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.
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.
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!
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.
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.
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.'"
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!
Speaking of Carmen there’s an excellent production on UA-cam 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
Troyanos is indeed fine in this, but she is a sub. Verrett did the live performances with Solti at Covent Garden with otherwise the same cast as the Decca. I don't remember why Verrett didn't do the studio recording but you want down and dirty, try the recording on Opera d'Oro. Troyanos was nobody's first choice for this; at the time, she hadn't made her Met debut yet, she was still singing specialty roles (Poppea, Jocasta, Judith, etc.) in Europe and the smaller US companies, but she was available on short notice. The best thing about the Decca is Solti's essay justifying his edition choices.
I see from the Met archives that Troyanos sang Carmen on tour with the Met the year this came out. She never sang the role again with the Met in her so sadly abbreviated career. I’m willing to bet she was given the role on tour both to promote the recording and to justify her presence on it.
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
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.
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.
The 1951 RCA Victor Carmen with Risë Stevens conducted by Reiner is the one for me.
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!
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.
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.
I love, love, love this Carmen, even more than the glorious Price/Karajan set. Troyanos was also an absolutely splendid Dido for Raymond Leppard.
I really love the Bernstein version with spoken dialogues. Marilyn Horne delivers an exciting gipsy woman.
This is my recording in my collection.
My favorite Carmen is the Spike Jones version. LOL
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.'"
One of the Greatest Recordings Ever and sadly Out of Print! This should not happen.
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!
Speaking of Carmen there’s an excellent production on UA-cam 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
For me, it's Rise Stevens with Licia Albanese as a wonderful Micaela.
Troyanos is indeed fine in this, but she is a sub. Verrett did the live performances with Solti at Covent Garden with otherwise the same cast as the Decca. I don't remember why Verrett didn't do the studio recording but you want down and dirty, try the recording on Opera d'Oro. Troyanos was nobody's first choice for this; at the time, she hadn't made her Met debut yet, she was still singing specialty roles (Poppea, Jocasta, Judith, etc.) in Europe and the smaller US companies, but she was available on short notice. The best thing about the Decca is Solti's essay justifying his edition choices.
I see from the Met archives that Troyanos sang Carmen on tour with the Met the year this came out. She never sang the role again with the Met in her so sadly abbreviated career. I’m willing to bet she was given the role on tour both to promote the recording and to justify her presence on it.
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
My favorite, though I'm surprised when others share my opinion. Otherwise, I go for Stevens/Reiner mainly due to family tradition.