Fabulous Falstaff

“This is a very fun Falstaff. Dieskau does a nice job as the title character and the rest of the cast is also great. Maazel keeps the opera moving at a nice clip and the sound is excellent. I enjoyed this performance very much.”

Stein's Terrific Rosenkavalier from Paris!

“What a beautiful Rosenkavalier this is! Ludwig was just passing through her vocal crisis in which she determined not to sing more soprano roles, but the Marschallin's lower tessitura was still possible and she sings the role extremely well with an excellent top B to crown the trio. She projects the text with great care and humility - one of the finest Marschallins I've heard.Minton was in very good voice for this performance with little of the flatting that plagued her Salzburg performances. Popp floats Sophie's high notes better than almost anyone I've heard. Her unique timbre distinguishes her from so many other bland interpreters of this role. Sotin makes Ochs almost too noble and sings the role to the manner born. Like Kurt Moll, he has no trouble with the sepulchral low notes Strauss requires, easily reaching the optional low C at his exit in Act One. His low E at the end of Act Two is matched by his ringing top F# earlier in the act. Vanzo sings the Italian Singers with great elegance. The supporting cast is not given, but I recognized Michel Senechal as Valzacchi and (I think) Jane Berbie as Annina. The Marianne is very good; too bad we're not told who she is. Stein leads his forces splendidly.The sound is excellent broadcast stereo with a few glitches. The opening bars of the opera are missing and there are a few missing lines in each act where it sounds like someone had to turn over the tape.Otherwise a fine acquisition for any Rosenkavalier aficionado!”

David Fetz

“To add to what I said before. The chorus is really excellent and for this opera They play a pivital role. Solti’s conducting is very fine and he lets his singers emote more than some others I’Ve heard, especilly Stich-Randal. A very exciting performance all round.”

John Stanton

“I love this kind of compilation. Those of us who love to compare and assess for our own knowledge and pleasure will delight in these four cds. We have many of the great Brunnhildas ( Modl, Varnay, with their mezzo lower resonances, Niilsson, Flagstaff) and some great singer actressess, greatly admired and loved but relatively ignored by the gramaphone: Silja, Dvorakove , Kuchta.. There is an English version by Rita Hunter, although I must admit I didn't understand a word. The sound is good throughout with the exception of a clackerty version with Flagstaff- acceptable none the less”

Wonderful performance

“Ulfung seems often a semitone too low, but does a great job. Nilsson, of course, is the star of this performance and she proves once more her brilliant singing and acting skills. The orchestra seems a bit sleepy, but becomes much more grand, especially in the third act. All in all, a wonderful performance with one of the most dramatic Tosca-screams and -finales I've ever heard. Almost a must-have.”

Quintessential

“Knappersbusch conducts like he’s making love to the score. Vickers, Hotter, Neidlinger and Stewart create nuanced three-dinensional characters. Ericson, in enticing, flavorful voice is very nearly as good. Fine Bayreuth sound. Entirely satisfying.”

Superb Performance in Good Enough Sound!

“Flagstad may no longer have been in her vocal prime by 1948, but you'd never guess it from this performance. The voice remains steady, strong, and beautiful. Her only concession to Time is that she ducks the second top C at the beginning of the Love Duet in Act Two (I don't know why; the first one pops out with no trouble at all). The Norwegian soprano is also on top of the role dramatically in a way she sometimes wasn't earlier in her career.Svanholm is an excellent Tristan, his voice also steady and secure. Hotter is a distinctive Kurvenal and Weber a majestic Marke who sings his (uncut) Act Two monologue with beauty and grace. Ursuleac sings well as Brangäne too though her tone isn't always as steady as one might like. Kleiber is on fire from the first notes of the Prelude. Listen to the excitement he brings to the lovers' ecstatic meeting in Act Two or the fervor he brings to Isolde's arrival in Act Three. He makes the traditional cut in the Love Duet and makes several snips in Tristan's delirium in Act Three, but plays the first act complete. The sound is very good for the time; there are some noisy parts in Acts Two and Three, but they don't last long nor do they disrupt the listening experience. The pitch of the tape is also correct throughout the performance. Highly recommended!”

the ld curiosity shop

“I don't want to be harsh, but the sound quality is poor. Some might call it indecipherable. Is the performance worth working through? If you know Parsifal well and are really interested in Stokowski, these are precious documents. He was an amazing conductor of late Romantic opera and we can only dream about what a complete Wagner would have sounded like under his direction. But listening to this is a chore.”

Aragal excels in Amico Fritz

“Good sound, wonderful performance by all principals. I wish Opera Depot would issue a retrospective on Aragall. He is one of my favorite singers. Beautiful, well produced sound which lasted well into his '70s. It would be so good to enjoy a series of live excerpts from a great tenor whose career deserves to be celebrated.”

I really enjoyed this performance.

“I really enjoyed this performance. The sound is very good. The conducting is strong. All the singers are in good or great form. Te Kanawa is much more animated here than in her commercial recording. Burrows is a good Faust and one not available elsewhere. Treigle may not be at his strongest but he still makes an impression. He died shortly thereafter. Interesting performance.”

Patrick McCabe

“I have been comparing this to my Decca Fanciulla with Tebaldi, del Monaco etc. and Bonisolli's 1982 Berlin with Dimitrova, and boy does it compare favourably.You would not use Fanciulla to introduce a beginner to Opera,but to an experienced Buff this is really something. The sound on this recording is amazing, in fact it would pass for a Studio recording.This is my first experience of Neblett, and while not having the vocal heft of Tebaldi or Dimitrova, she still does a super job on a very taxing role. The clarity of the voice is striking.I am an unashamed Bonisolli admirer and he does not disappoint here and is in great voice.I have played the cabin scene again and again since I got it and what about Ch'ella mi creda.My old favourite Guelfi at 52 was showing signs of vocal wear and tear but still brings off Rance convincingly. All the supporting roles are ably filled and Varviso keeps the Vienna forces moving at a nice pace. Want a great Fanciulla ?. Get this!!.”

Bayreuth à Marseille, un Tannhäuser de rêve !

“C'est bien sur l'inespérée rencontre d'un Max Lorenz en fin de carrière, mais encore fabuleux, et d'une radiante Leonie Rysanek à l'aube de la sienne, qui fait la valeur inestimable de cet enregistrement. Et en plus le grand Ludwig Weber dans le Landgraf ! G.von Milinkovic (Venus) et Hans Braun (Wolfram) ne déparent pas ce tableau. Belle direction d'Otto Ackermann, seuls les chœurs sont un peu limite. Le son est très correct.”

Richard Meads

“Fine conducting from the inclusive Krips in his only visit to Bayreuth. Greindl's avuncular Sachs is always worth hearing in any of his four years of performance on the Green Hill. Krips was reportedly easy to work with, and the singing and playing seems to have an eagerness and enjoyment which is vital to this work-and which is often missing.”

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.”

Fasten up!

“This is opera without artifice. Each lead leaps into their part and turns out real verismo without stage manner or hammy gimmicks. If we normally communicated through singing, this would be it. Lorengar is exciting as is Taglavini. Wixel's singing and voice are beautifully nuanced. Mazel draws beauty and electricity from the orchestra. The sound is crackling excellent in- house. This is a singularly satisfying Tosca. The minor roles are wonderfully handled. I wish I owned this years ago!”

John

“A fitting tribute to Sir Edward Downes who died recently at the Dignitas Clinic in Switzerland along with his wife. He conducted every season at Covent Garden for 50 years and was a highly regarded Verdi conductor and scholar, as well as Wagner, Strauss, the Russians etc. Only failing eye sight ended his career. He conducted the first Western performances of Katerina Ismailova”

One for the ages

“I bought this recording largely on the strength of Mr Reynolds’s review below, and concur with every word. Hard to believe that sound this good comes from 1963, and embarrassing to find that Hoiseth and Tyren (both magnificent) were until now completely absent from my collection. I wonder if Tyren ever performed Sarastro. Nilsson is at her imperious best, projecting character as well as complete vocal control. Orchestral weaknesses are audible, particularly in the horn and oboe sections, but are unlikely to disturb the listener for long. This is unmissable - and makes one wonder whether this was part of a complete cycle. Andy, once again, puts Wagnerians hugely in his debt.”

Joseph Brand

“This is as fine a Tristan as is possible. Following it with a full orchestral score one is amazed, firstly, by the accuracy of all concerned. The drama in Shuard’s interpretation draws you in to the character immediately, the narration and curse quite hair raising, the Liebestod ineffably lovely and moving. Dowd sings his role magnificently rising to all the challenges. Encouraged by the thrilling conducting of Davis the passage in act two when the two lovers rush into each other’s arms is overwhelming – I don’t think I’ve ever heard better. Add to that near perfect renditions of Brangaene, Kurwenal, Marke and the shepherd and the playing of the BBCSO and very good recording quality this is unmissable.”

Magnificent!

“What a discovery! A splendid performance of a lovely, tuneful, dramatic, very approachable work - despite my enthusiasm for Nielson's symphonies, I didn't know this opera. The third-act ensemble is reminiscent of the big ensembles in Don Carlos and Otello...so you know where I'm coming from with my praise!Bjoerling and Berglund are wonderful, Ebrelius hardly less so; a lovely, mellifluous voice, just occasionally stretched. I found Oehm's Mikal somewhat "Reri Grist-ish" in the first act; I'm expecting her to start singing Blondchen in Entfuhrung any minute! However, she is most lyrical thereafter so I won't knock off that star I nearly did! Ericson is formidable as the Witch.The performance being in Swedish didn't bother me a bit. Not having a score or libretto (just a synopsis) I don't know what was cut but the work as it stands here comes over as tight and spare...just right, or is something important missed out? By the way, the narrator is TORA TEJE, a Swedish theatre and [silent] film actress. Note her declamatory manner, a performance in itself!I've just ordered the historical Jensen performance to supplement this one...and it's coupled with Maskarade, so another discovery coming my way!”

Another Triumph For Maestro Stein And Company

“Others including myself have already showered lavish praise on the Horst Stein '70 Ring Cycle. This '71 cycle is very nearly on the same level. Stein's conducting is once again superb! On the rare occasion when a particular tempo didn't feel quiet right, I found myself able to adjust to it quickly and easily. The cast is also nearly flawless (including an excellent Freia this go round) with one exception that I'll get to in a moment. Special mention must go to the outstanding Brunnhilde of Catarina Ligendza, who sings with a youthful, sweet tone. Unlike others who have adopted a similar girlish portrayal (Altmeyer, Evans, etc.), Ligendza actually has the pipes for the big moments. In fact, I'm going to risk sacrilege and declare that I enjoyed her even more than Birgit Nilsson, whose voice I've always found a bit too steely. Granted Ligendza's top notes are not as secure as the great Swede's, but they are still very impressive. And now the one casting misfire of this Ring, and the reason it comes up a bit short compared to the aforementioned '70 cycle, is the Wotan of Theo Adam. I have a lot of admiration for this artist for his acting and even (occasionally) his singing, such as in Act 3 of Siegfried. But more often than not, I found his gargley voice with its characteristic wobble really hard to take. Why TA owned the role of Wotan at Bayreuth when they had such a great talent like David Ward, who sang the role beautifully elsewhere, is anybody's guess.”

“Dame Janet has been someone I've admired deeply since a child. Anything I could say about her would seem prejudiced. However this collection shows a different and potent side of Dame Janet's art and should be purchased by anyone who treasures this artist. Anything available by Dame Janet is self-recommending.”

Convincing version

“It is due to Wieland Wagner creating this shortened version for todays use. Adriano sung by a tenor is much more convincing. The cast with Windgassen, Traxel, Neidlinger and Brivcalne was great -- have seen it.”

Di Stefano Otello

“This recording of Di Stefano's only record of Otello is only for his many fans.He gives it all and then some but he is no Otello.The recorded sound is poor because the recorder sounds like it is in the orchestra pit and distant.However who can pass up this CD a great rembrance”

Richard Evans

“I heard many performances by Welsh National Opera led by Armstrong, including two of Jenufa. Barstow was a fine singing actress, also Tinsley. Armstrong is an inspired conductor of opera, overlooked here despite his excellence in Verdi, Wager, Janacek and others.”

Tremendous Ring Cycle

“What a great performance this is in every way. It was Wolfgang Wagner's second production of the Ring and I think much underrated. He was always in the shadow of his brother Wieland and like you I have always enjoyed the classic Bohm recording from 1966/67. This recording however and the one from the following year with Ligendza as Brunnhilde are fast becoming favourites of mine. I remember seeing *** and Lindholm in the Friedrich Ring Cycle at Covent Garden in the late seventies and they were great there but here they are tireless and in much fresher voices. It's also wonderful to have Thomas Stewart in a complete performance as Wotan. I have always appreciated him in the Karajan recording but he doesn't appear in the Rheingold and he is much better here caught live. It's great to also have Gwyneth Jones as Sieglinde and Norman Bailey as Gunther. Being British and a regular visitor to ENO and the Royal Opera House I grew up with them as Brunnhilde and Wotan. Horst Stein has always been one of my favourite Bayreuth conductors much underrated at the time. Now this era seems like golden age of Wagner singing the likes of which we rarely hear today. There doesn't appear to be a weak link in this cast. As I said a tremendous performance and I highly recommend it. You won't be disappointed, I promise.”

Hans Kuschinsky

“I have already had my tape recording of the opening night of the Munich Opera Festival since its broadcast on 7/10/1977 on radio, but I wanted to have it on CD. That proves how much I appreciate this performance in spite of all the others which have been released since then, e.g. Böhm, Haitink, Bychkov.Why? It is all about two singers rarely recorded: Lilian Sukis and Peter Lindroos. Even after listening to them after some time I am again deeply emotionally touched by their rendering. Lindroos gives lies to the wide-spread opinion that Strauss did not write well for tenors, because he sings Apollo effortlessly with a belcanto-like approach. His god is heroic and vulnerable at the same time. Sukis is pleasantly natural with a beautiful tone in all registers. The rest of the cast shows the high standard of the Munich Opera with Schreier, Wenkel and the orchestra, also present in Haitink's studio recording five years later, Nikolaus Hillebrand (Peneios), Nöcker, Orth and even Erika Köth. And there is Wolfgang Sawallisch - the outstanding conductor, not only for Strauss.So treat yourself to a great listening experience of bucolic tragedy.”

Miguel Bernal

“Ya no se escucha a este tipo de cantantes que aparte de hacer justicia a una partitura bellísima y no muy interpretada de Donizetti, cantan con un sentido del legato, de la modulación de las intensidades y sin gritar todo el tiempo que es de agradecer. Caballé, en estos sus primeros años, hace lo que muchas soñaron y aunque abusa del pianissimo muchas veces, su sonido y su legato es legendario. Oncina, gran tenor, frasea, emite con facilidad y siempre con un gusto exquisito. Sin duda una grabación muy recomendable y a un precio insuperable.”

Felicia Weathers

“I have long wondered what becam of Felicia Weathers. For a while she sang a lot in Vienna at the State Opera, I recall her magical Aida with joy and gratitude; she was, perhaps, the finest I ever heard. All attempts to research her failed.”

very fine

“It's not easy to balance our idea of what Italian sacred music should sound like (Palestrina Masses or the Verdi Requiem) with the mood swings of Rossini's Stabat Mater. By taking it all very seriously but phrasing with his customary elegance, Giulini brings it off as well as anyone. In my experience on record, only Ferenc Fricsay does as good a job. Zylis-Gara and Verrett are stunningly assured and in rich voice. It's a treat to hear a young and less than totally self-absorbed Pavarotti. Zaccaria sounds older than the rest of the quartet, but that hardly damages his authority. The orchestra sounds well, the chorus is a but fuzzy.”

Verdi: Otello - Del Monaco, Kabaivanska, Gobbi, Veasey,Ward, Robinson.

“Excellent. I love this recording. Listening to Del Monaco, Kabaivanska and Gobbi among others is an absolute pleasure. Thank you for this wonderful live recording. You are doing a very great service to all of us Opera lovers. Thank you again and very best regards.”

A Rysanek Rarity

“At a time when the discovery of new Leonie Rysanek recordings has become increasingly rare, this is a real find. Leonie was not fond of the concert stage and of being aware of her audience, but here she is inspired to great heights of beauty, power and emotion in the first Scene of Tannhauser Act 2, starting with a brilliant Dich teure Halle, then the final scene of Walkure Act1, again in primeform, radiant, feminine and totally involved. Tenor (Giselbert) Wolfgang Kassel more than holds his own, providing less vivid, but strong and musical support. The unnamed conductor is full-blooded and exciting. The sound is a little dim - four stars might be on the generous side - and benefits from a treble lift, but the voices in this in-house recording are well caught. I wouldn't want to be without this performance.”

Great Meistersinger from Munich

“Kubelik's is the warmest and most human Meistersinger I have encountered, and the cast is the best ever gathered for a recording, with Sandor Konya - far too underrecorded - the most glorious Walther imaginable. He recorded the arias for DG in 1960 but he is even better here.The rest of the cast is in the same division - even the minor roles. Thomas Stewart's Hans Sachs is masterly - the only challenger is Karl Ridderbusch on the Bayreuth recording under Varviso. Crass is a very human Pogner, in line with the conducting and Gundula Janowitz and Brigitte Fassbaender are superb as well. Recommended with enthusiasm.”

Superb performance

“I saw this performance during my first session at Bayreuth (1970) - among them Böhm's Tristan - and until now it is one of my best experiences, esp. Stewart (legato!) and Lindholm in 3rd act are wonderful!”

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.”

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.”

Le Coq d'Or

“A really excellent performance. The sound is first-rate and how great it is to hear Norman Treigle and Beverly Sills in some of their most acclaimed roles, not to forget Enrico Di Giuseppe excellent in the tenor altino role as the astrologer. There are very few recordings of this opera available and, at this price, this is not one to miss.”

Kozub

“I bought this Meistersinger for Ernst Kozub. Not gonna lie, I think he sounds sketchy in the first act (he’s fine in the prize song). I didn’t care. Fans, huh? It was human of him. In fact, I found it a useful reminder what a high- wire act singing opera is. The rest of the cast is inhumanly perfect. Great set.”

DRAMA

“Heinrich Porges, in his personal written records of the 1876 rehearsals for the first Ring performances at Bayreuth, comments that"When the Rhinedaughters sing individually, the character of a dramatic dialogue must be maintained". Felix Mottl comments, on the Wotan/Fricka scene of Walkure, that "This dialogue must on no account be dragged out, but must remain flowing all the time". I can't ever recall hearing or seeing a Walkure that adheres so closely to these instructions or is as dramatic as this one. Focus is almost entirely directed to the words and the interaction of the characters. That's not to say that the music gets short changed; it's gloriously played with complete conviction. It's one heck of a ride with stunning singing from everyone. Gwynneth Jones in particular provides some ravishing moments, especially in the final scene with her father and with the excellent Peter Hofmann as Siegmund in Act 2.”

Female Oberon

“In my humble opinion, Britten's A Midsummer Night's Dream is the greatest English opera since Peter Grimes, and one of the greatest of Shakespeare operatic adaptations. But I am biased. I was Moth (and later Cobweb) over a period of three years from the London performances with Solti onwards. I have the distinct recollection of a nightmare moment when the gauze curtain failed to rise on the final scene of Act III, leaving the fairies uncertain whether to sing "Now, now the hungry lion roars". Disaster was averted by the stern tones of Ms Veasey (as Oberon) hissing "SING!!!!!", and we obeyed the command. Ms Veasey may have been a late replacement for countertenor Grayston Burgess.This did not occur at Covent Garden or Edinburgh, so it must have been at the New Theatre Coventry or the Grand Theatre Leeds - and definitely before 1966 because I was a tenor by then! I don't believe any of us thought a mezzo Oberon felt quite 'right', no matter how well it was sung. As someone has already pointed out, the other-worldly quality was missing. There had been much fuss about the importation of Russell Oberlin (what a lovely guy he was!) but he sang it superbly in 1961. It is his sweet but clarion voice I hear in my head, even today.”

I was there

“The live performance was excellent (despite Jon Vickers shouting) and disc 1 helped me relive the evening. Disc 2, unfortunately, was not Fidelio, but I have been promised a replacement.”

Donald H

“Orchids to you for offering this — I would listen to this obviously great performance too often to be able to put up with that sound. I simply have too many [????] gr8 Aida’s to listen to, to tolerate that. …but it’s a very close call, and now that I know that you have it…”

Legendary performance

“Mixing legends together (Freni's Mimi, young Pavarotti, Bruscantini, Schippers...) can make flops or miracles. Here, we have really a great performance of La Bohème. For me it's the best one. Thanks God, the sound is really good.”

Despite the usual cuts a revealing performance

“The singing is overall EXCELLENT. Far superior to the German singers from the period. Exceptionally well conducted. It's unfortunate that operas sung vernacular languages have fallen out of favor. Many great singers eschew much repertoire because of this.”

Covent Garden debuts of Tebaldi & Tagliavini

“This production was Tebaldi’s official CG debut. Previously, she sang Desdemona on a La Scala tour to CG in 1950. These would be her only CG appearances. This was also Tagliavini’s CG debut. His only return engagement would occur the following season, partnering Milanov in her CG debut as Tosca. Here, Tebaldi is impetuous and imperious, captured in her effulgent prime. Tagliavini may be a shade light, singing with vigor if not complete abandon. Gobbi’s dramatic profile is definitive, and his singing has a youthful sheen. Molinari-Pradelli leads with energy and polish. Sound excellent.”

Magnificent

“I had yet the performance of the Scala in the seventies with the same two queens : Montserrat Caballé and Shirley Verret. Having this of 1967 and directed by Cillario !!!!! Thank you so much for that recording !!!!!They are divine.”

David Wyatt

“Giulini's 'late' Falstaff in London was my introduction to the opera: it was difficult to see why he'd chosen it, as a lot of the sheer fun was in the staging rather than the music. Hearing this earlier performance explains a lot! The late one was autumnal, like a late Titian - beautiful, but all the colours were browns; this one is more like earlier Titian, bright colours, still beautiful but much more lively. It's an ensemble opera and though (as noted above) Meg and Alice are less sharply characterised than the others, there is a huge sense of energy, momentum and fun - in the music this time, and (judging from the audience reaction) on stage too. I'd forgotten just how good Geraint Evans was - though he's careful not to make too much of the title role, and is dignified rather than buffo.”

Richard Inverne

“The extracts sound much more gutsy and involving than the rather unemotional and uninteresting performances from TV (1983, was it?), which were filmed without audience. However, perhaps a pity to lose the Siegfried (in both operas, I think) of Manfred Jung. Although less starry than Thomas and Kollo, Jung rose to the occasion and presented a fantastic hero.”

an excellent Ring!

“I've been enjoying this Ring for the second or third time now. The final act in Götterdämmerung just blows me away. The orchestra is a force to be reckoned with, and Keilberth's vision is persistent and unwavering. Windgassen's Siegfried is as good as any other, and Martha Mödl is a gem. She was no Nilsson, but who is? There is a brief pause after the final orchestral notes before the Bayreuth applause begins, almost as if the audience is overcome with the sheer elegance and beauty of Wagner's score. While I love and admire Solti's studio Ring, the live performances at Bayreuth offer genuine organic emotions that are sometimes lost in the sterility of studio recordings. Highly recommended!”