Opera CDs and MP3s of live performances

Once in a lifetime performance

“Leonie Rysanek's Salome was taped many times but this ORTF broadcast is the prize of the lot. Rysanek's voice, which was like a huge erogenous zone, was primed for Salome by the Seventies -- she lost out on gigs with Herbert von Karajan by not undertaking it sooner. It's a big, juicy sound, allied to a more vulnerable interpretation of Salome than we are used to hearing, full of the Oriental softness that Strauss said he wanted from the character. She has the perfect conductor in Rudolf Kempe, a Straussian par excellence and a master of transitions, crucial to this score's many serpentine twists and turns. But perhaps what makes this performance most special is the once-only Herod of Jon Vickers. The tetrarch of Judea has never been so imperious and, when in the grip of psychosis, terrifying. Vickers takes a number of liberties with the score but the overall performance is so valid that we go along for the ride. Thomas Stewart brings suitable Old Testament fervor and a rock-steady voice to Jochanaan and Horst Laubenthal is luxury casting as Narraboth. Ruth Hesse's ubiquity was always a mystery to this listener and her average Herodias doesn't clarify the enigma. This used to circulate on truly horrid-sounding LPs that we had to tolerate for the glimpse they gave us into a remarkable confluence of great artists, battling for glimpses of greatness amidst a sea of hiss and static and surface noise. Happily, Andy has found a first-rate source and shared it with posterity.”

John Stanton

“The gorgeous voices of Verrett and Cabelle make a perfect blend; "Peaches and cream" as the combination has been described.Verrett to whom belongs the first act, as Elizabeth brings a marvellous sense of arrogance, and Cabelle's soft floating pianissimi make a touching and vulnerable Mary.Cabelle has the last act and some of the most beautiful music in this lovely score. It is in effect her mad scene, or rather one of her resignation, but very much mad scene form: beautiful reflective passages with sympathetic observations from the chorus.The two ladies show their metal in the middle act: the meeting of Elizabeth and Mary: Historic nonsense but operatic necessity. Mary's lover, the Leicester is well sung by the dramatically aware Edoardo Gimenez, although his rather dry sounding tenor is not helped by the often close miking in this concert performance in Carnegie Hall. Of the two performances of this opera with these two great singers available this is the rarer and harder to find.As to be expected from the concert performance the sound is excellent.”

Performance Site Confirmed as Philadelphia

“For the record: the performance took place on April 7, 1967 by the Philadelphia Lyric Opera Company at the Academy of Music. The verification comes from Frank Hamilton's meticulously researched Opera in Philadelphia annals, backed up by the cast announcement in the April 2, 1967 issue of the Philadelphia Inquirer.”

David Wyatt

“Giulini's 'late' Falstaff in London was my introduction to the opera: it was difficult to see why he'd chosen it, as a lot of the sheer fun was in the staging rather than the music. Hearing this earlier performance explains a lot! The late one was autumnal, like a late Titian - beautiful, but all the colours were browns; this one is more like earlier Titian, bright colours, still beautiful but much more lively. It's an ensemble opera and though (as noted above) Meg and Alice are less sharply characterised than the others, there is a huge sense of energy, momentum and fun - in the music this time, and (judging from the audience reaction) on stage too. I'd forgotten just how good Geraint Evans was - though he's careful not to make too much of the title role, and is dignified rather than buffo.”

Wagner Ring Bayreuth 1957 with Knappertsbusch

“In my interest bias to the approach of the conductor, I will look at this briefly from my experience of Knappertsbusch' conducting. Knappertsbusch is a conductor from whom, well, you can't always be sure what you are going to get. There are moments where the tempo seems yes, inappropriately slow, and justifies his perhaps unfortunate reputation as one of those old dead mystical Romantic German conductors whose bombastic, unsystematic, seemingly unrelentingly instinctive approach is best left 6 feet under the ground and 100 years buried in history and ignorance, lest it disturb our cold, modern, analytical, anecdotic and statistic sensibilities in music.I am convinced that Knappertsbusch was at his best and most inspired when he conducted Wagner's operas rather than symphonies. He seemed to be able to imbue the Ring cycle with a creative vitality which I do not hear to the same degree in his symphonic conducting recordings.This Ring cycle of 1957, of the three he conducted, seems to have the best combination of sound quality and performance level. I am not an expert here but my observations are based on some comparisons of important moments in the cycles. The '56 I think had a more convincing Immolation, but the sound is weaker and other parts are not as magnificent as '57. My impressions of the '58 cycle were consistently weaker than the latter two.The Ring cycle, for better or worse, is a (very long) series of moments. But Knappertsbusch is a master of those moments. At his best he feels the weight, warmth, and variety of colors in the orchestra and lets them speak at their own pace, from their inner dynamic. The singers communicate with astounding clarity and breadth this way, even though they may very well have wanted to kill him. The result is that one becomes immersed, possessed by the music-drama in a very unique way. You must have patience and forget about 'comparing' tempos to the simpletons who 'execute' (guillotine) the cycle in 12 hours. The finale of Das Rheingold under Knappertsbusch is an epic tone poem in which the final culmination is not merely a crudely tacked-on gesture, but the inevitable crashing of a tremendous wave, a stream of an amplitude which has been building gradually and unequivocally, perhaps like the crescendo of an epic poet who gives sufficient time and pause for his oratory to hit its mark. There are many such moments in the cycle and on that basis I am a fan. Finale of Walküre Act 3, absolutely honoris causa. That being said, even though I like to say a few nice words, this cannot be a sort of greatest Ring cycle. There are appallingly sloppy places in terms of rhythmical playing and other things... what can you do? What Kna had and could transmit he seemed able to better than anybody else. Thank you to Opera Depot for making this available, it sounds great.”

Continuation from Below

“...but he does have imagination to spare and uses his more slender vocal means with intelligent, colorful purpose. Ericsdotter has a steady, attractive soprano with a strong top and is equally exciting. Her top Bs at the end bring the opera to a rousing conclusion. Von Rohr was, perhaps, just past his prime, but it's still a major voice. He avoids the sleazy interpretation of Daland that has become standard in contemporary performances and it's a relief. Gruber's voice is a little wooly, rather like Bernd Aldenhoff, but with a steadier, more focused vibrato. He conveys all of Erik's torment without getting too sweaty about it. Both Rolf Bottcher and Elisabeth Schartel are very effective in their roles. Some of Gui's tempos in the overture are slower than we're used to hearing, but once the singers enter he brings everything together with style and a fine sense of drama.The sound is excellent: full, warm, and clear. If you love this opera, you need to hear this performance.”

"ANTONIETTA STELLA"

“Antonietta Stella was one of the finest sopranos of her generation and matched, for instance, Mirella Freni, Renata Scotto and Montserrat Caballe'. Unfortunately, she was underrated and overlooked by the great recording companies. This is a great compilation featuring and starring Antonietta Stella at her best. Highly recommended!”

Excellent Tristan

“I agree with the other reviewers. This is an excellent Tristan. The sound is very good broadcast stereo from Italian Radio. Nilsson is Nilsson and can't be beat as Isolde. The remaining cast is also very good if not up to Nilsson. Buy and enjoy,”

Bel Canto Fan

“This is one of my favorite Rossini operas and now probably my favorite recording. A young Caballe in great voice. My only criticism is that the finale seems rushed compared with other recordings I have. Sound overall is excellent.”

Theodore Shulman

“An excellent, uplifting performance of ENTFUHRUNG. The Divine Fritz is in particularly good voice, and sounds more present and in-the-role than in either of his other three recordings of this work (which are conducted by Zubin Mehta, Eugen Jochum, and H. Wallburg). The other singers are fine, and they perform well together in ensemble.”

A great opportunity to hear a masterpiece

“This opera is a truly neglected masterpiece. It is as great as Janacek’s other operas such as Jenufa, the Cunning Little Vixen and From the House of the Dead, and to boot the plot is as zany as they come, typical of the composer, with time and space travel, probably the first science fiction opera. I have the Jilek recording on Supraphon and the BBC recording on Deutsche Grammaphon, and this one is right there with them, no surprise given the man at the helm. I did not know this recording existed until I saw it listed with Opera Depot, but once known I had to get it. It’s great to hear it in English, not all operas transfer well to it, but I think this one works. The sound is excellent. While my favorite recording overall is the BBC one, that is getting harder to find, while OD makes this one readily available. If you enjoy Janacek, getting this opera is a must.”

A gem of a rarity, a rarity among gems

““Poliuto” offers set numbers that alternate between plaintive and stately. They are joined by yards of recitativo accompagnato. The whole illustrates Donizetti’s place in the continuum from Beethoven, Cherubini and Gluck. The cast offers dramatic intensity and vocal immensity. This production occasioned Callas’ return to La Scala, and she is shown to advantage. Corelli and Bastianini are gods among mortals. Zaccaria and De Palma are superb. Votto leads with authority in a vein more classical than romantic. Very good mono sound.”

A Stunning (!) perfomance!

“All us that have been really impressed with the overwhelming beauty and intensity of Gwyneth Jones in the DGG realease of the Boulez Parsifal Bayreuth 1970, did perhaps think that nothing could surpass that. But I agree totally with the earlier reviewers. This might be the most magnificent by Jones ever captured in a recording! The voice flows effortless from the must subtle pianissimos to the breathtaking outbursts in the end of act two. Simply stunning! This is a "must have" for Gwyneth Jones fans. The rest of the cast is as good as in the DGG set. Crass sings beautifully and with much love. King's stiffness makes him sound more like Siegmund than the vulnerable Parsifal, but he is reliable and firm. Stein makes the piece flow naturally, and the soloists, especially Jones, are able to express Wagners intentions without any hindrances from exaggerations of tempi and volume.”

Enchanting Performance in Excellent Sound!

“Ravel's delightful fantasy about the consequences of a naughty boy's tantrum is given an excellent performance here. It features a young Shirley Verrett in three roles (her distinctive voice is easily identifiable), Anne Perillo superb as the misbehaving boy, and Helen Strine easily ascending to the Nightingale's high Fs (she sang Alexandra in the recording of Blitztein's Regina with Brenda Lewis in the title role). The other singers not only sing well, but characterize their various roles with humor and affection. Several times the audience bursts into delighted applause. Frederic Waldman keeps the musical magic well in hand. I'd forgotten what a charming, sometimes subversive opera this is!The filler has Verrett in three excerpts from her famous portrayal of Carmen. Two are from the 1973 Covent Garden performance with Domingo under Solti, the final track from the last five minutes of a performance given in Italy with Franco Corelli as Don Jose. Both performances are available complete from Opera Depot and are recommended (the Covent Garden performance is in much better sound and is a true classic).”

AMONG THE 3 BEST BAYREUTH RINGS!

“In the decades following Wieland Wagner’s death, Stein was a huge stabilizing factor at the Bayreuth Festival. After Böhm and Nilsson withdrew from Wieland’s RING, Wolfgang’s earlier one was revived in 1970, and Stein played the rescuer as he frequently did during his underpublicized career. He leads a swift, exciting cycle that’s often more cleanly executed than the familiar Böhm recordings issued by Philips—compare the shapeless string crescendi in the latter’s Rhine Journey.As for Stein’s cast, it’s likewise better balanced, the old hands always impressive here: Höffgen’s Erda was still the most sonorous around, Neidlinger’s Alberich even richer and firmer than on Decca’s pioneering SIEGFRIED (try “dann zittre der Helden”). Meanwhile Ridderbusch has taken over Fasolt, Hunding & Hagen, and it’s a relief to hear him call up the vassals with quality singing rather than Greindl’s belting and blaring. Two others from the later generation are also remarkable. In his 4th Bayreuth season as Wotan, Stewart offers an array of valuable assets: stamina … volatile temperament … handsome midrange … ringing top … lucid diction … lovely mezza-voce effects (e.g., “Wen ich liebe” in SIEGFRIED II) ... and power exactly where needed, from D4 to F4 in the ragings of WALKÜRE III ii; here he rides the orchestra with a fire and security beyond heavier voices (contrast the Teldec set, where Tomlinson is strained, under pitch, and behind the beat). In sum Stewart is the nearest thing to an all-embracing Wotan since Hotter in the 1940s. Lindholm (Brünnhilde) was Stein’s second ace in the hole—a true hochdramatisch soprano in prime estate and an authentic alternative to Nilsson: fluent top notes, centered intonation, plus a rounder, warmer sound with an enriching yet well-regulated vibrato. Compare her “Heil dir, Sonne!” with Nilsson’s on Philips: Lindholm is better tuned, steadier, more radiant, all characteristics of her work back then. True, her low notes are wiry at times, and her career achievement can’t match Nilsson’s, but her 1970 Brünnhilde is the genuine article and a continual pleasure. The other newbies are less exceptional though still of interest. Gwyneth Jones’s vocal problems began in 1970, both with Kundry on DG’s PARSIFAL under Boulez and here with Sieglinde. She’s restrained and lovely until I iii, then the upper middle turns tremulous when she pushes (e.g., the F#5 on “bis zum Heft”), and in Act II she can be screechy and scratchy, regaining some control in Act III. In the main she’s no less listenable than Rysanek, “Du bist der Lenz” and “O hehrstes Wunder” being largely attractive, but the firm, fresh instrument of the 1960s was never to return.Cox (Siegfried) has similar problems around the passaggio—raw tone on open vowels plus scooping and sliding. Elsewhere he is bright in timbre, energetic, phrases smartly, and woos Brünnhilde with plenty of voice left; and while Windgassen regularly made a hash of “Schmiede, mein Hammer,” Cox is vastly more adroit as both blacksmith and percussionist. Among the other tenors, Kollo is deluxe casting as Froh … Paskuda has patches of sagging pitch but furnishes more actual singing than many a Mime … Esser (Loge) owns a B-list heldentenor with, even so, more sound than the demigod often gets … and Brilioth’s Siegmund is intense and imaginative, through squeezing and struggling at the climax of the Todesverkundigung. Finally, we’re blessed with several major voices in minor roles: Bailey and Martin as the Gibichung siblings, Reynolds as a shrewdly etched Fricka and Waltraute, Bode as a full-throated Woodbird, the young Rundgren as a Fafner with all the low notes. In short this is a rousing, tightly knit, potently sung cycle, among Bayreuth RINGs superior to the erratically cast Philips set, and, thanks to its Wotan and Brünnhilde, in a class with Keilberth 1955 and Krauss 1953. Opera Depot’s sonics—mono in the first two works, stereo in the rest—are clear but without atmosphere or aroma. However they’ll do till Orfeo gets around to an audiophile issue of the Bavarian Radio tapes. For the performance alone this easily rates 5 stars.—F. P. WalterAlbuquerque”

A beautiful Elektra to have

“I've been bought Operas in English and I love live performance; this was a SHOCKING surprise; the sound and English was perfect. If you love Strauss's Elektra, this is worth getting.”

Rock

“Tinsley is another of those great singers who was under-recorded. UmbertoBorso’s only studio recording was Aida in the early 50s with Mary Curtis Vernaand Ettore Bastianini. (Now available on CD.) He had a big, golden voice.Don’t know why we didn’t hear more of him.Nice to hear Irene Dalis in an Italian role. Most of her recordings seem to beWagner. As Andy says, the pace of this performance is energetic.”

Boyd Cathey

“This is a truly superb performance, from 1963, and it finds Gertrude Grob-Prandl in fine voice. Some authorities have written that Grob-Prandl had the largest and most powerful voice of the 20th century (rivaling Nilsson). The voice is always clean, even plangent, exactly placed, and exciting. Although this performance is from Graz, a provincial center, what we have is a performance that would make the Met or La Scala blush with envy today. My only complaint, and it is not about the performance, is that the recording I received seems to have a sudden cut-off at the very end of the first disc, and more audibly, a small gap at the beginning of the second disc. I have written to OperaDepot about this, as I think the problem CAN be fixed. Thus, far I have not heard back, but I hope they will reply. (9-29-2015)”

great opear, great performance

“Excellent performance due to the protagonists. I was able to hear Marion Lippert live in this role in Budapest and according to my opinion she was one of the best Turandots for ever. Flaviano Labó is an excellent Calaf and though I prefer Rosanna Carteri and Pilar Lorengar as Liú, Montserrat Caballé has memorable moments in this role. William Wildermann gives dignity to the role of Timur. There is a solid team around the stars and they give a very good ensemble production. I have no problem with the chorus and the orchestra. They are really not in the level of the protagonists but we get a reliable performance from them. Giuseppe Patané is well-known for the Hungarian opera lovers because during a long period he was the first guest conductor in the Hungarian State Opera House and he leads with strong hands the performance. It would be good to know where this performance was running,”

Parsifal/Boulez

“Many thanks for sending the replacement CDs and the insert. I've played through Side 2without a hitch and assume that I'll have the same result with the last act. Performance magnificent and recording quality astonishing..Congratulations and thanks for all your work, Sydney McMinn.”

A Defining Festival Performance--- As Good As It Gets!

“Of the dozen or so live performance recordings from Opera Depot, I believe this is the best!! For the most part, stereo sound quality rivals the best of the era's commercial releases. And the performance!!! Oh, my! Carreras is at his considerable best, gloriously singing a role that, unfortunately, was just one of those that shortened the peak of his career. Mirella Freni couldn't ever have been better than here; the same is true of Cappuccilli's Rodrigo. I only stop naming the cast because they are all tops! I can't recommend this recording too highly. Andy has produced a real winner here. All Verdi fans and fans of these great singers should avail themselves of this one asap.”

My Response to the Siegfried-Brünnhilde Review

“Thank you Opera Depot for my Bayreuther Siegfried Brünnhlde.  I am overjoyed that my Brünnhilde has not been lost forever in oblivion and overwhelmed by the wonderful review of my performance. Thank you deeply for your kind words.  I must respond, however, in order to correct history and the long  journey of my career! When I began my career in the opera world, I had just graduated from college. Over the next years, singing Elektra and Salome in my early 20’s, I received excellent, positive press. But there was also criticism that I, in their opinion, was singing on my natural, uneducated voice and the consensus of this opinion was that I was going to ruin my voice within two years. The truth is that I had studied voice since I was 11 yrs., training with the best vocal technique, maintaining that a voice has to be trained so well, that finally it would sound “natural”. I have survived a good number of years and have retained the lightness, range and technique in my singing - at last count, c. 165 Elektras, 160 Salomes, 70 Färberins, 65 Ortruds, etc. Wolfgang Wagner engaged me personally, having heard my Färberin in Nürnberg.Although I suffered in Bayreuth from incessant intrigues without manager, record company, agent, Horst Stein was wonderfully supportive. As GMD at the Hamburg State Opera, I was engaged for 9 yrs. and sang many memorable performances under his baton (Elektra, Senta, Ortrud, etc.) www.brendaroberts.net”

an excellent Ring!

“I've been enjoying this Ring for the second or third time now. The final act in Götterdämmerung just blows me away. The orchestra is a force to be reckoned with, and Keilberth's vision is persistent and unwavering. Windgassen's Siegfried is as good as any other, and Martha Mödl is a gem. She was no Nilsson, but who is? There is a brief pause after the final orchestral notes before the Bayreuth applause begins, almost as if the audience is overcome with the sheer elegance and beauty of Wagner's score. While I love and admire Solti's studio Ring, the live performances at Bayreuth offer genuine organic emotions that are sometimes lost in the sterility of studio recordings. Highly recommended!”

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.”

Kenneth Sherrill

“Worth it for the amazing performances by Sutherland and Simionato. Their second act duet was so good that I stopped the recording and played the duet again. Sadly, the work is very heavily cut. Both tenor arias are gone, much of the choral music is gone. Conducting is not good at all.”

Surprised!!!

“I am really surprised by this recording. Unfortunately, Hans Beirer never made a guest appearance at the Stuttgart house. In fact, there was a Siegfried in Stuttgart in 1971 with Marion Lippert as Brünnhilde, but the title hero was Karl-Josef Hering (Conductor: Leopold Ludwig). I haven't seen the performance, but there is a live recording of the final duet. - However, the voice of Hans Beirer is unmistakably heard on the sample. It must therefore actually be a performance in which Marion Lippert and Hans Beirer sang. But the venue was definitely not Stuttgart.”

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.”

MOZART in ENGLISH SPARKLES

“Fantastic performance! Deutekom, Price, Burrows, Bryn-Jones & Ward are incomparable. No HIP psycho-babble here. Just great singing & playing of Mozart's masterpiece. It is without hesitation that I recommend this performance to anyone who loves Mozart & Golden Age singing.”

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.”

Wonderful find!

“Great performances! As a student of the late Gloria Lane, to hear her wonderful singing is a constant inspiration. Please try to find a recording of her in her greatest role, CARMEN.Thank you for offering this!”

Some facts about this performance

“Just some facts about this lovely performance: the date given is wrong. This performance took place on 21 October 1970 at the Royal Festival Hall, London. (I was there). I quote the programme 'The English translation of the libretto is a conflation of the versions by Chester Kallman and Christopher Hassall. The Bard's prologue has been newly translated by Brian Trowell'.”

Varnay as Kundry

“This document of Astrid Varnay‘s Kundry is a must! I never heard a better 2nd Act! Varnay is perfect in every thinkable way; her portrayal of Kundry is unique and not to miss! Jess Thomas is in brilliant form as Parsifal. Hans Hotter a authority as Gurnemanz. Neidlinger beyond critics as Klingsor. Theo Adam slightly disappointed me as rough throated Amfortas. The Flowermaiden are a collection of first class opera soloists as they were only possible at Bayreuth in former times.I love this recording!”

One of the very best Rosenkavaliers...and look at the supporting cast! PART TWO...

“And there's more: the presence of Harold Williams as one of Ochs’s Servants is important. Williams was a great Australian baritone of an earlier generation, noted in opera but mainly in oratorio and concert, making his reputation and the larger part of his career in the UK. He was one of the chosen original soloists, both in Coleridge-Taylor’s Song of Hiawatha and in Vaughan Williams’s Serenade to Music. He sang in the first performance of The Dream of Gerontius (often working with Elgar himself), sang at Elgar’s Memorial Service in 1934 and at the Coronation of King George VI and Queen Elizabeth in 1937. I believe that Williams also sang in every Prom season from 1921-51! He also performed in major roles with the British National Opera Company and at Covent Garden. A very busy and sought-after singer, Williams also found time in 1952 to appear as the Judge in a (very) abridged version of Trial by Jury in the film The Story of Gilbert and Sullivan...brilliantly, I might add! Later in his career a long-term member of the Glyndebourne Chorus, at the point of this Rosenkavalier he was Chorus Manager. How did he find the time for everything!”

Little Known Gem

“I thoroughly enjoyed listening to Alzira. The singing was quite good and the sound was pretty decent considering this was from a 1967 live performance. There are some (including Verdi) who don't care for the opera; however, there is much to like here: lots of good melody, plenty of blood and thunder that you find in early Verdi, and a very exciting performance. Don't compare this opera to other Verdi works. Forget the plot and just enjoy the music. It's better than the masterpieces of a number of lesser composers.As a bonus there are excerpts from Anna Bolena, I Puritani, and L'elisir d'amore. I would like to know who the singers were in each of the excerpts, especially the Puritani, which was superb.”

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”

Spectacular Der Ring des Nibelungen - Boulez, Bayreuth, 1977

“My thoughts on the Ring… not just any Ring. Not Solti’s Ring, in all formats, LPs London, LPs Decca, CD, Re-mastered CDs then the Ultimate in Blu-Ray Audio. But wait 3 issues on Karl Böhm's 1966/7 Bayreuth Ring, CDs Philips reissued again in Europe CD. Philips's miking captured a ideal pit/stage balance than Decca’s Solti Studio Ring.… We know all the players are interchangeable, and spread over the Decca Studio Ring and 1966 Live Philips Bayreuth Ring. I still have the above rings… in Storage, oh, well… the truth is as we age our digs get smaller. I smell an estate sale coming… and an audiophile year in year out for 50 plus yrs with $$$$$$ in audio equipment… now at age 71… it’s down to a single 1 tube preamp… for my Bose Noise Canceling Headphones fed into AMRRA HI software for the iMac, iTunes… Down to this… and It’s heaven.This recording is one of the best sounding Ring cycles ever. That includes 20plus complete Ring cycles live. The air around the horns is breathtaking.The voices bloom and are amazing,,, it’s goose bumps all the way… The presence, the conducting… . Each instrument is in it’s air own space you hear everything and that is what live should be… the audio engineers have out done them selves… I thank the other 8 reviewers for their input… I would have missed an important recording and a specular performance. Wagner: Der Ring des Nibelungen - Jones, Kollo, Jung, McIntyre, Kélémen, Minton, Salminen; Boulez. Bayreuth, 1977 … Well Done.”

5

“Hi ...Please Uping Live Opera Very Mor from ... Grande Baritono, Maestro (Giuseppe Taddei) & Grande Tenore ...Maestro (Mario Filippeschi) ...Taddei : Nabucco - Rigoletto - IL Trovatore - Falstaff - Simon - Otello - Tosca - Lucia di Lammermoor - IL Triticco - Aida - L'elisir D'amore 1967 - La Fanciulla del West - La Forza del Destino - and ... Thank you ...”

Giancarlo Stampalia

“Finally a fresh Dernesch recording (there is precious little else around aside from the Karajan classics)! I cannot deny I am a fan of this singer and therefore not totally objective. But here, even detractors will have to concede, she is in peak form, clean and precise, and before any fatigue showed in her high register; in terms of weight and volume, absolutely perfect for Ewa. And already with that incredibly warm timbre (with melancholy inscribed in it) which would stand her in good stead a few years later and make her (as far as I am concerned) the ideal Isolde.The rest of the cast I would say is excellent, with Waldemar Kmentt just displaying his usual uneven voice production (some notes, especially in the low and medium register, come out uglier and gruffer than others); but, as a medium-weight tenor (not a heldentenor thank god), he conducts himself admirably.The sound of the recording is indeed excellent.”

Roman musical

“Opera Depot has given us an important recording in this 1971 performance of Charpentier's "Louise" from the New York City Opera. The three principals, Carol Neblett, John Alexander, and Michael Devlin were great artists whose discographies do not reflect their reputations. Charles Wendelken-Wilson (sic) conducts an exciting account, albeit in slightly dim sound.Neblett is very moving in the title role of the rebellious girl, and no doubt she was the very image of the part in the theatre. Alexander sings beautifully, and was always stylistically acute. The great singing-actor Devlin is tremendous in the part of the tortured Father.In the large cast are also found the likes of Frances Bible, Kenneth Riegel. Irwin Densen, and Don Yule. Highly recommended, indeed!”

Joseph Brand

“The great Taddei was scandalously neglected by the record companies. This powerful portrayal of Macbeth certainly does him justice helped by the superb conducting of Previtali and the magnificent Shuard. Luckily I heard these two together in these roles at Covent Garden in 1960 and they are caught at their best here with an excellent supporting cast, chorus and orchestra. The recording quality it very good indeed. For once the ecstatic audience reaction is entirely warranted.”

Tajo conquers Pasquale

“This performance captures all that is good with Don Pasquale. I have always liked Tajo. His scenes with Panerai are excellent. Overall this might not be the top Don Pasquale to purchase, but it is up there.”

VĔC MAKROPULOS, performed in French

“This success of the present gorgeous account of this shocking opera is in no small way due to the idiomatic, and loving, conducting of Charles Bruck. Everything Janáček asks for is here. Enough said. Most will rightly focus on the fact that this is the first run of performances as Emilia Marty by Elisabeth Söderström, a role for which she has become so justifiably celebrated the world over. She performs the role with exceedingly clear French diction in a translation that seems to defy the difficulties inherent in translating the Czech language. It is also a true feat of genius that Elisabeth Söderström also sang the role in German and English, but, astoundingly, never performed the role onstage in Czech. In fact, her first performance in the original came only with the studio recording made for Decca under the baton of Charles Mackerras.As for the 1968 (only) date and venue ORTF (only), difficult and time-consuming sleuthing came up with a true date and venue. The ORTF only performs at the Théâtre des Champs-Élysées. Looking through what they have online, and corroborated by that theater, the opera only made its first appearance there in 1979. Following help from interested parties at both theaters, it has been ascertained the performance at hand actually took place on Tuesday, 29 October 1968 at L'Opéra de Marseilles. Unfortunately, I was unable to find the names of the four missing characters.The sound is excellent for the time, which is saying much. This is a beautiful performance that belongs in any collection. One cannot recommend the performance highly enough and for all the parties involved. Sit back and enjoy!!!”

Deutekom an exciting Elena

“First of all, I couldn't be happier with the sound. It's very good in-house house from audience sound. It has always bothered me that Deutekom was not credited as the exciting performer she was. As she matured vocally, the voice retained it's brightness but increased it's BRILLIANT edge and plants and chest tones. All vocal elements needed to express character and drama are there. The coloratura rates as drop dead exciting. Bonisli is in top voice. And, the conductor pulls astounding power, nuance and rhythmic here He from the orchestra. THANKS!”

Dag Kyndel

“This cannot be bettered. And what a bonus! (see above). The Chrysotemis first asked to participate in Solti’s famous recording on Decca was Berit Lindholm; however she said no, thinking she had not experience enough. She also declined the offer to be Karajan’s Brünnhilde in DG:s Siegfried and Götterdämmerung – upholding she hadn’t sung the role enough many times!”

Great Performances

“Much has been written aboutCallas. However, very little has been said about Gino Penno Penno had one of the loudest voices if the mid twentieth century . With all his volume he knew how to phrase a tone,modulate his huge voice andidentify with the role portrayed. His career was much too short to be remembered by many opera lovers.”

Ron

“THIS 1964 PHILADELPHIA ROMEO WAS CORELLI’S FIRST. HE IS BRILLIANT ON IT..THE ARIA IS BEAUTIFULLY SUNG WITH FANTASTIC HIGH NOTES..CORELLI WAS DEFINITELY ON THIS NITE. D’ANGELO IS A WONDERFUL JULIETTE.. THE CD FEATURES EXCELLENT SOUND..ONE OF THE BEST IN HOUSE RECORDINGS I’VE EVER HEARD..AS A BONUS THERE ARE EXCERPTS FROM A 1967 PHILADELPHIA PERFORMANCE OF ROMEO WITH CORELLI AND PILOU..HIS RENDITION OF THE ARIA IS EVEN BETTER IN THIS PERFORMANCE..THESE ARE VINTAGE CORELLI RECORDINGS WITH THE TENOR IN PEAK FORM..”

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.”

Maria di Rohan' is Indeed an Important Masterpiece

“Maria di Rohan is quite innovative. Much of the criticism of this piece still relies on shallow clichés of old-fashioned Donizetti criticism. In a nutshell: Donizetti was Verdi's master. All of Verdi is to a lesser or greater extent found in Donizetti. Verdi, among other things, ransacked the Bergamo master's canon for quotations. The iconic 'Amami, Alfredo' is a quote from the beginning of 'Pia de' Tolomei', by Ghino, the tenor, where he declares his wild, unsupportable love for the soprano. For me, one arresting thing about 'Maria di Rohan' is it's adult, stripped-down, terse, verging-on-veristic intensity. There is no chorus for the entire second half! If you're expecting Lucia, you won't understand it. It took me awhile to get it, but now I think it one of Donizetti's crucial masterworks. It belongs on the list of greatest 5 Donizetti operas, which is really saying something. Good luck, though, with finding the singers to sing it, and a production that serves the score. Good luck with that.....”