Browse: Operas (series)
This series presents legendary Decca opera recordings in new and fresh packaging, showcasing many of the greatest opera recordings ever made. Several of these recordings have been unavailable for many years, so see a welcome return to the catalogue.
Here you will find legendary recordings of Tosca (Freni & Pavarotti), Norma (Sutherland & Pavarotti), Aida (Chiara & Pavarotti) as well as several important rarer opera recordings such as Giordano’s Fedora, Krenek’s Jonny spielt auf, Massenet’s Esclarmonde, Mussorgsky’s Khovanshchina and Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh.
Willard White (Porgy), Leona Mitchell (Bess), McHenry Boatwright (Crown), Florence Quivar (Serena), Barbara Hendricks (Clara), Barbara Conrad (Maria), Arthur Thompson (Jake), François Clemmons (Sporting Life)
The Cleveland Orchestra and Chorus, Lorin Maazel
The first essentially complete Porgy remains one of the finest, with maximally polished orchestral playing and arguably the strong vocal line-up yet assembled. Maazel is at his most committed. — More…
Dalibor Jedlicka (Goryantchikov), Jiri Zahradnicek (Luka Morosoff), Jaroslava Janská (Alyeya), Václav Zitek (Shishkov), Antonin Svorc (Old Prisoner), Ivo Zidek (Skuratov)
Wiener Staatsopernchor & Wiener Philharmoniker, Charles Mackerras
Josephine Barstow (Elizabeth), Philip Langridge (Essex), Della Jones (Lady Essex), Jonathan Summers (Charles Blount), Alan Opie (Cecil), Yvonne Kenny (Lady Rich), Bryn Terfel (Henry Cuffe), Richard van Allan (Walter Ralegh)
Welsh National Opera, Sir Charles Mackerras
The Cinderella among Britten's operas finally received its due with this recording. The superb cast and Mackerras's sure touch reveal Gloriana as a touching insight into the travails of leadership. — More…
Jessye Norman (Ariadne/Prima Donna), Edita Gruberova (Zerbinetta), Julia Varady (Komponist), Paul Frey (Bacchus/Tenor), Olaf Bär (Harlekin), Dietrich Fischer-Dieskau (Musiklehrer)
Gewandhausorchester Leipzig, Kurt Masur
Cecilia Bartoli (Fiorilla), Ramon Vargas (Narciso), Michele Pertusi (Selim), Laura Polverelli (Zaida), Alessandro Corbelli (Don Geronio), Roberto De Candia (Prosdocimo), Francesco Piccoli (Albazar)
Coro del Teatro alla Scala di Milano and Orchestra del Teatro alla Scala di Milano, Riccardo...
Chailly has recorded the work before, but in the years since he's matured as a Rossini conductor, and the Scala orchestra has this music under its fingers; there's an energy and vitality to this... — More…
Tito Gobbi (Nabucco), Elena Souliotis (Abigaille), Carlo Cava (Zaccaria), Bruno Prevedi (Ismaele), Dora Carral (Fenena), Giovanni Foiani (Gran Sacerdote), Walter Kräutler (Abdallo), Anna D'Auria (Anna)
Vienna Opera Orchestra & Chorus, Lamberto Gardelli
Sung in English
Steve Davislim (Oberon), Frances Bourne (Puck), Hillevi Martinpelto (Reiza), Jonas Kaufmann (Huon), William Dazely (Sherasmin), Marina Comparato (Fatima), Katharine Fuge (First mermaid), Charlotte Mobbs (Second mermaid)
Orchestre Révolutionnaire et Romantique, Monteverdi Choir, Sir John Eliot...
It would be hard to overestimate the importance of this recording of Weber's final opera. — More…
José Carreras (Corrado), Clifford Grant (Giovanni), Jessye Norman (Medora), Montserrat Caballé (Gulnara), Giampietro Mastromei (Seid), John Noble (Selimo), Alexander Oliver (Eunuco)
New Philharmonia Orchestra & Ambrosian Singers, Lamberto Gardelli
Mirella Freni (Tosca), Luciano Pavarotti (Cavaradossi), Sherrill Milnes (Scarpia), Italo Tajo (Sagristano), Richard Van Allan (Angelotti), Michel Sénéchal (Spoletta), Paul Hudson (Sciarrone), Walter Baratti (Un pastore), John Tomlinson (Un carceriere)
National Philharmonic Orchestra, Nicola...
The great merit of this new version of Tosca...is that the stage picture is so clear, with the words sharply audible from beginning to end...Pavarotti makes an unusually positive and bright-eyed... — More…
Samuel Ramey (Oberto), Maria Guleghina (Leonora), Sara Fulgoni (Imelda), Violeta Urmana (Cuniza), Stuart Neill (Riccardo)
Academy of st. Martin in the Fields & London Voices, Neville Marriner
Verdi's first opera is an uneven work but with some fine inventive passages within a Donizettian framework. This is a fine recording, though lacks theatrical atmosphere. — More…