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Entries by Topic
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001) Martha, 1969
002) Hoffmann 1960
003) Rigoletto, 1967
004) Faust, Colon 1971
005) Evening bells, 1963
006) Prophete, live 1970
007) Grafin Mariza, 1973
008) Wiener Blut, 1970
009) Rahmaninov, 1970
010) Cellini, live 1966
011) Russian arias, 1969
012) Sonnambula, Met 1963
013) Elisir, 1966
014) I vespri, Met 1974
015) Prodana nevesta, Met1978
016) Recital Salzburg, 1961
017) Swedish duets 1983
018) Recital Leningrad, 1980
018) Recital Moscow 1, 1980
020) Les pecheurs, 1960
021) Faust, Paris 1975
022) Liederabend Hannover 1964
023)Entfuhrung, Aix-en-Provence
024) Fra Diavolo, 1984
025) La Boheme 1962
026) Graf von Luxemburg 1968
027) Boris Godunov 1976
028) Carmen 1959
029) Orphee... Aix 1955
030) Manon 1970
031) Huguenots, Vienna 1970
032) Guillaume Tell 1972
033) Early arias
034) Great moments
035) Donizetti, Bellini duets
036) First 10 years
037) I Capuleti e i Montecchi 19
038) Dame blanche, Hilversum 196
039) Gedda sings Lehar
040) Zigeunerbaron 1969
041) Don Giovanni 1965
042) Lady Macbeth from..., 1978
043) Werther Carnegie Hall 1965
044) Barbier von Bagdad 1956
045) Carmen 1964
046) Favorite encores 1964
047) Palestrina 1973
048) Oedipus Rex, Rome 1952
049) Pikovaja dama, Met 1972
050) Capriccio 1957
051) Idomeneo 1971
052) Turco in Italia 1954
053) Don Giovanni, Met 1967
054) Der Zarewitsch 1968
055) Land das Lachelns 1952
056) Barbiere di Siviglia 1974
057) Messiah 1964
058) Tosca, Boston 1971
059) Pelleas et. Mel. Met 1962
060) Cosi fan tutte 1974
061) Verdi Requiem 1963
062) Lakme Carnegie Hall 1981
063) I puritani 1971
064) Puritani Philadelphia 1963
065) Puritani Florence 1970
066) Vanessa 1958
067) Die Fledermaus 1955
068) Carmen 1964
069) Don Giovanni, Aix 1956
070) Faure 1982
071) Life for the Tsar 1957
072) Zauberflote 1964
073) Lucia, Met 1977
074) Iphigenie en Tauride 1961
075) Alceste 1982
076) Paganini 1977
077) Csardasfurstin 1973
078) Szenen aus Faust 1981
079) Boris Godunov 1953
080) Cendrillon 1978
081) North.&Russ. songs 1971
082) Platee Aix-en-P. 1956
083) Bettelstudent 1973
084) Giuditta 1984
085) Bach Mass 1967
086) Betrogene Kadi 1975
087) First recital 1953
088) Zar & Zimmermann 1966
089) La damnation, Rome 1969
090) Rosenkavalier 1956
091) Wunder der Heliane 1992
092) La traviata 1971
093) Padmavati 1983
094) Ballo, Vienna 1975
095) Thais 1976
096) Oedipe 1989
097) Devin du village 1956
098) Lohengrin Stockholm 1966
099) Gustav Wasa 1992
100) Satie 1969
101) Kalanus 1986
102) Undine 1966
103) Traviata Covent Garden 1972
104) Traviata, Vienna 1971
105) Christus am Olberge 1970
106) Tell, Florence 1972
107) Carmen, La Scala 1974
108) Orfeo ed E., Edinburgh 1067
109) Sonnambula, Met 1972
110) Gedda&Slovenski oktet
111) Onegin, Met 1977
112) Entfuhrung 1966
113) Euryanthe 1974
114) Gerontius 1975
115) Lustige Witwe 1967
116) Lustige Witwe 1962
117) Lustige Witwe 1952
118) Louise 1977
119) Iolanta, Paris 1984
120) Faust 1958
121) Recital Zurich 1998
122) Nacht in Venedig 1854
123) Candide 1989
124) Opernprobe 1975
125) Elisir, Met 1965
126) La damnation 1973
127) Werther 1968
128) Mireille, Aix 1954
129) Verdi Requiem Vienna 1954
130) Verdi Requiem, NY 1972
131) Benvenuto Cellini 1972
132) Recital Vienna 1984
133) Last savage Met 1964
134) Cantata BWV Rome 1969
135) Recital Leningrad 1980
136) Zauberflote video 1970
137) Elijah 1968
138) Recital 1970
139) Zauberflote, Rome 1953
140) Ballo video Stockholm 1985
141) Les introuvables
142) War and Peace 1986
143) Don Giovanni, Met 1971
144) Lady Macbeth video 1992
145) La damnation 1969
146) Rigoletto, Stockholm 1959
147) Onegin, Met 1979
148) Onegin, Florence 1980
149) Moscow 1980 video
150) Budapest 1984 video
151) Faust 1953
152) Monte Carlo 1984 video
153) Les Troyens, Rome 1971
154) Recital with Moore video
155) Ballo, Covent Garden 1977
156) Manon San Francisco 1971
157) Oeduipus Rex Stockholm 1991
158) Elisir, Vienna 1973
159) Manon, Met 1959
160) Recital Amsterdam 1982
161) Beethoven's songs 1969
161a) Beethoven's songs
162) Arias and songs
163) Ciboulette 1982
164) Zigeunerbaron, Met 1959
165) Interview Da capo 1989
166) Matthaus Passion 1961
167) Pecheurs Carnegie Hall 1974
168) Documentary video 1968
169) Persephone 1955
170) Lelio 1974
171) Lehar and Kalman
172) Oberon Carnegie Hall 1978
173) Met 25. anniversary 1982
174) Pushkin's poems 1987
175) Wiener Blut 1954
176) La Boheme Munich 1975
177) Alceste, Met 1961
178) Faust, Met 1969
179) Zauberflote, Met 1970
180) Rosenkavalier Met 1969
181) Cellini Carnegie Hall 1983
182) Orfeo ed. E., Aix 1955
183) Manon, Met 1963
184) Boris Godunov Met 1963
185) Lucia, Met1969
186) Hoffmann, Met 1959
187) Traviata, Met 1964
188) Man who disappeared 1984
189) Forza del destino 1964
190) Postillon 1965
191) Don Carlos 1973
192) Freischutz 1969
193) Matthaus Passion 1969
194) Dalibor Carnegie Hall 1977
195) Gedda Icon-85th bithday
196) Rinaldo, Milan 1983
197) P. m. solenelle 1984
198) Schule Salzburg 1957
199) Lakme 1961
200) Evocations 1986
201) Missa solemnis 1958
202) Recital Vienna 2001
203) Concert Munich 1969
204) Fra Diavolo, SF 1968
205) La clemenza di Tito 1955
206) La damnation 1959
207) Alceste 1962
208) Champagner operette
209) Budapest concert 1984
210) Liszt's songs 1986
211) Faust, Met 1966
212) Paradies und Peri 1973
213) Tosca 1988
214) Cosi fan tutte Aix 1955
215) Recital 1999
216) Idomeneo, Rome 1971
217) Romeo et Juliette 1964
218) La damnation Montreux 1959
219) Abu Hassan 1973
220) Romeo&Juliette Met 1968
221) Carmen, Vienna 1954
222) Tosca, Stockholm 1975
223) Ein Walzertraum 1970
224) Puritani Naples 1971
225) Faust Met 1958
226) Puritani Carnegie Hall 63
227) Mozart Requiem 1971
228) Faust Met 72
229) Berlioz Grande messe
230) Recit. Salzburg 1959
231) Recit. Memphis 1972
231) The very best
232) The very best
233) Rigoletto Met 1967
234) Onegin Boston 1976
235) Three Requiems
236) Die Schone Helena
237) Onegin English 1992
238) Russian lith. chant
239) Orthodox chants
240) Russian songs 1980
241) Candide video 1989
242) Gala concert Munich
243) Butterfly 1955
244) Zigeunerbaron 1954
245) Onegin 1988
246) Swedish songs 1980
247) Fledermaus 1972
248) Beethoven's 9. Symph
249) B. Godunov 87 audio
250) B. Godunov 87 video
251) Hoffmann Met 1970
252) Recital London 1973
253) Bach Magnificat
254) Land des Lächeln 67
255) Schauspieldirector
256) Mesplé& Gedda duos
257) Hugo Wolf
258) Robert Stolz
259) Zwillingsbrüder 1975
260) French connection
261) Beethoven 9th, 1973
262) Kienzl Evangelimann
263) Berlioz Romeo et J.
264) Strauss Venedig 1967
265) Cellini live 1964
266) Salzburg 1971
267) Onegin Met 1978 live
268) Operetta duets 1972
269) Hoffmann live 1971
270) Russian romances '60
271) Mozart Krönungsmesse
272) Bach B minor Mass
273) Entführung Met 1979
274) Beethoven Missa 1959
275) Mozart Requiem live
276) Poulenc Melodies
277) Pelléas et Mélis. 71
278) Don Giovanni live 62
279) Schubert rec. Rome74
280) Russian hymns&chants
281) Arias&songs
284) Manon, Colon 1970
285) Viennese delights
286) Orphée Gluck live 75
287) L'enfance du Christ
288) Zauberflöte Met 1958
289) Iphigenie Taur. 1956
290) Cosi fan tutte 1959
291) Zauberflote Scala55
292) Butterfly German
293) Bruckner 9th symph.
293) G. Tell highlights
294) Sjögren songs
295) Verdi Requiem 1979
296) Entführung 1968
Music Links - operas and recitals of Nicolai Gedda
Lycos Music
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Wednesday, 10 June 2009
32) Gioachino Rossini Guillaume Tell - recording
Mood:  on fire
Topic: 032) Guillaume Tell 1972



Place: Switzerland
Time: fourteenth century

Prior to the start of the opera, Arnold, son of the Swiss leader Melcthal, has rescued Mathilde, an Austrian princess, from drowning. In spite of the political situation, Arnold and Mathilde have fallen in love.

 Act 1

It is the day of the Shepherd Festival, in May, near Lake Lucerne. Per tradition, Melchtal blesses the couples at the celebration. However, Arnold excludes himself from this privilege, as he is torn between his love for his country and his love for Mathilde. Horn fanfares interrupt the festival, and herald the arrival of Gesler, the Austrian Governor, whom the Swiss detest. Leuthold then enters, pursued by Gesler's forces. One of Gesler's soldiers has attempted to assault Leuthold's daughter, and Leuthold killed the soldier to defend her. He wishes to escape, and the lake is the only route. William Tell offers his assistance. Gesler’s guards arrive, led by Rodolphe. Leuthold manages to escape with the help of Tell, but as reprisal, Gesler's guards take Melchtal prisoner.

Act 2

In a valley by a lake, Arnold and Mathilde meet and again pledge their love. Tell and Walter arrive, and inform Arnold that Gesler has ordered the execution of Melcthal. Arnold vows vengeance. Arnold, Tell and Walter swear an oath to liberate Switzerland. They inspire the cantons to unite in this quest.

 Act 3

At the market-place in Altdorf, the day is the hundredth anniversary of Austrian rule in Switzerland. In commemoration, Gesler has had his hat placed on top of a pole and the Swiss are ordered to pay homage to the hat. Tell arrives with his son Jemmy. Tell refuses to honour the hat. Gesler recognises Tell as the man who saved Leuthold, and wants to punish him somehow. He orders Tell to shoot an apple from Jemmy’s head, in the hope that Tell will harm his son. Tell is successful in piercing the apple, and tells Gesler that had the shot failed, he would have used his next arrow against him. Gesler orders Tell to be arrested.

Act 4

A Swiss rebel army arrives, and battle ensues. Tell kills Gesler with an arrow through the heart. The Swiss emerge victorious. Mathilde and Arnold, secure in their love, reunite at the close.

Recorded in London, 1972









Posted by nf/amenemhat at 10:36 PM MEST
Updated: Thursday, 10 January 2013 3:33 PM CET
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31) Giacomo Meyerbeer Les Huguenots - live performance
Mood:  energetic
Topic: 031) Huguenots, Vienna 1970



LES HUGUENOTS Giacomo Meyerbeer (1791-1864)

Marguerite de Valois Rita Shane
Comte de Saint-Bris Dimitri Petkov
Valentine Enriqueta Tarres
Comte de Nevers Pedro Farres
Urbain Jeanette Scovotti
Cossé Kurt Equiluz
Tavannes Harald Neukirch
Thoré Ewald Aichberger
de Retz Jaroslav Stanjnc
Méru Ladislav Ilavsky
Maurevert Manfred Schenk
Raoul de Nangis Nicolai Gedda
Marcel Justino Diaz
Bois-Rosé Ewald Aichberger
Deux Demoiselles Waltrud Haas/Unni Rugtvedt
Archer Manfred Schenk
Premier moine Jaroslav Stanjc
Second moine Ladislav Ilavsky
Troisième moine Manfred Schenk

Orchestra & Chorus of the Austrian Radio
Ernst Märzendorfer Conductor
Gottfried Preinfalk Chorus Master

Broadcast February 17, 1971* Grosser Konzerthaussaal, Vienna


There are three available recordings of this opera: A complete performance on Decca with Sutherland and a weak tenor; a cut Italian version live from Scala with Sutherland, Corelli, and Simionato that is thrilling but lacks any sense of French style; and this version, from an Austrian Radio performance in 1971 that cuts about 75 minutes of the opera and has some very weak casting. (Another complete one on the MusiFrance label disappeared long ago.) The good things about this Opera d'Oro set, besides the price, are Nicolai Gedda, who sings Raoul with style, elegance, ringing top notes, and absolute commitment, the leadership of Ernst Märzendorfer, who holds the show together and conducts with a dramatic throb that almost makes sense of the work (and is certainly better than Bonynge), and the Marguerite of Rita Shane, a high coloratura who, while more interested in vocal fireworks than anything else, nonetheless delivers great excitement with lots of interpolated high Ds, Es, Fs and the occasional squeaky G. Jeanette Scovotti is a pert Urbain, also with uninviting, mouse-like high notes, Enriqueta Tarres is a shrill Valentine, and Justino Diaz is terrible as Marcel. The sound is very good. This is for the curious and for fans of Nicolai Gedda, who will not be disappointed.

--Robert Levine,



Posted by nf/amenemhat at 2:27 PM MEST
Updated: Thursday, 12 February 2015 9:00 AM CET
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Tuesday, 9 June 2009
30) Jules Massenet Manon - recording
Mood:  mischievious
Topic: 030) Manon 1970



This belongs in the pantheon of great opera recordings. In 1970 when the performance was taped, Beverly Sills had only sung the role that eventually hurt her voice--Elisabetta in Donizetti's Roberto Devereux--a handful of times, and so she was at the peak of her powers. The voice never was opulent or grand, but it was all the other things we hope for in a great vocal instrument: beautiful, expressive, agile, thoroughly even from very top (E-flats and Es) to bottom, with a flawless technique, extraordinary breath control, and a capability in any dynamic range, from the quietist pianissimo to an impressive forte. These traits, coupled with a lively, curious, intelligent mind and a commitment to drama, made her the finest dramatic coloratura of the late-'60s and very early '70s (Caballé could be emotionally and vocally lazy; Sutherland's interest in drama was ancillary).

There are other very good recordings of Manon on the market: Victoria de los Angeles is glorious, Gheorghiu and Alagna on EMI are excellent, and an odd, live performance on Myto, with Giacomo Aragall and Jeanette Pilou, is a wonderful surprise, full of passion. But this one is a desert-island set: Sills is girlish and demure at first, later alluring and sure of herself, then cajoling and outright lusty in the St. Sulpice Scene, and truly tragic at the end. Her coloratura is glittering, her "Adieu" heartrending. Nicolai Gedda is a very extroverted Des Grieux, singing with big, forward tone, but also (as usual) with great sensitivity and attention to dynamics. Gérard Souzay sounds a bit long-in-the-tooth for Lescaut, but he's a very classy singer and he does get the character's smarminess across. Gabriel Bacquier is a fine, authoritative Count, and the rest of the cast is superb. All sing in excellent French. Julius Rudel leads a more-than-complete score, with an additional aria for Manon in the Cours de la Reine scene that Massenet added for another soprano, and the orchestral playing is all you'd want it to be. The sound, once glaring, is now close to perfect. This is it. [06/22/2004]

--Robert Levine,




Manon - Beverly Sills

De Grieux - Nicolai Gedda

Comte de Grieux - Gabriel Bacquier

Lescaut - Gerard Suzay


Conductor - Julius Rudel, 1970





Posted by nf/amenemhat at 10:04 PM MEST
Updated: Thursday, 29 September 2011 7:53 AM MEST
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29) Christoph Willibald Gluck Orphee et Eurydice - live performance
Mood:  lyrical
Topic: 029) Orphee... Aix 1955


1774 Paris version (with tenor Orpheus)

Orphée - Nicolai Gedda
Eurydice - Janine Micheau
L'Amour - Liliane Berton

Louis de Froment
Aix-en-Provence, 1957


The first lines of arias, choruses, etc., are given in Italian (1762 version) and French (1774 version).

Act 1

A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name (Chorus and Orfeo: “Ah, se intorno”/“Ah! Dans ce bois”). Orfeo sends the others away and sings of his grief in the aria "Chiamo il mio ben"/“Objet de mon amour”, the three verses of which are preceded by expressive recitatives. This technique was extremely radical at the time and indeed proved overly so for those who came after Gluck: Mozart chose to retain the unity of the aria. Amore (Cupid) appears, telling Orfeo that he may go to the Underworld and return with his wife on the condition that he not look at her until they are back on earth (1774 only: aria by Amour, “Si les doux accords”). As encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria "Gli sguardi trattieni"/“Soumis au silence”. Orfeo resolves to take on the quest. In the 1774 version only he delivers an ariette ("L'espoir renaît dans mon âme") in the older, showier, Italian style, originally composed for an occasional entertainment, Il Parnaso confuso (1765), and subsequently re-used in another one, Le feste d'Apollo (1769).[1]

Act 2

In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and sing of Cerberus, its canine guardian (“Chi mai dell’Erebo”/“Quel est l’audacieux”). When Orfeo, accompanied by his lyre (represented in the opera by a harp), begs for pity in the aria "Deh placatevi con me"/“Laissez-vous toucher”, he is at first interrupted by cries of "No!" from the Furies, but they are eventually softened by the sweetness of his singing in the arias "Mille pene"/“Ah! La flamme and "Men tiranne"/“La tendresse”, and let him in (“Ah, quale incognito affetto”/“Quels chants doux”). In the 1774 version, the scene ends with the "Dance of the Furies" (No. 28).[12]

The second scene opens in Elysium. The brief ballet of 1762 became the four-movement "Dance of the Blessed Spirits" (with a prominent part for solo flute) in 1774. This is followed (1774 only) by a solo which celebrates happiness in eternal bliss (“Cet asile”), sung by either an unnamed Spirit or Euridice, and repeated by the chorus. Orfeo arrives and marvels at the purity of the air in an arioso ("Che puro ciel"/“Quel nouveau ciel”). But he finds no solace in the beauty of the surroundings, for Euridice is not yet with him. He implores the spirits to bring her to him, which they do (Chorus: “Torna, o bella”/“Près du tendre objet”).

Act 3

On the way out of Hades, Euridice is delighted to be returning to earth, but Orfeo, remembering the condition related by Amore in Act I, lets go of her hand and refuses to look at her, does not explain anything to her. She does not understand his action and reproaches him, but he must suffer in silence (Duet: “Vieni, appaga il tuo consorte”/“Viens, suis un époux”). Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable. She sings of her grief at Orfeo's supposed infidelity in the aria "Che fiero momento"/“Fortune ennemie” (in 1774, there is a brief duet before the reprise). Unable to take any more, Orfeo turns and looks at Euridice; again, she dies. Orfeo sings of his grief in the famous aria "Che farò senza Euridice?”/“J’ai perdu mon Eurydice” (“What I will do without Euridice?”/"I have lost my Euridice")

Orfeo decides he will kill himself to join Euridice in Hades, but Amore returns to stop him (1774 only: Trio: “Tendre Amour”). In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited. After a four-movement ballet, all sing in praise of Amore (“Trionfi Amore”). In the 1774 version, the chorus (“L’Amour triomphe”) precedes the ballet, to which Gluck had added three extra movements.




Posted by nf/amenemhat at 7:35 PM MEST
Updated: Friday, 15 March 2013 11:42 AM MEST
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28) Georges Bizet Carmen - recording from 1959
Mood:  on fire
Topic: 028) Carmen 1959


Magic on all fronts is this excellent-value reissue, where Beecham’s sensuous way with the orchestra is well matched by the soloists.

As Richard Osborne points out in his brilliant, informative note, this classic Beecham set was originally welcomed in Gramophone with a glowing review from Philip Hope Wallace: ‘I send up a loud “Ole”.’ It certainly stands the test of time, sparkling, swaggering and seducing in a way that is uniquely Beecham’s. It now comes in the EMI Great Recordings of the Century series, with brightened, freshened and clarified sound. As RO points out, there were serious problems at the sessions – a second series was organised 15 months after the first (hence the two Mercedes) – but you would never realise there had been difficulties, either from the performance or the firmly focused, spacious recording in which the atmospheric off-stage effects are vividly caught.

What is so individual is the way that Beecham points rhythms to captivate the ear, as well as his persuasive moulding of phrases. I think, for example, of the sensuous way he coaxes the string phrase leading into the second half of the Don Jose/Micaela duet in Act 2, ‘Parle-moi de ma mere!’ (disc 1, track 9, 3'47''). In those qualities Beecham is delectably matched by Victoria de los Angeles in the title-role.

Richard Osborne reveals that Beecham’s original choice of heroine was the Swedish mezzo Kerstin Meyer. After all, de los Angeles – Mimi in Beecham’s Boheme recording – is hardly an obvious candidate for such a fire-eating role. But as RO points out, there is far more to Carmen than is conveyed in that conventional approach, and de los Angeles instantly establishes her as a seductive, provocative character with wickedly sparkling eyes. In her opening solo, the Habanera, her delicious downward portamento on ‘Je t’aime’ is irresistible.

The Carmen quality which de los Angeles does not have in her regular armoury, though, is a snarl. Instead she consistently uses her golden tone to tantalise and provoke, as in the magically sultry moment leading into ‘La-bas dans la montagne’ in her Act 2 duet with Jose just after the Flower song (disc 2, track 13). At that point Beecham, too, subtly pressing the music forward, is a fellow magician. Then at the very end, in Act 4, de los Angeles does finally muster a snarl in the culminating phrase ‘laisse-moi passer’ (‘Well stab me then, or let me pass’).

In a way, Nicolai Gedda’s portrait of Don Jose is just as remarkable. He was at his peak, and sings not just with refinement and imagination but with deep passion, leading one on in the widest expressive range in the Flower song. Janine Micheau makes a bright, clear Micaela, very French in tone, and Ernst Blanc, if not the most characterful Escamillo, makes the bullfighter a forthright, heroic character, singing throughout with firm, clear tone. The rest of the cast, all French, make an excellent team, as is clear in ensembles: the sparkling account of the Act 2 Quintet or the opening of the Card scene, or the swaggering march ensemble as the smugglers depart in Act 3 (disc 3, track 6). A magic set now made all the more enticing in this mid-price reissue.

-- Edward Greenfield, Gramophone [10/2000]


Recorded in Paris, September 1959






Posted by nf/amenemhat at 4:48 PM MEST
Updated: Sunday, 21 November 2021 5:03 PM CET
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27) Modest Musorgski Boris Godunov (original version)
Mood:  incredulous
Topic: 027) Boris Godunov 1976


This Boris Godunov was recorded in 1976, and released the following year. It is best described as the 1872 version, conflated with 1869 material that had later been removed. Thus, the Polish act dates from 1872, but the section of Pimen and Grigory’s scene that had been cut from that version is restored here. The forest scene near Kromny concludes the opera, with the Fool lamenting Russia and her people, but the scene between the Fool and the children has been repositioned earlier, before the Council of Boyars meets.





Posted by nf/amenemhat at 12:58 PM MEST
Updated: Thursday, 6 October 2011 11:51 AM MEST
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Monday, 8 June 2009
26) Franz Lehar Der Graf Von Luxemburg - recording
Mood:  crushed out
Topic: 026) Graf von Luxemburg 1968




Posted by nf/amenemhat at 10:29 PM MEST
Updated: Saturday, 11 December 2010 4:25 PM CET
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25) Giacomo Puccini La Boheme - recording
Topic: 025) La Boheme 1962

Studio Recording, Rome 1962 


Mimi - Mirela Freni

Rodolfo - Nicolai Gedda

Musetta - Mariella Adani

Marcello - Mario Sereni

Conducting Thomas Schippers



I posted a wrong link before. Here is now a new link. I put both CDs in one archive.




Posted by nf/amenemhat at 10:01 PM MEST
Updated: Saturday, 14 August 2010 5:12 PM MEST
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24) Daniel Francois Espritt Aubert Fra Diavolo - recording
Mood:  mischievious
Topic: 024) Fra Diavolo, 1984

Fra Diavolo ....... Nicolai Gedda
Lord Cockburn ..... Rémi Corazza
Lady Pamela ....... Jane Berbié
Lorenzo ........... Thierry Dran
Mathéo ............ Jules Bastin
Zerline ........... Mady Mesplé
Giacomo ........... Michel Trempont
Beppo ............. Michel Hamel
Francesco ......... Michel Marimpouy
Un Soldat ......... Régis Ducrocq

Ensemble Choral Jean Leforge
Orchestre Philharmonique de Monte-Carlo
Marc Soustrot, conductor

Recorded: Monte-Carlo, Salle Garnier, 20-26 Sept 1983 & 13 June 1984


     The original of the story of "Fra Diavolo“is to he found in Lesueur’s opera, “La Caverne,” afterwards arranged as a spectacular piece and produced in Paris in 1808 by Cuvellier and Franconi, and again in Vienna in 1822 as a spectacle-pantomime, under the title of "The Robber of the Abruzzi.“In Scribe’s adaptation the bandit, Fra Diavolo, encounters an English nobleman and his pretty and susceptible wife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo, whose daughter Zerlina is loved by Lorenzo, a young soldier, on the eve of starting to capture Fra Diavolo when the action of the opera begins.

      In the first scene the English couple enter in great alarm, having narrowly escaped the robbery of all their valuables by Fra Diavolo’s band. The bandit himself, who has followed them on their journey in the disguise of a marquis, and has been particularly attentive to the lady, enters the inn
as Lord Allcash has been reproving his ‘wife for her familiarity with a stranger. A quarrel ensues in a duet of a very humorous character (“I don’t. object”). Upon the entrance of Fra Diavolo, a quintet (“Oh, Rapture unbounded!”) occurs, which is one of the most effective and admirably harmonized ensembles Auber has ever written. Fra Diavolo learns the trick by which they saved the most of their valuables, and, enraged at the failure of his band, lays his own plan to secure them. In an interview with Zerlina, she, mistaking him for the Marquis, tells him the story of Fra Diavolo in a romanza (“On yonder Rock reclining”), which is so fresh, vigorous, and full of color, that it has become a favorite the world over. To further his schemes, Fra Diavolo makes love to Lady Allcash and sings a graceful barcarole to her (“The Gondolier, fond Passion’s Slave”), accompanying himself on the mandolin. Lord Allcash interrupts the song, and the trio, “Bravi, Bravi,” occurs, which leads up to the finale of the act. Fra Diavolo eludes the carbineers, who have returned, and they resume their search for him, leaving him unmolested to perfect his plans for the robbery.

     The second act introduces Zerlina in her chamber about to retire. She first lights Lord and Lady Allcash to their room, a running conversation occurring between them in a trio (“Let us, I pray, good wife, to rest”), ‘which is one of the best numbers in the work. Before Zerlina returns to her chamber, Fra Diavolo and his companions, Beppo and Giacomo, conceal themselves in a closet, and, somewhat in violation of dramatic consistency, Fra Diavolo sings the beautiful serenade, “Young Agnes,” which had been agreed upon as a signal to his comrades that the coast was clear. Zerlina enters and after a pretty cavatina (“ ‘T is To-morrow”) and a prayer, charming for its simplicity (“Oh, Holy Virgin”), retires to rest. The robbers, in attempting to cross her room, partially arouse her. One of them rushes to the bed to stab her, but falls back awestricken as she murmurs her prayer and sinks to rest again. The trio which marks this scene, sung pianissimo, is quaint and simple and yet very dramatic. The noise of the carbineers returning outside interrupts the plan of the robbers. They conceal themselves in the closet again. Zerlina rises and dresses herself. Lord and Lady Allcash rush in en déshabillé to find out the cause of the uproar. Lorenzo enters to greet Zerlina, when a sudden noise in the closet disturbs the company. Fra Diavolo, knowing he will be detected, boldly steps out into the room and declares that he is there to keep an appointment with Zerlina. Lorenzo challenges him, and he promises to give him satisfaction in the morning, and coolly effects his escape. One of his comrades, however, is captured, and to secure his own liberty agrees to betray his chief.

     The third act introduces Fra Diavolo once more among his native mountains, and there is the real breath and vigor of the mountain air in his opening song (“Proudly and wide my Standard flies”), and rollicking freedom in the rondeau which follows it (“Then since Life glides so fast away”). He exults in his liberty, and gleefully looks forward to a meeting with Lord and Lady Allcash, which he anticipates will redound to his personal profit. His exultation is interrupted by the entrance of the villagers arrayed in festival attire in honor of the approaching wedding ceremonies, singing a bright pastoral chorus (“Oh, Holy Virgin! bright and fair”). The finale of the act is occupied with the development of the scheme between Lorenzo, Beppo, and Giacomo, to ensnare Fra Diavolo and compass his death; and with the final tragedy, in which Fra Diavolo meets his doom at the hands of the carbineers, but not before he has declared Zerlina’s innocence. This finale is strong and very dramatic, and yet at the same time simple, natural, and unstudied. The opera itself has always been a favorite, not alone for its naturalness and quiet grace, but for the bright and even boisterous humor, which is displayed by the typical English tourist, who was for the first time introduced in opera by Scribe. The text is full of spirit and gayety, and these qualities are admirably reflected in the sparkling music of Auber. How well it was adapted for musical treatment is shown by the fact that “Fra Diavolo” made Auber’s reputation at the Opera Comique.




Posted by nf/amenemhat at 6:25 PM MEST
Updated: Saturday, 1 October 2011 10:13 PM MEST
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Sunday, 7 June 2009
23) Wolfgang Amadeus Mozart Die Entfuhrung aus dem Serail, live performance
Mood:  bright


Live performance from Aix-en-Provence, 1954


Teresa Stich-Randall  - Konstanze

 Nicolai Gedda - Belmonte

Carmen Prietto - Blonde

 Michel Sénéchal - Pedrillo

Raphael Arië - Osmin

 Jean Vernier - Bassa

Chorus: Choeurs du Conservatoire de Paris
Orchestra: Orchestre de la Société des Concerts du Conservatoire Paris
Hans Rosbaud



ACT I. Turkey, 1700s. Pasha Selim has bought three Europeans from pirates - Constanze, a Spanish woman of good family; Blonde, her English maid; and Pedrillo, servant of Constanze's fiancé, Belmonte. Belmonte has traced them to a seaside palace, where Constanze has become the pasha's favorite and Pedrillo the gardener. Blonde has been given as a gift by the pasha to his overseer, Osmin. Belmonte's first encounter is with Osmin, who acts polite until Belmonte mentions Pedrillo, the custodian's rival for Blonde. He drives Belmonte away and then rails at Pedrillo, who has come in hopes of making peace with him. Belmonte returns to find his former servant, who tells him the pasha loves Constanze but will not force himself on her. Pedrillo will try to arrange a meeting between Constanze and Belmonte and an escape by boat with Blonde, if they can get past Osmin. In hiding, Belmonte yearns for Constanze, who soon appears with Pasha Selim. When the pasha asks her why she is always depressed by his courtship of her, Constanze replies she cannot forget her love for her fiancé from whom she was separated. After she leaves, Pedrillo introduces Belmonte to the pasha as a promising young architect. Selim welcomes him and, departing, arranges a conference for the next day. Osmin bars the way when Belmonte and Pedrillo try to enter the palace, but he is confused easily, and the two foreigners march him around in circles. Dizzy, Osmin does not notice they have gained access.

ACT II. In a garden, Blonde confounds Osmin with her cleverness and faces him down when he threatens her. Constanze finds Blonde and complains of her sad state, which does not improve when the pasha again asks her to marry him. She proudly refuses, preferring torture, even death. When they have gone, Blonde and Pedrillo dance into the garden, discussing their plan of escape: they will get Osmin drunk, and all four lovers will leave on Belmonte's ship. Later, Pedrillo goes about his business, finding Osmin cooperative, though drinking wine is against the Moslem religion. Thoroughly inebriated, the fat man weaves away with the bottle, leaving the coast clear for Belmonte to meet Constanze. Their reunion is shared by Blonde and Pedrillo.

ACT III. Just before midnight, Pedrillo places a ladder against the ladies' window and sings a serenade, the signal for escape. But he wakes Osmin, who is not too hung over to realize what is going on and takes them all to the pasha, who is angry. Belmonte suggests the pasha collect a handsome ransom from his wealthy family, the Lostados. At this, the pasha realizes that Belmonte is the son of an old enemy, the man who exiled him from his own country. But eventually he decides that rather than take blood for blood he will repay evil with good, freeing Constanze and Belmonte, even Blonde and Pedrillo. This does not sit well with Osmin, who will lose Blonde, but he is promised other rewards. The grateful lovers praise their benefactor as they prepare to set sail.



Posted by nf/amenemhat at 10:24 PM MEST
Updated: Tuesday, 17 September 2013 10:34 AM MEST
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22) Liederabend from March 19, 1964, Hannover
Mood:  cool
Topic: 022) Liederabend Hannover 1964




Posted by nf/amenemhat at 8:03 PM MEST
Updated: Thursday, 6 October 2011 5:21 PM MEST
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21) VIDEO: Charles Gounod Faust, live performance from Paris
Mood:  amorous
Topic: 021) Faust, Paris 1975



I fixed the links  which were not working.


Live performance from the Paris opera, 1975, conducting Sir Charles Mackerras

Faust - Nicolai Gedda

Marguerite - Mirela Freni

Mephistopheles - Roger Soyer

Valentin - Tom Krause

Wagner - Jean-Louis Soumagnas

Siebel - Renée Amphan

Dame Martha - Jocelyne Taillon

Angel - Catherine Bresson


  I uploaded new links





Posted by nf/amenemhat at 7:23 PM MEST
Updated: Monday, 8 November 2021 8:17 PM CET
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20) Georges Bizet, Les Pecheurs de Perles - recorcing
Mood:  lyrical
Topic: 020) Les pecheurs, 1960

Leila, priestess (Soprano) - Janine Micheau
Nadir, fisherman (Tenor) -  Nicolai Gedda
Zurga, leader of the fishermen (Baritone) -  Ernest Blanc
Nourabad, high priest (Baritone)  -  Jaques Mars

Chorus and Orchestra of the Théâtre National de l'Opéra-Comique
Pierre Dervaux, conductor, 1960





Posted by nf/amenemhat at 8:22 AM MEST
Updated: Tuesday, 17 September 2013 10:31 AM MEST
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Saturday, 6 June 2009
18) Recital in Leningrad, Nicolai Gedda and Erik Werba, 1980
Topic: 018) Recital Leningrad, 1980




Live performance from Leningrad (St. Petersburg), March 1980 




Posted by nf/amenemhat at 1:49 PM MEST
Updated: Tuesday, 17 September 2013 9:47 AM MEST
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19) Recital in Moscow, Nicolai Gedda, Lija Mogilevskaja, 1980, live performance
Topic: 018) Recital Moscow 1, 1980


1. I remember a wonderous moment

2. Islet

3. Amidst the noisy ball

4. From my window

5. Spruce and palm

6. Doubt

7. Why?

8. Lilac

9. Where are you, little star?

10. Do not sing, beautiful maiden

11. A dream

12. He-goat, a secular fairytale

13. What, beautiful maiden?

14. Ah, you deary



Posted by nf/amenemhat at 1:39 PM MEST
Updated: Tuesday, 17 September 2013 10:19 AM MEST
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17) Nicolai Gedda, Rolf Leanderson and Jan Eyron in Old Swedish Duets
Topic: 017) Swedish duets 1983


Nicolai Gedda, Tenor
Rolf Leanderson, Baritone
Jan Eyron, Piano,1983

Under ronn och syren
Nattetid vid stranden
Om hosten
Bachi barn
Gunnar Wennergerg (1817 - 1901)
Ur Gluntarne
En manskensnatt pa Slottsbacken
Uppsala ar bast!
Vid brasan pa magisterns kammare
Magisterns misslyckade serenad
Examens-sexa pa Eklundshof



Posted by nf/amenemhat at 1:28 PM MEST
Updated: Friday, 12 February 2016 2:47 PM CET
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16) Recital in Salzburg, Nicolai Gedda and Erik Werba, live performance
Mood:  incredulous
Topic: 016) Recital Salzburg, 1961






  1. Atalanta, HWV 35: Di ad Irene, tiranna by George Frideric Handel
  2. Die Liebe hat gelogen, D 751/Op. 23 no 1 by Franz Schubert
  3. Der Schiffer, D 536 by Franz Schubert
  4. Nacht und Träume, D 827 by Franz Schubert
  5. Rastlose Liebe, D 138/Op 51 by Franz Schubert
  6. Lieder (4), Op. 27: no 3, Heimliche Aufforderung by Richard Strauss
  7. Lieder (8), Op. 10: no 3, Die Nacht by Richard Strauss
  8. Lieder (5), Op. 15: no 5, Heimkehr by Richard Strauss
  9. Lieder (5), Op. 32: no 3, Liebeshymnus by Richard Strauss
  10. L'invitation au voyage by Henri Duparc
  11. Le manoir de Rosemonde by Henri Duparc
  12. Phidylé by Henri Duparc
  13. Chanson triste by Henri Duparc
  14. Airs (4) chantés: no 3, Air grave by Francis Poulenc
  15. Airs (4) chantés: no 2, Air champetre by Francis Poulenc
  16. The Moon and the Mist by Nikolay Myaskovsky
  17. Nina's Song by Aram Khachaturian
  18. Songs (15), Op. 26: no 6, Christ is risen by Sergei Rachmaninov
  19. Vespers, Op. 37: no 3, Blessed is the man by Sergei Rachmaninov
  20. Dubrovsky, Op. 58: Romance by Eduard Nápravník
  21. Werther: Pourquoi me réveiller? by Jules Massenet
  22. Russian Song by Artur Malawski
  23. Aleko: Young Gypsy's Song by Sergei Rachmaninov
 Grosser Saal Mozarteum, Salzburg, 17. 8. 1961





Posted by nf/amenemhat at 1:11 PM MEST
Updated: Tuesday, 17 September 2013 9:51 AM MEST
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15) VIDEO: Bedrich Smetana Prodana nevesta (The Bartered Bride), live performance
Mood:  mischievious
Topic: 015) Prodana nevesta, Met1978


Metropolitan Opera House
November 18, 1978
In English

Marenka..............Teresa Stratas
Jeník...................Nicolai Gedda
Vasek...................Jon Vickers
Kecal...................Martti Talvela
Ludmila.................Elizabeth Coss
Krusina.................Derek Hammond-Stroud
Háta....................Jean Kraft
Tobias..................John Cheek
Circus Barker...........Alan Crofoot
Esmeralda...............Colette Boky
Red Indian..............Andrij Dobriansky

Conductor...............James Levine      



The old links were broken. Here are the new links:




 The files of the link are splitted files whichdon't work separately. You must join the parts with HJsplit (obtained at: )


Posted by nf/amenemhat at 11:44 AM MEST
Updated: Saturday, 14 August 2010 4:53 PM MEST
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Friday, 5 June 2009
14) Giuseppe Verdi I Vespri Siciliani (live performance from MET)
Topic: 014) I vespri, Met 1974


Les Vepres Sicilennes by Giuseppe Verdi
Drama in five acts (1855), to libretto of Eugène Scribe and Charles Duveyrier.

Monforte    Sherrill Milnes
Bethune    Robert Goodloe
Vaudemont    Edmond Karlsrud
Tebaldo    Nico Castel
Roberto    Andrij Dobriansky
Elena    Montserrat Caballé
Ninetta    Cynthia Munzer
Procida    Justino Diaz
Arrigo    Nicolai Gedda
Danieli    Douglas Ahlstedt
Manfredo    Paul Franke

Chorus and Orchestra of the Metropolitan Opera House 
Conductor    James Levine

9 March 1974 New York Metropolitan









Posted by nf/amenemhat at 2:36 PM MEST
Updated: Tuesday, 17 September 2013 9:41 AM MEST
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13) Gaetano Donizetti L'Elisir d'Amore - recording
Mood:  amorous
Topic: 013) Elisir, 1966


Adina - Mirella Freni
Nemorino - Nicolai Gedda
Belcore - Mario Sereni
Il Dottore Dulcamara - Renato Capecchi

Conductor: Francesco Molinari-Pradelli
Orchester and choir Opera of Rome

Recorded in 1966.





Posted by nf/amenemhat at 10:49 AM MEST
Updated: Sunday, 9 January 2011 4:27 PM CET
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