Opera CDs and MP3s of live performances

Excellent and Funny Performance of Britten's Shakespeare Setting

“This recording has already been praised by other reviewers on this site so I will only add that Russell Oberlin's other worldly timbre is magnificent as Oberon. He does not sound like a conventional countertenor; rather, like this is the natural placement of his voice. In addition, his diction is excellent. Carlyle is a sexy Tytania who sings the music with pellucid beauty and all of the other singers (including Andre Turp and Louis Quilico) are superb. Geraint Evans and his actor cohorts are genuinely funny, the audience interrupting with laughter more than once. A must for any Britten, Oberlin, or Midsummer fans!”

Daniel Zara

“I once witnessed one of those Parpignols that sent McCracken, in his Bing/Met frustrated youth, howling desperately for roles equal to his measure, to bedraggled Old Europe. Quite unaware, of course, who he was anyway or that he would one day return to storm and subdue Manhattan with such unique spinto authority.In a thickly overgrown forest of recorded Trovatores, McCracken’s stands out for its almost frightening intensity, its frantic, affecting urgency. This performance is about as good as the Grand Old Warhorse gets.”

Excellent 1966 performances!

“To be honest, I bought this entire Ring Cycle because my former vocal instructor at The Florida State University, Randolph Symonette, was in the major cast. Anything with him as a major cast member makes me very happy!”

One for the ages

“I bought this recording largely on the strength of Mr Reynolds’s review below, and concur with every word. Hard to believe that sound this good comes from 1963, and embarrassing to find that Hoiseth and Tyren (both magnificent) were until now completely absent from my collection. I wonder if Tyren ever performed Sarastro. Nilsson is at her imperious best, projecting character as well as complete vocal control. Orchestral weaknesses are audible, particularly in the horn and oboe sections, but are unlikely to disturb the listener for long. This is unmissable - and makes one wonder whether this was part of a complete cycle. Andy, once again, puts Wagnerians hugely in his debt.”

Superlative gathering of representative selections by one who was NOT recorded nearly enough!

“What a wonderful example of an truly under recorded artist! These selections present Zylis-Gara in prime voice throughout. I particularly enjoy Desdemona's Willow Song and Ave Maria which I heard on a MET Opera tour in1972 with co-stars James McCracken and Sherrill Milnes! In the mid-1980's with New Orleans Opera, Zylis-Gara performed Cilea's "Adriana Lecouvreur" with the wonderful Bianca Berini and the stalwart Ermanno Mauro. The two ladies brought down the house! I regret, though, that I never heard Zylis-Gara in Mozart. The recording features a couple of Dona Elvira's arias. It's also interesting to hear Zylis-Gara as Octavian in the astounding trio from "Der Rosenkavalier." The Princess is Caballe! Wow!”

Brilliant Concert in excellent sound

“It is hard to believe that singers can reach this this level of technical perfection in a live performance. KIng is a revelation in verismo repertoire, which I had never heard before. Cavaradossi? KIng? You better believe it. Slight intonation glitches doesn't detract from Rysanek's fully determined performance. It is a generous recital with many beautiful things in it, and it makes a very satisfying listen.”

A RECORDING WORTH CROWING ABOUT = 4 stars

“Le Coq d'Or (The Golden Cockerel) is Nicolai Rimsky-Korsakov's most familiar opera, but that doesn't make it anyway as familiar as, say, Verdi's Aida. Nevertheless, the work, designed as a mocking portrayal of Czar Nicholas II, is jam-packed with musical orientalisms (or what R-K may have conceived as orientalisms) and contains one of the all-time great coloratura soprano showpieces. “The Hymn to the Sun.“ In this English-language 1971 production of the N. Y. City Opera capably led by Julius Rudel, the star of the performance is unquestionably Beverly Sills who nails the stratospheric role of the Queen of Shemakha. As King Dodon , we have bass Norman Treigle, who is ok, but not as memorable as Boris Christoff on an Italian recording of a decade earlier. Enrico di Giuseppe as the Astrologer does as well as anybody in the vocally high-flying role. An essential for fans of the late, great, Ms. Sills.”

Brian Morgan

“This 1963 Concert Version for Cologne radio of "Il tabarro" is fascinating. Immediately, it reminds one of the 1966 studio recording of excerpts from the same composer's "Tosca," for Decca, also sung in Italian translation, with Anja Silja as the prima donna.Helga Pilarczyk, celebrated particularly for her important interpretations of the works of Schoenberg and Berg, is an unexpected choice for the rôle of the hapless Giorgetta, but is a success nevertheless. The Kammersängerin does not provide the visceral thrill and catharsis of the great Italian sopranos, like Magda Olivero and Renata Scotto, in this music. Rather, the German artist provides a searing psychological penetration of the character with a precise examination of the score. As with the aforementioned Decca recording of "Tosca," this performance has an Expressionistic slant which is intriguing and extraordinary.The Heldentenor Ernst Kozub, principally remembered for his Erik in Otto Klemperer's 1968 recording of "Der fliegende Holländer" (with Theo Adam and Silja) is a marvel as Luigi. Despite such a large, dark voice, he sings for far more dynamics than the average tenor, and Marcel Cordes roars splendidly, like the dragon Fafner, as Michele. The mellifluous voice of Erwin Wohlfahrt is heard in the secondary part of the Song-seller, and Alberto Erede conducts con slancio. Opera Depot's pressing is exemplary.”

Daniel

“As stunning and satisfying a Tosca as I have ever heard in many decades of recordings. Metternich so dominates that the 3d Act seems somehow anti-climactic. His rich, menacing voice seems to sweep over everything and reaches into every crook and cranny of the proceedings. Rysanek, as advertised, shimmers and astonishes with well-armed youthful abandon--even if some of her exchanges with Scarpia ring a tad [involuntaryily] shreiky. I don't agree that the Wagnerian heft serves Hans Hopf in general against the lyrical passages, but his \""Vittoria!!\"" is itself almost worth the price of the ticket. Terrific up-front broadcast sound, but don't expect the same high quality from the later \""Bonus Tracks.\""”

The stars aligned to capture Sutherland, Simionato and Rossini!

“Enough cannot be said to describe the vocal mastery that transpires here. Sutherland and Simionato, each is resplendent, together miraculous! Ganzarolli is excellent, dark and fluid throughout. Raimondi is so striking, the omission of his arias is regrettable. Several ensembles and choruses are also cut. Santini may lack “elan vital”, but he partners the singers with care. Sound is very good.”

Martin Ramor

“It is great recording. I like all singers, chorus and orchestra. I like Cox - he is very noble Parsifal and does a great job singing, the same goes for Shuard. Now I should not be surprised anymore. Before operadepot Cd's I knew only a few recorded arias by her. Now I can really enjoy this great dramatic soprano. Orchestra is great, sublime, energetic. It is real joy to listen to Orchestra de Bayreuther Festspiele under Boulez.”

Great Cosi

“I love this performance of Cosi. I bought it because I love Teresa Stich Randall and I was not disappointed. She sings beautifully. The rest of the cast is also very fine and blend nicely in the ensembles. TSR has sung this role with Berganza before and also sung with Maag in 1967. This shows throughout the performance. The conducting is warm and funny, exactly what is needed in Cosi. Just an fyi, the tenor is strained at times, but that does not ruin the liveliness of the performance. The sound is excellent, especially for a live theatrical performance. Bravo and thanks to Opera Depot for making this available.”

Seek no farther

“Sir Michael Tippett's most accessilbe opera, "King Priam," is angular and fast-moving. However, it doesn't 'play itself,' as performances with lesser casts have demonstrated. For this world premiere, Covent Garden fielded its first team, headed by Forbes Robinson's stalwart protagonist. Richard Lewis is a standout as Achilles, and the combination of Marie Collier, Margreta Elkins and Josephine Veaaey in the female leads speaks for itself. John Pritchard tucks into the score with gusto and the result is a performer that ought to satisfy opera fans who think of Tippett as knotty and inscrutable (a reputation that he did a lot to perpetuate). Highly recommended.”

Tebaldi As Butterfly In Naples, A Portrayal Of Wonder

“Tebaldi, in a role she sang infrequently, is glorious in her singing of this role in Naples; her voice soars with emotion and her portrayal is truly affecting.The downside of this recording is that the prompter’s voice is particularly prominent throughout; a debit, but Tebaldi’s committed and highly performance makes this cd one to cherish.”

A Rysanek Rarity

“At a time when the discovery of new Leonie Rysanek recordings has become increasingly rare, this is a real find. Leonie was not fond of the concert stage and of being aware of her audience, but here she is inspired to great heights of beauty, power and emotion in the first Scene of Tannhauser Act 2, starting with a brilliant Dich teure Halle, then the final scene of Walkure Act1, again in primeform, radiant, feminine and totally involved. Tenor (Giselbert) Wolfgang Kassel more than holds his own, providing less vivid, but strong and musical support. The unnamed conductor is full-blooded and exciting. The sound is a little dim - four stars might be on the generous side - and benefits from a treble lift, but the voices in this in-house recording are well caught. I wouldn't want to be without this performance.”

Another great historic Bayreuth broadcast!

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

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.”

Excellent as far as it goes........

“I don't know because I have not been able to download Die Walküre bcause the site says I have downloaded it already five times. I HAVE NOT! In fact I have been unable to download it even once. I' d be glad to write a proper review, if someone cam resolve this problem!!! The file was a Flac zip”

full cast list

“Il Duca di Mantova ▫ Luciano PavarottiRigoletto, suo buffone di corte ▫ Peter GlossopGilda, figlia di lui ▫ Patricia BrooksSparafucile, bravo ▫ Harry DworchakMaddalena, sorella di lui ▫ Susanne MarseeGiovanna, custode di Gilda ▫ Fredda RakusinIl Conte di Monterone ▫ Robert PattersonIl Cavaliere Marullo ▫ Richard ShappMatteo Borsa, cortigiano ▫ William AustinIl Conte di Ceprano ▫ William GoegleinLa Contessa, sposa di lui ▫ Diana HeitnerUn paggio della Duchessa ▫ Mildred TyreeThe Philadelphia Lyric Opera Chorus & OrchestraChorus Master ▫ Carlo SuppaANTON GUADAGNOProduction ▫ Renzo Frusca Academy of Music ▫ Philadelphia ▫ February 13, 1973Philadelphia Lyric Opera Company”

The Trojans at Carthage

“If you don't mind having only part of the opera and it being sung in English, then this recording, in excellent sound, can be thoroughly recommended. Janet Baker, as one would expect, is a superb Dido but my main interest was the opportunity to hear Ronald Dowd, a much admired but woefully under-recorded tenor. I well remember him singing Aeneas at a concert performance in London and many other roles, a wholehearted singer always giving good value for money. At one stage, he was considered for the role of Walther in Reginald Goodall's "Mastersingers" before Alberto Remedios was chosen. It would have been interesting to hear Dowd's no doubt very different interpretations of that and other Wagner roles. But "Rowdy Dowdy" might not have been amenable to Goodall's meticulous training regime! I can also recommend his performances in Tristan and Die Walkure Act 1, both available from Opera Depot. In this recording, the other singers, orchestra and conductor all acquit themselves well.”

Wonderful Mefistofele

“This is a wonderful performance. The sound is good, the musical performance is full and exciting under Argeo Quadri, and the 4 leading roles are well taken. Hayashi is lovely as Elena, Chiara is a very communicative, involved performer and it is nice to have more than is commercially available from her. Buzea is a solid Faust and Ghiaurov is superb as Mefistofele. This was caught at the height of his vocal powers. Excellent!”

Preview of things to come

“I was in the audience at this performance. Unforgettable. Actually, this group had done a performance a few weeks previously at Brooklyn College, which I also attended, so I knew what to expect. The Callas/Dallas/Bing blow-up was yet to come, so there was no expectation that a Met/Rysanek Macbeth was in the cards. The atmosphere was electric with anticipation and, in a few short minutes, Rysanek delivered. The audience let out audible gasps at the climaxes of Acts 1 and 2 as that ringing Rysanek top rode over soloists, chorus and orchestra. To anyone who, sadly, never saw or heard her live, even this recording does not do full justice to the size and impact of that voice. And, of course, it cannot capture the visually dramatic intensity that was to mark every Rysanek performance. But it comes close.”

John Stanton

“This is a very generous and satisfying compilation of this great mezzo. Rita Gorr was as much a contralto as mezzo, her transparent aristocratic voice bringing Kathleen Ferrier to my mind.. We have a marvellous KINDETOTENLIEDER, moving in the sheer sound of the voice and observance of the emotional context of the songs. Then this same voice gives us Isolde!!The first disc of concert performances is as expected, in good sound.The second disc from opera performances, displays her extraordinary versatility in variable but mostly good sound.Rita Gorr was a great artist with a individual voice the kind of which has disappeared from the scene. No Slavic thickness here, but a transparent lovely contralto. A very welcome memento of a great and under recorded singer.”

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.”

Touching

“A wonderful performance. Very touching for me, because myself I was in the audience then. Windgassen has never been surpassed, he was in a marvellous condition at this late time! Thank you for this wonderful recording in good sound!”

Ravishing Gwyneth Jones

“This is a first-rate Walkure and with a ravishing Gwyneth Jones as Sieglinde it becomes transcendent. Jones embodies Sieglinde with passion and complexity. Her teaming with Helge Brilioth's Siegmund is breathtaking. Berit Lindholm is a formidable Brunnhilde.”

Roland

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

A contemporary review of "Ariadne"

“From Howard Taubman's review in the New York Times:[Thomas Scherman] had first-rate singers in the two leading roles. Eileen Farrell gave Ariadne memorable grandeur of voice and style, and Mattiwilda Dobbs sang Zerbinetta with accuracy, lightness and grace. The part of Ariadne lies perfectly for Miss Farrell's magnificent voice. She can float long-breathed phrases of matchless quality, and she can vary her tone from fine-hued softness to a sumptuous fullness. She has appeared in concert-form opera a great deal in smaller halls. When she sings in a large hall that can accommodate her voice, she is more impressive than ever.Miss Dobbs has the vocal agility and discipline to manage Zerbinetta's big aria, one of the most taxing in opera. If she is just a shade careful with it, who can blame her? She sang it not merely as a vocal exercise but as a piece with musical meaning.Jon Crain sang Bacchus with energy; his tenor has fine stuff in it but he will not try to refine it. Patricia Connor, Mary Judd and Madelyn Vose made a well-balanced. trio as Naiad, Echo and Dryad, and Russell Oberlin, Loren Driscoll, Robert Goss and Jan Rubes were agreeable as Zerbinetta's companions.Mr. Scherman did a workmanlike job of conducting the opera. He has presented it before, and he discovers new subtleties as he studies it more deeply. As a curtain raiser he conducted four symphonic interludes from Strauss' "Intermezzo."”

divino Corelli und Top Sound

“Ton Qualität ist ausgezeichnet gut.Interpretation-die Stimmen sind absolut, das Schauspiel ist vollkommen - man braucht und will keine andere Interpretation mehr, es kann nix besseres sein.”

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.”

Guido Bathe

“This recording is of a Premiere, which it is coducted by Fricsay, not by Lenzer. The date which is noted in other publications is about of a performance of "Boccaccio". This Performance shows the work of an Ensemble, not of stars.”

Excellent Performance

“This is a wonderful version of this difficult opera. Each singer is the best in his/her role, and they are all in better vocal shape than the famous recording in '77, especially King. Bohm is always at his best in Strauss operas. This might be the best version available, especially because of Operadepot's excellent remastering. There is some distortion at a few of the climaxes, but for the most part it is very clear to listen to, and the voices sound great.”

Really, really good ...

“There´s not much to add to Richard´s detailed summery (and I own - as of now - 92 Salomes, abot 15 ... 20 of them actually get reruns from time to time. And 2 Fidelios, which get no reruns). Tynes was new for me as well, and she does her job in a really admirable way.Andersons prophet fulfills the necessity of credibility, which is the most important feature in delivering this role. I don´t expect (or believe in) most beautiful singing from a guy, who lived off sand and the occational scorpio- or spider-bit. He´s convincing ... and so is the complete performance under the supervision of Mr. Shippers. Will get a resumption, with headphones, this summer, in a deckchair at a beach.”

FOURTH RANKING AMONG THE KNAPPERTSBUSCH PARSIFALS

“Where does one go after fully enjoying the "golden trio" of Parsifals: Kna1951, 1952, and 1954? I would like to build the case for this one, even including the stereo 1962 among the choices. Let me list the factors that combine to create a really enjoyable experience. 1. The odious Mixtur-Trautonium, a primitive electronic synthesizer, replaced the original Parsifal Bells after 1954. But it sounds nothing like church bells, and it also made a different sound each time. In 1961 it is bearable: not enjoyable, but at least not annoying. 2. One cannot have a complete understanding of Parsifal without hearing Hans Hotter sing Gurnemanz. Here he is at his steadiest, without wobble. 3. George London reclaims his role from the early 1950s as a passionate Amfortas, in a deeply moving performance. 4. Irene Dalis and Jess Thomas are excellent, and some connoisseurs suggest that on this evening both are freshest in voice. 5. Gustav Neidlinger is a great Klingsor, here in splendid form, something not always guaranteed. Everything comes together beautifully in crystal-clear sound. One Parsifal authority, while accepting the high standard of this performance, nevertheless complains that nothing special happened this time. Yet this is the point: other Parsifals conducted by Knappertsbusch may have a + factor but there is also a – factor from something else.”

SUPERIOR FREISCHUTZ

“No complaints....the whole cast is excellent...especially Tinsley. Her dynamic range is remarkable. She begins the second act aria very softly...like a light lyric....and at the end, she's a dramatic soprano!!”

CLASSIC ERNANI PERFORMANCE

“This recording documents a celebrated production of this early Verdi work, at the time still relatively unfamiliar. The previous year, Dmitri Mitropoulos had presided over a Met revival of the opera (a broadcast recording of that production with Del Monaco in the title role is available for streaming). Here the tenor joins a new and interesting cast, and Mitropoulos’ swift tempos make for an exciting night. Cerquetti is in prime voice, secure in both chesty low passages and brilliant high notes. She sings the shortened version of her entry scene, with the cabaletta (one verse only) run in with the cavatina. It is a game effort at a fearsome task: some roulades are suggested rather than sung and some abrupt high notes are screeched rather than placed. This may be due to the brisk tempo set by the conductor, however. Still, the audience is more than delighted by what she does. This scene past, she sings the rest of the demanding role with powerful, secure high notes and, more memorably, with distinctive, dramatic colors in the quieter moments. In the subsequent duo with baritone Don Carlo, she memorably colors “Ogni cor serba un mistero...” (Every heart hides a mystery).The other roles are strongly cast. Bastianini brings both a rich voice and a dramatic sense to Don Carlo, getting cheers for his big moments in Act 3, while the granitic timbre of Boris Christoff’s voice fits the bitter and revengeful Don Silva. Del Monaco is in lush voice, and while his presentation of the character is mainly one-dimensional, he fills out the Verdian melodies and wows his crowd. He is also able to scale down his voice for the Act 2 duet with Cerquetti. The chorus gets a little raucous in the opening scene but stays tuneful and united in all their subsequent avatars. The celebratory anthem to the two Carlos ending Act 3 is especially fine and gets a strong reaction by the audience. Sound is excellent. This recording is well worth having, both as a landmark rendering of this opera and as one of our best documents of Cerquetti’s singing/acting abilities at her prime.”

Vicent Sos Bravo

“Sawallisch with a powerful and incisive orchestral conducting makes us forget that this is a concert performance. Adam plays a powerful and noble Wottan. Kniplova is one of the most satisfying Brünhildes after Nilsson, Lindholm and Kuchta. Cox is the best Siegfried after Windgassen. The unknown Katz sings a sufficient and refined Siegmund and Nienstedt probably does the best performances of his career.”

4 Operas

“Sales etc excellent. I do think that on the main site there should be perhaps a star system about the actual recording quality. I have just received an excellent Leoncavallo Edipo, but an unlistenable Nabucco - fine for someone who really wants this recording but still poor - lots of noise as well. Just a thought.”

Great sound, excellent performance, a few quirks

“First, the sound of this is astounding for a 50s Ring — only the ‘55 stereo Keilberth ring sounds better of the ones I have heard. Kna’s conducting is superb and joins (for me) a short list of conductors who make the Ring work at slower speeds— I usually prefer the swifter Rings of Bohm, Krauss, Boulez, Furtwangler (Milan 1950), Keilberth, and Janowski. The conducting has weight wedded to forward momentum and concentration. And the singing overall is typical of the era, excellent overall. Yet there are some oddities that keep this from being an absolute favorite, even though it is highly recommendable. This Rheingold is one of the oddest I’ve heard. There are a lot of stage and pit coordination problems, perhaps stemming from Knappertsbusch’s infamous disdain for rehearsal. Then we get the “alarm clock” electronic beeping in place of the anvils, apparently recommended by Carl Orff. It sounds weird. Lastly the Niebelungs were directed not to scream but but to growl and grunt as if they are acting like cavemen in a bad ‘50s movie. Just weirder. Things improve by Die Walkure, and while Hotter and Varnay are off their peaks, they are still better than most other postwar exponents of these roles. Nilsson is great as Sieglinde. The main sticking point that keeps this one from the absolute top for me is Aldenhof as Siegfried in the third opera. He might have the stamina, but his wobble is too much for me. Windgassen is an improvement in Gotterdamerung. Even with these criticisms, this is an extraordinary Ring, great overall and a bargain at this price.”

The sailor...

“...is Donald Pilley (according to the Radio Times). Not a name I know at all. But here is the man himself, talking about the early days of ENO https://youtu.be/Btin7S9FMDc and https://youtu.be/drRh7dkJos0”

Brian Lowery

“I have almost 20 different recordings of Macbeth, and this CD is one of my favorites. The three main characters are Macbeth and Lady Macbeth (of course), plus the witches! Paskalis and Barstow are very good as Macbeth and his wife, but the witches chorus in this recording is the best on any that I know. Many times in other recordings, the witches mumble and often don’t sound menacing or evil. On this recording they sound scary without being excessively dramatic. I also like Morris in the brief role of Banquo. I highly recommend.”

dr.Francesco Mosca

“In the 25th anniversary of the death of the master von Karajan, this is a performance that does full justice to its autocratic executive teaching; everything here, absolutely responds to the call, starting from the top-quality in sound recording (really hi-fi) that magically makes the acoustics of the great hall of the Festival and its very wide stage. The items then - although it varied the meter we use to assess - in this live boast that their natural roundness hardly emitted elsewhere. Today, therefore, a \""Don Carlo\"" so you do not listen any more neither indoors nor outdoors theater. So a dutiful thanks to OperaDepot: good price and fantastic files!”

LUCIA DI LAMMERMOOR = JOAN SUTHERLAND

“My favourite soprano, Joan Sutherland, as Lucia di Lammermoor, one of her best roles and, moreover, in her prime (1961). One of the best live performances of Gaetano Donizetti's masterpiece I have ever heard, featuring a starry cast, under the fine guidance and baton of John Pritchard. A must! Another must! Thank you ever so much, my dear friend Andy and my dear friends at OPERA DEPOT!”

Buy it for a true old fashioned (in a good way) Mozart experience.

“This is a superb performance with every singer on wonderful form and Davis conducting the score like a thing possessed with real dramatic urgency. Sound very good too. Highly recommended as an antidote to bloodless period performances.”

Must have Giordano

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

Magda in her signature role

“This is a wonderful performance of this opera. Not in the first rank of masterpieces but Olivero transforms it into a great vehicle for a singing actress. You also have Franco Corelli giving passionate support. The sound quality is a bit boxy but acceptable, and the audience goes wild for minutes on end. There is another performance from Amsterdam with Magda, but a slightly less distinguished cast. Better sound quality and the Dutch audience enthusiastic but less vociferous than the Neopolitans.”

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.”

Beautiful performance

“When I first became aware of Peter Hofmann in the 1980s, well after the noticeable wobble had started, so for me this 1976 performance was a revelation of what his voice had been capable of: secure through the range, with a youthful lyricism backed up with the power when needed. And no wobble. Bernd Weikl was to me an admirably elegant singer, and I was fortunate to see him in several roles at the Metropolitan Opera, including Amfortas. As he was only 34 years old here is Amfortas has less of the world-weary King and more of the "fear of the unknown" to me, but still glorious singing. Eva Randova is surprisingly good as Kundry -- I guess I am used to her more as Kostelnicka -- and her high notes are secure. I was good to hear Heinz Zednik, one of my favorite character-role tenors. i agree with the other reviewer that the sound is excellent in Acts Two and Three, but the Act One sound is like listening through a large, gauze bandage covering both ears.”