Great Vocal Recitals

This is an insane value. If the price for the 55-disc set wasn't low enough, two-thirds of the CDs in this collection contain so many bonus tracks that it's more like getting 85 CDs for your money. Throw in original cover art and the fabled Decca sound, and what more could you want? Texts and translations? Well, the generosity has to stop somewhere, one guesses. The selection of singers ranges from those who endured (Hans Hotter) to flashes in the pan like Susan Dunn -- ah, but what a flash. I wish Decca had included Eberhard Waechter's "Dichterliebe" -- with Alfred Brendel tickling the ivories -- instead of Tom Krause's lieder, but that's a small quibble in the face of the overwhelming achievement. All lovers of great singing and vocal history are going to want this on their shelf ... and on their CD player.

One forgets how stunning were the voices of the 20th century's best singers in their youth. Remastering is a miracle; it is hard to believe how well these unique voices were captured by the recording techniques available in the 1950s. The flaws are gone; the voices are what we hear, and it will be hard to expect anything equalling them in our lifetimes. Lovers of vocal music are living in a consumer's paradise: bargain price CDs, at a fraction of the inflation-adjusted cost of the LPs that at the time we loved so much, which can't begin to compare to these reissued remastered discs.

as i type this i have disc 38 on the player. each disc so far has been quite the adventure. i am slowly turning into an opera buff. lol that coming from me would make my ma smile. these are all pretty neat recordings. some are quite old and a bunch break the 80 minute mark. who knew. i have even learned the names of a couple tunes i have hummed all my life. thanks to all involved.

This set is required for any lover of great singing. At least 3/4 of the albums are oustandig. The rest are good. I even became acquainted with new singers. Buy it now.

I love the beautiful open natural technique of the old school singers. Wonderful collection.

A great treasure!. I had a lot of these on LP but never replaced with CD. I have only listened to the first 6 so far....like a visitwith old friends!

Enjoy them as much as you like.

It's a gold mine! I'll be exploring this mine for years.

magnifique coffret , opera a son meilleur.

Todos los recitales tienen un excelente sonido. Las interpretaciones todas son supremas. Los CD's que contienen un LP (por la época de grabación) han sido complementados con excelentes bonus tracks que llevan a tiempos totales del CD a casi los 80 minutos!!!

Une fois de plus , DECCA a fait un magnifique et généreux travail de Mémoire , même s'il n'est pas parfait .Mais , dans cette formule et à ce tarif , plus que contraint et même très favorable pour le mélomane ( je me suis amusé à rechercher les albums , dans leur édition à l' unité : il y en aurait pour 1000 € au total ! en outre , certains récitals ne sont plus disponibles en cd ou le sont seulement en vinyle ; beaucoup sont devenus très chers à l'unité , car effet de rareté ...) , il ne reste qu'à chipoter : je le ferai un peu plus loin , pour la forme .Donc , les points forts de cette édition sont très nombreux et décisifs :- une très intelligente sélection , suffisamment large avec ses 55 disques , de 1950 à 2010 , donnant des récitals entiers et non des compilations , présentant les plus grandes voix bien connues mais aussi de grandes ou un peu moins grandes voix de l'époque , en fait devenues un peu oubliées ou injustement sous-estimées en 2017- les disques sont bien remplis : il y a la reprise du récital sorti en 33 tours ou cd et l'ajout de bonus , le plus souvent pertinents , pris dans l'immense catalogue de la grande firme anglaise : 34 des 55 cd comportent ces bonus .Il faut tout de même préciser que l'intérêt premier de chaque disque , sur le plan artistique , c'est le récital d'origine .La pochette d'origine , du moins le recto , est reproduite .- le livret est bien fait ( et disponible en français ! ) : il présente l'histoire de la compagnie sur cette large période , ses artistes , ses ingénieurs du son , l'évolution de ses méthodes d'enregistrement , qui ont fait sa grande réputation .De nombreuses photos des artistes et des studios de prise de son l'agrémentent .- la remastérisation m'a semblé , en particulier pour les enregistrements des années 50 et des années 60 , particulièrement réussie et même véritablement impressionnante dans ses résultats : ainsi , je peux dire que n'avais encore jamais écouté dans d'aussi bonnes conditions ( définition et absence de saturation ) la voix de Siepi , Corena , Del Monaco , Souzay , Bergonzi , Di Stefano , Berganza , Pavarotti ...de ce seul point de vue , les inévitables doublons avec des éditions vinyle ou cd précédentes n'en sont pas véritablement ...Sur le fond , et ce qui suit est forcément subjectif , j'ai été plus séduit par les récitals avec orchestre ( 47 ) que ceux avec piano seul ( 8 ) , dont certains m'ont peu touché ( Krause , Pears , Hotter , Te Kanawa ; mais cela provenait aussi parfois de mon moindre goût pour certains compositeurs ... ) ; à l'inverse , je préfère nettement Goerne dans sa belle traversée des lieder de Schubert que dans le récital d'opéra ici proposé .Par contre , j'ai été captivé par des interprètes que je connaissais moins , comme Simionato , Merrill , Souliotis , Chiara , Milnes , Sass , Burchuladze , Dunn ...Scholl fut une belle surprise , surtout pour ses Handel , alors que j'avais quelques craintes ...Je schématise un peu , mais mon impression persistante ( nourrie aussi par mes autres cd et vinyles ) est que , en tout cas pour les équipes de chanteurs DECCA , il y eut une sorte d'âge d'or , du début des années 50 à la fin des années 70 , puis un certain creux dans les années 80 et 90 ( à l'exception notoire de Bartoli , Gheorghiu et Fleming ) , mais cette inquiétude se dissipe avec la relève éclatante des années 2000 : les Florez , Kaufmann , Calleja , dignes " héritiers " des grands ancêtres des années 50 ...Il faut dire aussi , toujours de mon point de vue , que les orchestre et chefs des studios Decca , à partir de 1980 , ne m'ont pas paru au niveau d'expérience et d'engagement artistique des équipes orchestre/chef du passé plus lointain , qu'il s'agisse d ' équipes italiennes , véritablement chez elles dans le grand répertoire du bel canto ou d' équipes anglaises très rôdées au répertoire d'opéra ( Londres , Covent Garden ) .Le répertoire italien , pour l'essentiel de Bellini à Puccini , a évidemment la part belle , mais les compositeurs français , allemands et nordiques ou russes sont assez bien représentés .Il est fascinant et même exaltant de pouvoir écouter et comparer , au fil des décennies , la reprise des mêmes airs célèbres , toujours identiques et pourtant toujours si différents , puisqu ' interprétés par des voix aux choix et timbres si affirmés .S'agissant des prises de son , aspect mis en valeur par l'éditeur , avec raison : j'ai procédé aux écoutes sur mon système haute fidélité perso nnel , haut de gamme et particulièrement discriminant sur la valeur réelle des enregistrements .Le niveau général est très élevé et aucune prise de son ne m'a semblé médiocre .Cependant , je garde le sentiment qu'il n'y a pas eu de véritable progrès qualitatif à partir des années 80 , où le numérique s'est généralisé , bien au contraire .J'ai même trouvé un peu trop aseptisées bien des prises des années 80 et 90 .Cela semble s'arranger dans les années 2000 ( meilleure maitrise du numérique ? changement des équipes techniques ? )Pour tout dire , j'ai même pris plus d'authentique plaisir à l'écoute des prises de son des années 50 ( malgré leurs quelques légères limitations de bande passante ) puis aux prises de son " modernes " des années 60 et 70 , que j'ai trouvées plus naturelles et chaleureuses ...Bien sûr , on notera quelques lacunes .Il manque un index général par musiciens , utile et disponible sur d'autres coffrets " Decca Sound " .Les textes des pochettes d'époque ne sont pas donnés ;il n'y a quasiment aucun rappel biographique , même succinct , sur les interprètes , chanteurs et chefs .Bien évidemment , les textes des airs et des lieder ne sont pas donnés ( j'aurais bien aimé avoir une traduction des textes utilisés par Sibélius et les Russes ..)Mais , vu le prix extrêmement attractif du coffret , il ne faut pas rêver et ce sont des broutilles .A signaler trois autres splendides " Decca Sound " , également à des prix amicaux : deux consacrés surtout à l'orchestre et un aux " Années mono " , que je me suis évidemment procuré .

Ho incominciato ad ascoltare questo cofanetto e ci sto mettendo più tempo del previsto perchè, a parte rare eccezioni, ognuno di questi dischi mi piace talmente tanto che lo voglio ascoltare due o tre volte di seguito. Non sono arrivato che ad un terzo e quello che ho ascoltato è già ampiamente sufficiente a ripagare il prezzo dell'acquisto. La qualità sonora è eccellente, anche per quel che riguarda le incisioni monofoniche. Se non fosse stato scritto sul libretto non ci avrei neanche fatto caso. Molti CD equivalgono a due LP, in quanto durano più di 80 minuti (anche 85). Trattandosi di brani scelti, potete facilmente immaginare la ricchezza dei contenuti. La varietà è assicurata dal fatto che ogni CD è dedicato ad un diverso interprete. Anche i generi toccati sono tanti: opere antiche e moderne, operette, canzoni classiche e popolari... Il tocco in più è data dalla riproduzione delle copertine originali e dal libretto ricco di illustrazioni in bianco e nero.

This is a new addition to the series of box sets, charting the development of Decca's unrivalled catalogue of vocal recordings. For example, Decca's Mono years 1944-1956, Analogue stereo 1954 to 1980, and phase four stereo. So this set takes us from the Mono, through the Stereo era, to this Digital period. The box set comprises 55 original recitals with their original cover art and bonus tracks from other recitals, or opera recordings featuring the same artists.THE BOX SET:The set's tough cardboard front is black and Silver with wording of the same colour, as has the back, but at the side pictures of the CD sleeves. Underneath is the CD number, name of Singer. The lid flips over to the back. The back of the sleeves are black and the words in white, such as CD and track number with arias, composer and opera. The CD is divided into half silver with black on the bottom, with the name of the singer and CD number, no arias or composers mentioned.BOOKLET:There are 191 pages in the booklet. At the beginning names of the singers, track numbers, arias, operas and composers. Dates recorded and published. A essay "the pursuit of vocal excellence" by Raymond McGill. A history of LPs with John Culshaw and his associates, translated into German and French as well. Black and white photo's of the singers. No translations of arias.SOUND:Mastering: Paschal Byrne & Craig Thompson (The audio Archiving Company Ltd). For example, when you play the MONO Ferrier recording you will hear the difference. No hiss. I have never heard the singing so clear,I can hear every note of the orchestra. Amazing. The problem is Decca does not highlight this as Warner's Remastered Maria Callas set does. So I can sum up by stating, yes the CDs have been remastered. MONO and STEREO- ADD. This means according to EMI "analogue tape recorder used during session recording, digital tape recorder used during subsequent mixing &/ or editing and during mastering (transcription)." DDD. Digital.MUSIC:Why should you buy this set, you may think. Well, many of the CDs are of the singers at the height of their powers, when they were at their most freshest, a few like Hotter and Flagstad at the second part of their career. Also, it gets you to concentrate on each singer, which you cannot on full operas CD's. This box set may help readers who are new to collecting opera, to learn what some of the greats in the 1950's onwards sounded like. I shall not give details of every singer as Amazon has done that, but I will give biographies, a review of some of the arias and other items of interest so as to show you what this set is like.SUZANNE DANCO : (1911-2000) Recorded 1950-1956. MONO. She was a Belgian soprano. Debut Genoa 1941, versatile singer of great musicality in concert and on the stage, especially Mozart because of her clear, cool tones. In his first 1951 version, Ansermet conducted Debussy's Pelleas et Melisande with "Danco's crystalline Melisande" according to Opera on record.PAUL SCHOFFLER: (1897-1977) 1949-1954. MONO. He made his debut in Dresden 1924. In the early 1930's he was singing leading parts. He became a baritone of great authority, for many record collectors would have grown up with him as their Hans Sachs (Die Meistersinger-Wagner) after the second World war.KATHLEEN FERRIER (1912-1953) MONO. She was a English Contralto Singer. Her death from Cancer at the height of her fame, was a shock to the musical World and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death. When she sung Das Lied von der Erde, during the May 1952 sessons with the Vienna Philharmonic Orchestra conducted by Bruno Walter, held in parallel with a public performance of the piece, she got through it on sheer force of personality and grit. The last of the Ruckert Lieder, Um Mitternacht, was an all or nothing effort, with Walter in tears and the soloist in excruciating pain from the Cancer. Within 18 months she was dead. It was Das Lied von der Erde in 1947 at the Edinburgh festival that launched her on her brief international career with the same conductor and Orchestra.CESARE SIEPI: (1923-2010) 1954-1958. MONO. His voice was characterised by a deep, warm timbre a full, resonant, wide ranging lower register with a relaxed vibrato, and a ringing, vibrant upper register. although renowned as a Verdian Bass. His tall, striking presence and phrasing made him a natural for the role of Don Giovanni.FERNANDO CORENA: (1918-1984) 1952-1956. MONO He was a Turkish Swiss Bass, for he had a Turkish father named Korena and an Italian Mother. Fernando has a major career from the late 1940's to the early 1980's. he had a long career at the Met and the Vienna State opera. He was considered one of the greatest basso buffo's of the post war era. His Met debut Debut took place in 1954 with Siepi as Don Giovanni and he as Leporello. Corena possessed a big, handsome, resonant voice and had marvellous acting abilities.MARIO DEL MONACO: (1915-1982) 1952-1956. MONO Mario was born in Florence to a musical upper- class family. He graduated from the Rossini Conservatory at Pesaro where he first met and sung with Renata Tebaldi, with whom he sang many operas for the Decca label. Del Monaco established himself as one of four Italian stars who reached the peak of their fame in the 1950's and 1960's, the others being Di Stefano, Bergonzi and Corelli. Del Monaco's traditional roles during this period was Giordano's Andrea Chenier and Verdi's Othello. The tenor was buried in his Othello Costume. His ringing voice and virile appearance earned him the nickname " the brass bull of Milan" he was criticized for being unsubtle and unyielding in his vocal interpretations.The great Italian Soprano Magda Olivero noted "we recorded Zandonai's Francesca di Rimini excerpts together (1969), Francesca has a beautiful phrase marked piano and then Paolo ends with "Inghirlandta du volette" which should be sung softly and delicately. Instead Del Monaco was terrible-he bellowed the phrase. When he listened to the play back he exclaimed "I cant believe it! After that soft piano phrase I came in and what do I do, I sound like a boxer punching with his fists! He recorded it again. But the second attempt was the same because he was incapable of singing piano. He was furious with himself because he wanted to. He tried everything, but his technique would not permit him to sing softly, since it totally was based on the muscle". (Francesca di Rimini- Zandonai with Del Monaco and Olivero- Decca.)KIRSTEN FLAGSTAD: (1895-1962) 1956 & 1958. MONO and STEREO. She was Norwegian and a highly regarded Wagnerian Soprano. Many critics called her "the voice of the century" Her family were very musical, her father was a conductor and her mother a pianist. She sung at the Strava theatre and Goteborg, Sweden, between 1928 and 1934. Flagstad had an ability to learn scores quickly. In 1932 she took on the role of Wagner's Tristan und Isolde and found her true voice after singing operetta and lyric roles for 10 years. Flagstad was auditioned for Wagner's Bayreuth festival, so in 1934 she sung Sieglinde in Die Walkure and Gutrune in Gotterdammerung opposite Frieda Lieder as Brunnhilde. In that year she was engaged immediately after being heard by the Met general manager Gatti- Carozza. In 1935 her debut at the Met as Sieglinde created a sensation. A star was born. (STEREO) Der Manner Sippe and Du Bist der Lenz are superb and her glorious voice is perfectly suited to the Wesendonk lieder. Vienna Phil conducted by Knappertsbusch. Sibelius songs. Penguin classical guide 1976 states that Sibelius singing does not come like this any more! LSO Cond Fjeldstad. Recordings: EMI Wagner Tristan und Isolde 1953 Conducted by Furtwangler. The Ring cycle, Live, 1950. La Scala, Milan orchestra conducted by Furtwangler, both with Flagstad.LISA DELLA CASA: (1952-1956) MONO Richard Strauss prophesied that she would enjoy a major career. When he saw her perform the role of Zdenka in Zurich in 1946 his words "One day you will be my perfect Arabella" became both legendary and true. The Swiss soprano performed Arabella more then two hundred times and had an unparallelled influence on the role, much as Schwarzkopf has had on the Marschallin in Der Rosenkavalier. Her vocal culture and elegant style were underlined by her legendary beauty. For she was considered the most beautiful woman on the opera stage, but described herself as an uncompromising perfectionist. The Richard Strauss last four songs is a recording that is considered an authentic document. That important interpreter of Strauss's works Karl Bohm, went to great lengths with respect to both the sequence of the songs and the composers idea of tempo's to achieve as faithful a performance as possible. When her daughter was taken ill, Della Casa put an end to her career in the spring of 1974. She withdrew entirely from the public eye, a decision she has never regretted.GIULIETTA SIMIONATO: (12th May 1910-5th May 2010) 1955-1961. MONO She made her debut in 1928. The first 15 years of her career were frustrating, for she was given only small parts, but she attracted growing attention in the late 1940's, and by the end of her career, she was recognised as one of the most respected singer of her generation. In 1936 she made her debut at La Scala and appeared there regularly between 1936 and 1966. She had a large Mezzo repertory, also excelled in Verdian roles like Amneris, Eboli and Azucena. Simionato retired in 1966, but appeared in Tosca's Kiss, a film about a home for retired opera singers founded by Verdi.GERALD SOUZAY: 1950-1956. MONO He adopted the stage name of Souzay from a village on the river Loire. He made a detailed study of German Lieder with Lotte Lehmann of Der Rosenkavalier fame, conducted by Heger, with Lotte Lehmann, Olszewska, Mayr and Elizabeth Schumann. EMI CDs 1933. Souzay's first accompanist was Jacqueline Bonneau who had been his contemporary at the Paris Conservatoire. The great French baritone made these recordings when he was at the very peak of his form. The Faure were recorded in 1950. here he shows his wonderful feeling for line.VIRGINIA ZEANI: 1956-1958.MONO She was a Romanian dramatic Coloratura soprano regarded very highly by Maria Callas. Her former husband Meneghini, once told Zeani " Virginia I have to tell you, you are one of the very few soprano's my wife is frightened of." She was a highly regarded interpreter of the role of Violetta in Verdi's La traviata. She sung the role of Violetta more then 600 times during her career. She shared such roles as Mimi and Violetta with Tebaldi, and sings with a seriousness and boldness that lasts in your memory. She was very good in Donizietti and Bellini operas. She was an interesting and rather intense Lucia di Lammermoor. John Jefferson in Opera on record states that in the "1960 La Traviata Hamburg recording Zeani is a robust, passionate Violetta with a very open voice. She gives an intelligent performance."CARLO BERGONZI: (1924-2014) 1957-1965. MONO and STEREO. He was associated with the operas of Verdi. However, he outlasted his own rivals in the 1960's, Franco Corelli and Mario Del Monaco. Alan Blyth in his Gramophone survey of Bergonzi's greatest recordings sums up the qualities of Bergonzi's voice. " His earlier Verdi recordings evinces an inate feeling of shaping a line on a long breath, an exemplary clarity of diction, words placed immaculately on the tone, an authoritative use of portamento and acuti. And to those virtues the manner by which he gives to each phrase a sense of inevitability and you say to yourself, in a mood of sheer pleasure, this is exactly how music ought to sound" The first 12 arias are from 1957 shows him on peak form. Yet among italian tenors is a thinking musical artist who never resorts to vulgarity. A programme of favourites. Bonus: excerpts from Aida with Tebaldi and Simionato. La traviata with Sutherland. I remember that set I received it from my parents in 1964. Don Carlos with Fischer-Dieskau.GIUSEPPE di STEFANO: (1921-2008) 1958. MONO and mainly STEREO. An Italian tenor sang from the mid 1940's until the early 1990's. Di Stefano was known as the"Golden voice" or the " Most beautiful voice", as the successor to Gigli. also known for his long term performances with Maria Callas. A Sicilian (one Italian conductor said " You know what Silcilian's are like, very contrary and stubborn. A bit of a generalisation I think.). He is admired for his excellent diction, unique timbre, passionate delivery and, in particular, for the sweetness of his soft singing. Walter Legge, the director of EMI's Classical section chose di Stefano to sing with Callas all of the popular operas, which can be found on Maria Callas remastered. All the studio recordings 1949-1969. Among their achievements is the famous 1953 studio recording of Tosca conducted by de Sabata, which is considered one of the great performances in the history of the gramophone. Pavorotti said he modelled himself after di Stefano and was the tenor who inspired Jose Carreras.JOAN SUTHERLAND: (1926-2010) 1959-1960.MONO. She was called La Stupenda by a La Fenice audience in 1960. Born to Scottish parents in Sydney, Australia. Her mother, a Mezzo soprano, had taken voice lessons but never considered making a career as a professional singer. Sutherland is generally described as a dramatic Coloratura soprano. She had great power and tone and was different to the other Coloratura's, in that they produced small pin points of sound compared to Sutherland's seemingly endless cascades of full tone. Her voice was as large as that of a top ranking Wagner soprano. A big, huge voice.The Royal Opera House, Covent Garden, engaged her as a utility soprano, who made her debut in 1952. She trained to be a Wagnerian dramatic soprano. In 1954 she married Richard Bonynge who convinced her that she was not a dramatic soprano and since she could produce high notes and coloratura with great ease, she could explore the BelCanto roles. After all, they both liked Galli- Curci. Bonynge tricked her into singing higher when learning her roles. Covent Garden disagreed with him and thought she was indeed a dramatic soprano. Listen to her version of Turandot and you may think this as well. She became an immediate international star after the 1959 version of Lucia di Lammermoor at the Royal opera house conducted by Serafin, mentor of Callas and Claudia Muzio, and staged by Zeffirelli. If you want to hear what she sounded like in that performance, get hold of Opus Arte's Box set, Great Performances recorded live, Royal Opera house, Covent Garden 1955-1997-28 CDs. This Lucia di Lammermoor was recorded 26 February 1959 with Sutherland and Serafin conducting. The first five arias, ancer non giunse! Regnava nel silenzio. Lucia di lammermoor. Surta e la notte Ernani. merce, dilette amiche I vespri siciliani. Ah! tardai troppo. O giusto cielo. Lucia di Lammermoor. Conducted by Nello Santi in 1959 after her Lucia success, even Sutherland never surpassed the freshness of these Lucia arias. Four of the next five arias including Casta Diva come from her album "the art of the Prima Donna" 1960, which remains one of Sutherland's outstanding gramophone achievements.REGINA RESNIK: (1922-2013) 1960. 1961. 1967. MONO and STEREO. She was born in the Bronx, New York, to Ukrainian Jewish Immigrants. She was trained a soprano but in 1953, while singing Sieglinde in Die Walkure at Bayreuth, the conductor Clemens Krauss, suggested her voice actually was that of a Mezzo soprano. In 1955 she retrained her voice. Resnik was fluent in six languages. The French press stated "Hers is the most skilfully sung Bizet's Carmen with every nuance of the role and every syllable of her French set forth in a masterly manner. It was also the most beautifully sung performance of the role. From the dramatic standpoint, this was the ideal Carmen, ferocious, sultry, unpredictable, never banal and vulgar." Most of the arias come from the 1961 recital containing Carmen and Delilah items which are magnificent. She is in top form. Bonus: Arias from Solti's Wagner's Tristan und Isolde and R.Strauss's Elextra with Nilsson, where Resnik is magnificent.HILDE GUEDEN: (1917-1988) 1951-1962. MONO. In 1941 Clemens Krauss engaged her for the Munich State opera where she sung with much success. However, she had Jewish ancestry, and this forced her to leave Germany under the Nazi's. Rumour has it that she was almost arrested by the Gestapo in Munich, but she had by then obtained a fake passport showing she was a Roman Catholic Polish woman and avoided arrest. In 1947 she started a long membership with the Vienna Staatsoper, where she was still one of the greatest stars up to 1973. A voice in a million suitable to operetta.PETER PEARS:(1910-1986) 1963. A tenor who is known for his relationship with the English composer Britten and took part in Premiere's of his works and also recordings. Schubert's darkest Wintereise was in fact originally written for a high not low voice and quite apart from the intensity and subtlety of the Pears/Britten version it gains enormously from being at the right pitch throughout.BIRGIT NILSSON: (1918-2005) 1962-1963. STEREO. She was a celebrated Swedish dramatic soprano who specialized in operatic works of Wagner- Brunnhilde and Isolde, as well as Richard Strauss's Salome, Elextra, though she sung works of Verdi and Puccini, like Turandot. her voice is noted for its overwhelming force, power, and the gleaming brilliance and clarity in the upper register. She told an interviewer that she could sing before she could walk, adding, "I even sung in my dreams." She considered herself self taught, for she deplored her early instruction and attributed her success to native talent.Nilsson made her debut at the Royal opera in Stockholm with only three days notice. Under Fritz Busch her career took off after the Glyndebourne festival in 1951. Her debut at the Vienna State opera in 1953 was the turning point, she sung there for 25 years. She was known for her sense of humour. In a 1967 rehearsal of Wagner's Die Walkure with Von Karajan conducting. (She called him Herbie), Nilsson responded to the gloomy lighting of the production by wearing a miner's helmet complete with Valyrian wings. Her Brunnhilde in Solti's Wagner Ring cycle is considered by many a great achievement, especially in Gotterdammerung. She is Isolde in Bohm's version of Wagner's Tristan and Isolde, live from Bayreuth. 1966. There is a Ring cycle conducted by Rudolf Kempe, live from Bayreuth 1960. The Gotterdammerung with Nilsson captures her at her best. The Decca 1962 Die Walkure conducted by Leinsdorf,with the LSO, Vickers, Brouwenstijn, Ward, George London, Gorr and Nilsson, is considered a classic amongst Wagner Ring fans.JAMES McCRACKEN: (1926-1988). 1965. STEREO. He comes as a bonus with Robert Merrill (1917-2005) a great American baritone. This gives you an example of the quality of Bonus's you get on these CDs. James McCracken is an American known for his role of Othello in Verdi's opera of the same name. McCracken became one of the Met's dramatic tenors in 1963. When he replaced Del Monaco at the Royal Opera House in London in 1964, he was acclaimed by the critics " The audience know at once this was a voice for the past: large, but sonorous, a true Othello." His voice was huge, with a distinctive and somewhat thick texture. All critics acknowledged his acting skill, as well as the overwhelming power of his sound and his clarion high notes. Barbiriolli conducts the New Philharmonic Orchestra in a version of Verdi's Othello with Mccracken and Gwyneth Jones. Barbirolli's Father and Grandfather played in the Orchestra at the PremiereMARILYN HORNE: (Born 1934) 1964 and 1965. STEREO. Sometimes known as "Jackie". In 1954 she dubbed the singing voice of Dorothy Dandridge in the film Carmen Jones. For many years she was associated with Joan Sutherland in their performances of the BelCanto repertoire. Best known for her Mezzo Bel Canto and Opera seria roles. Her voice is highly distinctive and she could also sing roles on Broadway, as well as traditional American Songs. Many of the arias are drawn from the 1964/65 two recitals which Horne made for Decca conducted by her then husband Henry Lewis. it is the Rossini items for which she is famous, but in the aria from Donizietti's La Figlia del Reggimento she is equally striking form and her singing delights with its remarkable range..RENATA TEBALDI: (1922-2004) 1958-1972. MONO and STEREO. her major breakthrough came in 1946 when she auditioned for Toscanini. Her called her " the voice of an angel". Tebaldi made her La Scala debut that year which marked the opening of the theatre after World War two. Her greatest success was singing Aida making her an international star. Toscanini talked her into it, because she thought the role was for a dramatic soprano, not a lyrical soprano she thought she was, she is more a spinto. Tebaldi's voice was used for Sophia Loren's singing in the film version of Aida in 1953.She was one of the most beloved opera singers, and is said to have possessed one of the most beautiful voices of the 20th century, which was focused on the Verismo roles of the Lyric and dramatic repertoires. However, Callas and Tebaldi were supposed to be rivals, probably whipped up by the press and the record companies to bring them more publicity. They were told to go along with it. Yet Tebaldi's voice was different to Callas, for she sang roles not suited to Callas's voice. Her voice was very powerful, at each climatic note, in the early days the engineers insisted she turn her head away because the equipment could not deal with it.ELENA SOULIOTIS: (1943-2004) 1965-1967. STEREO. Born in Athens, Greece of Greek and Russian parents, but moved to Argentine at a early age. She studied with Mercedes Llopart who also taught Renata Scotto whose voice has been compared to Claudia Muzio, Anna Moffo, Fiorenza Cossotto, Ivo Vinco and Alfredo Kraus. She made her debut in 1964. The role for which she is best known is Abigalle in Verdi's opera Nabucco. She made a recording of this role opposite Gobbi conducted by Gardelli. The received opinion is that Souliotis singing difficult roles early in her career damaged her voice.REGINE CRESPIN: (1927-2007) 1963 & 1967. STEREO. She was a French singer who had a major international career in opera and on the concert stage between 1950 and 1989. She began her career singing in the dramatic and spinto soprano repertore, especially Wagner and Strauss. However, in the early 1970's Crespin had vocal difficulties so she began performing roles from the Mezzo soprano repertoire. She was admired for the elegance, warmth and subtlty of her singing, especially in the French and German roles. She had a huge voice, the Decca Engineers called her, affectionately " the French cannon"GWYNETH JONES: (Born 1936). 1966 & 1968, STEREO. She was born in Wales. She trained as a Mezzo, but in 1962 she found her easy top range enabled her to sing soprano roles and switched in 1964. Jones has a large scaled, powerful dramatic soprano voice, unusually robust vocal stamina, stage presence and acting abilities. She is most famous for her interpretation of Brunnhilde in the Wagner Bayreuth festival's celebration of the 100 years of the Ring. This cycle was filmed in 1979 and 1980 and is now on DVD. Conducted by Boulez and directed by Chereau. In 1978 I stood outside the Bayreuth festival opera house next to the wall where the stage was, and her voice shot right through it. Obviously, I could not get tickets to see it.LUCIANO PAVAROTTI: (1935-2007) 1964 1968 and 1976. STEREO. He is known as one of the three tenors held at the FA CUP Rome, with Domingo and Carreras. His debut was in 1961 and he was at his best in Bel canto operas, Verdi pre Aida roles and Puccini roles such as La Boheme. Pavarotti was known for his charity work on behalf of refugees and the red Cross, also for cancelling. In his early years he had a choice between being a professional football goal keeper and a teacher, later his interest in opera won out. His favourite tenor and idol was Di Stefano. His childhood friend was Mirella Freni, whose Mothers worked together. Pavarotti was taken on a tour to Australia with Bonynge and Sutherland because he was as tall as her. This was the beginning of him becoming known and a break through.HUGUETTE TOURANGEAU: (Born 1938). 1970 & 1975. A French Canadian Mezzo Soprano. She is known for her recordings with Joan Sutherland and Bonynge. Her voice is unforgettable, a cross between a Mezzo and contralto. Her CD is called Arias from forgotten operas. Ildegonda nel carcere. Balfe. Arias from Djamileh Bizet. Auber Le Cheval de bronze etc. BONUS: Arias from Massenet's Esclarmonde with Sutherland. A gem.SHERRILL MILNES: 1971-1978. STEREO. Most famous for his Verdi Roles. One of a long line of American baritones, Tibbett, Warren, McNeil, Merrill and Hampson and so on. Why they produce such great baritones, I have not a clue. Milnes voice is a high dramatic baritone, combining good legato with a incisive rhythmic style. he made his debut at the Met opera in 1965, becoming one of the world's prominent baritones of the 1970's and 1980's. He studied briefly with Rosa Ponselle.HANS HOTTER: (1909-2003) 1973. STEREO He was a bass-baritone, extremely tall and his appearance was striking and his voice was immediately recognisable. He was known for his Lieder singing also as Wotan in Wagner's Ring cycle. His interpretation of his roles was captured on live recordings at the 1953 Bayreuth festival, both cycles conducted by Clemens Krauss with Varnay Brunnhilde, and Joseph Keilberth, Modl, Brunnhilde. These two are thought to be the best available Rings by avid Wagner Ring fans. Hotter took part in the Solti ring cycle, which the public considers one of the best opera sets ever made. He was a passionate anti-Nazi and used to make fun of Hitler at parties and refused to take part in the Bayreuth festival during the Third Reich, because the festival associated with Hitler and his polices. None other then Bruno Walter advised him to stay in Germany because of his family, when they discussed it in Amsterdam when he sung there.CECILIA BARTOLI: (Born 1966) 1988. DIGITAL. She is considered a Coloratura Mezzo soprano with an unusual timbre. Her parents were both professional singers and gave her music lessons. In addition to Mozart and Rossini, Bartoli has spent much of her time performing and recording Baroque and early classical era music. She is known for researching old opera manuscripts and recording them, thus bringing to life music that was lost to us. She recorded a Norma with the original instruments and orchestra size of the time, where she sung Norma and the part reserved for the Mezzo was sung by Sumi Jo, a coloratura soprano. The CD was made when she first came to prominence and captures her voice when it was fresh.JOSEPHINE BARSTOW: (Born 1940) 1989. DIGITAL. She grew up in Sheffield. though she has sung in many European opera house, but the UK is where she spends most of her time. Her voice is highly distinctive. On her CD is the first complete recording of Alfano's ending in Puccini's Turandot. She has recorded Verdi's Macbeth at Glynebourne for TV in 1972, which is now on DVD. Arthaus musik. The London Phil conducted by John Pritchard. Verdi's Un Ballo in Maschera- Domingo, Barstow, Nucci. Vienna Phil cond Solti 1990. DVD. TDK.BRIGITTE FASSBAENDER: 1990. DIGITAL. She studied singing with her father, former opera singer, Willi Domgraf-Fassbaender at the Nurenberg Conservatory. She joined the Bavarian State opera in 1961. she is now an Arts administrator. Lizst lieder. The sensitive poetry of Thibaudet's playing goes with powerful singing from Fassbaender in superb, characterful voice. There are few Lizst songs to match this generous offering in range or intensity. Outstanding in every way.ANGELA GHEORGHIU. Born in 1965 in Romania. 1995. DIGITAL. In 1994 she made her debut as Violetta in La Traviata conducted by Solti, and film live for TV. This led her to international stardom. A soprano with a large range and a dark coloured voice, she is able to sing Spinto roles. She and Alagna were married for a while, now divorced.MATTHAS GOERNE: 2000. DIGITAL. He studied with Fischer-Dieskau and Elizabeth Schwarzkopf, that accounts for his warmth and distinctive voice. One of the great modern Lieder singers. Goerne has participated in the three volumes of Hyperion Schubert complete song set, and was rated the greatest set created in history by critics. 4O CDs with translation. worth having. I know I own it. The aria Mein Sehnen, mein Wahnen. Die tote Stadt, Korngold,, shows Goerne at his best and why I rate him very highly.JONAS KAUFMAN: (born 1959) 2009. DIGITAL. A German operatic tenor, known for his performances in Spinto roles, he has also sung in Wagner roles. Rated as one of the great tenors of our time, with a baritional timbre , with the emotional thrust of Jon Vickers and a bit like tenor Ramon Vinay.JOSEPH CALLEJA: 2011. DIGITAL Known as the Maltese tenor. He learnt his art from great tenors of the past and that must be what inspires his Bel canto elegance of his singing.His very fast vibrato might disturb those who are unfamiliar with the tenors such as De Lucia and Bonci.SINGERS not included here, Vyvyan, Berganza, Krause, Prey, Ghiaurov, Chiara, Sass, Lorengar, Soderstrom, Freni & Scotto, Tavela, Burchchuladze, Susan Dunn, Nucci, te Kanawa, Sumi Jo, Scholl, Fleming, Bonney, Florez. I hope you enjoy this set as much as I have.