First I watched "THe Making Of" on sky arts. It was rather off putting, and concentrated on the awkward looking staging. I thought that I would give Das Rheingold a try and was quite taken with it. So Die Valkurie of course had to have a chance.
Westbroek and Kaufman as Seigmund and Seiglinde turned out to be quite the best that I have seen and heard, I never thought of them as Wagnerian, though I do have a Gotterdamerung with Westbroek as a very seductive Gutrune. They are an excellent choice and have a magic spark between them. They as Hunding says have a similar look, a viable brother and sister.
Koenig is a credible Hunding with a good base voice, he sings as well as any, but does not have a sinister presence. He looks like a benevolent uncle.
Debra Voight starts with the best opening blast of any Brunhilde that I have heard, it is not a false dawn. After catching the ear she goes on to be the best Brunhilde of any of my versions, strong and exciting, sensitive and loving and finally wounded and appealing. She has it all.
Tervil proves to be an excellent Wotan, this is the best that I have seen him in any role. He is absolutely inside the character. He takes us through the gods emotional turmoil in away that some of the other greats have not achieved, he really acts his socks off.
Stephanie Blythe in her chariot drawn by rams is a formidable Fricka. She is on a par with the best of my other versions.
The Walkuries, too many to mention are as attractive a set of godesses that I have seen and heard. Best dressed maidens that I have seen as well, they could coax me into Valhalla without too much trouble.
The costumes are all appropriate and meet my approval.
The strange mobile planks with lighting effects work very well, something that was not obvious in "The Making Of" where it was looking pretty dire.
To be honest the staging was upstaged by the perfectly chosen cast and dramatic singing. I shall be buying this shortly.

I watched "The Making Of" first on Sky Arts, and this put me off a bit, I thought "Oh Dear" but went on to watch Rheingold, I am pleased I did. The aforementioned programme did not do it justice. It is very watchable with some rotating planks making some interesting staging. The lighting effects are also quite impressive, and the costumes and character presentations pretty good. Wotans peek-a-boo bang however is a big miss.
The artistes. Eric Owens is in turn lecherous, bullying and vindictive, his dark voice is equal to any of those in my 6 other versions.
The Rhinemaidens, Ok but there are better blends of voices in other productions, still they are pretty good.
Stephanie Bylthes Fricka is as good as any, she is fully equal to her task.
Bryn Tervil does quite a good job as Wotan, but Donald Macintyre, John Tomlinson and Lames Morris all have the edge on him.
Selig and Konig are quite reasonable Giants, but watch out in other productions for Matti Salminen.
Wendy Bryn Harmer is the best Freia of all in my opinion, both in voice and presentation. I could eat her golden apples any day.
Diegel and Croft are not outstanding as Froh and Donner, but are up to the job.
Richard Croft has an absolutely pleasing voice, he is to my ears a lyric tenor, as Logi I would have preferred a more sly voice which other productions have used.
Gerhard Siegal is not bad as Mime but most other productions have an artiste that can outwhine him. Think Heinz Zednik.
Lastly Patricia Bardons mezzo Erda is very good on the ear.
To sum up it is good enough for me to add it to my list of future additions to my library, but if you are new to the work there are better. The Met 1990 or Bayreuth 1991.

Giordano is very musical in a lyrical way, with flowing arias and passionate themes supporting the singers. Think Massanet with a touch of Puccini and that is the nearest that I can get. Even so, there is nothing that wholly sticks in the mind once the performance is over.
The artists are well chosen, this is the first time I have heard Jose Cura, he is an extremely pleasant tenor, and fills the role of Chenier adequately.
Guleghina is a favourite of mine and once more I am not disappointed, I think this is the best role that I have heard her in, she is quite delightful.
Guelfi is the star of the opera to me, in fact the opera is more about him, and his love for Maddalena than about Chenier. He is a richly voiced baritone.
The support is generally good with Nicotra and Cigni being very listenable. Less so are Di Molas and Ariostini, who produce some rather wavery notes that do not sit too well on my ear.
The sets are stylised but reasonably good,and the costumes in keeping. In the aristocratic court of act 1 the make up and costumes are quite impressive, but as the opera progresses it becomes more realistic, only to revert to stylised characters for the condemnation of Chenier. The mix did not quite appeal to me.
The booklet has has a comprehensive article on background, both historically and musically. It also gives timings of arias etcetera and a comprehensive cast list.
It is however rather short on a synopsis, I had to resort to the internet, as even the libretto sub titles do not quite fill the bill.
Having had a gripe, it is still a version that I would reccomend, but it is the only one that I have seen or heard.

I will take a view of the artistes first. Paul Pushka as Timur has a rich throaty voice, quite good. Leona Mitchell a sweet voiced Liu, a close second to Barbara Fritoli at Beijing. Placido Domingo, well the voice of course is fine, but he sings to the audience rather than interacting with the other characters, he does not seem to be in the character, but in a dressed up concert. Cuenod the emporer is the best that I have heard, he does not unlike some other versions seem to have been given the role as a long service award. The three gentlemen wha are Ping,Pang and Pong are quite brilliant. There is something about these roles that brings out the best, in every version I have these characters are made the most of by the participants. Eva Marton blasts away at her first entry, but then moderates a bit, and does impart some feeling. She is better here that in the later San Francisco offering, but I prefer Guleghina who is still a bit overpowering. My favourite is Casolla from the forbidden city.
The staging is all well done, with the royal court absolutely gorgeous. Take particular note of the magnificent masks.
The handbook is excellent, There is a detailed aria listing, there are comprehensive articles on the history of the opera, and Puccinis problems. The synopsis is also detailed.

Arrived ahead of schedule, well packaged very comfortable, a welcome addition to the garden seat, now looking for some guaranteed warm days to go with it.

I have long been a fan of Janaceks Sinfonietta, so thought I would give this a try, a pretty good choice. If you like memorable arias, well don't bother. This is in the realm of music drama. The story is drip fed against orchestral themes, with interesting sounds, and brief motifs that never last quite long enough. It is not difficult music though, never discordant or jarring but supports the storyline.
The cast have been well chosen, Anja Silja as Emilia seems totally in character as she reveals her relationships to the other characters. Kim Begley is Very good as Gregor, Andrew Shore is Dr Kolenaty, Manuela Kriscak is Kristina, and Victor Braun Baron Prus. All are up to the mark.
The sets are representative of their locations, one basic set with mods serves all, it works quite well.
The packaging is to say the least spartan, only four artists are listed on the back cover, without their on stage characters. The other minor characters and their performers are totally ignored. (They do appear in the end credits on disc)
There is no booklet, but a very brief synopsisis inside sleeve front, and Acts and chapters inside back. That is your lot.
For a decent synopsis see the good old internet!

I will start with the artists, Larin is pretty good as Calaf, nice clear voice. Timur is sung by Colombara, he has a rich baritone, going on base. Frittoli is the best Liu of the four versions that are in my collection, her "Senore Ascolta" is absolute magic. Ping Pang and Pong are all well up to the mark, they make the most of the fun bits and are good at the nostalgia.
Giovanna Casolia sings the role best of the four versions I own, the two Marton offerings and the Guleghina have the same problem, they try to blast the other singers off the stage. Although Casolia may not quite look the part she is vocally very expressive.
The minor soloists are all perfectly adequate.
Since this is performed outdoors it has the benefit of large movable backdrops, this is very well done. The costumes are excellent, the assorted guards and attendants are attired in grotesque miltary armour, or great finery as required, it always seems appropriate.
The unobstrusive but excellent chorus are arrayed in front of the main stage and are in black oriental garb.
The executioner is rather unusual, but brilliant. It is explained on the "Making of", but don't watch it until after the performance. The ballet and dance routines ar quite beautiful.
The odd intersperced shots of the forbidden city and scenery are irrelevant and slightly annoying.
The extras, "synopsis" and "making of" are very interesting watch the "synopsis" first but the "making of" after the performance. If you do not want to know the solution to the riddles don't watch the "synopsis" either.
The booklet also gives some inertesting bakground to how the opera avolved

This is my sixth Rigoletto, so what makes you think I like it! I was tempted by price and Florez. What a suprise I got for Lucic is by far the best Rigoletto, he underplays the physical aspects, but the emotion and the voice outshine any other in my collection. If that is not enough Diana Damrau is equal to any other Gilda, rather more wordly than most, but more credible for it. Florez is as good a Duke as Alvarez at his best, and better than some of Alvarez later performances.
Georg Zeppenfeld has a fantastic base voice and is definately the best Sparafucile of any in my collection. He does not overdo the acting but is a credible workaday honest assasin. Christa Mayer is a richly toned mezzo and is quite up to the task, but I have seen better.
The remaining minors are all up to the task.
The production, costumes and sets are modern and somewhat surreal, this is not ususally a good selling point for me, but the sets are imaginative and work quite well, particularly Gildas room. The masks at the Dukes initial party are excellent, and quite fascinating. Later the courtiers masks are good but I could not quite see the point.
In the quartet the physical interplay of the characters is confusing, and I suppose symbolic of something.
Gildas death scene is also a little strange, she makes a remarkable recovery before succumbing, directors licence I suppose.
The insert with the disc is glossy and pathetic, two big pictures and cast and technical support listings.
Having had a moan this is worth five stars for the main characters acting and singing. I suspect it will remain my favourite version.

My diabetic doggy loves these kibbles as mainstay of his diet, and regards them singly as a treat. They do seem to help keep him stable as well. His best lady friend is also quite partial, when she is not keeping him in order.

The setting is brought foreward from the 15th century, which I think was the original period, to what looks to me like 19th century, but it works very well.
The set is a massive revolving affair with a citadel and foreboding stairway. It however revolves to give a seamless transition to the other scenes as appropriate.
Ferrando opens with an explanation of the background to the action to come, sung ably by Stefan Kocan.
When Radvanovsky appears it seems that a treat is in store, her Leonora has a beautifully rounded mobile voice, her phrasing flows easily, an aural delight.
The anvil chorus scene is most entertaining, and well sung. O would love to play an anvil myself, but I am not as well muscled as the on stage blacksmiths.
Azucena is the richly toned mezzo Dolora Zajick, one can always look forward to hearing her.
It makes a change to hear Alvarez other than the Duke in Rigoletto, he does a fine job as Manrico, and is well suited to the role.
Hvorostovsky makes a grand glowering villain, one can really enjoy his powerful baritone. My wife loves his hair!
All minor roles and chorus are to a very high standard. This is by far the best Trovatore that I have seen. I thoroughly recommend.