Scotto has gorgeous ringing high notes! Amazing high Ebs!

Wonderful singing

The ending of ‘Vissi d’arte’ is not so artfully managed. A huge but unruly voice (utterly defeated by ‘Aida’, for example), eventually losing the top altogether.

This is Price is in her vocal prime, this is what true Verdi singing is like! Brava!

RIP great lady.

Caballé on a less-than-great day is frankly better and more interesting than many singers’ good days. She’s an actual Verdi soprano (even if her tenuous relationship to text is an issue).

Crespin’s voice is so easy and clean, not fussy or forced. I wish more sopranos studied her.

Maybe you have her in - house Forza as well?

Thank you.

Thank you so so much!!! Please upload more fille performances of that run from 1972&1973!!

Thanks for the upgrade.

Mediocre , falso, sgraziato, istrionico. Tutto cio che puccini non avrebbe voluto

Bergonzi fantastico

Oh well, when i waoke up i thought there was some Massnet. A very fine recital.

❤❤❤😮😮😮

Stupenda, meravigliosa

What a treat ! An unconditional fan of Caballé always!

Aha! I know you had found it and here it is!!! What do you think?

man spricht es Luzia aus , wir sind keine Italiener, bitte LUZIA

Wow! Thanks again for this one and oll the other MET gems. PLEASE keep them going....

💯👍

Love this! I don't recall hearing a dress rehearsal with Price! Thanks for sharing this, for there are not enough recordings of her and Merrill together. They were two of the most sumptuous voices ever.

Nice cover shot of her from the complete 1964 RCA studio stereo LP recording with her, Merrill and Tucker.

MY GOD!!! Where she places the '"la" of "Invan la pace"- immediately before the Bb! It is so very bright and such a mix of light and heavy mechanism. I've never heard a sound like that before the Bb. The pitches of Invan are clearly a light adjustment, but then...I am flabbergasted. That pitch on "la" is so related to the high Bb, yet almost a "chest" sound. Damn! Thank you!

The bass player sounds drunk! And, there are lots of people out there!

OMG! Dress rehearsal!! I wonder how much marking Price will do. Marking always fascinates me. I always worried that I needed to give the conductor the real thing at a Dress. Can't wait to hear this!!! Thanks!!!!!!!

I bought a CD copy of the recording of this concert performance years ago through either Premiere Opera Ltd. or Live Opera Heaven (I think the former rather than the latter). I will swear that that copy has ALL of Act II, Scene 2. I wonder: Did whoever released in interpolate the last few minutes of the scene from the 1968 Philadelphia Grand Opera performance of "Turandot," or was there another recording of this performance from the audience (possibly Henry Tucker)? By the way: This was the ONLY Metropolitan Opera parks-concert performance of "Turandot" performed in the summer of 1974. As part of the several-seasons' commemoration of the 50th anniversary of Puccini's death (of lung cancer, in Brussels, on 29 November 1924, age 65), the Met planned 4 concert performances each of "La boheme" and "Turandot" for the summer of 1974. All four of the concert performances of "La boheme" were performed as scheduled. (The 29 June 1974 performance at Marine Park was recorded either from the WNYC radio broadcast or from the audience and was made available decades later on "pirate" CD by Premiere Opera, Ltd. I happened to see the listing and purchased a copy of what is a VERRRY good performance of "La boheme," with Dorothy Kirsten, Barry Morell, Cornell MacNeil (as Marcello - he sang all four concert performances that summer), Maralin Niska, John Macurdy, and Russell Christopher, with Jan Behr conducting.) But the last half of June 1974 must have been an awfully rainy time in New York City, because the first 3 scheduled performances of "Turandot" were rained out. That left this performance - and the weather finally held up, all of the cast was "ready and raring to go" (including Betsy Norden, substituting for an indisposed Lucine Amara, and Gene Boucher, substituting for an indisposed Robert Goodloe) - and nobody more so than Richard Tucker, a little less than 2 months before his 61st birthday. This was one of those truly "enchanted evenings" for the Met and the audience (both those present in person at Marine Park and those listening to the WNYC broadcast of the performance), one which I think tops the 27 April 1974 Saturday-matinee radio broadcast of a Met tour performance from Boston. One other item: This performance was the only "Big Met" performance for tenor Melvin Lowery, who sang L'Imperatore Altoum. He had sung St. Abselon in all 12 performances of Virgil Thomson's "Four Saints in Three Acts" at the Vivian Beaumont Theater (also at Lincoln Center) between 20 February 1973 and 10 March 1973, as part of the "Mini-Met" mini-season staged there.

Tucker, quite in trouble by the "bassa tessitura".Moffo, my loved Moffo, in near painful vocal state and mediocre Mittelman. Good work from Nelson, however. A routine matinée.

Tucker was nearly 61 here..

1:33:50 Traduire

Nice recording ! YET the whole 'Spanish Inn' scene (Act 2, scene 1) is missing, as usually at the Met in those years, and so from it Preziosilla's entrance and first 'war' aria... Then I can't find the "Rataplan", which is sometimes moved - along with the whole lighter section of Act 3 - from the end of that act to the middle of it, right after Carlo's cabaletta... but if this Rataplan is omitted here, what on earth is the character of Preziosilla here for ???

Caballe si puré gold!! Gedda gave a great performance todo.

James King! Mehta!!! Here is a hug!!!!!!!!!!!!!

Arroyo as Liu?!!!! '69?!!!! I love you!!!

Oh well, i have this one as well.

Interesting cast and conductor - one year after "La juive" (aka "The Richard Tucker Show") and almost 6 years after the two-part performance of "Les Troyens." Unless I am mistaken, this was the one and only time that New York got to see and hear Nicolai Gedda sing Young Werther live and in person. Rita Gorr had recorded Charlotte in a complete recording of "Werther" the year before, for the French label Ades, with Jesus Etcheverry conducting the French National Radio/Television Orchestra and Chorus. Albert Lance sang Werther; Gabriel Bacquier sang Albert; Mady Mesple sang Sophie; Julien Giovannetti sang Le bailli; Robert Andreozzi and Jacques Mars sang Schmidt and Johann. The recording was produced by Jean-Louis Caussou. And 4 years after this performance, Nicolai Gedda recorded the title role in a complete recording of "Werther" for EMI/Angel, with Georges Pretre conducting L'Orchestre de Paris and the children's chorus of the French National Radio/Television. Victoria de los Angeles sang Charlotte; Roger Soyer sang Albert; Mady Mesple sang Sophie ("Do you how to say "five-year rule"? I knew you would."); Jean-Christophe Benoit sang Le bailli; Andre Mallabrera and Christos Grigoriou sang Schmidt and Johann. The recording was produced by Victor Olof. (Was this the last complete operatic recording produced by Olof? It may well be, since he died 5 years later, in 1974, and he was 73 years old when this recording was made.)

How wonderful!

Thank you

'69!! I've never heard of the Mimi! how do you do it?! Of course, like so many people, Boheme is one of my very favorites. Thanks!!!!

I will use this awesome upload to thank you not only for this but for all of these fantastic MET performances. YOU ARE MY HERO!!!!! Thanks from Germany.

Merrill sings magnificently here...surprising to find him sounding so youthful with his top so large and secure this late in his career.

It is so much fun to hear these very special documents of famous singers and conductors. Thanks, forever!

Thank you!!!!!!!!!!!!!!

Her last Met performances were in Dec 1968, when she sang 3 Mimis opposite 4 Rodolfos: In the first performance, Pavarotti sang Acts 1 & 2, Barry Morell came in finish in Acts 3 & 4; the second performance was with Konya, and the final was with Tucker.

It's so special for me to hear these voices: Barry Morell was the Duke in my first-ever live opera performance at the Cincinnati Zoo in 1962 (I was 14 years old)...I also saw Licia's 100th Violetta there, and her final Met BUTTERFLY...and of course Mac was a huge presence in my first years of opera-going.

Amaaazing rarity!! ❤Thank you!!!

This is not Samuel Barber’s greatest work. But there are some amazing moments in it. And despite the terrible reviews Barber got for it, the audience seemed to like it. He got a great audience reaction when he took his solo bow.

WOW!!! Qué documento!!! Y con gran sonido! McNeil cantando Sigmund Romberg! Muchas gracias por compartirlo! Saludos desde Buenos Aires.

What an amazing document! Thank you for sharing this.

OMG goosebumps....Bravo maestro