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Every week we offer 12 new titles available to stream for free
Beethoven: Fidelio
Rysanek, King, Berry, Macurdy, Pilou; Böhm. Milano, 1974
Compilation: Gladys Kuctha
Arias and excerpts from Macbeth, Turandot, Fidelio and more
Gluck: Alceste
Callas, Gavarini, Panerai, Zampieri, Zaccaria; Giulini. Milano, 1954
Massenet: Manon (In Italian)
Freni, Pavarotti, Panerai, Zerbini; Maag. Milano, 1969
Pizzetti: Il Calzare d'argento (World Premiere)
Di Stefano, Carteri, Panerai; Gavazzeni. Milano, 1961
Spotlight: Hilde Güden
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
A Reflection on Cassilly
“Opera Depot has performed a great service for the opera-going public by publishing a Compact Disc entitled, "Richard Cassilly: A Retrospective," which has "live" excerpts of the Heldentenor (who died in 1998) performing in "Beatrice di Tenda" (with Marilyn Horne, conducted by Nicola Rescigno), "Anna Bolena" (with Giulietta Simionato), "Otello" (led by Sir Georg Solti), "Tosca," "Tannhäuser," "Die Walküre," "Tristan und Isolde," "Elektra," "Jenůfa" (conducted by Rafael Kubelík), "Il prigioniero" (with the great Norman Treigle, and led by Leopold Stokowski), "Troilus and Cressida," and "Peter Grimes" (with Heather Harper, and David Atherton conducting), from 1957 to 1977.One can trace the rather sweet-sound tenor of his youth to his position of a leading dramatic tenor, with the vocal maturation in conquering many of the most difficult roles in the repertoire. His singing was not of the purest sort; he was, by inclination, a great singing-actor, with some of the usual flaws of that breed. At full roar (his was one of the largest voices I ever heard in the theatre), the timbre could turn harsh, with a somewhat gritty quality. But, for Cassilly, all was turned to expression.This writer had the privilege of seeing him at the Metropolitan Opera, in 1984, in three operas. These were extraordinary experiences. The present anthology brings back glorious memories of one of the last century's greatest tenors.”
MISSING SECTION RESTORED - AT LAST!!
“Following my posting 5 June 2023, please note that I have now received a file from Andy, containing the missing section (Act Two finale). Thus one can assume that it has now been restored to the master files......and -my goodness- it was worth waiting for!!!”
David McKee
“Taking their cue from conductor Berislav Klobucar, a nearly all-star cast gives us a "Walkure" that pulls out all the stops. Leonie Rysanek's Sieglinde is in such fantastic voice that she throws in no fewer than three of her trademark screams. Wolfgang Windgassen was said no to like the role of Siegmund because of its low tessitura but the mood was upon him this night and the Walsung pair enjoys excellent chemistry. (We also get a couple of instances of Windgassen's tendency to jump the beat.)For 1965, Hans Hotter is in very good voice for Wotan, steady for most of the evening and powerful of presence. He meets his match, though, in Regina Resnik's cerebral Fricka, who pulverizes Wotan with her unrelenting intellect, delivered with top-flight vocal quality. Birgit Nilsson is such an ensemble artist on this occasion that one could easily overlook her. Just listen to how sensitively she responds to Hotter in their scenes together. This is an aspect of Nilsson that is rarely emphasized. (One unique aspect of this performance is that it unites Karl Bohm's "Big Six" -- Nilsson, Rysanek & Resnik -- in an opera that is not "Elektra".) Walter Kreppel is a nasty Hunding, if rather a small-scaled one.”
Excellent Sound! Gwyneth Jones in her early years, already huge voice and excellent coloratura.
“When they said that Gwyneth Jones could have been a legendary Verdi singer if she did not go the path of Wagner/Strauss... documents like these prove it. I have the same performance, bought from another source, which sounded very bad and there were missing parts (eg. Jones' coloratura at the brindisi were missing) so I tell you this one is best. Thank you for this gem!”
John Stanton
“This is a completely satisfying performance of this much recorded opera. Anja Silja was a dynamic singing actress, her lean lovely body, made her a provocative Salome on stage, and with her lean athletic girlish voice she was the full package. Here she is 28 and at the height of her talent.For me, Franz Mazura's resonant, powerful and gritty Jochanaan is simply the best. Niels Moeller's Herod is marvellously fluid and oily and the rest of the cast is first rate. Ruth Hesse gives us a bright expressive Heriodas.The sound is very good.”
A Classic Performance in Excellent Sound!
“Furtwängler's 1951 Salzburg Festival performances of Otello were already a legend even a year later. The German conductor's command of the score and his expert pacing of it were ecstatically praised in some corners and reviled in others. The tempi are a little bit slower in some places, the overall flow consistent with his more magisterial approach. There is plenty of Italianate chiaroscuro that still allows the singers to make their points. Furtwängler plays the score uncut too.Vinay had been Toscanini's chosen Otello only a few years earlier. Vinay rather went his own way in some respects. He has thoroughly studied the role and now brings some of his own personality to bear on the proceedings. Vocally he is more assured than he was under Toscanini.Martinis is a lovely Desdemona. Her defiance of her husband's mad fury in Act 3 is as admirable as her heartbreaking reaction to Emilia's leaving in Act 4. Schöffler plays a low-keyed Iago, more subtle than others I've heard. Wagner is a powerful Emilia and Dermota a handsome Cassio. Greindl's rather flinty tone is heard to good effect as Lodovico. The sound is excellent, pitched correctly.All Otello fans should hear this performance at least once.”
Andrea Chenier
“Excellent. I'm particularly saddened that I never heard Magda Olivero in my early opera going days. I always bracket this opera with Andrea Chenier - to which it is much superior - and perhaps that opera was really Corelli's forté. Bastianini is, as ever, a delight to hear.”
The Great Gladys Kuchta
“Thank God somebody else has recognized the worth of the great Gladys Kuchta! I really only know her from the three Met broadcasts she participated in: she was Sieglinde in Walküre with Nilsson, Vickers, Edelmann, and Leinsdorf on December 23, 1961; Gutrune in Götterdämmerung from the same broadcast Ring cycle on January 27, 1962, with Nilsson, Hopf, and Leinsdorf ; and Donna Anna in Don Giovanni opposite Siepi, Peerce, and Corena on December 28, 1963, with Rosenstock conducting. Her Sieglinde performance is beyond fabulous, gorgeously and sensitively sung, and the performance as a whole is very fine, better than the rough and ready Götterdämmerung the next month. She was also Leonore in the Fidelio released on Nonesuch records, but I’ve never heard it. In any case, brava!”
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.”
Andrew Valentine
“Great recording with fine soloists. After seeing Amy Shuard many times on stage it is great that her performances are turning up on CD, she is a most exciting Kundry and has the full range of the part, a true dramatic soprano. All the others are well known for their performances in their roles at Bayreuth and else where. Under the exciting direction of Boulez this is a recording to treasure.”
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.”
GRAND OPERA FROM THE HEART
“This is one of those live performances that delivers.the very essence of the characters through it's music. Bergonzi's singing is heartbreaking in the final pages of the score. He builds up to this with mounting tension. Tebaldi's performance astonishing in it's immense grandure and monumental phrasing. Her Margarita is a deeply wounded individual who, neverthe.ess meets her end with seeking resolve grounded in profound faith. One wonders whether she was revealing something of her own essence and gifted it to us. This is one of the finest entries in the Opera Depot catalogue. The sound is very good for in-hall recording.”
Historical Opera at its best
“This is a swift, dark and expressionistic performance, and one of the most exciting I’ve heard. Whilst the cast range from solid to stellar, the real star of the show is Thomas Beecham, who’s unfussy yet colourful conducting brings us a truly vital Electra that all Strauss fans should hear. Whilst the sound is okay, it is perfectly listenable and surprisingly good for 1947”
Some facts about this performance
“Just some facts about this lovely performance: the date given is wrong. This performance took place on 21 October 1970 at the Royal Festival Hall, London. (I was there). I quote the programme 'The English translation of the libretto is a conflation of the versions by Chester Kallman and Christopher Hassall. The Bard's prologue has been newly translated by Brian Trowell'.”
Frank Leto
“This is a beautiful performance of an opera that is not well represented on disc. I bought the disc version of this opera from this cite and I am very pleased. The sound is very good mono and all the performances are wonderful. Don’t hesitate. Get this set.”
A Star was Born
“In 1957 Wieland Wagner ,after hearing Sandor Konya in multiple Italian and French Operas( in various Opera Houses in Germany ,like Hamburg,Berlin,Munich ,Dresden ) he was sure that this will be the right Lohengrin for his new Staging in Bayreuth in 1958.Konya was too busy and under Contract . In April of 1958 he finally went to Stuttgart to sing the main Sequences out of the Lohengrin Partitur.Wieland was sure he has his new Lohengrin.Konya's Debut in Bayreuth was the absolute Success ,and Wieland Wagner got what he was aiming for. Konya sung in the next Years to come more than 370 times Lohengrin all over the world. Until today he is one of the most exiting and enchanting Lohengrins. His Lyric Heroic Timbre made him very unique as the Swan Knight.Thank you Wieland to find him ,Thank you Sandor for your Art.”
Frank
“Just purchased this opera. I agree the sound is outstanding. Koln radio captured a nice clear production with voices well balanced. The performance is very good considering the cast of virtual unknown, except for TSR and Wolfram. Stich Randall fans must have this disc.”
Thomas
“I discovered opera-music live when I attended a classical concert in Paris “Salle Pleyel” during the autumn 1967.It was a serie of concerts called “Prestige de la Musique” organized by a famous radio producer Jean Fontaine. I heard Miss Weathers performs different arias and among them Puccini’s “Un bel di, vedremo” from “Madama Butterfly”. I had never been so deeply moved by a singing performance ! Each time I hear this aria I remember that precise evening and I’m forever thankful to Miss Weathers for opening my ears and heart to the wonderful world of opera where I spent so many fantastic hours eversince !!!”
A Neblett show
“Excellent performance. Though Anton Guadagno was not a Wagner specialist, he was a good and experienced conductor who knows how to to manage an opera. The orchestra and especially the choir are not Bayreuth level but they made an acceptable job. William Wildermann is a good but not very good Daland and the two tenors are also fine. Fortunately there are two real stars who make this performance really extraordinary. Carol Neblett and Norman Bailey belong to the best Sentas and Dutchmen I have ever heard. Bailey’s voice is perfect for the Dutchman and he is able to express all the nuances of this role. But the true hero of this performace is Carol Neblett a few years before her MET debut in the same role. She is simple shining. A wonder. Listening her singing and acting I don’t understand why she didn’t become a superstar. Due to her production this performance is really a treasure. Highly recommended.”
Very interesting recordings
“I bought these recordings because I love Varnay and Moedl. I have never had doubts about Varnay, it looks like when she went on the stage she calculated all the notes she was able to sing. The most interesting for me was Martha Moedl in Gotterdammerung. Her last recording of this opera was in 1955, she finished singing Kundri on Parsifal in 1959. After this period she sung some mothers, nurses, dutchess... I was astonished to find this recording from 1966. Moedl is very recognizable here, sometimes she can't reach some notes, but she is in wonderful voice in some scenes, like: Altgewohntes Gerauch, wedding scene, Sweight eures Jammers... We should understand that to sing Brunnhilde in Gotterdammerung is not as to do it in Walkure. I noticed that Blitzend Gewolk is one of difficult scenes in Gotterdammerung for her, here she did it masterly. So I can't recommend it if you want to listen to clear sound and accurate singing. But if you know who Martha Moedl was, if you remember that she "lived" in Walhalla it'll be the right choice.”
Walter Hartman
“This is a recording that one of the major studios should have made at this time. The casting is perfect. Janowitz, Popp and Wachter are right at the top of the list of performers that did these roles. The opera, not one of Strauss's that plays itself, does move and hold the audience with these very "right" feeling performers. Janowitz went on to make a film of this role but her singing here is much warmer than in that soundtrack.”
A Pelleas that ought to be heard
“This performance us almost as magical as Karajan's own studio performance years later. The cast is wonderful with a surprising detour in repertoire for Elisabeth Schwarzkopf who turns in performance with the purity of the beautiful Suzanne Danco Mélisande.”
Joseph Brand
“The great Taddei was scandalously neglected by the record companies. This powerful portrayal of Macbeth certainly does him justice helped by the superb conducting of Previtali and the magnificent Shuard. Luckily I heard these two together in these roles at Covent Garden in 1960 and they are caught at their best here with an excellent supporting cast, chorus and orchestra. The recording quality it very good indeed. For once the ecstatic audience reaction is entirely warranted.”
Barry Allen
“Margaret Harshaw was on the voice factulty at Indiana University when I was a student. I heard her do Kundry and Brunhilda at IU. Recently, the Met on satellite broadcast the TRISTAN she did in’58. There was an abriviated version of Walkure with Harshaw that is excellent. It’s probably in domain and someone should put it out on CD. I did not know Madame Harshaw but I saw her all the time on campus. The day Svanholm died, someone who knew Harshaw told me that she was devastated by the news. Don’t let Margaret Harshaw be forgotten. Grab one of her live performances.”
Don't overlook ...
“There's so much to love about this performance, but don't overlook Hans Sotin as Veit Pogner the Goldsmith. He sings so naturally, and easily, in his penetrating golden voice. It's one of those voices that crawls into your skull and directly massages the pleasure-centers in your brain.”
Wouter de Moor
“This recording of Götterdämmerung is the best I have heard so far. Pierre Boulez finds a pulse in the score that turns the music into a perpetuum mobile. It is irresistable. Fast without rushing, swift with all ear for detail. Gwyneth Jones is in better voice than on the 1980 video-release (which, for the brilliant Cheréau-regie, I would not like to be without). For me the booiiing (at the beginning of act 3 and at the end) adds to the magnitude of this historical recording. It not only illustrates the hostility towards this production but it is also a reminder of the controversy and scandal that more than once surrounded Wagner's music throughout the years. It is Bayreuth 1976, but I also hear Tannhauser in Paris 1861.”
Correct cast
“David R made the astute observation, that Don Fernnado doesn't really sound like Nimsgern. Correct. Nimsgern undoubtedly sings Pizarro. A google search shows that Luigi Roni sang Fernando. Walter Berry is not featured at all in this recording.”
Der Rosenkavalier ENO 1975
“McDonall, Masterson and Barstow all superb and beautifully conducted by Mackerras in very good sound. It reminds one of what ENO was.... Also received Highlights from ROH 1954 (Fisher, Leigh and Shacklock) when they still sang in English though beautifully conducted by Kempe. Sadly it is recorded from the Prompt corner but if the rest of the performance exists I would buy it. Many thanks Neil Dalrymple”
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.”
Wonderful historic Figaro
“I'd heard about this performance for years, and am so glad I got to hear it. There are many well sung Figaros available on disk, but this is notable for the vivid characterizations. As a Frederica von Stade fan, this is a particular treasure!”
Memories of being there
“For those who were not there, it is worth observing that Nilsson had the biggest voice in the world at the time (sometimes doing off pitch at this point in her career as she had not even three years before in Edinburgh) but that Jones’s voice was now almost as large. People still debate whether Jones’s voice in later years became larger than Nilsson’s had been. Jones’s vibrato or tremolo varied at each performance. Rodney Milnes, reviewing, wrote of her “Such a generous singer: always gives two notes for the price of one.””
Donald Honan
“I’m older than I thought! …and a fanatical record collector since age 12 in 1948, especially of the Golden Age singers. Although I prefer the original language, I have heard this thing so often in Italian that it was only jarring to hear you say it was so! …and make no mistake, that’s Italian style and word emphasis here. Kraus, like Bergonzi, just got better and sounded more gorgeous over the years, so it’s good to be reminded that he was pretty darn good to begin with! It will be a hoot to have this performance in my collection along with Simoneau & Legay…”
Little known Gianni Schicchi
“I am very satisfied with this performance. The 1950s mono sound is good. The performance is a little short on slapstick, but it gives a good representation of the opera. I bought the recording to hear Renato Capechi, and he does not disappoint. He is in good voice and takes command of the situation at his entrance. I will look for more performances with Capechi in them. The supporting cast is excellent, with a lot of familiar voices like De Palma and Clabassi. I would recommend the recording.”
Celine Papizewska
“Louis Quilico had one of the most sheerly beautiful baritones voices of all time, most evident in bel canto opera. Bellini wrote the most Romantic melody ever for baritone in “Ah, per sempre io ti perdei”, and Louis gives it all the dark, melancholy beauty at his considerable disposal. I used to study with him, and during lessons he would regularly overwhelm his students by demonstrating a technical point with phrases from Verdi. What a treat! If you could manage to find some of his performance in other bel canto operas, ie. Lucia di Lammermoor, and his magnificent Macbeth, as well as Falstaff, I would be in opera ecstasy.This Puritani vies with the Callas/Di Stefano as my favourite bel canto recording of all time.”
Essential listening for Knights of the Grail
“Vickers Parsifal is unique and one of the best recordings of the role. Quality of other performances unduplicable today. Parsifal has been fortunate in available recordings, so if you haven't heard this classic performance yet, you now have no excuse but to add this experience at this excellent price point. Sound is very good for the historically-minded.”
William Fregosi
“I bought this Lohengrin specifically for Victoria de los Angeles whose Elsa I had wanted for some while and I wasn't disappointed. She presents a very young, sweet girl, a traditional Elsa (this was 1964 -- the Elsas who ask the forbidden questions boldly and then embrace Ortrud in the last scene were decades away), and she is in beautiful voice, the top soaring.”
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.”
Kenneth Sherrill
“This performance is a barn-burner. Thrilling, exciting wonderful. Very Italian, not very French. It grabs you by the seat of your pants and leaves you exhausted at the end. I wish I had been in the house to hear it. Curiously, I once saw Corelli do it in French with Rosalilnd Elias in a Met in the Parks performance. I've never forgotten the intensity of that performance but, all in all, this is a better quartet. It's a feast for the ears.”
Jeffrey Kurnit
“This is just what I expected, a gorgeously sung but strange edition of the score. There are numerous cuts and several passages that I can't identify, but the performance trumps all such issues.”
Boulez Bayreuth1976
“Singers ? 10/10, orchestra ? 10/10. Boulez ? better than the official recording ! Audience ? Living but very few noise (bouh and so on), sound Better tha the official recording.Thanks Opera Depot”
Olivier Bergeron
“This is one of my favorite recordings of Manon Lescaut.Young, fresh Domingo and the incredible Virginia Zeani (who is, by the way, 20 years older than Domingo!) are both in top form and make an incredible team. If only we could find more recordings of the great Zeani on this website, the sales would most certainly go up!”
Extraordinary: contrast of Heldentenor and baritone highlists
“Ramón Vinay became famous as a heroic tenor, for many years he impersonated Wagner's heroes in Bayreuth, and was also Verdi's Otello. Toscanini chose him for his recording of Otello, it is the only recording of a complete opera in a studio with Vinay. Opera Depot's CD combines recordings from the 1950s, when Vinay was Heldentenor, with recordings from the 1960s, when he had switched to baritone. The arias and duets are not arranged chronologically, but according to the operas' country of origin - from France (Bizet, Saint-Saëns) to Germany (Wagner) to Italy (Puccini, Verdi). Thus, the recordings jump back and forth between tenor and baritone several times.The recordings from the 1950s are of the highest quality, both in terms of Vinay's vocal artistry and the technical side. As a baritone, he can certainly hold his own with the best singers in the field: His Holländer (the recording is unfortunately technically not good) and his Scarpia (both duets with Birgit Nilsson) are powerful. Vinay was a voluminous baritone - in contrast to Placido Domingo, for example, who in his recordings as a baritone presented a rather lamentable picture.”
Great Lohengrin
“This is an excellent Lohengrin. Jess Thomas and Claire Watson are wonderful in their roles. This recording dates from Vienna in 1965 and the sound is excellent mono. I haven't heard Bohm in Lohengrin before and he does a very fine job with his great cast. Christa Ludwig and Walter Berry make a perfect couple of villains. Also, you won't find a better King than Talvela.A highly enjoyable performance.”
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.”
Pears at his best.
“Great performance. Cross is very good better here than on the Decca recording but the best performance of this role is Sylvia Fisher and strangely Leyla Gencer although in Italian. Pears at his best and nice to hear a young Denis Dowling.”
Sublime
“I just re-listened to this performance after several years and must say it's even better than I remembered. Vocally, Eileen Farrell is a sublime Ariadne, with her rich, powerful voice, but what I find most extraordinary in her performance is that she makes Ariadne funny. The character is clearly meant by Hofmannsthal as a send-up of the opera seria diva, and that is what Farrell gives us with her excellent treatment of the English text. Mattiwilda Dobbs is a delicious Zerbinetta, with a full, rounded tone, spirit, and technique for days--for once, one wishes she had more to sing. The three nymphs (singers otherwise unknown to me) do some quite virtuosic singing of their own. Jon Crain is a youthful-sounding god, not at all heroic, but sounding mostly quite comfortable with the impossible tessitura and matching Farrell in the duet. The only let-down is the four comedians, who perform gamely but sound anemic. The conducting and orchestra are as good as need be, and the sound is, too.”
Wonderful Rhinegold!
“This was the opening night of Goodall's complete Ring cycles that were played together for the first time in summer 1973, and the recording here captures the special excitement of these first cycles which swept over us at that time (as was also evidenced by EMI's taping of Siegfried from the same cycles).It would be interesting to know the provenance of this recording - broadcast? in-house recording? - but whatever the source it has fine presence and stereo spread even if it lacks the clarity of the later 1975 commercial recording. Dare we hope that recordings of the Valkyrie and Twilight from these 1973 performances may emerge from the same source? The Rhinegold performance itself shows Goodall and his singers (especially Norman Bailey) on peak form in the conductor's notably expansive interpretation. Thanks to Opera Depot for unearthing this!”
Stack of Janowitz & Grists
“In general was what I expected - a variation of recording qualities - some very good. Service was exemplary - one mistake in sending - remedied in a flash. Couldn’t realistically ask for more.”
