Sutherland Horne

This recording marks ground zero of the Three Tenors phenomenon and reminds you of all that it was supposed to be. There's only one tenor here–Luciano Pavarotti–and because he's partnered by different voice types–soprano Joan Sutherland and mezzo-soprano Marilyn Horne– the possibilities of substantial artistic collaboration are much greater. Though this event was heavily hyped and would've driven audiences wild no matter what, the singers use the concert as an occasion to do things they'd never do on the opera stage, such as the Sutherland-Pavarotti duet from Otello". In their prime, they were one of the great operatic teams, as were Sutherland and Horne. And this concert gives ample evidence why. It's essential for fans of these singers.

This 1966 recording, billed as the first complete Semiramide on disc, with Joan Sutherland singing Semiramide and Marilyn Horne singing the trouser role Arsace, has long been considered the standard by which all other Semiramide's are measured. Although subsequently there have been more complete recordings, this remains among the best recorded performance and is a recommendation for every opera collection.

I believe this is the only note-complete performance of this opera, and furthermore, the only one that is sung in all of the original keys (in almost every other recording "Casta diva" and the duets are transposed down). It is a spectacular example of bel canto. Recorded in 1964, Joan Sutherland was at her peak, exhibiting fearless, beautiful singing, thoroughly accurate in fiorature and breath control.

If you're looking for one album documenting the career of Marilyn Horne, this is the one to buy. Composed mostly of operatic excerpts from the 1960s and '70s, but also including some art song and concert selections from the 1980s, Decca's Just for the Record: The Golden Voice captures the sound and fury of Horne in her prime. Most everything Horne was known for is here: Handel, Rossini, Bellini, some Verdi, and Bizet's Carmen.

Joan Sutherland first sang the role of Alcina in 1957 and continued to sing it until 1983. The role allows her to display her technical agility, the breath control on long phrases and her stunning trill. It must be admitted that her diction is not clean – but what glorious singing. Teresa Berganza as Ruggiero is Sutherland's equal throughout the entire opera. Her approach is less overtly spectacular but her "Verdi prati" is an object lesson in classic vocalism. With a glorious contralto voice, Monica Sinclair attacks the role of Bradamante with gusto. The three octave scale which concludes her Act 1 aria is not stylistic, but it is exciting. In the shorter roles Mirella Freni and Graziella Sciutti are excellent. Freni was at the beginning of long and glorious career. The male roles are of less importance in this opera but they are very well sung by Luigi Alva and Ezio Flagello.

“Sutherland is in her element here - and what a wonderful score it is too…Horne has the odd moment of unsteadiness in the early parts of the opera, but she is impressive in the brilliant Brindisi of the last Act” (The Penguin Guide)

Decca pays tribute to Joan Sutherland - "La Stupenda" to her numerous fans - with a limited-edition 23-CD set of her complete studio recitals. Joan Sutherland shot to international fame in February1959 when she sang the title role in Lucia di Lammermoor at the Royal Opera House, Covent Garden, and a month later she recorded her first solo album in Paris for Decca - the start of an exclusive association that would last until her retirement from the operatic stage on 31 December 1990. This is the first time all of Joan Sutherland's studio recitals have been made available in a single collection and the set is released in time for what would have been the diva's 85th birthday on 7 November; October 10 marks the first anniversary of her death. The CDs are presented in sleeves with original cover art a 48-page booklet contains an appreciation of Joan Sutherland by opera wrter and critic George Hall.

2014 marks the 50th anniversary of the start of the relationship between Luciano Pavarotti and Decca a fitting occasion to marvel once again at the sheer quality of the voice of the 20th Century s greatest tenor. This 27 CD survey reviews the totality of Pavarotti s remarkably intense first decade with Decca. Everything the artist recorded for the company from signing his contract until 1973 is here, allowing critics and collectors and opera lovers once more to appreciate his exceptional achievement in that first decade for the Decca label.

Pavaroti is in great voice, Caballe is brilliant, Sutherland is OK,It doesn't have the excitement of other "Norma's", but is a good addition to a "Norma" collection.
-By Thomas E. Lawson-

Decca proudly presents the Complete Works by Giuseppe Verdi in a single 75 CD box set. From the ever-popular “Aida” to the obscure “Alzira,” all 28 of Giuseppe Verdi's operas are here as well as his Sacred Works, Arias, Songs, Ballet Music, the String quartet and other rarities.