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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.
Best Lohengrin!
“This recording ist absolutely recommended and beside the great (stereo) Bayreuth sound there’s no weak link in the cast. Especially Kollo (which I’m generally not that fond of) delivers a incredible performance. Kollo’s voice here is it's early prime, without the ugly mannerisms that plagued almost any of his commercial recordings. His voice is much easier, clearer and without the fatigue of the later Karajan studio recording. The rest of the cast is without fault. Bode is a very feminine, vulnerable Elsa, Schröder-Feinen (before her vocal crisis and much better than for Karajan (Salzburg - live)) a great „soprano“ Ortrud. McIntyre without fault and much at ease with the high tessitura or Telramund. King Heinrich ist Ridderbusch (not Crass) and mellifluous als usual. VERY recommended. My favorite recording and the one I listen most to.”
Beautiful Onegin Sung in English!
“This is an example of how opera in English can be so effective. The singers here all have excellent diction. I had no difficulty following the plot or situations. Yes, the translation is a little stilted, but it's easy to follow and conveys the gist of the original Russian libretto.Price sings very beautifully as Tatiana. There is a little of Jane Austin about her, but that's not inappropriate to the story or situation. Shirley-Quirk is a more sympathetic Onegin than usual and sings extremely well with that distinctive sound of his. Tear is an excellent Lensky, not as mellifluous as some, but touching all the same. Minton is a lively Olga and Bainbridge an admirable Filipievna. It's a treat to have Norrington as Triquet (fortunately, he's not conducting!). Garrard is a very beautiful Gremin, making one wish his part was longer. Lloyd-Jones is a strong conductor and demonstrates why he was considered a Tchaikovsky expert.The sound is very good. Lensky must die of a heart attack as there is no sound of the gun going off! Less messy anyway...Highly recommended to Tchaikovsky fans and lovers of opera in English.”
Spectacular Der Ring des Nibelungen - Boulez, Bayreuth, 1977
“My thoughts on the Ring… not just any Ring. Not Solti’s Ring, in all formats, LPs London, LPs Decca, CD, Re-mastered CDs then the Ultimate in Blu-Ray Audio. But wait 3 issues on Karl Böhm's 1966/7 Bayreuth Ring, CDs Philips reissued again in Europe CD. Philips's miking captured a ideal pit/stage balance than Decca’s Solti Studio Ring.… We know all the players are interchangeable, and spread over the Decca Studio Ring and 1966 Live Philips Bayreuth Ring. I still have the above rings… in Storage, oh, well… the truth is as we age our digs get smaller. I smell an estate sale coming… and an audiophile year in year out for 50 plus yrs with $$$$$$ in audio equipment… now at age 71… it’s down to a single 1 tube preamp… for my Bose Noise Canceling Headphones fed into AMRRA HI software for the iMac, iTunes… Down to this… and It’s heaven.This recording is one of the best sounding Ring cycles ever. That includes 20plus complete Ring cycles live. The air around the horns is breathtaking.The voices bloom and are amazing,,, it’s goose bumps all the way… The presence, the conducting… . Each instrument is in it’s air own space you hear everything and that is what live should be… the audio engineers have out done them selves… I thank the other 8 reviewers for their input… I would have missed an important recording and a specular performance. Wagner: Der Ring des Nibelungen - Jones, Kollo, Jung, McIntyre, Kélémen, Minton, Salminen; Boulez. Bayreuth, 1977 … Well Done.”
Dag
“I have seen many Rings, the first with Birgit Nilsson in Stockholm 1972. Among my records I have around 60 complete Rings. This 1975 Ring with Kempe conducting is the best Ring I have ever experienced in an operahouse. Lindholm is unbelievable, and all other artists are in top form, clearly inspired by maestro Kempe. The public just roared, the applauds never ending. Something to treasure for a lifetime!”
David Duke
“Wonderful atmosphere. Very international for Vancouver which I never rated for opera. That only goes to show how insular we in England are. Domingo wonderful as ever. Reminds me how young and high his tessitura was in those days. I agree that recordings like this are full of atmosphere. Bravo the audience response.”
Delme Bryn-Jones...
“Bryn-Jones was a contract member of the Royal Opera for some years, often covering for principal baritones Peter Glossop and John Shaw. I think that must have been the case with this performance as I saw Glossop with this cast during the run; the Royal Opera database lists the latter in the 8 October performance [http://www.rohcollections.org.uk/performance.aspx?performance=14584&row=16]. I remember B-J as a particularly good Paolo in S. Boccanegra; also a most positive, charismatic Marcello in Boheme, plus (amongst other roles) Sharpless, Papageno and Ford. He also sang several leading roles with Welsh National Opera, including Rigoletto, Boccanegra himself and Iago. I always enjoyed his performances - what a pity that his personal issues prevented him from achieving top rank!”
James Black
“Absolutely – certain roles are made for certain singers and Dame Gwyneth and Salome surely meshed absolutely. I didn’t see her on stage in the role until quite late in her career (1986) but she was still stupendous and, to quote the Musical Times, gave “perhaps the most comprehensive performance of the Dance of the Seven Veils I have ever seen.” She really found a way to match the choreography to her physical abilities and her awareness of her own beauty served merely to enhance her portrayal of Salome. I haven;t yet heard this Munich performance but do have the commercial set.”
Daniel Zara
“Without Wagner’s specially crafted, gravel-chewing, pseudo-quasi-Ur-Deutsch, the monster Fairy Tale loses a few clicks of Menace and Spookiness but gains a sort of close-up familiarity: certainly “kinder, friendlier”, this Brit-sung-Saga. and wonderfully sung. This Cycle is loaded with great voices–and The Wanderer of Don Garrard is especially notable. Too bad the Valkyrie 1st Act finale is so inartfully chopped up.”
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!”
Shaun Greenleaf
“This sprawling work is captured in excellent radio sound with an all-Francophone cast including the very characterful Robert Massard and the fine Guy Chauvet. The women are less distinguished but do fine work and the piece is a lot of fun.”
Francesco
“Non mi trovo d’accordo con l’amico audiofilo Joseph. No. Io ho sentito (ed incontrato a fine-concerto) la big-Birgit in estratti dal “Tristan und Isolde” qualche anno più avanti (1983) a Ferrara con l’Orch. Ater diretta da P.Maag nel centenario della morte di Wagner, ed è stata una rivelazione anche allora, così come lo è qui. Guardiamoci attorno e scoviamo un’Isolde migliore oggi, se ne siamo capaci. Questo è dunque un “Tristan und Isolde” a colori a tutti gli effetti, senza dimenticarci che a Wagner, quand’era a Venezia per comporre il II atto, piacevano assai gli effetti di lontananza creati dai gondolieri con le loro voci che si corrispondevano a distanza nella notte. Evviva OperaDEPOT! Grazie.(dr.Francesco Mosca, Cavarzere, Venezia, Italy).”
Best remastering
“I own two other versions of the '53 Keilberth ring cycle, the original release on Golden Melodram and the newest, budget release on the Intense Media label. The sound quality on this Opera Depot version is noticeably clearer and more open sounding than the Melodram. The Intense Media version features 'ambience enhancement', a misguided attempt to make this mono recording sound more like stereo. The result does not sound natural at all as it pushes all the voices to the left channel. This seems to bother some people more than others. Personally I hate it.”
A very human Arabella
“Arabella has suffered unduly from the inaccurate "second Rosenkavalier" label. Many performances seem to linger on the obvious highlights and either race or lumber embarrassedly through the rest. This delectably light-footed performance under the expert baton of Horst Stein does neither: the dialogue flows naturally, propelling the narrative as it should, while duets and monologues emerge naturally without distorting the flow. Here, the opera is a comedy of manners that only narrowly avoids tragedy.The performance has fewer cuts than usual, so we are allowed to hear the Act 2 exchanges between Mandryka and the Fiakermilli that cynically distort the music and sentiment of the betrothal duet, crucial in establishing the extent of his rage and disillusion.I bought this mainly for Heather Harper in the title role. She is even better than expected, singing beautifully across all registers to portray a youthful, graceful, heroine who emerges as the only character who in the course of the opera never lies or acts dishonourably, hence the only one able to effect reconciliation when things fall apart. This is the most human Arabella I have ever heard, with no hint of coolness - just listen to her emotional (spoken) refusal to answer Mandryka's questions. The flawed personalities around her are very well sung and portrayed by an excellent cast. This is a performance I would like to have attended. Strongly recommended, for first-timers, long-term lovers or Arabella cynics.”
Joseph Brand
“A truly epic interpretation with a stunning cast all in their prime. Goodall's tempi could change quite considerably from performance to performance and here he is at his most magisterial. This performance dates from some five years before the commercial recording and is fresher in every department. Hunter's magnificent Brunnhilde is built on a technique that also made her a great Verdi soprano, an outstanding Donna Anna and a fine Norma - and despite her generous physique she was a real stage animal who completely inhabited whatever role she was performing.”
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.”
ANJA SILJA AS ALBAN BERG'S LULU ON HALLOWEEN
“Everything is as always with OPERA DEPOT: excellent! Anja Silja and Martha Moedl (sopranos), Waldemar Kmentt (tenor) and Hans Hotter (bass-baritone), Wiener Staatsoper, Karl Boehm (conductor), 1968. Another outstanding live! Thank you very much!”
A contemporary review of "Ariadne"
“From Howard Taubman's review in the New York Times:[Thomas Scherman] had first-rate singers in the two leading roles. Eileen Farrell gave Ariadne memorable grandeur of voice and style, and Mattiwilda Dobbs sang Zerbinetta with accuracy, lightness and grace. The part of Ariadne lies perfectly for Miss Farrell's magnificent voice. She can float long-breathed phrases of matchless quality, and she can vary her tone from fine-hued softness to a sumptuous fullness. She has appeared in concert-form opera a great deal in smaller halls. When she sings in a large hall that can accommodate her voice, she is more impressive than ever.Miss Dobbs has the vocal agility and discipline to manage Zerbinetta's big aria, one of the most taxing in opera. If she is just a shade careful with it, who can blame her? She sang it not merely as a vocal exercise but as a piece with musical meaning.Jon Crain sang Bacchus with energy; his tenor has fine stuff in it but he will not try to refine it. Patricia Connor, Mary Judd and Madelyn Vose made a well-balanced. trio as Naiad, Echo and Dryad, and Russell Oberlin, Loren Driscoll, Robert Goss and Jan Rubes were agreeable as Zerbinetta's companions.Mr. Scherman did a workmanlike job of conducting the opera. He has presented it before, and he discovers new subtleties as he studies it more deeply. As a curtain raiser he conducted four symphonic interludes from Strauss' "Intermezzo."”
Elektra - an Outside
“I am honored to have my Hamburg Elektra included in Opera Depot. Thank you! I never “stood” and sang the role. Acting is almost as important as singing. In the first scene with Chrysothemis, I ran across the stage and threw myself at her hugging her knees. In the scene towards the end “Ob ich nicht hore...” I sat down on the stage in a “Barlach the Singer” position and sang until “Ich kann mich nicht heben...” then I was on my hands and knees actually singing into the boards! What an interesting life!Not to mention that I always sang piano when marked. And Horst Stein was magnificent.”
A broad spectrum from England to Russia
“The double album covers two decades of Jon Vickers' operatic career (1957-1976) and offers a broad cross-section: Beethoven, Berlioz, Verdi, Britten, Tchaikovsky, Strauss, Leoncavallo, Wagner. Although he has always sung very powerfully, his voice seems to have changed little: His Siegmund of 1961 sounds just as fresh as his Tristan of 1976. A rarity is the eruptive aria of Hermann, on the verge of madness, from Tchaikovsky's "Queen of Spades," sung in English.However, the technical quality is not good in several pieces. But in any case it is enough to give a realistic picture of his vocal power.”
Charlie Edwards
“Pretty amazing how consistent Böhm is in Bayreuth 15 years after the Buenos Aires performances - his direction was always so intense and driven, the only caveat being thet the Todesverkündigung scene is too fast and perfunctory (1965). I wish there was more of the glorious Grob-Prandl - I've actually never heard anything to compare with her combination of athletic,tireless singing and warmth of expression - a cross between Nilsson and Flagstad! And any recording with Suthaus is worth hearing - such virility and tragic utterance. By the way it's definitely NOT Greindl as Hunding in Buenos Aires - doesn't even sound like a native German speaker. King, Rysanek and Nilsson in 1965 are pretty astonishing too.... though better known from the 1966/7 recordings - here it's a little more hectic and messy but pretty exciting. King is SO much better here than in Solti's studio-bound effort the same year.”
Janet Bake: a Phenomenal Singer and Performer
“I had the great fortune to be present in the Kings Theatre Glasgow at the very performance that Janet Baker sang Dorabella in Cosi fan Tutti at Scottish Opera, conducted by Alexander Gibson from which the Mozart track here is taken. I went on to hear her sing Dido in the Trojans and Octavian in Der Rosenkavalier, also with Scottish Opera and Gibson. All exceptional productions.Janet Baker’s voice was phenomenal, as was her presence on stage. She was dignified and commanding (especially in the Trojans), her voice having a wonderful openness and depth that shone bright. She also showed a delightful and unexpected sense of humour in the Mozart.This selection of arias is a tribute to a greatly talented yet rather modest international singer. Warmly recommended.”
The Ring by Knapp
“Solid all around. Today this cast would be an once in a lifetime event to witness. Hotter ‘s authority in the role is never in doubt. Varnay and Nilsson are both superb. What first hit me is the sound-the diction is so clear. Either the masters were exceptional and/or Andy has done wonders.”
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.”
EXCELLENT ENSEMBLE PERFORMANCE
“This recording preserves a classic 1962 Covent Garden production under Otto Klemperer’s direction. The stately Overture reading leads one to expect a slow, solemn rendering of the whole work, but the conductor (as he often did in his last years) surprises with a quick-moving pace to the vocal pieces, with tempos never lagging but appropriate to the singers and the fast-changing situations. Much of the opera is presented through two- and three-voiced ensembles, and here the company excels. Many of the cast had previously sung in contemporary British works in which it was crucial that words and action be put across clearly to the audience. Lewis and Sutherland had sung the leads in the 1955 premiere of Michael Tippetts’ “Midsummer Marriage,” (Carlyle took the soprano role in the 1968 revival.) Lewis also sang in Benjamin Britten’s operas, as did Carlyle and Geraint Evans. So the feel of this “Magic Flute” is clear and audience-focused, as indeed Mozart had wished in his day. As the fairy-tale couple Lewis brings a bright, expressive tenor, while Carlyle offers a crystal-clear vocal tone and considerable emotional depth. Evans is a great crowd-pleasing Papageno, getting huge laughs and performing his folksy songs with fluid expression. Even the Monostatos, Robert Brown, is excellent, with Klemperer keeping the orchestra so soft that (as Mozart directed) the music seems “coming from far away.”The only serious weak link is David Kelly (another regular in contemporary opera productions) as Sarastro. His warm upper voice gives the character likeable character, but Mozart wanted those deep basso profundo passages to count. Kelly has the notes, but they are soft and tentative when they need to be solid, even scary. By contrast, Hans Hotter does a superb job as “Der Sprecher” in a crucial Act 1 scene. Hotter, a legendary Wotan, richly inhabits this eerie advocate for Masonry, and he pronounces the deep descending final line, “So bald dich führt,” with total authority. One wishes that Covent Garden had cast him as Sarastro.Oh, Sutherland? She’s good, but, alas, the transpositions make her great aria into “Der Hölle Rache” Lite. She gets a warm hand from the crowd, but Carlyle soon gets more love for “Ach ich fühls” and Evans then brings the house down with “Ein Mädchen oder Weibchen.” Perhaps such a second-tier fate is inevitable and good reason for famous sopranos to avoid the role. In the end, the value of hearing this performance is Covent Garden’s deep casting and ensemble work, plus Klemperer’s alert conducting.”
The real Wagner's spirit: A Jubilation!
“Fantastic! Wonderful ! Both subtle and so powerful!Full of life , freshness and artistic accuracy !Although Fiescher-Dieskau has not Hotter's voice; Crespin has not Nilsson's one,of course! It doesn't matter here: All singers are so great artists ( and Talvella , Thomas, Ludwig, Ridderbusch etcetera have so magnificent voices!)Karajan is the best ; far ahead of any Solti , ahead of Bohm, even ahead of Knappertsbusch.For me this live Ring is the best ever recorded !!!”
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.”
Strauss: Elektra - Varnay, Synek, Madeira, Esser, Meghor; Kaufmann. Wiesbaden, 1964
“Eine gute Vorstellung mit der damals noch jüngeren Astrid Varnay als Elektra und die leider zu früh verstorbene Liane Synek. Alle Sänger sind hervorragend. Die Aufnahmequalität ist gut. Es ist eine Freude diese Elektra Aufführung zu hören. A good performance with the then still younger Astrid Varnay as Elektra and the sadly too early deceased Liane Synek. All the singers are excellent. The recording quality is good. It is a pleasure to hear this Elektra performance.”
A powerhouse recording
“Taken together, this recording brings fire and passion to one of Verdi's most dramatic scores. Caballé is a magnificent Elisabetta. As noted above, she brings so much emotion to Elisabetta. She is equally matched by Verett as Eboli who is truly outstanding. The other singers shine as well. A must have for fans of this opera.”
A generous overview
“If you are a Rysanek fan, of yourse you must own this. If you are not yet a Rysanek fan, get this and be converted. Full-blooded singing spanning about a 20 year period in some of her siganture roles. I lovely collection of live performances.”
THIS TANNHAUSER IS A MUST!
“1961 was Windgassen’s 11th season at Bayreuth. Here, he may forego some musical grace figures and triplets, but his voice is still fresh and has heroic gleam. Bumbry is glorious in her historic Bayreuth debut. This production also served as De Los Angeles’ debut and Fischer-Dieskau’s “leb wohl” to Bayreuth. De Los Angeles pours out line upon line of vocal gold and personifies spiritual purity. Fischer-Dieskau is the epitome of honor and valor, creating the definitive Wolfram. They will shatter you in Act 3! Sawallisch leads this magnificent performance, which demands hearing again and again.”
Tajo conquers Pasquale
“This performance captures all that is good with Don Pasquale. I have always liked Tajo. His scenes with Panerai are excellent. Overall this might not be the top Don Pasquale to purchase, but it is up there.”
John Stanton
“Donizetti's Maria Rohan is a opera that is not as often performed as it's score would suggest it should be. The music is beautiful and always engaging, full of marvellous arias, cabalettos and ensembles.Virginia Zeani's beautiful voice with it's secure and brilliant extension makes her an ideal Maria. She delivers a stunning high D at the end of her 3rd act aria that rightly sends the Napolitan audience wild.Mario Zansi is excellent as the betrayed husband. His warm high baritone bright and incisive, his diction, as is Zeani's, clean and clear.Eno Tei is not quite in this class but he serves the music well. Anna Maria Rota is particularly good in the trouser of Gondi.The sound is very good”
EXCEPTIONAL MUST HEAR/BUY
“If this had been around when I bought my first recording back in the early 1970s (Bohm's recorded in 1966 in Bayreuth) I doubt I would ever have felt a need to seek out any other recordings. It is a truly magnificent performance. I read recently that Kleiber spent much time before the initial run in 1974 studying the score in minute detail as well as exploring every aspect of the Bayreuth Festspielhaus familiarising himself with the sound of the place. It shows. Act 2 has a miraculous stillness to it contrasting the amazing tension in Act 1 and the desperation in Act 3. Wenkof in Act 3 is unequalled by anyone anywhere and Ligendza unleashes a gloriously full, bright, unforced sound in the Liebestod. It's a must have.”
Thrilling
“I have seen several different productions of Werther and sometimes it all seems like much ado about nothing, pretty tunes and nice costumes but bland. This performance was a revelation. Both lead singers are on top form and generate incredible dramatic heat but without inappropriate verismo style creeping in. The recording quality is terrific. Of my many recordings of Werther this is now my favorite.”
Phenomenal Arabella
“It’s difficult to say what you will love more in this unique live recording: the wonderful cast, the ideal conducting of Clemens Krauss or the perfection of the orchestra. You will remain with an unique regret: to not have been there….”
Bumbry beats them all
“Great performance, technically AND live it´s 1964, but you do know that, when you purchase sth like this. Gem by all means.Performance of opera depot: It worked, but I had to convert your mp3 via format factory, then it worked both as mp3 (new) and in wav.format (which I prefer after manual preparation, because most mp3s produce a slight break between the tracks. Not exacty a catastrophy, but annoying nevertheless)thx, and we will surely meet again!ep”
Wonderful find!
“Great performances! As a student of the late Gloria Lane, to hear her wonderful singing is a constant inspiration. Please try to find a recording of her in her greatest role, CARMEN.Thank you for offering this!”
Martin Ramor
“It is nice to have Hollaender in Italian, also. With Italian orchestra and so on. It is like Wagner's brief encounter with Verdi, before taking a different road, he, he. Taddei is excellent Hollaender with very simpatetic, smooth singing, without any strain and without "barking". Gulin's Senta is very nicely done. The very stentorian and dramatic Erik of Pier Miranda Ferraro is amazing, he gives a totally new view to Erik. Unknown Daland and conductor are both very good.”
Robert Dean
“A wonderful document - like an intimate concert in a village hall, the difference perhaps being some stunning singing from the three singers and Britten going hell for leather (not always accurately but suitably impassioned) on the piano.”
David Fetz
“What and amazing performance. The sound for its age is SO GOOD and Bjoerling sings like a God. What a gem of a recording. Ms Schymberg is VERY fine as Violetta.Strong yet fragile and holds her own with Bjoerling in their Duets.Any recording of Bjoerling is a joy to find,but this one far exceeded my expectations. The Legato and that honeyed tone is SO wonderful to hear. There are so few complete opera records by Mystro Bjoerling that I snap them up when ever I find them. Unfortunately most are not good sound. This one is really excellent though.A wonderful addition to a sadly small discograhy of a phenominal Artist.”
Just a brief note...
“Just to make note, unlike the two commercial recordings of this opera, which omit Act II, Scene 1, this performance is complete !Sills, whether or not she liked the composer and his music, is astounding !”
Divinissima yet in 1957
“Very beauutifull performance. It is amazing to hear my beloved Diva Montserrat Caballé singing at 23 years old with such great art. She was yet a Diva. But crowned in 1965.Fantastic.”
Matey
“Dame Joan Sutherland + La Traviata + prime = amazing!Need I say more? This performance is a must have for any serious operatic fan interested in exploring this opera and this style of singing. It is truly a treasure.”
James Mertins
“This and the other live Wagner recordings with David Ward show what a superb singer he was. for me he was the best Wotan I have ever seen. Like Hotter he was tall but unlike Hotter the voice was steady even until his retirement, no other Wotan or Dutchman has came close to this in the last 40years, (maybe Norman Bailey who showed the same understanding)Ward was a wonderfully warm man and a great character. Britain has been lucky in it’s Wagner singers, although i still believe that Mr. Terfel’s Wagner singing too be hectoring and not very good, but that is only me.”
Exzellente Liveaufnahme aus Salzburg
“Die Besetzung entspricht im Grunde der Studiogesamtaufnahme von Karajan mit Ausnahme der Sängerin der Ortrud. Diese Aufnahme nahm bekannter Weise mehrere Jahre in Anspruch, was man Ihr auch anmerkt. Die Live Aufnahme ist ihr weit überlegen mit einem alles überragenden Siegmund Nimsgern als Telramund, aber auch die restliche Sängerriege lässt keine Wünsche offen. Jedem, der eine packende Vorstellung des Lohengrin erleben möchte, sei diese Aufnahme ans Herz gelegt.Die Tonqualität ist keiner Studioproduktion unterlegen. Also: absolute Kaufempfehlung!”
ONE OF THE GREAT WOZZECKS!!
“Aside from the incredibly great singing in all the roles, Sanzogno's conducting rivals the best!! He studied with Hermann Scherchen which may explain the wealth of probing detail exposed at every measure. The sound is excellent and should not be a factor. I far prefer this Italian Wozzeck to the one conducted by Bohm.”
AMONG THE 3 BEST BAYREUTH RINGS!
“Stein's 1970 cycle is swift, taut, often more cleanly played than the Philips set under Boehm--compare the shapeless string crescendi in the latter's Rhine Journey. Also its cast is better balanced: among the oldsters Neidlinger (Alberich) and Hoeffgen (Erda) are still robust, and 3 of the newbies are superb--Stewart's all-encompassing Wotan, unique for his trenchant line readings, handsome midrange, and ringing top; Lindholm's warm, hochdramatische Bruennhilde, her "Ewig war ich" actually steadier and better tuned than Nilsson's on Philips; Ridderbusch's Hagen, calling the vassals with quality singing instead of Greindl's belting and blaring.The others are worthy if less notable. Jones (Sieglinde) is restrained and lovely early on, then tremulous when pushing at the break (e.g., the G5 on "bis zum Heft"). Cox's Siegfried also has passaggio issues: scooping and raw tone on open vowels. Otherwise he's bright in timbre and a smarter percussionist than Windgassen, who regularly made a hash of "Schmiede, mein Hammer." Elsewhere Paskuda has patches of sagging pitch but sings more decently than many a Mime; Brilioth's Siegmund is intense and imaginative, though taxed by the Todesverkundigung; Esser offers more sound and vigor than Loge often gets. Plus we have major voices in minor roles: Bailey and Martin as Gibichungs, Reynolds as Fricka & Waltraute, Bode as the Woodbird.In sum a potent, tightly knit RING, topping the Philips set and rivaling Krauss 1953 and Keilberth 1955!”
Patrick McCabe
“This is excellent for a live recording. Bergonzi is still at his best here vocally, and goes to town on the feature arias. This is my first experience of Gulin and she had the voice for this role. Having researched her career, it seems severe ill health cut short her career. I have always found the timbre of the Milnes baritone unattractive but he does well here.Gorr also is adequate, but Joan Carlyle as Oscar is rediculous casting. She lacked the vocal agility for this trouser role. My all-time favourite here is Rere Grist.”
