final "voi" in "Anatema su voi!" in two distinct syllables, something I hadn't heard her do before.Guelfi and Zaccaria are first-rate. It's interesting to hear Mirella Parutto and Giuseppe Zampieri as the Priestess and Messenger respectively. Both would go on to sing leading roles in Italy and elsewhere. Votto certainly knows what he's doing and leads an exciting performance. The sound is very good though there is some occasional wow and flutter. If you want to hear what Aida should sound like (and almost never does today), look no further.”
Interesting for Scotto and Patané
“Good performance. I bought it for Scotto's and Patané's performances. I'm not generally a Giaotti fan, but he does ok in this performance, even though he is a baritone and the role he sings was written for a bass. As usual, in most of these in-house recordings (especially in this era, 1974), the sound quality is between awful and execrable.”
Corelli als Jose ist immer ein Erlebnis
“Corelli als Jose ist unübertroffen und hier ist eine von seinem besten späteren Carmen.Cortez und Bruscantini machen tolles Job auch, Oliviero De Fabritiis ist ,wie immer, absolut perfekt.Sound ok( es gibt keinen besonderen Wahl - entweder sind die Sängern gut oder ist das Sound gut. Seltener trifft das sich zusammen)”
Richard Hooper
“What a wonderful surprise this is! The only other recording of Meistersinger with Hotter as Sachs (for he was a great Pogner for Keilberth)I know of is the 1949 one he made with Jochum, and that's a disappointment. Hotter sounds uncomfortable there, and he even flubs a verse in \""Jerum\"" (which he definitely doesn't do here). Indeed, he didn't like the role of Sachs, which he felt wasn't placed right for his voice, and abandoned it in 1956. Here, in contrast, he delivers a clear, heartfelt performance full of character, his breath control certainly aided by Beecham's brisker tempi. And I certainly take exception to the above remarks about Peter Anders' \""monochromatic\"" singing. He's one of the real revelations here, and indeed I didn't know he had recorded Walter. Anders is most famous for his wartime live recording of Martha (available in great sound on Berlin records), and he was killed in an automobile accident only two years after this Meistersinger. His Walter is ardent and effortless--one of the best I've ever heard. What a pity we don't have his third act! Grummer is here even more radiant than in her famous studio recording for Kempe. Kusche is always consistent (this is the fourth of his Bechmesser's I have!) and \""kein Besser.\"" It's a pity that the Pogner isn't listed (Greindl?) for he is top rate. Finally, Beecham turns out to be the perfect conductor for this opera. There's a sense of forward movement and fun which is only matched by Kempe. The sound is variable from one noisy matrix to another, but on the whole the dynamic range is surprisingly good so that the overture comes off very well and neither Anders' nor Grummer's high notes are clipped. It doesn't sound like a radio feed, but rather as though the 78 rpm matrix device (and why weren't they using tape by 1951?) was placed near the front of the stage (and close to the tympani, which are quite loud!). There is about a one minute gap right after the overture and chorale so that the beginning of Walter's entrance is missing. The rest is complete, but there is such a dramatic improvement in sound about half way through \""Jerum!\"" that I suspect another gap was filled in with a couple of minutes from the Jocum performance mentioned above. The old sound soon returns, however, and we certainly have a ghost of how Sir Thomas conducted the mob scene at the end of the act. This set is a great way to round out the famous Act 3 pre-war recording by Bohm, which has recently been reissued in really spectacular sound. Anyway, I really loved this great find, and despite the sound problems it's highly recommended!”
Nilsson's first Salome
“Despite somewhat muffled sound (give it a volume boost and everything's OK), this Stockholm broadcast makes a persuasive case for opera in the vernacular. How does "Salome" sound in Swedish? Pretty darn suave. The central element of interest will be Birgit Nilsson's maiden voyage as Salome. Age 36 would normally be a bit early for tackling the Judean princess but Nilsson was no ordinary singer. Interestingly, her performance is more contained and intimate than it would later become, and -- to mix idioms, there's an *innigkeit* that derives from singing in her mother tongue. The young Kerstin Meyer (Page) is obviously on the way to greater things, Sigurd Bjoerling is a formidable Jochanaan, with or without cistern amplification, and the royal pair is especially intriguing. Margareta Bergstroem is a Herodias not to be taken lightly and Arne Hendriksen's fascinating, sweet-toned Herod is a playboy sort of tetrach of Judea. Berislav Klobucar conducts expertly but ...... the subtle lilt of Joseph Keilberth in a lengthy excerpt from a 1955 Munich performance is just that much more convincing. This is an example of the 'international style' of performing Strauss and mostly focuses on Herod and Herodias (Jean Madeira). Bernd Aldenhoff's tetrach is always riveting, if not as unique as Hendriksen's. Nilsson's inflections don't have quite the hand-in-glove specificity of her Swedish ones, so Andy is to be thanked for including this most informative comparison piece. (And, is my ear deceiving me or is that Paul Kuen as First Jew.) Josef Metternich, by the way, is an impressive a Jochanaan as Bjoerling. Would that the entirety of this performance were available. 1955 was a banner year for Nilsson in Munich: She and Aldenhoff also headlined a Hans Knappertsbusch-led "Gotterdammerung" that deserves Opera Depot reissue.”
Best SUNG Lohengrin
“This is a wonderful account of an opera that looks ahead to the narrative style of the Ring and Parsifal but still sits comfortably in the world of traditional opera--choruses, quartets, arias. This is the BEST SUNG Lohengrin I have ever heard, based on 60 years of listening. Every role, and they are each one studded with difficulties, is consistently and accurately sung with bel canto musicianship--something rare in Wagner performances. Listen to the young Franz Crass sing the King--commanding, authoritative, meaningful, and musical. This is a role that has defeated many significant character basses but is SUNG beautifully here. Similar praise for Tom Krause as the Heerrufer, In fact, this cast in 1962 is blend of New Bayreuth (Crass, Krause, Silja, Thomas) and Old Bayreuth (Varnay and Vinay), and the casting absolutely fits the delegated roles. Varnay is a great and terrifying Ortrud and ever the impeccable musician (Ortruds are usually one or the other; Varnay is both). This is truly a great performance in the opera house.”
Blimey!
“Before buying this Opera Depot version, I have had at least four other versions (and probably one or two I've forgotten), got shot of most (no names) and kept IDIS and Myto (though I think Myto actually has the edge). Now, I may as well toss these other two because this OP edition is stunning. Admittedly, a lot depends on one's play-back system, but I have seldom heard Callas sound so natural. Often recordings emphasize the edge in her voice and lose the rich undertones. Not here. I am SO glad to have this, and I bought several copies to give to friends. I leave it to you to decide but, if I were you, I'd buy it now!”
"Regnans in excelsis"
“In 1977, the Aix-en-Provence Festival produced Donizetti's "Roberto Devereux," directed by Alberto Fassini (a protégé of Luchino Visconti), starring José Carreras, Montserrat Caballé, Susanne Marsee, Vicente Sardinero, and Ferruccio Furlanetto, and conducted by the late Julius Rudel with, unfortunately, the usual interpolations and cuts familiar from the period.The full extant of the beauty of Carreras' voice is heard here in the title rôle of the Earl of Essex, and he sings with admirable abandon, as well. The voice of Caballé was also, of course, one of the most beautiful instruments before the public, and, in this particular performance, she sings with great energy. Some might prefer, nevertheless, the singing-actress approach of the other celebrated post-War exponents of the rôle of Elisabetta, Leyla Gencer and Beverly Sills.Miss Marsee had made her European début earlier that year, at the Spoleto Festival, in "Così fan tutte," and here replaced Grace Bumbry as Sara, Duchess of Nottingham. That rôle was an important one in the great singing-actress's career (and remains her favorite), having débuted at the New York City Opera in this opera, opposite Sills, Plácido Domingo, and Louis Quilico, in 1970. In 1975, she appeared in a national telecast of the work from Wolf Trap Farm Park, in Tito Capobianco’s production. Here, she is thrilling as the hapless Duchess, her singular voice throttled with passion.”
Roland
“I knew Delme Bryn-Jones at the end of his life after he stopped drinking. A wonderful man. He sadly didn’t get back to major public performance but did help a lot of people recover from drink problems, like his own. There are sadly very few recordings of him working. I am very pleased to have found this one to add to my very small collection.”
Fantastic “Rape of Lucretia”
“Here we have a live performance with an outstanding cast and, more importantly (in my view), a conductor who drives the music forward with even greater force than Britten. The stars of this show are obviously Jon Vickers as the Male Chorus (the only Britten role he ever sang other than Grimes), Patricia Rideout as Lucretia, and the great Allan Monk as Tarquinius. The drawback is that it is recorded from the audience, which recesses the voices somewhat even as it gives a natural “space” around the voices, and is in mono.But what a great performance it is! Lively in every respect, sung and acted splendidly, and conducted with a tautness ever greater than Britten’s own version. And once you get used to the sound, it isn’t bad at all; in fact, if anything, the orchestra is recorded with an almost 3D effect, with both the upper-range instruments (strings and winds) and percussion practically leaping out of the speakers at you.See my full review at https://artmusiclounge.wordpress.com/2018/04/28/fantastic-rape-of-lucretia-with-vickers-rideout/”
A bundle of fun and more besides!
“This was a special production which I saw and heard live several times. AS the product description implies, it stopped just short of high comedy and never lsot sight of Britten’s more subtle intentions and is full of human warmth as well. The cast was remarkable and formed a wonderful team, it was an unexpected treat to have Sena’s Lady Billows and very special to have it now, conserved for posterity - thankyou Opera Depot!”
Excelente "Piccolo Marat"
“Memorable caracterización de Nicola Martinucci en el papel titular. Virginia Zeani aporta su excelsa experiencia en un rol que representó con éxito a lo largo de su carrera. Nicola Rossi-Lemeni aporta su personalidad ya alejado de sus mejores años y sobresale actoralmente. El resto del elenco se muestra comprometido en la interpretación de sus respectivos personajes. Nada queda librado al azar en esta espléndida relectura de la obra, en la que se destacan el coro y la orquesta bajo la dirección de Francesco Maria Martini.Buen reprocesado digital, aunque a veces, en función de los movimientos escénicos, las voces quedan en un segundo plano. De todos modos, esta mínima deficiencia técnica, propia de las grabaciones "en vivo", no desmerece el valor superlativo de esta interpretación de la difícil partitura mascagniana.La recomiendo en un 100%.”
Walter Hartman
“Arroyo should have had a commercial recording of Aida. She did not so I am grateful for any recording of her in this part. In 1968 she was in magnificent voice and her portrayal is warm and moving. Bergonzi is a prince among tenors and he emphasizes the lyric beauty of the role without sacrificing the heroes aspect. He never forces and is always stylish. MacNeil is a powerhouse Amonasro and Cvejic, probably not my first choice for Amneris, sings it very well and gives a good account of the role. Bartoletti is always a good Verdi conductor.”
messa di requiem...torino 1960
“Ottima esecuzione live della Messa verdiana, molto bravi tutti e 4 gli interpreti.Molto interessante ascoltare Gianni Raimondi, su tutti la Marcella Pobbe e molto bravo Ferruccio Mazzoli che io considero autentica voce di basso, cantante dalla linea pulita e molto educata, appena un pò sotto la Lucia Danieli, come sempre la bacchetta di Mario Rossi è sicura, ritmi un tantino veloci, ma la conduzione è ottima, così come l'orchestra RAI di Torino.”
The finest Parsifal performance ever?
“Perhaps not, because of the mono sound. But it is worth making the argument nevertheless. This is indeed one of the "golden trio" of Parsifals: Kna1951, 1952, and 1954, while many who love this remarkable opera rank Kna1952 first. The sound quality is comparable to the Kna1951, arguably just slightly less, although the difference is not easily noticeable. The sound is pleasurably warm and the microphone placement is well-judged to give a nice balance between orchestra and singers (a technical detail that all but ruins other Bayreuth recordings). There is no aspect of the reproduction that would limit one's full enjoyment. George London's performance of Amfortas sets a historical standard. Ludwig Weber is a superb Gurnemanz, while Martha Mödl and Wolfgang Windgassen are wonderfully passionate. Hermann Uhde is my all-time favorite Klingsor, nasty as well as unhinged; having a deep and menacing voice is necessary but only gets you so far if Klingsor doesn't communicate the creepiness. Here we also have the real Parsifal Bells: they shake the hall and sound awesome!! And the Act III bells are caught better than in 1951.Knappertsbusch becomes one with the music, the Bayreuth orchestra is inspired to a transcendent level, and even though he conducted it so many times there, this one grabs you by the throat. For some reason that is hard to explain in words, the linear flow, the dramatic balance, and the overall coherence define a magisterial conception. Not to be missed!”
Rule of Thumb: If It's Grob-Prandl, You Purchase it.
“There really isn't much to say other than the review title. Anyone familiar with Grob-Prandl will know that she was arguably the most unrecognized truly great singer of the third quarter of the 20th century. Her Elektra is searing, while her singing is almost disconcerting in its perfection. And Erika Schubert, a name with which I am only vaguely familiar, is almost as hair-raising a Klytemnestra as was Resnik on the Solti recording. Gertraud Hopf is a solid Chrysothemis, the men are good, and Klobucar is often a great opera conductor. He is here. The sound is excellent, but even if it were only serviceable, you must have this for Grob-Prandl.”
Donald Honan
“It’s good to know that these priceless documents are being saved and disseminated!! I’d love to have things by Rudolph Gerlach-Rusnak from German Radio or wherever. I may decide that I cannot live without Kuchta, also!”
long awaited on CD
“Back in the stone ages I purchased this recording on VHS. Back then VHS recordings of live performances were just getting started. Needless to say the video quality was dreadful. The sound quality however was not. I am delighted to now have this performance on CD in excellent sound quality. Granted Tebaldi and Corelli were nearing the end of their prime but hey! They are who they are! One big reason I was glad to have a CD of this was I adored the way Corelli sang "O BEL OCCHI DI FATA!" by Denza. This is NOT available on any CD of his whether studio or live until now. Thanks Opera Depot for making an old lady very happy.”
Richard Inverne
“I remember the Elliot-Craig-Glossop “team” coming to Bournemouth -must be about 1960. As a boy of 9 I was so impressed by their thrilling performances: Trovatore on Monday and Tosca on Wednesday – I knew the operas from my Dad’s LPs but this was my first time live. Amazing how I remember lots of detail! This Chenier is just amazing, isn’t it? Loved The Pearl Fishers with Craig/Glossop too.I saw both guys many times, and also picked up on Craig at ENO in the late 1970s & early-mid 1980s, when he had something of a resurgence into and beyond his 60th year: Norma, Pagliacci, Otello, Tosca, Aida come to mind…and still singing so well! Who (of similar type) followed?TENORS: Dennis O’Neill was/is fine on a good night but so erratic, either brilliant or plain boring. Then came David Rendall, whom I have admired almost as much as Craig for years, but he seems sadly to have retired since his nasty accident (Google him…)BARITONES: Well, there was Terence Sharpe, mainly in the ’70s and ’80s (WNO, ENO). Now there’s only one candidate…and it has to be ALAN OPIE – absolutely one of the greats, if not a true Verdi baritone like Glossop.- Anyone want to join in this discussion?”
Dramatic coloratura sopranos', and were they drowned out by Maria.
“Did I have Caterina Mancini in my collection. Yes I did: Nabucco, on vinyl. I have not taken interest in Caterina Mancini until I heard your Ernani, and to another singer: Giuseppe Taddei who is also brilliant in this recording. (How little we neglect Taddei when he has been there all along) Caterina Mancini would have held equal rank (so too Gencer) with other sopranos' at the time but did not have entry to the opera houses on a regular basis and no major record deals like Maria and Renata. I look forward to more of your new recordings of opera singers.”
Exciting performances of Inge Borkh and Martha Mödl
“"Ich seh´s an deinen Augen, an deinem Zittern..." - For me, one of the most exciting parts of this record. I had the honour to see Miss Mödl in her last role: Mother Bazouge in "Gervaise Macquart" (G.Klebe) in Düsseldorf!”
Best Turandot
“What an extraordinary performance, with three of the century’s greatest singers!I wish the sound were better, but it’s the best we can expect from such a live recording. In my opinion it beats every other Turandot recording, live or studio. Price, especially, is extraordinary.”
Great!
“Good stereo sound and dont mind the few dropouts, you should buy this! I have details of this production...Opéra de Paris (Paris Opera)Conducted by Karl BohmProduction - Palais GarnierMise en scene - August EverdingScénographie/Costumes - Andrzei MajewskiDates: 11-25 April 1975(4 performances)Birgit Nilsson (Elektra)Leonie Rysanek (Chrysothemis)Astrid Varnay (Klytemnestra)Richard Lewis (Aegisth)Hans Sotin (Orest)Jean-Louis Soumagnas (Tutor of Orest)Robert Dumé (A Young Servant)Fernand Dumont (An Old Servant)Hélia T'Hézan (Overseer)Jocelyne Taillon (First Maid)Anna Ringart (Second Maid)Francine Arrauzau (Third Maid)Hélène Garetti (Fouth Maid)Éliane Lublin (Fifth Maid)Maryse Acerra (Trainbearer of Klytemnestra)”
A Great Version
“Cosi Fan Tutti is one of my very favorite operas, especially when performed in the terrific Martin translation. I have several recordings of the English language version and this one is as good or better than any of them. Great singing and playing in good sound plus Janet Baker - what more can you ask? Highly recommended.”
Celine Papizewska
“Louis Quilico had one of the most sheerly beautiful baritones voices of all time, most evident in bel canto opera. Bellini wrote the most Romantic melody ever for baritone in “Ah, per sempre io ti perdei”, and Louis gives it all the dark, melancholy beauty at his considerable disposal. I used to study with him, and during lessons he would regularly overwhelm his students by demonstrating a technical point with phrases from Verdi. What a treat! If you could manage to find some of his performance in other bel canto operas, ie. Lucia di Lammermoor, and his magnificent Macbeth, as well as Falstaff, I would be in opera ecstasy.This Puritani vies with the Callas/Di Stefano as my favourite bel canto recording of all time.”
English Janacek Style
“In 1951, Katya Kabanova was the first Janacek opera staged in Britain. The conductor was the 25 year old Charles Mackerras. Mackerras first recorded Janacek in 1959 and this recording included the overture to Katya Kabanova. Mackerras subsequently conducted this opera in Brno and in an interview Mackerras said that the Czech orchestra played naturally and this present Sadler’s Wells performance “ran them a good second” due to the Sadler’s Wells Orchestra’s enthusiasm and the singers ability to develop an “English Janacek style”.In 1976, Mackerras recorded Katya Kabanova with the Vienna Philharmonic which began a five Janacek opera recording cycle with Decca.In 1997, Mackerras recorded Katya Katanova again, this time for Supraphon.In this performance, the first recorded version of Katya Kabanova by Charles Mackerras, the eccentricities of Janacek’s orchestration is evident. Janacek’s music is not based on folk music like Bartok’s music but rather, is conceived “by feel”. This unorthodoxy which originates from Debussy, uses the whole tone scale constantly but it sounds nothing like Debussy. Janacek’s unconventionality is part of his originality and Janacek’s compositions, which at the time of this recording were thought by many to be unplayable, should not be made to sound like Wagner, Puccini, Strauss or Dvorak.”
Wonderful Keepsake!
“Wonderful to have this record of some great voices (British and otherwise) from the ‘70s. Hope Opera Depot is soon able to make performances from the ‘80s available to us too. Performance recordings have an energy that most studio recordings just can’t seem to create.”
B@lls to the Wall Salome
“La Rysanek in full flight must have been something to behold. You can hear the audience literally go beserk after the final chords. Excellent sound actually, better than expected, balance with singers is good and the voices captured very realistically. Rysanek goes sharp in a passionate moment or two in the final scene but that is a MINOR quibble. Fantastic performance. Vickers and Stewart seem determined to keep up with her.Exciting to listen to repeatedly.”
Modl rules!
“I'm so glad that the reviews of this recording persuaded me to purchase it. I couldn't have enjoyed it more. Modl is indeed in amazing form - she is definitely my preferred Brunnhilde, so warm and so human. The rest of the cast is also great, and the sound remarkably good for 1955.”
John Stanton
“All principal singers here give iconic performances of these much recorded roles. Del Monaco and Stella are arguably better here than their later studio recordings. Del Monaco is at his vocal best, the voice beautifully resonant and expressive throughout. His Chenier is heroic and romantic, even sensual. Antoineltta Stella sings beautifully displaying why she was so popular with Italian audiences and a major opera star. Giuseppe Taddei, with his big beautiful voice, individual phrasing and vocal attack gives body to Gerard, and with a strong supporting cast and excellent sound this is a 'must have' version for fans of this opera.”
David Fetz
“This is truly a fine performance of an oft neglected Masterpiece of Stravinsky.Peter Pears is at his best and Martha sounds great too. The chorus and orchestra are also very fine. The all male Chorus plays a pivital part in this opera and needs to be top notch. It is not an easy Opera to put together. I have had the pleasure of singing in the chorus for a productin and It is very challenging, But also very rewarding once you get it under your belt. I was surprised at the casting of Pears in the lead as most of the productions that I’ve heard have had a more spinto tenor cast as Oedipus. I realy like the more lyric sound of Pears voice in the roll. It works Very Well. The sound quality is really great for a recording of that vintage. Thanks for an excellent addition to my Opera library.”
Hildegaard Kiel
“I had just arrived in the UK 3 months prior, and it so happened, that for half-a-crown I managed to get a seat in the (I believe) fifth tier at Covent Garden for Joan Sutherland’s performance on 17FEB59. It was – as you said – completely dazzling! Not only her singing was “out of this world” but the entire stage scene during the madscene looked like a Rembrand painting having come alive! Already the following day Lucia di Lammermoor was broadcast over the network in London!With profound thanks for the 26FEB59 CD recording, H. Kiel”
Sensitive Tosca
“Under the many Toscas I heard live Pilar Lorengar was the most sensitive one.She has sung this role many toimes at Deutsche Oper Berlin, and often her partners were F.Tagliavini and Wixell, under the direction of Maazel. So the record is a wonderful evidence for harmony and quality of the performances at DOB.”
Il Trittico London 1965
“Very happy with this ourchase and the performance. I taped it in 1965 but lost the tape and I am delighted the performance has been preserved. The quality of recording is excellent. The performance itself is a memorable for Tito Gobbi, a fine singing actor. The cast are all British singers and stalwarts of the London Opera scene of fifty years ago. Delighted with everything.”
David Inglis
“I agree entirely with James Mertens ! The cast ,of course, boasts a third Scot in Kenneth Macdonald ,singing some of Strauss’s hard tenor music easily and beautifully. I believe it was Mr. Macdonald’s modesty that prevented him having a greater career in leading roles.The rest of the cast reflect the very high standards of the resident Covent Garden company at the time. The close working relationship with Rudolf Kempe is also evident.”
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.”
Stellar cast, great performance
“There are no weak spots in this cast, and the conducting of Herbert von Karajan is superb. The audio quality is very very good, although the occasional stage noises are a bit distracting.”
RICHARD STRAUSS'S "ARIADNE AUF NAXOS" IN ROLF LIEBERMANN'S HAMBURG (1960S)... WHAT COULD BE BETTER?!...
“First of all, HAPPY BIRTHDAY, dear ANDY! You are a special and wonderful person and you and your wonderful colleagues are opera addicted. I would like to thank you all for these great and fine opera(tic) gifts! What could be better than Richard Strauss's "Ariadne auf Naxos" in Rolf Liebermann's Hamburg (1960s)?!...”
Superior to Davis's studio set
“A fine recording of Mozart’s first operatic masterpiece. Norman and Harper deliver breathtakingly beautiful singing throughout. Gedda’s coloratura is at times muddy (Fuor del Mar is a disappointment), but otherwise his sensitivity and elegance are all one expects; in the last act he is quite moving. Davis is attuned to the underlying turbulence and nuance of the score; this is far livelier than his dull 1968 studio recording on Philips. (I am unfamiliar with his second set from the 1990s.) The sound, though cramped and muddy at the beginning, opens up as the work proceeds.”
One of the best Elektras on cd
“I saw this cast on tour in Birmingham and was completely overwhelmed by the quality and energy of the singing and the vivid characterisation in even the smallest of roles all of which comes across in the recording. Pauline Tinsley is phenomenal as Elektra and gives a truly magnificent account in both the big moments in the score but also full value to the more intimate encounters. Anne Evans is a strong and vibrant Chryostemis and Debria Brown an unhackneyed and powerful Klytemnestra. Sound is good throughout. Don't miss this!”
Jeffrey Kurnit
“This is just what I expected, a gorgeously sung but strange edition of the score. There are numerous cuts and several passages that I can't identify, but the performance trumps all such issues.”
Jim
“Having heard Corelli live at the Met many times I can say that his vice was a golden trumpet in many ways reminiscent of the great Giovanni Zenatello. His was a unique gift and if not subtle in his singing he was always thrilling.”
A MUST FOR LOVERS OF CRESPIN!
“Crespin is an ideal Leonore, in superb control of her titanic soprano, glowing in haloed piano and resplendent at full cry. Rather than the heldentenors who came to sing Florestan, Pribyl may be closer to the tenor early audiences would have heard. His lyricism abets him in negotiating the passaggio tessitura, but his throaty production is his undoing at climaxes. Dramatically plausible given Florestan’s imprisonment. Robinson is a world class villain with a volcanic handsome voice. Greindl, ever the thinking, thoughtful singer, is a benevolent and humane Rocco. Sinclair’s soubrette is full and bright. Del Mar gives a reading that breathes, never setting a single tempo on autopilot. Note: Crespin’s bonus selections are recommendation enough to acquire the full “Iphigenie”.”
Walküre Vienna 1854
“An historic cast in an important performance! You guys have done us a great service — the previous version I had of this was individual tracks with pauses. Now we all have a seamless version at a very reasonable price. (Fun Fact: Ms. Resnik was my mother and I know she would be pleased!) Thanks again, Michael P Davis”
mario rodriguez junco
“Ramón Vinay was one of the best voices of the opera. When opera depot, provided more of Ramon, it's sure I'm going buy them.Para mi Ramon vinay puede ser de las mejores voces de la opera. Cuando opera depot ofrezca mas grabaciones, comprare ellas.”
