HD-Vinyls 24/96 (Decca) Vincenzo Bellini – I Puritani (Sutherland/Pavarotti/Bonynge)

front_small_boxsetMany thanks to our Bob for this fantastic gift
Maybe I get sentimental, when I get older and older, but I always send a kiss to heaven and cannot thank enough, if I can hear again the voices of Sutherland, Pavarotti, Ghiaurov and the music of Bellini. The sicilian wonder Bellini died too early (aged 34), but he conditioned and impressed the opera scene like no one other. His handful of operas are among the most beautiful you can find in the operatics world: Norma, I Capuleti E I Montecchi, La Sonnambula, Beatrice Di Tenda, I Puritani.

# Composer: Vincenzo Bellini
# Performers: Piero Cappuccilli, Nicolai Ghiaurov, Anita Caminada, Gian Carlo Luccardi, Joan Sutherland, Luciano Pavarotti
# Orchestra: London Symphony Orchestra
# Conductor: Richard Bonynge
# Vinyl (1973/75)
# Number of Discs: 3
# Format: Flac
# DR-Analysis: DR 14
# Label: London (Decca)
# ASIN: B0000041SB
# Size: 3.45 GB
# Scan: yes
# Server:



Sutherland is magnificent here, she is more than a match for this music. So she isn’t Callas. She’s Sutherland, with an amazing technique combined with a achingly beautiful instrument and a real performing intelligence. Pavarotti became an international sensation with this role. No one has ever sung this role with more stunning results. The tessitura is brutal, but he makes it sound easy, with just enough effort to make it exciting.

This opera was written by Vincenzo Bellini for the greatest soprano and the greatest tenor of the day. This Decca recording happens to have the greatest soprano and tenor of the day for this repertoire…Dame Joan Sutherland and Luciano Pavarotti. After Bellini wrote I Puritani, the opera contained so much difficult music that some of it had to be cut, but for this recording with this stellar cast, nothing was cut! Joan Sutherland gains a whole aria and she and Pavarotti have a much extended love duet in the last act. What’s more the colassal number of high notes are all taken by these singers. Pavarotti even uses a voix mixte for the legendary high F above high C in the “Credeasa, Misera!” written for Rubini. Even more difficult than that high F perhaps are all of the high C’s, C#’s, and D’s which Pavarotti has to sing in. (In full voice) Sutherland has all that plus E flats and E’s with a combination of vocal pyrotechnics no other diva could imagine doing. This recording was made just at the right time for these two singers, Joan’s swooping, drooping period just ended, she made strides with her diction, and the voice had not yet begun to decline. Luciano’s voice was at its most vibrant and beautiful, before he started adding the heavier roles to his repertoire. (Aida, Turandot, Andrea Chenier…) So thank the Lord above for this maginificent opera recording that these two magnificent singers, as well as their supporting cast of greats and their conductor happened to all come together at the same time to produce. This very well may be the most technically superior amount of singing on record, and this may also very likely be the definitive I Puritani of all times.


Analyzed folder: /96kVB_Pur_SutPav/96k Bellini – I Puritani – Sutherland, Pavarotti
DR        Peak        RMS        Filename
DR13        -0.96 dB     -19.37 dB     sideA.wav
DR14        -0.16 dB     -18.20 dB     sideB.wav
DR13        -0.27 dB     -17.61 dB     sideC.wav
DR14        -0.62 dB     -20.07 dB     sideD.wav
DR15        -0.16 dB     -20.19 dB     sideE.wav
DR14        -0.57 dB     -18.94 dB     sideF.wav
Number of files:    6
Official DR value:    DR14


  • Baritone Vocals – Piero Cappuccilli,
  • Bass Vocals – Nicolai Ghiaurov
  • Choir – Chor Des Königlichen Opernhauses Covent Garden, London*
  • Chorus Master – Douglas Robinson
  • Composed By – Vincenzo Bellini
  • Conductor – Richard Bonynge
  • Orchestra – London Symphony Orchestra*
  • Tenor Vocals – Luciano Pavarotti
  • Vocals – Anita Caminada, Gian Carlo Luccardi*, Joan Sutherland


Ripping Infos

  • RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
  • TT: Clearaudio Champion Level II
  • Cartridge: Ortofon MC 30 Supreme (loaned)
  • Phono amp: Pro-Ject Phono Box RS
  • ADC/DAC: RME Fireface UC
  • Pre Amp: Unison Research Unico Pre (Tube)
  • Finals: Opera Consonance 9.9 Mono (Tube)
  • Speakers: Dali Helikon 400
  • Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
  • Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
  • Light de-Clicking with iZotope, significant clicks manually removing, no De-Noising

If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.

  • DR-Analisys before converting to Flac
  • Converting Wave -> Flac: Twisted Wave 1.9
  • Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

DONATION ! If you like what i do, please consider that a little donation would be very appreciate. I reinvest all donations in maintenance of my rig, for purchasing cleaning solutions and, most important of all, purchasing of new vinyls. Click on the “Donate”-button. Thank you very much !

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PW: LaWally

26 thoughts on “HD-Vinyls 24/96 (Decca) Vincenzo Bellini – I Puritani (Sutherland/Pavarotti/Bonynge)

  1. Thank you very much Bob an Alf for sharing this beautiful record! I have no more words to say, as the essential’v been said by the reviewer above.

  2. Applause are in order for the just-friends duo who brought us the above highly-romantic duets: Bravo Bob! Bravo Rachmaninov!

    Now I have got to ask some questions: why is the opera in 96k, not 192k? I am making no complaint here. I am very curious why some records get 96, other 192. Isn’t 192 always best? Are there technical reasons why 96 may be better sometimes? Will some records not need 192? Will some records not deserve 96? I don’t even know how to start asking the right questions.

    For that matter, is there a book about ripping? What is needed by the most basic amateur, and what would a professional never do? Rachmaninov’s rips are so perfect – how do you do that?

    I am in amazement once again — Applause! Applause! Let the Great Musicians play on! Thank you Bob, and thank you Rachmaninov.

    • Hi…I thought I had answered to this question days ago. I rip in 24/192 only some famous-super-hifi-stuff. The difference in audio btw 24/192 and 24/96 is very thiny and audible only on super-equipments. Another reason, why I don’t rip all records in 192 is the size of the files you get. This opera in 24/96 is 3.45 GB large…in 24/192 it would be about 7 GB

      • …and not to forget that it takes much much more time to post-process the rip and the computer have to work much more and longer and it’s more difficult to make sure, there don’t occurr noises and errors any kind.

        • I hadn’t even thought about processor speed. I hadn’t even thought about error-control. I am telling the truth here: I am very ignorant and it shows. Thank you for handling me with patience.

          Well my name is booksaregood — guess I better go read a book about HiFi Systems.

          Thank you Rachmaninov.

          • You’re welcome. I spent all my non-child life to learn, appreciate, preserve Hifi/Hi-End. HiFi is something you cannot learn from books; you must live it, grow up with it. When our son was born, in the coming weeks my wife collected about a dozen of books about babies, kids, children in all steps of early life. I always told her, this would be useless…the life would teach her/us, what’s our way. Despite the first days, she never touched those books…

            • This thread is known all over the world and is – IHMO – half a bullshit. Only when you have made some comparisons by yourself 16-44/24-48/25-96/24-192 on a good equipment (and I mean “good”) you can tell what fact is. The higher in bits and resolution the rips are, the much better has to be the equipment (and I mean “much better”).

              There are a lot of audible differencies, from step to step…little, big or whatever else, they are there.

  3. This is what I wanted to hear in 24/96!
    The buttons on my shirt are popping open from the excitement that these LPs can be re-done this way for all of us. THANK YOU RACHMANINOV!

    • booksaregood, your note came up after I wrote and sent mine, so my comments about 24/96 are not a response to your curiosity.

      Hope you enjoy this one as much as I do. I love this opera for the tenor, and I’ve enjoyed all the flap there’s been in the last 20+ years about who hits the high “f” in Credeasi, misera in the final act, more than halfway through side 6; also the Act 3 duet that is near the beginning of Side 6, where Arturo sings,” Vieni! Vieni fra queste braccia” leads into som high leaps as well.

      For me, the only two other recordings of I Puritani that have anywhere near the excitement of Pavarotti, but not his equal in pure tone in these show pieces are Gedda/Sills, also recorded in 1973, and Sutherland/Duval in the 1963 Maggio Musicale performance . Rach’s comment[s] [er] above are/is right. This is theatric tenor stuff par excellence. But many make very ugly sounds trying to hit the “f” above high “c.” Notice Pavarotti does a quasi falsetto up to it. I listened to a You-tube of Pavarotti complimenting Gedda as being the most secure tenor on the highest tenor range. Politeness or tuth, it’s debateable, but interesting. Those two are certainly the best at it, although Carreras hits a high “d,” if I recall correctly, in the first act Lucia duet with Caballe – Colin Davis (?) on Philips, that startled me that he made it very well.

      All: have fun with this one. lots of high notes from both tenor and soprano! There are not two better singers to tackle this one.

      • Thank you for taking the time to be clear and considerate. You set a very good example for the community.

        I shame to say I have not heard your citations — I shall have to track them down if they earn your endorsement.

        As for this production: it is “Opera!” and not an opera. There is a difference indeed.

  4. dear Rach:Thanks a lot for this wonderfull production,there is another taht is also veri good,oly it’s in mono the EMI with Callas and di Stefano both of them were at the top of their carrers,the tenor is clear and ice and the highs sound very pure.

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