Eleanor Steber

In 1831 Berlioz extended modern orchestral art with this 'Symphonie Fantastique' which served as a programme model for Mahler and Wagner and later for Debussy's 'La Mer'. Of the 118 recordings since 1930 the models which inspire most are still those of Pierre Monteux and Charles Munch (pace Jean Roy).

The American soprano Eleonor Steber recorded 'Nuits d'été' in 1953 with the blazing support of Mitropoulos and the New York Philharmonic, the most possessed and convincing version of this masterpiece ever played.

1953 Columbia US [Op. 7], October 1958 [Op. 14]

Samuel Barber’s first opera was an outstanding success when first performed in 1958 at the Metropolitan opera and this recording was made with the original cast and conductor. Eleanor Steber (for whom Barber had written Knoxville) created the title role. The work follows traditional operatic form with arias, duets and ensembles within an essentially romantic — and sometimes nostalgic —musical language characteristic of Barber’s other works.

Recorded in 1958

Over 77 minutes of operatic history here as Magdalen celebrates Verdi’s bicentenary with highlights from surely his greatest work Otello, first produced at La Scala, Milan on 5 February 1887.

The set features carefully chosen selections performed by many of the most famous interpreters recorded between 1914 and 1961. Several lengthy extracts are taken from studio recordings, others from live performances and the remainder from classic 78s.

Among the singers are Mario del Monaco, Giovanni Martinelli, Jon Vickers, Giovanni Zenatello, Enrico Caruso, Ramon Vinay (Otello); Lawrence Tibbett, Tito Gobbi, Titta Ruffo (Iago); Renata Tebaldi, Eleanor Steber, Rosa Ponselle, Elisabeth Rethberg and Leonie Rysanek (Desdemona). The conductors include Toscanini, Karajan, Panizza and Serafin.

Almost all items were given top recommendations in Alan Blyth’s Opera on Record (Hutchinson 1979), still regarded as the ‘bible’ for collectors of operatic recordings.

"Rudolf Bing increased the artistic stature of the Metropolitan Opera by presenting Alban Berg's Wozzeck last night. Regarded now as a "classic" in Europe, this 34-year old contemporary opera is unique, whatever the public response to it. Since the box office proved "disastrous" as far as benefiting the Metropolitan Opera Guild's production fund, the success of the first performance must be treated as solely artistic. For that Bing deserves hearty congratulations. He has fulfilled an important obligation to the public and one of his own ambitions in bringing "Wozzeck" finally to the Met. Mixed with the cheers at the final curtain there were a very audible number of boo's. The latter provided their own commentary on those who uttered them because they indicated a woeful lack of awareness of the contemporary musical world of which "Wozzeck" is a significant part. They also overlooked a splendid production, one of the most exacting ever undertaken in the Met's entire history… Karl Böhm won the ovations of the evening, deservedly. Conducting this score must be considered a major triumph at any time. The work it involved stretched back to the [beginning] of the opera season 19 weeks and 24 orchestral rehearsals later (unprecedented in the history of the Met), he achieved a remarkable performance. It may not have registered all the nervous tension and frightening aspect of the early portion of the opera, but it revealed unforgettable texture of sound in the last act." Review by Miles Kastendieck in the New York Journal-American

For about eighty years following its premiere in 1859, Gounod’s Faust was the most performed opera on the planet – so much so that the Metropolitan Opera in New York became known as the ‘Faustspielhaus’. Post-war audiences however turned against the work, regarding it at best as a museum piece and at worst, as an example of nineteenth century kitsch. Recently however, Faust has been re-evaluated and modern audiences, appreciative of its magnificent tunes and superb dramatic appeal, have once again fallen under its spell. This 1951 recording captures Eleanor Steber, Eugene Conley and Cesare Siepi in superb voice as they recreate their roles from the beginning of the Bing era at the Met. Bonus items taken from Mireille and Roméo et Juliette give further examples of Gounod’s passionate lyricism.