Another Verdi triumph from the archives of La Scala, this 1984 production of one of the master's early popular successes showcases José Carreras's truly glorious instrument, a tenor voice of loveliness and delicacy that, in its abbreviated prime, was one of the true operatic glories. He sounds superb as the hero, Oronte, and, as his paramour Giselda, Ghena Dimitrova nearly matches Carreras's ringingly beautiful tone: their wonderful Act 4 duet is almost too much of a good thing.

James Levine's conducting of this work is magnificent. You can just see the passion that he brings forth for this opera. He is paired with a very talented group of singers in the principal roles. Both Agnes Baltsa and José Carreras are doing a brilliant job with both their singing and acting. They both have a stage presence that very few can beat. Agnes Baltsa possesses a crystal clear voice, but she can also belt if that's what it takes to make the final outcome more believable. José Carreras' voice contains so much beauty; it's full of emotions, sensual and with that irresistible hint of honey. Like Baltsa he can also sacrifize beauty to enhance his performance.

Opera composer Puccini was a young man when he crafted this splendid work. Its text is the old-fashioned Roman Catholic Latin Mass. The title of the work derives from its longest component, the "Gloria." Youthful exuberance and optimism underlie the work.

Once regarded as Verdi's lost opera because of early censorship and controversy, Stiffelio has now established its rightful place in Verdi's canon. In this 1993 recording from the Royal Opera House, Covent Garden, José Carreras, as the Protestant minister whose faith is shattered when he discovers his wife's adulterous liaison with a family friend, leads a fine cast that includes Catherine Malfitano, Gregory Yurisich, Gwynne Howell and Robin Leggate under the baton of Edward Downes.

Herbert von Karajan was head of the Berliner Philharmoniker from 1956 until his death in 1989. In addition to countless orchestral recordings, he created some immortal opera recordings: '' Don Carlos '' is one of these opera recordings that have since become historically significant: In 1986, the Salzburg Easter Festival was staged by an internationally top-class soloist duo (José Carreras, Agnes Baltsa, Ferrucio Furlanetto and Piero Cappuccilli ) on legend Karajan with the Berliner Philharmoniker and the Salzburg Concert Choir.

Renata Scotto (born 24 February 1934) is an Italian soprano and opera director.
Recognized for her sense of style, musicality and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires.
Since retiring from the stage as a singer in 2002, she has turned successfully to directing opera as well as teaching in Italy and America, along with academic posts at the Accademia Nazionale di Santa Cecilia in Rome and the Juilliard School in New York.

Josep Maria Carreras i Coll born 5 December 1946, better known as José Carreras, is a Spanish tenor who is particularly known for his performances in the operas of Verdi and Puccini.
Born in Barcelona, he made his debut on the operatic stage at 11 as Trujamán in Manuel de Falla's El retablo de Maese Pedro and went on to a career that encompassed over 60 roles, performed in the world's leading opera houses and in numerous recordings. He gained fame with a wider audience as one of the Three Tenors along with Plácido Domingo and Luciano Pavarotti in a series of mass concerts that began in 1990 and continued until 2003. Carreras is also known for his humanitarian work as the president of the José Carreras International Leukaemia Foundation (La Fundació Internacional Josep Carreras per a la Lluita contra la Leucèmia), which he established following his own recovery from the disease in 1988.

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.

Donizetti's opera "Poliuto", based on the play "Polyeucte" by the French composer Pierre Corneille, is now one of the rarest works in the classical opera repertoire. However, this live recording, recorded in the Vienna Konzerthaus in 1986, impresses her with an impressive cast: star tenor José Carreras in the role of Poliuto is accompanied by Italian soprano Katia Ricciarelli as Paolina, who is an absolutely equal star in this recording. The choir of the Wiener Sängerakademie sings, accompanied by the Wiener Symphoniker under the direction of Oleg Caetani.

The Naples years, 1815 to 1822, are at the very centre of Rossini's creative life. It is here that genius—''I had facility and lots of instinct''—was put to school. And firmly so: the serious masterpieces of the Naples years take as their subjects the Bible and Shakespeare, Scott and Racine, Tasso and English historical romance.

Deutsche Grammophon is proud to present Franco Zeffirelli's iconic staging of La Bohème as recorded liveat the Metropolitan Opera on January 16, 1982, available once again on DVD. This timeless production continues to thrill audiences almost every season since it was first introduced in 1981, and this performance captures the production at the very beginning with the original cast. Teresa Stratas, renowned for her acting abilities, captures the essence of Mimì–her fragility, her resolve, her passion. Stratas is partnered by José Carreras as Rodolfo, the poet and love of her dreams. The cast is rounded out with a lively Renata Scotto (who was filmed as Mimì in an earlier MET production, also available on DVD from Deutsche Grammophon) and sonorous Richard Stilwell. James Levine conducts the Metropolitan Opera Orchestra and Chorus, culminating with over 200 people on stage for the conclusion of Act 2. This performance, well-known for its musical and visual qualities, is now available again.

Montserrat Caballé as Leonora is precisely what one would hope for. The voice is in near-pristine shape–the occasional attack on a loud high note early on can be vicious, but she sings with unusual commitment (not that the role has many nuances), glorious tone, and her entire arsenal of tricks: long-breathed phrases, diminuendos, high, floated pianissimo, grand chest voice. She even sings most of the words, rarely relying on “ah” sounds for high notes. The sound is huge and major-league and her comportment–acting is the wrong word–is regal. She sings the “Vergine degli angeli” with her back to the audience and the sound is as ethereal as you ever wanted it to be.

This live recording from Paris in 1972 has two main attraction: the chance to hear a very young - 25 years old, in fact - José Carreras at the outset of his career and, more importantly, I think, the opportunity to hear Vasso Papantoniou, an excellent soprano largely unknown outside her native Greece where she has made her career and who at times sounds uncannily like her compatriot, Maria Callas, especially in the middle of her voice and in her deployment of highly expressive downward portamenti. Her vibrato is faster and, like Callas, top notes can be shrill, be she is a complete artist who obviously impressed the Parisian audience. To hear her at her best either her opening or closing aria will do; listen to her from "M'odi, ah! mo'di" to the end of the opera, where she opts to use the virtuoso aria Donizetti wrote especially for diva Henriette Méric-Lelande and very good she is too.

In this live 1973 performance from Japan, Scotto is parthnered by one of the great tenors of our time, José Carreras, then at the start of his international career. The distinguished baritone Sesto Bruscantini is a formidable Germont who sings an exceptionally moving rendition of the famous aria "Di Provenza il mar".