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Of all the complete recordings of the opera made in the last century, two remain at the top of the list. The EMI recording (EMI 5 56305 2) with Maria Callas, Giuseppe Di Stefano and Tito Gobbi under the dynamic leadership of Victor De Sabata has remained number one for almost 50 years. Recorded in August of 1953, it captures all four artists at the peak of their vocal and interpretive powers. It is one of those performances which transcends notes and words and becomes a musical revelation. There is only one drawback: although the recorded sound is clean and vivid, it is not a stereophonic recording and this is certainly noticed in the Act 1 finale. If you are only going to purchase one Tosca in your lifetime, this would be the one.
HOWEVER, in a documentary recorded in the 1980's which interviewed every great living Tosca (including the 92 year old Eva Turner), almost every one of the divas, when asked who they thought had the most beautiful voice of all, had one answer: Renata Tebaldi. She recorded itfor the first time in 1950, but the July 1959 recording (LONDON 411 871-2) with Tebaldi, Mario Del Monaco, and George London under the direction of Francesco Molinari-Pradelli has the advantage of spectacular stereophonic sound, and a superior tenor and baritone in the lead roles. All three artists match their counterparts on the EMI set note for note, and from a sheer vocal standpoint are often superior. Much has been written about the conducting on this set in comparison to De Sabata's, but Molinari-Pradelli was an experienced and talented conductor who took a back seat to no one. It is my favorite Tosca on record. Leontyne Price, Zinka Milanov, and Renata Scotto also made superior recordings of the role.
Almost any recording of this opera is bound to have something to recommend it. The 1977 recording on Deutsche Grammophon (DGG 415 132-2) is the one in which all the necessary elements of bringing this opera to life miraculously unfold. Verdi demands of his Violetta a coloratura soprano in Act 1, a lyric soprano in Act 2 and a dramatic soprano in Acts 3 and 4. (Caballe on BMG is THE ideal Violetta voice, but Pretre's conducting is so manic it ruins the performance). Ileana Cotrubas fits the bill with qualifications to spare, alongside Placido Domingo and Sherrill Milnes. The conducting of Carlos Kleiber in this opera is akin to that of De Sabata's in Tosca, which inspires his singers to give performances of a lifetime. The recording with Maria Callas, Giuseppe Di Stefano and Ettore Bastianni (live, 1955, La Scala) issued on EMI 7 63628 2 and conducted by Carlo Maria Giulini would be a good second choice, superior to the "legendary" 1958 performance from Lisbon with Callas and Kraus. Don't hesitate to buy the Traviata recordings of Anna Moffo, Victoria De Los Angeles, or Pilar Lorengar if available.
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by Giuseppe Verdi
Recommended version: LONDON 411-618-2
Renata Tebaldi as Desdemona, Mario Del Monaco as Otello, & Aldo Protti as Iago. The Vienna Philharmonic Orchestra, Herbert von Karajan, conductor.
Recorded in May of 1961, this set was produced by John Culshaw, a pioneer in early stereo recordings who initiated the idea of moving singers around while recording to give the illusion of a "live" performance. The singers are all captured in their primes, with Tebaldi’s gentle, silvery Desdemona and Del Monaco’s titanic moor faithfully representing their stage performances from this era. The combination of great singing and dynamic conducting combined with definitive stereo sound makes this recording still among the very best.
Alternate recommendation: RCA 09026-63180-2 Rysanek, Vickers, & Gobbi, with the Rome Opera Orchestra and Chorus under Tullio Serafin. This was RCA’s rival to the above, recorded at the same time. It equals the London set in spectacular sound, and all three soloists excel under the guidance of Maestro Serafin.
Historic version: Available on various labels, the 1938 performance from the Met under Ettore Panizza remains one of the great performances of the century of this opera. Giovanni Martinelli, Elisabeth Rethberg, and Lawrence Tibbett are the soloists, and it was one of those Saturday afternoon broadcasts where, for once, the term "historic" is is entirely appropriate. These early Met broadcasts were preserved by home recording devices, with variable results. This performance has been transferred to CD in very clean sound on Music and Arts CD 645.
by Gilbert and Sullivan
Recommended version: EMI CMS 7 64397-2
Elsie Morison as Josephine, Monica Sinclair as Buttercup,, George Baker as Sir Joseph Porter, John Cameron as Captain Corcoran, & Richard Lewis as Ralph. The Glyndebourne Orchestra and Chorus, Sir Malcolm Sargent, conductor.
The "star" casting is what makes this performance such a joy. Pride of place goes to Sir George Baker’s amusing Sir Joseph, and Monica Sinclair’s gutsy but never coarse Buttercup. Richard Lewis’ Ralph is one of the best sung on disc. An additional bonus is a complete performance of Trial by Jury to fill out the disc. Sir Malcolm Sargent was one of Rupert D’Oyly Carte’s chosen conductors (see "Historic version" below).
Alternate recommendation: LONDON 414 283-2 D’Oyly Carte Opera Chorus, and various soloists under the direction of Isidore Godfrey is the recommended version for all who wish to experience what many feel is the authentic Gilbert and Sullivan style. The entire cast performs with a unity which can only be a result of many live performances together.
Historic version: The first complete electrically recorded version (1929) conducted by Sir Malcolm Sargent under the supervision of D’Oyly Carte is available on Romophone 89002-2. Recorded in London when most of the D’Oyly Carte was on tour in Canada and the U.S. the cast is missing many the "regular" performers, but the performance is still a wonderful window to the past in this unique genre.
by Franz Leh'r
Recommended version: EMI CDS 7 47178-8
Elisabeth Schwarzkopf as Hanna, Hanny Steffek as Valencienne, Nicolai Gedda as Camille, & Eberhard Waechter as Danilo. The Philharmonia Orchestra and Chorus, Lovro von MataÖiÉ, conductor.
Walter Legge produced this set featuring his wife and one of his favored conductors who, according to critic Alan Blyth, "lavishes all the care on the Widow that he brought to a Bruckner symphony." It is the performances of the singers, however, which makes this an irresistible set. Dame Elisabeth is captured in her absolute prime at age 47, and she, in turn, captures Hanna Glawari’s sophistication and allure with one of the most exquisite Vilja-Lieds. Nicolai Gedda’s Camille is all romance, stunning vocal line, and brilliant top notes (his high C in the Pavilion aria is almost arrogant in its ease). Waechter had a reputation in Vienna for being a "naughty boy" and as such plays himself as the ambassador (and playboy) Danilo.
Alternate recommendation: EMI CDH 7 69520 2 The May 1954 recording with Schwarzkopf and Gedda, with Emmy Loose and Erich Kunz as Valencienne and Danilo, with the Philharmonica Orchestra and Chorus under the direction of Otto Ackermann, has the advantage of being complete on one CD. This is accomplished by omitting the Overture and dialogue, but the music is complete. The sound is very good mono, and Ackermann’s conducting is Echt-Viennese.
by Gioacchino Rossini
Recommended version: EMI CDS 7 47634-8
Maria Callas as Rosina, Tito Gobbi as Figaro, & Luigi Alva as Almaviva. The Philharmonia Orchestra and Chorus, Alceo Galliera, conductor.
Too many recordings of this opera, especially in the last 30 years, have been more focused on "authentic" style instead of good old-fashioned fun, the essence of this Rossini opus. Maria Callas, who has gone down in history as the most dramatic of divas will knock your socks off with her Rosina, which role suited her voice to perfection. She is able to sing most of the mezzo-soprano notes and throw in a few high C’s and D’s to flavor the fun. Tito Gobbi, also know for playing the big dramatic roles is a sly, virile, and self-confident Figaro. Luigi Alva sings the most difficult role in the opera, Almaviva, with the necessary voice color changes, and a clear sweet tone throughout all the coloratura comings and goings. The conductor Galliera allows the singers to carry the show while offering brisk, buoyant support.
Alternate recommendation: EMI CMS 7 64162 2 This is a 1962 recording which features most of the Glyndebourne cast of that year. The one singer who was NOT in the cast, however, is the star of this recording. That would be the adorable, luminescent Victoria de los Angeles as Rosina, singing with rich, purple-velvet tone, and fleet coloratura, all infused with her native Spanish charm and fire. Sesto Bruscantini is a lithe, bouncing Figaro, and Alva is again the patrician Almaviva. Carlo Cava as Basilio is one of the very few to sing his Slander aria in the orginial key.
Historical version: The performance with Riccardo Stracciari, Dino Borgioli, Mercedes Capsir, and Salvatore Baccaloni, from 1929 captures a complete performance by one of the greatest Italian baritones in history, Stracciari. The set cannot be recommended for any great musical performance, however, since all singers sound out of sorts. This set will be forthcoming on the Naxos label, engineered by Ward Marston, and at that company’s budget price will certainly be worth acquiring.
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