London Philharmonic Orchestra

“Bamert proves a masterly interpreter and takes us convincingly through the symphonic terrain of a highly influential composer....The sound is rich and full to match the outstanding playing.” Penguin Guide, 2011 edition

“Rossini wrote Elizabeth, Queen of England for the star-studded San Carlo Opera in Naples in 1815. The plot is a verse reduction of a halfremembered drama by an Italian advocate out of an entertaining but historically implausible English romance. Larmore makes a formidable Elizabeth; beautifully sung, her performance has presence, character, and a real sense of ingrained authority. The lovely cantabile duet for Elizabeth and Matilde at the start of Act 2 is sung to perfection by Caballé and Masterson on Philips' rival set but there's a greater depth of emotion, a grainier, gutsier feel to Larmore's performance with Majella Cullagh's equally characterful, if not at every point inch-perfect, Matilde. There's little to choose between Bruce Ford's Leicester and Carreras's for Philips – Carreras perhaps wins on points with a certain added youthful allure – but Opera Rara's Antonio Siragusa is a more compelling Norfolk than Ugo Benelli, who sings splendidly but without much menace.
Siragusa is very fine. With such strong casting, it goes without saying that the great confrontations in the opera – Elizabeth and Norfolk, Leicester and Norfolk, and so on – all come vividly to life. The Opera Rara performance has a lovely rich, dark feel to it. This is partly to do with Carella's conducting and the London Philharmonic's playing; partly to do with the fact that orchestration is clearly different in places.
For first-time buyers, this is the set to go for.” Gramophone Classical Music Guide, 2010

“Marvellous ensembles beautifully performed on Opera Rara by a strong cast led by Jennifer Larmore” Penguin Guide

Flagstad’s Isolde is one of the many Wagnerian roles that have won her much critical acclaim, her 1936 Royal Opera House performance described as having “a sensuous ease, a purity of line and a supreme voluptuousness of tone that eradicates all competition.” The Guardian

“This is an improved remastering by Ward Marston of a VAI set which received a warm welcome for preserving the rewarding partnership of Flagstad and Melchior, some would say unsurpassed in their respective roles and here on great form. The soprano, though at the start of her career in the part, is already a fully formed Isolde, and one marvels at Melchior, confirming his stature as the greatest Wagner tenor of all time. The rest of the cast are nothing special.
Reiner, after a slow start, provides the right breadth and vitality to the work even when the playing leaves a little to be desired. The thencustomary cuts are made in Acts 2 and 3. At superbargain price (the VAI was at full price) this is an essential purchase for Wagnerians.” Gramophone Classical Music Guide, 2010

“A wonderful set of Ernest Ansermet's earlier Decca recordings, many appearing on CD for the first time. Performances are first-rate and the sound is fine for the age of the recordings.” BBC Music Magazine, August 2012 *****

“The outstanding feature of this recorded performance is its clarity and incisiveness … this is a most commendable issue” Gramophone Magazine (L’Oiseau de Feu: Suite rec. 1950)

“This new recording of Stravinsky's masterpiece – which will become, I am sure, the first big landmark in the history of LP – lights up the orchestral colours with unprecedented vividness and perspective, and all the details of the score are wonderfully clear and excellently balanced ... this performance has atmosphere over and above fine playing” Gramophone Magazine (Petrushka rec. 1949)

“‘it is with relish and gratitude that we welcome this new issue of one of the master's greatest works … this performance is full of nobility” Gramophone Magazine (Symphony of Psalms, rec. 1947)

“thoroughly well recorded” Gramophone Magazine (Circus Polka rec. 1951)