Delibes: Lakmé
EMI CD 7243 5 56569 2 6 (2)
Dessay, Kunde, Van Dam, Haidan, Leguerinel, Petibon, Burles - Plasson

Donizetti: Fille du Regiment
Concert performance, Carnegie Hall, 2/13/70
Legato Classics LCD 238 (2)
Sills, Hirst, Corena, Greenspon- Gagnon

Dvorak: Rusalka
Concert performance, Switzerland 11/4/76 (in German)
Bella Voce CD BLV 107.237 (2)
Stratas, Killebrew, White, Zidek - Gregor

Dvorak: Rusalka
London 289 460 568 (3)
Fleming, Zajick, Urbanova, Heppner, Hawlata - Mackerras

Massenet: La Navarraise
Horne, Domingo, Milnes, Bacquier, Zaccaria - Lewis (BMG 74321-50167-2)

Saint-Saens: Samson et Dalila
Erato 3984-24756 (2)
Cura, Borodina, Lafont, Lloyd - Davis

Wagner: Der Ring des Nibelungen
Bayreuth, July 1953
Golden Melodram GM 1.0014 (13 discs)
Modl, Resnik, Hinsch-Grondahl, Friedland, Thomamuller, Striech, Plumacher, Malaniuk, Litz,
Neidlinger, Hotter, Greindl, Weber, Stolze, Uhde, Vinay - Keilberth (includes a bonus 1997
interview with 85 year-old Marta Modl)

Wagner: Der Ring des Nibelungen
From 1989 Munich video
EMI Classics CZS 7243 5 72731 2 1 (14 discs)
Behrens, Varady, Lipovsek, Schwarz, Balslev, Meier, Hale, Wlaschina, Kollo, Moll,
Salminen, Schunk, Tear - Sawallisch

Gwyneth Jones: Operatic Arias
Belart CD 461 5912 10
Fidelio, Medea, Fliegende Hollander, Trovatore, Forza, Aida (2), Don Carlo, Otello

Beverly Sills: Bellini & Donizetti Heroines
Millennium Classics UMD80468
Linda, Capuletti, Lucia, Roberto Devereux, Sonnambula, Rosmonda d'Inghilterra

Nicolai Gedda, Arleen Auger, Tatiania Troyanos, Gundula Janowitz
Arias, Duets and Trios from Munich Concerts, 1969
Bella Voce CD BLV 107.212 (2)
Giulio Cesare, Zauberflote, Nozze, Arabella, Ariadne, Der Rosenkavalier, Entfuhrung,
Capriccio, Pearl Fishers, Lakmé, Benvenuto Cellini

The Hugo Wolf Society: The Complete Edition (1931-1938)
EMI 7243 5 66640 2 9 (5)
148 performances of 145 songs by Gerhardt, Erb, Fuchs, Ginster, Husch, Janssen, Kipnis, Lemnitz, Rehtberg, McCormack, Trianti, Weber, Schoor, Roswaenge.

In addition to the recordings I have selected below, I would like to mention a few others released last year.

For those interested in historical releases there is the elusive 1912 French Pathe recording of Donizetti's La Favorite by the wunderkind of historical restoration, Ward Marston, on his own label, Marston CD.  Also on that label is the first of a series of volumes of the remarkable bass, Marcel Journet.  Then there is the 2 CD set of the dramatic coloratura tenor, Hermann Jadlowker  Forty-one selections of legendary singing that have to be heard to be believed.  This is Jadlowker's first CD recital and it has been long overdue.

Continuing its re-issue of the Metropolitan Opera series of "cast" recordings Sony has dusted off the English-language Cosi fan tutte with Steber, Thebom, Peters, Tucker and Guarerra.  It is an excellent, nostalgic document of the famous 1951 Met production - one of the most successful revivals during the Bing reign.  Although not the best of Cosi recordings it is an attractive period document and boasts an excellent, indomitable Fiordiligi of Eleanor Steber and a clear, clean-voiced Despina of a very young Roberta Peters.  Unfortunately, I have heard that Sony has decided to discontinue this series.  This is very unfortunate since there are many wonderful vintage mono recordings in their archives which should be released on CD.

Thankfully, Testament CD is busying itself with releasing items from EMI's archives not originally planned for release.  Choice items include De Los Angeles' first Madama Butterfly with Di Stefano, and her Barber of Seville, Stravinsky's sweet Le Rossignol (the first, 1956 recording with Janine Micheau) and a long over-due Antoinetta Stella recital of Verdi and Puccini arias recorded during her prime.  (A Mattiwilda Dobbs recital of songs and arias has just been released.)

Below are a few of what I consider the most intriguing releases of 1998.  Emphasis is on the diva, of course.  Interestingly, in America the Dessay Lakmé and the Fleming Rusalka were released within weeks of each other.

Delibes: Lakmé
EMI CD 7243 5 56569 2 6 (2)
Dessay, Kunde, Van Dam, Haidan, Leguerinel, Petibon, Burles - Plasson

Continuing his remarkable series of French operas, Plasson has provided us with the ideal recording of this delicate work to date.  It is the first commercial recording in thirty years.  The first was on Decca (1952) and starred the then current French Lakmé, Mado Robin.  Then in the 1960s, both Joan Sutherland and Mady Mesple made excellent recordings.  Perhaps because of her vocal opulence, the quality of Sutherland's timbre is too mature and "knowing" to successfully portray such an innocent Indian waif.  I adore Sutherland and am indebted to her for bringing this opera back into America's conciousness but everytime I hear her recording I can't help but think of "big foot" tromping through the Indian jungles rather than little Lakmé.  And although also famous as Lakmé during the 60s & 70s, Mesple's insectoid voice did not translate well when recorded.  This is unfortunate since she was an artist of the first rank.

Wallowing in the exoticism of the score Plasson takes the listener on a trip not easily forgotten.  Get out your Jasmine tea, light those incense cones and prepare yourself for a sweet, gentle experience.

With her youthful, distinctive timbre and superb control of dynamics Natalie Dessay gives a outstanding performance.  Not only is she technically adept in the brilliant pyrotechnics of the Bell Song (one of the finest recorded) but she also displays a lyric sensitivity of advanced musicianship that flows naturally throughout the rest of the role.  Although she does not do it here, in past stage performances of the Bell Song Dessay often honored the memory of her country-woman, Mado Robin, by habitually adopting Robin's variant of sailing to a sustained G# above high C at the end of the first bell refrain.

Gregory Kunde, though not possessed of the most suave of timbres, sings an exquisite Gerald.  The opening of the third act (some of Gerald's most haunting music) has never been more beautifully sung.  Artistic and articulate, he also manages to capture and communicate the conflict that Gerald feels between duty and love that eludes many other singers.  Veteran Jose van Dam is in exceptional voice as Nilankantha and causes a frisson of fear to run up one's spine every time he gets on his high horse about Lakmé.  The supporting cast is strong with special kudos going to Charles Burles (Gerald on the previous, 1969 EMI recording with Mady Mesple) for his beautiful and sensitive portrayal of Hadji.  He manages to take a minor character and turn him into a vivid, sympathetic figure.  That is art.  The recording is superb.  Although the cover of the set is surprisingly drab for such a hot-house work (what was EMI thinking?) do not be fooled.  Inside is one of the year's best offerings.

Now that we have this recording, Decca really should release on CD the first, prize-winning recording of this opera with its haunting performance of the title role by cult diva, Mado Robin.  It remains a classic for the combination of Sebastian's loving, idiomatic conducting, Robin's simple, eloquent portrait of the gentle Lakmé and Jean Borthayre's proud yet sensitive portrayal of Nilakantha's intense personal struggle.

Donizetti: Fille du Regiment
Concert performance, Carnegie Hall, 2/13/70
Legato Classics LCD 238 (2)
Sills, Hirst, Corena, Greenspon - Gagnon

One of the greatest of all the documented Sills live performances has finally been preserved on CD.  An important moment in New York concert history, listeners should remember that this performance took place two years before the more famous Sutherland-Pavarotti revival of the opera at the Metropolitan Opera.  Legato's release of this event is not only a tribute to Beverly Sills but also to a great un-sung hero, Roland Gagnon, who composed virtually all of Sills' cadenzas and ornaments during her NYCO prime.  Gagnon, who conducts the performance, shows an inherent understanding of the score's virtues and faults and leads his ensemble with care and affection.

Fresh-voiced Grayson Hirst is a definite plus in this performance as is the blustery, amiable Sulpice of Fernando Corena.

But it is Sills, sparkling with wit and remarkable vocal fireworks, who remains the star of this show.  Rarely has the top of her voice sounded so lambent - top Ds and E flats pinging through Carnegie Hall's acoustics.  No technical feat seems beyond her capabilities and she flings out roulades, trills and high notes with outrageous insouciance and obvious enjoyment.  Sills makes an affectionate nod to Lily Pons, the last to sing this role in New York, by interpolating a brilliant, sustained, high E at the end of the Lesson Scene.  (Pons interpolated that note in her 1940 performances of Marie at the Met.)

Interestingly, in this performance (her first of many Maries - since this quickly became one of her most popular roles) Sills uses a number of ornaments which she later discarded.  Even more ornate and high-note-studded than the celebrated Bonynge/Sutherland performing edition, Sills demonstrates an expressive style of bravura singing that harkens back to earlier eras of virtuosi.

Some bonus tracks offer excerpts from a 1975 broadcast of Rossini's The Siege of Corinth.  Although welcome as a document of one of Sills' most famous revivals and her Met debut, the excerpts show the alarmingly quick deterioration of her voice within a five-year span.

Dvorak: Rusalka
Bella Voce CD BLV 107.237 (2)
Concert performance, Switzerland 11/4/76 (in German)
Stratas, Killebrew, White, Zidek - Gregor

Dvorak: Rusalka
London 289 460 568 (3)
Fleming, Zajick, Urbanova, Heppner, Hawlata - Mackerras

Has there ever been music more longingly written than the opening lines of Rusalka's Act I Song to the Moon? Now you can own two superb recordings in addition to the indispensable Supraphon with Gabriella Benackova.  If you are feeling Teutonic you can listen to Stratas sing in German.  If you are feeling American-Czech, you have Fleming.  Both are excellent documents of their star's particular qualities.

During the past few years Bella Voce, a German-based company, has consistently produced attractively packaged recordings whose production values match the importance of the documents offered.  And any opera with Teresa Stratas is important and an interesting listening experience.  For a singer of her imaginative and artistic importance she was shockingly ignored by major recording companies.  One can only be thankful that such documents as this 1976 concert exist.  We will not speak of Zidek who finds most of the Prince's music unmanageable.  Willard White, however, is a superb Waterspirit.  How good it is to have his work documented.  An American artist sadly neglected by his own country but a favorite in London and Europe, he creates a dynamic, multi-faceted character.  Gregor, one of the foremost Czech conductors of his day conducts a performance of strength and compassion.  Bella Voce manages to get the opera on 2 discs rather than the usual 3 of other releases.

By the time she came to make the complete London recording Renee Fleming had been performing the role for almost a decade.  Her singing of Rusalka's heart-breaking music shows an affinity that goes beyond musicianship or professionalism and speaks more of an innate understanding of the spiritual essence Dvorak was trying to communicate through his music.  Rusalka's pathetic, accusing lines to the Prince in the final scene (CD3, track 8) "Why did you enfold me in your arms, why did your lips lie to me?" are a perfect example of the exquisite subtlety of Fleming's interpretive art.

Hawlata turns in a performance of the Waterspirit that is commensurate with his reputation.  It is strong, dark and menacingly powerful, almost overwhelming at times.

For once the complex character of the Prince is interpreted with polished elegance and burnished vocalism.  Ben Heppner is ardent, masculine and even wistful at times.  One of America's vocal treasures, all of Heppner's work speaks of uncommon artistry.  And his singing of the finale of Act I must be heard to be believed.  Even more impressive is his lush death scene with the pathetic, doomed Rusalka (CD3, tracks 7-8).  This is surely one of the most movingly-sung death scenes on disc.  The artistic connection between Fleming and Heppner is palpable - obviously due to their having performed the work together many times.  Heppner's final lines as the Prince dies: "Kiss me, give me peace! Your kisses will redeem my sins! I die happy in your embrace" are almost too beautiful to bear.  The atmosphere of this scene is beyond describing in print.  It must be aurally experienced to understand what Fleming and Heppner have managed to capture to perfection.

Mackerras stands amidst his cast as the wizard of this recording with perfectly judged tempi, an intimate knowledge of Dvorak's emotional capabilities and the ability to communicate them with broad strokes to listeners while retaining the work's milieu of intimacy.  We will not discuss the abomination that is his Lucia, which also came out this year.  If you like the Hannover Band buy it.  If you like Lucia, make the sign of the cross and pass it by.  Mackerras's Rusalka is a dream come true.  His Lucia is a nightmare.

Before leaving Rusalka, we should not forget another great Rusalka - one who sang the role in German throughout the 1970s - Lillian Sukis.  Perhaps someday we will be fortunate enough to have her beautiful portrayal on CD as well.

Massenet: La Navarraise
Horne, Domingo, Milnes, Bacquier, Zaccaria - Lewis (BMG 74321-50167-2)

The great sleeper of the 1970s, this is the perfect opera for today's multi-tasking listener.  For although you might feel it a chore to sit through an entire recording of Meistersinger or Tristan, this work is concise and to the point.  Originally recorded in July, 1975, and only 48 minutes long, this opera is a powerful listening experience not only for those who love Massenet but for those not familiar with this, his most verismo-like work., La Navarraise was last heard in New York in a January 1963 concert performance at Carnegie Hall with Rita Gorr, George Shirley, and Chester Ludgin with Lawrence conducting., Perhaps someday this too will become available on CD.

Marilyn's Horne's Anita is wonderful - her rich, fruity timbre and ease with the French language providing unforgettable moments.  Horne's instrument is perfect for this music and her temperment is just as well matched.  Domingo is in typically excellent voice with a vibrant, darkly effulgent timbre and fierce ardency.  Sherrill Milnes is suitably militaristic as the General, his uneven vocal production not an issue here and Gabriel Bacquier in the small role of Bustamente adds much to the calibre of the performance.  Henry Lewis presents the opera in its best light, his conducting of the Nocturne between Acts I and II ethereal.  Of special merit is Horne's errie rendition of Anita's tiny mad scene.  Standing next to Lady Caroline's Mad Scene in Virgil Thomson's Lord Byron, it is one of the shortest mad scenes in existence.  And Marilyn Horne's final, lunatic laughter has a chilling, haunting effect.

All this adds up to one of the most desirable re-releases BMG has unearthed in years.  Another is the wonderful Lohengrin (also newly released on the RCA Opera Treasury series and which I will discuss in detail at a later date).  Leinsdorf conducts and Sandor Konya is a Lohengrin to die for.  Lucine Amara is the Elsa.  (Why does everyone give her such a hard time? She is wonderful: lyrical, sweet and all with such a distinctive timbre).  Rita Gorr is a dangerous, definitely malevolent Ortrud.  This was such a fruity, unusual voice, immediately recognizable.  This Lohengrin is also note-complete and in spectacular, restored sound.  Grab it while you can.  Knowing BMG it probably will go out of print within a few years.

Saint-Saens: Samson et Dalila
Erato 3984-24756 (2)
Cura, Borodina, Lafont, Lloyd - Davis

A fascinating release that is definitely for admirers of Cura and Borodina.  Oddly, this recording appeared with surprisingly little fanfare.  It offers the listener some interesting perks.  First there is the virile and appealingly youthful Samson of Argentinian tenor, Cura, who improves on his work in the recordings of Le Villi and Iris with a fine portrait of the oppressed and betrayed Samson.  His dark, baritonal timbre and aggressive manner conjuring an appropriate feeling of primitive and passionate masculinity.  Yet his performance is not without artistic touches that prove there is a lively mind behind the dark, brooding face and hunkster body.  Despite all the media hoopla that seems to surround his every move, Cura is showing himself to be an artist who is not afraid to be individual.

Borodina is beguilingly seductive in voice and manner as Dalilah - her three solos being especially fine moments in this recording.  The finest of the current Dalilas, Borodina proves that the character's perverse appeal can be in the clever contrasting of her demonic behavior with a beautifully produced voice and bel canto manner.  Thus her Dalila seems all the more menacing than many of the more aggressive or coarse interpreters.  There is deadly evil lurking beneath all that beauty.  Although the conducting of Colin Davis seems a bit staid for such an earthy drama he manages to outline all the important points.

Wagner: Der Ring des Nibelungen
Bayreuth, July 1953
Golden Melodram GM 1.0014 (13 discs) (includes interview with Marta Modl)
Modl, Resnik, Hinsch-Grondahl, Friedland, Thomamuller, Striech, Plumacher, Malaniuk, Litz, Neidlinger, Hotter, Greindl, Weber, Stolze, Uhde, Vinay - Keilberth

This long treasured, legendary performance of Wagner's Ring Cycle is now presented in spectacular sound and documents some astoundingly fine achievements.  Beautifully presented in an attractive, small black box with individually packaged CDs in little black sleeves, the set includes a booklet with artist and performance photos, bios, notes and track listings as well as a translation of the Modl interview, but no texts.  Rather than a first Ring it is a set for those already familiar with the work.  As such it is of vital importance.  The bonus interview with Modl is fascinating in itself and is the icing on this cake.  Although it will cost you a pretty penny, it is worth it.  You will get much more than your money's worth from these riveting, almost unbearably concentrated performances.  Because it was captured during a run of The Ring there is a cohesiveness to the music and its performance that most studio recordings cannot match.  Keilberth is simply magnificent.  Suffice it to say, if you are interested in powerful interpretive performances of this monumental work you must own this recording.

There are many individually outstanding performances here.  One surprise was the intense, yet beautifully sung and sympathetic Gutrune of Natalie Hinsch-Grondahl, a singer previously unknown to me but one I will not forget.  Regina Resnik, nearing the end of her soprano days (when she sang this performance she had already decided to switch to lower roles) is a wonderful Sieglinde, darkly warm and excitingly vivid.  Marta Modl demonstrates exactly why she was so highly regarded as Brunhilde during the 1950s.  If possible, her performances here surpass those in the more famous RAI Furtwaengler Ring taped about four months later (available on EMI).  Modl did not have the massive instrument of Flagstad nor the force of nature that was Nilsson's voice.  She also had a number of serious vocal flaws.  But it is through those very flaws that her Brunhilde transcends artful interpretation and becomes a three-dimensional figure for the listener.  Hotter, Greindl, Weber, Vinay - heaven! Just tighten your belt buckle and get this set., You won't regret it.

Wagner: Der Ring des Nibelungen
From 1989 Munich video
EMI Classics CZS 7243 5 72731 2 1 (14 discs)
Behrens, Varady, Lipovsek, Schawarz, Balslev, Meier, Hale, Wlaschina, Kollo, Moll, Salminen, Schunk, Tear - Sawallisch

A Ring Cycle on a major label, cast with international caliber singers at budget prices? Well that is just what EMI has done.  For less than $100 you can own a recording that is representative of the Ring Cycle as it was typically cast during the decades of the 1980s & 1990s.  Packaged similarly to the Melodram set above, each CD is individually packaged in sleeves depicting scenes from the video which the recording was taken. Like the Keilberth, however, it is a Ring Cycle for those already familiar with the work in that no libretto is provided.

Behrens' sympathetic, eloquent Brunhilde has always been controversial and all the angles of that rumpus are obvious here.  Like the flawed Marta Modl, huge-voiced Gwenyth Jones and impressionistic Leonie Rysanek Behrens is an artist who needs to be experienced in the theatre to get the full impact of her conception.  Even so, her committed, skillful and completely individual interpretation is easily perceived here.  It is a portrait of distinction that proudly (and without apology) stands next to other immortal interpretations of this role.  Although at the time she was experiencing some problems with the middle of her voice, her chest register was strong and used with ferocious abandon.  (In some cases contributing phrases that are completely unforgettable for their passionate strength.) High notes are easy and (importantly) immediate.

And how wonderful it is to have the Wotan of Robert Hale so magnificently documented.  Then there is the beautifully feminine, strongly characterized Sieglinde of Julia Varady.  Matti Salminen, whose slimy Hagen makes one want to bathe for a week, matches the chilling characterization by Josef Greindl.  Sawallisch (one of the most accomplished of Wagnerian conductors) leads a extraordinary performance of contrasts: lyricism, strength, wit and pathos - all with an easy communication to the listener that belies the inherent difficulties of such an accomplishment.  Along with the singing, it is Sawallisch's chameleon-like conducting that makes this set just as indispensable as the Keilberth.

Gwyneth Jones: Operatic Arias
Belart CD 461 5912 10
Fidelio, Medea, Dutchman, Trovatore, Forza, Aida (2), Don Carlo, Otello

I am grateful to Classic Limited Edition (of MDC Music in England) for resuscitating these selections.  This release is part of a series that concentrates on neglected studio recordings of such singers as Virginia Zeani, Felicia Weathers, Tom Krause and Helen Watts.  Although minimally packaged, who cares? What matters is that one can experience Jones' glorious instrument - huge-voiced, youthful, fresh and dramatically vivid.  Comprised of selections from Jone's first 2 Decca recital albums (1966, 1968) which were made after her transition to soprano roles.  (Some may forget that in 1958, Jones was performing as a mezzo soprano.) Thankfully, this CD release emphasizes her work in Italian opera - an important branch of her repertoire during her long career.  Can anyone find a more poignant, colorfully-sung Willow Song? Such exquisite leaning into harmonic changes, such vocal pointing.  Then there is her justly famous Flying Dutchman aria and a meltingly done "D'amor sull'ali rosee" from Trovatore.  Not to mention the Aida arias - although she can be heard on at least 2 complete performances (one with Vickers, one with Domingo) on various pirates.  Then there is the ferocious Abscheulicher! If you love this singer, as I do, then you already know about this release.  If you don't know her work, this is an excellent introduction to the gleaming power and superb artistry that Jones brought to all her work.  With a timing of almost 79 minutes this is a great bargain.

Beverly Sills: Bellini & Donizetti Heroines
Millennium Classics UMD80468
Linda, Capuletti, Lucia, Roberto Devereux, Sonnambula, Rosmonda d'Inghilterra

Thirty years after it was recorded, Sills' first aria album (originally on Westminster LP) has finally been released on CD.  Recorded in Vienna over a month and a half before the Fille performance discussed above, this album stands next to the Art of the Prima Donna albums of Leontyne Price and Joan Sutherland as a classic of the recording industry.

Always a controversial florid artist, Sills' performances here are archetypal for their display of imagination and the accurate blending of ornament with emotion.  The embellishments in the Linda di Chamonix alone are worth the cost of the CD.  This is glorious singing, lyrically fluid and dazzling.  Gagnon, who, as mentioned before, composed all Sills' ornaments, shows an understanding of her instrument's capabilities that borders on the uncanny.  Silky-smooth top note interpolations (up to E natural) during the Capuletti aria are revelatory for the remarkable matching of gentle text and artistically executed ornamentation.  I guarantee that after you hear Sills, other versions will seem lacking in individuality and imagination.

There have always been those who have objected to Sills' ornamentation.  No matter.  Just do a little analysis of your own (both textually and musically) and you will see how well-matched each ornament is to the text and moment no matter how flamboyant it may seem at first.  One of the most wonderful features of this recital and indeed of all Sills' work during her prime was her phenomenal degree of musicianship.  Like all great singers, with Beverly Sills a phrase never just happens.  It has a beginning, a middle and an ending.  High phrases (and pianissimi up to E flat) are tapered with uncommon elegance.  All ornaments - even the most outrageous - are presented in such a way that the reason for their existence never comes into question.  If you don't know this album, run, do not walk to buy it.

Nicolai Gedda, Arleen Auger, Tatiania Troyanos, Gundula Janowitz
Arias, Duets and Trios from 1969 Munich Concerts
Bella Voce CD BLV 107.212 (2)
Giulio Cesare, Zauberflote, Nozze, Arabella, Ariadne, Der Rosenkavalier, Entfuhrung, Capriccio, Pearl Fishers, Lakmé, Benvenuto Cellini

Long available on pirate tape these broadcast concerts are invaluable for anyone who appreciates the work of these artists.  Especially welcome are the Auger selections which present her in the repertoire for which she was originally famous: Queen of the Night, Zerbinetta and even a surprise Bell Song from Lakmé.  None of which she ever commercially recorded but which are essential for any connoisseur of her art.

Kurt Eichorn may be unfamiliar to most American listeners but he shows his adroit sensitivity at conducting contrasting styles of music with a connection to his singers that is as unusual as it is beautifully conveyed.  Especially wonderful are the Trio and finale from Rosenkavalier - lyrically impassioned and beautifully intense, the exquisite rendition of the difficult "Aber der Richtige" duet (Arabella) with Janowitz and Auger, the dramaticCellini scena with Gedda contrasted by his sweetly haunting performance of the Pearl Fishers aria, the Ariadne, Entfuhrung and Arabella selections.  Anything by Auger, anything by Troyanos, anything by Janowitz, anything by Gedda.  Just go get it.  Beg, borrow or steal - it will probably go out of print within a year or two.  In superb sound this is a precious addition to anyone's library.

The Hugo Wolf Society The Complete Edition (1931-1938)
EMI 7243 5 66640 2 9 (5)
148 performances of 145 songs by Gerhardt, Erb, Fuchs, Ginster, Husch, Janssen, Kipnis, Lemnitz, Rethberg, McCormack, Trianti, Weber, Schoor, Roswaenge.

What, you ask, is this selection doing among all the opera? Anyone familiar with Wolf's songs knows the answer to that.  Those that are not familiar should take the plunge and get this set.  All will be made clear.  But be prepared to seriously revise your concepts of the "limitations" of Lieder.

This small, well-packed box has 5 CDs, each over 70 minutes, individually packaged in colorful sleeves with two thick booklets - one with artists' bios and photos and one with texts and translations (thank you EMI).  For the lover of Lieder you can't do better than this - a trip through countless moods, voices, and miniature musical gems that are as haunting as they are beautiful - an almost operatic cornucopia of melodious wonder.  (Ah!....Are you starting to get the idea now?) Although it will run you about $50 this is a bargain hard to beat.

One cannot live by opera alone and here in a beautifully presented set are enough diverse and fascinating Lied to keep you occupied and transported for days on end.  But let me caution you.  Don't try and listen to the entire set in one sitting.  Savor three or four at a time, get to know them and then sample some more.  Digitally re-mastered and including several previously unreleased tracks, this set is one of the glories of the easy compactness of CD format.