Here are the items that we found.
Featured Artist
Sylvia Fisher
This week, I came across a fascinating series of recordings featuring the great Australian soprano Sylvia Fisher.
Fisher was beloved for her gleaming, silvery soprano, ideally suited to the demands of Richard Wagner, as well as for the clarity of diction that made her an ideal proponent of Britten’s operas, particularly in the title role of Gloriana. Her recorded legacy is comparatively limited, making surviving broadcasts and live performances especially valuable documents of an important dramatic soprano.
Sylvia Fisher
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120 New "Coming Soon" Titles
I have added 120 new titles to our “Coming Soon” collection, including several recordings that have never been available before.
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Bach (J.C.): Lucio Silla
Gaifa, Geszty, Varady, Hermann; Kehr. Schwetzingen, 1974
Britten: Albert Herring
MaCDonald, Fischer, Sinclair, Vyvyan; Davies. English Opera Group, 1962
Britten: Gloriana
Fisher, Hillman, Garrard, Hammond-Stroud, Andrew; Bernardi. Aldeburgh, 1968
Charpentier: Louise
Neblett, Alexander, Devlin, Bible, Riegel, Densen; Wendelkon-Wilson. 1971
Massenet: Thaïs
Pilou, Edwards, Riegel; Buckley. Miami, 1976
Spotlight: Ernst Kozub
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Wonderful Singer and Musician!
“Was there anything Heather Harper couldn't sing well? In this collection, Harper demonstrates how chameleon-like she was as a recitalist and concert singer in non-operatic repertoire.She was, perhaps unjustly, pegged as a Britten specialist early on. Here she opens with Schubert's delectable Hirt auf dem Felsen accompanied by Britten himself with the renowned clarinetist Thea King. They give a joyous performance, yet one that doesn't neglect the melancholy aspects of the text. Next we have five songs by several composers, two sung by the famous bass Michael Langdon. It's great to hear him in something besides Wagner and Strauss. He justifies his high reputation among music lovers with his sensitive handling of the poems.Britten's youthful Four French Songs are given a lovely performance by Harper. The disc closes with Ravel's sensuous, almost erotic Scheherazade. Harper shows again how fluent she was in various languages and styles.The sound is excellent though the middle group of songs from 1971 is slightly muffled. If you're an admirer of Harper, you'll love this disc.”
Gold!
“You have to hear the amazing voices of Gencer and Aragall to believe it!! WHY these two were not world famous in the same class as Caballe, Callas, Pavarotti or Domingo is beyond me. They had it all. I particularly like cd 2 but it’s all gold.”
Wonderful
“This is a wonderful performance of Meistersinger. First off, the RAI sound is excellent stereo. I thoroughly enjoyed hearing Janowitz and Kozub in their respective roles. Adam has performed Sachs many times and does his usual fine job here. Sawallisch moves this performance at a perfect pace. The rest of the cast is very good and this is a worthy release. I highly recommend this to anyone looking for a surprisingly good performance.”
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.”
"GABRIEL BACQUIER, THE PERFECT BARITONE"
“Gabriel Bacquier was the perfect and the most versatile French baritone and "basso-buffo" of his generation, and one of the very few French singer-artists (of his generation) to earn and gain international fame and recognition. One of the greatest (ones)! A must! Highly recommended!”
Another memorable Parsifal from Kna!
“Hans Knappertsbusch owned the Bayreuth Parsifal podium following the post-war reopening of the Festspielhaus. This is another first-rate performance demonstrating his attention to detail in each bar along with his grasp of Wagner's extended dramatic paragraphs. Yes, the overall timing is slow compared to later versions, but the incandescent beauty of the score is well conveyed. Windgassen is slightly more baritonal than one would expect from his forays as Siegfried, he has the part thoroughly under control, and he injects true drama into his portrayal. Mödl is a strong yet feminine Kundry - the hysterical pain of her 2nd Act cry of lachte is heart-wrenching. Hans Hotter's Amfortas is spectacular, beautifully sung, acted with conviction. Compared to his usual granitic bass turns as Hagen and Hunding, Greindl is a warm and sympathetic Gurnemanz, lyrical in the Karfreitag scene. Neidlinger, as always, clearly conveys Klingsor's malice and self-loathing. The recording is very good: the microphone placing was most fortunate in capturing both singers and orchestra in good 1954 mono sound, and the mastering for CD is excellent. Even if you have other Parsifals in your collection, this release is definitely worth exploring. Highly recommended.”
A fine performance
“Like Andy, I am a fan of the soprano Pauline Tinsley. I saw her many times, including some performances as Lady Macbeth, and she was magnificent. This performance finds her in thrilling voice with full-blooded coloratura as well as much subtler effects, but just listen to her final note of Act 1. High notes aren’t everything, but my word, they can be exciting! None of the cast lets the side down but the main reason to acquire this is for Pauline Tinsley. You won’t regret it.”
Theodore Shulman
“A very beautiful, note-perfect MEISTERSINGER. Gundula Janowitz is like no other Eva, unbelievably beautiful, like the sound you get when you dip your finger in wine and then stroke the edge of the glass, that eerie, penetrating harmonic. Franz Crass as Pogner is also very beautiful, lyric. Sandor Konya completes the poetical, lyric-sounding cast”
No fly-by-night "Barber"
“Where to start? For one thing, this is an ensemble effort, idiomatically performed by a cast that has the style down to their fingertips and plays with the expert timing of seasoned vaudevillians. For another, it probably hails from Naples' Arena Flegrea, which would account for the periodic airplane flyovers. Opera Depot's sound is so good you think they're right over your house. And the prompter is in such close proximity to the microphone he deserves star billing. Speaking of stars, Alfredo Kraus is on a plateau of his own, comparable to de Lucia and the greats of recorded history, treating us to a heavily embroidered "Ecco ridente" right out of the gate. Renata Scotto has her own refreshing ideas of comedy as Rosina, though one wishes she had substituted a virtuoso number for "Contro un cor," but that is a minor quibble. Aldo Protti's Figaro is surprisingly fluent in divisions, his skill in patter more than making up for the voice's intrinsic lack of allure. Although the audience "disputes" the Don Basilio, the two basses are adept in support of the stars. Vincenzo Bellezza keeps things moving along persuasively.”
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.”
peter jensen
“No doubt we are all over familiar with the studio version, a performance I always felt had a slightly stately approach despite the inner intensity and flow. this recording takes us into a very different space indeed, with an attack and spontaneity that grips you from the get go. What I really love is that ever growing malevolence in Hagens music, karajan loved his villians, the whiff of sulphur, the grand malevolent gestures and as the stakes intensify so does the singing and the playing, we are literally carried along (a rhine journey) that devolves into tragedy in a tangible way. The singing is a marvel, everyone is on best voice and the sound transports us into the theatre, maybe slightly limited but a natural and consistent acoustic so any sonic inadequacies are soon forgotten. Just let yourself be transported back to a magical night when the world's greatest orchestra with a superstar conductor collaborated to give us sheer excellence in the service of Richard Wagner.”
Excelente "Piccolo Marat"
“Memorable caracterización de Nicola Martinucci en el papel titular. Virginia Zeani aporta su excelsa experiencia en un rol que representó con éxito a lo largo de su carrera. Nicola Rossi-Lemeni aporta su personalidad ya alejado de sus mejores años y sobresale actoralmente. El resto del elenco se muestra comprometido en la interpretación de sus respectivos personajes. Nada queda librado al azar en esta espléndida relectura de la obra, en la que se destacan el coro y la orquesta bajo la dirección de Francesco Maria Martini.Buen reprocesado digital, aunque a veces, en función de los movimientos escénicos, las voces quedan en un segundo plano. De todos modos, esta mínima deficiencia técnica, propia de las grabaciones "en vivo", no desmerece el valor superlativo de esta interpretación de la difícil partitura mascagniana.La recomiendo en un 100%.”
Andy
“I read his article in Opera News in which he justified his withdrawal by siting his religious misgivings. I have to say that I don’t believe a word of it. He withdrew because in 1973 there was no way he could cope with the tessitura. Richard Cassilly told me that he was offered the cover of this production (he sang in earlier performances.) Initially he thought that the offer was an insult, but his agent convinced him to take it stating that there was no way Vickers would go through with it. A smart move…I mean no disrespect to Mr. Vickers who is one of my favorite singers and in the end I applaud him for realizing his limitations.”
Martin Ramor
“I agree with everything written in More details. It is a very good recording of Don Pasquale, with delightful Grist as Norina and great Corena as title hero. Amazing Bonisolli. You can suspect he will be singing dramatic repertoire in the future. This recording is a real joy to hear.”
Bayreuth Ring 1975
“Excellent. I bought this for personal reasons as I had attended the Bayreuth festival in 1974 and found an opportunity to own a recording with an almost identical cast. The 1974 version is available on CD, it there is one problem in the casting. After Berit Lindholm left Bayreuth in 1973, evidently Wolfgang Wagner had great trouble finding a Brunnhilde for 1974. That year, Roberta Knie was booed off the stage in Walkure, then two days later, Brenda Roberts was booed off the stage in Siegfried. The audience was fearful. But then two days later, Gwyneth Jones gave a magnificent performance in Gotterdammerung. Wagner must have rushed backstage to sign Jones on for all three Brunnhildes for 1975. No disrespect intended for the other two sopranos, but the 1975 version is just better than the one I saw the previous year. So by getting the 75 version, I am hearing what I should have heard in 74. Everyone is fantastic. I just want to make special note of Jean ***, who sang both Siegfrieds from 1970 to 1975, taking over from the retired Wolfgang Windgassen. He was magnificent. Just listen to that voice. In 74 I heard him sing in the Ring and in Die Meistersinger. I guess what I don't understand is why he was never as popular as other heldentenors, like Jess Thomas, James King, Manfred Jung, etc. oh well. This is not a studio recording so the orchestra and sound in general is muffled. Also there are some tape problems with jolting hiccups here and there. But this is a great historical document of great artists. Recommended.”
Elektra Astrid Varnay, Synek, Madeira
“Hi AndiOne had the impression that Astrid Varnay was totally overwhelmed by the tragic fate of Elektra and lets herself be carried by this dramatic atmosphere. All artists were "electrified".A truly good and special performance!Thank youCordialement, Marlyse”
This is a GLORIOUS Ring!
“I have listened to Rheingold, Walkure, and Act I of Siegfried, the Sword Forging Song. Every serious Wagnerian should have this Ring on CD, for several good reasons. The sound quality is excellent, it is in crystal clear monophonic audio with a very good mastering. Knappertsbusch is at the peak of his powers, and his interpretation in Bayreuth in 1958 exceeds the already high bar from the two previous seasons. The principals are in uniformly marvelous voice, Hans Hotter as Wotan/Wanderer, Astrid Varnay as Brunnhilde, and Wolfgang Windgassen as a strong, virile Siegfried. I have this performance on the Walhall release, and the sound quality here seems better to my ears. Before I slip this mortal coil, I would love to hear a contemporary Bayreuth Ring that rivals this recording, but I am afraid this level of operatic magic is once in a lifetime.”
A WONDROUS OCCASION FOR LOVERS OF ROSSINI AND “BELLISSIMO CANTO!”
“Imagine a time before a work like “La Donna” would be known to any of us. Caballe, Hamari, Bonisolli, Bottazzo, Washington are all youthful in tone, supple in line, sure in intonation, perfect in pitch and precision. This is a masterful and exuberant performance led by Bellugi. Sound excellent. Spoil yourself, add this to your library, and provide your own superlatives!”
Dalibor in German
“Thanks to Kubelik, the orchestral contribution on this recording as is idiomatic as can be expected. I wish I could say the singing was as idiomatic as the orchestra, but that wouldn’t be possible, even if they were singing in Czech—this is a largely German and Hungarian cast, and the Czech language seems to cause more problems for singers than almost any other.Elsie Morison sounds far too old (and wobbly) to be Jitka; Nienstedt as Vladislav II is her opposite, singing steadily and perhaps too strongly; Vladislav’s supposed to be a rather weak and ineffectual monarch, but there’s not really any weakness in Nienstedt’s voice. Felicia Weathers as Milada is good, but she overdoes it a bit in the vocal-acting department. Franz Crass is very, very good. The smaller roles (Vítek, the Judge and Budivoj) are well-taken. Horst Wilhelm’s Vítek is particularly good; he’s better than every other singer I’ve heard in the (somewhat thankless) role, save perhaps Beno Blachut in an ultra-rare early 1940s recording.Sándor Kónya is the best singer of the lot. Even if he can’t erase memories of Beno Blachut's 1950 interpretation, my gold standard, he does conjure fond memories of his Lohengrin interpretations, playing Dalibor more on the lyric than the heroic side. The sound quality is very good for its age. There’s a little distortion in loud passages, and the singers are sometimes too forwardly placed. There is also one minor (about 2 second) sound fallout in Act 2. Recommended.”
Excellent Document!
“This is an excellent document! USF, Rysanek and Varnay is luxury casting. I also love how the recording gives you a strong sense of space. When the singers are far from the microphone, there is echoing which adds to the acoustic effect. When the voices are near the mic they sound lush and warm. Another revelation for me, after listening to so many Elektras -- is that the clarinet and winds were never so present as in this recording. Sometimes I never even thought they were there. But once I heard them, it somehow adds some comic effect to the music. Is it just me? There are two instances of audio being cut. Like in the instrumental procession before Klytemnestra's entrance. But that is just fine, given that this recording is so precious!”
Charlie Edwards
“Pretty amazing how consistent Böhm is in Bayreuth 15 years after the Buenos Aires performances - his direction was always so intense and driven, the only caveat being thet the Todesverkündigung scene is too fast and perfunctory (1965). I wish there was more of the glorious Grob-Prandl - I've actually never heard anything to compare with her combination of athletic,tireless singing and warmth of expression - a cross between Nilsson and Flagstad! And any recording with Suthaus is worth hearing - such virility and tragic utterance. By the way it's definitely NOT Greindl as Hunding in Buenos Aires - doesn't even sound like a native German speaker. King, Rysanek and Nilsson in 1965 are pretty astonishing too.... though better known from the 1966/7 recordings - here it's a little more hectic and messy but pretty exciting. King is SO much better here than in Solti's studio-bound effort the same year.”
Rainer
“This recording is very special due to the participation of Ernst Kozub (Not even mentioned above!!), who died much too early in 1972. He was probably the only real Heldentenor around in the 60s and 70s apart from Hans Hopf and a worthy successor to August Seider and Ludwig Suthaus.”
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.”
Robert Calder
“It is worth noting, though I don’t have the specific reference, that with reference to Wagner’s obsession with Bellini and bel canto (the line, the ‘Melos’) one delightful pedantic old gent long ago regretted that this performance is in Italian because in his view it was the only one properly conducted — Vittorio Gui was one of the very great and among those great the greatest in the Bellini repertoire.So you may even be under-selling this recording,Panerai is very good, He had a longer voice than many other Italian baritones and was at one time engaged to record the lyric bass title role of Oberto in a radio recording of Verdi’s first opera. Some decades later he was on the live location recording of LA TRAVIATA aged 76, and perfectly able. His performances of lighter roles well up in the baritone voice mark him out as a considerable artist, showing up there a lightness of timbre quite distinct from what he produced in roles with a lower tessitura, as in Oberto, and of course here…”
A Highly Enjoyable Ring
“The recorded sound is, for th most part, very good. Götterdämmerung has some muffled sound, but still, it's perfectly serviceable. Nilsson, in her first complete Bayreuth Ring, is superb. Both of the Wotans are wonderful, but I'm puzzled as to why Uhde didn't sing Die Walküre, and Hines sing the Wanderer. Vocally speaking, their different colors would have worked better in this order. Windgssen makes a wonderfully youthful Siegmund, and Hans Hopf is the closest to perfect as Siegfried as one could ask for.Peter Roth-Ehrang doesn't go completely over the edge as Fafner, so he sounds more sinister. Kempe never allows the music to lag, so the listener can enjoy a taut performance from beginning to end. I highly recommend this set to everyone, and especially to all Ring lovers!”
Masterly Mozart
“Now this is how ,and many others like our Mozart,tastefully decorated(although Masterson does go a bit awry.but soon gets back).Mackerras as we all know was a Mozart Master!And the playing is superb,some may say a little hurried at times,but so exciting.The other soloists are all excellent,and also add decorations.A must have for all Mozart,Mackerras,and Masterson fans.In excellent sound”
SEMIRAMIDE SUCCEEDS IN SPITE OF CUTS
“Overall excellent performance & the sound is great for the period. The only drawn back are the cuts. Sutherland is in top form. Simionato is a treasure, however - do not look for Arsace's IN SI BARBERA as it's not here! The gentlemen are also up to snuff! A worthwhile addition to anyone's library & if you are a SEMIRAMIDE connoisseur… a must!”
A VERY BEAUTIFUL PARSIFAL
“Beautifully conducted, sung and played, with excellent sound in stereo. Crass is superb as Gurnemanz, Konya projects innocence and sings beautifully in the title role, and Janis Martin is a dramatic and vivid Kundry. Nienstedt is an amazing at Klingsor. The Bayreuth chorus and orchestra are terrific. Not to be missed if you're a Wagnerian and love this opera.”
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.”
Kevin Dunn
“A really excellent recording that brings out all the best points of Boulez' conducting: its lightness, delicacy, and the transparency that lets each instrument of the orchestra be properly heard. The principals are on great form, with special honours going to Gwyneth Jones as Brünnhilde - not always pinpoint accurate, but dramatically breathtaking.”
Dramatic coloratura sopranos', and were they drowned out by Maria.
“Did I have Caterina Mancini in my collection. Yes I did: Nabucco, on vinyl. I have not taken interest in Caterina Mancini until I heard your Ernani, and to another singer: Giuseppe Taddei who is also brilliant in this recording. (How little we neglect Taddei when he has been there all along) Caterina Mancini would have held equal rank (so too Gencer) with other sopranos' at the time but did not have entry to the opera houses on a regular basis and no major record deals like Maria and Renata. I look forward to more of your new recordings of opera singers.”
Walter Hartman
“Cruz-Romo is a great Aida. She is truly living the role and with wonderful singing. There is something very warm and feminine about both her voice and portrayal. Dunn is a strong Amneris, Bergonzi is a stylish, elegant and yet heroic Radames (but it is his lyrical quality that just can't be beat). MAstromei is a good Amonasro and the remainder of the cast is very fine indeed.”
Luise with an E
“A striking find. Von Einem creates electric dialogue-in-music, supported by vigorous, atmospheric orchestral writing. A distinguished multigenerational cast delivers vivid character portraits. Not every voice is easy on the ear exactly, but this is hardly bel canto. As a strait-laced bourgeois mother who knows her station, the legendary Marta Mödl turns her battle-scarred instrument to expressive advantage. The source, of course, is the same Schiller play that Verdi adapted, more freely and in his own language, as Luisa Miller. The heroine, a courageous innocent beset by manipulators, finds an ideal interpreter in Anja Silja, who projects simplicity of heart, quiet despair, and ultimately an understated yet radiant clarity of purpose. Brigitte Fassbaender shines in a more glamorous mode as her aristocratic rival. In the role of Ferdinand, the man these ladies love, the baritone Bernd Weikl bears an uncanny resemblance in timbre, attack, and accent to the young Jonas Kaufmann, difference in Fach be damned. The sound quality is high, with excellent balance between the stage and the pit—so much so that a listener conversant with German should be able follow the opera as easily as a radio play.”
John L.
“I enjoyed this performance very much. It is light, fleet, and transparent, with a very balanced cast. While I liked all of the singers, I was pleasantly surprised by Mariella Adani's Despina. I had only heard this singer as Musetta on the Boheme recording with Gedda and Freni. I would recommend this recording to anyone who likes Mozart that is crisp and clean and sung with much style and grace.”
Robert Donkers
“Gencer is such wonderful singer, ~I know some people do not like her scooping and diving in those chest notes and or her vibrato but I think she uses them to great affect. Love her different dimensions from fffforte to ppppppiano.”
Vital for Goodall fans
“It will surprise no-one that the Rhine flows rather sedately at this stage of its progress through the opera houses of Europe, but generally slow tempi yield carefully managed momentum at many points. In particularly, the 3rd scene is an absolute triumph. Overall, this is a performance that develops powerfully, in typical Goodall fashion. The first scene does not quite achieve a playful or seductive atmosphere, particularly at these speeds, but there is ample recompense in what follows. Orchestrally, there are one or two wobbles in exposed passages, but nothing to trouble any but the most fastidious of listeners. Ensemble work is a major strength - Hammond-Stroud, Bailey and Belcourt in particular strike sparks in their exchanges. All three are in excellent voice. The sound also is impressive- lower strings very much to the fore, but with overall clarity, very little stage noise, and nothing to suggest an audience, until the concluding applause. The only villain of the piece is the translation - the mixture of archaism, colloquialism, and Scrabble hacks gains nothing by familiarity from other Goodall performances. Huge thanks to Andy for making this recording available.”
Macbeth
“This was my first order, so have to say very pleased with the speed with which the four operas were dispatched and the sound quality - considering some were in house as opposed to relays. For me having a record of performances I went to outweighs any imperfections in quality and would certainly be ordering more in the future.”
Excellent, but....
“This performance is wonderful; however, the dating is suspect. The Glyndebourne and BBC websites indicate that this cast performed the work on September 28, 1965, for a special telecast over BBC2. In 1966, the Glyndebourne Festival staged this opera for 13 performances with Baker, Hemsley, and a supporting cast which featured some of the same singers as in the 1965 telecast. Again, info from the Glyndebourne website.”
Terrific Performance. Great Sound.
“I was surprised how engaged I got while listening to this recording. I've never heard Carrearas sound better anywhere. And, of course, Caballe was made for a role like this. Such control! The entire cast is in terrific form and it is a very tight production. Highly recommended.”
Excellent Performance
“This is surprisingly one of the best recordings of this opera. Each soloist is nearly perfect, and Wunderlich, is undoubtedly the best ever to sing this role, even though he only receives modest applause. All the other cast members are ideal, and Kertesz makes this a fast and exciting performance. Highly recommended.”
A wonderful beauty
“Romanian Zeani said that the crows also felt a sense of crisis. It's a great pleasure to hear her zenta. After listening to it, I take out her aria collection and listen to it every day.”
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.”
An first-rate Elektra
“There is a more well-known version of this recording from Vienna with almost the same cast. This performance, however was from a tour to Montreal. Nilsson, Rysanek and Resnik prove to be the definitive (dysfunctional) family, each bringing a unique approach to these three very different roles. Great recording”
An opera too rarely performed
“Ever since I heard this opera as a young boy in a performance with Virgillio Lazzari, Dorothy Kirsten and Charles Kullman, I have had an especial fondness for it. A couple of generations ago it attracted great basses such as Pinza and Lazzari as well as sopranos such as Lucrezia Bori, Grace Moore and Dorothy Kirsten. A generation ago I was lucky enough to see it in Sarasota. Its absence from the repertory is to be regretted, since it is an effective stage work with some beautiful music and an over-the-top poetic libretto.. The performers in this recording do justice to the work, with Virginia Zeani a fine Fiora. Her husband, Nicola Rossi--Lemeni in the role of the blind King Archimbaldo may not efface memories of Pinza or Lazzari but has the dramatic savvy to give a vivid performance. Tenor Ennio Buoso and baritone Giulio Fioravanti both give moving performances as Fiora's lover and her husband. The sound is more than satisfactory. You might want to seek out historic performances with Pinza and Moore or Lazzari and Kirsten, but the commercial studio recording with Anna Moffo is to be avoided.”
Captivating
“Agree with all the positive comments here. I bought this for Price & Wunderlich but was captivated by the rest of the cast, too, including the Zerlina, a singer unknown to me. David M.'s comment on Waechter's Don is spot on. The orchestral sound in this mono recording shifts between muddy and oddly imbalanced. But the voices come thru clearly. And what voices!”
John Stanton
“Corelli and Milanov create tremendous chemistry here. She is a sensuous Tosca and he an ideal Cavaradossi, heroic and romantic, giving probably the best (and longest held) vittorias ever.Guelfi was a famous Scarpia. His voice is large,gritty and impressive. He is however unrelenting loud without the nuances of other exponents of the role.The sound is excellent”
A PERFORMANCE TO TREASURE!
“This is an exceptionally coherent, engaging, lyrical & poetic Götterdämmerung. Richard Armstrong, musical director of WNO during its glory years (1973-86), conducts it broadly in the Kempe/Karajan/Goodall mould. While some prefer more muscular or hard-driven approaches, he highlights the opera’s manifold beauties, without sacrificing dramatic power. This is helped by Andrew Porter’s vivid & mostly well enunciated English translation & the orchestra’s exemplary playing. As emphasised by Andy, the star of the show is Anne Evans (b. 1941), a great soprano of Welsh descent. She sounds even more ardent, youthful & lyrical here than in her renowned Bayreuth Brünnhildes under Daniel Barenboim (1989-94). The other female soloists are also very fine, especially the young Kathryn Harries (b. 1951). Jeffrey Lawton (1938-2018) was slightly ‘wooden’ to watch as Siegfried on stage (I attended 3 performances), but he had ample stamina & strong enunciation & here was often almost as lyrical as Alberto Remedios. Barry Mora’s Hagen is lucid & engaging & has presence, & Nicholas Folwell’s Alberich & John Tranter’s Gunther are well enunciated. The WNO chorus delivers impressive sound in Acts 2-3. Andy has not dated the recording. If it was from Cardiff (as specified), it was probably in 1985. But might it have been the excellent BBC broadcast from Covent Garden in 1986? The sound has great clarity, warmth & ambiance, with remarkably few lapses. Highly recommended! Robert Bideleux”
Excellent. Was thinking of attending
“Excellent. Was thinking of attending when it was first announced. I'm a huge Resnik fan and she doesn't disappoint. Add King and Borkh at the top of their game under Solti and you get one truly memorable Frau. I'd have wanted the sound to be as memorable but it more than puts the excitement across”
