Opera CDs and MP3s of live performances

A PERFECT RECORDING OF RICHARD WAGNER'S "PARSIFAL"

“A recording of Richard Wagner's "Parsifal" featuring and starring Jean Cox, Amy Shuard, Franz Crass, Thomas Stewart, Donald McIntyre etc., at Bayreuth (1968) and under Pierre Boulez's inspired baton cannot be but (almost) perfect. A must!”

Crespin and Taddei electrify!

“Crespin is voluptuous and volatile, her voice sailing freely through the Colon. Taddei laces every contemptuous word and phrase with enough courtly manner to underscore his hypocrisy. Raimondi wisely relies upon the point in his lyric instrument, rather than strain to match the amplitude of his colleagues. Cillario conducts expertly. Sound excellent; the sheer size of Crespin’s top voice distorts only slightly. Supporting cast very good (credits): Angelotti: Juan Zanin, Sacristano: Eduardo Ferracani, Spoletta: Italo Pasini, Sciarrone: Hector Barbieri, Jailer: Pino de Vescovi, Shepherd: Corrada Malfa.”

Rock

“Great: sound, cast, opera. Deutekom could even handle dramatic roles likeAttila. Carreras had a voice of stunning beauty. Like so many tenors hedamaged it by singing heavy roles ala Pavarotti. Fioravanti was a fine baritonewho never became very famous. He sang Enrico on a filmed Lucia w/ Anna Moffo.”

Terrific Performance in Excellent Sound!

“The Bavarian Radio went all out for this recording of Mussorgsky's most famous opera. Not only was a star-studded cast assembled, but Jochum performs almost the entire Shostakovich edition uncut (very rare at the time).Hotter, singing in his native language, is predictably superb. Vocally he is in relaxed form with little of the unsteadiness that could afflict his tone from this time forward. He offers not just a commanding presence, but a humanity that tempers his guilt. His soft singing just before he dies is unearthly in its beauty. Hopf sings extremely well with ringing top notes. His scene with Mödl is one of the highlights of the performance. Mödl herself has a role that doesn't tax her voice and she asserts herself boldly in her two scenes. Kusche gets to sing most of his role as the manipulative priest Rangoni. Böhme sings a rousing Varlaam without shouting the role, Borg sings Pimen's long monologues with true vocal beauty. Fehenberger gives Shuisky more gumption than we sometimes hear, displaying an attractive lyric tenor too. Uhde, Siebert, Schädle, Töpper, Benningsen, and Kuën are all heard in smaller roles that add to the sense of occasion. Moreover some sense of stage performance is heard when Fyodor and the Nurse clap along in their song and Fyodor is later heard softly weeping over his father's body. Even the children's chorus is heard in the last act. The sound is superb.All Boris fans should get this.”

John Stanton

“The immediate attraction here of course is the three great voices of Carrerras, Cappuccilli and Dimitrova. Carrerras early in his career is in glorious sappy voice, showing no signs of the strain that afflicted it less than ten years later. Dimitrova's enormous voice is impressive although she is probably not the most vulnerable or affecting Amelia. Cappuccilli was still in 1971 the best Verdi baritone in the world and his distinctly Italianate sound gives great presence to his Renato. The audience requests and gets an encore to "Eri tu ".The supporting cast is very good, with notably a smoky voiced Ulrica.The sound is very good, clean and voices in happy balance with the orchestra.”

CONTACTING OPERA DEPOT...

“To Bryan G.:The best way to have your technical problems fixed is to email Andy direct at .I hope that's helpful; the 'Customer reviews' area is...well, for customer reviews (smiley face)!”

Famous performance in great sound

“This BORGIA has been around for a very long time and issued on several bootleg labels. It is an aural souvenir, in lovely broadcast sound, of that starry night in Carnegie Hall in 1965 when Caballe, long trodding the boards in Basle, unexpectedly became an 'overnight' sensation. Subbing for a pregnant Marilyn Horne-- who was still singing some soprano roles at this point-- Caballe mesmerized and enchanted the somewhat reserved New York audience. From there on in, the performance has become legendary. Everyone sings well, but this is decidedly Montsi's night. On the strengths of this one evening, Rudolf Bing hurriedly got her under contract for a Met debut in FAUST that December (the same evening that Sherrill Milnes was beginning his Met career), and soon the recording companies, beginning with RCA, came calling, as well. If you have never heard this operatic time capsule, I encourage you to do so now. You, too, will be under the spell of the young Caballe in no time!”

PHILIPPE GUILLON

“J'ai acheté cette version de Siegfried car je voulais connaître le Wanderer de Greindel. J'en suis très heureux. Bien sûr la voix est plus noire que celle d'un "Wotan habituel" et cela me fait penser au "Wotan-wanderer" de Uhde (Bayreuth 1960) que j'aime beaucoup. Greindl est un immense chanteur (grand Gurnemanz de Knappertsbusch 1954 par exemple et lieder de Schubert aussi). Et je trouve que c'est important d'écouter des versions un peu "alternatives" comme celle-ci, même si j'adore Hotter et aussi Hines bien sûr! Version à connaître!”

A triumphant Welsh National Opera 'Die Walküre' under Sir Reginald Goodall

“This is a truly magnificent and uplifting Wagner performance. No devotee of Sir Reginald Goodall’s Wagner should be without it. I managed to attend many of Reggie's Wagner performances between 1970 and 1984, but his Cardiff performances of ‘The Valkyrie’ were among the most exhilarating. The interpretation and casting were/are excitingly different from the excellent EMI recording based on three ENO performances at the London Coliseum in December 1975, which benefited from even better recording quality and great performances by Norman Bailey, Alberto Remedios, Rita Hunter, Margaret Curphey, Ann Howard, Clifford Grant, and the ENO orchestra (I attended one of these as well). The special qualities of the Welsh National Opera performances in Cardiff plus a concert performance in Swansea’s acoustically outstanding Brangwyn Hall (exceptionally, I attended three of these performances) included not only the extraordinary energy that Reggie mustered at the age of 83, but also the extent to which he managed to radically rejuvenate and revitalise his interpretation to match his relatively lithe and youthful cast, most of whom were singing these roles for the first time.”

ESSENTIAL, REVITALIZED PERFORMANCE

“To begin with: some better information on the recording’s provenience, double-checked from other sources.Date: July 30, 1969.Place: Baldwin Pavilion, Meadow Brooks Music Festival, Rochester Hills, Michigan.Cast: As given above, plusFernando: Ara BerberianInes: Mary MooreRuiz: Richard VealeGypsy: John Seabury Chorus of the Meadow Brook Music Festival (Director Robert Sadin).The Cleveland Orchestra, conducted by James Levine. One source comments that the performing orchestra was “not the Cleveland Symphony Orchestra.” But the official name of the renowned musical group has always been simply “The Cleveland Orchestra,” and Levine was at this time its Assistant Conductor under George Szell. Anyhow, the richness of the first chords of the prelude leaves no doubt that a world-class orchestra is backing this performance. The conductor gives us a fresh impression of this familiar work, discarding the usual indulgent plod of the Molinari-Pradelli era for a brisk and lively reading. Some tempos seem to go past brisk to breakneck, especially the concerted ensemble ending Act 1 that is paced at a dramatic level, then sped up even more for the stretta. But the singers keep up with the pace, and the bracing result gives us a fresh way to hear the work.The central cast – Tucker, Tucci, MacNeil, and Barbieri – were familiar operatic forces in the Mid-20th-century; this group would ensure a good night at the Met. But don’t assume that familiarity means an undistinguished performance, for the drive that Levine brings to this warhorse energizes all of them. Tucci in particular sings a gutsy version of her role, particularly in the critical Act 4 aria and “Misereri” scene, and Levine allows her a verse of the (then) little-performed cabaletta for an exciting climax. Tucker’s voice was ageless, and here he surprises with an especially elegant “Ah si, ben mio,” earning him the ovation of the evening. MacNeil also sings well, particularly in repeated concertato pieces with tricky timing, a fine foil for the others. Barbieri often opts for camp that could have come straight out of the Marx Brothers; “A Night at the Opera.” But Trovatore is already permeated with camp, and the mezzo’s vocal antics are a good contrast with the others’ high seriousness.One interesting detail: after the opening scene, there is a huge roar of approval from the audience, lasting over a minute, during which one of the performers (Ferrando?? Really??) gets called back to the stage and cheered. I think the reason is that Ferrando’s performer, the bass Ara Berberian, was a Detroit homeboy. (Meadow Brook is located in the north suburbs of that city and often features the Detroit Symphony.) To be clear, he performs this tricky scene better than I’ve ever heard it, and for that he deserves all the huzzahs he gets. Up to this point he had seen only provincial exposure, mainly at the New York City and San Francisco Operas. His proud family and friends likely showed up in force to see him sing for the first time with a world-class ensemble, a kind of “Met debut.” (Ten years later the Met gave him the call he deserved, and he sang there for eighteen consecutive seasons.) The sound is mostly excellent, though a crackle is evident throughout. The only exception is the beginning of Act 4, where there is a lot of extraneous sound likely caused by a well worn disc recording. It’s possible that this part of the recording was played more often by its original owner, causing audible damage. Tucci’s aria is still quite listenable, however. I’d rate this an essential performance for Verdi lovers: one may disagree with some of Levine’s tempos, but the effect is a through deep cleaning and tightening of this masterpiece.”

Delightful

“This is a charming performance of Britten's delicious setting of the Shakespeare play. It takes a little getting used to a female mezzo voice in the role of Oberon, written for Alfred Deller, though Josephine Veasey does a fine job. Janet Baker's distinctive timbre is instantly recognizable as Hermia, but all the four lovers are fine (shout out to Alexander Young, a personal favorite). Elizabeth Vaughan makes a mightily impressive Titania--no twittering coloratura, she brings power to the role of the fairy queen. In all, a lovely treat.”

Performance très belle

“Je connaissais déjà l'enregistrement du 3eme act de Die Walküre par Karajan et Astrid Varnay; cet enregistrement que j'ai acheté est vraiment beau et ce Ring donne des frissons plus que l'enregistrement en studio. Je l'ai beaucoup apprécié.”

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.”

Kurt Hofmann Dr

“attended that performance as student and am pleased to be able to listen to it again.Never witnessed a omparable Salome performance afterwards.Rysanek in top conditiion,Varnay superb and on top Dieskau and Solze!!!The audience went absolutely mad!!!”

Enxhantment

“Wonderful production !!!!!What a pleasure hearing such a beautiful distribution. Each singer is at the right place and The interpretations so realistic, and beautiful by their simplicity.A real pleasure listening Mozart sung so beautifully !!!!What a happiness listening Montserrat Caballé and Gabriel Bacquier at their very best moments of their voices they are amazing and wonderful in this roles.Thank you so much for such moments of pleasure.”

Caveat emptor (buyer, be advised that .......)

“This is a great MEISTERSINGER and I'm very happy with it. It's unusual in that everyone-- Walther, Sachs, Eva, Pogner, David, Kothner, Beckmesser, all the little roles, the chorus, the orchestra, and the conductor, everyone-- is wonderful. And it's easy to get used to the Swedish. All in all, a lovely performance.BUT...... be advised, gentle reader, that Martti Talvela, who is listed in the description, does NOT sing Pogner or Sachs; he is Meister Hans Foltz (the copper-smith) who only sings four syllables aloud (while Kothner is taking attendance in Act 1) and other than that only sings in the large ensembles, with many other singers singing at the same time. So buy this recording, by all means, but don't buy it for Martti Talvela.”

Joseph

“I am very thankful for the release of this recording. Pauline Tinsley was a superb soprano with an exceptionally varied repertory (ranging from Mozart’s Elettra, recorded for Sir Colin Davis, to twentieth-century roles) who was unfortunately far too little recorded. In this performance of Santuzza, she displays all of her finest qualities: an unfailing dramatic instinct, a voice of color and appropriate range, and an ability to adapt her performance to the other members of her cast. All told, Tinsley sings a superb Santuzza, startling in her vehemence and very moving in her sorrow. Mastromei leaves little to be desired as Alfio. Domingo’s Turiddu is perhaps not quite as impressive as it should have been (this performance was in the period during which Domingo’s famed Otello was still a relatively new addition to his repertory) but is effective as drama and vocalism. Other principals are acceptable. The choral and orchestral sounds are occasionally somewhat muddy, but the sound is generally very good. Tinsley’s Santuzza is a classic performance that, unlike many classic performances, enjoys a good setting. Many thanks to Opera Depot for making this performance available.”

David McKee

“This is one of Opera Depot's hidden gems, probably the finest recording I have purchased here. Ruth Welting is a near-definitive Lakme, her coloratura astonishing in its precision, rapidity and tonal beauty. She brings a childlike innocence to the role, making Lakme's tragic fate all the more heartbreaking. She is superbly partnered with Gines Sirera, a tenor of unnaccountable obscurity. In addition to his pleasing, liquid tone, he has an easy, ringing upper register. Robert Massard's fanatically fierce Nilakantha is another wonderful souvenir of his artistry, which ranged from buffo roles to intense drama. Henri Gallois conducts with a light, flexible touch, providing the perfect frame to this marvelously idiomatic performance.”

Surprisingly good performance

“Hermann Uhde was the reason for my interest, a superbly communicative artist with extremely few studio recordings, though well remembered from the recordings that came from Bayreuth, all with excellent sound. Here the sound quality is poor, but my interest is hearing Uhde’s performance.”

Mario’sc

“I always prefer Carmen in French. It was written in French. This Carmen in Italian is all about the stentorian immensity of his voice. Focus on his vocal dimension. Criticized widely for lack of subtlety and inability to sing piano Mario refutes this cliche by lyricism and softness of the flower song Holding incredible long note and real tears in the final scene. Carmen is a verismo opera strictly speaking. Sheer power of crude passion is his vocal nature. It is for those who obsessed with Mario’s vocal greatness. The rest of the cast is great too. It is great for my collection.”

Nilsson´s first Turandot

“Suzanne is right. Nilsson sang her first Turandot at the Stockholm Opera on febr 23th -57. I am a witness, I was there, Nilsson had already sung all heavy Wagner roles and an extraordinary Salome but the public was not prepared for her Turandot. We were chocked and overwhelmed. How could there be a a voice capable to be heard the whole act 2? Enormous sound without effort and when the lasertones met one´s body they provoked a thrilling physical feeling. The initiative was taken by Svanholm, the famous wagnertenor, chief of the opera since -56. The old production was by Dobrowen. Svanholm wanted to find a new role for her. She was glad as the role was so short! Ít has gone 60 years and such a voice will never be heard again.”

great

“Great recording from the Vienna State Opera. Bernstein: It couldn't be better! And James King is THE Floresten as he was THE Siegmund. All the other contributors are great too.ONLY: I think that it's not Theo Adam who sings the pizzaro, but Walter Berry. The cast slip is wrong here.”

Carlos Kleiber proves the apple doesn't fall far from the tree

“Carlos Kleiber's father Erich had the honor of conducting the world premiere of Wozzeck in 1925, and although the two brought a very distinct voice to the works they led, Carlos shows that he inherited his father's understanding of the Second Viennese School”

Jane Morawski

“What a fabulous recording – I’ve just enjoyed listening to the whole opera. Even at this stage in his career, Jussi’s wonderful voice sounds effortless and passionate. But when were the two Pagliacci bonus tracks on the end recorded? They sound as though they’re from much earlier. Unless I have information missing from my CD there are no details given.”

Superb

“I had often wondered about "Leonore" and took the plunge attracted by the combination of Tinsley and Mackerras. What a wonderful surprise! The work is great, punchy and dramatic, and not at all the poor relation of "Fidelio". The recording quality is superb, and the cast uniformly good. Tinsley gets the opportunity to give us some elaborate coloratura work, all written in Beethoven's anti-vocal instrumental style, and she performs with typical panache, remarkable for a performer who was my first Salome, Elektra, Turandot, Dyer's Wife, Abigaille, and Lady Macbeth. Of all my many purchases since I was fortunate enough to discover Opera Depot last year (every one of them terrific) this has been the most pleasurable surprise. Recommended without any hesitation.”

Carol and Placidó ride again into the sunset!

“This performance from London's Royal Opera finds most of the cast included in the DG recording of this production, intact and at white heat. Everyone is firing on all cylinders - such a great demonstration of verismo at work. Carol Neblett is in perfect voice, scaling the heights and depths of the vocal line with fearless attacks and deep involvement. I just love the sumptuous middle register and fierce top register. A favorite Minnie captured for all time. Her being a California native does inform her emotional palette. The strength of her tone reads in all registers with heated emotions in place and still audible over the heavy orchestration. And that poker game....Exciting! Placidó is giving his all at the summit of vocal powers with emotional connection to the text and his relating to the plot actions in moment after moment. The stunning power and beauty of his vocal capabilities are on full display with a generous emotional and musical offering. Silvano Carroli, as Rance, demonstrates a bite in his character and vocal line while snarling, still displaying a roundness of tone. With these principals and excellent support from the depth of the ROH company, every bit of tension and beauty is evident. A great performance! And Zubin Mehta is the perfect leader for the constant shifts of tempi, orchestration, a superb orchestra and chorus at his command, and a surefire understanding of tempo and shading to the confident development of the plot. A masterful support of all the artists and drama in this emotional performance. One feels wrung out, in the best of ways. Do get this performance. It will be one of the best in your collection. Sound is very good with just slight distortion at the loudest peaks..but not bothersome.”

Fabulous Meistersinger from Bayreuth

“I ordered this set purely because of Norman Bailey but I wasn't expecting such a wonderful performance as this. Hans Wallat, a conductor I had never come across before, gives an excellent account of the score. Everything feels just "right" and the sound is fabulous, just like sitting in the front row of the stalls in the "Festspielhaus" (I imagine). Janis Martin is a beautiful Eva; Jean Cox a youthful sounding Walther; and Norman Bailey a noble, warm hearted Sachs. Thomas Hemsley plays Beckmesser "straight" - no funny voices or comedy slapstick - and is very effective. His scene in Act 3 with Sachs plays entirely off the words and is all the more amusing for it. The orchestra is magnificent. There is some radio interference from other broadcasting channels in a few brief places, but that hardly matters when the performance is as good as this one. And a big bonus for me was that Act 1 fits complete on the first CD! Many thanks. I'm looking forward to listening to the 1970 Ring now...”

Memories

“This recording puts me back in the New York State Theater where I saw this cast perform in the 60s and 70s. Hearing the recording, flaws and all, gives me the same goose bumps I felt when hearing it live!”

James Black

“Absolutely – certain roles are made for certain singers and Dame Gwyneth and Salome surely meshed absolutely. I didn’t see her on stage in the role until quite late in her career (1986) but she was still stupendous and, to quote the Musical Times, gave “perhaps the most comprehensive performance of the Dance of the Seven Veils I have ever seen.” She really found a way to match the choreography to her physical abilities and her awareness of her own beauty served merely to enhance her portrayal of Salome. I haven;t yet heard this Munich performance but do have the commercial set.”

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.”

Another gem from H. Hollreiser

“Often overlooked conductor Heinrich “Hellraiser” Hollreiser leads a superb cast including vintage mid-1970’s Gwyneth Jones (check out her 1975 ring w/Horst Stein) in decent FM broadcast sound.”

Brian Lowery

“A great Macbeth. As mentioned, Anja Silja is good as Lady Macbeth, but in my opinion, Thomas Tipton is even better in the title role. His confident baritone leaves nothing to be desired. He clearly understands the role and doesn’t “overdo it”. Macbeth is a powerful warrior and his voice should reflect that, but in many recordings Macbeth’s words waver and sound like that of a tired, old man. Tipton’s voice never falters and his Italian is clear and understandable. His Macbeth is now one of my favorites. It is a personal preference of mine, but I welcomed the addition of the “death aria”, from the 1847 version, at the end, and most of the great recordings: Cappuccilli, Verrett & Abbado; and Warren, Rysanek & Leinsdorf, also include it. There are the usual cuts, some of the witches choruses and ballet music, but it moves the drama along at a good pace. I highly recommend this 2 CD set.”

Audio quality leaves a lot to be desired, mainly CD2. Otherwise though, a full on nuclear performance!

“Of the three greatest Nabucco recordings, of which this is one, none are more potent and explosive than this. It's too bad the audio quality is so poor on CD2. This is an otherworldly performance and literally the ONLY time Callas ever sang Abigaille. CD1 will make you sit on the edge of your seat the whole time. This is a unique recording, which cannot be bettered singing wise other than the horrid audio quality on CD2; rendering it basically unlistenable.In short, this recording is worth it alone for CD1. If you're wondering what the other two recordings are, 1951 RAI Previtali Rome with Mancini, then 1966 La Scala Gavazzeni live with Elena Suliotis ( at the zenith of her vocal powers ). Buy you've got to have this one with Callas in any case for the explosive experience. Like Callas' 1952 Norma at Covent Garden, there is really no equal vocally to this.”

David Inglis

“I agree entirely with James Mertens ! The cast ,of course, boasts a third Scot in Kenneth Macdonald ,singing some of Strauss’s hard tenor music easily and beautifully. I believe it was Mr. Macdonald’s modesty that prevented him having a greater career in leading roles.The rest of the cast reflect the very high standards of the resident Covent Garden company at the time. The close working relationship with Rudolf Kempe is also evident.”

Callas the Goddess

“Ghione is in control all the time. The Portuguese orchestra and chorus are good. Kraus is missing tenderness and passion and not knowing the plot his voice does not reveal the range of sentiments. Sereni`s Papa Germont performance is lacking class despite his beautiful voice. Callas provides one of her best performances. She is in fantastic vocal form and the attention to the dramatic content is superb. Her exigence with herself is evident every minute. I favor this performance over the Covent Garden one.”

John Querns

“The greatest Wagnerian of them all, Martha Mödl, sings an astounding Isolde. Sure, she's past her best, but the intensity, the feeling and the use of the text is a lesson for anyone else who aspires to this repertoire.”

Extraordinary Concert

“Behrens, King, and Adam all in top form here. We all know about these artists’ achievements in German rep. So you’ll be amazed by Behrens’s Desdemona in selections from Verdi’s Otello. Her voice is as ethereal as Renee or Kiri in this role.”

The Marschallin

“This Munich recording of "Der Rosenkavalier" (originally issued on Vox, in 1952) hails from an April 1942 broadcast of a Concert Version conducted by Richard Strauss's friend and champion, Clemens Krauß. Its principal interest lies, however, in the soprano who essays the part of the Feldmarschallin Fürstin Werdenberg, Viorica Ursuleac, wife of the conductor, who is reckoned as the composer's favorite soprano, "the most faithful of all the faithful."Ursuleac created rôles in Strauss's "Arabella," "Friedenstag," "Capriccio," and "Die Liebe der Danae." Hers is a controversial voice, however, devoid of any great beauty. She was, rather, regarded as a great musician and actress. In this recording, some of her work sounds congested or squally, but her interpretation of the Princess is extraordinarily moving. Here is a true aristocrat, with that mystique without which this opera does not take flight.”

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.”

Martin Ramor

“It's recording of premiere performance of Godunov (21st February 1976). Ghiaurov is very moving as title hero, Fassbaender is real Marina, driven by her will for power. You really enjoy her singing. Atlantov is nice False Dimitry. Czerwenka, Kovats, Mazurok and Kmentt are all very convincing in their roles. It is nice to hear some old acquaintances as Zednik as good Simpleton and Šramek and Tichy in their smaller roles. Conducting of Robert Satanowski iz great also. My advice: Grab it!”

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.”

Milanov and Corelli--An Enigmatic “Tosca"

“Milanov is magnificently fragile, passionate and imperious while Corelli’s heroic ardor is beautifully nuanced. Guelfi provides a more than adequate Scarpia. There is a “Tosca” for most every taste but the enigmatic teaming of Milanov and Corelli makes this performance a superb choice.”

Note

“Roberta Knie went on to sing Isolde to great effect. I disagree that her voice was too light for Wagnerian repertoire. As Knie herself was to say in interviews, the act of placing the voice in the mask and singing Wagner produced vibrations that detached her retinas. "I'd rather see than sing" she said, and promptly retired.”

Fabulous Tristan buy

“My favourite Wagner opera and I wasn’t disappointed with this 76 Bayreuth performance under Kleiber. He gets everything right and the lead performers are on top form. Wenkoff is outstanding especially in Act 3. You won’t be disappointed. Great purchase.”

JÁNOS KÁDÁR

“Due to Lorengar it is a wonder. She sings like an angel but her partners are also in their prime. Roberta Peters is an excellent Queen of Night, Waldemar Kmentt a loving and passionate Tamino, who knows how to sing Mozart, Walter Berry is an amusing Papageno and Walter Kreppel a noble Sarastro. István Kertész leds a vivid and authentic performance.”

William Russell

“I have probably two dozen MEISTERSINGERs in my collection and the favourite has been the 1967 Munich under Kubelik. I got this one last week and it is a gem! The Kubelik still comes in first but this Sawallisch is a close second. The sound is full, rich, and clear. Adam is a superb Sachs and Kozub, an almost forgotten tenor today (one wonders how his career would've gone had he succeeded as Siegfried for Solti's Decca recording), gives a strong performance as Walther lacking nothing except the sweetness of Konya for Kubelik who caressed the Prize Song as few others have done. Opera Depot is to be commended for making this set available and I recommend grabbing it.”

Sheer delight

“I have known this performance since I taped it in 1975 and it shows the ENO at its very best. Every performance has character and vocal quality stamped all over it, and although it is in English, it has a real sense of Viennese laughter and danger about it beautifully balanced by Charles Mackerras and the orchestra. Anne Evans is a generous voiced Rosalinde (she went on to sing Brunnhilde at Bayreuth) and with the likes of Alan Opie (Beckmesser at Bayreuth), John Brecknock (ENO's spectacular Rossini tenor) and Ann Hood in support, there are no weak links. The crowning jewel is however Valerie Masterson's Adele - she would go on to sing Rosalinde at the ENO in later years - and she is a delight to hear, with a great sense of fun and a gorgeous Mein herr Marquis. Listen out for her altering of the text in her third act aria! Sound (apart from an early blip in the overture, which was the same as on my tape) is great - just get this, sit back and enjoy the very best of the ENO which can rival any performance anywhere!”