Leider ist dieser Deal mittlerweile abgelaufen
[Opera Depot] Sammelthread für täglich kostenlose Downloads [Update: Tag 17 -- Keine Carmen aber Elektra -- verfügbar]
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[Opera Depot] Sammelthread für täglich kostenlose Downloads [Update: Tag 17 -- Keine Carmen aber Elektra -- verfügbar]

KOSTENLOS8,95€
28
eingestellt am 20. MärBearbeitet von:"baboon86"

Dieser Deal ist leider abgelaufen. Hier sind ein paar andere Optionen für Dich:

Opera Depot hat jetzt täglich einen kostenlosen Download raus. Ich versuche die Deals hier zu sammeln:

Now that it seems we all have a lot of free time on our hands, I am going to do my best to offer a new free download every day.

Tag 1: L'Elisir d'amore mit Giuseppe Di Stefano, Renata Scotto und Ivo Vinco.
Tag 2: Die Hochzeit des Figaromit Berry, Mathis, M. Price, Fischer-Dieskau, Fassbaender, Kusche und Böhm.
Tag 3: Lohengrin mit Thomas, Silja, Varnay, Vinay, Crass, Krause und Sawallisch.
Tag 4: Parsifalmit Vinay, Mödl, Greindl, Fischer-Dieskau, Hotter und Knappertsbusch.
Tag 5:Il Trovatore mit McCracken, Vaughan, Gorr, MacNeil, Langdon und Atherton.
Tag 6: Der Rosenkavaliermit Schech, Töpper, Köth, Edelmann, Fehenberger und Knappertsbusch.
Tag 7: Peter Grimes mit Pears, Fisher, Pease, Evans, Lanigan, Carlyle und Kubelik.
Tag 8: Parsifal mit Cox, Shuard, Crass, Stewart, Ridderbusch, McIntyre und Boulez.
Tag 9: Parsifal mit Kollo, Shuard, Van Mill und Wallberg. Danke an @eiei und @UncleToby
Tag 10: Les Contes d'Hoffmann / Hoffmanns Erzählungen mit Kmentt, Silja, Wiener, Kunz, Schoffler, Stolze und Krips
Tag 11: Ariadne auf Naxos mit Saunders, Kozub, Geszty, Troyanos, Fliether, Grundheber, Sotin und Kuntzsch.
Tag 12: Il Trovatore con King, Scotto, Verrett e Giovanetti.
Tag 13: Carmen mit Meyer, Söderström, S. Björling und Ehrling.
Tag 14: Carmen (in schwedisch!)mit Meyer, Söderström, S. Björling und Ehrling.
Tag 15: La Giocondamit Souliotis, Tucker, Elias und Bartoletti.
Tag 16: Parsifal mit Kollo, Shuard, Van Mill und Wallberg. Danke @eiei
Tag 17: Elektra mit Roberts, Saunders, Mödl, Cassilly, Krause und Stein.
Tag 18: Compilation: Antonietta Stella
Tag 19: Compilation: Gabriel Bacquier
Zusätzliche Info

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#Tag 2 (mehr oder weniger)

Mozart: Le Nozze di Figaro - Berry, Mathis, M. Price, Fischer-Dieskau, Fassbaender, Kusche, Böhm. München, 1977

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Karl Böhm once remarked that conducting Mozart kept him young. That statement is born out in this performance of Le Nozze di Figaro which he led while already an octogenarian. He brings vitality and grace to Mozart's comedy that many conductors half his age can't muster. No doubt he was inspired by a sensational cast of Mozartians including Walter Berry in the title role, Edith Mathis as Susanna, Margaret Price as the Countess, Dietrich Fischer-Dieskau as the Count and Brigitte Fassbaender as Cherubino. It is a testament to the times that they would cast Wagnerian voices in Mozart. Why won't they do that anymore?? The sound is excellent.
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#Tag 1

Donizetti: L'Elisir d'amore - Di Stefano, Scotto, Fioravanti, Vinco; Gavazzeni. Bergamo, 1961

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Direktlink: --> Klick

When you think of Giuseppe Di Stefano, you probably don’t think of comedy, but he proves in this performance of L’Elisir d’amore that he was a Nemorino to be reckoned with. Di Stefano’s approach is different from other tenors in this role that I have heard. He was always great at making the suffering of a character so palpable that as a listener you almost couldn’t help but experience it with him and even though Nemorino is far from a tragic role, Di Stefano instantly draws you in by conveying the frustrated love he feels for Adina. And with an Adina like Renata Scotto it is hard not to see why he would be smitten. Scotto, still in her twenties, bubbles with charm, demonstrating an understanding of bel canto well beyond her years. Ivo Vinco brings more basso than buffo to the role of Dulcamara giving the character a slickness that works very well to his advantage. Gianandrea Gavazzeni’s tempos are a little slow for my taste but he supports the singers well through the long bel canto phrases.
Na das ist doch mal ne Idee, ich find's gut
#Tag 2 (mehr oder weniger)

Mozart: Le Nozze di Figaro - Berry, Mathis, M. Price, Fischer-Dieskau, Fassbaender, Kusche, Böhm. München, 1977

Hörprobe: --> Klick

Direktlink:
--> Klick

Karl Böhm once remarked that conducting Mozart kept him young. That statement is born out in this performance of Le Nozze di Figaro which he led while already an octogenarian. He brings vitality and grace to Mozart's comedy that many conductors half his age can't muster. No doubt he was inspired by a sensational cast of Mozartians including Walter Berry in the title role, Edith Mathis as Susanna, Margaret Price as the Countess, Dietrich Fischer-Dieskau as the Count and Brigitte Fassbaender as Cherubino. It is a testament to the times that they would cast Wagnerian voices in Mozart. Why won't they do that anymore?? The sound is excellent.
#Tag 3

Wagner: Lohengrin - Thomas, Silja, Varnay, Vinay, Crass, Krause; Sawallisch. Bayreuth, 1962

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Direktlink:
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  • The cast of this performance of Lohengrin is the very definition of "all-star."
  • Captured here at the height of his vocal powers, Jess Thomas sings the title role with refinement and power.
  • Most sopranos stay away from Wagner at age 22, but Anja Silja was (and is) like no other soprano. Silja brings youthful optimisim, purity of tone, and surprising power especially at the top of her voice. And despite her age she paces the role deftly, never pushing or trying to make her voice something that it isn't.
  • Veteran soprano, Astrid Varnay, once a fine Elsa herself, sings the role of Ortrud. She manages to deliver oversized Wagnerian sentiment without going over the top into camp. In my opinion Varnay's true brilliance was never truly realized until she started taking on "character parts" and in many ways this performance is more remarkable than her legendary Met debut as Sieglinde opposite Melchoir's Siegmund.
  • Ramón Vinay was embarking on a similar downward shift into baritone territory and, unlike other tenors who have made the switch in recent years, Vinay is completely credible as a baritone. You will be hard-pressed to find a more beautifully sung Telramund.
  • Tom Krause as the Herald and Franz Crass are the two cherries on this delectable Wagnerian Sundae.
  • Unlike the commercial release which was pieced together from the whole run, this recording is the broadcast of the performance on August 3, 1962.
Bearbeitet von: "baboon86" 24. Mär
Danke für den Deal!
#Tag 4 (oder so)

Wagner: Parsifal - Vinay, Mödl, Greindl, Fischer-Dieskau, Hotter; Knappertsbusch. Bayreuth, 1956

Hörprobe: --> Klick

Direktlink:
--> Klick

Pros:
  • Ramón Vinay and Martha Mödl were both brilliant performers, but somehow when they were paired on stage they achieved an electricity that was even more than the some of their individual brilliance. Vinay in particular sings with astonishing beauty and power.
  • Dietrich Fischer-Dieskau, in a rare turn as Amfortas, delivers a performance that is both anguished and vocally stunning.
  • Josef Greindl's gruff bass brings an everyman quality to the role of Gurnemanz.
  • Hans Knappertsbusch brings sweeping majesty to the proceedings.
Cons:
  • Although the sound is good there is some occasional light distortion.

In Mono
#Tag 5 (oder so)

Verdi: Il Trovatore - McCracken, Vaughan, Gorr, MacNeil, Langdon; Atherton. London, 1968

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Direktlink:
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Despite the fact that there is not even one Italian on hand in this performance of Il Trovatore, the cast still manages to deliver a first rate take on one of the most quintessentially Italian operas of all time. A good Manrico must combine a dramatic instrument with a rock solid technique and James McCracken delivers on both fronts managing an exquisite ”Ah sì, ben mio” followed by a thrilling ”Di quella pira” in Act III. The vocal achievement is enough to forgive the slightly rough quality of his voice. Elizabeth Vaughan delivers a human-scale Leonora, expertly sung even if lacking in opulence. Rita Gorr offers an Azucena for the ages, delivering thrilling high notes, gutsy low notes along with all of the intelligence and musicality that made this artist so beloved. Cornell MacNeil’s Di Luna is a lesson in what makes a great Verdi baritone: rock solid technique, endless breath control and ample sound from the bottom of the staff to the top. The sound is good.In Mono
#Tag 6 (nach irgendeiner Zeitrechnung)

Strauss: Der Rosenkavalier - Schech, Töpper, Köth, Edelmann, Fehenberger; Knappertsbusch. München, 1957

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Direktlink:
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For those of you who only associate Hans Knappertsbusch with Wagner this recording of Der Rosenkavalier should be a refreshing change of pace. Knappertsbusch navigates the intricate score with ease, creating a lightness to the whole affair and although he brings his signature breadth of tempo, (particularly in the final trio which may be the most beautifully paced I have ever heard), he also finds moments to kick the orchestra into overdrive. The performance bubbles with both youthful vigor as well as understated sentimentality. Hertha Töpper’s handsome mezzo makes for an ideal Octavian. Marianne Schech’s silky soprano captivates, particularly when called upon to access her glorious top. Erika Köth’s Sophie is a little on the chirpy side for my taste, but she still manages to charm without coming across as saccharine. Otto Edelmann’s Ochs lacks the low notes but makes up for it in buffo elegance. The sound is excellent.In Mono
#Tag 7 (mal was ganz neues)

Britten: Peter Grimes - Pears, Fisher, Pease, Evans, Lanigan, Carlyle; Kubelik. London, 1958

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This performance of Peter Grimes is an incredible find not only for the fact that it was made only 13 years after its premier, but also because it features the original Peter Grimes, Peter Pears, when his voice was still capable of the demands of the role. Pears' approach to Grimes is leagues away from the gruff fisherman with the heart of gold that Jon Vickers famously created. Pears' Grimes was more poet than bully and conveys the character's fear and insecurity quite movingly particular in his Act II monologue, "In dreams I've built myself some kindlier home." There is a similar vulnerability to Sylvia Fisher's Ellen which makes for a good match and foreshadows the dissolution of their hopes at a life together. James Pease displays an attractive baritone as Balstrode and the rest of the cast features the likes of Geraint Evans and Josephine Veasey. Rafael Kubelik does much with the notable interludes as well as deftly pacing the drama and bridling the orchestra so that Pears was not overwhelmed. The sound is good.
Vielen Dank für die 500 Grad
#Tag 8 (Wagner geht immer)

Wagner: Parsifal - Cox, Shuard, Crass, Stewart, Ridderbusch, McIntyre; Boulez. Bayreuth, 1968

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Direktlink:
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After having heard so many slow (or I suppose I should say "broad") Parsifals, I have to say it was very refreshing to hear Boulez's crisp approach to the score. Parsifal is an opera that should have a feeling of existing in suspended animation, however, Boulez's brisk tempi give a naturalism and almost conversational rhythm to the vocal lines as well as capturing the youthful energy of the title character. Jean Cox, in my opinion, never got the recognition that he deserved in the heldentenor roles. His voice may not have had star-quality, but his approach in Wagner was always tasteful and his voice managed well with the demands of those roles. Amy Shuard is a wild Kundry without descending into caricature. Franz Crass's suave voice gives Gurnemanz a welcome youthful quality that you don't often hear in this role (René Pape being a present-day exception.) The cast is rounded out by Thomas Stewart as a heroic Amfortas and Donald McIntyre as Klingsor. The sound is excellent. In Stereo
baboon8610.04.2020 13:09

#Tag 8 (Wagner geht immer) Wagner: Parsifal - Cox, Shuard, Crass, Stewart, …#Tag 8 (Wagner geht immer) Wagner: Parsifal - Cox, Shuard, Crass, Stewart, Ridderbusch, McIntyre; Boulez. Bayreuth, 1968


Gab es bereits im März 2016
Es gibt inzwischen eine weitere Parsifal-Aufnahme zum Download:

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od-free-downloads.s3.amazonaws.com/Par…zip

PS: Diesen Mitschnitt gab es wohl in den letzten Jahren noch nicht
Bearbeitet von: "UncleToby" 17. Apr
Danke an @eiei und @UncleToby für den Hinweis auf den 2. Parsifal Wer lesen kannn ist klar im Vorteil
#Tag 10 (Hoffmanns Verfehlungen )

Offenbach: Les Contes d'Hoffmann - Kmentt, Silja, Wiener, Kunz, Schoffler, Stolze; Krips. Wien, 1966

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Direktlink:
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Although Offenbach had no intention of having all three soprano roles in Les Contes d'Hoffmann sung by the same soprano, it hasn't stopped great sopranos from trying. Few are versatile enough to convincingly go from a coloratura to a lyric spinto to a dramatic soprano in one evening. Fortunately this performance features one of the most versatile sopranos in the history of opera: Anja Silja. Silja, who was already singing Wagner at this time, shows that she still possessed a voice of remarkable agility as Olympia offering spot-on high notes and coloratura. As Antonia she gets a chance to show the lyrical quality of her voice. Giulietta was perhaps the least ideal fit, requiring a little more of her middle voice than she was comfortable giving. Waldeman Kmentt is an excellent Hoffmann and the cast is peppered with legendary singers including Otto Wiener as the four villains, Gerhard Stolze as the servants, Paul Schöffler as Crespel, Grace Hoffman as Antonia's mother and Erich Kunz as Spalanzani. The sound is good.
#Tag 11


This transcendent performance of Ariadne auf Naxos speaks volumes of the prodigious talents at the disposal of the Hamburg State Opera in the 1960s. Arlene Saunders made Hamburg her home for most of her career, trading in the jet-setting life of an opera star for the saner routine of a steady job. But make no mistake - there was nothing provincial about this singer. She sings with equal parts power and sweetness, tackling the soaring Strausian lines with astonishing ease. Ernst Kozub as Bacchus delivers one of the most lyrical accountings of a role that is more often than not shouted. A young Tatiana Troyanos conveys ardor and earnest masculinity as the composer. Sylvia Geszty’s Zerbinetta skews more to the lyric side of the spectrum than the coloratura side. She nonetheless manages all of the high notes and fioratura with ease while treating the listener to a fuller voice than one might be used to in this part. There are also impressive cameos by Franz Grundheber as the lackey and Hans Sotin as the Wig Master, both of whom spent their formative years in Hamburg. The sound is good.

In Mono
#Tag 12


A hearty Bravo is owed to the enterprising audience member responsible for the capture of this 1974 performance of Il Trovatore. While some bits of recitative and chorus music are missing (most obviously at the start of Act III), the performance, lead by Reynold Giovannetti, is a wired, bombastic and very exciting one. James King is perhaps not a natural Manrico, sounding more at home in the duet with Azucena than in his tender love scene, but the women opposite him are all but ideal. Renata Scotto is ravishing as Leonora, and her Act IV scena finds her in sumptuous voice and with impeccable dramatic intent. Shirley Verrett’s Azucena, caught just before the start of her forays into soprano rep, shows why her move into higher territory shocked so many: her chest voice is positively cavernous, and incredibly creepy. Matteo Managuerra’s underrated baritone gets a terrific showcase, providing a strong legato in “Il balen”.
#Tag 13 (Nimm dich in Acht!)

Bizet: Carmen (In Swedish) - Meyer, Söderström, S. Björling; Ehrling. Stockholm, 1954

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Direktlink:
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Kerstin Meyer is a seductive, moody Carmen in this taut performance from Stockholm. The performance, sung in an elegant Swedish translation, offers a rare chance to hear Sigurd Björling outside of his normal Wagnerian rep, and features a young Elisabeth Söderström as Micaëla. Andre Hendrikssen is a ringing Don José, although he is occasionally underpowered. There are some cuts, including the Act III prelude, but the closely-miked sound is excellent.
Bearbeitet von: "baboon86" 29. Apr
#Tag 14 (Ta dig i akt!)

Bizet: Carmen (In Swedish) - Meyer, Söderström, S. Björling; Ehrling. Stockholm, 1954

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Direktlink:
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Kerstin Meyer is a seductive, moody Carmen in this taut performance from Stockholm. The performance, sung in an elegant Swedish translation, offers a rare chance to hear Sigurd Björling outside of his normal Wagnerian rep, and features a young Elisabeth Söderström as Micaëla. Andre Hendrikssen is a ringing Don José, although he is occasionally underpowered. There are some cuts, including the Act III prelude, but the closely-miked sound is excellent.


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Bearbeitet von: "baboon86" 2. Mai
#Tag 15

Ponchielli: La Gioconda - Souliotis, Tucker, Elias; Bartoletti. Buenos Aires, 1966

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Elena Souliotis was whispered to be the next Maria Callas, but her career (and voice) flamed out after a few too many attempts at roles a size too big for her. Well, as they say, go big or go home. This recording of La Gioconda, caught in 1966 before she began to run into vocal problems, reveals a sensitive performer with a steely, impressive instrument. The sound is a bit of an issue but the performance of Souliotis and her impressive colleagues, under the sure baton of Bruno Bartoletti, is worth a listen. First on the list is her Enzo, the great Richard Tucker. He practically owned this role and the performance is a textbook explanation of why he did. Rosalind Elias is a plush, luxurious Laura and Paolo Washington does lovely work in the ungrateful role of her husband. The underrated baritone Cornell MacNeil is an excellent, sinister Barnaba, and Luisa Bartoletti (no relation to the conductor, as far as I can tell) is a frail-sounding Cieca. The chorus and orchestra of the Teatro Colón are in fine form, and given the rapturous reception they receive, so were the dancers in their performance of the Danza delle ore ballet.


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#Tag 16

Wagner: Parsifal - Kollo, Shuard, Van Mill; Wallberg. Venezia, 1970

Danke @eiei

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Direktlink:
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This performance of Parsifal is a worthy addition to any Wagnerites library mostly for René Kollo’s performance in the title role. In 1970 his voice was still pristine and he brings Mozartian grace along with Wagnerian promise. Amy Shuard is captured a little late in her career, but Kundry is slightly more forgiving than other Wagnerian soprano roles allowing her to throw herself into the part with abandon. The rest of the performance ranges from serviceable to shoddy. The chorus sings in Italian, the orchestra misses a few notes. The most jarring aspect is that there are many cuts which interrupt the meditative flow of the work. The good news is that the sound is as good as it gets.


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Bearbeitet von: "baboon86" 14. Mai
#Tag 17

Strauss: Elektra - Roberts, Saunders, Mödl, Cassilly, Krause; Stein. Hamburg, 1975

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Pros:

  • In the 1970s, Hamburg was an operatic hub where could bank on hearing world-renowned artists as well as their exceptional group of "Fest" singers particularly in the operas of Richard Strauss.
  • Brenda Roberts, while only in her twenties, takes on the monumental title role and delivers some of the most exquisitely beautiful singing you could even hope to hear in this part, bringing to mind the voluptuous, yet girlish Salome of Ljuba Welitsch.
  • Arlene Saunders' Chrysothemis is nothing short of stunning. Her steely yet youthful soprano has no trouble battling Strauss' gargantuan orchestra without sacrificing her considerable vocal beauty.
  • Clearly well past her vocal prime by the time of this performance, Martha Mödl does not let that get in the way of delivering a bone-chilling performance of Klytämnestra.
  • Tom Krause's melifluous baritone is well-cast as Orest and Richard Cassilly brings his unique brand of burly lyricism to Ägisth's brief cameo.

Cons:
  • Nothing to mention.

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Bearbeitet von: "baboon86" 11. Mai
baboon8611.05.2020 20:37

#Tag 16Wagner: Parsifal - Kollo, Shuard, Van Mill; Wallberg. Venezia, 1970 …#Tag 16Wagner: Parsifal - Kollo, Shuard, Van Mill; Wallberg. Venezia, 1970 Danke @eiei Hörprobe: --> KlickDirektlink: --> Klick


Der Direktlink zu Tag 16 funktioniert nicht. Kannst Du bitte mal gucken?
Duayne14.05.2020 12:13

Der Direktlink zu Tag 16 funktioniert nicht. Kannst Du bitte mal gucken?


geht bei mir
baboon8614.05.2020 14:52

geht bei mir


Du hast auf 'privatemessage/7147016/9340878 verlinkt, daher klappt es bei dir, jedoch bei keinem anderen, da der Link nur für dich war.
mitahan14.05.2020 15:11

Du hast auf 'privatemessage/7147016/9340878 verlinkt, daher klappt es bei …Du hast auf 'privatemessage/7147016/9340878 verlinkt, daher klappt es bei dir, jedoch bei keinem anderen, da der Link nur für dich war.



od-free-downloads.s3.amazonaws.com/Par…zip
#Tag 19

Compilation: Gabriel Bacquier - Excerpts from Figaro, Don Giovanni, Così, Orphée, Hoffmann, Otello, Tosca and more!

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Direktlink:
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Pros:
  • As far as baritones go, Gabriel Bacquier was the total package. He brought a rock-solid technique, impeccable style, thoughtful characterization, and, of course, his seductive baritone voice to every role he sang.
  • This compilation contains arias and excerpts from Le Nozze di Figaro, Don Giovanni, Così fan tutte, Orphée et Eurydice, Les Contes d'Hoffmann, Dialogues des Carmélites, Les Pêcheurs de perles, Guglielmo Tell, La Traviata, Otello and Tosca
  • Also featuring Gwyneth Jones and Alain Vanzo.
Cons:
  • None to mention

In Mono & Stereo

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