Universal's ubiquitous Twentieth Century Masters series is mostly oriented toward popular music, offering no-frills but generally reliable greatest-hits collections for artists whose catalogs may often present a variety of compilations, confusing for the buyer. There's nothing really wrong with this group of Luciano Pavarotti selections, but the great Italian tenor is not especially accurately represented here. Nearly half the selections are Neapolitan songs or come from related semi-popular genres. Pavarotti has a good time with these, but he is less noted for singing them than are other operatic figures.

This brand-new deluxe edition is part of Decca's anniversary program commemorating the 100th anniversary of the death of the great opera composer Giacomo Puccini. Made in January 1974 at Vienna's Sofiensäle, this recording features the finest ensemble of the era, led by Mirella Freni and Luciano Pavarotti, and conducted by Herbert von Karajan. Upon its initial release, the recording was praised by critics and music lovers alike, with Gramophone magazine describing it as "a set to dream about." This legacy continues with this newly presented edition. Remastered from the original 1975 tapes, the recording is now available on audiophile vinyl and as a hybrid SACD with a resolution of 192 kHz/24-bit.

This extraordinarily powerful 1983 production may be the best-sung performance by Luciano Pavarotti on DVD, but when acting values are counted in, Ingvar Wixell manages to outshine the tenor star. Verdi gave the Duke two of Italian opera's most brilliant arias ("Questa o quella" and "La donna e mobile"), but he gave the deformed jester Rigoletto a depth and complexity of character that is reflected in music of great variety and enormous emotional impact: the cruel mockery of the opening scene, the self-doubts inspired by his dialogue with Sparafucile, the paternal anxieties and final despair at his daughter's sad fate, and the burning, self-destructive thirst for revenge. All these motives work their way into music of great dramatic richness, variety, and intensity. Wixell rises to its challenges, not only in the title role but in a cameo appearance as Rigoletto's nemesis Monterone. Location filming provides an atmosphere unavailable in staged productions. (Joe McLellan)

Sutherland's singing here is brighter and fresher than her earlier recording, with the lovely aria 'Qui la voce' no longer a wordless melisma…The recording is vivid and atmospheric and one marvels at Bellini's gorgeous melodies…with Sutherland, Bonynge and all on electrifying form.

Luciano Pavarotti was blessed with one of the most individual, unmistakable and beautiful voices there has ever been. This album contains over 3 hours of music and includes all Pavarotti's opera hits - including Nessun Dorma, his signature aria used as the 1990 FIFA World Cup theme tune and the track that made him a household name as well as all his famous popular songs: O sole mio, Caruso, Santa Lucia, Volare and many more. Other highlights include great duet collaborations with superstar friends Celine Dion, Frank Sinatra, Bono, Eric Clapton,Sting and Lionel Richie plus fellow tenors Placido Domingo and Jose Carreras in the live Three Tenors version of Nessun Dorma. Pavarotti The Greatest Hits is truly the definitive collection of the music of a true legend.

Verdi can be a challenge both vocally and in terms of acting, but Pavarotti and Marton are sensational, and Milnes was still excellent although clearly near the end of his career. The lyric beauty is there side by side with the dramatic power. (Tony Adams)

Verdi and his librettist had originally intended that The Masked Ball would be set in the late 18th Century setting of the court of Gustavus III of Sweden. However this was not acceptable to the censor and it was changed to an imagined colonial Boston. In this production the opera has been set in its intended Swedish setting and appropriate changes made to the text. The staging reflects the setting and the scenery has a deliberately heavy feel which accentuates the sombre atmosphere of the opera. Nonetheless, all sets and costumes are lavish – clearly the ‘Met’ does not penny pinch with its productions. In particular the final scene "A large and sumptuously decorated ballroom" accurately reflects the description and the fancy dress costumes are really splendid.

While all four solo performances are superb, one has only to sample the finale to Act I to discover what an electrifying team they make…If Pavarotti dominates by the sheer ardour of his singing, overall this is a totally gripping performance, unlikely to be surpassed on DVD. (The Penguin Guide)

This was the very first “Live from the Met” telecast, and its availability on DVD will no doubt give rise to intense nostalgia, as it did for me. (How young everyone looked!) There’s an authentic sense of occasion to this performance. It’s one thing to play to a packed house, another to play to a nationwide television audience, and with so many eyes upon them, everyone involved in this Bohème rose to the occasion. It’s by no means a perfect evening—what performance ever is?—but it’s a treasurable one for anyone who cares about this opera, the Met, or the principal singers.

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.