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Free Streaming Recordings
Every week we offer 12 new titles available to stream for free
Compilation: Amy Shuard
Excerpts from Macbeth, Walküre, Götterdämmerung, Katya Kabanova, Tristan & more
Compilation: Anne Evans
Excerpts from Temistocle, Die Fledermaus, Dalibor, La Traviata, Lohengrin, Walküre, Elektra & Die Frau ohne Schatten
Compilation: Martina Arroyo in Concert
Amsterdam, 1967. BONUS: Martina Arroyo Sings Verdi
Donizetti: Maria Stuarda (In English)
Baker, Tinsley, Erwin, Garrard; Mackerras. London, 1973
Mozart: Così fan tutte (In English)
Harwood, Baker, Curragh, Westi, Van Der Bilt, Shirley-Quirk; Gibson. Glasgow, 1969
Spotlight: George London
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Beautiful Baker in Beautiful Purcell!
“This is a lovely, lively performance of Dido and Aeneas, splendidly performed. Janet Baker is tremendous in the title role, every inch the queen, fully knowing how to carry herself and break our hearts without overplaying anything. Her final aria is very heartfelt. Hemsley's voice isn't always as steady as one might like, but his diction is excellent and he plays the tragic hero without "playing the tragic hero". A very young Yvonne Minton contributes a sexy Sorceress and the rest of the cast is excellent. Pritchard gives us a performance with nods towards authentic performance practice, but doesn't hit us over the head with them. The sound is very good. I wonder what was on the rest of the program.As a bonus, Andy gives us Didon's "Je vais mourir" from Les Troyens (in English) sung by Baker. She is terrific in that too (it is available complete from Opera Depot too.)”
Superb Performance in Excellent Sound!
“This recording represents the Royal Opera's first attempt at Benvenuto Cellini without all the usual cuts and modifications (there are several different versions). Dialogue is included (spoken very well by the cast) and a fuller representation of the score, particularly in Act Two. The singers are terrific. Gedda sounds like the role of Cellini could've been written for him. He has all the style and vocal suavity needed and presents the feisty, somewhat amoral hero effectively. Elizabeth Vaughn is equally good as Teresa. Joan Carlyle on the Dorati recording (also available on Opera Depot) has the sweeter sound, but Vaughn is more convincing as the passionate young woman who dares all for her love. Yvonne Minton is an audience favorite as Ascanio, well-applauded for her last act aria. Robert Massard makes Fieromosca likable and David Ward is a formidable Pope. John Lanigan performs the politically incorrect role of the Innkeeper with panache. Pritchard leads with more spirit than he usually did. I'm glad he advocated a more complete edition of Berlioz's brilliant, if overly complex score.Except for a few fleeting tape glitches, the sound is very clear and listenable. Berlioz fans should have this performance.”
Tristan und isolde. Caracus 1965
“This is a fantastic performance with a cast at their finest..Nilsson,Thomas,Dalis,Roar,Tozzi are one of the finest casts ever assembled for this opera..Suitner's conducting is a marvel..the orchestra soars under his direction..The 1965 sound is excellent for the time..All told...one of the finest Tristans ever...”
Buy this record!
“I agree with Mme Margaret H. that this is a great chance for comparison, but not only that. On my CD, I ordered the performances so each song was performed by the three legends in turn. It helped me discover not only the differences in their respective performancies, but also to look into the songs and, simply, get to know them better. In spite being a Swede, I found Birgit Nilsson a little bit too hard on the notes, and I favour Zylis-Gara all songs counted, and Caballé all songs and techniqual quality (together) counted. But all of them add something!I have compared with my previous CD with Nina Stemme, and this record is still worth having.”
ROH Trittico
“I heard about these performances and saw several of the singer in the early 1970s. I went to the production around that time as well but Suor Angelica was omitted. Really glad to hear this performance with all the atmosphere of a live performance in foggy London Town with the fruit and vegetable market all around. Thank you.”
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.”
One of the very best Rosenkavaliers...and look at the supporting cast! PART ONE...
“Everything in this magnificent performance of Rosenkavalier -from the pointed, masterly conducting of Leopold Ludwig down to the smallest role- simply seems “right”, and I refer you to Andy’s review and that of David Reynolds, with most of which I agree (perhaps I enjoy Oscar Czerwenka’s buffo-centred -yet beautifully sung and vividly-characterised- performance...what wonderful diction!... as Ochs even more than DR?)But there’s more. Researching the rest of the cast in Glyndebourne Archives is fascinating...and one quickly realises that we are in the presence of operatic/musical history. Nancy Evans (Annina) was an original member of Britten’s English Opera Group, was Kathleen Ferrier’s alternate as Lucretia at Glyndebourne in 1946 -and sang the role in the first, abridged 1947 recording under Goodall. Furthermore, she was the original Nancy [appropriately named!] in Albert Herring (1947).”
Giancarlo Stampalia
“Finally a fresh Dernesch recording (there is precious little else around aside from the Karajan classics)! I cannot deny I am a fan of this singer and therefore not totally objective. But here, even detractors will have to concede, she is in peak form, clean and precise, and before any fatigue showed in her high register; in terms of weight and volume, absolutely perfect for Ewa. And already with that incredibly warm timbre (with melancholy inscribed in it) which would stand her in good stead a few years later and make her (as far as I am concerned) the ideal Isolde.The rest of the cast I would say is excellent, with Waldemar Kmentt just displaying his usual uneven voice production (some notes, especially in the low and medium register, come out uglier and gruffer than others); but, as a medium-weight tenor (not a heldentenor thank god), he conducts himself admirably.The sound of the recording is indeed excellent.”
Historical version of Turandot
“Thank you so much for that great version of Turandot !!!!Monserrat Caballé and Birgit Nilsson together !!!!! Amazing !!!!!One of the greatest Turandot with Birgit Nilsson with the most beautiful Liu that we ever heard : Montserrat Caballé”
James Mertins
“This performance is far far better than the Decca recording.Nilsson and Windgassen are better live and the great Scottish Bass David Ward is better than Hotter in every way. Hotter was a great Wotan but his voice had taken on a huge wobble by this time. Stolze is superb on every level. If anyone wants a Siegfried this is the one to have.”
Joseph Brand
“This is an amazing performance in very good sound. The dramatic quality shoots straight out of the speakers while the quality of the singing leaves the majority of today’s performers standing. Shuard’s battle cry will make your hair stand on end. Pinpointedly accurate with stunning top C’s and B’s in a shining silvery sound with not an ounce of vibrato. Much of the role lays fairly low and again the beauty of her phrasing and dramatic understanding make it a most moving and feminine assumption. Matching her with a creamy legato is Jones’s Sieglinde – one of the most beautiful I’ve ever heard – and I think her first. Both Shuard and Jones bring an Italianate bel canto approach to their roles. These are great interpretations. Kozub, like Shuard, an unfairly underrated performer is a strong Siegmund whose powerful baritonal tenor can still shade into a gentle mezza voce as in the Zauberfest monologue. David Ward is a subtle and at times frightening Wotan whose beautiful bass voice is beautifully scaled to the demands of the role. Add to this the excellent Fricka and Hunding of Veasey and Langdon and Solti at his theatrical best (so much better than the famous recording) this set, live opera at its very best is highly recommended.”
Vintage performance
“1953 must have been one of the great Bayreuth seasons. The Krauss Ring and Parsifal are glorious and rightly celebrated, but this Tristan has maybe gone under the radar - undeservedly so. The sound is consistently excellent, allowing a considerable amount of orchestral detail to come through. Varnay is in astonishing voice and seems fully inside the part, though both she and Vinay very occasionally have to signal for the prompter. Vinay’s stamina is particularly welcome in Act 3, but there’s tonal beauty as well. Weber maintains a sense of anguished dignity throughout, and no collector is going to be unduly deterred by the one or two moments in Act 2 where his vocal pitch seems briefly to waver. I’d never heard Jochum in this work before, but it strikes me as a powerful and convincing reading. Huge thanks for making this available.”
Jeopardy Clue: The definitive singing actress. Answer: Who is Pauline Tinsley?
“I only saw Pauline Tinsley once, as Kostelnicka in a 1979 Houston Grand Opera performance of Jenufa, and I am still obsessed with that performance, despite the intervening 40+ years. I was never so immediately transported into the drama of a opera by the combined vocal and acting talents of an opera performer as I was by Ms. Tinsley that night. So, I had high hopes for this recording of Elektra, given the effusively positive reviews by others here. I was not disappointed. Tinsley mesmerizes you with every phrase. The standard by which I judge an Elektra is Inge Borkh's masterful excerpt recording with Fritz Reiner and the CSO. Tinsley is every bit her equal, and I might add that the conducting is every bit as intense as Reiner's. The other roles are performed well, but this night belonged to Ms. Tinsley.”
Roman musical
“Opera Depot has given us an important recording in this 1971 performance of Charpentier's "Louise" from the New York City Opera. The three principals, Carol Neblett, John Alexander, and Michael Devlin were great artists whose discographies do not reflect their reputations. Charles Wendelken-Wilson (sic) conducts an exciting account, albeit in slightly dim sound.Neblett is very moving in the title role of the rebellious girl, and no doubt she was the very image of the part in the theatre. Alexander sings beautifully, and was always stylistically acute. The great singing-actor Devlin is tremendous in the part of the tortured Father.In the large cast are also found the likes of Frances Bible, Kenneth Riegel. Irwin Densen, and Don Yule. Highly recommended, indeed!”
AN OUTSTANDING "LE NOZZE DI FIGARO"
“What else can be said about a live opera performance of Wolfgang Amadeus Mozart's "Le nozze di Figaro" starring the great singers and Mozart artists of the 1970's under the baton of esteemed Karl Boehm?!... Mozart at his best and performed at his utmost!”
Excellent Il Trovatore
“I'm a littele bit embarrassed because according to the Metropolitan Archive this performance took place in the Met with the following cast: Il TrovatoreMetropolitan Opera House, Sat, March 18, 1944 Matinee BroadcastIl Trovatore (221)Giuseppe Verdi | Salvatore CammaranoManrico Kurt BaumLeonora Zinka MilanovCount Di Luna Leonard WarrenAzucena Margaret HarshawFerrando Nicola MosconaInes Maxine StellmanRuiz Lodovico OlivieroGypsy John BakerConductor Cesare Sodero And beacuse it is a typical MET cast from that ages and the sound quality is also much better as with other performances from Mexico City I'm inclined to agree with the MET Archive. The performance itself is excellent with the greatest singers of that era. Zinka Milanov sings with amazing beauty and empathy, Margaret Harshaw's dramatic expressiveness and wonderful high voices, Kurt Baum's expressive tenor and Warren's radiant Luna give us a won derful experience. The choir is also strong and the performance is well-conducted (probably by Sodero). A performance which we are always happy to listen.”
Rare delights
“Nowhere else can you find such rare broadcast recordings. Production standard very high. Cannot blame OD for the odd burst of bad radio reception in the originals. The quality of the performances far outweighs these niggles.”
La Fanciulla del West - Neblett, Domingo, Carroli, Lloyd, Summers; Mehta. London, 1977
“Wonderfull performance in great sound. But your advertise is not correctbecause you, obviously use the BBC broadcast which was onJanuary 21r, 1978. Anyway just for information of correction but, musically this is a great Fanciulla!!!!.”
A WONDROUS OCCASION FOR LOVERS OF ROSSINI AND “BELLISSIMO CANTO!”
“Imagine a time before a work like “La Donna” would be known to any of us. Caballe, Hamari, Bonisolli, Bottazzo, Washington are all youthful in tone, supple in line, sure in intonation, perfect in pitch and precision. This is a masterful and exuberant performance led by Bellugi. Sound excellent. Spoil yourself, add this to your library, and provide your own superlatives!”
dr.Francesco Mosca
“In the 25th anniversary of the death of the master von Karajan, this is a performance that does full justice to its autocratic executive teaching; everything here, absolutely responds to the call, starting from the top-quality in sound recording (really hi-fi) that magically makes the acoustics of the great hall of the Festival and its very wide stage. The items then - although it varied the meter we use to assess - in this live boast that their natural roundness hardly emitted elsewhere. Today, therefore, a \""Don Carlo\"" so you do not listen any more neither indoors nor outdoors theater. So a dutiful thanks to OperaDepot: good price and fantastic files!”
Timothy Toohey
“This is an excellent recording, particularly as to the male voices. It is truly an embarrassment of riches to have Frantz, Greindl, Frick and Metternich in a single performance. Schock and Windgassen are also excellent.”
Charm in three-quarter time
“Johann Strauss' Die Fledermaus is difficult to translate to English, figuratively and literally. However, the English National Opera production from 1975 sports a completely persuasive, suave translation and the cast -- led by the elegant Dame Anne Evans and scintillating Valerie Masterson -- cannot be bettered. Sir Charles Mackerras conducts as though he had champagne flowing in his veins. Of live-performance Fledermaus recordings, this goes to the top of my list.”
Excellent
“Scotto magnique, Raimondi une voix de ténor comme on en tou e plus. Zanzasi très beau styliste, belle Ligne de chant.Belle représentation ,dommage que le son ne soi pas top C est écoutable néanmoins mais à réserver aux connaisseurs de cet opéra”
A triumphant Welsh National Opera 'Die Walküre' under Sir Reginald Goodall (continued)
“The great Anne Evans was singing her first Brünnhilde. Kathryn Harries, who had only started singing operatic roles as a Flower Maiden in the WNO Parsifal the year before, was a strikingly youthful, good-looking, and well-sung Sieglinde. Although Phillip Joll was younger, higher-pitched, and less god-like in appearance and voice than Norman Bailey, he nevertheless offered a very coherent, convincing and youthful characterization and a very well sung performance, which fully came into its own in the final scene with Anne Evans. Warren Ellsworth (aged 34) was a show-stealing Siegmund (he generated much more presence and Vickers-like intensity in this role than did much-loved Alberto Remedios, who unfailingly sang this role very beautifully, but was always much more distinctive, engaging and characterful as Siegfried). His death from lymphatic cancer in 1993, aged only 42, was a very tragic loss. The singers, the WNO orchestra and Andrew Porter’s excellent English translation come across amazingly clearly and vividly. Aside from one brief gap/jump towards the end of Fricka’s big scene with Wotan in Act 2, the excellent stereo sound is almost completely fault-free. In a review of the first night, Rodney Milnes wrote: ‘every aspiring Wagner conductor across Europe should be corralled into Cardiff’s New Theatre to see how it should be done!’”
Excellent 1966 performances!
“To be honest, I bought this entire Ring Cycle because my former vocal instructor at The Florida State University, Randolph Symonette, was in the major cast. Anything with him as a major cast member makes me very happy!”
Gurre-Lieder - Janowitz, Ludwig, Sergi, Dickie; Krips. Wien, 1969
“The performance is excellent as far as must be imagined. However, it is sad that the 1969 sound resembles the Stokowski 78 rpm set more than the state of the art sound of 1969. One would never suspect the massive forces involved in this performance, and climaxes aredefinitely diminished by the engineering. Solo singers predominiate over the probably over200 insstrumentalists and chrous. Worth a listen, but only if you know this piece pretty well.”
Masterson's Sophie - singing that aspires to greatness
“This is a wonderful performance from the golden age of the English National Opera. I saw the production twice in 1975, and it was as glorious visually as it was musically. Barstow is a characterful, soprano (it makes a difference!) Octavian, and although Lois McDonall's Marschallin (standing in for Anne Evans) can be verbally indistinct at times, she has a lovely creamy tone. However, Valerie Masterson's Sophie is glorious; a review at the time suggested she was the best Sophie in the world at the time, and Lord Harewood, in his autobiography, referred to her unique sound in this role, singing that aspires to greatness. Her wonderful pianissimo singing in the Presentation of the Rose has set a standard for me that I have never heard equalled and she is both clear in diction and a real characterful presence. Sound is excellent.”
Just gorgeous
“It is simply a wonderful realization of Verdi's masterpiece. Antigone Sgourda, one of the most beautiful voices and gifted with a real outstanding musicality gives us a very touching Desdemona. Kari Nurmela is a very convincing Jago and of course Prevedi is an outstanding Otello. Nello Santi, one of the greatest Italian conductors has a very special authenticity in Verdi. Thanks for publishing this wonderful registration.”
Neville
“Could not agree more about Pauline Tinsley. She is a personal friend and lives near to me and I visit her from time to time. She celebrates here 80th birthday on March 27th this year so any tributes or contributions can be sent c/o me. Email me direct for my address. She is the only singer apart from perhaps Caballe who has sung just about everything from Purcell, through Handel, Bellini, Donizetti, Veri, Puccini to Wagner and Richard Strauss all with tremendous success. It is one of the great tragedies that she made so few commercial recordings but there are numourous “Pirates” available. I would go as far as to say her Turandot, Lady Macbeth and Abigaile(Nabucco) were the definitive performances in these roles and people like Dimitrova and Souliotis pale into insignificance after her. Why she has had no honours from the British Government is beyond me and many others and I think she should certainly be made Dame Pauline Tinsley!Best wishes to all.Neville”
Sills At Her Best and The Young Domingo !
“My favorite Donizetti opera. Elisabetta was one of Beverly Sills' best roles. In good voice here, and fully committed dramatically, she is gripping from beginning to end. Domingo's voice is at the height of its youthful beauty. The versatile Louis Quilico also in top form. Rudel is a very exciting conductor in this repertoire. The sound recording is more than passable.”
Simply A Must Have 10 STAR performance
“This is a dream performance. Exquisite singing from all cast members and the recorded sound is fantastic for a live performance. One gets a very true capture of the voices, Ludwig is a thrilling Ariadne , Thomas sings liek a superstar, Jurinac a perfect composer, Reri Grist singing better than I have ever heard her before. DO NOT HESITATE. No opera library is complete without this performance. Ludwig singing the Immolation Scene from Gotterdammerung is thrown in as a fantastic bonus.”
Aragal excels in Amico Fritz
“Good sound, wonderful performance by all principals. I wish Opera Depot would issue a retrospective on Aragall. He is one of my favorite singers. Beautiful, well produced sound which lasted well into his '70s. It would be so good to enjoy a series of live excerpts from a great tenor whose career deserves to be celebrated.”
David Inglis
“A great performance with the two stars in fine form, Solti as ever a great Strauss conductor and the Covent Garden regulars fully worthy of the leads .Joan Carlyle is excellent as Zdenka, as she was two years later as Arabella herself . Michael Langdon’s Waldner is as fine as his Ochs and is well paired with Josephine Veasey’s Adelaide .”
Jerry v.
“This is one of the most exciting performances of this opera you’ll ever hear…Glorious Carlo Bergonzi sings with relentless passion and endless beauty. In every way his Werther is an obsession..Bianca Maria Casoni is equally as effective….it’s a wonder she’s so unknown to many.”
Daniel
“As stunning and satisfying a Tosca as I have ever heard in many decades of recordings. Metternich so dominates that the 3d Act seems somehow anti-climactic. His rich, menacing voice seems to sweep over everything and reaches into every crook and cranny of the proceedings. Rysanek, as advertised, shimmers and astonishes with well-armed youthful abandon--even if some of her exchanges with Scarpia ring a tad [involuntaryily] shreiky. I don't agree that the Wagnerian heft serves Hans Hopf in general against the lyrical passages, but his \""Vittoria!!\"" is itself almost worth the price of the ticket. Terrific up-front broadcast sound, but don't expect the same high quality from the later \""Bonus Tracks.\""”
Mea Culpa
“I don't know what the review below is talking about. The sound quality of this cycle is decent to very good broadcast stereo. The performances are also top notch, including Thomas Stewart's angry Wotan/ Wanderer. Maybe when that review was written, the reviewer was biased against any interpretation which diverted from traditional norms?. Well I feel totally comfortable scolding him since that reviewer was me. Revisiting this performance recently has been a very entertaining and humbling experience. Mea Culpa!”
Anonymous
“One of my most favorite Bayreuth Rings. I can recommend it strongly.Superb performance, it's impressive in particular that Ligendza's youthful Brünnhilde with pure voice and H.Stein keeping dynamic conducting throughout.”
Never better!
“This is truly an exceptional performance of Il Trovatore. All principals are firing on all cylinders singing signature roles of their respective careers. I have been listening to this opera for over 50 years yet this recently acquired addition to my library has rekindled all the excitement for this piece that one has upon first discovering it. If you are a "Trovatore" fan you must hear Bergonzi, Price, Cossotto and Cappuccilli at their best by savoring the fire in this performance. Bravi tutti!”
Faust
“Wonderful. Burrows was the real surprise. I always thought of him as a Mozart tenor but he was superb as Faust. Treigle was excellent as always. I only heard him live once in Philadelphia as the best Escamillo ever. Te Kanawa was radiant. I am so glad you made this performance available!”
richard inverne
“5 stars in advance (for reputation) although I have only just ordered the complete Ring!Did you know that the late, lamented James Milligan sang the Pirate King on the HMV recording of The Pirates of Penzance under Sir Malcolm Sargent, made (or released) in the same year, 1961? Worth seeking out because he is fabulous in the G & S too!”
Vraiment une folle journée !
“Mozart est décidément le compositeur d'opéra que Solti aura le mieux servi . Vraie folle journée ici, menée à un train d'enfer ! Freni est simplement miraculeuse, une des 4 plus parfaites de la discographie . Berganza a été pendant 15 ans Chérubin même . Gobbi toujours très subtil, ancien régime comme il faut et il s'amuse lui aussi (ses misères ne peuvent entamer sa dignité), bref l'opposé de DFD . Je suis toujours sensible au charme de Ligabue . Evans perd un peu sans l'image (il était formidable en scène, voir vidéo Salzburg 63) et est juste un très bon Figaro .”
Le Coq d'Or
“A really excellent performance. The sound is first-rate and how great it is to hear Norman Treigle and Beverly Sills in some of their most acclaimed roles, not to forget Enrico Di Giuseppe excellent in the tenor altino role as the astrologer. There are very few recordings of this opera available and, at this price, this is not one to miss.”
Berit Lindholm is outstanding
“A must-have recording for fans of Berit Lindholm and for those have yet to have the opportunity to hear her performances (she made just a few commercial recordings). The Walküre from the same year should also be a part of your collection with a young Gwyneth Jones as Sieglinde.”
Meistersinger-Varviso-Bayreuth-73
“Es la 1ª función de 7, de estreno de esa Producción de Wolfgang Wagner, Fecha de la web del Festival, 25-Julio, También da esta fecha en "Wagnerdisco.net".No se como se oirá esta grabación, ya que lo puso mas dificil para comprar , desde hace tiempo, pasó de PayPal, a no se que de tarjeta Mastercard o algo asi, y me fué imposible contactar.”
Absolute masterpiece
“All worthy of praise, each to a different extent, the well-prepared singers. However, I have a special mention for dear Marisa (M. Luisa Nave), my personal friend, unsurpassed above all in "O vagabonda stella d'oriente". Given the excellent stereo recording of shows in Newark, I also recommend taking LA GIOCONDA the following year from OperaDepot, again directed by the great maestro Silipigni. Hooray!”
Don't miss this!
“Even if you have several performances of Die Walkure in your collection you will want to hear this one. The cast is close to ideal with tenor Kolbjorn Hoiseth the real surprise as Siegmund. His is a more lyric voice than usually heard in this role but the youthful timbre and vigor of the performance are truly special. Ase Nordmo Lovberg, usually a rather dull interpreter, is here fresh voiced and more involved dramatically while Arne Tyren as Hunding has the darkest most sinister instrument you are likely toever hear in this role, he scared me. As for the rest, they are all in superb form under Michael Gielen's assured conducting, and with all in excellent sound, this performance does Stockholm proud.”
Store Owner
“This complete Act II of TRISTAN from Geneve, 1953, boasts not only the familiar and very accomplished vocalism of Wolfgang Windgassen, Gottlob Frick, and Margarate Klose, but a simply earth-shattering performance by Gertrude Grob-Prandl. Alas! Why, O, why did not the record companies record her more than they did? Here she is in voice that in many ways outdoes Nilsson, or for that matter, anyone since. The voice is huge, but always exactly placed, radiant and secure, slightly plangent (even a bit wistful), but truly glorious. Shades of meaning and characterization are wonderfully conveyed. I can imagine that everyone at that performance in Geneve could hear and relish every detail!Of course, she is partnered by Windgassen, exemplary as Tristan, and in this case, a worthy successor of Melchior. And, then, we have the added casting de luxe of Frick as Konig Marke, and Klose as a superb Brangane. After listening to this Act II, it must enter the elite group of TRISTANS and TRISTAN excerpts that I treasure (including the famous MET performances of 1935-1941 with Flagstad, and the Beecham, Reiner, Knappertsbusch, Solti, Bohm, von Karajan issues).And I must earnestly hope, like another reviewer, that the rest of that 1953 performance shows up eventually.And, lastly, as Grob-Prandl sang in Vienna and Berlin (mostly), is there any chance that additional broadcasts of performances from those venues might be available? Also, she performed, I think, in San Francisco in the 1950s...I wonder if anything from there has survived?It is remarkable that such a superb hochdramatische sopran is so widely unknown by the opera public. Let us hope that this recording, and others, can remedy that.”
FASCINATING AND EXCITING
“Truly excellent singing all round, especially from Gwyneth Jones and Zoltan Kelemen; and Boulez and the magnificent orchestra provide blazing support. The real fascination for me here is Karl Ridderbusch's Hagen. On the face of it, he's a benevolent, kindly, almost Hans Sachs like older half brother, but listen to his exchange with Alberich at the beginning of Act 2. His voice is hollow, the expression almost catatonic while he channels the vicious, poisonous, hateful encouragements from his father, which seem to recharge and harden his resolve to carry through his mission to possess the ring. He doesn't have to snarl and pressurise his half siblings into doing anything as he knows they trust and value his counsel without realising they are being manipulated. The true, evil nature of his actions is only finally revealed when he relaxes his self control completely at the hunting party and plunges his spear into Siegfried's back "Rache rieten sie mir!", when he truly sounds like his father's son. No wonder the vassals sound so genuinely shocked. He does it again when his duplicity is exposed as the wild boar that killed Siegfried, convinced the ring is finally his for the taking. I loved it. Thank you so much for making this fabulously theatrical performance available.”
