{"title":"Ramon Vinay","description":"\u003cp\u003eRamón Vinay (August 31, 1911 – January 4, 1996) was a famous Chilean operatic tenor with a powerful, dramatic voice. He is probably best remembered for his appearances in the title role of Giuseppe Verdi's tragic opera Otello.\u003c\/p\u003e\r\n\u003cp\u003eHe started his operatic career as a baritone in Mexico in 1938. He later switched to tenor, making a second debut in 1943 and forging a successful international career after World War II. Vinay eventually returned to the baritone fold in 1962 and retired from the stage in 1969.\u003cbr\u003e\u003cbr\u003eEven as a tenor, however, his vocal timbre retained its dark, baritonal colouration.\u003cbr\u003e\u003cbr\u003eHe was the son of Jean Vinay Robert and Rosa Sepúlveda. Born in Chillán, Chile, Vinay earned particular renown throughout the operatic world for his interpretation of the role of Otello. For a time, he made the part his own. Perhaps his most significant appearance as Otello occurred in 1947, in a radio broadcast of the opera under the baton of Arturo Toscanini. His colleagues on this occasion were Herva Nelli, Giuseppe Valdengo and Nan Merriman, together with the NBC Symphony Orchestra and Chorus. This performance was subsequently issued by RCA Victor on both LP and CD. In recent years, it has appeared on CDs issued by other companies, notably on the Guild label. Many critics consider it the best complete Otello ever recorded.\u003cbr\u003e\u003cbr\u003eA fine actor, Vinay was also the first tenor to sing the role of Otello on television. That was in 1948, in the initial telecast of an entire opera from the Met. He also sang Otello at La Scala, in Salzburg and at the Royal Opera House, Covent Garden. In all, he performed it hundreds of times. He is said to be one of the two opera singers to have sung both Otello and Iago (the baritone villain) in Verdi's tragic masterpiece during the course of a career (the other being Carlos Guichandut).\u003cbr\u003e\u003cbr\u003eVinay's overall tenor repertoire was comparatively ample. It also embraced heavy Wagnerian roles (he sang at the Bayreuth Festival in 1952-57), as well as Canio in Leoncavallo's Pagliacci, Don José in Bizet's Carmen and Samson in Saint-Saëns's Samson et Dalila. Apart from Iago, the baritone parts which he performed included Telramund, Bartolo, Falstaff and Scarpia.\u003cbr\u003e\u003cbr\u003eHe died in Mexico, aged 84.\u003c\/p\u003e","products":[{"product_id":"paco135","title":"BÖHM Wagner: Tristan und Isolde (1960, Met) - PACO135","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast recording, 1960\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Birgit Nilsson as Isolde, Met Opera 1959\/60\u003cbr\u003eTotal duration: 3hr 22:30\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTristan - \u003cb\u003eRamón Vinay\u003c\/b\u003e\u003cbr\u003eIsolde - \u003cb\u003eBirgit Nilsson\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKarl Böhm\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf I had to retain in my collection a single example of Birgit Nilsson’s Isolde, it would be this one ... Shattering578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDo not look here for advice to save money on the grounds that you don’t need another \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erecording. You \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003edo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eneed this one if this opera and\/or Wagnerian singing is something you care about. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere are, of course, many other \noptions that have preserved great performances of the role of Isolde by \nBirgit Nilsson, including DG’s classic Böhm-led 1966 Bayreuth recording \nwith Windgassen. There are some important performances of the opera with\n Nilsson and Jon Vickers, the finest Tristan she ever sang with, but \nthey are all seriously flawed in many ways, sound quality and\/or \nconducting among them. As great as the DG set is, I have always found \nWindgassen less than an ideal Tristan, though William Youngren liked him\n very much in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n of that release (11:6). It seems to me that Ramon Vinay brings a vocal \nweight and richness of timbre that is a better match for both the music \nand Nilsson’s sound. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt is Nilsson, first and foremost, that\n makes this essential listening. The Swedish soprano’s Met debut \noccurred three weeks earlier, in this same role. The critics and public \nanointed her a superstar by the final curtain of that debut, and this \nrecording demonstrates the justification for the anointment. Hearing her\n at her very freshest (she was 41 at the time), with a voice that \nbalanced perfectly the elements of tonal beauty and brilliance, is a \ntruly thrilling experience. I happened to attend this performance, as a \nstandee, and it remains among the handful of greatest operatic \nexperiences in my memory (the Nilsson\/Corelli \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTurandot \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eperformances are in that category, along with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOtello \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eevenings\n spent with del Monaco, Tebaldi and Warren). It was wonderful to listen \nto these discs and learn that my memory had not played tricks on me—it \ntruly was something extraordinary. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eEarlier in the run of this production \n(December 28) the Met experienced an evening that has gone down in its \nhistory: three indisposed tenors, each of whom agreed to sing one act \nopposite Nilsson (Vinay, Karl Liebl, and Albert da Costa is the answer \nto that trivia question, and in that order). Here Vinay shows no signs \nof the illness that forced him to limit himself to only act I two weeks \nearlier. One cannot pretend that Vinay sounds young and fresh; after all\n he had been singing at the Met since 1946 and was a year away from \nfinishing his career there. But there is a foundation of richness to the\n timbre, and it is married to a true understanding of how Wagner’s music\n goes and a genuine dramatic instinct that make this a very satisfying \nperformance. He is spectacular in his big third act delirium scene, with\n an intensity that will leave you breathless. He and Böhm partner \nperfectly in this scene. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIrene Dalis was the Met’s reigning \nBrangäne in her two decades with the company, and we can tell why from \nthis performance. Particularly in the first act she creates a \nsympathetic, human Brangäne, not merely a foil for Nilsson’s \noverwhelming Isolde, and she produces a lovely, opulent sound. Hines \nalso produces a big, even sound, but he doesn’t break your heart the way\n the best King Markes do (e.g., Kipnis, Salminen, and Pape). Cassel’s \nKurwenal lacks any subtlety, though it is decently sung. The remaining \nroles are taken more than adequately, perhaps less than superlatively \nexcept for Charles Anthony’s beautifully sung Sailor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat helps to make this performance \nunforgettable is the conducting of Karl Böhm. To my ears Böhm was an \nuneven conductor, sometimes inspired, sometimes no more than competent. \nEven hearing different performances of this opera under his baton, one \nexperiences that range of quality. No doubt some will find him a bit \nrushed here—and indeed his tempos are frequently quicker than even his \nown other documented performances. But there is also a flexibility in \nevidence, a willingness to caress the line and really shape the music, \nthat he does not always display. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has done its usual amazing \nwork on the restoration. In the ambient stereo version that I listened \nto, the sound is natural, surprisingly open and with a realistic \nperspective between voice and orchestra. At climaxes one experiences a \nbit of cramping, but overall there is no sonic impediment to full \nenjoyment of the music. Pristine has removed some extraneous audience \nnoises, but couldn’t get all the coughing out. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf I had to retain in my collection a \nsingle example of Birgit Nilsson’s Isolde, it would be this one, because\n of the astounding vocal freshness she demonstrates, the individual \ncontributions of Vinay, Dalis, and Böhm, and the total impact of the \nentire performance. Shattering. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO135.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“with a voice of extraordinary size, suppleness and brilliance,\u003cbr\u003eshe dominated the stage and the performance”\u003cbr\u003eNEW YORK TIMES\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis stunning performance of Wagner's\u003cem\u003e Tristan und Isolde\u003c\/em\u003e\n was broadcast live from the Metropolitan Opera just three weeks after \nBirgit Nilsson's astonishing debut in the role of Isolde in New York \nmade front page news and produced reams of adoring copy. It marks her \nfirst matinee broadcast as well as the only time Böhm, whose 1966 \nBayreuth \u003cem\u003eTristan und Isolde\u003c\/em\u003e is widely regarded as among the very best, broadcast the opera from the Met.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWorking from two high quality sources, this XR remastering \nbrings us the full glory of this remarkable debut in superb Ambient \nStereo sound. Announcements from Milton Cross at the start and finish of\n each act (one act per CD) add to the sense of grand occasion as does \nthe rapturous applause of the Metropolitan Opera audience.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n.\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eBÖHM\u003c\/b\u003e \u003cb\u003eWagner\u003c\/b\u003e: Tristan und Isolde (1960, Met)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I: Radio Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde, WWV90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFrisch weht der Wind der Heimat zu\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHab acht, Tristan!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeh, ach wehe!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWie lachend sie mir Lieder singen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO blinde Augen!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 4\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAuf! Auf! Ihr Frauen!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHerrn Tristan bringe meinen Gruss\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 5\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBegehrt, Herrin, was Ihr wünscht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWar Morold dir so wert\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTristan! Isolde!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:25)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I: Radio conclusion\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II: Radio Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde, WWV90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHörst du sie noch\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIsolde! Geliebte!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO sink hernieder, Nacht der Liebe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLausch, Geliebter!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDoch unsre Liebe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRette dich, Tristan!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTatest du's wirklich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO König, das kann ich dir nicht sagen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II: Radio conclusion\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III: Radio introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde, WWV90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eKurwenal! He!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWo ich erwacht — weilt' ich nicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNoch losch das Licht nicht aus\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(19:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO diese Sonne!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHa! ich bin's, ich bin's\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eKurwenal! Hör! Ein zweites Schiff\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMild und leise wie er lächelt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III: Radio conclusion\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLive matinee performance\u003cbr\u003eMetropolitan Opera New York, 9 January1960\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast on NBC Radio\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTristan - \u003cb\u003eRamón Vinay\u003c\/b\u003e\u003cbr\u003eIsolde - \u003cb\u003eBirgit Nilsson\u003c\/b\u003e\u003cbr\u003eKurwenal - \u003cb\u003eWalter Cassel\u003c\/b\u003e\u003cbr\u003eBrangäne - \u003cb\u003eIrene Dalis\u003c\/b\u003e\u003cbr\u003eKing Marke - \u003cb\u003eJerome Hines\u003c\/b\u003e\u003cbr\u003eMelot - \u003cb\u003eCalvin Marsh\u003c\/b\u003e\u003cbr\u003eSailor's Voice - \u003cb\u003eCharles Anthony\u003c\/b\u003e\u003cbr\u003eShepherd - \u003cb\u003ePaul Franke\u003c\/b\u003e\u003cbr\u003eSteersman - \u003cb\u003eLouis Sgarro\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKarl Böhm\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO135.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO135.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times Articles578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: large; font-family: 'times new roman', times;\"\u003e\u003cb\u003eBirgit Nilsson as Isolde Flashes\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: large; font-family: 'times new roman', times;\"\u003e\u003cb\u003eLike New Star in ‘Met’ Heavens\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: small; font-family: 'times new roman', times;\"\u003eSwedish Soprano’s Voice in Debut Is \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small; font-family: 'times new roman', times;\"\u003eCompared With Kirsten Flagstad’s Best\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003eby \u003cb\u003eHOWARD TAUBMAN\u003c\/b\u003e \u003cbr\u003eNew York Times, 19 December 1959\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ccode\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/code\u003eBirgit\n Nilsson filled the Metropolitan Opera House last night with the glory \nof the finest Isolde since the unforgettable days of Kirsten Flagstad \ntwo decades ago.\u003cbr\u003e\u003cbr\u003eIn\n her New York debut the Swedish soprano assumed one of the most \ndemanding roles in the repertory and charged it with power and \nexaltation. With a voice of extraordinary size, suppleness and \nbrilliance, she dominated the stage and the performance. Isolde's fury \nand Isolde's passion were as consuming as cataclysms of nature.\u003cbr\u003e\u003cbr\u003eBefore\n the first act was over a knowing audience at the Met's new production \nof \"Tristan und Isolde\" was aware that a great star was flashing in the \noperatic heavens. At the end of the act the crowd remained in their \nseats, waiting for Miss Nilsson to take a solo bow. And when she came \nout alone, they roared like the Stadium fans when Conerly throws a \nwinning touchdown pass.\u003cbr\u003e\u003cbr\u003eIt\n was an audience that knew its Wagnerian manners. It did not break into \napplause during the performance, but again at the end of the second act \nit manifested its enthusiasm with sustained applause and cheers for the \nnewcomer.\u003cbr\u003e\u003cbr\u003eAt\n the final curtain the audience began a thunderous demonstration. As the\n principals came out for repeated bows all eyes were on the soprano. An \novation was building up for her, and it broke out into a thunderous \nshout as she came out alone.\u003cbr\u003e\u003cbr\u003ePeople\n seemed disinclined to go home. The lights in the theatre were dimmed, \nbut men and women throughout the house remained near their seats, \napplauding for Miss Nilsson's return. After more than fifteen minutes of\n plaudits, the enthusiasts let Miss Nilsson return to her dressing room.\u003cbr\u003e\u003cbr\u003eLike\n Miss Flagstad, who created a similar sensation in her 1935 debut, Miss \nNilsson relied first and foremost on the voice. Her soprano has \napparently limitless reserves of tone. In a range well over two octaves,\n no note loses its quality, and high C's emerge with stunning impact.\u003cbr\u003e\u003cbr\u003eAlthough\n she is small and trim compared with the run of Wagnerian sopranos, \nMiss. Nilsson can make her voice soar over the fortissimos of a large \norchestra in full cry as if it were jet-powered. Her singing is \nbeautifully focused, always in the center of the tone. Not so darkly \ncolored as Miss Flagstad's huge voice, Miss Nilsson's has a gleaming \nrefulgence. It can be whitish, to use the jargon of the vocal trade, but\n it can glow with warmth.\u003cbr\u003e\u003cbr\u003eMiss\n Nilsson can do just what she wishes with this instrument. She can \nsubdue it to a wisp of tone and she can modulate phrases with subtlety. \nShe has a sure grip on the emotional curve of one of opera's most \nchallenging roles.\u003cbr\u003e\u003cbr\u003eThe\n new soprano, who has sung extensively in Europe, including Bayreuth, \nthe Wagnerian shrine, as was as in San Francisco and Chicago, also knows\n how to act. She moves with poise and dignity. She does not stress the \ntenderness in Isolde, but even that element in the character comes \nthrough in the voice.\u003cbr\u003e\u003cbr\u003eMiss\n Nilsson was born in Karup, grew up on a farm and studied music in \nStockholm. She made her debut as Lady Macbeth in Verdi's \"Macbeth\" at \nthe Royal Opera in Stockholm twelve years ago. From the Italian \nrepertory she moved into German, turning eventually to the imposing \nWagnerian roles, which her gifts as a dramatic soprano made almost \nimperative. In a time of limited candidates for the most difficult roles\n of the repertory, she stands as a dominant figure in the world of \nopera.\u003cbr\u003e\u003cbr\u003eMiss\n Nilsson's arrival was bound to take precedence over all other elements \nin this new \"Tristan,\" but there were other values. Most impressive of \nthese was Karl Boehm's conducting.\u003cbr\u003e\u003cbr\u003eHis\n is a vigorous, dramatic conception. He is painstaking in his regard for\n instrumental textures and balances. One can hear subtleties in the pit \noften obscured in routine readings. And how the Met orchestra played! \nRhythms are incisive. Some conductors favor more leisurely tempos, but \nMr. Boehm's choice of a vivid pulse has its merits.\u003cbr\u003e\u003cbr\u003eOne's\n only reservation is that he holds the orchestra back just a shade at \nthe climaxes. With an Isolde like Miss Nilsson he can let the thrilling \nWagnerian waves of sound flood the theatre. This soprano will ride them \ntriumphantly.\u003cbr\u003e\u003cbr\u003eMr.\n Boehm has restored some of the cuts usually made in \"Tristan\" at the \nMet, particularly one in the Love Duet. With an incandescent performer \nlike Miss Nilsson this did not seem to lengthen a long, long opera at \nall.\u003cbr\u003e\u003cbr\u003eThe\n Tristan was Karl Liebl, a German tenor, who made an unimpressive debut \nlast season and who stepped in on this occasion for the indisposed Ramon\n Vinay. Though he is no Heldentenor, Mr. Liebl did better than anyone \nhad a right to expect. He managed his light voice with reasonable \neffectiveness. He has no magnetism as a performer, and his voice is not \nbuilt for a long pull, but he bravely carried out his assignment.\u003cbr\u003e\u003cbr\u003eIn\n the first act duet the performance went well. In the Love Duet things \nwere not ideal. Here the performance was occasionally like a ship that \nhad lost its delicate equilibrium, riding proudly when Miss Nilsson sang\n and listing a little when Mr. Liebl took over or joined her.\u003cbr\u003e\u003cbr\u003eThe\n rest of the well-balanced cast was American. Irene Dalis was an \nintelligent, sensitive Brangaene; her naturally rich voice was a little \nhollow at times. Walter Cassel was a sturdy, affecting Kurvenal. Jerome \nHines was both regal and movingly human as King Marke. Charles Anthony \nas the sailor, Paul Franke as Melot, and Louis Sgarro as the steersman \nmade much of small parts.\u003cbr\u003e\u003cbr\u003eHerbert\n Graf's staging had a notable and telling simplicity. Teo Otto's sets \nwith their dash of surrealism were fundamentally old hat; for \ngenerations the Met has had a fatal tendency to opt for styles in design\n long after they became passé. The new production was a gift of Mrs. \nElon Huntingon Hooker from her four daughters.\u003cbr\u003e\u003cbr\u003eIn\n recent years Wagner's music-dramas have had few performances at the \nMet. Cassandras declared that Wagner was finished. He is far from \nfinished. There is nothing wrong with him that a sovereign singer like \nMiss Nilsson will not help to cure. \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-family: 'times new roman', times; font-size: medium;\"\u003e\u003cb\u003eStar ready to tackle new role\u003cbr\u003eafter finishing the 'Liebestod' \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-family: 'times new roman', times;\"\u003eby \u003cb\u003eJOHN SIBLEY\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: 'times new roman', times;\"\u003eNew York Times, 19 December 1959\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eWhen \nBirgit Nilsson walked offstage at the Metropolian last night after her \ntriumphant New York debut as Isolde, she announced coolly — but far from\n haughtily — “I could sing Turandot right now.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e“She’s\n not even winded,” a stagehand exclaimed, as the smiling Swedish soprano\n curtsied graciously and threw kisses to an ecstatic audience that \ngreeted each curtain call appearance with thunderous “Bravos.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eBehind\n the curtain, as the cast clamored to congratulate ¡her, Miss Nilsson \nacknowledged their praise trilingually. “You’re so kind,” in English, \n“Danke, sehr erfreut,” in Wagner’s tongue. Then words of thanks to \nadmirers from her native Sweden.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe \nindefatigable soprano trilled snatches from the opera while Tristan \n(Karl Liebl) and the others answered their curtain calls. She had lived \nup to the reputation gained in rehearsals — that of a star ready to \nbegin all over again after singing the closing “Liebestod.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIn a \ndressing room overflowing with flowers, Miss Nilsson dropped some of her\n reserve. “That wonderful public,” she sighed. “They carried me.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIt \nwas then that she said she was ready to sing “Turandot,” the Puccini \nopera she had just signed a contract to sing during the Met’s next \nseason.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIn a \nstandard questionnaire sent by the Met to all its performers, Miss \nNilsson had written that “Tristan und Isolde” and “Turandot” were her \nfavorite operas. She had already played Isolde this year in five cities:\n in Lisbon, at La Scala in Milan, in Rome, Vienna and Bayreuth.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eWas this her best performance of Isolde? She shrugged. “You’re never satisfied,” she said.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThen,\n as flashbulbs flickered, her husband, Bertil Niklasson, a Swedish \nbusinessman, was asked the same question. His reply: an excited, “Ja, \nJa, Ja, Ja!”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eDespite\n her aplomb, Miss Nilsson was coyly feminine when asked her age. “In \nEurope,” she smiled, “nobody asks a lady that.” Her answers to the Met \nquestionnaire indicated she was in her early thirties. But in the space \nafter “date of birth” she had written, “May 17.”\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144739597,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144739661,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144739725,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO135_02508744-00b9-4252-8e3d-ccdc7cab750c.jpg?v=1494338513"},{"product_id":"paco040","title":"KRAUSS Wagner Ring Cycle: 2. Die Walküre (1953) - PACO040","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eDer Ring Des Nibelungen: 2. Die Walküre\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive concert recording from 1953\u003cbr\u003eTotal duration: 3hr 30:55\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBayreuth Festival Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eClemens Krauss\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAndrew Rose’s vividly lifelike remastering is the first to significantly improve transparency and immediacy while retaining most of the Laudis AAD version’s sense of voices in a real space578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs always, the problem is not finding \nfive favorite releases of the last year, but limiting the list to five. \nIn a time where some are still ringing the death knell for recorded \nclassical music, there are a remarkable number of performances being \nreleased, so a list like this is as much a matter of opportunity as \ndesign. Still, the first selection was an easy one, and reflects a \nlongtime favorite recommendable here because of a glorious new transfer.\n The 1953 Clemens Krauss Bayreuth \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is one of the finest—if not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n finest—performance of the tetralogy available on CD. Krauss is urgently\n dramatic while never shortchanging the psychological depths. A few \nlapses aside, the late golden-age cast sings like, well, gods. It has \nbeen available in digital form since the Foyer\/Laudis release in 1987, \nin transfers of varying quality. Andrew Rose’s vividly lifelike \nremastering is the first to significantly improve transparency and \nimmediacy while retaining most of the Laudis AAD version’s sense of \nvoices in a real space. Not cheap, but worth the price, it is available \nfrom pristineclassical.com as a download or on CD-Rs. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003eWant List for \u003cb\u003eRonald E. Grames\u003c\/b\u003e [2010]\u003cbr\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO040.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA few short weeks before this recording was issued we \ntook our first tentative steps in the remastering of this, one of the \ngreatest Ring cycles of all time, with our issue of \u003cem\u003eDas Rheingold\u003c\/em\u003e.\n Noting that the entire cycle was available elsewhere at budget price, \nthe decision to spend the enormous time and effort involved in producing\n a full XR remastering of these increasingly lengthy operas was taken \nwith some trepidation. I wanted to be absolutely sure that I could bring\n a major transformation to the sound quality of the recordings - one \nwhich not only satisfied me, but also the legions of Wagner lovers who \nalready knew these recordings well.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe responses to that first \u003cem\u003eRheingold \u003c\/em\u003eissue were nothing if not encouraging:\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003ci\u003e\"...the Krauss is my favourite Ring of the moment, and I\n own it in two other incarnations, so I am in a good position to judge \nthe improvements that Andrew Rose has achieved. The sound is more open \nand focused than ever before and it is a real treat to hear the finest \nsingers of their generation sing their signature roles in a faithful \nrepresentation of the Bayreuth ‘noise’. The audio spectrum has been \ncleaned at the top and opened out at the bottom. Hans Hotter sings his \nbest Wotan, slightly more sensitively than for Keilberth in the \nTestament stereo Ring, and in far fresher voice than for Solti in the \n1960s. Astrid Varnay is marvellous as Brunnhilde, and has the benefit of\n really attentive, flexible conducting. Clemens Krauss’ approach may not\n be to everyone’s taste, being at the other end of the tempo spectrum to\n Knappertsbusch, but to my ears the naturalness of what he does serves \nthe composer without drawing attention to itself...\"\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003ci\u003e\"...I just downloaded and played he 53 Krauss Rheingold \nthat you recently released. it is utterly fantastic! Much more alive \nthan the CDs out there. When will Die Walkure be released?...\"\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003ci\u003e\"Yesterday I downloaded your XR remastering of Das \nRheingold. What a superb job you have done with it. I own the Krauss \nRing on Archipel, but what an astonishing improvement the Pristine \nversion means. I just would let you know, since I am so enthusiastic \nabout it. Looking forward to Die Walküre!...\"\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSince these initial comments from listeners, I've been continually nagged by e-mails requesting \u003cem\u003eDie Walküre\u003c\/em\u003e, and naturally given the success of \u003cem\u003eDas Rheingold\u003c\/em\u003e, I was somewhat nervous with regard to my ability to match up to that standard.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI should not have been. If anything, this was a \nbetter-made recording to begin with. This of course makes sense - \nrecorded a day after the first \u003cem\u003eRing\u003c\/em\u003e opera, the opportunity \nwould have been there to make adjustments to microphone placement and \nrecording equipment based on the experience of the previous day's \ntaping.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs a result, \u003cem\u003eDie Walküre \u003c\/em\u003efrequently surpasses \u003cem\u003eDas Rheingold\u003c\/em\u003e\n in overall sound quality - it truly sounds wonderful throughout. I've \nmanaged to deal with various faults which existed in the recording - \nhums, high frequency tones, occasional drop-outs, a tendency to \nhigh-frequency 'fuzz' around 10kHz, and removed a number of coughs and \nother intrusions.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBut above all the delight for this listener of this new \nremastering will be the absolute clarity and stunning sound quality of \nthe whole - the perfect balance of orchestra and voice for which \nBayreuth was designed is conveyed brilliantly in one of the finest opera\n recordings and performances I've ever heard.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e- Die Walküre WWV 86B\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSiegmund - \u003cb\u003eRamón Vinay\u003c\/b\u003e\u003cbr\u003eSieglinde - \u003cb\u003eRegina Resnik\u003c\/b\u003e\u003cbr\u003eWotan - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eHunding - \u003cb\u003eJosef Greindl\u003c\/b\u003e\u003cbr\u003eFricka - \u003cb\u003eIra Malaniuk\u003c\/b\u003e\u003cbr\u003eGerhilde - \u003cb\u003eBrünnhild Friedland\u003c\/b\u003e\u003cbr\u003eOrtlinde - \u003cb\u003eBruni Falcon\u003c\/b\u003e\u003cbr\u003eWaltraute - \u003cb\u003eLise Sorrell\u003c\/b\u003e\u003cbr\u003eSchwertleite - \u003cb\u003eMaria von Ilosvay\u003c\/b\u003e\u003cbr\u003eHelmwige - \u003cb\u003eLiselotte Thomamüller\u003c\/b\u003e\u003cbr\u003eSiegrune - \u003cb\u003eGisela Litz\u003c\/b\u003e\u003cbr\u003eGrimgerde - \u003cb\u003eSibylla Plate\u003c\/b\u003e\u003cbr\u003eRossweisse - \u003cb\u003eErika Schubert\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChoir and Orchestra of the Bayreuth Festival\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eClemens Krauss\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLive concert recording, Bayreuth Festival, 9th August 1953\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO040.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO040.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":12563584843837,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":12563584876605,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":12563584909373,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":12563584942141,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO040.jpg?v=1534333392"},{"product_id":"paco043","title":"KRAUSS Wagner: Parsifal (1953) - PACO043","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eParsifal\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive concert recording from 1953\u003cbr\u003eTotal duration: 3hr 54:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBayreuth Festival Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eClemens Krauss\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO043.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFollowing a number of requests, we decided to add this recording of \u003cem\u003eParsifal\u003c\/em\u003e to our 1953 Krauss series, following the huge success with his \u003cem\u003eRing \u003c\/em\u003ecycle,\n reissued here over the last few months - \"...this enterprising \nremastering by Pristine Audio goes a long way towards countering those \nobjections [\u003cem\u003eon grounds of sound quality\u003c\/em\u003e] and will for many permit this famous cycle to take its place at the head of a long line...\" (\u003cem\u003eMusicWeb International)\u003c\/em\u003e.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI noted an improvement in sound quality through the Ring\n cycle - one assumes that after each performance the engineers would \nhave had opportunity to fine-tune both their equipment, its location and\n its settings. The \u003cem\u003eParsifal\u003c\/em\u003e concert, which predates the \u003cem\u003eRing\u003c\/em\u003e\n by a couple of weeks, would not have had that advantage. (I should note\n here that the date is based on detective work by a number of experts, \nwho agree that it is most likely a recording of a transmission by \nBavarian Radio, who broadcast the first performances of all of the \nBayreuth Festival at that time in the 1950s - though he did conduct the \nopera twice more with the same cast, on 2nd and 15th August.)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThus technically we're more or less at the same stage of development as \u003cem\u003eDas Rheingold\u003c\/em\u003e,\n with a sound which is at times not as up-front as might be liked. The \nrecording was also quite hissy in places, and for lengthy periods \nsuffered from a high-pitched whine, rumbling bottom end, mains hum and \nother assorted faults, all of which I've endeavoured to either cure or \nalleviate considerably.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI will refrain from commenting on the performance itself\n beyond a personal if rather uninformed view that I enjoyed it - I'm \nsure far more experienced and erudite commentators will no doubt bring \ngreat experience to bear over the next few weeks, and excerpts from the \ncritics will be added to this page as they become available. However I \ndo feel adequately qualified to make specific note of the remarkably \nswift pace at which Krauss moves in this, his first concert appearance \nat a Bayreuth Festival:\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI used as musical and tonal reference the 1973 Decca \nrecording of the opera with Solti - this also served as a template for \nmy track markings (always a tricky job when music is as lengthy and \ncontinuous as here). Placing the two recordings side-by-side it was \nimmediately apparent that there was a huge time discrepancy. Solti comes\n in a full 25 minutes longer than Krauss at 4hr 20min to Krauss's 3hr \n55min. The swifter pace here is to be found throughout the opera - \nalmost every track (and we've selected the same in points for each of \nthe 47 tracks here as with the Decca CD issue) comes in quite a lot \nshorter, yet there are no (apparent) cuts or changes to the score \n(naturally - this is of course a Bayreuth production!).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA quick scan of other recordings shows this to be perhaps one of the swiftest \u003cem\u003eParsifals\u003c\/em\u003e ever recorded - checking out the information in my \u003cem\u003eGramophone Good CD and Download Guide\u003c\/em\u003e\n I find the next fastest to be Knappertsbusch's 1962 recording - widely \nregarded as the benchmark - which is some 15 minutes slower at 4hr \n10min. Thereafter we have Karajan (1979\/80) at 4hr 16min, the \naforementioned Solti, and slowest of all, Thielemann (live, 2005) at 4hr\n 22min.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHow this will play with the experts I will be very \ninterested indeed to see - but if you like your Wagner crisp, swift and \nwith a superlative cast, many of whom went on to deliver one of the \nfinest \u003cem\u003eRing \u003c\/em\u003eCycles of all time, then this recording is surely one for your consideration.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKRAUSS\u003c\/b\u003e \u003cb\u003eWagner\u003c\/b\u003e: Parsifal (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e- Parsifal WWV 111\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I Vorspiel\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHe! Ho! Waldhüter ihr\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSeht dort, die wilde Reiterin!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRecht so! — Habt Dank!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHe, du da! Was Liegst du dort wie ein wilders Tier\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDas ist ein andres\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTiturel, der fromme Held, der kannt' ihr wohl\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVor allem nun der Speer kehr' uns zurück!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeh! Weh!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDu konntest morden, hier, im heil'gen Walde\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWo bist du her\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDen Vaterlosen gebar dir Mutter\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSo recht! So nach des Grales Gnade\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVom Bade kehrt der König heim\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNun achte wohl, und laß mich seh'n\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMein Sohn Amfortas, bist du am Amt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNein! Laßt ihn unenthüllt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNehmet hin meinem Leib\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWas stehst du noch da\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II Vorspiel\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDie Zeit ist da\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEhrwachst du Ha!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eJetzt schon erklimmt er die Burg\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHier war das Tosen!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIhr schönen Kinder\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eKomm, Komm! Holder Knabe!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeile\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIch sah das Kind an seiner Mutter Brust\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWehe! Wehe! Was tat ich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAmfortas! — Die Wunde!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGrausamer! Fühlst du im Herzen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAuf Ewigkeit wärst du verdammt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVergeh, unseliges Weib!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHalt da! Dich bann' ich mit der rechten Wehr!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III Vorspiel\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVon dorther kam das Stöhnen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e37.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDu tolles Weib! Hast du kein Wort für mich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e38.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIn düstrem Waffenschmucke\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e39.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHeil mir, daß ich dich wiederfinde!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e40.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO Gnade! Höchstes Heil!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e41.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNicht so! — Die heil'ge Quelle selbst\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e42.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDu wuschest mir die Füße\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e43.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWie dünkt mich doch die Aue heut zu schön\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e44.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMittag. — Die Stund' ist da\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e45.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGeleiten wir im bergenden Schrein\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e46.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eJa, Wehe! Wehe! Weh' über mich!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e47.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNur eine Waffe taugt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:18)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eAmfortas - \u003cb\u003eGeorge London\u003c\/b\u003e\u003cbr\u003eTiturel - \u003cb\u003eJosef Greindl\u003c\/b\u003e\u003cbr\u003eGurnemanz - \u003cb\u003eLudwig Weber\u003c\/b\u003e\u003cbr\u003eParsifal - \u003cb\u003eRamón Vinay\u003c\/b\u003e\u003cbr\u003eKlingsor - \u003cb\u003eHermann Uhde\u003c\/b\u003e\u003cbr\u003eKundry - \u003cb\u003eMartha Mödl\u003c\/b\u003e\u003cbr\u003eAltsolo - \u003cb\u003eMaria von Ilosvay\u003c\/b\u003e\u003cbr\u003eGralsritter - \u003cb\u003eGene Tobin\u003c\/b\u003e\u003cbr\u003eGralsritter - \u003cb\u003eTheo Adam\u003c\/b\u003e\u003cbr\u003eKnappe - \u003cb\u003eHetty Plümacher\u003c\/b\u003e\u003cbr\u003eKnappe - \u003cb\u003eGisela Litz\u003c\/b\u003e\u003cbr\u003eKnappe - \u003cb\u003eHugo Kratz\u003c\/b\u003e\u003cbr\u003eKnappe - \u003cb\u003eGerhard Stolze\u003c\/b\u003e\u003cbr\u003eBlume - \u003cb\u003eRita Streich\u003c\/b\u003e\u003cbr\u003eBlume - \u003cb\u003eErika Zimmermann\u003c\/b\u003e\u003cbr\u003eBlume - \u003cb\u003eHetty Plümacher\u003c\/b\u003e\u003cbr\u003eBlume - \u003cb\u003eAnna Tassopoulos\u003c\/b\u003e\u003cbr\u003eBlume - \u003cb\u003eGerda Wismar\u003c\/b\u003e\u003cbr\u003eBlume - \u003cb\u003eGisela Litz\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChoir and Orchestra of the Bayreuth Festival\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eClemens Krauss\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLive concert broadcast recording, Bayreuth Festival, 24th July 1953\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO043.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO043.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":12563585499197,"sku":null,"price":64.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":12563585531965,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":12563585564733,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":12563585597501,"sku":null,"price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO043_9e4db882-813a-44fd-b585-aef1383d4ce6.jpg?v=1534333399"},{"product_id":"paco033","title":"TOSCANINI Verdi: Otello (1947) - PACO033","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eOtello\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eBroadcast 1: 6th December, 1947 (Acts 1 \u0026amp; 2)\u003cbr\u003eBroadcast 2: 13th December, 1947 (Acts 3 \u0026amp; 4)\u003cbr\u003eTotal duration: 2hrs 15min 58sec\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra and Choruses\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Arturo Toscanini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review - Recording of the Month578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a performance which every lover of the opera has to have578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis was one - or, more accurately, two - of the all-time\n                classic nights in American opera. Toscanini famously played the\n                cello\n                in the La Scala orchestra at the world\npremiere of \u003ci\u003eOtello\u003c\/i\u003e and his authority in this work has to be acknowledged,\neven by those who might not prefer his style. The merits of this performance\nhardly need rehearsing: it has been reviewed many times before on this site.\nSuffice it to say that Vinay’s Otello remains one of the great interpretations\nof the role, heroic yet vulnerable, while Nelli’s Desdemona manages to\ncombine beauty, strength and vulnerability in miraculous fashion. I’ve\nnever been as convinced by Valdengo’s Iago, not least for his mistimed\nentries in Acts 1 and 2 - can you imagine what Toscanini must have said to him\nat the end - but he certainly has character to spare. \u003cbr\u003e\n\u003cbr\u003e\nThe real interest here is in the remastering. Pristine Audio has been doing fantastic\nwork recently breathing new life into agèd recordings that are well loved.\nTheir \u003ca href=\"http:\/\/pristineclassical.com\/\" target=\"_blank\"\u003ewebsite\u003c\/a\u003e is\nwell worth a look and they also offer downloads of fabulous quality. Andrew Rose\nhas managed to\nachieve astonishing clarity with this issue. Yes, there are still occasional\nhisses and crackles, but how could there not be in a recording of this age? He\nhas managed to, as it were, strip away the varnish that has accumulated in other\nissues and there are plenty of things that are freshly audible here which may\nwell have passed the listener by before, such as the clarity of the big tuttis\nin the storm scene, or the bubbling woodwinds at the third verse of Iago’s\ndrinking song. Nelli’s top notes are captured without a hint of strain\nor interference, yet the passage at the beginning of Act 4 flows with openness\nand not a hint of congestion. Rose has used “a number of sources from various\navid Toscanini collectors” - how mysterious! His aim was to find the best\nrecording of each section of the opera and then edit them together to produce\nthe finest possible version of the performance. Without doubt he has succeeded\nmightily. To my ears at any rate it was impossible to hear the joins and the\nwhole performance flowed beautifully from one moment to the next. He finished\nhis note by saying “I am convinced that this release has succeeded in making\ngreat sonic advances over all previous issues, both on LP and CD.” I certainly\nhaven’t heard any other version to make me disagree. As a fun little extra\nwe’re also given the original radio commentary and audience applause. \u003cbr\u003e\n\u003cbr\u003e\nThis is a performance which every lover of the opera has to have. Love him or\nhate him, Toscanini has an unending ability to surprise: listen to the way he \u003ci\u003ebroadens\nout\u003c\/i\u003e the tempo for the climax of the storm yet \u003ci\u003espeeds up\u003c\/i\u003e for the conclusion\nof the love duet, and the way he plays around with the textures of the Willow\nSong is quite remarkable. Extraordinary, maybe: perverse, arguably: but effective?\nCertainly. This, to my mind, is the clearest version of this performance that\nyou’re likely to find, so if you’re choosing between versions then\nyou can pick this one with confidence.\u003cbr\u003e\n\u003cbr\u003e\n\u003cb\u003e\u003ci\u003eSimon Thompson\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO033.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording, taken from two specially-lengthened broadcasts on 6th\n and 13th December, 1947, is widely regarded as perhaps the greatest \never made of Verdi's masterpiece, Otello. As NBC announcer Ben Grauer \nnotes in his introduction to the first broadcast, it has a special link \nto Toscanini, who as a young cellist had played in the world première of\n the piece, under Verdi's baton, in La Scala, Milan on 5th February, \n1887, some 60 years earlier.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eVerdi is regarded by many as \nespecially important to Toscanini, and this is among his greatest \nrecordings - Mortimer Frank writes: \"Of all the composers in Toscanini's\n repertory, Verdi was probably closest to him... what NBC preserved... \nif not necessarily representative of his staged performances or of his \nbest work, is often compelling. Given limitations such as occasionally \nweak casting, they are uneven. Bet when everything more or less fell \ninto place, as in the complete Otello, a performance of towering merit \nresulted.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMeanwhile we see in the notes on this work at \nWikipedia: \"most music-guide reviewers contend that a recording made of a\n 1947 radio broadcast of the opera, conducted with thrilling verve and \nprecision by Arturo Toscanini and featuring such solid singers as Herva \nNelli, Ramón Vinay and Giuseppe Valdengo, is musically (if not in terms \nof sound quality) the best of these versions\".\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor the \nrestoration and remastering engineer tackling this recording today it is\n the phrase in paratheses above which is in sore need of justified \nremoval. One discography of Toscanini lists sux separate releases of \nthis recording, and I'm reasonably confident that there are actually \nmore than this. Yet when I visited ardent Toscanini fan and collector \nChristophe Pizzutti earlier this year to take temporary charge of a \nlarge number of rare recordings for transfer and restoration, it was \nthis recording he repeatedly pressed me to work upon, convinced that my \nXR remastering technique could finally reveal the full sonic \nmagnificence of this immortal performance.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAnd so, with sources \nprovided both by Christophe and by other collectors, I've endeavoured to\n assemble the very best quality material from which to assemble what I \nhope can be seen as a definitive recording of the two broadcasts (note \nthat some recordings switch between live and rehearsal material, others \ninclude sections of severly reduced fidelity, none has had the benefit \nof XR re-equalisation and the latest remastering techniques associated \nwith it).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording was made in the very end of the pre-tape \nera, and would have been preserved over a number of acetate discs. \nFortunately these have been remarkably well-preserved in various \nincarnations, and the results of careful selections of the best possible\n sources and the magic of both XR remastering and Ambient Stereo \nprocessing (direct mono is of course also available) makes a huge impact\n on the final overall sound quality of the recording. This is one of \nToscanini's greatest masterpieces, and it's never sounded better.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e- Otello\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRamón Vinay\u003c\/b\u003e (\u003ci\u003eOtello\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eHerva Nelli\u003c\/b\u003e (\u003ci\u003eDesdemona\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eGiuseppe Valdengo\u003c\/b\u003e (\u003ci\u003eIago\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eVirginio Assandri\u003c\/b\u003e (\u003ci\u003eCassio\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eLeslie Chabay\u003c\/b\u003e (\u003ci\u003eRoderigo\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e (\u003ci\u003eLodovico\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eArthur Newman\u003c\/b\u003e (\u003ci\u003eMontàno\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eNan Merriman\u003c\/b\u003e (\u003ci\u003eEmilia\u003c\/i\u003e)\u003cbr\u003eThe \u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e and Choruses\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO033.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO033.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":37144177613,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144177677,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144177741,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37144177805,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO033.jpg?v=1494337508"},{"product_id":"paco135-cd","title":"BÖHM Wagner: Tristan und Isolde (1960, Met) - 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The first Bayreuth performance, which took place on 25 July 1886,\n    was directed by Wagner’s widow, Cosima, and conducted by Felix Mottl. There\n    were new productions in 1927, directed by the composer’s son, Siegfried,\n    and conducted by Karl Elmendorff, and in 1938, directed by Heinz Tietjen\nand again conducted by Elmendorff.    There were no performances during the war.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Based on the philosophy of Arthur Schopenhauer and likely additionally\n    inspired by his infatuation with Mathilde Wesendonck, who was already\n    married, \u003cem\u003eTristan und Isolde\u003c\/em\u003e premiered on 10 June 1865 at the\n    Königliches Hoftheater und Nationaltheater in Munich with Hans von Bülow\n    conducting. It was unprecedented in its use of chromaticism and tonal\n    ambiguity, heard from the very first notes to the very last measures of the\n    work.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n  \n        The reemergence of the Festival in 1951 after a six-year hiatus was a\n        tremendous achievement. Two of Wagner’s grandsons, the brothers Wieland\n        (born 1917) and Wolfgang (born 1919), were now in the charge of the\nFestival. It opened with a performance of Beethoven’s        \u003cem\u003eNinth Symphony\u003c\/em\u003e conducted by Wilhelm Furtwängler. Hans\n        Knappertsbusch and Herbert von Karajan would conduct all the other\n        performances that summer. Six of the music dramas, all in new\nproductions, five designed and directed by Wieland himself (        \u003cem\u003eParsifal\u003c\/em\u003e and the complete \u003cem\u003eRing Cycle\u003c\/em\u003e) made up the\nseason with Rudolf Otto Hartmann directing        \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e. Hartmann would be the only\n        other director ever to direct at Bayreuth until after Wieland’s\n        untimely death in 1966 at the age of 49.\n  \n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe following year, in addition to the previous six music dramas presented,    \u003cem\u003eTristan und Isolde\u003c\/em\u003e was added to the repertory. The performance\n    began at 17.00 as the standard modern time of starting the eight longer\n    music dramas at 16.00 did not begin until the 1953 Festival. Once again,\n    Wieland designed and directed and, much like his \u003cem\u003eParsifal \u003c\/em\u003ethe\n    previous summer (less so his \u003cem\u003eRing \u003c\/em\u003ewhich still had conventional\n    elements to it, though this too had begun to change as well that summer),\n    he created a production in which the stage was stripped of all but the most\n    essential scenery and props and relied more on lighting to establish the\n    mood and locale. Then there was the acting style which kept the singer’s\n    movements and gestures to a bare minimum so as to be able to concentrate\n    solely on the words and music.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\n        Not everyone took to the revolutionary approach of the “Neu Bayreuth”\n        style\n\n .\n    Whether the brothers intended this radical break with tradition because of\n    their own artistic visions or for financial concerns for the newly reopened\n    Festival remains a matter of debate, though it was likely a combination of\n    the two. Regardless, there is little doubt that it was an attempt to\n    distance itself from the history of the Festival during the Nazi regime.\nBut something even more important was taking place: the new   productions, particularly those by Wieland, were\n    beginning to revolutionize the staging of Wagner’s music dramas, a trend\n    still very much in evidence even today.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nGerman soprano Martha \u003cem\u003eMödl (1912-2001)\u003c\/em\u003e, our Isolde,had    \u003cem\u003ecreated a sensation as Kundry \u003c\/em\u003eduring \u003cem\u003ethe \u003c\/em\u003efirst post-war\nFestival\u003cem\u003e in Wieland’s legendary production of \u003c\/em\u003e\u003cem\u003eParsifal\u003c\/em\u003e \u003cem\u003e (PACO043). Her Isolde elicited no less praise. \u003c\/em\u003e“Mödl’s Isolde was\n    one of the finest operatic creations I have ever witnessed…her\n    interpretation grew from within, she was Isolde.” (Harold Rosenthal, Opera\n    Magazine, September 1952). She sang at Bayreuth for 10 consecutive summers,\n    returning for a single Isolde in 1962 and then spent 2 more summers singing\nFricka and Waltraute in \u003cem\u003eThe Ring\u003c\/em\u003e and the Alto Solo in    \u003cem\u003eParsifal\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This performance of \u003cem\u003eTristan und Isolde\u003c\/em\u003e marked Chilean tenor Ramón\n    Vinay’s (1911-1996) Bayreuth debut. His performance was praised for its\n    “…incredible vocal size and impact, secure power, metallic sound and\n    inexhaustible physical endurance.” (Dr. Helmut Schmidt-Garre, Münchner\n    Merkur, July 1952). During his seven summers at the Festival, in addition\n    to Tristan, he sang Parsifal, Siegmund (heard on PACO040), and Tannhäuser,\n    returning to his baritone roots during the 1962 Festival to sing Friedrich\n    von Telramund in \u003cem\u003eLohengrin\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Also in his Bayreuth debut is German bass-baritone Hans Hotter (1909-2003)\n    as Kurwenal. His career at Bayreuth is legendary, being the Wotan\/Wanderer\n    (heard on PACO039-41) of choice for seven consecutive summers between 1952\n    and 1958, though he continued to sing the roles there as late as 1966. He\n    also acted as stage director for Wieland’s production of \u003cem\u003eThe Ring\u003c\/em\u003e\n    (his last new production at Bayreuth) in 1967 and 1968. He sang twelve\n    roles in eight of Wagner’s music dramas.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Though she only sang at the first four post-war Festivals, Ukrainian\n    mezzo-soprano Ira Malaniuk (1919-2009), our Brangäne, figured prominently\n    during that time. She sang eight roles in six of the music dramas and as\n    the mezzo-soprano soloist in Beethoven’s \u003cem\u003eSymphony No. 9\u003c\/em\u003e both in\n1953 and 1954. Her Fricka and Waltruate from the 1953 Festival    \u003cem\u003eRing Cycle\u003c\/em\u003e can be heard on PACO040 and 042, respectively.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Austrian bass Ludwig Weber (1899-1974), with his dark, mellifluous voice,\nwas a perfect fit for the mournful König Marke and kindly Gurnemanz in    \u003cem\u003eParsifal\u003c\/em\u003e (heard on PACO043) but could also summon the power to\n    create a terrifying portrayal of Hagen in \u003cem\u003eGötterdämmerung\u003c\/em\u003e. He\n    portrayed nine roles in seven of the music dramas as well as singing in\n    both the 1951 and 1954 performances of Beethoven’s \u003cem\u003eNinth Symphony\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    German bass-baritone Hermann Uhde (1914-1965), a future Wotan\/Wanderer, is\n    luxury casting in the small, but pivotal role of Melot, singing nine roles\n    in seven of the music dramas at Bayreuth over a period of eight seasons.\nHis searing portrayal of the doomed sea captain in\u003cem\u003e Der\u003c\/em\u003e \u003cem\u003eFliegende Holländer\u003c\/em\u003e can be heard in the Bayreuth Festival\n    performance from 1955 on PACO062. He died of a heart attack onstage during\n    a performance of Niels Viggo Bentzon’s \u003cem\u003eFaust III \u003c\/em\u003ein Copenhagen.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The young Gerhard Stolze (1926-1979), who would soon become a\n    world-renowned Loge, Mime and Herod in Strauss’ \u003cem\u003eSalome\u003c\/em\u003e, sings the\n    plaintive lines of The Shepherd in Act Three.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In his second and final season on the \u003cem\u003eGrünen Hügel, Herbert von \u003c\/em\u003e\n    Karajan (1908-1989) caused some concern when he decided that he wanted to\n    change Wagner’s own established seating order in the famous hidden\n    orchestra pit underneath the stage. After trying various arrangements right\n    up through the dress rehearsal, none of which worked, he ultimately went\n    back to the standard seating in time for the premiere. Compared to his EMI\n    recording of almost 20 years later, Karajan here reveals a youthful\n    exuberance missing from his studio recording and delivers an impassioned\n    performance that runs some sixteen minutes shorter than his later version.\n    So, why, after conducting six of Wagner’s mature pieces over two summers,\ndid Karajan never return to Bayreuth? Mödl, in her wonderful autobiography,    \u003cem\u003eSo war mein Weg \u003c\/em\u003e(\u003cem\u003eThis Was My Way\u003c\/em\u003e), suggested that\n    Karajan, already interested in directing but in a more traditional manner,\n    perhaps did not feel comfortable with Wieland’s concepts and at that point\n    the Wagner brothers were likely not interested in sharing director duties\n    with him. Regardless, we are fortunate to have this document of his earlier\n    thoughts on the work.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    While only a handful of photographs exist to document what the production\n    must have been like, Leonard Bernstein had quite coincidentally chosen Mödl\n    and Vinay to sing selections from \u003cem\u003eTristan und Isolde\u003c\/em\u003e on the NBC\n    arts variety program, \u003cem\u003eOmnibus\u003c\/em\u003e, in the episode entitled “What Makes\n    Opera Grand?” which aired on 23 March 1958. While it of course cannot\n    emulate what Wieland’s production looked or felt like, his influence over\n    their performances is, I believe, quite evident. An economy of movement and\n    a deep understand of the text and music are clearly the hallmarks of their\n    performances that came from having worked closely under his guidance.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n \n        Though this production of \u003cem\u003eTristan und Isolde\u003c\/em\u003e lasted only two\n        summers, Harold Rosenthal wrote in the September 1952 issue of Opera\nMagazine: “Here for the first time in my experience was a        \u003cem\u003eTristan und Isolde\u003c\/em\u003e in which stage, orchestra, singers,\n        conductor, costumes, lighting, in fact all the elements that go to make\n        up an operatic production, were merged into a unity such as Wagner\n        could only have dreamed of.” Even without the benefit of the visual\n        aspects of the production, listening to this sonically restored edition\n        clearly bears that out.\n    \n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Notes by \u003cb\u003eMichael Scarola\n\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD1\u003c\/b\u003e (75:17)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (17:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003ci\u003eScene 2\u003c\/i\u003e - Frisch weht der Wind der Heimat zu\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Hab acht, Tristan!\u003cspan style=\"font-size: 12px;\"\u003e (5:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003ci\u003eScene 3\u003c\/i\u003e - Weh, ach wehe!\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Wie lachend sie mir Lieder singen\u003cspan style=\"font-size: 12px;\"\u003e (6:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e O blinde Augen!\u003cspan style=\"font-size: 12px;\"\u003e (10:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003ci\u003eScene 4\u003c\/i\u003e - Auf! Auf! Ihr Frauen!\u003cspan style=\"font-size: 12px;\"\u003e (1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Herrn Tristan bringe meinen Gruss\u003cspan style=\"font-size: 12px;\"\u003e (6:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003ci\u003eScene 5\u003c\/i\u003e - Begehrt, Herrin, was Ihr wünscht\u003cspan style=\"font-size: 12px;\"\u003e (8:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e War Morold dir so wert\u003cspan style=\"font-size: 12px;\"\u003e (12:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD2\u003c\/b\u003e (79:48)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Tristan! Isolde!\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003ci\u003eScene 1\u003c\/i\u003e - Hörst du sie noch?\u003cspan style=\"font-size: 12px;\"\u003e (11:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003ci\u003eScene 2\u003c\/i\u003e - Isolde! Geliebte!\u003cspan style=\"font-size: 12px;\"\u003e (16:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e O sink hernieder, Nacht der Liebe\u003cspan style=\"font-size: 12px;\"\u003e (7:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Lausch, Geliebter!\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Doch unsre Liebe\u003cspan style=\"font-size: 12px;\"\u003e (10:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003ci\u003eScene 3\u003c\/i\u003e - Rette dich, Tristan!\u003cspan style=\"font-size: 12px;\"\u003e (1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Tatest du's wirklich?\u003cspan style=\"font-size: 12px;\"\u003e (12:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e O König, das kann ich dir nicht sagen\u003cspan style=\"font-size: 12px;\"\u003e (8:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD3 \u003c\/b\u003e(73:29)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (7:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003ci\u003eScene 1\u003c\/i\u003e - Kurwenal! He!\u003cspan style=\"font-size: 12px;\"\u003e (10:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Wo ich erwacht - weilt' ich nicht\u003cspan style=\"font-size: 12px;\"\u003e (7:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Noch losch das Licht nicht aus\u003cspan style=\"font-size: 12px;\"\u003e (25:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003ci\u003eScene 2\u003c\/i\u003e - O diese Sonne!\u003cspan style=\"font-size: 12px;\"\u003e (3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Ha! ich bin's, ich bin's\u003cspan style=\"font-size: 12px;\"\u003e (5:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003ci\u003eScene 3\u003c\/i\u003e - Kurwenal! Hör! Ein zweites Schiff\u003cspan style=\"font-size: 12px;\"\u003e (7:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Mild und leise wie er lächelt\u003cspan style=\"font-size: 12px;\"\u003e (6:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTristan - \u003cb\u003eRamón Vinay\u003c\/b\u003e\u003cbr\u003eIsolde - \u003cb\u003eMartha Mödl\u003c\/b\u003e\u003cbr\u003eBrangaene - \u003cb\u003eIra Malaniuk\u003c\/b\u003e\u003cbr\u003eMarke - \u003cb\u003eLudwig Weber\u003c\/b\u003e\u003cbr\u003eKurwenal - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eMelot - \u003cb\u003eHermann Uhde\u003c\/b\u003e\u003cbr\u003eEin Hirt - \u003cb\u003eGerhard Stolze\u003c\/b\u003e\u003cbr\u003eEin Steuerman - \u003cb\u003eGerhard Unger\u003c\/b\u003e\u003cbr\u003eStimme eines jungen Seemanns - \u003cb\u003eWerner Faulhaber\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBayreuth Festival Chorus and Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Martha Mödl and Ramón Vinay as Isolde and Tristan\u003cbr\u003eRecorded Bayreuth, 23 July 1952\u003cbr\u003eSpecial thanks to Michael Scarola\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 3hr 48:33\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO185.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO185.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39443626983485,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205524865358,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205524898126,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO185.jpg?v=1712225217"},{"product_id":"paco185-cd","title":"KARAJAN Wagner: Tristan und Isolde (Bayreuth, 1952) - PACO185 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO185.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs only in plastic sleeves (+MP3)","offer_id":55205524832590,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO185_1b6c6092-3481-48f9-99f0-7e9709dd5321.jpg?v=1712225285"},{"product_id":"paco237","title":"KONWITSCHNY Wagner’s Ring: 2. Die Walküre (Covent Garden, 1959) - PACO237","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eDie Walküre\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast performance, 1959\u003cbr\u003eTotal duration: 3hr 38:06\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eSiegmund -\u003cb\u003e Ramón Vinay\u003c\/b\u003e\u003cbr\u003eSieglinde - \u003cb\u003eAmy Shuard\u003c\/b\u003e\u003cbr\u003eHunding - \u003cb\u003eKurt Böhme\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eWotan - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eFricka - \u003cb\u003eUrsula Böse\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003csection data-pristine-review=\"fanfare-1201\"\u003e\u003cp\u003e\u003cstrong\u003eFanfare — Dominic Hartley\u003c\/strong\u003e\u003cbr\u003eIssue 50:2 (Nov\/Dec 2026) · \u003ca href=\"https:\/\/fanfarearchive.com\/articles\/atop\/50_2\/5023930.az_WAGNER_Die_Walkure_Franz.html\"\u003eRead the original review\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eWhen I reviewed Pristine’s release of Konwitschny’s Rheingold in Fanfare 50:1, I was particularly struck by his dramatic instinct as a conductor. Die Walküre is more of a test for the range of that instinct, though. The fact that I wasn’t surprised by his effortless grasp of pacing for act I doesn’t mean I wasn’t swept away by it. I very much was. From the first notes of the storm (the Covent Garden lower strings sounding wonderfully stressed) to its rhapsodic conclusion, this is one of the most thrilling accounts of the foundational interaction between Siegmund and Sieglinde that I’ve ever heard. It’s undoubtedly helped by the chemistry between Amy Shuard’s Sieglinde—early in her Wagnerian career and sounding fresh in voice—and the veteran Ramón Vinay as Siegmund, who brings his experience to the role in a profoundly thoughtful way and knows how to use his voice to fill out the characterization he wants to project. He’s not world-weary, exactly, but he sounds almost haunted as he relates the events leading up to the fateful meeting. Konwitschny is subtly alive to every nuance of the act’s architecture: the tension sparked by Hunding’s appearance (a completely chilling Kurt Böhme) brilliantly realized, the removal of Nothung inexorably paced, that ecstatic conclusion carrying a spiritual as well as theatrical significance.\u003c\/p\u003e\n\u003cp\u003eIf I wasn’t surprised by the brilliance of act I, I’ll confess I was curious to hear how Konwitschny fared in the rest of the work. Act II was a revelation. It feels as if it’s sparked by Hotter’s Wotan, more daring live than in the recording studio. In scene 2, he somehow inverts the dynamic so that it seems as if he’s allowing Ursula Böse’s earnest Fricka to walk all over him. He reacts to her every utterance with something close to scientific interest, and Konwitschny is clearly reacting to him. Hotter’s handling of the monologue that follows is just riveting and makes you doubt what you thought you saw in his behavior a few minutes before—he has lost; he is devastated. Again, Konwitschny is with him at every step. The Todesverkündigung is equally exciting. It feels utterly realistic from a psychological perspective: anguish, tension, nobility, and profound emotion fizzing in the mix thanks to the acting of Vinay and Astrid Varnay’s impetuous and compassionate Brünnhilde. Here too, it’s striking that Konwitschny is rightly content to trust his principals’ vision of the scene and offers incisive, sympathetic support.\u003c\/p\u003e\n\u003cp\u003eI should stress that Konwitschny isn’t such an exciting conductor of Wagner because he unwaveringly goes for fast tempos. The famous opening of act III here is actually quite measured, but Konwitschny’s sense of dramatic cadence and timing is impeccable. There’s a simultaneous feeling of martial nobility and dreadful foreboding, compellingly set out. The foreboding is real, of course, and its consequences enacted in the final scene of the opera, where Hotter views Varnay’s defense of her actions (she’s marvelous here: courageous but possessed, projecting huge moral force) with a sort of jurisprudential but doom-laden empathy. The occasional sparks of anger he allows himself carry perfect dramatic punctuation. In short: Hotter’s singing is wonderful, but I’d never quite realized what a consummate actor he was until listening to the first two installments of this cycle.\u003c\/p\u003e\n\u003cp\u003eOne final thing on Konwitschny. His treatment of the leitmotifs is exceptional. His instinct for their respective prominence and role is superb. Sometimes pivotal, sometimes something you only gradually become aware of, they are always illuminating, integral, and delivered with unerring dramatic momentum.\u003c\/p\u003e\n\u003cp\u003eProducer Andrew Rose has once more used Pristine’s Ambient Stereo remastering technique to excellent effect, investing what was a very good live opera broadcast (I had to keep reminding myself this was 1959!) with a sense of warmth and spaciousness. Stage positions register clearly, and the voices are never overpowered by the orchestra. You’re aware that it’s live from the occasional cough and the welcome applause, but above all from the kinetic dynamic that pervades the whole performance. I wonder what Siegfried will bring. Dominic Hartley\u003c\/p\u003e\u003c\/section\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO237.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAmong the many surviving post-war \u003cem\u003eRing\u003c\/em\u003e cycles, the 1959 Covent Garden performances occupy a particularly fascinating place. They unite a remarkable company of Wagner singers, many of them veterans of Bayreuth and the international stage, with Franz Konwitschny, one of the major German conductors of his generation. Heard today, these performances offer far more than star casting. They preserve a style of Wagner singing and conducting poised between older dramatic immediacy and the more sculpted, symphonic approach that would increasingly dominate later decades.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFollowing \u003cem\u003eDas Rheingold\u003c\/em\u003e, this 23 September 1959 broadcast of \u003cem\u003eDie Walküre\u003c\/em\u003e brings us to the emotional heart of the cycle. If \u003cem\u003eRheingold\u003c\/em\u003e is the glittering prelude to catastrophe, \u003cem\u003eDie Walküre\u003c\/em\u003e is where Wagner’s drama becomes painfully human: the meeting of Siegmund and Sieglinde, Wotan’s terrible conflict between power and love, Brünnhilde’s awakening compassion, and the final, devastating farewell between father and daughter. It is also the point at which a \u003cem\u003eRing\u003c\/em\u003e performance must prove itself not merely by splendour, but by its capacity for intimacy, tenderness and sustained dramatic pressure.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe 1959 Covent Garden \u003cem\u003eRing\u003c\/em\u003e was eagerly followed in the press, though reviewers tended to discuss the cycle as a whole rather than each broadcast separately. What emerges clearly from their accounts is that Konwitschny’s arrival was felt as a significant change after Rudolf Kempe’s earlier Royal Opera performances. Critics noted that Kempe had shaped the four operas with a strong sense of overall continuity, while Konwitschny worked in shorter spans, giving particular scenes a vivid surge and theatrical sharpness. He was not a conductor afraid of rough edges or dramatic force, and contemporary reports suggest that he could drive climaxes with considerable power while remaining unusually attentive to the balance between stage and pit.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat quality is essential in \u003cem\u003eDie Walküre\u003c\/em\u003e, where voices must ride the orchestra without being submerged by it. The cast is led by Astrid Varnay as Brünnhilde, Hans Hotter as Wotan, Ramón Vinay as Siegmund and Amy Shuard as Sieglinde. Varnay was already one of the great Brünnhildes of the age, a singer whose vocal authority and dramatic concentration had become defining features of post-war Wagner performance. Hotter’s Wotan likewise needs little introduction: by 1959 he had lived with the role for years, and his command of text, colour and inward conflict remained among the wonders of the Wagnerian stage.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe particular revelation for London audiences was Amy Shuard. Contemporary comment singled her out as one of the outstanding successes of the cycle. In one of her first major Wagner roles, she was praised for vocal power, sympathetic acting and firmness of line. In an opera where Sieglinde can too easily become merely the object of Siegmund’s ardour or Wotan’s decree, Shuard evidently made a strong impression as a living, suffering woman, giving the first act its necessary emotional charge.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRamón Vinay’s Siegmund was more controversial. By this stage in his career he brought immense experience and unmistakable presence, though some critics found aspects of the portrayal vocally and dramatically strained. Yet there is a compelling historical interest in hearing him here, not as an abstract ideal of lyrical heroism, but as a stage animal of the old school, throwing himself into Wagner’s drama with the authority of a singer who had inhabited this repertoire at the highest level.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eKonwitschny’s \u003cem\u003eWalküre\u003c\/em\u003e may not always seek polish for its own sake. Its virtues lie elsewhere: momentum, urgency, strong theatrical profile and an instinctive understanding that Wagner’s orchestra must breathe with the singers. In the great confrontations of Act II and the long farewell of Act III, the performance belongs to a tradition in which the \u003cem\u003eRing\u003c\/em\u003e is first and foremost music drama, alive in the theatre, under pressure, and unfolding before an audience rather than preserved under studio glass.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe BBC sound is again remarkable for its period. Despite the inevitable limitations of a live Covent Garden relay from 1959, the balance between voices and orchestra is natural and engaging, with a strong sense of stage space and theatrical atmosphere. Pristine’s Ambient Stereo XR remastering further opens the original broadcast image, restoring warmth, depth and presence while preserving the electricity of live performance. The result brings this great Covent Garden \u003cem\u003eWalküre\u003c\/em\u003e vividly into the present: not as a museum relic, but as a living document of Wagner performance at a crucial moment in its post-war history.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Walküre\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (61:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Wes Herd dies auch, hier muß ich rasten\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Kühlende Labung gab mir der Quell!\u003cspan style=\"font-size: 12px;\"\u003e (8:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Müd am Herd fand ich den Mann\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Friedmund darf ich nicht heißen\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Aus dem Wald trieb es mich fort\u003cspan style=\"font-size: 12px;\"\u003e (5:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Ich weiß ein wildes Geschlecht\u003cspan style=\"font-size: 12px;\"\u003e (5:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Ein Schwert verhieß mir der Vater\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Schläfst du, Gast?\u003cspan style=\"font-size: 12px;\"\u003e (6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Winterstürme wichen dem Wonnemond\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Du bist der Lenz\u003cspan style=\"font-size: 12px;\"\u003e (6:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Wehwalt heißt du fürwahr!\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (79:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (2:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Nun zäume dein Roß, reisige Maid!\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Der alte Sturm, die alte Müh'!\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e So ist es denn aus mit den ewigen Göttern\u003cspan style=\"font-size: 12px;\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Nichts lerntest du\u003cspan style=\"font-size: 12px;\"\u003e (5:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Was verlangst du?\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Schlimm, fürcht' ich, schloß der Streit\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Was keinem in Worten ich künde\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Ein andres ist's - achte es wohl!\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e O sag, künde, was soll nun dein Kind!\u003cspan style=\"font-size: 12px;\"\u003e (6:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Raste nun hier; gönne dir Ruh!\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Hinweg! Hinweg! Flieh die Entweihte!\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE FOUR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Siegmund! Sieh auf mich!\u003cspan style=\"font-size: 12px;\"\u003e (7:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Hehr bist du und heilig\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e So wenig achtest du ewige Wonne!\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC THREE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE FIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Zauberfest bezähmt ein Schlaf\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Kehrte der Vater nur heim!\u003cspan style=\"font-size: 12px;\"\u003e (5:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Prelude - Hojotoho! Hojotoho! Heiaha! Heiaha!\u003cspan style=\"font-size: 12px;\"\u003e (8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Schützt mich und helft in höchster Not!\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Nicht sehre dich Sorge um mich\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Steh, Brünnhild'!\u003cspan style=\"font-size: 12px;\"\u003e (0:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Wo ist Brünnhild', wo die Verbrecherin?\u003cspan style=\"font-size: 12px;\"\u003e (3:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Hier bin ich, Vater - gebiete die Strafe!\u003cspan style=\"font-size: 12px;\"\u003e (3:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Wehe! Weh! Schwester, ach Schwester!\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e War es so schmählich, was ich verbrach?\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nicht weise bin ich, doch wusst' ich das eine\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e So tatest du, was so gern zu tun ich begehrt?\u003cspan style=\"font-size: 12px;\"\u003e (6:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Du zeugtest ein edles Geschlecht\u003cspan style=\"font-size: 12px;\"\u003e (5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Leb wohl, du kühnes, herrliches Kind!\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Denn einer nur freie die Braut\u003cspan style=\"font-size: 12px;\"\u003e (8:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Loge, hör! Lausche hieher!\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLeader: Charles Taylor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSiegmund - \u003cb\u003eRamón Vinay\u003c\/b\u003e\u003cbr\u003eSieglinde - \u003cb\u003eAmy Shuard\u003c\/b\u003e\u003cbr\u003eHunding - \u003cb\u003eKurt Böhme\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eWotan - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eFricka - \u003cb\u003eUrsula Böse\u003c\/b\u003e\u003cbr\u003eGerhilde - \u003cb\u003eJoyce Barker\u003c\/b\u003e\u003cbr\u003eOrtlinde - \u003cb\u003eUna Hale\u003c\/b\u003e\u003cbr\u003eWaltraute - \u003cb\u003eMargreta Elkins\u003c\/b\u003e\u003cbr\u003eSchwertleite - \u003cb\u003eJean Watson\u003c\/b\u003e\u003cbr\u003eHelmwige - \u003cb\u003eJudith Pierce\u003c\/b\u003e\u003cbr\u003eSiegrune - \u003cb\u003eNoreen Berry\u003c\/b\u003e\u003cbr\u003eGrimgerde - \u003cb\u003eHeather Begg\u003c\/b\u003e\u003cbr\u003eRoßweiße - \u003cb\u003eJosephine Veasey\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBBC radio broadcast from Royal Opera House, Covent Garden, London\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e23\u003c\/span\u003e September 1959\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Franz Konwitschny\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 3hr 38:06\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO237.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO237.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59904531824974,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59904531857742,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59904531890510,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO237.jpg?v=1781827208"},{"product_id":"paco237-cd","title":"KONWITSCHNY Wagner’s Ring: 2. 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It's no great surprise to find \nGramophone's reviewer baulking at the Studio 8-H acoustics; as a part of\n this remastering, which has greatly improved the overall sound quality,\n I've also made judicious use of the reverberant profile of one of the \nworld's great opera houses, a technique which greatly aids the \nprojection and enhances the enjoyment of the singers here who, as a \nresult, probably deserve something of a reappraisal.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Otello (1947) - PACO033\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's classic 1947 Otello newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePossibly the best recording of Otello ever made - now in stunning XR sound\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThis recording, taken from two specially-lengthened broadcasts on 6th\n and 13th December, 1947, is widely regarded as perhaps the greatest \never made of Verdi's masterpiece, Otello. As NBC announcer Ben Grauer \nnotes in his introduction to the first broadcast, it has a special link \nto Toscanini, who as a young cellist had played in the world première of\n the piece, under Verdi's baton, in La Scala, Milan on 5th February, \n1887, some 60 years earlier.\u003cbr\u003e\u003cbr\u003eVerdi is regarded by many as \nespecially important to Toscanini, and this is among his greatest \nrecordings - Mortimer Frank writes: \"Of all the composers in Toscanini's\n repertory, Verdi was probably closest to him... what NBC preserved... \nif not necessarily representative of his staged performances or of his \nbest work, is often compelling. Given limitations such as occasionally \nweak casting, they are uneven. Bet when everything more or less fell \ninto place, as in the complete Otello, a performance of towering merit \nresulted.\"\u003cbr\u003e\u003cbr\u003eMeanwhile we see in the notes on this work at \nWikipedia: \"most music-guide reviewers contend that a recording made of a\n 1947 radio broadcast of the opera, conducted with thrilling verve and \nprecision by Arturo Toscanini and featuring such solid singers as Herva \nNelli, Ramón Vinay and Giuseppe Valdengo, is musically (if not in terms \nof sound quality) the best of these versions\".\u003cbr\u003e\u003cbr\u003eFor the \nrestoration and remastering engineer tackling this recording today it is\n the phrase in paratheses above which is in sore need of justified \nremoval. One discography of Toscanini lists sux separate releases of \nthis recording, and I'm reasonably confident that there are actually \nmore than this. Yet when I visited ardent Toscanini fan and collector \nChristophe Pizzutti earlier this year to take temporary charge of a \nlarge number of rare recordings for transfer and restoration, it was \nthis recording he repeatedly pressed me to work upon, convinced that my \nXR remastering technique could finally reveal the full sonic \nmagnificence of this immortal performance.\u003cbr\u003e\u003cbr\u003eAnd so, with sources \nprovided both by Christophe and by other collectors, I've endeavoured to\n assemble the very best quality material from which to assemble what I \nhope can be seen as a definitive recording of the two broadcasts (note \nthat some recordings switch between live and rehearsal material, others \ninclude sections of severly reduced fidelity, none has had the benefit \nof XR re-equalisation and the latest remastering techniques associated \nwith it).\u003cbr\u003e\u003cbr\u003eThe recording was made in the very end of the pre-tape \nera, and would have been preserved over a number of acetate discs. \nFortunately these have been remarkably well-preserved in various \nincarnations, and the results of careful selections of the best possible\n sources and the magic of both XR remastering and Ambient Stereo \nprocessing (direct mono is of course also available) makes a huge impact\n on the final overall sound quality of the recording. This is one of \nToscanini's greatest masterpieces, and it's never sounded better.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi - Aïda (1949) - PACO197\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003e\"PASSING his eighty-second birthday, Mr. Toscanini has afforded the audience of the nation, and we hope of even wider areas, a consummative example of interpretation in his broadcast performance in two parts of Verdi's “Aida,” completed yesterday afternoon in Radio City. Thanks enough can hardly be given the National Broadcasting Company which made such a performance available to every listener with a radio or television set at his disposal, wherever he might happen to be.\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003eIt is not this winter’s belief that any radio transmission can catch completely the innermost nuance or pulsation of such a performance, which is to be experienced completely only perhaps by those within actual earshot. Something is denatured in the transmission, to say nothing of the fact that it is still necessary, as we understand it—knowing nothing whatever of the technical process—to limit the sonorous range from very soft to very loud in any broadcasting. These limitations, though they lessen every year, do inhere in radio transmission.\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003eOn the other hand, such is the power in the province of the art which we ourselves are incapable of regarding as anything but the supreme art of them all—the art of music—that the thought and emotion back of the notes responsible for their projection come through unmistakably. The listener must sense strongly the creative impulsion of such a Toscanini interpretation. Whatever the acoustical boundaries, if the listener is at all sensitive himself he is likely to \"get it.\" He may not get the complete impression that he does if he sits in Studio 8H, but he will be caught in the evocative power of such a recreation of music.\"\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eNew York Times\u003c\/i\u003e, 3 April 1949\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe opening paragraphs of Olin Downes' essay on Toscanini's 1949 NBC Aïda express, in the kindest possible way, his frustration at the inability of a contemporary radio broadcast to reproduce the experience of hearing the performance in real life (the article is reproduced in full here - see tabs above).\u003c\/p\u003e\n\u003cp\u003eIt's the eternal quest both of the hi-fi buff or audiophile, and the recording producers and engineers whose work aims to bring the listener as close as possible to the \"real thing\", whatever that may actually be - one person's perception somewhere in the upper tiers of an opera house will inevitably differ considerably to that of the conductor in the orchestra pit. Toscanini famously desired the kind of bone dry acoustic he was almost certainly used to in the opera houses he'd spent his life working in, something modern ears often struggle with.\u003c\/p\u003e\n\u003cp\u003eAny recording therefore includes a degree of artifice - we are no more able to visit the Studio 8H of 1949 today than most listeners could in 1949. Instead my aim is to offer a somewhat idealised sound to this recording - a sense of dimensional air around the performers in the absence of true stereo, a correctional equalisation to overcome the shortcomings of 1940s recording equipment, and so on. Hopefully as a result of this we can get closer than ever to Olin Downes' \"innermost nuance or pulsation of such a performance\".\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Falstaff (1950) - PACO204\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003eOf all the composers in Toscanini’s repertory, Verdi was probably closest to him. The conductor’s third appointment as music director of La Scala (1920—29) may have produced the most organic Verdi productions of the century. During that appointment the composer’s operas formed the core of Toscanini’s work. He directed a dozen in all, more than those of any other composer he led in the theater. The extraordinary integrity of Toscanini’s Verdi at La Scala was noted by the young Herbert von Karajan, who wrote after witnessing Toscanini’s production of \u003cem\u003eFalstaff\u003c\/em\u003e in 1929:\u003c\/p\u003e\n\u003cp style=\"margin-left: 50px;\"\u003e“From the first … I was completely disconcerted by the perfection which had been achieved … For the first time I grasped what “direction” meant. To be sure, Toscanini had employed a stage director; but basically the essential conception came from him. The agreement between the music and the stage performance was something totally inconceivable for us: instead of people senselessly standing around, here everything had its place and its purpose.”\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003eThe key word in Karajan’s comment is “agreement.” We know, for example, that Toscanini took great pains with all the details of production, even to the point of objecting to the shoes worn by the cast of \u003cem\u003eFalstaff\u003c\/em\u003e for being anachronistic. But, most significantly, such care suggests that the overall pacing and musical approach of Toscanini’s productions may have differed from his concert performances of Verdi’s opera at NBC. Even some surviving NBC evidence suggests that those productions were not necessarily typical of a specific interpretive view; the dress rehearsals for \u003cem\u003eLa traviata\u003c\/em\u003e and \u003cem\u003eFalstaff\u003c\/em\u003e, for example, were paced differently from their broadcast presentations. Then, too, the 1943 broadcast of the third act of \u003cem\u003eRigoletto\u003c\/em\u003e is often broader and more rhythmically inflected than the 1944 concert performance released by RCA. Similarly, the 1943 broadcast account of the aria “Eri tu” (from \u003cem\u003eBallo\u003c\/em\u003e) features far more \u003cem\u003erubato\u003c\/em\u003e than in the 1954 broadcasts of the complete opera released by RCA. In part this may be rooted in the different styles of the two singers, Frank Valentino in 1943 and Robert Merrill in 1954. Still, it would seem that with operatic works, as well as symphonic ones, Toscanini was constantly revising his views.\u003c\/p\u003e\n\n\u003cp style=\"margin-left: 25px;\"\u003eBut over and beyond this issue should be the obvious one that the exigencies of staging must affect the musical pacing of an opera. Consequently, some of the faster tempos in Toscanini’s broadcast performances may well have been at variance with what he did in the theater. It is interesting, for example, to compare a recording of his staged 1937 Salzburg production of \u003cem\u003eFalstaff\u003c\/em\u003e \u003cem\u003e[Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-arturo-toscanini\/products\/paco035\" target=\"_blank\"\u003ePACO 035\u003c\/a\u003e]\u003c\/em\u003e to the 1950 NBC broadcasts released by RCA. Similarities not withstanding, the earlier version has greater breadth, wit, and (understandably) theatrical ambience. In short, although all of the conductor’s broadcasts of operas are valuable documents of his view of Verdi, they should not necessarily be taken as completely representative of how he may have performed the composer in the opera house.\u003c\/p\u003e\n\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eMortimer H. Frank\u003c\/b\u003e, “Arturo Toscanini, The NBC Years” (2002)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1950 the use of tape recording technology was widespread in the world of radio, something for which we have Bing Crosby to thank as much as anyone – but that’s another story! What it means for this recording and others of the era is that we’re no longer relying on direct-cut acetate discs to preserve broadcasts, and this is greatly to the benefit both of sound quality and relatively noise-free  backgrounds. That said, the two broadcast recordings which make up this 1950 \u003cem\u003eFalstaff\u003c\/em\u003e emanated from the acoustic dead-zone that was NBC’s Studio 8H, which can make the taped recordings seem even more arid than their predecessors. The combination here of both XR remastering, which compensates for inaccuracies in microphone frequency responses, and Ambient Stereo (with a little convolution reverb, bringing with it a sense of real-world opera-house acoustics), makes for a much more enjoyable listening experience – indeed the sound here would surely not be out of place in a studio recording made several decades later.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's 1954 operatic farewell newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eOne of the finest recordings of this opera in a stunning XR makeover\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eToscanini's final opera performance took place over two \nconcerts at Carnegie Hall, both broadcast live on radio in \nspecially-extended programmes. The original cast included the tenor \nJussi Björling, replaced at short notice by Jan Peerce. This performance\n uses the 'censored text' version of the opera (see below), which moves \nthe setting from Sweden to Massachusetts.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe source discs for this transfer were six LP sides \nissued as promotional gifts by \"the makers of Mobilgas and Mobiloil\", \nwho had sponsored the broadcasts. Packaged in an album reminiscent more \nof typical US 78rpm sets than their LP equivalents, the set includes \nsleevenotes by NBC announcer Ben Grauer and a montage of press cuttings \n(see below) reviewing the concerts.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eEach of the disc labels includes the words \"Air Check\" \non it, which does raise the outside possibility that the discs do not \ninclude retakes Toscanini recorded in June 1954 at his final recording \nsessions, also in Carnegie Hall, and which are present in RCA's \ncommercial issue. However, this seems unlikely - there is no radio \nannouncer or applause on the recording, and clearly some efforts would \nhave been made to produce the finest quality discs. Without catalogue \nnumbers or further details it is difficult to know exactly when these \ndiscs were pressed and to whom they were sent, or indeed how many sets \nwere ever made.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sides themselves proved to be in excellent condition\n with the exception of the fifth, which was slightly scratched during \nthe final four minutes or so, some remnants of which may still be \napparent. Sound quality is excellent throughout - the close-up \nmicrophone technique, whilst holding back much of the ambience of \nCarnegie Hall, does allow for excellent clarity in both voices and \norchestra.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFurthermore, this new transfer has benefitted enormously\n from XR remastering, bringing fabulous new depth and clarity to the \nsound and opening it out tremendously, something further enhanced when \nlistening to the Ambient Stereo version, which helps create the sense of\n space lacking in the original by drawing out ambience from the \nrecording and spreading it subtly across the soundstage.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: La Traviata (1946) - PACO098\u003c\/summary\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eVERDI La Traviata \u003c\/b\u003e\u003cbr\u003eBroadcast performances\u003cbr\u003eCD1: 1 December, 1946\u003cbr\u003eCD2: 8 December, 1946\u003cbr\u003eNBC Studio 8-H\u003cbr\u003eNew York City\u003cbr\u003eFirst issued as RCA LM-6003\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eVioletta Valery\u003cb\u003e - Licia Albanese\u003cbr\u003e\u003c\/b\u003eAlfredo Germont\u003cb\u003e - Jan Peerce\u003cbr\u003e\u003c\/b\u003eGiorgio Germont\u003cb\u003e - Robert Merrill\u003cbr\u003e\u003c\/b\u003eFlora Bervoix\u003cb\u003e - Maxine Stellman\u003cbr\u003e\u003c\/b\u003eGastone \u003cb\u003e- John Garris\u003cbr\u003e\u003c\/b\u003eBaron Douphol \u003cb\u003e- George Cehanovsky\u003cbr\u003e\u003c\/b\u003eMarquis d'Obigny \u003cb\u003e- Paul Dennis\u003cbr\u003e\u003c\/b\u003eDr. Grenvil \u003cb\u003e- Arthur Newman\u003cbr\u003e\u003c\/b\u003eAnnina\u003cb\u003e - Johanne Moreland\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra and Chorus\u003cbr\u003eChorus Director - Peter Wilhousky\u003cbr\u003e\u003cbr\u003eConductor - Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Otello (1947) - PACO033\u003c\/summary\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Otello\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eRamón Vinay\u003c\/b\u003e (\u003cem\u003eOtello\u003c\/em\u003e)\u003cb\u003e\u003cbr\u003e Herva Nelli \u003c\/b\u003e(\u003cem\u003eDesdemona\u003c\/em\u003e)\u003cb\u003e \u003cbr\u003e Giuseppe Valdengo\u003c\/b\u003e (\u003cem\u003eIago\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Virginio Assandri \u003c\/b\u003e(\u003cem\u003eCassio\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Leslie Chabay\u003c\/b\u003e (\u003cem\u003eRoderigo\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nicola Moscona \u003c\/b\u003e(\u003cem\u003eLodovico\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Arthur Newman\u003c\/b\u003e (\u003cem\u003eMontàno\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nan Merriman\u003c\/b\u003e (\u003cem\u003eEmilia\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e \u003c\/b\u003eThe NBC Symphony Orchestra and Choruses \u003cbr\u003e conducted by Arturo Toscanini \u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi - Aïda (1949) - PACO197\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (75:57)\u003cbr\u003e\u003cbr\u003e1. Prelude  (3:14)\u003cbr\u003e\u003cbr\u003eACT ONE\u003cbr\u003e2. Sì: corre voce che l'Etiope  (1:30)\u003cbr\u003e3. Se quel guerrier ... Celeste Aïda  (4:16)\u003cbr\u003e4. Quale insolita gioia nel tuo sguardo!  (2:23)\u003cbr\u003e5. Dessa!  (1:25)\u003cbr\u003e6. Ohimé!  Di guerra fremere  (1:52)\u003cbr\u003e7. Alta cagion v'aduna  (1:13)\u003cbr\u003e8. Il sacro suolo dell'Egitto é invaso  (1:57)\u003cbr\u003e9. Su! Del Nilo al sacro lido  (2:28)\u003cbr\u003e10. Ritorna vincitor!  (6:07)\u003cbr\u003e11. Possente Fthà!  (3:06)\u003cbr\u003e12. Sacred Dance Of The Priestesses  (2:03)\u003cbr\u003e13. Mortal, dilet to ai numi  (1:00)\u003cbr\u003e14. Nume, custode e vindice  (4:27)\u003cbr\u003e\u003cbr\u003eACT TWO\u003cbr\u003e15. Chi mai fra gl'inni a i plausi  (2:30)\u003cbr\u003e16. Dance Of The Moorish Slaves  (1:29)\u003cbr\u003e17. Vieni: sul crin ti piovano  (0:42)\u003cbr\u003e18. Silenzio! Aïda verso noi s'avaza  (5:37)\u003cbr\u003e19. Pietà, ti prenda del mo dolor  (1:46)\u003cbr\u003e20. Su! Del Nilo al scaro lido  (2:20)\u003cbr\u003e21. Gloria all'Egitto, ad Iside  (3:25)\u003cbr\u003e22. March And Ballet  (5:52)\u003cbr\u003e23. Vieni, o guerriero vindice  (2:22)\u003cbr\u003e24. Salvator della patria  (1:17)\u003cbr\u003e25. Concedi in pria  (0:44)\u003cbr\u003e26. Che veggo! Egli? Mio padre!  (0:51)\u003cbr\u003e27. Quest'assisa chio vesto vi dica  (0:58)\u003cbr\u003e28. Ma tu, re, tu, signore possente  (3:46)\u003cbr\u003e29. O re, pei sacri numi  (2:16)\u003cbr\u003e30. Gloria all'Egitto, ad Iside  (1:10)\u003cbr\u003e31. Fa' cor: della tua patria  (1:55)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two \u003c\/b\u003e(59:46)\u003cbr\u003e\u003cbr\u003eACT THREE\u003cbr\u003e1. O tu, che sei d'Osiride  (2:12)\u003cbr\u003e2. Vieni d'Iside al tempio  (2:08)\u003cbr\u003e3. Qui Radamès verrà!  (1:39)\u003cbr\u003e4. O patria mia  (4:39)\u003cbr\u003e5. Ciel! Mio padre!  (1:06)\u003cbr\u003e6. Rivedrai le foreste imbalsamate  (1:32)\u003cbr\u003e7. In armi ora si desta il popol nostro  (2:27)\u003cbr\u003e8. Padre! A costoro schiava non sono  (2:10)\u003cbr\u003e9. Pur ti riveggo, mia dolce Aïda  (1:20)\u003cbr\u003e10. Nel fiero anelito di nuova guerra  (1:40)\u003cbr\u003e11. Fuggiam Gli ardori inospiti  (3:46)\u003cbr\u003e12. Aïda! - Tu non m'ami  (0:29)\u003cbr\u003e13. Ah no! Fuggiamo!  (1:20)\u003cbr\u003e14. Ma, dimmi  (2:05)\u003cbr\u003e15. Traditor  (1:02)\u003cbr\u003e\u003cbr\u003eACT FOUR\u003cbr\u003e16. L'abborrita rivale a me sfuggia  (1:22)\u003cbr\u003e17. Io l'amo, io l'amo sempre!  (1:33)\u003cbr\u003e18. Già i sacerdoti adunansi  (2:02)\u003cbr\u003e19. Ah! Tu dei vivere!  (2:42)\u003cbr\u003e20. Chi ti salva, sciagurato  (1:44)\u003cbr\u003e21. Ohimé! Morir mi sento  (2:10)\u003cbr\u003e22. Spirto del nume, sovra noi discendi!  (1:39)\u003cbr\u003e23. Radamès! Radamès! Radamès!  (3:10)\u003cbr\u003e24. A lui vivo la tomba!  (3:23)\u003cbr\u003e25. La fatal pietra sovra me si chiuse  (2:11)\u003cbr\u003e26. Presago il core della tua condanna  (2:07)\u003cbr\u003e27. Vedi? Di morte l'angelo  (1:41)\u003cbr\u003e28. O terra, addio  (4:27)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAïda – \u003cb\u003eHerva Nelli\u003c\/b\u003e (soprano)\u003cbr\u003eAmneris – \u003cb\u003eEva Gustavson\u003c\/b\u003e (mezzo-soprano)\u003cbr\u003eRadamès – \u003cb\u003eRichard Tucker\u003c\/b\u003e (tenor)\u003cbr\u003eAmonasro – \u003cb\u003eGiuseppe Valdegno\u003c\/b\u003e (baritone)\u003cbr\u003eIl Re (Pharoah) – \u003cb\u003eDennis Harbour\u003c\/b\u003e (bass)\u003cbr\u003eRamfis – \u003cb\u003eNorman Scott\u003c\/b\u003e (bass)\u003cbr\u003eUn Messagero – \u003cb\u003eVirginio Assandri\u003c\/b\u003e (tenor)\u003cbr\u003eSacerdotessa –\u003cb\u003e Teresa Stich-Randall \u003c\/b\u003e(soprano) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eRobert Shaw Chorale\u003c\/b\u003e\u003cbr\u003edirected by \u003cb\u003eRobert Shaw\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eLive broadcast recordings, 26 March (Acts 1 \u0026amp; 2) \u0026amp; 2 April (Acts 3 \u0026amp; 4), 1949\u003cbr\u003eStudio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eAmbient Stereo XR remastering by Andrew Rose\u003cbr\u003eFront cover artwork: Arturo Toscanini conducting Aïda, an AI digital artwork by DALL-E 2\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 15:43\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Falstaff (1950) - PACO204\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eFalstaff\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (54:54)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact one scene 1\u003c\/b\u003e\u003cbr\u003e1. Falstaff! Ola!  (5:08)\u003cbr\u003e2. Sei polli: sei scellini...So che andiam, la notte  (2:47)\u003cbr\u003e3. Ma è tempo d'assottigliar l'ingegno...V'è noto un tal, qui del paese  (3:48)\u003cbr\u003e4. L'Onore! Ladri!  (4:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e5. Alice. Meg. Nannetta  (1:22)\u003cbr\u003e6. Fulgida Alice! amor t'offro...Quell'otre! quel tino!  (3:56)\u003cbr\u003e7. In due parole  (1:30)\u003cbr\u003e8. Pst, pst, Nannetta... Labbra di foco!  (5:16)\u003cbr\u003e9. Udrai quanta egli sfoggia  (3:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact two scene 1\u003c\/b\u003e\u003cbr\u003e10. Siam pentiti e contriti... Reverenza!  (6:19)\u003cbr\u003e11. Alice è mia!... Va, vecchio John  (1:56)\u003cbr\u003e12. Signore, v'assista il cielo!  (2:43)\u003cbr\u003e13. C'è a Windsor una dama  (6:46)\u003cbr\u003e14. È sogno? o realtà  (5:47)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (62:37)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e1. Presentereno un bill...Giunta all'Albergo della Giarrettiera  (4:02)\u003cbr\u003e2. Gaie comari di Windsor!  (1:44)\u003cbr\u003e3. Alfin t'ho colto, faggiante fior  (3:20)\u003cbr\u003e4. Quand'ero paggio  (0:59)\u003cbr\u003e5. Mia signora!  (2:48)\u003cbr\u003e6. Vien qua. Che Chiasso!  (1:34)\u003cbr\u003e7. C'è. C'è. Se t'agguanto! Se ti piglio!  (5:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact three scene 1\u003c\/b\u003e\u003cbr\u003e8. Ehi! Taverniere! Mondo ladro  (5:48)\u003cbr\u003e9. Reverenza. La bella Alice...Quando il rintocco della mezzanotte  (4:55)\u003cbr\u003e10. Brava. Quelle corna saranno la mia gioia!  (4:40)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e11. Dal labbro il canto estasiato volla  (4:30)\u003cbr\u003e12. Una, due, tre, quattro  (3:49)\u003cbr\u003e13. Ninfe! Elfi! Silfi!... Sul fin d'un soffio etesio  (5:45)\u003cbr\u003e14. Alto là!...Pizzica, pizzica  (6:13)\u003cbr\u003e15. Ogni sorta di gente dozzinale  (3:38)\u003cbr\u003e16. Facciamo il parentado... Tutto nel mando è burla  (3:47)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eCAST\u003cbr\u003e\u003c\/b\u003eFalstaff \u003cb\u003e- Giuseppe Valdengo \u003c\/b\u003e\u003ci\u003e(baritone)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Alice Ford\u003cb\u003e - Herva Nelli \u003c\/b\u003e\u003ci\u003e(soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Meg Page\u003cb\u003e - Nan Merriman \u003c\/b\u003e\u003ci\u003e(mezzo-soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Quickly\u003cb\u003e - Cloë Elmo \u003c\/b\u003e\u003ci\u003e(mezzo-soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eFord \u003cb\u003e- Frank Guarrera \u003c\/b\u003e\u003ci\u003e(baritone)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eNannetta\u003cb\u003e - Teresa Stich-Randall \u003c\/b\u003e\u003ci\u003e(soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eFenton \u003cb\u003e- Antonio Madasi \u003c\/b\u003e\u003ci\u003e(tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eDr. Caius\u003cb\u003e - Gabor Carelli \u003c\/b\u003e\u003ci\u003e(tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eBardolph \u003cb\u003e- John Carmen Rossi\u003c\/b\u003e\u003ci\u003e (tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003ePistol \u003cb\u003e- Norman Scott \u003c\/b\u003e\u003ci\u003e(bass)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003eRobert Shaw Chorale\u003cbr\u003e\u003c\/b\u003edirected by \u003cb\u003eRobert Shaw\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eNBC broadcast perfomances, 1 \u0026amp; 8 April 1950\u003cbr\u003eStudio 8H, Radio City, New York.\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eFront cover artwork: Arturo Toscanini\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eTotal duration:  1hr 57:32\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032\u003c\/summary\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e- Un Ballo in Maschera \u003c\/span\u003e(A Masked Ball)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCD One\u003cbr\u003e1. Act 1 - Prelude  (4:14)\u003cbr\u003e2. Posa in pace  (1:47)\u003cbr\u003e3. Amici miei...soldati - La rivedrà nell' estasi  (3:20)\u003cbr\u003e4. Il cenno mio de là  (2:13)\u003cbr\u003e5. Alla vita che t'arride  (2:21)\u003cbr\u003e6. Il primo giudice  (1:28)\u003cbr\u003e7. Cavatina: Volta la terrea...  (1:40)\u003cbr\u003e8. Signori oggi d'Ulrica...Orni cura (2:55)\u003cbr\u003e9. Zitti, l'incanto non dessi turbare  (3:45)\u003cbr\u003e10. Arrivo il primo...Villano, dà indietro  (2:26)\u003cbr\u003e11. Su fatemi largo  (3:20)\u003cbr\u003e12. Che v'agita cosi  (4:51)\u003cbr\u003e13. Su profetessa monta il treppiè  (3:38)\u003cbr\u003e14. Chi voi siate l'audace parola  (5:43)\u003cbr\u003e15. Finale - Finisci il vaticinio  (4:14)\u003cbr\u003e16. Act II - Prelude - Ecco l'orrido campo  (8:41)\u003cbr\u003e17 Teco io sto...Gran Dio...  (8:05)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCD Two\u003cbr\u003e1. Ahimè!...s'appressa alcun!...  (4:44)\u003cbr\u003e2. Seguitemi!...Mio Dio!  (7:07)\u003cbr\u003e3. Act III - A tal colpo è nulla il pianto  (5:53)\u003cbr\u003e4. Alzati! Là tuo figlio a te concede riveder...  (5:53)\u003cbr\u003e5. Siam soli...udite...  (8:11)\u003cbr\u003e6. Alle danze questa sera  (4:01)\u003cbr\u003e7. Forse la soglia attinse...  (4:58)\u003cbr\u003e8. Ah! Dessa è là (Festa de Ballo e Coro)  (5:24)\u003cbr\u003e9. Fervono amori e danze...  (1:46)\u003cbr\u003e10. Ah! Perchè qui!.. fuggite...  (5:02)\u003cbr\u003e11. Finale - Ella è pura, in braccio a morte...  (4:15)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e (Riccardo), \u003cbr\u003e \u003cb\u003eHerva Nelli \u003c\/b\u003e(Amelia), \u003cbr\u003e \u003cb\u003eRobert Merrill \u003c\/b\u003e(Renato), \u003cbr\u003e \u003cb\u003eClaramae Turner\u003c\/b\u003e (Ulrica), \u003cbr\u003e \u003cb\u003eVirginia Haskins\u003c\/b\u003e (Oscar), \u003cbr\u003e \u003cb\u003eGeorge Cehanovsky \u003c\/b\u003e(Silvano), \u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e (Samuel), \u003cbr\u003e \u003cb\u003eNorman Scott \u003c\/b\u003e(Tom), \u003cbr\u003e \u003cb\u003eJohn Carmen Rossi\u003c\/b\u003e (Judge, Servant of Amelia)\u003cbr\u003e \u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e Robert Shaw Chorale\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003econducted by Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded live at Carnegie Hall, 17th January 1954 (Act 1)\u003cbr\u003eand 24th January 1954 (Acts II and III)\u003cbr\u003eTransfer from Air Check discs \"presented by the makers of MobilGas and MobilOil\" No catalogue numbers, matrix numbers E4RP8241-6\u003cbr\u003eDiscs provided from the private collection of Christophe Pizzutti\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, August 2009\u003cbr\u003eCover artwork based on a photograph of Arturo Toscanini conducted at Carnegie Hall\u003c\/p\u003e\n\u003cp\u003eTotal duration:  2hr 01:55\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco098\"\u003eTOSCANINI Verdi: La Traviata (1946) - PACO098 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco033\"\u003eTOSCANINI Verdi: Otello (1947) - PACO033 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco197\"\u003eTOSCANINI Verdi - Aïda (1949) - PACO197 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco204\"\u003eTOSCANINI Verdi: Falstaff (1950) - PACO204 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco032\"\u003eTOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"24-bit FLAC","offer_id":60910411710798,"sku":null,"price":160.0,"currency_code":"EUR","in_stock":true},{"title":"16-bit FLAC","offer_id":60910411776334,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60910411809102,"sku":null,"price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX053.jpg?v=1790066683"},{"product_id":"pabx053-cd","title":"TOSCANINI - The NBC Verdi Opera Collection - PABX053 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eLa Traviata\u003c\/i\u003e; \u003ci\u003eOtello\u003c\/i\u003e; \u003ci\u003eAïda\u003c\/i\u003e; \u003ci\u003eFalstaff\u003c\/i\u003e; \u003ci\u003eUn Ballo in Maschera\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive NBC broadcast recordings, New York, 1946–1954\u003cbr\u003eTotal duration: 10:14:30\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC choruses\u003c\/b\u003e; \u003cb\u003eRobert Shaw Chorale\u003c\/b\u003e, directed by \u003cb\u003eRobert Shaw\u003c\/b\u003e\u003cbr\u003eSoloists include \u003cb\u003eLicia Albanese\u003c\/b\u003e, \u003cb\u003eJan Peerce\u003c\/b\u003e, \u003cb\u003eRobert Merrill\u003c\/b\u003e, \u003cb\u003eRamón Vinay\u003c\/b\u003e, \u003cb\u003eHerva Nelli\u003c\/b\u003e, \u003cb\u003eGiuseppe Valdengo\u003c\/b\u003e, \u003cb\u003eEva Gustavson\u003c\/b\u003e, \u003cb\u003eRichard Tucker\u003c\/b\u003e, \u003cb\u003eDennis Harbour\u003c\/b\u003e, \u003cb\u003eNorman Scott\u003c\/b\u003e, \u003cb\u003eNan Merriman\u003c\/b\u003e, \u003cb\u003eCloë Elmo\u003c\/b\u003e, \u003cb\u003eFrank Guarrera\u003c\/b\u003e, \u003cb\u003eClaramae Turner\u003c\/b\u003e and \u003cb\u003eVirginia Haskins\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO032.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: La Traviata (1946) - PACO098\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's Traviata - The electrifying 1946 NBC broadcasts\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eEven livelier in this new 32-bit XR Pristine remastering for Verdi's 200th birthday\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eToscanini's broadcast recordings of La Traviata spanned two live \ntransmissions a week apart in December 1946, and that is how we've split\n them here: first Act 1 and Act 2, Scene 1, then Act 2, Scene 2 and Act \n3.The pace is certainly brisk - some twenty minutes quicker than Callas \nunder Santini in 1953 - yet Toscanini's brilliantly-drilled musicians \nbring it off with aplomb.\u003c\/p\u003e\n\u003cp\u003eAs with most of Toscanini's NBC broadcasts of this era, the original \nsound has been well-preserved. It's no great surprise to find \nGramophone's reviewer baulking at the Studio 8-H acoustics; as a part of\n this remastering, which has greatly improved the overall sound quality,\n I've also made judicious use of the reverberant profile of one of the \nworld's great opera houses, a technique which greatly aids the \nprojection and enhances the enjoyment of the singers here who, as a \nresult, probably deserve something of a reappraisal.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Otello (1947) - PACO033\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's classic 1947 Otello newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePossibly the best recording of Otello ever made - now in stunning XR sound\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThis recording, taken from two specially-lengthened broadcasts on 6th\n and 13th December, 1947, is widely regarded as perhaps the greatest \never made of Verdi's masterpiece, Otello. As NBC announcer Ben Grauer \nnotes in his introduction to the first broadcast, it has a special link \nto Toscanini, who as a young cellist had played in the world première of\n the piece, under Verdi's baton, in La Scala, Milan on 5th February, \n1887, some 60 years earlier.\u003cbr\u003e\u003cbr\u003eVerdi is regarded by many as \nespecially important to Toscanini, and this is among his greatest \nrecordings - Mortimer Frank writes: \"Of all the composers in Toscanini's\n repertory, Verdi was probably closest to him... what NBC preserved... \nif not necessarily representative of his staged performances or of his \nbest work, is often compelling. Given limitations such as occasionally \nweak casting, they are uneven. Bet when everything more or less fell \ninto place, as in the complete Otello, a performance of towering merit \nresulted.\"\u003cbr\u003e\u003cbr\u003eMeanwhile we see in the notes on this work at \nWikipedia: \"most music-guide reviewers contend that a recording made of a\n 1947 radio broadcast of the opera, conducted with thrilling verve and \nprecision by Arturo Toscanini and featuring such solid singers as Herva \nNelli, Ramón Vinay and Giuseppe Valdengo, is musically (if not in terms \nof sound quality) the best of these versions\".\u003cbr\u003e\u003cbr\u003eFor the \nrestoration and remastering engineer tackling this recording today it is\n the phrase in paratheses above which is in sore need of justified \nremoval. One discography of Toscanini lists sux separate releases of \nthis recording, and I'm reasonably confident that there are actually \nmore than this. Yet when I visited ardent Toscanini fan and collector \nChristophe Pizzutti earlier this year to take temporary charge of a \nlarge number of rare recordings for transfer and restoration, it was \nthis recording he repeatedly pressed me to work upon, convinced that my \nXR remastering technique could finally reveal the full sonic \nmagnificence of this immortal performance.\u003cbr\u003e\u003cbr\u003eAnd so, with sources \nprovided both by Christophe and by other collectors, I've endeavoured to\n assemble the very best quality material from which to assemble what I \nhope can be seen as a definitive recording of the two broadcasts (note \nthat some recordings switch between live and rehearsal material, others \ninclude sections of severly reduced fidelity, none has had the benefit \nof XR re-equalisation and the latest remastering techniques associated \nwith it).\u003cbr\u003e\u003cbr\u003eThe recording was made in the very end of the pre-tape \nera, and would have been preserved over a number of acetate discs. \nFortunately these have been remarkably well-preserved in various \nincarnations, and the results of careful selections of the best possible\n sources and the magic of both XR remastering and Ambient Stereo \nprocessing (direct mono is of course also available) makes a huge impact\n on the final overall sound quality of the recording. This is one of \nToscanini's greatest masterpieces, and it's never sounded better.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi - Aïda (1949) - PACO197\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003e\"PASSING his eighty-second birthday, Mr. Toscanini has afforded the audience of the nation, and we hope of even wider areas, a consummative example of interpretation in his broadcast performance in two parts of Verdi's “Aida,” completed yesterday afternoon in Radio City. Thanks enough can hardly be given the National Broadcasting Company which made such a performance available to every listener with a radio or television set at his disposal, wherever he might happen to be.\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003eIt is not this winter’s belief that any radio transmission can catch completely the innermost nuance or pulsation of such a performance, which is to be experienced completely only perhaps by those within actual earshot. Something is denatured in the transmission, to say nothing of the fact that it is still necessary, as we understand it—knowing nothing whatever of the technical process—to limit the sonorous range from very soft to very loud in any broadcasting. These limitations, though they lessen every year, do inhere in radio transmission.\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003eOn the other hand, such is the power in the province of the art which we ourselves are incapable of regarding as anything but the supreme art of them all—the art of music—that the thought and emotion back of the notes responsible for their projection come through unmistakably. The listener must sense strongly the creative impulsion of such a Toscanini interpretation. Whatever the acoustical boundaries, if the listener is at all sensitive himself he is likely to \"get it.\" He may not get the complete impression that he does if he sits in Studio 8H, but he will be caught in the evocative power of such a recreation of music.\"\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eOlin Downes\u003c\/b\u003e, \u003ci\u003eNew York Times\u003c\/i\u003e, 3 April 1949\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe opening paragraphs of Olin Downes' essay on Toscanini's 1949 NBC Aïda express, in the kindest possible way, his frustration at the inability of a contemporary radio broadcast to reproduce the experience of hearing the performance in real life (the article is reproduced in full here - see tabs above).\u003c\/p\u003e\n\u003cp\u003eIt's the eternal quest both of the hi-fi buff or audiophile, and the recording producers and engineers whose work aims to bring the listener as close as possible to the \"real thing\", whatever that may actually be - one person's perception somewhere in the upper tiers of an opera house will inevitably differ considerably to that of the conductor in the orchestra pit. Toscanini famously desired the kind of bone dry acoustic he was almost certainly used to in the opera houses he'd spent his life working in, something modern ears often struggle with.\u003c\/p\u003e\n\u003cp\u003eAny recording therefore includes a degree of artifice - we are no more able to visit the Studio 8H of 1949 today than most listeners could in 1949. Instead my aim is to offer a somewhat idealised sound to this recording - a sense of dimensional air around the performers in the absence of true stereo, a correctional equalisation to overcome the shortcomings of 1940s recording equipment, and so on. Hopefully as a result of this we can get closer than ever to Olin Downes' \"innermost nuance or pulsation of such a performance\".\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Falstaff (1950) - PACO204\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\u003eOf all the composers in Toscanini’s repertory, Verdi was probably closest to him. The conductor’s third appointment as music director of La Scala (1920—29) may have produced the most organic Verdi productions of the century. During that appointment the composer’s operas formed the core of Toscanini’s work. He directed a dozen in all, more than those of any other composer he led in the theater. The extraordinary integrity of Toscanini’s Verdi at La Scala was noted by the young Herbert von Karajan, who wrote after witnessing Toscanini’s production of \u003cem\u003eFalstaff\u003c\/em\u003e in 1929:\u003c\/p\u003e\n\u003cp style=\"margin-left: 50px;\"\u003e“From the first … I was completely disconcerted by the perfection which had been achieved … For the first time I grasped what “direction” meant. To be sure, Toscanini had employed a stage director; but basically the essential conception came from him. The agreement between the music and the stage performance was something totally inconceivable for us: instead of people senselessly standing around, here everything had its place and its purpose.”\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003eThe key word in Karajan’s comment is “agreement.” We know, for example, that Toscanini took great pains with all the details of production, even to the point of objecting to the shoes worn by the cast of \u003cem\u003eFalstaff\u003c\/em\u003e for being anachronistic. But, most significantly, such care suggests that the overall pacing and musical approach of Toscanini’s productions may have differed from his concert performances of Verdi’s opera at NBC. Even some surviving NBC evidence suggests that those productions were not necessarily typical of a specific interpretive view; the dress rehearsals for \u003cem\u003eLa traviata\u003c\/em\u003e and \u003cem\u003eFalstaff\u003c\/em\u003e, for example, were paced differently from their broadcast presentations. Then, too, the 1943 broadcast of the third act of \u003cem\u003eRigoletto\u003c\/em\u003e is often broader and more rhythmically inflected than the 1944 concert performance released by RCA. Similarly, the 1943 broadcast account of the aria “Eri tu” (from \u003cem\u003eBallo\u003c\/em\u003e) features far more \u003cem\u003erubato\u003c\/em\u003e than in the 1954 broadcasts of the complete opera released by RCA. In part this may be rooted in the different styles of the two singers, Frank Valentino in 1943 and Robert Merrill in 1954. Still, it would seem that with operatic works, as well as symphonic ones, Toscanini was constantly revising his views.\u003c\/p\u003e\n\n\u003cp style=\"margin-left: 25px;\"\u003eBut over and beyond this issue should be the obvious one that the exigencies of staging must affect the musical pacing of an opera. Consequently, some of the faster tempos in Toscanini’s broadcast performances may well have been at variance with what he did in the theater. It is interesting, for example, to compare a recording of his staged 1937 Salzburg production of \u003cem\u003eFalstaff\u003c\/em\u003e \u003cem\u003e[Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-arturo-toscanini\/products\/paco035\" target=\"_blank\"\u003ePACO 035\u003c\/a\u003e]\u003c\/em\u003e to the 1950 NBC broadcasts released by RCA. Similarities not withstanding, the earlier version has greater breadth, wit, and (understandably) theatrical ambience. In short, although all of the conductor’s broadcasts of operas are valuable documents of his view of Verdi, they should not necessarily be taken as completely representative of how he may have performed the composer in the opera house.\u003c\/p\u003e\n\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eMortimer H. Frank\u003c\/b\u003e, “Arturo Toscanini, The NBC Years” (2002)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1950 the use of tape recording technology was widespread in the world of radio, something for which we have Bing Crosby to thank as much as anyone – but that’s another story! What it means for this recording and others of the era is that we’re no longer relying on direct-cut acetate discs to preserve broadcasts, and this is greatly to the benefit both of sound quality and relatively noise-free  backgrounds. That said, the two broadcast recordings which make up this 1950 \u003cem\u003eFalstaff\u003c\/em\u003e emanated from the acoustic dead-zone that was NBC’s Studio 8H, which can make the taped recordings seem even more arid than their predecessors. The combination here of both XR remastering, which compensates for inaccuracies in microphone frequency responses, and Ambient Stereo (with a little convolution reverb, bringing with it a sense of real-world opera-house acoustics), makes for a much more enjoyable listening experience – indeed the sound here would surely not be out of place in a studio recording made several decades later.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's 1954 operatic farewell newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eOne of the finest recordings of this opera in a stunning XR makeover\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eToscanini's final opera performance took place over two \nconcerts at Carnegie Hall, both broadcast live on radio in \nspecially-extended programmes. The original cast included the tenor \nJussi Björling, replaced at short notice by Jan Peerce. This performance\n uses the 'censored text' version of the opera (see below), which moves \nthe setting from Sweden to Massachusetts.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe source discs for this transfer were six LP sides \nissued as promotional gifts by \"the makers of Mobilgas and Mobiloil\", \nwho had sponsored the broadcasts. Packaged in an album reminiscent more \nof typical US 78rpm sets than their LP equivalents, the set includes \nsleevenotes by NBC announcer Ben Grauer and a montage of press cuttings \n(see below) reviewing the concerts.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eEach of the disc labels includes the words \"Air Check\" \non it, which does raise the outside possibility that the discs do not \ninclude retakes Toscanini recorded in June 1954 at his final recording \nsessions, also in Carnegie Hall, and which are present in RCA's \ncommercial issue. However, this seems unlikely - there is no radio \nannouncer or applause on the recording, and clearly some efforts would \nhave been made to produce the finest quality discs. Without catalogue \nnumbers or further details it is difficult to know exactly when these \ndiscs were pressed and to whom they were sent, or indeed how many sets \nwere ever made.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sides themselves proved to be in excellent condition\n with the exception of the fifth, which was slightly scratched during \nthe final four minutes or so, some remnants of which may still be \napparent. Sound quality is excellent throughout - the close-up \nmicrophone technique, whilst holding back much of the ambience of \nCarnegie Hall, does allow for excellent clarity in both voices and \norchestra.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFurthermore, this new transfer has benefitted enormously\n from XR remastering, bringing fabulous new depth and clarity to the \nsound and opening it out tremendously, something further enhanced when \nlistening to the Ambient Stereo version, which helps create the sense of\n space lacking in the original by drawing out ambience from the \nrecording and spreading it subtly across the soundstage.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: La Traviata (1946) - PACO098\u003c\/summary\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eVERDI La Traviata \u003c\/b\u003e\u003cbr\u003eBroadcast performances\u003cbr\u003eCD1: 1 December, 1946\u003cbr\u003eCD2: 8 December, 1946\u003cbr\u003eNBC Studio 8-H\u003cbr\u003eNew York City\u003cbr\u003eFirst issued as RCA LM-6003\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eVioletta Valery\u003cb\u003e - Licia Albanese\u003cbr\u003e\u003c\/b\u003eAlfredo Germont\u003cb\u003e - Jan Peerce\u003cbr\u003e\u003c\/b\u003eGiorgio Germont\u003cb\u003e - Robert Merrill\u003cbr\u003e\u003c\/b\u003eFlora Bervoix\u003cb\u003e - Maxine Stellman\u003cbr\u003e\u003c\/b\u003eGastone \u003cb\u003e- John Garris\u003cbr\u003e\u003c\/b\u003eBaron Douphol \u003cb\u003e- George Cehanovsky\u003cbr\u003e\u003c\/b\u003eMarquis d'Obigny \u003cb\u003e- Paul Dennis\u003cbr\u003e\u003c\/b\u003eDr. Grenvil \u003cb\u003e- Arthur Newman\u003cbr\u003e\u003c\/b\u003eAnnina\u003cb\u003e - Johanne Moreland\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra and Chorus\u003cbr\u003eChorus Director - Peter Wilhousky\u003cbr\u003e\u003cbr\u003eConductor - Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Otello (1947) - PACO033\u003c\/summary\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Otello\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eRamón Vinay\u003c\/b\u003e (\u003cem\u003eOtello\u003c\/em\u003e)\u003cb\u003e\u003cbr\u003e Herva Nelli \u003c\/b\u003e(\u003cem\u003eDesdemona\u003c\/em\u003e)\u003cb\u003e \u003cbr\u003e Giuseppe Valdengo\u003c\/b\u003e (\u003cem\u003eIago\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Virginio Assandri \u003c\/b\u003e(\u003cem\u003eCassio\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Leslie Chabay\u003c\/b\u003e (\u003cem\u003eRoderigo\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nicola Moscona \u003c\/b\u003e(\u003cem\u003eLodovico\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Arthur Newman\u003c\/b\u003e (\u003cem\u003eMontàno\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nan Merriman\u003c\/b\u003e (\u003cem\u003eEmilia\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e \u003c\/b\u003eThe NBC Symphony Orchestra and Choruses \u003cbr\u003e conducted by Arturo Toscanini \u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi - Aïda (1949) - PACO197\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (75:57)\u003cbr\u003e\u003cbr\u003e1. Prelude  (3:14)\u003cbr\u003e\u003cbr\u003eACT ONE\u003cbr\u003e2. Sì: corre voce che l'Etiope  (1:30)\u003cbr\u003e3. Se quel guerrier ... Celeste Aïda  (4:16)\u003cbr\u003e4. Quale insolita gioia nel tuo sguardo!  (2:23)\u003cbr\u003e5. Dessa!  (1:25)\u003cbr\u003e6. Ohimé!  Di guerra fremere  (1:52)\u003cbr\u003e7. Alta cagion v'aduna  (1:13)\u003cbr\u003e8. Il sacro suolo dell'Egitto é invaso  (1:57)\u003cbr\u003e9. Su! Del Nilo al sacro lido  (2:28)\u003cbr\u003e10. Ritorna vincitor!  (6:07)\u003cbr\u003e11. Possente Fthà!  (3:06)\u003cbr\u003e12. Sacred Dance Of The Priestesses  (2:03)\u003cbr\u003e13. Mortal, dilet to ai numi  (1:00)\u003cbr\u003e14. Nume, custode e vindice  (4:27)\u003cbr\u003e\u003cbr\u003eACT TWO\u003cbr\u003e15. Chi mai fra gl'inni a i plausi  (2:30)\u003cbr\u003e16. Dance Of The Moorish Slaves  (1:29)\u003cbr\u003e17. Vieni: sul crin ti piovano  (0:42)\u003cbr\u003e18. Silenzio! Aïda verso noi s'avaza  (5:37)\u003cbr\u003e19. Pietà, ti prenda del mo dolor  (1:46)\u003cbr\u003e20. Su! Del Nilo al scaro lido  (2:20)\u003cbr\u003e21. Gloria all'Egitto, ad Iside  (3:25)\u003cbr\u003e22. March And Ballet  (5:52)\u003cbr\u003e23. Vieni, o guerriero vindice  (2:22)\u003cbr\u003e24. Salvator della patria  (1:17)\u003cbr\u003e25. Concedi in pria  (0:44)\u003cbr\u003e26. Che veggo! Egli? Mio padre!  (0:51)\u003cbr\u003e27. Quest'assisa chio vesto vi dica  (0:58)\u003cbr\u003e28. Ma tu, re, tu, signore possente  (3:46)\u003cbr\u003e29. O re, pei sacri numi  (2:16)\u003cbr\u003e30. Gloria all'Egitto, ad Iside  (1:10)\u003cbr\u003e31. Fa' cor: della tua patria  (1:55)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two \u003c\/b\u003e(59:46)\u003cbr\u003e\u003cbr\u003eACT THREE\u003cbr\u003e1. O tu, che sei d'Osiride  (2:12)\u003cbr\u003e2. Vieni d'Iside al tempio  (2:08)\u003cbr\u003e3. Qui Radamès verrà!  (1:39)\u003cbr\u003e4. O patria mia  (4:39)\u003cbr\u003e5. Ciel! Mio padre!  (1:06)\u003cbr\u003e6. Rivedrai le foreste imbalsamate  (1:32)\u003cbr\u003e7. In armi ora si desta il popol nostro  (2:27)\u003cbr\u003e8. Padre! A costoro schiava non sono  (2:10)\u003cbr\u003e9. Pur ti riveggo, mia dolce Aïda  (1:20)\u003cbr\u003e10. Nel fiero anelito di nuova guerra  (1:40)\u003cbr\u003e11. Fuggiam Gli ardori inospiti  (3:46)\u003cbr\u003e12. Aïda! - Tu non m'ami  (0:29)\u003cbr\u003e13. Ah no! Fuggiamo!  (1:20)\u003cbr\u003e14. Ma, dimmi  (2:05)\u003cbr\u003e15. Traditor  (1:02)\u003cbr\u003e\u003cbr\u003eACT FOUR\u003cbr\u003e16. L'abborrita rivale a me sfuggia  (1:22)\u003cbr\u003e17. Io l'amo, io l'amo sempre!  (1:33)\u003cbr\u003e18. Già i sacerdoti adunansi  (2:02)\u003cbr\u003e19. Ah! Tu dei vivere!  (2:42)\u003cbr\u003e20. Chi ti salva, sciagurato  (1:44)\u003cbr\u003e21. Ohimé! Morir mi sento  (2:10)\u003cbr\u003e22. Spirto del nume, sovra noi discendi!  (1:39)\u003cbr\u003e23. Radamès! Radamès! Radamès!  (3:10)\u003cbr\u003e24. A lui vivo la tomba!  (3:23)\u003cbr\u003e25. La fatal pietra sovra me si chiuse  (2:11)\u003cbr\u003e26. Presago il core della tua condanna  (2:07)\u003cbr\u003e27. Vedi? Di morte l'angelo  (1:41)\u003cbr\u003e28. O terra, addio  (4:27)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAïda – \u003cb\u003eHerva Nelli\u003c\/b\u003e (soprano)\u003cbr\u003eAmneris – \u003cb\u003eEva Gustavson\u003c\/b\u003e (mezzo-soprano)\u003cbr\u003eRadamès – \u003cb\u003eRichard Tucker\u003c\/b\u003e (tenor)\u003cbr\u003eAmonasro – \u003cb\u003eGiuseppe Valdegno\u003c\/b\u003e (baritone)\u003cbr\u003eIl Re (Pharoah) – \u003cb\u003eDennis Harbour\u003c\/b\u003e (bass)\u003cbr\u003eRamfis – \u003cb\u003eNorman Scott\u003c\/b\u003e (bass)\u003cbr\u003eUn Messagero – \u003cb\u003eVirginio Assandri\u003c\/b\u003e (tenor)\u003cbr\u003eSacerdotessa –\u003cb\u003e Teresa Stich-Randall \u003c\/b\u003e(soprano) \u003cbr\u003e\u003cbr\u003e\u003cb\u003eRobert Shaw Chorale\u003c\/b\u003e\u003cbr\u003edirected by \u003cb\u003eRobert Shaw\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eLive broadcast recordings, 26 March (Acts 1 \u0026amp; 2) \u0026amp; 2 April (Acts 3 \u0026amp; 4), 1949\u003cbr\u003eStudio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eAmbient Stereo XR remastering by Andrew Rose\u003cbr\u003eFront cover artwork: Arturo Toscanini conducting Aïda, an AI digital artwork by DALL-E 2\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 15:43\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Falstaff (1950) - PACO204\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eFalstaff\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (54:54)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact one scene 1\u003c\/b\u003e\u003cbr\u003e1. Falstaff! Ola!  (5:08)\u003cbr\u003e2. Sei polli: sei scellini...So che andiam, la notte  (2:47)\u003cbr\u003e3. Ma è tempo d'assottigliar l'ingegno...V'è noto un tal, qui del paese  (3:48)\u003cbr\u003e4. L'Onore! Ladri!  (4:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e5. Alice. Meg. Nannetta  (1:22)\u003cbr\u003e6. Fulgida Alice! amor t'offro...Quell'otre! quel tino!  (3:56)\u003cbr\u003e7. In due parole  (1:30)\u003cbr\u003e8. Pst, pst, Nannetta... Labbra di foco!  (5:16)\u003cbr\u003e9. Udrai quanta egli sfoggia  (3:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact two scene 1\u003c\/b\u003e\u003cbr\u003e10. Siam pentiti e contriti... Reverenza!  (6:19)\u003cbr\u003e11. Alice è mia!... Va, vecchio John  (1:56)\u003cbr\u003e12. Signore, v'assista il cielo!  (2:43)\u003cbr\u003e13. C'è a Windsor una dama  (6:46)\u003cbr\u003e14. È sogno? o realtà  (5:47)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (62:37)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e1. Presentereno un bill...Giunta all'Albergo della Giarrettiera  (4:02)\u003cbr\u003e2. Gaie comari di Windsor!  (1:44)\u003cbr\u003e3. Alfin t'ho colto, faggiante fior  (3:20)\u003cbr\u003e4. Quand'ero paggio  (0:59)\u003cbr\u003e5. Mia signora!  (2:48)\u003cbr\u003e6. Vien qua. Che Chiasso!  (1:34)\u003cbr\u003e7. C'è. C'è. Se t'agguanto! Se ti piglio!  (5:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact three scene 1\u003c\/b\u003e\u003cbr\u003e8. Ehi! Taverniere! Mondo ladro  (5:48)\u003cbr\u003e9. Reverenza. La bella Alice...Quando il rintocco della mezzanotte  (4:55)\u003cbr\u003e10. Brava. Quelle corna saranno la mia gioia!  (4:40)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e11. Dal labbro il canto estasiato volla  (4:30)\u003cbr\u003e12. Una, due, tre, quattro  (3:49)\u003cbr\u003e13. Ninfe! Elfi! Silfi!... Sul fin d'un soffio etesio  (5:45)\u003cbr\u003e14. Alto là!...Pizzica, pizzica  (6:13)\u003cbr\u003e15. Ogni sorta di gente dozzinale  (3:38)\u003cbr\u003e16. Facciamo il parentado... Tutto nel mando è burla  (3:47)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eCAST\u003cbr\u003e\u003c\/b\u003eFalstaff \u003cb\u003e- Giuseppe Valdengo \u003c\/b\u003e\u003ci\u003e(baritone)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Alice Ford\u003cb\u003e - Herva Nelli \u003c\/b\u003e\u003ci\u003e(soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Meg Page\u003cb\u003e - Nan Merriman \u003c\/b\u003e\u003ci\u003e(mezzo-soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Quickly\u003cb\u003e - Cloë Elmo \u003c\/b\u003e\u003ci\u003e(mezzo-soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eFord \u003cb\u003e- Frank Guarrera \u003c\/b\u003e\u003ci\u003e(baritone)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eNannetta\u003cb\u003e - Teresa Stich-Randall \u003c\/b\u003e\u003ci\u003e(soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eFenton \u003cb\u003e- Antonio Madasi \u003c\/b\u003e\u003ci\u003e(tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eDr. Caius\u003cb\u003e - Gabor Carelli \u003c\/b\u003e\u003ci\u003e(tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eBardolph \u003cb\u003e- John Carmen Rossi\u003c\/b\u003e\u003ci\u003e (tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003ePistol \u003cb\u003e- Norman Scott \u003c\/b\u003e\u003ci\u003e(bass)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003eRobert Shaw Chorale\u003cbr\u003e\u003c\/b\u003edirected by \u003cb\u003eRobert Shaw\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eNBC broadcast perfomances, 1 \u0026amp; 8 April 1950\u003cbr\u003eStudio 8H, Radio City, New York.\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eFront cover artwork: Arturo Toscanini\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eTotal duration:  1hr 57:32\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032\u003c\/summary\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e- Un Ballo in Maschera \u003c\/span\u003e(A Masked Ball)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCD One\u003cbr\u003e1. Act 1 - Prelude  (4:14)\u003cbr\u003e2. Posa in pace  (1:47)\u003cbr\u003e3. Amici miei...soldati - La rivedrà nell' estasi  (3:20)\u003cbr\u003e4. Il cenno mio de là  (2:13)\u003cbr\u003e5. Alla vita che t'arride  (2:21)\u003cbr\u003e6. Il primo giudice  (1:28)\u003cbr\u003e7. Cavatina: Volta la terrea...  (1:40)\u003cbr\u003e8. Signori oggi d'Ulrica...Orni cura (2:55)\u003cbr\u003e9. Zitti, l'incanto non dessi turbare  (3:45)\u003cbr\u003e10. Arrivo il primo...Villano, dà indietro  (2:26)\u003cbr\u003e11. Su fatemi largo  (3:20)\u003cbr\u003e12. Che v'agita cosi  (4:51)\u003cbr\u003e13. Su profetessa monta il treppiè  (3:38)\u003cbr\u003e14. Chi voi siate l'audace parola  (5:43)\u003cbr\u003e15. Finale - Finisci il vaticinio  (4:14)\u003cbr\u003e16. Act II - Prelude - Ecco l'orrido campo  (8:41)\u003cbr\u003e17 Teco io sto...Gran Dio...  (8:05)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCD Two\u003cbr\u003e1. Ahimè!...s'appressa alcun!...  (4:44)\u003cbr\u003e2. Seguitemi!...Mio Dio!  (7:07)\u003cbr\u003e3. Act III - A tal colpo è nulla il pianto  (5:53)\u003cbr\u003e4. Alzati! Là tuo figlio a te concede riveder...  (5:53)\u003cbr\u003e5. Siam soli...udite...  (8:11)\u003cbr\u003e6. Alle danze questa sera  (4:01)\u003cbr\u003e7. Forse la soglia attinse...  (4:58)\u003cbr\u003e8. Ah! Dessa è là (Festa de Ballo e Coro)  (5:24)\u003cbr\u003e9. Fervono amori e danze...  (1:46)\u003cbr\u003e10. Ah! Perchè qui!.. fuggite...  (5:02)\u003cbr\u003e11. Finale - Ella è pura, in braccio a morte...  (4:15)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e (Riccardo), \u003cbr\u003e \u003cb\u003eHerva Nelli \u003c\/b\u003e(Amelia), \u003cbr\u003e \u003cb\u003eRobert Merrill \u003c\/b\u003e(Renato), \u003cbr\u003e \u003cb\u003eClaramae Turner\u003c\/b\u003e (Ulrica), \u003cbr\u003e \u003cb\u003eVirginia Haskins\u003c\/b\u003e (Oscar), \u003cbr\u003e \u003cb\u003eGeorge Cehanovsky \u003c\/b\u003e(Silvano), \u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e (Samuel), \u003cbr\u003e \u003cb\u003eNorman Scott \u003c\/b\u003e(Tom), \u003cbr\u003e \u003cb\u003eJohn Carmen Rossi\u003c\/b\u003e (Judge, Servant of Amelia)\u003cbr\u003e \u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e Robert Shaw Chorale\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003econducted by Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded live at Carnegie Hall, 17th January 1954 (Act 1)\u003cbr\u003eand 24th January 1954 (Acts II and III)\u003cbr\u003eTransfer from Air Check discs \"presented by the makers of MobilGas and MobilOil\" No catalogue numbers, matrix numbers E4RP8241-6\u003cbr\u003eDiscs provided from the private collection of Christophe Pizzutti\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, August 2009\u003cbr\u003eCover artwork based on a photograph of Arturo Toscanini conducted at Carnegie Hall\u003c\/p\u003e\n\u003cp\u003eTotal duration:  2hr 01:55\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco098\"\u003eTOSCANINI Verdi: La Traviata (1946) - PACO098 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco033\"\u003eTOSCANINI Verdi: Otello (1947) - PACO033 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco197\"\u003eTOSCANINI Verdi - Aïda (1949) - PACO197 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco204\"\u003eTOSCANINI Verdi: Falstaff (1950) - PACO204 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco032\"\u003eTOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"10 CDs only in plastic sleeve (+MP3)","offer_id":60910412104014,"sku":null,"price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX053_ffb90da4-c5a4-427f-84f2-e4a8e70c68c2.jpg?v=1790066690"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/vinay.jpg?v=1496839546","url":"https:\/\/www.pristineclassical.com\/collections\/artist-ramon-vinay.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}