Opera CDs and MP3s of live performances

The Glory of Grob Prandl

“The sound is reasonable, Klobucar's conducting rather more than that, and the supporting cast more than acceptable, apart from a couple of the Maids, bless 'em, but towering over the performance is the magnificent Elektra of Gertrude Grob Prandl. There's an odd occasion where less might have been more, but she does try to fine down her huge, brilliant, tireless voice, and it's churlish to complain in the face of such implacable power. She holds her own with every other Elektra I have heard, but the jaw-dropping power and hatred she musters for the climax of the confrontation with Klytaemnestra is unrivalled in my experience. In the face of such elemental force it's possible to lose sight of Grob Prandl's considerable artistry in managing such a big voice, but she's very much more than simply loud, and should be known to every Strauss fan. I wonder if a Vienna performance with a stroner supporting cast will ever surface, or perhaps the second Karajan Salzburg Ring, where I believe Grob Prandl replaced an indisposed Regine Crespin Incidentally,one often reads that Grob Prandl was a generous and likeable colleague. Well, she certain had nothing to fear from them!”

David McKee

“Were it not for Jon Vickers, Britten's "Peter Grimes" would be a rare visitor to our opera houses. He -- along with Colin Davis -- showed us what a great work it is and this broadcast performance finds their collaboration growing in the intensity that would culminate in their studio recording of the piece. Vickers is so interpretively naked as Grimes that the identification of performer with role is almost too intimate to witness -- but not quite, thank God. Heather Harper's dowdy tone is a minor drawback as Ellen Orford but Geraint Evans is the stalwart embodiment of Captain Balstrode, Elizabeth Bainbridge fairly defines Auntie and the Royal Opera ensemble is superb right down the line, with artists of leading-role caliber in even the smallest of roles. All Vickers "Grimes" performances are worth having and this is no exception.”

Must have Giordano

“Wonderful , must-have example of what the Italianate style was like before its recent decline. Yes, a few glitches in the live recording, but more intense that the EMI version with Corelli and Stella. There's something of the thrill I remember hearing them in the old MET in other roles.”

Great Sleeper of a Ballo!

“I knew Carreras would make some gorgeous sounds in this performance (he was not yet 26), but I wasn't prepared for how well he and Dimitrova work together. Their big duet elicits cheers from the temperamental Parma audience (they've been known to loudly harass any singer who displeases them). Both are exemplary in their solos, yet they also display real chemistry. Dimitrova had one of those huge voices that needs the expanses of a theater to make its full impact. Here she sings powerfully, but with great delicacy when asked to by the composer. Cappuccilli is so good he is asked for an encore of "Eri tu". The audience goes even crazier the second time around. Pecile is a strong Ulrica with a firm low G and Isabella Stramaglia sings an enchanting Oscar (whatever happened to her?). Another thing I didn't expect was how good the sound is. The voices are heard very clearly over the orchestra. Patane conducts a tight, well-controlled performance.Ballo lovers must hear this!”

"THE" BORIS TO HAVE!

“This is such an epic artistic achievement, that it will demand repeated listening. Kubelik creates a vast seamless embroidery of musical and dramatic detail. Christoff, Resnik, Kraus, Rouleau cannot be rivaled. The cast, a Who’s Who of Covent Garden principals, is an embarrassment of riches! The Chorus is excellent. Sound on the whole is very good (becomes veiled briefly). For educational study and research purposes only, here is a link to the version of the score used for this performance.http://imslp.org/wiki/Boris_Godunov_(Mussorgsky,_Modest)”

Patricia Brooks, a great Massenet Manon

“For many the main attraction of this recording will be Domingo (aged 28), but it is mainly valuable for preserving an impressive and stylish performance as Manon by the seriously under-recorded American soprano and singing actress Patricia Brooks, who lived from 1933 or 1937 (both birth dates abound!) to 1993. Her very promising operatic career, centred on 32 roles in 6 languages at New York City Opera (NYCO), was tragically cut short in 1977 by breathing difficulties brought on by the onset of the multiple sclerosis which eventually killed her. She won a piano competition at the age of 10, and studied/performed dance with Martha Graham from the age of 14. However, a knee injury diverted her into acting (she starred in off-Broadway Circle in the Square Theater productions of Eugene O’Neill’s The Ice Man Cometh and Truman Capote’s The Grass Harp) and singing. In 1960, while performing in The Sound of Music on Broadway, she was engaged by Rudel to sing Marianne (in Der Rosenkavalier) and Musetta for NYCO. Subsequent successes included Gilda (available on OD 11738), Violetta, Mimi, Manon, Mélisande, Magda (on OD 10839, but in mediocre sound), Norma, and Lulu, mostly at NYCO, but also in various other North American venues (including the White House, for President Kennedy, in 1963) and at Covent Garden.”

Brian Morgan

“This 1976 performance of "La fanciulla del West" (in very clear sound) is a record of the only time the great Anja Silja sang the rôle of the heroine, Minnie. The singing-actress seemed to always relish a new challenge, and--without the semblance of an Italianate voice--she triumphs in the part, and is absolutely unique in her portrayal.Róbert Ilosfalvy will be best remembered by collectors as the title rôle in Beverly Sills' 1969 studio recording of Donizetti's "Roberto Devereux." Sir Charles Mackerras conducts that set, as well as the performance under review, where he leads an exciting account of Puccini's opera set in the Wild West.”

John Stanton

“Debussy's opera is a work of unusual and distinctive beauty. The distinguished cast here serves it well. Victoria de Los Angeles is a wonderful Melisande, gentle,with a potent sense of a fey, other worldliness. Her Pallas, Pierre Mollet is expressive and gentle. Joseph Rouleau is a steady and dignified Arkel, his voice resonant even in the lowest reaches of the low tessiture of this role. Julian Hass is dramatically rough Goulard, though capable of softening his tone when needed.The sound is very good”

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.”

Amazing Bailey

“It is a great thing to have Norman Bailey singing Hans Sachs, probably his greatest role, at Bayreuth, the Mecca of Wagnerian singing. I remember seeing him in this role at ENO back in the early seventies alongside Thomas Hemsley as Beckmesser. They were particularly great in their scene together in Act two. Bailey can be a little gruff in his delivery but he always had just the right voice for this role. His performance in the Solti Meistersinger remains my all time favourite. I remember hearing Dernesch at the Scottish Opera singing the role of the Marschellin in Der Rosenkavalier and it is hard to come by performances from except for Karajan, for whom she was a favourite soprano. It's great to have another recording to add to her discography and I think she is wonderful in the part of Eva. Overall a great cast well led by Klobucar. I would recommend this performance to anyone interested in performances from Bayreuth well recorded by Bavarian radio or just performances of Meistersinger, one of my all time favourite operas. I never tire of it and nor will you.”

I was at that performance

“I was at that Galvany and Campora piano recital. It was a substitution for the scheduled Teresa Berganza recital that Berganza cancelled. I was there in the orchestra front row center and I'll NEVER forget how HUGE the sustained E Flat that Galvany sang at the end of the Puritani aria was!!!! Ah, such memories. I was 14 years old and I remember it like it was yesterday!!!!! I went with my dear friend Arthur Levy!!!!”

Excellent Performance in Very Good Sound!

“This delightful recording appeared on the Music and Arts label years ago. Dorati makes a few cuts that won't please Berlioz completists and places Ascanio's big solo piece in the third act rather than the fourth (that may have more to do with the edition used here). All the soloists are excellent. Lewis was a fine singer, not usually given to flaunting his voice, but Cellini calls for some of that and he is up to the task. Carlyle is a lovely Teresa and Veasey a first-rate Ascanio. John Cameron and Don Garrard are full of character in their roles and John Kentish is hilarious as the Innkeeper. Dorati conducts Berlioz's unusual opera with style and dash. The English translation takes some liberties with the French, insisting on rhyme over reason, but is clearly enunciated by the cast.The sound is very good though there is some occasional minor distortion around the voices in the latter half of the opera. The transfer level is very high so be prepared to turn down the volume!”

Wonderful Gluck

“I love this recording. I was expecting something rather old-fashioned and perhaps rather heavy, but in fact Kleiber conducts with great pace and energy, and the dances go at an incredible lick! For a performance given over 80 years ago it sounds remarkably up-to-date to me. Konetzni is great in the title role, passionate and moving with some glorious top notes. The rest of the cast does a good job too, and I think the quality of the recording is good for 1937.”

An excellent Parsifal

“Although Boulez was still finding his marks at that stage, this is, for me, his ultimate Parsifal and a welcome illustration that another way is possible as compared to Knappertsbusch’s outstanding, slow, highly religious approach. A ‘human’ Parsifal much like his Ring cycle. It is also a fantastic opportunity to hear Astrid Varnay’s much under-recorded Kundry. 1966 was late for her and it shows - high notes are shouted rather than sung, but always perfectly on pitch... and the character is fascinating. The emphasis she puts on key words and phrases shows a deep bond with the role and profound understanding of the wretched Kundry. As for Konya he is in his best voice - just as ethereal yet strong and powerful as he was when impersonating Parsifal’s son, Lohengrin. Greindl, unfortunately, is in raucous voice but his gruff interpretation fits well with Boulez’s conception. And Thomas Stewart is an affecting Amfortas. The sound is very good - thank you for making this available in FLAC format! All in all - must have... all the more welcome here as the Golden Melodram commercial set has long been unavailable.”

Walküre Vienna 1854

“An historic cast in an important performance! You guys have done us a great service — the previous version I had of this was individual tracks with pauses. Now we all have a seamless version at a very reasonable price. (Fun Fact: Ms. Resnik was my mother and I know she would be pleased!) Thanks again, Michael P Davis”

A must-hear, must-own, must-listen-many-many-times-and-study-every-syllable performance

“Gustav Neidlinger was typecast for the "howling-and-spitting" villain-roles very early in his career. Everyone thinks of Alberich and Klingsor when his name is mentioned. But he was in fact a versatile, smart singing actor equally capable of singing buffo parts and playing benevolent nice-guys. His Hans Sachs retains his characteristic massive vocal power, dark tone, and, his spontaneity, his uninhibited singing straight from the gut. His nasty side works well when he's "marking" Beckmesser, but he's also astonishingly tender when he talks with Eva in Act 2, and his monologues and avuncular interactions with David. The only flaws in this performance are his occasional tendency to rush a phrase, reaching the end of the line a little sooner than the orchestra; also, he runs out of gas a little bit during the singing lesson with Walther in Act 3.Tenor Walter Geisler is a big surprise, sweet, smart, and powerful. Everything else Andy said is right, about Eliz Grummer and Gerhard Stolze, but Andy neglected to mention that Josef Greindl has one of his best nights as Pogner, a role he first sang at Bayreuth in 1943 and apparently never got tired of. Andre Cluytens' conducting is very smart and sensitive.”

Nothing like a live performance to test greatness!

“This is a marvelous house recording! The singers a top notch and so is the conductor. The level of accuracy with these parts while still maintaining a high level or artistry. Just sensational. This a a very good marker for why these singers were great and an excellent telling of this great opera.”

Maliponte-Serene

“This is one of three finest opera recording I own. The performance is strongly sung answers more. Maliponte's voice has deeply sensuous overtones which create an unparalleled mad scene. The voice is darkly coloured yet flexible and easily lightened in order to create the otherworldliness demanded by a mad scene.”

A masterpiece of German romanticism

“Under the particularly inspired direction of Franz Konwitschny, this complete cycle allows us to listen to the greatest Wagnerian artists of the fifties. The outstanding talent of the maestro is communicative and the singers are at their best. We can admire the magnificent symphonic pieces remarkably highlighted by Franz Konwitschny. One of the best performances ever recorded.”

Roland

“I knew Delme Bryn-Jones at the end of his life after he stopped drinking. A wonderful man. He sadly didn’t get back to major public performance but did help a lot of people recover from drink problems, like his own. There are sadly very few recordings of him working. I am very pleased to have found this one to add to my very small collection.”

Hildegaard Kiel

“I had just arrived in the UK 3 months prior, and it so happened, that for half-a-crown I managed to get a seat in the (I believe) fifth tier at Covent Garden for Joan Sutherland’s performance on 17FEB59. It was – as you said – completely dazzling! Not only her singing was “out of this world” but the entire stage scene during the madscene looked like a Rembrand painting having come alive! Already the following day Lucia di Lammermoor was broadcast over the network in London!With profound thanks for the 26FEB59 CD recording, H. Kiel”

Die Fledermaus with a dream cast

“2 things: one is I emailed you 7 Jan asking if the missing track 8 was a flaw, but got no reply.two is, following the arrival of a new computer (Windows 10), Windows Media Player runs along nicely until I get to burn, when it tells me it won't go any further, giving a list of possible reasons, none of which I understand.Any ideas please?Bernard SmithLondon”

Anonymous

“Unbelievable...a super-high-voltage performance beyond my expectation. If you love Strauss' Elektra, do not miss this version!not only three sopranos' great singing, but also Christopher Keene' sharp conducting and the superior orchestra (Syracuse Sym?) are quite impressive.”

Marvellous Rossini

“Possibly one of the best things of the many highlights of my Operadepot collection. I rediscovered Bonisolli here thanks to Andy and he sings up a storm in this, as do the others. Caballé is in fine form and on her best behaviour too, with needle-sharp coloratura, fabulous legato, her trademark breath control and gorgeous tone. Altogether a thrilling performance and one I would encourage any bel canto lover to have.”

Long Search as one of the Streetboys

“I was 11 years old when we did this amazing Opera. I was one of the kids on 1st and 4th Act. Anja Silva was such beauty friendly woman to us, but she was married with Dohnanyi, so no chance for me :-) So i felt in love with Ellen Shade. :-)We´ve had such a great time at the opera, with the rehearshals and this premiere and all following concerts. Thanks to the unknown recorder for this amazing recording on a piece of history. I have goosebombs when i was listening, and my eyes are wet.”

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.”

My favorite brunnhilde

“My enthusiasm for this '71 Ring has only increased in the months since I wrote the review below. The overall sound quality is among the best of any of the Ring cycles I've purchased from Opera Depot (15 to date), the occasional patch of distortion nonwithstanding. Catarina Ligendza may now be my favorite Brunnhilde of all time, sweeter in tone than Nilsson with none of Varnay's unpleasant tendency to scoop up to notes (although she's still amazing). Ligendza and Cox have real chemistry together and their duets are simply gorgeous! Even Theo Adam, whom I bashed rather severely in my previous review, has become much more tolerable to the point that I now consider him an asset instead of a liability. This Ring deserves 6 stars out of 5. Thanks Andy!”

Another great historic Bayreuth broadcast!

“What superb quality there was for the asking back in "them days"! Don't get me wrong, I'm not one who constantly hankers for "the Golden Age" (and it's always a "Golden Age" for something going on at any time...look at the Bel Canto repertoire today, for example) but there's something about this performance which just oozes star quality.There's Gwyneth Jones in her early Wagnerian phase -just about to jump into the heavier roles and with plenty of dramatic heft for an uncommonly positive Elisabeth. There's Hugh Beresford: not well-known but here a fine, lyrical, dramatically-considered Tannhauser, if not completely of the first rank except in the Third Act; I remember seeing him as a passionate Don Jose with English National Opera around 1970. There are Weikl and Sotin, both excellent in signature roles. Let's not forget the supporting knights (which include a notable Alberich and Mime), with Harald Ek very sweet in Walter's lovely song. Excellent Chorus and (bar the occasional sour trumpet) Orchestra, led by the brilliant, singers'-conductor-par-excellence, Erich Leinsdorf.Just an average evening at Bayreuth in the 1970s, then...and what an evening!!”

Max Lorenz in one of his greatest roles

“First of all: here is the complete cast of this performance.Hermann, Landgraf von Thüringen: Ludwig WeberTannhäuser: Max LorenzWolfram von Eschenbach: Hans BraunWalther von der Vogelweide: Hans BlessinBiterolf: Rudolf GroßmannReinmar von Zweter: Erno ZuerrerHeinrich der Schreiber: Hugo KratzElisabeth, Nichte des Landgrafen: Leonie RysanekVenus: Georgine von MilinkovičEin junger Hirt: Josette BertrandChœur de l'Opéra de MarseilleL'Orchestre philharmonique de MarseilleOtto AckermannOpéra de Marseille, 5. März 1954As I know though fortunately we have a lot of live records with the great Max Lorenz (among others in Opera Depot) it is the only complete Tannhauser with him, so it is not only an excellent performance but also a very important document. There are earlier commercial and live records with Lorenz in this role, but they are only excerps from Wagner's masterpiece. Here we can hear him a little bit far from his peak (at the age of 53) but providing a perfect illusion. His performance includes tone beauty and passion, lyrical and heroic moments. He is completely in control of the role. He knows everything about his hero and able to provide a complete portrait about him. The young Leonie Rysanek is also excellent in the role of Elisabeth, her "Dich teure Halle" is full with ecstasy while her prayer is the specimen of spirituality. Hans Braun is very good in the role of Wolfram, while Ludwig Weber perfectly realizes the authority of the Landgraf. A little bit confusing that the choir - which is the weakest link - sings in French. Otto Ackermann conducts an exciting performance. The sound is good. Highly recommended.”

A Stunning Jenufa

“I was at this actual performance and it was wonderful! Pauline Tinsley as always was fantastic and her performance of the Kostelnicka was the best I have ever seen! She was the DEFINITIVE Kostelnicka, Her first appearance was electrifying, when Steva and company were making merry in a drunken revelry, she strode in, leapt upon the table and stopped them all with her first words and a withering glance. In Act II after she had murdered Jenufa's baby she took on a petrified and terrorised motion brought to a climax when the window crashed open! The recording quality is superb almost like a recent one. Thank you so much Andy. For those of you who are not familiar with the voice of Pauline Tinsley, go and buy it. You will hear a revelation and want more of this great lady who is now 89 years of age and a personal friend.”

A great Aida

“This is superb! I had forgotten what a great singer Cruz-Romo was as, unfortunately, we hear virtually nothing of her these days - four cheers to O D for issuing this recording. I attended one of these 1973 performances and it was quite emotional to relive it. Bergonzi's Celeste Aida isn't his greatest, but thereafter he is on the same level as CR. And what an Amneris Dunn was - another singer who seems to be eclipsed these days. A great recording.”

Daniel Zara

“Without Wagner’s specially crafted, gravel-chewing, pseudo-quasi-Ur-Deutsch, the monster Fairy Tale loses a few clicks of Menace and Spookiness but gains a sort of close-up familiarity: certainly “kinder, friendlier”, this Brit-sung-Saga. and wonderfully sung. This Cycle is loaded with great voices–and The Wanderer of Don Garrard is especially notable. Too bad the Valkyrie 1st Act finale is so inartfully chopped up.”

Joseph Brand

“This is an outstanding performance from the entire cast, chorus and orchestra. Despite the age the immediacy of the voices is astonishing and an impressive amount of orchestral detail comes through. The tempi are certainly fast - this was one of the earliest performances to adhere to more historically inclined tempi which are far more in evidence nowadays. At the time this proved controversial. The huge audience response tells you a lot about how this performance was received. Being a live performance one cabaletta and some 2nd verses are omitted otherwise it's a very full edition including the reinstatement of the often cut conclusion of the Azucena-Manrico duet. Gorr (no horrid chest notes) and MacNeil give a bel canto response to their roles, McCracken is exciting and accurate (no trill though) and greatly to be preferred to any of his commercial recordings where he's often inaccurate and lachrymose. While Vaughan, though little known outside the UK, sings a ravishing account of Leonora. Splendid Ferrando too. There are one or two very slight glitches and some background hiss. But from the opening timpani rolls you'll be so engrossed in the performance you won't notice. A must for any lover of this wonderful opera - and great singing.”

Ariadne gets her man!

“This is a very fine performance that showcases the single time Christa Ludwig sang the title role. She, and all the other cast members are wonderful. At the conclusion of the opera, on disc 2, there is a performance of Bruennhilde's Immolation, presumably also with Ludwig--the liner does not say. It is also great.”

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!”

Innocente et perverse

“Schröder Feinen réussit bien la combinaison, entre désarroi affectif et sensuel face au refus de Iokanaan et entêtement boudeur après . La voix est encore glorieuse . Varnay toujours irrésistible, Kachel une caractérisation en demi-teinte mais très soigneusement chanté, Roar montre encore ici qu'il n'est pas toujours le hurleur qu'on a dit . Sebastian encore formidable de théâtre et d'équilibres subtils .”

Walter Hartman

“This is a performance that demonstrates what wonderful performances Zylis-Gara, Mathis, Taddei and Schreier gave in the theater. They are well known for these roles from various studio released recordings and all live up to their excellent reputations here. The novelties are to hear Paskalis and Marton as Giovanni and Donna Anna. Both are very persuasive and satisfying.It is wonderful to hear Marton when she had such control and finesse in her singing. Paskalis sings well and creates a strong characterization.”

High intensity and expressivity

“This is not a studio-recording, but a live-recording; the intensity of the singing ist extremly high. Pavarotti sings surprisingly expressiv, what I heard from him in later years never.”

A powerhouse recording

“Taken together, this recording brings fire and passion to one of Verdi's most dramatic scores. Caballé is a magnificent Elisabetta. As noted above, she brings so much emotion to Elisabetta. She is equally matched by Verett as Eboli who is truly outstanding. The other singers shine as well. A must have for fans of this opera.”

Ah, the memories!

“Hard to beat. Sadly, I had left Europe the year before, but not before hearing Vienna's fab quintet (Nilsson/Rysanek/Hotter/Frick/von Karajan) many times. Surely they were the true post-war golden age. Hotter (wobble and all) simply owns the role of Wotan. What command and total understanding! Nilsson is about to enter her prime and throws off the role's many challenges with sublime ease. ,At the time, she had only one real challenger...Astrid Varnay. Rysanek, as always, is a force of nature; it's a delight to hear her cut loose and let the rafters ring. Suthaus and Windgassen tossed the Wagner young'uns back and forth like ping pong balls. But waiting in the wings....Vickers.Frick was a rarity...a true honest-to-goodness basso. His big, dark voice suited his roles and, here, he commands your attention throughout Act 1, as he should do. You can only hear his death in Act 2, but to see it was spine-tingling. And now we come to Act 3: from Wotan's entrance to the end, we are treated to a Wagnerian master class with two of the greatest leaving an audio gift that, as I said at the beginning, is hard to beat.”

Turandot

“A great souvenir of one of the great Turandots, Amy Shuard. A brilliant vibrant voice and perfect for Turandot. I was unfamiliar with the name of Calf, the Australian, Donald Smith but he is more than a match for Amy Shuard. Sound is quite acceptable .”

Perfect( almost)

“An exceptional example of perfect coordination between these wonderful singers, chorus and the marvelous baguette of Bartoletti. Unexpectably good sound!!! Congratulations Opera depot!!!!!!”

A wonderful passionate performance!

“The pormance was great. The singers were in great voice. The conducting was great. Carlos klieber really has this opera in his blood. I l love that the applause was included. You can really tell the audience lived it. The sound was excellent too!. This performance was better than his commercial recording.”

Bel Canto Fan

“I have always liked this opera and also always liked Leyla Gencer. With Shirley Verrett as well, this makes for a powerful double billing and a great performance. As a previous reviewer mentioned, the last track on Disc 1 is faulty, but this is no problem, Thank you Opera Depot! Your remastering of these discs is bringing new life to the old opera performances.”

Just a brief note...

“Just to make note, unlike the two commercial recordings of this opera, which omit Act II, Scene 1, this performance is complete !Sills, whether or not she liked the composer and his music, is astounding !”

Michelle

“The best Abigaille ever, no other singer could do such a projection of beautiful high and low notes, never a scream or an extinction in the abyss, only music. It's I think La Cerquetti's last concert, but her voice was still glorious, only a few ends of lines found her short of breath. With a solid, energic direction, good and even excellent singers, this is probably the best recorded Nabucco, that does justice to the genious of a young Verdi.”

Parsifal-Bayreuth-62-Knappertsbusch

“Perfecta ,a grabación, solo un pequeño fallo, act1º, al entrar en el Templo, las primeras campanadas , no se escuchan, sin importancia.Philips, grabó en su dia, en 1962, varias funciones, de ahi sacó la recopilación de la grabación Oficial. Qiuen sacará algun dia una función con Astrid Varnay.”

Amazing Verrett

“Amazing renditions, some of them really rare treasures, like the famous Florence Carmen with Corelli.....Anyway in the Ballo in Maschera from La Scala, she is not singing Ulrica, but Obratzova does;)”