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.

For millions of people all over the world Luciano Pavarotti literally was Classical music. This outstanding collection of popular oprera arias and duets, sacred songs, and Neapolitan favourites is drawn from the finest recordings Luciano Pavarotti made during an unparalleled career, and presents the definitive profile of one of the most important voices of all time. From 'La Donna E Mobile', 'O Sole Mio' and 'Torna a Sorriento' to Christmas classics 'O Holy Night' and 'Panis Angelicus', including, of course, his celebrated 'Nessun Dorma'. Bonus duets with Andrea Bocelli ('Notte e piscatore'), Cecilia Bartoli ('Cherry Duet') and Frank Sinatra ('My Way') included.

One of the most successful and admired opera singers of all time, Luciano Pavarotti was king among tenors from the late 1960s through the 1990s. His voice was noted for its exciting upper register, and tailor-made for the operas of Verdi, Bellini, Donizetti, and Puccini, and as it darkened slightly over the years, for the verismo composers as well. His vocal longevity, which kept him singing youthfully well into his sixties, and still beautifully after that, was a credit to his commanding technique and artistry, and remarkable considering his nearly 40 years of performing.

It would be hard to imagine a better performance of Donizetti's comic masterpiece. If there was one role that ideally suited Luciano Pavarotti's voice and stage personality, it was Nemorino, the impoverished and not-very-bright peasant who worships the village's prettiest and richest young woman from a distance, is swindled by a traveling vendor of "miracle" medicines, but wins her hand by dumb luck. The story has comedy, pathos, and a put-down of Wagner's Tristan und Isolde (or at least the Tristan story) written long before Wagner composed it.

Ein Rückblick auf zehn Jahre Cecilia Bartoli: Die Arie "Non piú mesto" aus der 1992 entstandenen Gesamtaufnahme von Rossinis La Cenerentola ist das älteste Tondokument dieser Anthologie, und mancher, der wie der Rezensent diese Cenerentola damals erworben hat, wird sich gut erinnern an die unbeschreiblich elektrisierende Wirkung, die die junge Italienerin mit ihrem vollblütigen Stimmmaterial, ihrem Temperament und ihrer faszinierenden Virtuosität auf ihn ausübte. Das Besondere: Die Geschwindigkeit der rasend schnellen Koloraturen geht niemals zu Lasten des Ausdrucks oder der Intensität.