Highlights
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Rossini: Il barbiere di Siviglia (highlights)
Beverly Sills (Rosina), Nicolai Gedda (Conte Almaviva) & Sherrill Milnes (Figaro)
London Symphony Orchestra & John Alldis Choir, James Levine
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Mozart: Die Zauberflöte, K620 (highlights)
Siegfried Jerusalem, Lucia Popp, Brigitte Lindner, Edita Gruberova, Wolfgang Brendel, Roland Bracht, Norman Bailey & Heinz Zednik
Bavarian Radio Symphony Orchestra & Chorus, Bernard Haitink
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Wagner: Tristan und Isolde (highlights)
Placido Domingo (Tristan), Nina Stemme (Isolde), Mihoko Fujimura (Brangäne), Olaf Bär (Kurwenal), Jared Holt (Melot), René Pape (König Marke), Ian Bostridge (Hirt), Rolando Villazon (Junger Seeman) & Matthew Rose (Steuermann)
The Royal Opera Chorus, Covent Garden & Orchestra of the...
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Mascagni: Cavalleria Rusticana & Leoncavallo: I Pagliacci (highlights)
Montserrat Caballé (Santuzza), José Carreras (Turiddu), Matteo Manuguerra (Alfio), Julia Hamari (Lola) & Astrid Varnay (Mamma Lucia), José Carreras (Canio), Renata Scotto (Nedda), Kari Nurmela (Tonio), Ugo Benelli (Beppe) & Thomas Allen (Silvio)
Ambrosian Opera Chorus & Philharmonia...
Caballé and Scotto have some lovely moments and both are strong in dramatic commitment … Carreras gives generously of voice and emotion in both of his roles – they are among his best achievements... —
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Bellini: I Puritani (highlights)
Stefan Elenkov (Lord Gualtiero Walton), Montserrat Caballé (Elvira), Agostino Ferrin (Sir Giorgio Walton), Alfredo Kraus (Lord Arturo Talbot), Matteo Manuguerra (Sir Riccardo Forth), Dennis O’neill (Sir Bruno Robertson) & Julia Hamari (Enrichetta)
Ambrosian Opera Chorus & Philharmonia...
Elvira might have been written with Caballé’s limpid tones and predominantly gentle art in mind, Arturo with Alfredo Kraus’s sense of line and plangency of tone. —
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Bizet: Les Pêcheurs de Perles (highlights)
Ileana Cotrubas (Léïla), Alain Vanzo (Nadir), Guillermo Sarabia (Zurga) & Roger Soyer (Nourabad)
Chœur et Orchestre du Théâtre National de l’Opéra de Paris, Georges Prêtre
An enjoyable, recommendable performance of Bizet’s fascinating opera … Prêtre draws superb playing and singing from his forces. —
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Verdi: Il Trovatore (highlights)
Franco Corelli (Manrico), Gabriella Tucci (Leonora), Luciana Moneta (Inez), Giulietta Simionato (Azucena), Robert Merrill (Count di Luna), Ferruccio Mazzoli (Ferrando), Angelo Mercuriali (Ruiz) & Mario Rinaudo (An Old Gypsy)
Coro e Orchestra del Teatro dell’Opera di Roma, Thomas Schippers
Tucci really seems to feel the music’s shape and her singing is always a good instrument for Verdi’s ideas. —
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Wagner: Lohengrin (highlights)
Jess Thomas (Lohengrin), Elisabeth Grümmer (Elsa of Brabant), Christa Ludwig (Ortrud), Dietrich Fischer-Dieskau (Friedrich of Telramund), Gottlob Frick (King Heinrich the Fowler) & Otto Wiener (Herald)
Chor der Wiener Staatsoper & Wiener Philharmoniker, Rudolf Kempe
Thomas combines ardour and anguish as well as any. Fischer-Dieskau is a formidable (but never over-emphatic) antagonist, and Gottlob Frick a majestic King Henry —
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Puccini: Tosca (highlights)
Renata Scotto (Tosca), Placido Domingo (Cavaradossi), Renato Bruson (Scarpia), John Cheek (Angelotti), Andrea Velis (Spoletta), Paul Hudson (Sciarrone), Dominick Martinez (Un pastore), Itzhak Perlman (Un carceriere)
Philharmonia Orchestra, Ambrosian Opera Chorus, James Levine
Scotto provides perhaps the most telling use of the text since Callas’s, and she constantly lets one see the distraught, temperamental woman behind the notes. —
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Verdi: Aida (highlights)
Montserrat Caballé (Aida), Placido Domingo (Radames), Fiorenza Cossotto (Amneris), Piero Cappuccilli (Amonasro), Nicolai Ghiaurov (Ramfis), Nicola Martinucci (Messaggero), Luigi Roni (Re) & Esther Casas (Sacerdotessa)
New Philharmonia Orchestra, Riccardo Muti
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