Among the few recordings of Don Carlo, this recording stands out with great authority. Despite being a live performance, it is of the highest quality. It's importance lies above all in the participation of two great performers, Franco Corelli and Gundula Janowitz, who have never recorded Don Carlo in the studio.

Re-release of a previous ORFEO bestseller, the present album contains the premiere of the new production of Don Carlo from October 1970 in Vienna. The premiere was surrounded by a great scandal, caused by the Karajan's fans, who expected their idol to conduct the new production. However, Karajan entrusted the conductor Horst Stein with the new production and though Stein had until then been the favourite of the local audience, this time he was greeted with a torrent of 'boos" which were totally unrelated to his artistic performance. The singers, by contrast, were cheered to the rafters. The house had gathered together a cast for this production that was hand-picked right down to the smallest part. The booklet offers detailed information about the scandal and indignation surrounding the premiere together with archive photographs of the stage.

This is a physical only re-issue of a former ORFEO bestseller. Herbert von Karajan's relationship with the operas of Wolfgang Amadeus Mozart was quite ambivalent, especially in his early years. Later, however, he increasingly turned to these works and conducted Don Giovanni at the Salzburg Festival in a total of three different productions. This recording from 1970 follows the 1968 production. The top-class cast of singers also remained similar, with only two roles being recast. However, while the Festival audience was impressed, the critical response was mixed. From today's perspective, the live recording from 1970 presents a Don Giovanni which takes it's place among the legendary performances of the Salzburg Festival. The title role is sung by the Bulgarian bass Nicolai Ghiaurov, who, between the Bolshoi Theatre in Moscow, the Sofia Opera and La Scala in Milanm has grown into a great dramatic singer. His Leporello was the equally strongly outlined Geraint Evans. The Welsh baritone had already proven his extraordinary abilities as a character actor at the Festival in 1962-67 as Mozart's Figaro. As Donna Anna, Gundula Janowitz is at the zenith of her development, which was largely promoted by Karajan. Polish-born Teresa Zylis-Gara, successful as a Mozart singer at Glyndebourne and elsewhere, also fitted perfectly as Dona Elivra into Karajan's concept of the role: sensitive, wavering between her pain and the feelings for Don Giovanni, which surface again and again.

This box set comprises all the operas and sacred works Otto Klemperer conducted for EMI Columbia and HMV. Oratorios by Bach, Beethoven, Brahms and Handel are accompanied by operas of Beethoven, Mozart and Wagner. There are also rehearsals and listening playback sessions for the recording of Mozart's Don Giovanni and a Bonus CD with recollections from artists who sang in Klemperer's opera performances. Otto Klemperer deeply loved both the theatricality of opera and the spirituality of oratorios, and these performances from his great Indian Summer represent the fruits of his lifetime of thought and experience in this repertoire.

At the beginning of the Sixties, one of the pioneers of the modern philology, Karl Richter, finally recorded, in German, the first modern discographic edition of Handel's Der Messias, which has here been restored. Karl Richter is best remembered for his interpretations of Bach and Handel. His performances were known for their intense and festive manner. He avoided tempo fluctuations that were common in interpretations of his era, and he devoted much attention to ensemble balance. His recordings are notable for "discipline, rhythmic tautness and expressive intensity." This production features soloists Maurice Andre, Hedwig Bilgram, Elmar Schloter, as well as the Muenchener Bach-Chor and the Muenchener Bach-Orchester.

The well-known “classical” exception to the canon of ten Wagner works that can be performed on the Green Hill goes back to the master himself: it is of course Beethoven’s 9th Symphony. The most famous recording of one of the rare Bayreuth performances of the symphony is of the legendary concert that reopened the Bayreuth Festival after the war, in 1951, with Wilhelm Furtwangler on the rostrum. That recording was released for the first time, officially and uncut, by Orfeo in association with the Bayreuth Festival in 2008 (C754081). In 1954, Furtwangler conducted the Ninth a second time (ORFEO C851121). Much less well-known and issued here for the first time in a live recording is a performance conducted by Karl Böhm in 1963 to mark the 150th anniversary of Richard Wagner’s birth and the 80th anniversary of his death. Here we witness the emergence of a new musical generation.

-----

REVIEW:

While a distinct improvement on previous exhumations which have done the rounds, Orfeo's excellent new transfer from a Bavarian Radio source only serves to clarify how much Gundula Janowitz dominated her colleagues on this occasion, though they were all more seasoned Bayreuth performers. A significant release from an historical point of view.

– Gramophone

Brigitte Fassbaender said: ‘Gundula Janowitz possesses one of those voices where you have only to hear a couple of notes and you immediately know who it is. Her elegant timbre and unmistakably instrumental way of forming the phrases is unique.’ Few singers have voices that approach the purity of Janowitz’s: with its very fast vibrato and ‘white’ production, the focused sound can soar, swoop and dip with astonishing ease and control, the vocal line becoming almost liquefied into a seemingly endless melisma. Janowitz’s recorded catalogue, tends to misrepresent the focus of her career because it downplays her work as a recitalist. Of course, she did tape all of Schubert’s songs for high voice but apart from a couple of late song recitals and a disc of Hindemith’s Das Marienleben, that is all we have to remember her by as a performer of song. So this album will be a welcome addition to her discography. For her Athens recital, Janowitz chose two composers absolutely at the centre of her song repertoire, Franz Schubert and Richard Strauss, with a third, Robert Schumann, forming a bridge between the two.