Here are the items that we found.
Overlooked Singers
Baritone Edition
This week we are looking back on an impressive assortment of baritones whose artistic output deserves renewed appreciation.
40% off
Lakmé
lossless audio
Free Streaming Recordings
Every week we offer 12 new titles available to stream for free
Compilation: Giangiacomo Guelfi
Guglielmo Tell, Lucia, Cavalleria, Tosca, Fanciulla, Carmen, Vespri, Attila, Trovatore, Aida & Nabucco
Debussy: Pelléas et Mélisande
Brooks, Quilico, Jobin, Bible, Smith; Rudel. New York, 1970
Donizetti: La Favorita
Verrett, Kraus, Elvira, Morris, Hendricks; Queler. 1975
Donizetti: Lucia di Lammermoor
Peters, Campora, Guarrera, Densen; Moresco. 1974
Mozart: Die Zauberflöte
M. Price, Burrows, Deutekom, Bryn-Jones, Ward, Robinson; Wisch. London, 1968
Spotlight: Claudio Abbado
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Exciting Performance in Very Good Sound!
“Even after she decided to pursue soprano roles, Shirley Verrett often returned to the role of Dalila. This performance finds her singing the role with that refulgent, seductive tone that made hers one of the great voices of the last century. The top is thrilling and meltingly beautiful in the middle. Her "Mon coeur s'ouvre à ta voix" could make anyone weak at the knees, let alone Samson. She not only sings the unwritten, but traditional B-flat in "Amour! Viens aider ma faiblesse", but makes sure we hear her joining the sopranos on the optional (for Dalila) high B just before the end. She crowns the end of the second act with some evil laughter too. The audience adores her.Richard Cassilly sings Samson with great strength and conviction, providing effortless top B-flats whenever the composer requires them. Robert Massard is a first-rate High Priest while Leonardo Monreale is an excellent Old Hebrew with a firm low E (?) at the end of Act One. Georges Pretre leads a dramatic, enjoyable performance. The Bacchanal in the last scene must've been something to see because the audience stops the show to applaud. Some critics insist it's cheap, kitschy music, but that suits the plot and situation to a T. The broadcast sound is very good. A famous broadcast, now made available again at a very reasonable price by Opera Depot.”
The Other 1970 PARSIFAL
“After some detailed comparative sampling, I’d suggest this is essential – not just as an appendix to the DG issue of the same year but as, in at least one perspective, preferable to it. Although it’s not a matter of Live vs Studio, it’s nonetheless true that the contrast is between a single performance that is flawed but intense and a composite from several performances that is satisfyingly precise but rather less exciting. My guess is that not much of DG derives from 2 August. Crass behind and rushing to catch up in the Act I Verwandlungmusik; Stewart rough and approximate when revealing his wound in Act III; King not quite on the beat in a couple of places: these moments were obviously unusable. Yet both King and Stewart are in great voice, and the latter, completely inside his role, much more intense in his big moments than on DG. Even Crass (beautiful voice, dull interpreter) shows more emotion in Act III here than on DG – though his habit of skimping dotted notes at brisk tempos introduces a parlando element into his narratives. On DG Jones is superb in the last 10-15 minutes of Act II; here on 2 August there is extra electricity, and she is nothing short of sensational. It’s a wonderful combination of technical discipline and dramatic self-abandonment in a singer – exactly what’s required for Kundry in Act II – and it should provoke comparison with Mödl for Clemens Krauss (at similar tempos) in 1953.”
A real Company
“How well I remember those heady days when every new season at the Garden started with a couple of Ring cycles. The singers were a mix of guest stars and the magnificent house company. This is excellent with the rocklike nobility of Hotter, a luscious Friea from Vaughan, a fledgling McIntyre as Donner, and the incomparable Kraus spitting intensity with every sung syllable. A treasure. Roger Bryson”
A SPECIAL BORIS!
“This is indeed a treat for lovers of this incredible opera – I could simply echo the lavish praise poured on this performance by David Reynolds and our beloved Andy, which (apart from a rather squally Xenia) I do, in spades!However, it’s interesting to read this listing on the Boosey & Hawkes website:https://www.boosey.com/cr/music/Modest-Moussorgsky-Boris-Godunov/46908You will note that the Shostakovich version was premiered on 4 November 1959 [English dating]. As this broadcast was only a year after the premiere of the new edition, conducted by Yeltsin (and further research names Shtokolov as the Boris), I think we can confidently assume that many or most of the rest of the cast was the same. Thus, this is a really historically-important Boris as well as being an absolutely superb one!My own opinion of the Shostakovich orchestration is that it is fascinating, with much thoughtful and occasionally-ironic underpinning of the original; space (and Andy’s “mean” word-limit!) does not allow me to go into detail here. I carp only at DS’s sometimes overdone, “glitzy Hollywood” style at some peak moments, such as the end of the Coronation scene, Kazan song, Marina/Dmitri duet and some of the “revolution” music. However, thinking about it, might that not have been Shostakovich’s very point? Look to his symphonies and string quartets to reveal a master of irony!A wonderful performance on many levels – just don’t miss it!!”
David Fetz
“I was thrilled to see you post this Recording with Brian Sullivan. The only time I had even even heard of him was trough and old Firstone Christmas Album with Rise Stevens. Now to be able to hear him sing Otello. I look forward to it.”
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!”
Celine Papizewska
“This is a fantastic recording of two great Wagnerians. I literally fell in love with the Tristan of this recording. Oh! In ACT III, I wanted to cradle his suffering self in my arms! And Moedl is a force of nature on this. No, this is not a recording of vocal purity, but of untrammeled passion. Me? I like the passion.”
Really, really good ...
“There´s not much to add to Richard´s detailed summery (and I own - as of now - 92 Salomes, abot 15 ... 20 of them actually get reruns from time to time. And 2 Fidelios, which get no reruns). Tynes was new for me as well, and she does her job in a really admirable way.Andersons prophet fulfills the necessity of credibility, which is the most important feature in delivering this role. I don´t expect (or believe in) most beautiful singing from a guy, who lived off sand and the occational scorpio- or spider-bit. He´s convincing ... and so is the complete performance under the supervision of Mr. Shippers. Will get a resumption, with headphones, this summer, in a deckchair at a beach.”
Having recently discovered Danton's Tod,
“Having recently discovered Danton's Tod, I wanted to check out other von Einem works. I bought this and really enjoyed it. The performance is very persuasive and the cast is quite marvelous. I find so many 20th century operas to be rather unsingable, thus unlistenable. von Einem really allows the singers to use their voices in a very vocal way. All of these singers are strong singing actors so that their performances really register as living characters. Ideally a libretto would be helpful but without that I still enjoyed this experience and recommend the recording both for the work and the singers.”
But why was the mp3 encoded in stereo?
“Thanks. to OperaDepot, I finally got the opportunity to hear this famous pirate and can now happily recommend it to everyone who loves Italian opera theater as it was practiced before the days of HiFi recording technology, when the only way to hear the music as anything more than a tinny facsimile was to be there at curtain time. The digital file offered here sounds just fine, better in fact than some of my Maria Callas' treasures. I'm wondering however why OperaDepot encoded this file in stereo instead of mono. Doesn't that just sacrifice half the bitrate?”
Excellent performance
“This is a fine studio performance from the BBC in Manchester from 1976. The singing from all the cast is very fine, with standouts being Lorna Haywood as Adriano and John Mitchinson in the title role. However, the star is Edward Downes, a much under-recorded conductor, who holds this mighty, sprawling piece together and transforms it into a gripping drama.”
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.”
JÁNOS KÁDÁR
“Beside Callas I find Scotto the greatest Norma and here at her prime she can give all nuances of this role. Her partners are also in excellent form and Patane leds an exciting performance”
Delicious cast
“A young Caballé reveals to be a wonderful mozartian and what a chance to be able to hear Berton in one of her best role. Bacquier is the true grand seigneur, Blankenburg always a very sympathetic Figaro and Steffek a soprano Cherubino. Sénéchal inenarrable Basilio. Pritchard an underrated mozartian.”
Much to enjoy.
“This was a great Giovanni cast . Even with some distant sound it is well worth hearing. Such a shame the whole performance wasn't recorded- for example we miss out on ' Mi Tradi' in Act Two ( a pity as Elizabeth Vaughan is superb , just hear the way she delivers 'Ah fuggi il traditor') and the great final scene, but I am so glad to have heard these excerpts. Thank you for finding this.”
Pleasant surprise
“To be honest I bought the set for Ernst Kozub (and he made me wish Siegmund was a longer role). I’d never heard of Dvorakova, or of Fliether—and I was pleasantly surprised with both of them. Sound is fine.”
Tassilo
“There was a period when, like several close friends of mine and for similar reasons, I despised Karajan and enjoyed quoting Bruno Maderna’s dismissive remark about “Karajan’s chocolate Beethoven.” Of course, our opinion of him was entirely formed on the basis of DG studio recordings from a certain period, and Exhibit A in our brief against him could easily have been what everybody refers to as “The Karajan Ring,” Karajan’s DG studio recording of the cycle. Since then, I’ve heard more performances both live and studio from earlier in Karajan’s career, and I have a more nuanced perception of his abilities. But the performance that really administered the coup de grace to my preconceptions was the live Salzburg Siegfried that preceded the DG studio recording, which I was able to hear in less than ideal sound a couple of years ago. I’ve also heard great bleeding chunks from the Walküre that preceded the DG recording. On the basis of these experiences, I think that the real “Karajan Ring” is not what was released on DG—a recording made in the relaxed and artificial context of the studio, where the conductor himself was complicit in the engineering of a kind of smooth perfection—but in the extremely interesting and more distinctive live performances that preceded the recording of the installments of the studio Ring. I don’t know whether this remark will be intelligible or not, but, in the live performances, you experience the sheer force of Karajan’s monomaniacal focus and control as it is being deployed in the thick of battle, whereas in the studio recordings you only hear a byproduct, what the control freak engineered under controlled circumstances.It is worth remarking that the very consciousness on the part of Karajan and his DG engineers and producers that they were undertaking a cycle in competition with Solti and Decca, a cycle they intended to be THE Ring that consumers should buy, would have had an equivocal impact on the recordings that were eventually released. On the one hand, convinced of the importance of their undertaking, everyone involved would have aspired to the highest professional standards. On the other hand, the sheer pursuit of the kinds of technical perfection for which Karajan, DG, and the Berlin Philharmonic were famous to the exclusion of other musical virtues would have resulted in a loss of the spontaneity and excitement so infinitely more characteristic of the live performances. (Where the tempi in the studio recordings differ from the tempi in the live performances, the live performances feature quicker tempi.)Which is why I welcome Opera Depot’s release of the live Karajan Ring in better sound than the transfers I’ve heard.”
Excellent recording with La Nilsson
“Excellent recording with La Nilsson as great Lady Macbreth, but that is not all you folks. Paskalis is great, heroic Macbeth, Buzea nice Macduff. Franc very good Banquo with warm, rich voice. Klobucar and orchestra are excellent, too. Sound is not a problem.”
Fantastic
“Bergonzi is incredible as Faust. It is not a stretch to say that the role can not be sung better! His poetic phrasing makes the text come to life. Ghiaurov is a powerhouse in the title role. This final scene with him and Bergonzi is one for the ages. Tucci was great and underrated soprano. Her voice suits Boito’s music in style and interpretation.”
Wonderful performance
“I don’t have anything to add to what other reviewers have said already. The performance is beautifully sung and conducted. Ruth Welting had a beautiful voice and amazing technique. It is very unfortunate that she made so few commercial recordings, making live recordings like this all the more valuable.”
Brilliant Concert in excellent sound
“It is hard to believe that singers can reach this this level of technical perfection in a live performance. KIng is a revelation in verismo repertoire, which I had never heard before. Cavaradossi? KIng? You better believe it. Slight intonation glitches doesn't detract from Rysanek's fully determined performance. It is a generous recital with many beautiful things in it, and it makes a very satisfying listen.”
Glorious Katya
“This performance was the first I taped live off the radio as a teenager and was my introduction to Janacek. I played it over and over until the cassette tape decided it had had enough, but my memories of the performance do not deceive me! This in one of the great Katya performances, not only because Mackerras is in the pit producing that particular sound world that Janacek conjures up in all its glory, but also that in Lorna Haywood, he has the most complete Katya I have ever heard. She is radiant above the stave, incisive in the middle and lower reaches of her voice, but everything is put to dramatic purpose - just listen to her brushing off of Tichon towards the end of act one, and the purity she finds for the end of the final act. This is an intensely moving performance on all levels, well supported by Barbara Walker's lovely soprano Varvara and Sylvia Fisher's terrifying Kabanicha (ok, the voice is not what it was, but frankly, who cares given the power of this performance). Men are all good, diction excellent and the sound is all very fine. Do not miss this!”
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.”
Les Troyens in English
“I was amazed to discover that a recording existed of one of Janet Baker's/Jon Vickers' performances of this production. Two great stars of the stage together and in such good theatrical sound (I love the occasional thump and soft noises off. It really makes it sound like a live theatre performance, which of course it is.I'm very interested to see some of the other recordings that Opera Depot offer, so I shall be back to see what to add to my colection.”
peter jensen
“No doubt we are all over familiar with the studio version, a performance I always felt had a slightly stately approach despite the inner intensity and flow. this recording takes us into a very different space indeed, with an attack and spontaneity that grips you from the get go. What I really love is that ever growing malevolence in Hagens music, karajan loved his villians, the whiff of sulphur, the grand malevolent gestures and as the stakes intensify so does the singing and the playing, we are literally carried along (a rhine journey) that devolves into tragedy in a tangible way. The singing is a marvel, everyone is on best voice and the sound transports us into the theatre, maybe slightly limited but a natural and consistent acoustic so any sonic inadequacies are soon forgotten. Just let yourself be transported back to a magical night when the world's greatest orchestra with a superstar conductor collaborated to give us sheer excellence in the service of Richard Wagner.”
Thrilling
“A very exciting performance, with the voices of Tomowa-Sintow and Kollo in the freshness of their youthful beauty. She leaves nothing to be desired as Elsa. Kollo is marvelous through the tender section of the bridal chamber scene, then encounters some vocal rough patches through the end. I was at his Met debut in this role around the same year as this performance, and he sounded much more secure there (it was a beautiful performance). Schroder-Feinen (an amazing Elektra at the Met the prior year) characterizes well as Ortrud and has a very fine instrument but seems to come up short at the top of the range. Nimsgern is certainly an impassioned, even frenzied, Telramund, given to shouting, as is Karl Ridderbusch, with his beautiful voice. The chorus is magnificent, so is the orchestra (other than a few flubs in the horns), and Karajan creates a sound picture and dramatic picture that conjure the whole fairy-tale world of the piece. NB: the intertwining phrases of Kollo and Tomowa-Sintow in the bridal chamber duet are alone worth the price--they manage, miraculously, to be at once erotic and chaste, and define the characters' relationship as never before. The sound is excellent.”
An historic document
“Here's an idiomatic Otello, in which the only Italian is on the podium (Alberto Erede, tautly in charge). This was James King's only performance of Otello in Vienna and he makes a highly dignified Moor of Venice, redeeming some of Boito and Verdi's insufficiency of motivation. King is in terrific voice and if one has heard Helge Roswaenge's Otello, in King one will find a worthy heir to the role. As his ensign, Sandor Solyom-Nagy is not very Italianate of tone quality (he would be shown to greater advantage in the German repertory) but he still makes an effectively insinuating ensign, concealing his villainy behind a veil of bluff sincerity, delivering his most wounding darts as throwaways. Teresa Zylis-Gara is, as ever, an angelic Desdemona, ideal of voice and interpretation. Giuseppe Zampieri's ripe timbre is immediately recognizable as Cassio and Ewald Aichberger is an appropriately puling Roderigo. Some standard cuts are made.The full cast is as follows:Otello: James KingDesdemona; Teresa Zylis-GaraIago: Sandor Solyom-NagyCassio: Giuseppe ZampieriLodovico: Malcolm SmithRoderigo: Ewald AichbergerEmilia: Rohangiz YachmiMontano: Hans ChristianHerald: Georg Tichy”
Idamante was also a tenor role
“I love this recording so much. I think it is exciting and well sung. I do have to take issue with the statement that Idamante was given to a tenor based on some misguided 1950's prudish attitude. Idamante was written for a castrato because Mozart was told to do so by his employer. Mozart wanted to write the role for a tenor but the court wanted to use a favorite castrato, thus the role was cast as a castrato. For the vienna concert revival, Mozart wasted no time and rearranged the part for a tenor and that was that.So, speaking as a tenor here; We have every right to the role of Idamante as much as to the role of Orpee and please do not imply that casting either role with a tenor is some sort of compromise to bend to "tastes" or anything. Casting a tenor as Idamante (or Orphee) is as historically accurate and valid as casting a mezzo.”
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.”
Amazing performances
“Great opera singers talent : the great Anna Silja performs greatfully the Queen of the Night as well as Dame Joan Sutherland, I wish the sound of Julius Caesar were better but it’s a treasure to have this recording. I’m very happy with my purchase. Thanks !”
Lorant Vaska
“I love the performance. I always appreciate Varviso's tempi and care of the singers. He makes sure the obligato perfectly accompanies and supplements the singer. The orchestra adopts the singer's tone and melodic line. I don't think Varviso was ever placed at the rank he deserved. Gedda is charming, Grist has a voice to go with the character, Waechter brings his wieniese approach into Dulcamara, while Kerns is a solid addition to the stars. Thank you.”
Surprising Scotto
“I knew Scotto as a very sensitive singer and fine musician in the 70' and 80', and also a young, "not-yet completely finished" voice, but vibrant and incredibly talented in the 50', but I didn't know how beautiful, rich, firm, controlled, intense Scotto's voice was in the 60', one of the most beautiful I've heard.”
MY GO-TO RECRODING of WAGNER's RING
“A most fortunate find! IMHO, (and experience) the finest performance by Madame Nilsson as Brunnhilde. She sings tirelessly, with total abbandon, and unbridled passion. She is equally matched by a cast of Wagnerian giants in the other roles. (what a treat to have Greindl as the Wanderer!) Maestro Bohm is more spontaneaous and impassioned than his more famous performances that were released commercially a few years later. AND the sound is excellent! This has become my "Go-to" recording of the RING for novices of Wagner's music and my friends. THANK YOU for preserving this performance and making it available.”
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!!!!.”
TWO MAHLER GREAT PERFORMANCES
“Two great performances of Gustav Mahler's masterpieces "Das Lied von der Erde" and "Lieder eines fahrenden Gesellen". If Rita Gorr's deep and opulent mezzo-soprano voice is no longer a surprise (she was in her prime then), the great surprise is Kenneth MacDonald's fine tenor voice who matches hers. A highly recommendable live recording! Thank you very much, dear friend Andy and Thank you very much, dear friends at Opera Depot!”
Excellent and reliable Seller, always rich of beautiful recordings: definitely recommended.
“Naturally the main virtue of this historical performance is the debut of Dame Joan Sutherland as Semiramide, really great in this marvellous and extremely difficult Belcanto role; and if in the future performances conducted by the most competent M° Richard Bonynge she will be even more outstanding (also thanks to the presence of the unrivaled Arsace of Mme Marilyn Horne), in this production she sung much more recitatives, and with an excellent interpretative accent, making this first recording not only a precious document, but also a necessary musical evidence of her imperishable Art.”
Captivating!
“I didn't know any of these recordings, although I did once hear Te Kanawa performing the songs in concert. I obtained the recording last week and have already played it four times! It's fascinating to hear these three great singers, all with very beautiful voices, performing the same work in succession. I think Te Kanawa's voice is probably closest to what is traditionally thought of as 'Straussian', and she gives a lovely performance although, like everything I heard her sing, she could be accused of being bland and not conveying the meaning of the words. Grummer is lovely too, and it is moving to hear how well the beauty of the voice was preserved at this fairly late date. She also does really convey what these texts are about. Best of all for me was Arroyo, singing with rich tone and a passionate conviction that I don't normally associate with her. All three recordings are of very good quality.”
Sutherland Shines as always
“Being a big fan of Joan, any recording that comes to light is worth having. You cannot go wrong with this cast and as I have said any recording with Sutherland in it is worth every penny. Great sound for the year and please bear in mind someone sneaked in a tape recorder to get this, where would we be without these passionate fans.”
Crespin in her prime - great singing
“Beautiful & very moving performances - the Iphigenia en Tauride arias are particularly ravishing - almost on a level with her magnificent performance of the Berlioz Troyens heroines”
James Mertins
“This performance is better than Britten's .It's alive, very much so.Fisher again shows how great a singer she was. Ken MacDonald shows that wonderful way of making his voice suit the role, he did that in everything he sang.I heard him sing Arturo in Puritani with Sutherland at the Garden.Harold Blackburn the great Scottish Bass in one of a few live performance from him on disc.The whole cast brims with fun and you can hear the audience enjoying themselves.This is the only time I've enjoyed this opera and shall listen often to this recording.”
Karl Heinz Konrad
“Leider ist der 1. Akt nicht vorhanden. Trotzdem war es genussvoll die besten Sänger der damaligen Zeit zu geniessen. Kozub, Lindholm und Varnay in einer Aufführung -- was will man mehr?”
best Butterfly ever
“Acoustical quality of the recording not great, but this was the most heart-rending performance of the title role I have ever heard. I am usually jaded by Un bel di, but Olivero's version made me cry. The way she took the ending of the third act keeps haunting me. Her silvery voice is not voluptuous like Tebaldi, for example. but she lives the role from the inside.Rest of the cast also good and Rescigno supplies his usual excellent idiomatic conducting.”
Puccini esoteric masterpiece.
“An amazing exhibit of the Puccini’s swan song, his final esoteric masterpiece believed by many to be his greatest work. How did the verismo master turn to something this exotic? This move may have indicated a creative exploration of a new style. Departure from verismo into an enigmatic exotic realm.The sound quality is quite good conveying the otherworldly vibe of the ambience. Crystalline clarity Nielsen voice is soaring above the orchestra. Franco’s superhuman sound exceeds all human expectations.It is hard to believe he used no amplification. My compatriot Galina Vishnevsjaya is a humble touching Liu. Being Franco aficionado and collector I am not disappointed: In this spectacle power of Franco’s genius is perfectly on par with Puccini’s.”
bayreuth 1951
“Du Ring de Karajan à la réouverture de Bayreuth en 1951, il nous manquait le 2° acte de la Walkure et le Götterdammerung. (Pour nous consoler, celui de Kna.) Nous accueillons donc avec joie la scène finale de Karajan avec Varnay. Mais qui nous rendra le 2° acte du merveilleux Sigurd Björling cette année là?”
Wonderful 1955 Performance
“This is a wonderful Aix-en Provence performance of Cosi fan Tutte. It is a companion to Aix performances that Hans Rosbaud and most of this ensemble performed in the mid 50's. I love TSR and obtain as many of her performance as I can find. I have her singing with Rosbaud in Don Giovanni and Figaro from Aix and she does not disappoint here: she is wonderful. It helps that the rest of the cast is also very charming-Gedda as Ferrando, Merriman as Dorabella and Streich as Despina. The sound is excellent-voices clear and up front (the way I like them). Rosbaud is a fine conductor who moves this opera at a fine pace. Don't be surprised to hear the piano accompany the recits as it is 1955. This is a very enjoyable Cosi and I highly recommend it to all Cosi fans. Thanks to Opera Depot for finding this gem.”
How did I miss this one for so long?
“This is a terrific performance. All the singing is excellent as is Pretre's conducting. The cuts do not disfigure the performance. It's wonderful to hear Gedda, Horne, and Verrett in these roles with which they are not regularly associated. It would be nice to know the rest of the cast as Narbal, Panthee, and Hylas are not credited and are quite good. I'm glad I finally caught up with this recording.”
A PERFORMANCE TO TREASURE!
“This is an exceptionally coherent, engaging, lyrical & poetic Götterdämmerung. Richard Armstrong, musical director of WNO during its glory years (1973-86), conducts it broadly in the Kempe/Karajan/Goodall mould. While some prefer more muscular or hard-driven approaches, he highlights the opera’s manifold beauties, without sacrificing dramatic power. This is helped by Andrew Porter’s vivid & mostly well enunciated English translation & the orchestra’s exemplary playing. As emphasised by Andy, the star of the show is Anne Evans (b. 1941), a great soprano of Welsh descent. She sounds even more ardent, youthful & lyrical here than in her renowned Bayreuth Brünnhildes under Daniel Barenboim (1989-94). The other female soloists are also very fine, especially the young Kathryn Harries (b. 1951). Jeffrey Lawton (1938-2018) was slightly ‘wooden’ to watch as Siegfried on stage (I attended 3 performances), but he had ample stamina & strong enunciation & here was often almost as lyrical as Alberto Remedios. Barry Mora’s Hagen is lucid & engaging & has presence, & Nicholas Folwell’s Alberich & John Tranter’s Gunther are well enunciated. The WNO chorus delivers impressive sound in Acts 2-3. Andy has not dated the recording. If it was from Cardiff (as specified), it was probably in 1985. But might it have been the excellent BBC broadcast from Covent Garden in 1986? The sound has great clarity, warmth & ambiance, with remarkably few lapses. Highly recommended! Robert Bideleux”
La Stupenda being, indeed, stupendous!
“Pre-Dame Joan (for the most part I think) in a terrific 2-disc sampling of her varied repertoire. Performance dates range from an early (1958) Carmelites to arias from Hoffmann in 1974 Sydney. She's joined in duets by Horne (Semiramide-1965) and Cossotto (Norma--1969) and by tenor Renato Cioni if wonderfully representative excerpts from a 1969 Buenos Aires Traviata. The two halves of the Lucia mad scene are from London and Edinburgh in 1959 and 1961. It's a great and representative program. Sound quality varies, of course. Dame Joan is, of course, her usual almost-perfect self in all. This collection is a real treat and will enhance the collection of any Opera Depot aficionado.”
New Features
Newly added titles
Coming Soon Collection
Believe it or not, this week we have added over 100 titles to our "Coming Soon" collection.
Make sure to stream these titles while they are free.
FEATURED SERVICE
Improved Review System
We have created a completely new system for leaving reviews.
The new system reduces the emails in your inbox, and makes it easier than ever to review your purchases from a central dashboard.
You can also now leave a separate star-rating for Sound Quality.
New feature
New Wishlist
Many of you have asked about when recordings in our "Coming Soon" collection will be available for purchase. Now you can simply click the bell icon on the product page or web-player, and we will send you an email the instant that recording is available for purchase.
This feature is part of a complete overhaul of our Wishlist.
FEATURED SERVICE
FLAC Upgrade Program
For a limited time, anyone who has previously purchased one of our recordings in MP3 format can upgrade to FLAC for a fraction of the regular price.
Enjoy the same legendary performances in the best possible sound.
featured service
Opera Depot Radio
FACT 1: Classical radio stations are steadily reducing their opera programming.
FACT 2: Mainstream streaming services rely on algorithms that rarely understand what opera lovers truly want to hear.
FACT 3: Many of the twentieth century’s greatest singers did not leave a sufficient recorded legacy encompassing all their important roles.
Fortunately, there is an alternative. Opera Depot Radio offers a carefully curated selection of thrilling excerpts from across our catalogue. It is completely free, and you can easily advance to the next track, add a recording to your wishlist, or go directly to its product page.
Listen at home, in the office, or in your car, and discover extraordinary performances selected specifically for opera lovers.
