Topic: 138) Recital 1970
Recorded on July 4, 1970
Elijah - Dietrich Fischer-Dieskau
The Widow/An Angel - Gwyneth Jones
The Angel/The Queen - Janet Baker
Obadiah/Ahab - Nicolai Gedda
The Youth - Simon Woolf
Wandsworth School Boys' Choir
Chorus Master: Russell Burgess
New Philharmonia Chorus
Chorus Master: Wilhelm Pitz
New Philharmonia Orchestra
Rafael Frühbeck de Burgos, conductor
Recorded: July 1968, Kingsway Hall, London
I put on now a video of much better quality than the one before.
Tamino - Nicolai Gedda
Pamina - Edith Mathis
Night queen - Christina Deutekom
Papageno - William Workman
Sarastro - Hans Sotin
Papagena - Carol Malone
Speaker - Dietrich Fischer-Dieskau
Monostatos - Franz Grundheber
First lady - Leonore Kirschstein
Second lady - Paula Page
Third lady - Cvetka Ahlin
First priest - Kurt Marschner
Second priest - Herbert Fliether
Orchestra and chorus of Hamburgischer Staatsoper
Conductor Horst Stein
Recorded in Hamburg, 1970
PART 1: DOWNLOAD
PART 2: DOWNLOAD
PART 3: DOWNLOAD
PART 4: DOWNLOAD
PART 5: DOWNLOAD
These are splitted files that don't work separately. You must join these four files with HJsplit, obtained from here:
My thanks to Natalia.
Recital in the Leningrad Philharmonic Grand Hall
digitized Soviet LP, Melodya
Robert Schumann (1810—1856)
1. Erstes Grün Op. 35 No. 4 (J. Kerner)
2. An den Sonnenschein Op. 36 No. 4 (R. Reinick)
3. Der Himmel hat eine Träne geweint Op. 37 No. 1 (F. Rückert)
4. Ich hab' in mich gesogen Op. 37 No. 5 (F. Rückert)
5. Flügel! Flügel! um zu fliegen Op. 37 No. 8 (F. Rückert)
6. Rose, Meer und Sonne Op. 37 No. 9 (F. Rückert)
Georges Bizet (1838—1875)
7. Chanson d'avril (L. Bouilhet)
8. Après l'hiver (V. Hugo)
9. Pastorale (C. Regnard)
Wilhelm Peterson-Berger (1867—1942)
10. Jungfrun under lind (A maiden under the linden tree) (E.F.W. von der Recke, translation of unknown author)
11. Til majdag (The month of May) (J.P. Jacobsen)
Edvard Grieg (1843—1907)
12. Våren (Springtide) Op. 33 No. 2 (A.O. Vinje)
13. Jeg giver mit Digt til Vaaren (My verse to spring) Op. 21 No. 3 (B. Bjørnson)
14. En Drøm (A dream) Op. 48 No. 6 (F. von Bodenstedt, translation of unknown author)
Nikolai Rimsky-Korsarov (1844—1908)
15. Zvonche zhavoronka penie (The skylark's song is more and more ringing) Op. 43 No. 1 (A. Tolstoy)
16. Ne veter, veya s vysoty (It's not the wind from the heights) Op. 43 No. 2 (A. Tolstoy)
17. Svezh i dushist tvoy roskoshny venok (Fresh and fragrant is your wreath) Op. 43 No. 3 (A. Fet)
18. To bylo ranneyu vesnoy (It was in the early spring) Op. 43 No. 4 (A. Tolstoy)
Sergei Rachmaninov (1873—1943)
19. Ya opyat odinok (I’m alone again) Op. 26 No. 9 (T. Shevchenko, translation I. Bunin)
20. Aprel! Veshny prazdnichny den (April! A festive spring day) (E. Pailleron, translation V. Tushnova)
21. Vesennie vody (Spring waters) Op. 14 No. 11 (F. Tyutchev)
Encores (were not on the Melodiya LP)
22. Hugo Wolf (1860-1903) Er ist's (E. Mörike)
23. Nikolai Rimsky-Korsarov (1844—1908) Song of the Indian Guest from Sadko
24. Eugen Hildach (1849-1924) Lenz (F.L.J. Dahn)
25. Leonid Malashkin (1842-1902) O, esli b mog vyrazit v zvuke (O could I express in song) (G. Lishin)
26. Traditional. Nochenka (Little night) (a capella)
Cantata for the 25th Sunday after Trinity "Du Friedefürst, Herr Jesu Christ (Thou Prince of Peace)", BWV 116
Andrée Guiot soprano
Birgit Finnlae - mezzo
Nicolai Gedda - tenor
Robert Massard - bass
Sinfonica e coro di Roma della RAI
Chorus master Gianni Lazzari
Conductor Georges Prêtre
7 June 1969
Live performance from the MET, February 8, 1964
Kitty - Roberta Peters
Father - Morley Meredith
Abdul - George London
Kodanda - Nicolai Gedda
Maharajah of Ragaputana - Ezio Flagello
Maharanee - Lili Chookasian
Sardula - Teresa Stratas
MET Chorus and Orchestra
Conductor Thomas Schippers
Even Sir Colin Davis has rarely conducted a more electrifying Berlioz performance on record than here, demonstrating—with the help of singers from the presentation he promoted at Covent Garden—that for all its awkwardness on stage, this can be a thrilling opera on record. He is enormously helped by his cast, and most of all by Nicolai Gedda here giving one of the very finest, most powerful, most searching performances of his whole career.
The Philips transfer engineers have been just as concerned as in the other big opera project in this series, Les troyens, to use the format of CD with maximum benefit. So the First Act is complete on the first two discs, with each of the two tableaux (six scenes in the first, seven in the second) taking up a whole disc each. That leaves the third disc for the whole of the Second Act, over 70 minutes meaning that there is no unnecessary break anywhere.
The sound too remains very vivid, with the firmness of focus and sense of presence characteristic of Philips engineering of the period all the more apparent on CD. The orchestra is not quite so forward as in some of the Davis Berlioz series, but that sets the stage picture the more clearly, and even the most complex scenes notably the final scene of the casting—are sharpened by the separation of voices. What is not so welcome is that there seems to be rather more treble emphasis than usual, occasionally to the point of fierceness, but that is something which will very much depend on individual hi-fi equipment. I should prefer to have had that brightness compensated by more body in the orchestral sound, but that is to be hyper-critical. This is a superb set, which as in the original issue comes with generous essays as well as libretto. David Cairns's essay on the romantic cult of the Artist-hero, is particularly valuable, along with its explanation of Davis's text, which restores cuts enforced in Liszt's Weimar version and presents the piece (as at Covent Garden) as an extended opera-comique with dialogue.
-- Edward Greenfield, Gramophone [1/1989]
Benvenuto Cellini - Nicolai Gedda
Teresa - Christiane Eda-Pierre
Giacomo Balducci - Jules Bastin
Fieramosca - Robert Massard
Pope Clement VII - Roger Soyer
Francesco - Derek Blackwell
Bernardino - Robert Lloyd
Innkeeper - Hugues Cuisnod
Pompeo - Raimund Herincx
Ascanio - Jane Berbioli
Speaker - Janine Reiss
BBC Symphony Orchestra, Chorus of the Royal Opera House, Covent Garden
Conductor Sir Colin Davis
Martina Arroyo - soprano
Shirley Verrett - mezzosoprano
Nicolai Gedda - tenor
Cesare Siepi - bass
Conductor Lorin Maazel
Recorded in New York, November 27, 1972
The action takes place in 19th century Provence.Act 1: A mulberry grove on Midsummer night (Fête de la Saint-Jean).
Act 2: In front of the Arles Amphitheatre the same afternoon.
The crowd is singing and dancing a farandole as it waits for the start of a race. Mireille and Vincent arrive separately but they are greeted joyfully and sing the Song of Magali. After the race, Taven takes Mireille aside and tells her that she has just seen three young men, Ourrias, Alari and Pascoul arguing who should claim Mireille's hand. Alone, Mireille swears that nothing will part her from Vincent. Ourrias enters and forces his boastful attentions on her but Mireille politely rejects his advances. Mireille's father Ramon enters, followed shortly by Ambroise, the father of Vincent. Ambroise asks for advice on what to do about his son who is in love with a rich heiress; Ramon suggest beating the boy to cure him. Shocked, Ambroise is reminded by Ramon of a father's prerogative which used to extend even to life and death over his children. At this, Mireille comes forward crying "Kill me!" - she is the one Vincent loves. Ramon is outraged, orders Mireille to go home then turns on Vincent and Ambroise.
Act 3: First Tableau. The Val d'Enfer in the country outside Arles. Night.
Ourrias and some friends are in the wild spot, supposedly peopled by spirits. Ourrias wants to buy a potion from Taven. Alone, Ourrias vents his fury and jealousy and lies in wait for Vincent, who soon appears. Ourrias insults him but although Vincent tries to calm him down, Ourrias strikes him with his trident, and thinking he has killed him, runs off. Taven hears cries and curses Ourrias as he rushes off, then tends to the unconscious Vincent.
Second Tableau. The banks of the Rhone.
Full of remorse, Ourrias hurries to the river bank and calls the ferryman. An echo greets his call and moans sound with ghosts floating above the water. The ferryman (Passeur) arrives and Ourrias impatiently gets aboard. The waters swell, and as the boatman reminds Ourrias of his crime, the boat sinks beneath the waves.
Act 4: First Tableau. Ramon's farm late the same night.
While the harvesters celebrate, Ramon is sad and knows that by denying Mireille's love he has destroyed his dream of a happy old age. From her window Mireille sees a young shepherd singing, and envies his carefree life. Unseen, Vincenette, Vincent's sister, comes to tell her that Vincent is wounded: Mireille resolves to set off at once to Saintes-Maries.
Second Tableau. The Crau desert.
Mireille, staggers in already tired, and dazzled by the sun, faints as she hears shepherd's pipes in the distance. She makes a last effort to continue her journey.
Act 5: In front of the chapel of Saintes-Maries-de-la-Mer. Midday.
Pilgrims are singing. Vincent is there, looking for Mireille, and she arrives, exhausted and collapses in his arms. Ramon arrives with Vincenette, and forgives her, but Mireille dies and is called to heaven by a celestial voice.
This is a different performance from the one that I have already posted, though the cast is almost the same . That was a studio recording, while this is an in-house recording of the live performance from the Met, November 27, 1965.
Adina - Mirela Freni
Nemorino - Nicolai Gedda
Belcore - Mario Sereni
Dr. Dulcamara - Fernando Corena
Gianetta - Joy Clements
Metropolitan Opera House orchestra and chorus
Conductor Thomas Schippers
Der Graf - Klaus Hirte
Die Gräfin - Gizela Litz
Louise - Kari Lovaas
Hannchen - Lisa Otto
Der alte Baron Reinthal - Dieter Miserre
Der junge Baron Reinthal - Nicolai Gedda
Johann - Walter Berry
Orchestra Der Bayerischen Staatsoper Munchen
Conductor Otmar Suitner
Recorded in January 1975
Elisabeth Schwarzkopf - Annina
Nicolai Gedda - Duke
Emmy Loose - Ciboletta
Erich Kunz - Caramello
Philharmonia Chorus, Philharmonia Orchestra London,
Conductor Otto Ackerman
Recorded in London, May 1954
Faust - Nicolai Gedda
Marguerite - Victoria De Los Angeles
Siebel - Liliane Berton
Marthe - Rita Gorr
Méphistophéles - Boris Christoff
Valentin - Ernest Blanc
Wagner - Victor Autran
Orchestra and Chorus of Théatre National de l'Opéra
Chorus leader René Duclos
Conductor André Cluytens
Recorded in Paris, October 1958
CD 1, part 1: DOWNLOAD
CD 1, part 2: DOWNLOAD
CD 2, part 1: DOWNLOAD
CD 2, part 2: DOWNLOAD
Live performance from Salle Pleyel in Paris, December 1984
Time: The 15th century
Place: The mountains of southern France
Iolanta has been blind from birth, but no one has ever told her. In a beautiful garden on the king's estate, her friends bring flowers and sing to her.
After announcing the king's arrival, Alméric is warned by Bertrand not to speak of light with Iolanta or to reveal that Iolanta's father is the king. She is betrothed to Robert, who is also unaware of her misfortune. The king arrives with a physician who states Iolanta can be cured, but only if she is told and desires to see. The king refuses the treatment, fearing for Iolanta's happiness.
Wishing to avoid the marriage, Robert and Vaudémont escape to the garden where they encounter Iolanta. Robert, convinced she is a sorceress, leaves to prepare his troops. Vaudémont stays and discovers her blindness. They fall in love, after he explains light and color to her.
The couple is discovered. Vaudémont pledges his love, whether Iolanta is blind or not. The king threatens to kill Vaudémont if the physician's treatment fails. Robert returns, having fallen in love with another. The king cancels the wedding contract, and gives Iolanta to Vaudémont. The treatment works and Iolanta can see!