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lossless audio
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.
Bel Canto Fan
“I tried to write a review earlier but it doesn't appear to have succeeded, so will try again.Very pleased to have found this version of an opera that appears to be under-recorded. Such a strong cast with these two Queens, Gencer and Verrett. Sound is not perfect, but still very good, and does not detract from the very good voices, Would highly recommend to anyone who likes Donizetti's operas.”
Walter Hartman
“This is a grand slow moving but moving (musically / histrionically) performances of the opera. Barbro Ericson (not a very familiar voice to Americans) is an excellent Kundry. She is secure, rich of voice and in control of both the music and the character. Vickers is in great form as Parsifal. Hotter, very communicative as Gurnemanz with Stewart and Neidlinger , experts in their roles.”
Wouter de Moor
“This recording of Götterdämmerung is the best I have heard so far. Pierre Boulez finds a pulse in the score that turns the music into a perpetuum mobile. It is irresistable. Fast without rushing, swift with all ear for detail. Gwyneth Jones is in better voice than on the 1980 video-release (which, for the brilliant Cheréau-regie, I would not like to be without). For me the booiiing (at the beginning of act 3 and at the end) adds to the magnitude of this historical recording. It not only illustrates the hostility towards this production but it is also a reminder of the controversy and scandal that more than once surrounded Wagner's music throughout the years. It is Bayreuth 1976, but I also hear Tannhauser in Paris 1861.”
John Stanton
“Domingo is a magnificent Des Grieux, ardent and masculine, and finds the perfect foil in Elena Souliots, a vulnerable and sweet Manon. The voice itself has a sensuous sound that is backed by tremendous power when required.The supporting cast is more than adequate and the sound very good.”
Thrilling performance
“Horst Stein is sometimes thougth of as a safe but not the most exciting of conductors. Here however he strikes thrilling form. The performance takes off from the start. Thomas Stewart a wonderful Wotan and as his daughter Berit Lindholm is superb. Often singing at the same time as the mighty Nilsson were we inclined to overlook the glories of Lindholm ? Was there ever a more pasionate Sieglinde than Gwyneth Jones (dont think so) partnered with the excellent Helge Brilioth this recording should be in the collection of every Wagner lover. The sound is excellent.”
brush up your Mozart
“The first night of Ponelle/Karajan Figaro in very good sound. Karajan delivers a swift performance without any sloppiness and with very good singer-actors. The cast seems to be a deliberate alternative to Viennese style, some singers on the acting (Stratas, Montarsolo), some on the vocal side (Berganza, Herwood). There might be a more idiomatic Italian than Berry gave, but his Figaro is, however, the self-confident male center of the performance.”
Great performance of Salome
“This was an excellent performance of Salome.I was blown away by the beauty and expressivity of Leonie Rysanek as Salome.I have been impressed by her singing in the past, including hearing her one time in person, at Seattle Opera in the Summer of 1987, when she sang Sieglinde in Die Walkure, in that year's Wagner Ring presentation. The audience responded rapturously to her singing, giving her quite an ovation at the end of the performance. Her voice had a rapturous quality that evening, as I recall.But this Salome is quite a find, I don't think I'd ever heard a Salome sung with such expressivity and plenty of vocal power as well.The sound is quite good in this performance by the way; definitely recommend this live recording of Salome. Jon Vickers also very good in the role of Herod, I should mention.”
Excellent performance, Excellent sound
“I have always been a fan of Welting's sweet voice and found her sadly under-represented on recordings. This set is fantastic. Gines Sirera has a light and easy voice with plenty heft when required. Will investigate him a lot more.Well sung by everyone, and the sound studio quality. Don't hesitate.”
Great Verdi singing
“This is a very enjoyable and exciting performance. All of the principals are excellent, and the supporting cast is quite good. Dimitrova’s dynamic range was truly phenomenal. Carreras sounds wonderful, as does Cappuccilli. Very well conducted.”
INVALUABLE DRAMATIC BARITONE
“Famous latter-day Wotans included baritones with faulty upper extensions (Schorr), bassos who would never master that territory (Frantz, Edelmann), or bass-baritones who did but whose instruments soon deteriorated (Hotter, London). Yet much of the role needs potent high Fs and F#s (the outbursts in WALKUERE Act 3 sc. 2, the exchanges with Erda in SIEGFRIED), so Wagnerites grew used to hearing these passages badly sung.Until Thomas Stewart.Stewart was a true baritone, G to G. He sang Wotan in the big houses for 2 decades, offering many precious assets: unusual stamina, volatile temperament, handsome mid-range, ringing top, dexterous line readings, and a fire & security in the climaxes that weren't available to heavier voices--compare the Teldec WALKUERE where Tomlinson is strained and behind the beat. In his heyday Stewart was the closest thing to an all-embracing Wotan since the young Hotter.This collection features highlights from his Salzburg years, also from Stein's 1970 RING, offering the Texas baritone in his freshest, firmest mid-career voice. The 1967 Sachs solos are classic studio renditions, his 1965 Dutchman is white-hot, and his 1969 Amfortas even more intense, detailed, and gorgeously sung than his fine DG recording.2 entries are subpar: the SALOME snippet, which finds Stewart laboring on top, and a murkily recorded 1976 MEISTERSINGER. Otherwise this is a splendid memento of one of the most underappreciated yet invaluable singers of the last century.”
A Terrific Performance Even With Some Chunks Out of It
“Until I'd seen this on Opera Depot, I had no idea there had ever been a CARMEN with Inger Karen, let alone with her, Rosvaenge, Lemnitz and Bockelman. The three or four times I've heard Karen who, as far as I know, never made commercial recordings, she was downright terrific. Anyway, There are some pieces missing, mostly unimportant ones at the beginning, but what's left is very exciting. As always, Rosvaenge sings the text like he was eating it up and spitting it out while still producing a healthy sound, and his Flower Song is about as well-phrased as they come, even better than his HMV recording of it from about the same time. Karen has much more personality going here than as Azucena, Amneris and Herodias (although she doesn't let loose with the volume the way she does with those other characters), and Tiana Lemnitz on voice alone could set a standard for all other Micaelas. Bockelman is the least impressive, but he's okay for a Wagnerian baritone slumming in Seville. The sound is quite good for 1936, and I'm thrilled to own this.”
HOW could it miss with a line-up like this
“Some of the best pipes of the last century and every one of them in excellent voice. I read Olivero's thoughts on working with the fledgling Corelli in the book "Franco Corelli, Prince of Tenors" by Rene Segheres. She said he was very very nervous and she made sure she was a soft place for him to land when he was freaking out.... Sweet lady. She also said it was 'perhaps the greatest success of my entire career'. (page 174-5). Highly recommended!!”
Superb
“I had often wondered about "Leonore" and took the plunge attracted by the combination of Tinsley and Mackerras. What a wonderful surprise! The work is great, punchy and dramatic, and not at all the poor relation of "Fidelio". The recording quality is superb, and the cast uniformly good. Tinsley gets the opportunity to give us some elaborate coloratura work, all written in Beethoven's anti-vocal instrumental style, and she performs with typical panache, remarkable for a performer who was my first Salome, Elektra, Turandot, Dyer's Wife, Abigaille, and Lady Macbeth. Of all my many purchases since I was fortunate enough to discover Opera Depot last year (every one of them terrific) this has been the most pleasurable surprise. Recommended without any hesitation.”
Fiery "Tannhäuser" from La Scala
“Passionately conducted (albeit in the Dresden version) by Wolfgang Sawallish, this performance grips one from first to last. Hans Beirer was having a good night, sounding much younger than his 57 years. His interpretation is, for my ears, one of the best ever committed to top. Victor Braun's sound has a pronounced grain to it, but this does not prevent him from purveying a wise Wolfram, one who takes some of the starchiness out of "Black ich usher." Sung in magnificent, opalescent tones, Sent Jurinac makes for a very strong Elisabeth: almost too much so. It's a little difficult to imagine this substantive a woman wasting away over Tannhauser. Martti Talvela brings both tonal opulence and verbal acuity to the Landgraf (unlike, say, Josef Greindl, who succeeded *despite* his voice). Too briefly heard, Janis Martin is a fresh and alluring Venus, while Carol Malone is a capital Shepherd and Konrad Peitzke's thoroughly disagreeable Biterolf stands among the minnesingers. The sound is good broadcast mono.”
Otherworldly performance with no equal anywhere.
“I have this recording and will tell you plainly there truly is no better recording in existence than this one. Yes, there is plenty of audience and stage noise. Further, it is probably a house recording with, at times, recording issues. However, this is a masterpeice of an opera and one of the most brilliant Verdi operas until Rigoletto. Yet, this is the ONLY recording I know of where the male voices—which are absolutely essential to bring this opera off well—are in place here. Not only this, but the conduction, the singers, and choir are at their zenith of energy. Christina Deutekom has a strong, yet kind of odd voice at volume—which can get tiring to the ears. Nonetheless, I still love her and frankly it is the male voices that make or break this opera anyway. A clear recording it ain't. But it is a stone cold nuclear performance.”
Historic Performance in Good Sound!
“Andy's cast list above suggests that there is far more music here than what there actually is. We hear Flamand, Olivier, the Countess, La Roche, and the Majordomo. In the comments below, Jeffrey has basically described what selections are heard on this disc so I don't need to elaborate any further. While I wish the entire opera had been preserved, I am grateful for what we have. Strauss greatly admired Ursuleac and she was a big star in Europe. I admire her too, but also suspect she was one of those singers you had to see in person to truly appreciate. Some of her magic got lost in recordings. The voice sounds rather ordinary, but then she will throw out a high note that is like a gleaming shaft of light in the gloom. Her articulation of the text is sensitive, yet not as profound or as colorful as some of her successors in this role. Hann sings up a storm as La Roche and his diction is superb. We are fortunate that his entire ten minute monologue was recorded; he certainly lives up to his reputation.The sound is good for the period. This disc of highlights is for Straussians who are already familiar with this opera: they will find much to enjoy.”
Another gem from H. Hollreiser
“Often overlooked conductor Heinrich “Hellraiser” Hollreiser leads a superb cast including vintage mid-1970’s Gwyneth Jones (check out her 1975 ring w/Horst Stein) in decent FM broadcast sound.”
Those comprimario tenor roles...
“As other enthusiasts have said, this is a marvellous performance; splendidly cast, played and conducted, with a fabulous "home-grown" Ochs from Michael Langdon. I saw the bass perform many roles at Covent Garden, including one of the most chilling Grand Inquisitors imaginable...this Ochs is miles away from that gentleman!!By the way, the Tenor is Kenneth MacDonald (not 'McDonald'). He was a very important member of the Covent Garden Company/Royal Opera for many years, whom I saw many times. He had an unusually high range; I remember him particularly as the Astrologer in The Golden Cockerel and Flute in A Midsummer Night's Dream. Sadly, he died at the age of only 47 in 1970. You have him in no less than 14 of your performances! For interest, I attach here his CG listings:https://www.rohcollections.org.uk/SearchResults.aspx?searchtype=performance&page=0&person=kenneth%20macdonald Another important member of the Company was ROBERT BOWMAN, who is missing from the cast list and sings the Landlord (who gets that very exposed high B-flat(?) when the Marschallin enters in Act 3; the role is therefore not just an "ordinary" comprimario!) Bowman seemed to appear in virtually everything and was probably the equivalent of Charles Anthony or Tony Stevenson at the Met!! Here are Bowman's CG listings:https://www.rohcollections.org.uk/SearchResults.aspx?person=robert%20bowman&searchtype=workprodperfA five-star Rosenkavalier in every way!”
LIVE OPERA AMBIENCE
“As expected, Olivero's voice is responsive to character and the drama at hand. The rather dark timbre of her voice foreshados the cumulative tragedy. The rest of the cast is quite vocally and dramatically dedicated in this performance. The sound is just fine. There is lots of live stage business, but I like tha- especially now as attending live performances is such a hassle during pandemic.”
Stunning singing & drama
“Would advise referring to the website description, which is spot on. This is an excellent recording, full of drama and beautiful, clear singing. Rinaldi and Pavarotti are superb, both technically and dramatically. Their 'Parigi, o cara' is pared back to create a wonderfully intimate rendition. Taddei is also good, subtle and compassionate as the description mentions. I enjoyed the conducting from Guarnieri. You could feel the drama behind the music in the tempi, every now and again slowing towards the end of a phrase reflecting Violetta's gradual tiredness and decline. At some of the bigger parts/ensembles, others would take the pace much faster to the climaxes, and at first I had felt it was a bit too slow - until you could hear the clarity of the vocal lines and words come through (not being swamped by the orchestra). The missing sections as mentioned are the only disappointment, particularly the end of 'Sempre Libera' as the rest of the aria is fantastic, and you wanted to hear the audience's rightful appreciation of her fantastic performance.”
John
“I think Ronald Dowd was (is?) Australian but that almost counts as a Brit. He was a memorable Grimes, Samson and Aeneas, usually standing in for Vickers with similar vocal idiosyncrasies and intense involvement in the character . He very rarely sang Wagner on stage.Thanks for the Shuard Isolde at last, as I have treasured a tape of Act 3 from this broadcast for 40 years. Strangely she never got to sing the part on stage in London .Can we have recordings of her Elektra and Turandot now, only eclipsed by Nilsson at that period.”
What an amazing gift!!!
“I know it was a purchase, but being able to buy performances of singers that I have looked up to ever since I began my career, meant so much to me. Hearing James King sing Don Jose, or Wolfgang Windgassen sing Florestan made me cry. I am so thankful that you are here!!”
Manon starring Mary Costa and Giuseppe Campora
“How exciting to hear this exciting performance. Mary Costa's performance is truly remarkable in a role she sang at the Met, Geneva, Lisbon, and many other great houses of the world. Campora is in amazing voice as well.”
Mitreißende Aufführung
“Sicher, der Sound der 1970er Aufnahme ist besser als bei dieser aus dem Folgejahr, die Stimme der Lindholm kräftiger als die der Ligendza. Und doch packt mich die 1971er Aufführung mehr, vor allem die Paarung Cox-Ligendza steigert sich am Ende zu einem fulminanten Finale.”
Joseph Brand
“I too saw this, my first Billy Budd, and was bowled over. It is historically important too as this series of performance were the first of the definitive two act edition of the opera – which then went on to conquer the world.”
Thank you !!!!
“What a beautiful distribution for this opera of Richard Strauss !!!! The best we could dream for it !!!!An amazing version with the best singers of the moment.Thanks a lot for that great pleasure”
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.”
A Giovanni for the ages
“One of the best - of many - performances of the opera that I have ever come across. Whilst individual performances or playing or conducting might (pace Wunderlich, Price and Berry) be more stylish, dramatic, accurate on other recording, as a complete all-round, ensemble experience this takes the laurel.”
Interesting
“The singers are great as expected , the sound is decent but the performance is not as polished as other recordings with the same cast but still a testament of Dame Joan’s virtuosity! 🙃”
Rheingold at Covent Garden 1949-1951
“Just some precisions : RHEINGOLD has been played 4 times at Covent Garden from 1949 to 1951 : 12/05/1949, 8/06/1950, 4/5/1951 and 7/5/1951. Wotan was sung 3 times by Hans Hotter and just 1 by Andreas Boehm on the 8th of june 1950.. Fricka was only played by Edith Coates (from archives of CG), never by Constance Schacklock. At last, Mime was sung 3 times by Peter Klein in 1949 and 1951, but in june 1950 (this recording), Mime was The well-known Erich Zimmermann who played in Bayreuth before the war. All these Information come from the archives of the Royal House Covent Garden.”
Fire!
“This is obviously an in-house and we ought to be thankful to whomever did this. As for the performance, there is only one thing to say: If this had taken place in Italy, the performance would have been brought to a halt, full stop, after those Vittoria high As that Bergonzi unleashes on act 2. The screaming would have never ended.”
Snippets of an incommensurable artist
“Everyone who has heard of Anja Silja will probably know that the fascination of this singer is not conveyed by acoustic means only & even less so by a compilation or ‘recital’. Therefore this well chosen disc will mainly prove the common knowledge.But even if you have been not so lucky to have seen A.S. on stage, nothing will have prepared you for the immediacy, ‘devil-may-care’ intensity & fun of the short excerpt from Die Walküre (I highly recommend the complete recording, here at Opera Depot) the searing, heart-breaking scenes from Wozzeck or the desperation of Cassandre - all delivered in a way that, for the moment, you can not think it ever done differently (even though it can of course!). The early coloratura arias are interesting in this context if musically & vocally less compelling but they show already the same single mindedness which is so overwhelming in everything A. S. ever did. Her performances are an object lesson in why opera is not a concert in costume but only to be experienced as a whole. I hope that one day we’ll get one of her great Janaček portrayals (is there not her Katya Kabanova from San Francisco somewhere?) a composer who played such a great role in her post wagnerian repertoire, or her Katerina Ismailovna (San Francisco as well). Thank you O.D. again, to remind us of this extraordinary artist!”
Historical Opera at its best
“This is a swift, dark and expressionistic performance, and one of the most exciting I’ve heard. Whilst the cast range from solid to stellar, the real star of the show is Thomas Beecham, who’s unfussy yet colourful conducting brings us a truly vital Electra that all Strauss fans should hear. Whilst the sound is okay, it is perfectly listenable and surprisingly good for 1947”
Fond memory
“I haven't bought this yet but I will when I get back from vacation. I can answer some questions the previous reviewer posed. Yes, it was in Minneapolis, and I was a ringer in the chorus tenor section, called at the last minute as we're other ringers, because, the chorus was too light. It was the Macalester College Choir plus those of us who could be found and trusted to sing the piece with only the final orchestra reheasal.”
Not to be trusted?
“All I can review is the purchase itself. So far, it has NOT been completed, since can't download the items, despite appeals for help, which have not been answered. So the review is that Opera Depot may well be a fraudulent enterprise, unless it can get its show on the road, and quickly”
Turandot, deutsch gesungen
“Eine Rarität ist diese deutsch gesungene Turandot Aufnahme. vor allem durch die ausgezeichnete, stählerne , trotzdem aber hochdrammatische Ausdruckskraft der Stimme von Gertude Grob-Prandl als Turandot. Karl Terkal ist ein ihr ebenbürtiger, klar singeneder Kalaf, von dem es leider zuwenig Dokumente seiner wienerisch geprägten Gesangskultur gibt.”
Dernesch at her best
“Helga Dernesch sings fearlessly and imaginitively in this complete rendering of her Siegfried Brünnhilde, considered the hardest of the three, and one in which she excels. She is ably partnered by the spontaneous flow of Alexander Gibson’s support. Ticho Parly essays Siegfried confidently. The sound is decent. The applause ecstatic upon conclusion with a huge high C from Dernesch. The whole of the scene is presented and that works well.”
Jon
“Just listened to this thrilling performance,Macneil was the main reason for buying this cd, after listening to the sample provided-wow!.labo and Hines providing truly great, tasteful and exciting verdi singing, but the real find for me was Margherita Roberti.It’s amazing how many singers in the 50′s and 60′s were not given the recognition they deserve.She has a pure, well focused voice, used with intelligence, that cuts through the ensembles without becoming forced and thick,would love to hear her in ‘trovatore’.I believe there is a recording of her with Corelli in Tosca at the Met, would love to hear it. Congratulations on this great cd-great sound! will be buying from you again-just spoilt for choice .Regards Jonathan Hollows (united kingdom).”
A Berlioz Masterpiece
“Benvenuto Cellini is so rarely performed in opera houses that I fear people will think it is a flawed work. Absolutely not , but it does require an outstanding tenor and here Gedda is truly fine. He is partenered by the wonderful Elizabeth Vaughan whose full toned Theresa is well captured on the recording. Yvonne Minton is splendid as is all the supporting cast & Covent Garden company under the direction of John Pritchard. Well worth investigating if this Berlioz work is new to you.”
Paddy
“I have listened to this twice since receiving, in jaw-dropped awe.Sound is a bit hard, but very clear.I thought the Florence of 1953-Tebaldi, del Monaco etc. or The San Carlo 1958-Tebaldi, Corelli, were the ones,but now I am not so sure. Here Tebaldi is awesome,and Protti in glorious form. I had forgotten how beautiful the di Stefano voice was, before it was ravished by roles such as this.However it”
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.”
Superior sound
“There are many recordings available of this well known performance, so the deciding factor in choosing a version isthe sound. The the sonics on this Opera Depot version are excellent and comparable to the Myto edition, using direct master tape transfers, so favorably reviewed on Amazon.”
A fine Gurrelieder
“Great sound quality and a great performance too. Martina Arroyo gives her sumptuous tone to the role of Tove, Janet Baker demonstrates why she was one of the greatest and Alexander Young sings an elegant Waldemar, which can’t always be said of singers of this role. Also, Julius Patzak does a beautifully atmospheric final scene. Thoroughly enjoyable and highly recommend.”
Magnificent
“What a treat to hear this opera in a language I can understand! I agree with everything Stephen H. says in his review below. An excellent performance of this heart-wrenching work, with fine singing and crystal-clear sound. Best purchase I've made on Opera Depot.”
Wonderful Tristan
“This is an excellent performance. Nilsson is the best, as is to be expected. Thomas is also very fine as Tristan. The rest of the cast is very fine indeed and Bohm is perfect. The sound is also excellent.”
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.”
giancarlo stampalia
“As stated in the product description, the sound of this Don Carlo is indeed spectacular: clear, clean, with great balance between orchestra and the singers, and good depth. Compared to the 1978 studio recording (virtually with the same cast), which displays the customary 1970s EMI recessed voices and overpowering orchestra, this honestly reproduces the live experience.What a cast! All the singers except perhaps Cossotto are at the very top of their game, and Cappuccilli’s dramatic command of his role is even on better display here, together with his uncanny breath control. Ghiaurov is more dramatic and heartfelt here than in the studio, and his sonorous voice is just breathtaking. Carreras is heavenly, and Freni is her usual brilliant, charming self.About Cossotto: I don’t mean to say that she doesn’t sing well: just her top notes (lethal in Eboli’s part) are not as secure and daring as Baltza’s. But, she was indeed born to play Eboli, and it’s great to hear her in the part, and under Karajan.Karajan’s tempi are occasionally even broader here than in the studio recording, but I don’t think that hurts the opera at all: Rodrigo’s farewell tunes are just heartbreaking at that speed and with Cappuccilli’s sensitivity.As usual in the theater, Karajan makes some cuts: e.g., the second stanza of Eboli’s veil song in act I, and one of the most beautiful transitions that Verdi wrote, between the two parts of the duet between Carlo and Elisabetta, always in act I. Both are reinstated in the studio recording. Saving five minutes doesn’t seem so important with hindsight, but I guess the timing of festival evenings had its requirements.”
Mark Hood
“This is indeed a tremendous performance and in excellent sound as described.Does anyone remember the venue. I think that it must be a concert performance.probably the BBC Symphony Orchestra.”
