NB. The discography is separated into two major parts. The first part deals with complete or nearly complete recordings of operas arranged in alphabetical order by the composer’s last name. The second part includes albums and various compilations with arias, songs and church music; here the order combines chronological and thematic principles. In both cases most information is supplied with CD covers. When these are unavailable, details are given in situ. Otherwise the text between the covers is kept to minimum. Different editions of the same recording are listed as completely as it is possible to illustrate them. For those who want to know more, the ultimate source remains this one.
COMPLETE
OPERAS
Ludwig
van Beethoven (1770 – 1827)
Fidelio
– Rocco – Gui – Radio, 28/11/1955, Rome (in Italian)
Recorded on 28/11/1955. Broadcast on 30/11/1955.
Recorded on 28/11/1955. Broadcast on 30/11/1955.
Fidelio
– Pizarro – Maazel – Live, 13/2/1964, Rome
Omega Opera Archive 1730
(& 1236)
Vincenzo
Bellini (1801 – 1835)
Norma
– Oroveso – Votto – Live, 1953, Teatro Verdi, Trieste
You can find “I te sul colle,
o Druidi” from this performance on the Legato Classics selection with live
recordings from 1953-80 (see below).
Arrigo
Boito (1842 – 1918)
Mefistofele
– Mefistofele – Gui – Studio, 1955, Rome
Act 4 is omitted.
Alexander
Borodine (1833 – 1887)
Prince
Igor – Galitsky, Konchak – Danon – Live, 12/10/1962, Lyric Opera, Chicago
Omega Opera Archive 176.
Omega Opera Archive 176.
Prince
Igor – Galitsky, Konchak – La Rossa Parodi – Radio, 19/09/1964, Rome
(in Italian)
Domenico
Cimarosa (1749 – 1801)
Il
Matrimonio Segretto – Il conte Robinson – Rossi – Live, 22/03/1949, La Scala, Milan
Melodram CD 29505.
Melodram CD 29505.
Gaetano
Donizetti (1797 – 1848)
Anna
Bolena – Enrico – Ferro – Live, 4/1977, Rome
On Stage 4719/3; Gala GL 100 659 (highlights + recording - Lewis + highlights - Rudel) (2006).
Mikhail Glinka (1804 – 1857)
A
Life for the Tsar – Ivan Susanin – Simonetto – Radio, 5/12/1954, Milan (in Italian)
A
Life for the Tsar – Ivan Susanin – Markevitch – Studio, 1957, Paris
EMI 69698. LP cover below!
EMI 69698. LP cover below!
A
Life for the Tsar – Ivan Susanin –
Semkow – Radio, 23/9/1974, Turin
Recorded 31/5/74. Broadcast 23/9/74. Omega Opera Archive 2570. In Italian?
Recorded 31/5/74. Broadcast 23/9/74. Omega Opera Archive 2570. In Italian?
Charles
Gounod (1818 – 1893)
Poor sound even for EMI’s
standards at the time. The stereo remake was a good idea indeed!
Faust
– Méphistophélès – Santini – Live, 8/1954, Arena Flegrea, Naples
Bongiovanni "Historical Opera Collection" HOC 009/11.
Boris was reportedly
reluctant to do this stereo remake only five years later and with virtually the
same cast. It doesn’t show. Like it or not, his idiosyncratic Mephistopheles is
just as impressive and memorable, if not more so indeed, as in the old
recording.
Georg
Friedrich Handel (1685 – 1759)
Giulio
Cesare in Egitto – Guilio Cesare – Gavazzeni – Live, 26/12/1955, Rome
Giulio
Cesare in Egitto – Guilio Cesare – Rescigno – Live, 6/2/1966, La Fenice, Venice
Pietro
Mascagni (1863 – 1945)
Iris
– Il Cieco – Gavazzeni – Live, 12/1956, Rome
Jules
Massenet (1842 – 1912)
Don
Quichotte – Don Quichotte – Simonetto – Radio, 25/5/1957, Milan (in Italian)
Recorded 25/5/1957. Broadcast 6/2/1958.
Recorded 25/5/1957. Broadcast 6/2/1958.
Giacomo
Meyerbeer (1791 – 1864)
Robert
le Diable – Bertram – Sanzogno – Live, 7/5/1968, Teatro Comunale, Florence
Claudio
Monteverdi (1567 – 1643)
L’Incoronazione
del
In 1979 Boris recorded
Seneca’s Death for Balkanton (see below).
Wolfgang
Amadeus Mozart (1756 – 1791)
La
Betulia Liberata – Achior – Rossi – Radio, 30/4/1952, Turin
Die
Zauberflöte – Sarastro – Gui – Live, 27/1/1956, San Carlo, Naples
Compact Cassette - Lyric Distribution ALD 3013.
Modest
Mussorgsky (1839 – 1881)
This legendary recording has
been released on CD countless times. Pearl and Naxos offer perhaps the best sound. The Pearl
edition is also remarkable because it contains four previously unreleased songs,
including Rimsky-Korsakov’s “The Prophet” with Philharmonia and Wilhelm
Schüchter. It makes for an interesting comparison with the version from 1963/64
with Andre Cluytens.
Boris
Godunov – Boris – Rodzinsky – Radio, 1952, Rome
Recorded 21/03/1952, broadcast 10/12/1952?
Recorded 21/03/1952, broadcast 10/12/1952?
Boris
Godunov – Boris – Kubelik – Live, 6/11/1958, Covent Garden, London
Wrong month on the Myto release.
Boris
Godunov – Boris – Goodall – Live, 10/6/1961, Covent Garden, London
House of Opera CD 274.
House of Opera CD 274.
The re-make is strikingly
different in nearly every aspect, from the sound quality and the conducting to
subtle shades and nuances in Boris’ interpretation. It has been released at
least twice on CD by EMI, more recently in 2002 as part of their Great
Recordings of the Century series. The new remastering offers but slight
improvement over the old edition from 1987.
Boris
Godunov – Boris – Rozhdestvensky – Live, 7/3/1970, Covent Garden, London
Oriel Music Society OMS 137/3 (2001).
Boris
Godunov – Boris – Ahronovitch – Live, 11/1974, Covent Garden, London
Compact Cassette - Charles Handelman - Live Opera 00354.
Presumably an "in-house" recording, not a broadcast.
Compact Cassette - Charles Handelman - Live Opera 00354.
Presumably an "in-house" recording, not a broadcast.
Khovanshchina
– Dosifey – Rodzinsky – Radio, 3/7/1958, Rome (in Italian)
Recorded 14/6/1958. Broadcast 3/7/1958.
Recorded 14/6/1958. Broadcast 3/7/1958.
Carl
Nielsen (1865 – 1931)
Saul
and David – Saul – Horenstein – Radio, 1972/73, Copenhagen
The only part Boris ever sang
in English.
Nikolay
Rimsky-Korsakov (1844 – 1908)
The
Golden Cockerel – Tsar Dodon – Freccia – Radio, 24/9/1961, Rome (in Italian)
The
Maid of Pskov – Ivan the Terrible – Hubad –
Live, 13/1/1968, Teatro Verdi, Trieste
(in Italian)
The
Maid of Pskov – Ivan the Terrible – Schippers –
Live, 18/3/1969, Rome
(in Italian).
(in Italian).
Gioacchino
Rossini (1792 – 1868)
Moise
et Pharaon – Mose – Bartoletti – Live, 3/1971, Rome
Giuseppe di Stefano GDS 21036.
Giuseppe di Stefano GDS 21036.
Peter
Illyich Tchaikovsky (1840 – 1893)
Mazeppa
– Kochubey – Perlea – Live, 6/6/1954, Teatro Comunale, Florence
Giuseppe
Verdi (1813 – 1901)
Macbeth
– Banco – Rossi – Radio, 16/10/1949, Turin
The only time Boris sang this
opera complete; he never did on the stage.
Compact Cassette – Charles
Handelman – Live Opera 00632
This is a legendary recording
released multiple times by various labels. The mono is clean but thin and the cast - Boris apart - is far from perfect. There are some cuts, too. This is the four-act version
(which I, honestly, consider musically and dramatically superior), there is even one cut in the great duet between Philip and Elisabeth
in Act 3.
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Many connoisseurs regard this
as Boris’ finest Philip II. And with good reason. Boris was in fabulous form that
night; it must have been quite an experience for the audience. “Ella giammai
m’amo” is suffused with tragic grandeur Boris didn’t always achieve in the studio. Note
also his mighty fist smashing on the table at “No, giammai” in the scene with
the Great Inquisitor. Also notable are the young Jon Vickers, one of the very
few tenors who do justice to the title character’s complexity and humanity, and
Giulini’s impassioned conducting.
Don
Carlo – Filippo II – Rossi – Radio, 5/5/1961, Turin
This is the five-act version but it does contain the same cut in the intense duet between Philip and Elisabeth (it is complete in the 1958 London performance). Sonically superior to the 1954 mono effort. Cast-wise, too. Boris is rock-solid in both recordings; Bastianini is, for
me, hugely preferable to Gobbi’s desiccated tone. Cossotto and Vinco are in no
why inferior to the spectacular Nicolai and Neri. The title part remains
problematic. Both Filippeschi and Labo are brash and rather insensitive tenors.
Don
Carlo – Filippo II – Pritchard – 11/4/1963, Covent Garden, London
Don
Carlo – Filippo II – Downes – 10/6/1966, Covent Garden, London
Mondo Musica MFOH 10271 (1998).
Don
Carlo – Filippo II – Guadagno – 26/4/1976, Teatro de la Zarzuela, Madrid
The Opera Lovers DON 197601.
The Opera Lovers DON 197601.
Don
Carlo – Filippo II – Conlon – Live, 3-4/1979, Covent Garden, London
Premiere Opera Ltd. CDNO 663-3.
Premiere Opera Ltd. CDNO 663-3.
Don
Carlo – Filippo II – Neuhold – Live, 1/1982, Teatro Regio, Parma
Premiere Opera Ltd. CDNO 396-3.
Premiere Opera Ltd. CDNO 396-3.
Together with the 1958 Forza (see below), this is yet another
live recording often cited as the best rendition of this particular
opera, poor sound and outrageous cuts notwithstanding. Del Monaco, Cerquetti,
Bastianini and Boris would make even Bach’s dull cantatas sound exciting.
Imagine what they could do – what they in fact did – with a rambunctious
melodrama chock-full with gorgeous tunes like Ernani. Silva’s cabaletta, unfortunately, is cut.
Compared to the previous Ernani, this one looks pallid. On its own, however, it
is a fine performance, with the young Caballe tossing off Elvira’s part as if
it were “Jingle Bells”. Boris is not quite as fresh as he was 11 years earlier
in Florence
La
Forza del Destino – Padre Guardiano – Sanzogno – Radio, 29/9/1957, Rome
This is nowhere near as good as the
other Forza. The cast is, on the
whole, weaker, and the sterile atmosphere of the radio studio is nothing like
the excitement live in the theatre. But there is much to recommend this
recording. Tebaldi is unsurpassable, but Cerquetti is no slouch either. Boris
and Capecchi are nearly as fine here as they are on the next year in Naples
Quite simply, the finest Forza out there, fortunately also
available on video (see below). Many argue in favour of the 1953 live recording
under the incandescent baton of Dimitri Mitropoulous, but I think the
conducting is just about its only real advantage. Otherwise it is either equal
to this one (Del Monaco = Corelli, Simionato = Dominguez, Tebaldi is equally
stunning both times) or inferior (Protti < Bastianini, poorer sound, no
picture). The 1955 studio recording is among the best efforts from Decca’s early
stereo era, but there we have Siepi and Corena replacing, respectively, Boris
and Capecchi. For my part, both substitutes are unfortunate. Not that Siepi and
Corena are bad; far from it; Boris and Capecchi simply are incredible.
Aida
– Ramfis – Santini – Live, 7-8/1954, Arena Flegrea, Naples
Very poor sound.
Bongiovanni «The Golden Age of Opera» GAO 134;
Bongiovanni «Historical Opera Collection» HOCO 11 (2004).
Very poor sound.
Bongiovanni «The Golden Age of Opera» GAO 134;
Bongiovanni «Historical Opera Collection» HOCO 11 (2004).
Aida
– Ramfis – Perlea – Studio, 7/1955, Rome
I
Vespri Siciliani – Giovanni da Procida – Kleiber – Live, 26/5/1951,
Teatro Comunale,Florence
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Teatro Comunale,
I
Vespri Siciliani – Giovanni da Procida – Rossi – Radio, 9/10/1955, Turin
Simon
Boccanegra – Jacopo Fiesco – Santini – Studio, 10/1957, Rome
Simon
Boccanegra – Jacopo Fiesco – Oren – Live, 10/5/1980, Rome
Open Reel Tape - mr. tape 8474.
Open Reel Tape - mr. tape 8474.
Attila
– Attila – Bartoletti – Live, 1/12/1962, Teatro Comunale, Florence
Attila
– Attila – Bartoletti – Live, 10/1/1976, La Fenice, Venice
On Stage 4703; Mondo Musica MFOH 10151;
The Opera Lovers ATT 196801(Canada) (2005).
The Opera Lovers ATT 196801(Canada) (2005).
I
Masnadieri – Massimiliano – Gavazzeni – Live, 29/11/1972, Rome
Nabucco
– Zaccaria – Bartoletti – Live, 4/10/1963, Lyric Opera, Chicago
Omega Opera Archive 1109; Premiere Opera Ltd. CDNO 1260-2.
Several precious excerpts from this
performance are included on the Legato CD with live performances from 1953-80
(see below).
Nabucco
– Zaccaria – De Fabritis – Live, 15/1/1974, Teatro Massimo, Palermo
Opera Depot OD 10345-2 (2008).
Opera Depot OD 10345-2 (2008).
Nabucco
– Zaccaria – Zino – Live, 15/1/1978, Teatro Petruzzelli, Bari
Omega Opera Archive 4050.
Richard
Wagner (1813 – 1883)
Die
Meistersinger von Nürnberg – Pogner – Matacic – Radio, 1/1962, Turin
Parsifal
– Gurnemanz – Gui – Radio, 20-21/11/1950, Rome
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Parsifal
– Gurnemanz – Cluytens – Live, 2/5/1960, La Scala, Milan
Tannhäuser
– Hermann – Bohm – Live, 12/3/1950, Teatro di San Carlo, Naples
Carl
Maria von Weber (1786 – 1826)
Der
Freischutz – Kaspar – Gui – Radio, 28/11/1954 (date of recording).
Broadcast on January 12, 1955.
Broadcast on January 12, 1955.
ARIAS,
SONGS, CHURCH MUSIC
NB. Countless
promiscuous selections have been released through the years. The following list
is highly selective. Only official releases on CD are included, though some of
them are by rather disreputable labels. Duplications are numerous, of course,
but they are tolerated if the edition in question also contains some
hard-to-find gems.
In addition to the well-known
recordings of Philip’s soliloquy and Varlaam’s drinking song, this CD includes
the first-ever – and, to the best of my belief, the only one – release of the
Serenade from Faust, also recorded in
1949 with Philharmonia and Karajan.
Comprehensive selection of
early studio recordings. The third disc is especially valuable. The first 11
tracks from 1954 are one of Boris’ rarest and finest LPs. The seven Russian
folksongs demonstrate the staggering resources of his voice with completeness
and vividness no seven opera arias can match. Also available on Preisser IV
(see below). Lishkin (CD 3) and Caldara (CD 1) are pretty rare, too.
Lebendige
Vergangenheit I (1949-50, Preisser).
Nothing terribly
rare here, but a fine selection of (mostly) Russian arias in superlative
transfers.
Some exceedingly rare “live/radio”
items here, most notably Mozart’s “Cosi dunque tradisci” (1956), Gluck’s
“Presentimo orrendo” (1956) and “Wotan’s Farewell” (1954, superior to
Melodram’s transfer). Incidentally, there is some controversy about the years of recording of all three pieces. According to the monumental (but by no means reliable) study of Carlo Curami and Maurizio Modugno, Mozart's arias were recorded in 1970 and Wotan's Farewell in 1963. The issue is at present unresolved. Considering the freshness and the fullness of the voice, as well as the far from stellar sound quality, I would tentatively suggest the earlier dates are more probable. Note also that the two “arias” from Gounod’s Faust come from the 1953 mono recording.
This is rare, too.
The first 11 tracks are the
most important. They constitute the complete 1954 LP (incorrectly dated “1955”)
of traditional Russian songs (7 pieces) and orthodox chants (4). All of them
can be found on the Nimbus box-set (see above), but that hardly makes them easier
to obtain. The seven folksongs, in particular, are among Boris’ most incredible
achievements. He was reportedly very fond of his rendition of “Ноченька” ("Notchenka", here
lamely translated as “The Lonely Autumn Night”), and rightly so: the quiet
passages defy belief.
All previously released, and
rather well-known, material. The value of the selection lies in the convenient
extraction of famous episodes from complete recordings, namely the duets with
Bjoerling and Neri as well Pimen’s narrative and Boris’ death from the
celebrated 1952 studio version with Issay Dobrowen.
Legendary performance
released quite a few times. Obligatory for Christoff and Karajan completists. Confutatis.
Unlike the selection with
Italian arias, this one did enjoy a new remastering in 2007. No great
improvement over the old edition from 1992.
Mostly well-known studio
material, but with some priceless “live” exceptions. The most notable are
Rimsky-Korsakov’s “The Prophet” (1953) and “Song of the Viking Guest” (1951).
Atrocious
presentation but some pretty rare stuff. This is the most complete release of
the outstanding 1951 radio recital in Baden-Baden
Brahms
– Ein deutsches Requiem – Walter (Radio, 1952, in Italian).
Virtually unobtainable rarity,
alas.
Appalling
presentation and inferior transfers cannot obscure the priceless nature of this
disc. Contains at least six tracks not available anywhere else on CD (three
selections from an apparently
complete live recording of Nabucco
and three arias from the Carnegie Hall recital in 1980). Five of the other six
are also great rarities. The only exception is Silva’s cavatina and cabaletta
which is taken from the fairly easy to obtain 1968 radio recording.
Boris Christoff: Profundo (Live, 1953-74, Operadepot)
Very attractive
selection of extremely rare stuff. By no means is it “the most comprehensive
glimpse of Christoff's artistry available today”, as Mr Whitfield boldly claims
on his
site, but quite a treasure for Christoff buffs all the same.
Hideous presentation from
EMI, but tremendous performances by Boris. You can find all five discs in The Mighty Boris box-set (see below).
Note that the last disc contains only six Russian folksongs. For some
inscrutable reason, “The Song of the Twelve Robbers” was omitted. The complete
“set” can be found on Preisser (IV) and Nimbus (see above).
This is – dare I say it! – Boris’
finest studio legacy. EMI’s presentation lives up to the unique character of
the performances. For the first and last time I saw a booklet with lyrics in
the original Russian. Unfortunately,
Boris’ own liner notes are omitted. One can never have everything. The
Andromeda re-issue is identical sound-wise, but it lacks completely the fine
documentation. Prospective buyers are advised to spend more time and money on
the original edition. It’s worth everything you care to invest in it.
Alternatively, you can find all three discs in The Mighty Boris box-set (see below), but you have to search for
the lyrics online.
Excellent
selection from the complete recording. Newly remastered (2003): the amount of
detail is increased, but the some of the original depth has been lost. The booklet
includes all lyrics, albeit in the hideous transliterated form.
Verdi
– Requiem – Serafin (Studio, 1959).
Rare recording recently
re-issued by Testament in typically fine sound and at even more typically high
price. A kind YT uploader has given us the opportunity to hear Boris’ most
important contributions to this recording. Click & Click.
Very nice introduction for
neophytes. Collectors would love to have the twofer because it contains three
of the four great arias recorded in 1963 for the LP Tsars and Kings. See CD 2, tracks 4-6. So far as I know, this is
their only release on CD! The year of remastering is given as “1988”, but if
there was a release on CD at the time, it must be impossible to find now.
Boris
Christoff (Live, 1962-69, Bongiovanni)
Priceless disc. I know of no
other edition of these recordings. Dargomizhsky, Schubert and 2/3 of Mozart
Boris never recorded commercially. I’m not even sure if other “live” recordings
exist. There is one strange defect in the end of the last of the “Song and
Dances of Death”. I don’t know how to explain it, but suddenly it is a very
different voice we hear: either this was edited from another recording by
another bass or, more likely, Boris actually lost his voice. Poignant reminder
that even the most godlike among the artists are, after all, quite human. Note that the two titles of Borodine's song do not match. The transliterated version is "
This unjustly forgotten LP with
Russian romances was released for the first time on CD just a few years ago. Now it
is safely out-of-print and unlikely to be brought back into the catalogues. Pity.
Pretty impressive recital for
a man of 62.
Opera
Recital (Studio, 1979, Balkanton)
Only Banco’s “Come dal ciel
precipita” and the last five arias are new recordings. Except for Gluck’s “O
Diana dea spietata” (1951), Boris had never recorded in studio any of them,
even though Banco’s aria was a concert favourite of his for many years and he
sung Pizarro and Seneca to great acclaim. The piece of Rameau is new to his
discography. The voice is no longer what it used to be, of course, but there is
more than enough left. All in all, a pretty good recital for a man of 65. The
other five arias are re-issues of old material, for the most part in embarrassingly
inferior sound. The “booklet” contains the usual (lame) disclaimer that the
recordings were not subjected to any additional treatment in order to retain
their authenticity.
The last recording.
Fascinating, if rather
promiscuous, selection of previously released material. Includes many excerpts
from complete recordings of operas, some of them taken from legendary
live/radio performances. Good introduction for newcomers to the art of Boris
Christoff, relatively useless for collectors.
Comprehensive selection of
previously released but mostly out-of-print material, including the three discs
with Mussorgsky’s complete songs (CD 1-3) and the five with Russian songs by Glinka,
Borodine, Cui, Balakirev, Rachmaninoff, Tchaikovsky and Rimsky-Korsakov (CD 4-8). CD 9 and CD 10 are exact copies of the ones with Russian and Italian arias, respectively, listed above. CD 11, except for Gluck's "O tu la cosa mia più cara" (3) and Attila's "Mentre gonfiarsi l'anima" (4, both also on The Very Best disc), is an interesting mixture of excerpts from complete studio recordings (some of them pretty rare). These include the rondo and serenade of Mephistopheles from Gounod's Faust (1-2, 1958), two great duets with Gobbi from Don Carlo (6, 1954) and Simon Boccanegra (5, 1957), the final aria and death of Ivan Susanin (7-9, 1957), the duet of Galitsky and Yaroslavna from Act I of Prince Igor (10, 1966), and finally three excerpts from the 1962 recording of Boris Godunov with Andre Cluytens (11-13, Boris' Prayer, the Clock Scene and the Farewell and Death of Boris).
VIDEO
RECORDINGS
Verdi:
La Forza del Destino, Live,
15/3/1958, San Carlo, Naples
This is arguably the finest Forza ever recorded, video or audio,
mono or stereo, analogue or digital, whatever. The grainy picture and the constrained
sound are meagre price to pay for Tebaldi, Corelli, Bastianini, Dominguez,
Christoff and Capecchi in top form. What a sextet! The singing is incredible! So,
for the most part, is the acting. The old-fashioned sets and costumes, not to
mention Boris’ notorious wig and fake beard, may look quaint, but I, for one,
prefer them to the sick perversity of modernist directors bent on
“reinterpreting the old masterpieces”.
The
Art of Singing: Golden Voices of the Century (NVC Arts).
Contains the Death Scene from
Boris Godunov, staged, sung, acted and
broadcast live on 10th December 1956, nicely introduced by no other but
José Ferrer himself. The documentary on the whole, much like its companion The Art of Piano, is a hotchpotch of greatness
and mediocrity, with irrelevant commentary, questionable editing and ridiculous
omissions/inclusions thrown in for good measure. Anyway, Boris alone is worth
the price of admission.
Great
Opera Singers (IMG Artists).
Contains another live broadcast of Boris Godunov’s terrifying Death
Scene, this time from 19th October 1958.
Lugano Recital (Live, 23/12/1976)
This is the same concert as issued on CD by Aura (see above). However, the DVD omits one of Mussorgsky’s songs (“The wild winds blow”), the camera work is atrocious and the director is a jerk. But it is definitely worth having! At the age of 62, Boris was past his prime, of course, but more than enough was left to guarantee a unique experience. You can see and hear for yourselves on YT where the arias from Rossini, Mozart and Verdi are available. The DVD also contains an interesting interview with Giorgio Gualerzi (in Italian with English subtitles) in which Boris speaks about important moments in his life and his artistic credo.
Appendix:
UNRELEASED RARITIES
UNRELEASED RARITIES
(Audio
& Video)
Playback, but look at these eyes!
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