This is a wonderful recording and probably the best ever but everybody's favorite opera recording is usually the one that made them fall in love with the opera in the first place. For me, that is Leontyne Price and von Karajan, in its glorious yellow box with its splendid notes and libretto, which cost a fortune in lawn mowing and hedge trimming money. And was worth every penny. It's not just a recording; it's a friend.
I couldn't agree more. Von Karajan chose just the right tempi to draw out the sensuous singing and vocal acting this pair ever put on vinyl. Price's darkly smoky overtones and Corelli's brash but vulnerable approach demonstrate the, as real naturals in their roles. My cousin first owned and played this recording for me in the sixties. And, yes, I too did lawn care to be able to purchase it. My hat is off to the respect secondary education progra,s had for classical music back then. Without that kind of exposure, I would have never cared. To me, THIS recording is phenomenal and a performance to be grasped for. Don't look for that to be accomplished in the near future.
Something special is the wonderfully French Cluytens version with Solange Michel. When I heard this I wondered why I’d never heard of it before. The foot-stomping Les Tringles is particularly good for dipping a toe in.
Couldn’t agree with you more, Dave! After having spent over 40 years in the opera ‘business’, one of the best things about retiring is that I will NEVER have to sit through Carmen ever again unless I really want to (and I doubt I will!). This, however, is the performance I would choose to sit through if that day ever arose - it has the right cast, and the right decisions (or compromises) regarding edition, tempi, etc. to be an all-round favorite.
Troyanos is also wonderful in Giulio Cesare as long as the listener doesn't go into seizures over a baritone singing Caesar (and Fischer-Dieskau at that), and I've never understood their tempo for the final duet, though it's lovely sung that slowly.
I've long thought of "Carmen" as the first film noir, even though movies didn't exist when it was composed. My go-to "Carmen" is Rafael Frühbeck de Burgos's EMI recording with Grace Bumbry, Jon Vickers (who was always at his best as an anti-hero rather than a hero), Mirella Freni and an edition that reproduced the premiere. I've heard Solti's only as a highlights CD. And I have little patience with Guiraud's edition generally and also with Beecham's recording. I love Victoria de Los Angeles in the right repertoire (Puccini, Debussy and Spanish songs), but when I first heard her Carmen I thought, "This is like Billy Wilder casting Ruby Keeler in 'Double Indemnity.'"
When the LPs of this recording first came out, my uncle, who had collected recordings assiduously since the 78s era, gifted me this recording, saying that it was possibly the best all-around recording Carmen had ever received.
This version is way overdue for a high-resolution digital remastering. I am shocked that it is still issued as an early digital remastering, especially considering the great virtues of the performance and the sonics. I used the prelude to Act 1 on this recording to test speakers when I was buying my first audio system!
Speaking of Carmen there’s an excellent production on RUclips courtesy of OperaVision from opera de Rouen. This production reconstitutes the sets and costumes from the original 1875 first production. It seems they got things amazingly right in 1875. Musically they have used the recitatives - a pity since they are trying to be authentic. Deepa Johnny and Stanislaw de Barbeyrac are totally convincing in the lead roles. Do try it - an alternative approach to the barren sets and ugly costumes in much contemporary opera
In my humble opinon one of the greatest recordings ever of Carmen, perhaps absolutely the best, is the first Karajan recording ( certainly not the remake for D.G. ): a fantastic cast ( Price, Freni and Corelli: it may be the best in this opera? ), Wiener Philharmoniker Orchestra at his best, great recording and, last but certainly not least, Karajan himself. Best regards. Andrea Bubola
I do adore the Solti Carmen, however I have such a soft spot for Bernstein’s Carmen with Marilyn Horne😆it was the recording that got me into opera. Weirdly, I’ve found myself greatly enjoying the Thomas Schippers Carmen with Regina Resnik, Joan Sutherland and Tom Krause etc. (however not a fan of the Don Jose)
The 1973 London production had the same cast leads, save Verrett for Troyanos. I think Troyanos took over later in the run. Perhaps Verrett could not return for the recording because she was contracted to RCA at the time?
My favorite moment in that recording is the Act 1 duet with Corelli and Freni. It's just grand. French style goes out the window, but who cares, it's just an irresistible vocal wallow.
I have three different recordings of Carmen, but not this one. Oh, well. By the time this came out, I had overdosed on Domingo. However, that role fits his voice.
No one choice for me. The most interesting Carmen herself is Callas. The most authentically French is the early EMI under Cluytens. The Beecham has Beecham. I know the Solti has a lot of research behind it. So yes one must listen to quite a few to get the best Carmen
Confession , I don't always enjoy Solti recordings for various reasons , but I love this one. Troyanos really makes it balancing all the different aspects of the character. The fact that she has the dark depth of tone as well as the impressive top notes makes her so suited to Carmen , as in an earlier generation was Rise Stevens. I wonder if something of Abbado's lighter, but slightly managed approach comes from the choice of Berganza as his Carmen? Hers was a lighter , more lyrical voice. She was a wonderful artist and brought the character to life , but the orchestra would need careful marshalling to let her through in the more dramatic outbursts? I am not very keen on the Callas recording as although she paints an amazing Carmen I don't think it does justice to her vocally. She had a very specific, harder view of the character, emphasizing the concept of the original novel. This was something similar to what Ponselle had tried at The Met and she was panned in the press for it ( although in better vocal form than Callas in her recording.) Callas never wanted to take the role onstage , interesting!
I agree about Berganza's lighter voice. Remember, though, the 6 or 7 performances had taken place in the very small King's Theatre (1,300 seats) and recorded in Edinburgh immediately after. I am sure both conductor and orchestra were well attuned to Berganza's voice by then.
This is a wonderful recording and probably the best ever but everybody's favorite opera recording is usually the one that made them fall in love with the opera in the first place. For me, that is Leontyne Price and von Karajan, in its glorious yellow box with its splendid notes and libretto, which cost a fortune in lawn mowing and hedge trimming money. And was worth every penny. It's not just a recording; it's a friend.
I couldn't agree more. Von Karajan chose just the right tempi to draw out the sensuous singing and vocal acting this pair ever put on vinyl. Price's darkly smoky overtones and Corelli's brash but vulnerable approach demonstrate the, as real naturals in their roles. My cousin first owned and played this recording for me in the sixties. And, yes, I too did lawn care to be able to purchase it. My hat is off to the respect secondary education progra,s had for classical music back then. Without that kind of exposure, I would have never cared. To me, THIS recording is phenomenal and a performance to be grasped for. Don't look for that to be accomplished in the near future.
I will always remember those luxuriously boxed RCA Soria Series presentations.
Something special is the wonderfully French Cluytens version with Solange Michel. When I heard this I wondered why I’d never heard of it before. The foot-stomping Les Tringles is particularly good for dipping a toe in.
I love, love, love this Carmen, even more than the glorious Price/Karajan set. Troyanos was also an absolutely splendid Dido for Raymond Leppard.
Solti and Te Kanawa were magic together.
Couldn’t agree with you more, Dave! After having spent over 40 years in the opera ‘business’, one of the best things about retiring is that I will NEVER have to sit through Carmen ever again unless I really want to (and I doubt I will!). This, however, is the performance I would choose to sit through if that day ever arose - it has the right cast, and the right decisions (or compromises) regarding edition, tempi, etc. to be an all-round favorite.
Troyanos is also wonderful in Giulio Cesare as long as the listener doesn't go into seizures over a baritone singing Caesar (and Fischer-Dieskau at that), and I've never understood their tempo for the final duet, though it's lovely sung that slowly.
I've long thought of "Carmen" as the first film noir, even though movies didn't exist when it was composed. My go-to "Carmen" is Rafael Frühbeck de Burgos's EMI recording with Grace Bumbry, Jon Vickers (who was always at his best as an anti-hero rather than a hero), Mirella Freni and an edition that reproduced the premiere. I've heard Solti's only as a highlights CD. And I have little patience with Guiraud's edition generally and also with Beecham's recording. I love Victoria de Los Angeles in the right repertoire (Puccini, Debussy and Spanish songs), but when I first heard her Carmen I thought, "This is like Billy Wilder casting Ruby Keeler in 'Double Indemnity.'"
When the LPs of this recording first came out, my uncle, who had collected recordings assiduously since the 78s era, gifted me this recording, saying that it was possibly the best all-around recording Carmen had ever received.
This version is way overdue for a high-resolution digital remastering. I am shocked that it is still issued as an early digital remastering, especially considering the great virtues of the performance and the sonics. I used the prelude to Act 1 on this recording to test speakers when I was buying my first audio system!
Speaking of Carmen there’s an excellent production on RUclips courtesy of OperaVision from opera de Rouen. This production reconstitutes the sets and costumes from the original 1875 first production. It seems they got things amazingly right in 1875. Musically they have used the recitatives - a pity since they are trying to be authentic. Deepa Johnny and Stanislaw de Barbeyrac are totally convincing in the lead roles. Do try it - an alternative approach to the barren sets and ugly costumes in much contemporary opera
I hope Solti recieved a Grammy for Carman 😮
In my humble opinon one of the greatest recordings ever of Carmen, perhaps absolutely the best, is the first Karajan recording ( certainly not the remake for D.G. ): a fantastic cast ( Price, Freni and Corelli: it may be the best in this opera? ), Wiener Philharmoniker Orchestra at his best, great recording and, last but certainly not least, Karajan himself.
Best regards.
Andrea Bubola
I do adore the Solti Carmen, however I have such a soft spot for Bernstein’s Carmen with Marilyn Horne😆it was the recording that got me into opera. Weirdly, I’ve found myself greatly enjoying the Thomas Schippers Carmen with Regina Resnik, Joan Sutherland and Tom Krause etc. (however not a fan of the Don Jose)
I love Horne too.
Can't have too many Carmens. My first! Found on Amazon for 15.00
The 1973 London production had the same cast leads, save Verrett for Troyanos. I think Troyanos took over later in the run. Perhaps Verrett could not return for the recording because she was contracted to RCA at the time?
Thanks for the recommendation! What do you think about Karajan's version with Leontyne Price? Does it make it in the top 10?
My favorite moment in that recording is the Act 1 duet with Corelli and Freni. It's just grand. French style goes out the window, but who cares, it's just an irresistible vocal wallow.
I have three different recordings of Carmen, but not this one. Oh, well.
By the time this came out, I had overdosed on Domingo. However, that role fits his voice.
Unfortunately it’s out of print for centuries. Decca, Decca…
My favorite, though I'm surprised when others share my opinion. Otherwise, I go for Stevens/Reiner mainly due to family tradition.
One of the Greatest Recordings Ever and sadly Out of Print! This should not happen.
No one choice for me. The most interesting Carmen herself is Callas. The most authentically French is the early EMI under Cluytens. The Beecham has Beecham. I know the Solti has a lot of research behind it. So yes one must listen to quite a few to get the best Carmen
Confession , I don't always enjoy Solti recordings for various reasons , but I love this one. Troyanos really makes it balancing all the different aspects of the character. The fact that she has the dark depth of tone as well as the impressive top notes makes her so suited to Carmen , as in an earlier generation was Rise Stevens.
I wonder if something of Abbado's lighter, but slightly managed approach comes from the choice of Berganza as his Carmen? Hers was a lighter , more lyrical voice. She was a wonderful artist and brought the character to life , but the orchestra would need careful marshalling to let her through in the more dramatic outbursts?
I am not very keen on the Callas recording as although she paints an amazing Carmen I don't think it does justice to her vocally. She had a very specific, harder view of the character, emphasizing the concept of the original novel. This was something similar to what Ponselle had tried at The Met and she was panned in the press for it ( although in better vocal form than Callas in her recording.) Callas never wanted to take the role onstage , interesting!
I agree about Berganza's lighter voice. Remember, though, the 6 or 7 performances had taken place in the very small King's Theatre (1,300 seats) and recorded in Edinburgh immediately after. I am sure both conductor and orchestra were well attuned to Berganza's voice by then.