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Every week we offer 12 new titles available to stream for free
Castelnuovo-Tedesco: The Importance of Being Earnest (in Italian)
Andreolli, Misciano, Zanini, Adani; Campori. RAI, 1972
Compilation: Amy Shuard
Excerpts from Macbeth, Walküre, Götterdämmerung, Katya Kabanova, Tristan & more
Compilation: Anne Evans
Excerpts from Temistocle, Die Fledermaus, Dalibor, La Traviata, Lohengrin, Walküre, Elektra & Die Frau ohne Schatten
Compilation: Martina Arroyo in Concert
Amsterdam, 1967. BONUS: Martina Arroyo Sings Verdi
Mozart: Così fan tutte (In English)
Harwood, Baker, Curragh, Westi, Van Der Bilt, Shirley-Quirk; Gibson. Glasgow, 1969
Spotlight: George London
From Our Collectors
Five-Star Reviews
Opera lovers share their discoveries from the catalogue.
Vickers in his prime in one of his best roles
“I bought this CD because of Vickers though I have the commercial record (1963) and the late Covent Garden (with Verrett) and Metropolitan (with Horne) performances with him. This performance from Amsterdam in 1964 masterfully conducted by Jean Fournet shows Vickers really in his prime. Andy has right: it is really a must-have for the Vickers fans. He sings marvellously without the later mannerism. His strong personality, his vocal splendour and his unique intelligence makes him an ideal Samson. Ernest Blanc is also glorious in the role of the High Priest of Dagon. Oralia Dominguez has a special, exotic voice which qualifies her for the role of Dalila. She is not the same level like Vickers but a perfect Dalila. Peter van der Bilt gives a very good job as the Old Hebrew. Excellent performance. Highly recommended!”
Richard
“Jurinac is the star of this otherwise native ROH ensemble but she doesn't stand out, as the overall vocal quality is very high. Her soprano is in rich late-career shape, bringing a wealth of Viennese and Rosenkavalier experience to the role. Classic. Solti live is more nuanced and lighter in texture than on the Decca recording. A really enjoyable live performance.”
Absolute masterpiece
“All worthy of praise, each to a different extent, the well-prepared singers. However, I have a special mention for dear Marisa (M. Luisa Nave), my personal friend, unsurpassed above all in "O vagabonda stella d'oriente". Given the excellent stereo recording of shows in Newark, I also recommend taking LA GIOCONDA the following year from OperaDepot, again directed by the great maestro Silipigni. Hooray!”
1 star with 50hz hum, 5 stars without
“David Reynolds' review describes the performance well, from its admirable cast to the pervasive ground loop hum that, for me, made enjoying the performance impossible. Fortunately, I do have some digital recording software that has both 60hz and 50hz filters. The latter and some patience (software is basic so no batch processing; I had to do each .mp3 file one at a time) has now given me a decent sounding performance with a lot of really memorable singing. Ghiaurov provides a lesson in how to communicate Boris' torment without "hamming it up," and Fassbender is in the same league as Archipova and Milcheva in a role that is too often dismissed as somehow "tainted" due to its origins in the revised 1872 score, and thus not "original" enough. Definitely worth the effort to make it listenable -- 3 hours of ground loop hum could induce a migrane!”
Time to revisit the past
“Carol Neblett came to Milwaukee to sing Violetta, and my cello teacher called me up to say I should attend the open dress. I was floored! Everything about her was amazing, from her voice, to her sincerity to her presence, just a diva in the beginnings. I have adored Carol in so many roles after that - Leonora in Fidelio, Donna Anna!, Leonora in Trovatore, War Requiem by Britten, Tosca, and Chrysothemis - all roles I heard her live as well as a recital - where she publicly announced to her teacher in the audience, that she would NOT take on Salome (even though she did Turandot!). A very wonderful middle voice, tremendous flexibility throughout the range, musicality that was right on the mark and able to negotiate the trickest passagework at tempi that are on the brisk side of things. Conductor Nance keeps things moving along, but sometimes I wish there were more space so that Ms. Neblett could be more expansive. In Act 2 scene 2, where those over arching phrases are needed to contrast Violetta from the gambling, there is that space, so I am surprised a bit that the rest of it moves well, yet somewhat impersonally. John Stewart I had heard as Oronte in Alcina apposite Carol Vaness, yet much later than this performance. It reveals a nice warm sound, though a bit of intonation lapses that are apparent. A nice presence in terms of character with a bit of nobility. Dominic Cossa is wonderful as Germont. So very well sung and it was a joy to encounter him in a major role. This release is HIGHLY recommended. I would like to see even more of her work released. Does anyone have her Dido from LA Opera Troyens in the mid- 80s? That would be wonderful considering the sumptuousness of her middle voice indeed.”
Verdi: Otello - Del Monaco, Kabaivanska, Gobbi, Veasey,Ward, Robinson.
“Excellent. I love this recording. Listening to Del Monaco, Kabaivanska and Gobbi among others is an absolute pleasure. Thank you for this wonderful live recording. You are doing a very great service to all of us Opera lovers. Thank you again and very best regards.”
A roller-coaster soprano
“Part of the adventure of listening to Elena Souliotis is that she sounds like she might go flying off the rails at any time. In this Carnegie Hall performance it finally happens - not in a big way - but enough to offend some NYC cognoscenti. The rest is history. Excellent sound.”
Great Performance, Excellent Sound!
“Thomas Schippers gives us an absolutely complete four act version of Verdi's masterpiece. Eboli, Rodrigo, and Elisabetta get both verses of their arias in the first act, there are no cuts in the duets, and Eboli appears at the end of the prison scene. The singers are all terrific; I have no complaints about any of them. Cossotto delivers a stunning "O don fatale" and Zylis-Gara an eloquent "Tu che le vanita". Ghiaurov and Cappuccilli are superb. Prevedi not only makes something of Carlo, but rises to the occasion of the final duet with Elisabetta. Because this was a concert performance Rodrigo apparently dies of a heart attack as there is no gunshot in the aforementioned prison scene.The sound is good broadcast stereo with some occasional distortion in loud passages that I don't recall from other editions of this performance.Verdi lovers and fans of the singers should get this.”
Great rarity
“One of the many special things about Opera Depot is the number of rarely-encountered works it offers us, including this excellent recording. I recall the production very well, from a period when the ENO had an excellent team of house singers and was willing to indulge the specialist tastes of its conductors. Thanks to the likes of Mackerras, Groves, Lloyd-Jones, Elder et al I got to see fully staged productions of operas like Dalibor, Julietta, Rienzi, Mazeppa, I due Foscari, Euryanthe, Mr Broucek, which have never come my way again in the subsequent decades. As in every performance of hers that I attended Anne Evans is superb and sings with thrilling commitment and abandon. John Mitchinson never possessed a very attractive tone, but he also brings his usual heroic quality to the performance and at times brings a lovely gentle sound to the role. Diction is as good as it usually was back in those days. I actually like operas in English since it was the WNO and ENO that introduced me to staged live opera back in the 60s and 70s.”
Good. A little tepid getting
“Good. A little tepid getting started but the sturm und drang soon sets in. Ortica's unique sound takes a little getting used to, as does Tagliabue's very seasoned baritone. Christoff as ever the implacable gray eminence in top form and Cerquetti sails through it as a true spinto must. The bolero delivers, even without the Eb. Rossi seemed subdued. I expected more fire.”
Martha 1955 München Gierster
“Eine ausgezeichnete Aufnahme der Martha mit einer herrlichen Besetzung: Kurt Böhme ein hervorragender Plumkett, ein kongeniler Partner, der großartige Waldemar Kmentt und die unübertroffene Martha von Wilma Lipp.”
Martin Ramor
“It's an excellent recording of I Vespri Siciliani. Santi does a great job as the conductor. I heard him few times live also, and orchestra under him was allways like on this recording - a thing to cherish. I enjoyed all listed singers (the singers in small roles are not given in the notes). Deutekom (with her sometimes something like "basso" quality in her voice) is amazing (for this hear the second CD). The high notes were rarely a problem for her. Bonisolli is great, powerful Arrigo, who is able to bring the house down with his with his stentorian voice (Giorno di pianto). It is interesting to hear how polished he can be in La brezza allegia intorno. Glossop and Raimondi are both very fine in their respecitve roles. The very important duets (Monforte - Arrigo) and ensembles are nicely done. My advice: Grab it!”
This is a really excellent
“This is a really excellent performance of this work. Everyone is in top form. Ghiaurov and Cossotto are well known in these roles and are excellent here. Gencer, Prevedi and Bruscantini never got to record these roles and how wonderful it is to have them here. Gencer always amazes me. She is so unique and marvelous with stupendous pianissimos. Sound is very good.”
Joseph Brand
“This is one of the most thrilling Parsifal’s ever. Boulez’s interpretation has the majesty, beauty, delicacy and emotional power of this score at his fingertips and though his tempi are swift – even swifter than the commercial recording of two years later – it sounds completely natural as you listen – and the orchestral playing and choral singing are both magnificent. I think this is a finer performance than the 1970 version in which only James King is superior to the rather dry voiced, though perfectly adequate, Jean Cox. Much as I admire Gwyneth Jones, here Amy Shuard excels on all counts. Thrilling, fearless, full of character, and incredibly moving. Seeing that nowadays Kundry always seems to be sung by mezzos it is wonderful to hear a great soprano voice in the role. Wagner wrote it for a soprano who has a completely different timbre to a mezzo. The other truly outstanding performance is Franz Crass as Gurnemanz closely followed by Stewart and McIntyre. And what a line-up of solo flowermaidens. Even Kurt Moll stands out in a small role. Add to all this first rate recording quality – easily up to commercial standards – all Parsifal lovers should snap this up.”
Die Meistersinger - Beecham 1951
“Wonderful Beechanm Performance in good sound for its time. Shame Act 3 was never recorded but what we have is outstanding. Grummer is a great Eva. Also exc value for money as always”
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.”
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.”
"Die Meistersinger" sung by Mastersingers
“Another great live recording from the Bayreuther Festspiele (1964), under the inspired baton of Karl Bohm and featuring a starry cast of singers, such as: Josef Greindl, Anja Silja, Sandor Konya, Ruth Hesse, Kurt Bohme (among many others)! A real treat and a must!Thank you so much for this wonderful gift, dear operadepot!”
Dieter
“I shall certainly order this AIDA with Elinor Ross. Hers is a dramatic soprano voice of magnificent beauty and power. It is infuriating that her legacy is only a small number of live recordings. Nowadays international “stars” (Ms. Ross should have been one of the first order !) are created entirely by Public Relation,and we have to live with each and every mediocre interpretation of singers like Anna Netrebko captured on disc and DVD.BTW, there is a Video DVD of Elinor Ross`s NORMA available. Simply divine singing !”
Bizet: Carmen (In German) Troyanos, Ilosfalvy, Donath, Braun; Böhm. München, 1969
“I am a fan of Ilosfalvy I have heard him several times in live. Comparing him with other tenors in the second part of the twentieth century I should state he was the very best among them!”
DRAMA
“Heinrich Porges, in his personal written records of the 1876 rehearsals for the first Ring performances at Bayreuth, comments that"When the Rhinedaughters sing individually, the character of a dramatic dialogue must be maintained". Felix Mottl comments, on the Wotan/Fricka scene of Walkure, that "This dialogue must on no account be dragged out, but must remain flowing all the time". I can't ever recall hearing or seeing a Walkure that adheres so closely to these instructions or is as dramatic as this one. Focus is almost entirely directed to the words and the interaction of the characters. That's not to say that the music gets short changed; it's gloriously played with complete conviction. It's one heck of a ride with stunning singing from everyone. Gwynneth Jones in particular provides some ravishing moments, especially in the final scene with her father and with the excellent Peter Hofmann as Siegmund in Act 2.”
This is a must!
“An outstanding live performance. The cast on top of their career. It is a . pity that we have no video of this fantastic production of Wieland Wagner and Andre Cluytens. One of the greatest events at Bayreuth Festival..”
An Excellent Ring
“I am writing this comment as I listen to Act III of Die Walkure. Astrid Varnay's Brunnhilde is excellent, her voice is incandescent. Jerome Hines's Wotan is nearly moving me to tears with the beauty of "Leb wohl." Kempe gives us a thrilling "Ride of the Valkyries," and the rest of this cast is uniformly very, very good. Kempe's 1960 and 1961 Bayreuth Rings are both worth the purchase, he was an excellent Wagnerian, along with all the other K's - Keilberth, Krauss, Knappertsbusch, Karajan.”
Krips Rosenkavalier
“Viennese born Krips paces this performance brilliantly and reveals special mastery of its tender moments. A fine memento of Ludwig’s matured Oktavian (her last performance of the role was in June 1972). Thoughtful Rysanek is in splendid voice. A rare opportunity to hear the delightful De Groote. Adequate sound.”
Shaun Greenleaf
“This sprawling work is captured in excellent radio sound with an all-Francophone cast including the very characterful Robert Massard and the fine Guy Chauvet. The women are less distinguished but do fine work and the piece is a lot of fun.”
Stirring performance
“This is an excellent performance of Walkure. As most of the principals can be heard on other complete recordings, I will focus on the distinctive and (for me) unexpected feature here: Sylvia Fisher's Sieglinde. I think of this artist primarily in terms of her connection with Benjamin Britten's music. But her voice, as displayed here, is a fulsome instrument with a silvery sheen, and she has the power and, most importantly, the spirit for the Walsung sister. Her dramatic commitment, style, and vocal ability together make a striking contribution to the performance. Brava!”
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”
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.”
Anna Whelan
“This was the first production my father sang in at Covent Garden, as a new recruit to the Extra Chorus basses. The first voice he heard when he walked on stage for his first rehearsal was Gottlob Frick, and he very nearly turned round and walked straight off again. Frick was, as you say, in a class of his own.”
Sills in her glory
“The exquisite artistry of Beverly Sills is on full display. The usual City Opera choice for Violetta was Patricia Brooks but here we can experience Sills' elegant, feminine take on the role, a miracle of vocal grace and limpid expression. If forced to live with just this Violetta I would have no complaints. John Stewart's appealingly plangent tenor makes for a decent Alfredo and Dominic Cossa is but an average Germont. Julius Rudel leads sympathetically and restores the pizzicato accompaniment to Dei miei bollenti spirit. All the standard cuts are in effect. The sound, presumably taken from the audience, is of almost broadcast quality.”
Xavier Otazu
“Famous Boulez 1980 version (DVD) was my favourite Ring version among many other video and audio versions (Solti, Barenboim, Krauss, Karajan, Bohm, Keilberth, etc) ... up to now! This 77 version is at the same level (if not higher) as the 80's one. It is not as fast as the 80, but you can feel the tension, passion and electricity of the 80 and the special feeling that have REAL "live" recordings. Boulez has a total control of the orchestra (perhaps because of the "strike" by the musicians) with extremely clear and transparent voices, and you can hear the usual "surgical" Boulez sound and direction. This version has become my Ring mielstone.”
Fidelity/ 1970
“Was more than happy to have received this as I was never aware of its existanceAlthough you sent it to me under the name josephine ferri I am in fact josephine mcqueen who sang the role of marzelline. It was really a surprise to learn that this performance was available and it was something that my children can have in my memory . As we say in glasgow noo to bad 🥰”
A great Mahler 8
“According to the Wiener Symphoniker website the performance took place in Musikverein 19 June 1960. I have experienced Mahler's eighth symphony in about twenty different performances: live concerts, broadcasts, and recordings. Of these, only the Decca/Solti version can boast soloists who can compete with this concert. Mahler wrote unforgiving parts for all, and before hearing Wunderlich I've always thought that the tenor solos in the eighth were a miscalculation. Even W must strain a little, but I now think that was what Mahler intended.In fact, everyone acquits themselves well in a work which the orchestra had played a few times during the 1950s when it was still very uncommon. It's much to be preferred to their 1951 concert under Scherchen once on pioneering Columbia LPs, and I believe also to the Vienna Phil/Mitropoulos in Salzburg August 1960. Orchestra soloists are excellent, and the choruses sound well trained.The recording is stunning for a mono broadcast recorded off-the-air 64 years ago. There is very occasional FM static. The home recordist must have had good equipment and stored the tape well all these years. The task of the balance engineer of course was to limit dynamics to what radio listeners would accept, and pick out the essential strands in the complex score. The result is that perspectives change, but s/he knew the music and had microphones placed so that every vocal or instrumental solo is clearly heard, as well as the boys' chorus. Frequency range allows the organ to be clearly heard too. Of course the overwhelming whole could barely be captured even in stereo and under studio conditions, but I found this very satisfying - a bit like when Berg or Schönberg marked one voice Hauptstimme. Here the engineer has decided for us which it is. A recording to come back to.”
"Day of Wrath"
“Werner Torkanowsky, here leading the New Orleans Philharmonic-Symphony Orchestra in 1973, was one of the great, underrated maestri, and this “live” recording presents him at his finest. The exemplary quartet includes Norman Treigle, who had previously sung the masterpiece in 1955 (with Herva Nelli, in New Orleans), 1960 (in Ottawa), 1962 (conducted by William Steinberg, in Pittsburgh), 1967 (opposite Beverly Sills, in Mexico City), and 1968 (under Torkanowsky, in New Orleans), and this was to be the final time he undertook the score. He sings with matchless intensity and an enormous dynamic range. The performance is magnificent.”
The classic recording from the vinyl days
“This seems to be the amazing 1962 recording which was in the record stores back before you could buy CDs. You know, frisbee-sized vinyl you played with a turn-table and a needle-arm. And it's still the best! In fact, it's frustrating: I keep looking for a better recording, as they become available, and I can't find one. Having started with this one--the tip-top-- I've had nowhere to go but down, when it comes to recorded PARSIFALs.Andy's review covered some of the singers, but left out George London, who is absolutely terrifying as Amfortas, roaring in pain like a gigantic lion in a trap. Hans Hotter's Gurnemanz takes some getting used to, but once you remember that his geriatric sound and intermittent wobble are appropriate to the character (yammering old codger), it's not a problem, and, he portrays the loyal, sympathetic, avuncular personality very well. Gustav Neidlinger is, well, Gustav Neidlinger. The ultimate self-mutilated super-villain. And Martti Talvela in his prime sings Titurel with limitless depth. Kna conducts the chorus of knights with discipline and sensitivity. Two special treats, cherries on the sundae, are Gundula Janowitz and Anja Silja as super-sexy flower-maidens.”
John Stanton
“Three beautiful voices giving us arguably the most beautiful song cycle of all is some 60 mins. of music to return to again and again.Elizabeth Grummer at the time of her recording was 59 and her voice remains beautifully lit with clean diction. Her treatment of the songs has a little of the opera soprano in it, as does Arroyo's, whose fruity voice with its smooth emission soars wonderfully. Kiri Te Kanawa is probably more "Straussian" in attack, and it all adds up to a beguiling collection. These recordings are all available elsewhere but to have them together and at this price makes this an essential choice for any collector.As they are all concert performances the sound is very good. Grummer is more closely miked than her colleagues and perhaps the transfer levels may have been more felicitously adjusted on the three singers- you may need to get up and do it yourself for Te Kanawa!”
Rousing
“Solti shines in this compilation. The first disc is all overtures, which are in excellent sound. They get a little repetitive after the tenth one, as I began to long for the human voice. But his pacing, dynamics and overall shaping of the music is magnificent. On the vocal disc, there are great performances, lots of Wagner, Parsifal and the Ring. Highly recommended.”
Buy this record!
“I agree with Mme Margaret H. that this is a great chance for comparison, but not only that. On my CD, I ordered the performances so each song was performed by the three legends in turn. It helped me discover not only the differences in their respective performancies, but also to look into the songs and, simply, get to know them better. In spite being a Swede, I found Birgit Nilsson a little bit too hard on the notes, and I favour Zylis-Gara all songs counted, and Caballé all songs and techniqual quality (together) counted. But all of them add something!I have compared with my previous CD with Nina Stemme, and this record is still worth having.”
Congratulations
“I attended the opening night in Florence 1969 and have waited till now for a recording of any sort. The performance was from start to finish amazing, unique; not least for the stunning staging by the great Giorgio Strehler with his designer, Ezio Frigerio, which, of course, we cannot see, but it infused the musical performance and inspired Sena Jurinac and the others to give their all. For me it was an ultimative performance, alongside the 1961 one with Sena at Covent Garden, also soon available, under Klemperer; I had attended that as a young teenie and the evening sold me to opera forever) so, although I have heard many a performance since, I have never returned to an opera house for one live. Silly, perhaps, but I still live with the experience sdn opera, as we all know, is a very personal passion und gut so. Congratulations and thanks to Andy and his team at Opera Depot for keeping up the search for so long, until they finally tracked it down! You are all just great!”
I saw this!
“I haven’t listened to the recording, but I saw this live at NYCO and was blown away! Very early in my opera career, so the piece was unknown to me but I loved it. Also saw Sills and Treigle in Giulio Cesare in the same college spring break week - amazing!”
Great Meistersinger
“Norman Bailey is excellent as Sachs, singing with authority in his unique, dark timbred voice with its heavy vibrato. The ladies are equally fine, especially Janis Martin's surprisingly youthful sounding Eva. Cox is a known quantity, not the best Walther out there but more than adequate. Hermin Esser's David is more heroic sounding than one usually hears in this role (I wonder if he ever sang Walther?). The real surprise of this performance though is the fantastic conducting of Hans Wallat who manages somehow to bring out elements in this score that I've never noticed before. His pacing is also just about perfect with no peculiar tempo choices that a lot of otherwise great conductors have imposed on the score (Knappertsbusch, Boehm). Bravo maestro!The sound quality of this Bayreuth performance is quiet good overall but there are several episodes of tape overload and distortion which will bother some people more than others. I found that importing the tracks into my Audacity software, applying the Clip Fix editing feature, and then reducing the amplitude between 2-6 db significantly reduced these problems, making for a much improved listening experience.”
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!”
Never better!
“This is truly an exceptional performance of Il Trovatore. All principals are firing on all cylinders singing signature roles of their respective careers. I have been listening to this opera for over 50 years yet this recently acquired addition to my library has rekindled all the excitement for this piece that one has upon first discovering it. If you are a "Trovatore" fan you must hear Bergonzi, Price, Cossotto and Cappuccilli at their best by savoring the fire in this performance. Bravi tutti!”
James Mertins
“3 Brunnhilde’s plus 2 in the wings in Jones and Napier.=,would that this was the case today.Voigt ,Watson and Bullock don’t really cut it. Ligendza was a very good soprano but cancelled more times than not, she was scared of the big challenge and it showed.”
Exciting italian Carmen!
“Thank you very much for this new and rare performance with the great Corelli, and Verrett! She sings her role in french, and the rest of the cast sing in italian. Decent in-house sound.”
Yigit Gunsoy
“HiThis is indeed the last ever operatic performance of Giulietta Simionato.She had asked the Scala management what was on the roaster on that specific date as it was her 30th year at La Scala. 30 years ago she had sung one of the flower maidens in Parsifal and she wanted to bid farewell to La Scala again on that very same day. The management informed her that there was nothing at La Scala but however there wa La Clemenza di Tito at Piccola Scala. She asked if the whole cast was definite and they replied that only Servile was not casted. She insisted on singing the part, the management contracted her without understanding her insistence on such a small role. At the opening night, she told to her wig maker that this would be the last ever operatic performance of hers so she wanted her hair to be perfect! Soon the rumor spread to the audience and she was called to innumerable curtain calls and there were many who crid and cheered her.So nice to have this historic recording! Many thanks!Yigit Gunsoy”
Tristan und Isolde
“Eine gute Aufnahmequalität mit den damals besten Sängern. Astrid Varnay souverän als Isolde, Windgassen wie immer ein wenig kühl und distanziert in seiner Darstellung. Alle anderen Partien sind auch mit Spitzensängern besetzt. Eine Aufnahme die Freude macht und die man sich anhören sollte.A good recording quality with the best singers of the time. Astrid Varnay sovereign as Isolde, Windgassen alleys as always a little cool and distant in his portrayal. All other parts are also played by top singers. A recording that is a pleasure to listen to.”
