Category: Reviews

A happy feature of the King CD is the booklet in German and English: at least 7 pages full of information on the tenor. Then there is the pristine sound of the recordings. Though there is no mention of a concert source Iím fairly sure all the pieces (always followed by generous applause), are derived from the famous M¸nchner Sonntag Konzerte.

Sir Arthur Sullivanís legacy suffers from that common malaise that, once a good or bad reputation is made, it is very difficult to be remembered for anything elseóbe it better or worse.

For anyone who is remotely familiar with opera, the first question would be, ìWhat is the need for a recording like this?î Of course, not being familiar with the CD justifies the question, but once it has been played, the realization sets in that the answer was there all along.

For those who frequent the Santa Fe Opera and Houston Grand Opera, Ana MarÌa MartÌnez is well-known as a superb lyric soprano on her way to a stellar career. With the release of this collection of songs and arias for soprano, the rest of the world will come to know this as well.

The first thought one has is ´ how nice to have those recitals back like they were issued ª. One remembers too well the first days of the CD when historical vocal recitals appeared more or less mutilated, often culled from two or more LPís so that some tracks were sorely missed.

The Lieder of Richard Strauss lend themselves well to various interpretations that bring out different aspects of the music.

This production, from Glyndebourne in 1975, is a treasure of literate, artistically informed stagecraft. Opera is meant to be seen as much as heard, and productions like this prove that good staging brings a score alive.

This is the third re-issue (in Europe anyway) on CD of the only existing studio recording of Stiffelio. Luckily it is a rather good one as its live competitors are not recordings for eternity. Neither Limarilli in 1968 nor Del Monaco (at his coarsest in 1972) have much sense of style, let alone a knack for true Verdi-phrasing. Not that JosÈ Carreras is flawless.

Tchaikovsky counted Sleeping Beauty as one of his best works. The idea came from Ivan Vsevolozhsky (1835-1909), director of the Russian Imperial Theatres from 1881 onward. He had staged several of Tchaikovskyís operas, and he wanted Tchaikovsky to produce a ballet score with him.