HD-Vinyls 96/24 (Decca) Georges Bizet – Carmen (Resnik/Del Monaco/Sutherland)

Reposted, now with FF links

# Composer: Georges Bizet
# Performer: Regine Resnik, Mario Del Monaco
, Joan Sutherland, Tom Krause
# Orchestra: L’Orchestre de la Suisse Romande
# Conductor: Thomas Schippers
# Vinyl (1963)
# Format: Flac
# Label: London (Decca)
# DR-Analysis: DR 12
# Size: 2.41 GB
# Scan: yes
# Server: FileFactory


Without a doubt, Carmen is one of the most popular and most performed operas in the world. There were, during all this time, many very good and excellent Carmens (f. e. Callas) – right, the performance of Mrs Resnik as Carmen is another of the very, really very good ones….

…but (you guess) the reason, that Carmen was in the last 50 years very popular is, not at last, the merit of the best “Don José” of all times: Mario Del Monaco. He’s the one, the only, the magnificent Don Josè – no one compares to ihm. With Canio (Pagliacci), Turiddu (Cavalleria Rusticana) and Otello, Don José was another of his “life”-roles that he played/sung hundreds of times in his glorious carreer.

Carmen is the most popular opera in the world and of course has been recorded by all sorts of singers. The previsible result of this is that we always feel puzzled when we need to buy Carmen. First, you need to ask yourself: what Carmen am I looking for? If you want a elegant Carmen, choose Berganza. If you want a victime-of-the-fate Carmen, choose Gheorghiu. But if you want a real Carmen, able to be sexy and, at the same moment, able to show a great cruelty and coldness, choose Resnik. When I listen to her Carmen, I can see that sexy woman who shows us her perfid character, that woman who thought she was the imortal godness of Love. That was Carmen and that is Resnik’s Carmen. Some people criticize her interpretation saying she seems Klytemnestra. That’s not the case. I heard her Klytemnestra and can see that those people forgot something: both are cruel and selfish, but Carmen, instead of Klytemnestra, who kills to conquer love and richness, use the weapons of love. I love this recording exactly because of that: Resnik isn’t elegant and even the godness of sensuality, but a cruel, sexy and, specially, vulgar woman.
Joan Sutherland as Micaela is the opposite of Resnik as Carmen. She’s sweet and innocent, specially in the first act, and her powerful voice is gorgeous. Usually when we think of a sweet role to soprano like Micaela, we imagine a short voice, and that’s the common rule. It’s not what we hear in this great recording: we listen to the greatest coloratura soprano in the XX century! It means, we have a completely perfect Micaela, vocally and dramatically.
The cast also includes a good Mario del Monaco, with a magnificent voice that emphasizes the weak personality of Don José, and one of the best Escamillos ever sang, Tom Krause. I must remind you Escamillo was one of the best roles sang by the pleasant bass-baritone.
Besides, Thomas Schippers conducts the orchestra with a soft French soul and with power and competence. Another great detail is the pair formed by Spannelys and Minton (Frasquita and Mercedes, respectively), who sing the most gorgeous “Melons, coupons” I ever heard.

Analyzed folder: /Volumes/96kBizCa_MDM/96k Bizet Carmen – Resnik-MDM-Sutherland
DR        Peak        RMS        Filename
DR13        -0.76 dB     -18.67 dB     side1.wav
DR13        -0.87 dB     -19.22 dB     side2.wav
DR13        -1.05 dB     -19.56 dB     side3.wav
DR12        -1.07 dB     -18.06 dB     side4.wav
DR12        -0.76 dB     -18.15 dB     side5.wav
DR11        -0.90 dB     -16.35 dB     side6.wav
Number of files:    6
Official DR value:    DR12


  • Baritone Vocals [Escamillo] – Tom Krause
  • Bass Vocals [Don José] – Mario Del Monaco
  • Choir – Le Choeur Du Grand Théâtre De Genève
  • Composed By – Georges Bizet
  • Conductor – Thomas Schippers
  • Mezzo-soprano Vocals [Mercedes] – Yvonne Minton
  • Orchestra – L’Orchestre De La Suisse Romande
  • Painting [Front Cover] – Bernard Buffet
  • Soprano Vocals [Carmen] – Regina Resnik
  • Soprano Vocals [Frasquita] – Georgette Spanellys
  • Soprano Vocals [Micaëla] – Joan Sutherland
  • Tenor Vocals [Dancairo] – Jean Prudent
  • Tenor Vocals [Remendado] – Alfred Hallett

Ripping Infos

  • RCM: Okki Nokki
  • TT: Clearaudio Champion Level II
  • System: Special Edition Denon DL 103
  • Phono stage: Pro-Ject Phono Box II
  • 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 ClickRepair, 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

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 !

Download fro
m FileFactory

7 archives
PW: LaWally

15 thoughts on “HD-Vinyls 96/24 (Decca) Georges Bizet – Carmen (Resnik/Del Monaco/Sutherland)

  1. Thank you, this is a treasure. Oh my, the size of it!!!
    I must admit I am downloading it for Resnik, Sutherland and Scippers (what a conductor!), I have never listened to Del Mocaco’s Don Jose (!) even though I adore him, ever since I once read a very harsh critisism on his bad french accent (this recording is in french, right?) and on his very “veristic” portrayal that supposedly should be performed more “lightly because after all this is a French 19th century opera comique and not Leoncavallo”, hmmm….
    I will listen and comment again, thank you again!

    PS: would you please allow us to comment on the posts of this idiotic thief in Avax and inform his readers where his uploads are really coming from?…

    • Hi Dimi….when you get to listen to Mario, forget the french accent and enjoy the greatest Don Josè of all times….follow your heart.

      If you (and all other friends here) can do something, with your comments about that AH-guy, please, write until you get a tennis arm 🙂

  2. I must confess, Rachmaninov, that you win my most sincere gratitude every time you post anything from back the great years of bel canto (I confess I stay happily -shamefully?- uninformed of most of what and whom is going on nowadays) and even more if the great Mario is in it. It doesn’t matter if I already had it on cd, vynil, cassette, heard the recording on the radio last century and recorded it on tape,… I just don’t care, if I already have it I download it anyway, yours may be of much better audio quality or just an excuse to enjoy the work again.

    I agree with you that del Monaco’s characters are… let me use a simple “most of times” just not to sound too pretentious with an “always”… are most of times THE character in question. THE Otello, THE Don Jose, THE Don Alvaro, etc. No discussion about that though it’s also true I hate to compare and sometimes I can’t help but loving the performances of two or three of my favourites. For instance, you posted the great Pavarotti’s Andrea Chenier some time ago, but what do you think about del Monaco’s… or Corelli’s? Or if we think of del Monaco’s Calaf, again what about Corelli’s, or Pavarotti’s? Or this very case, Mario’s Don Jose,… but what about Domingo’s or Corelli’s (we said French doesn’t matter right? 😆 ), or Gedda’s? I guess you see what I mean, I simply couldn’t choose one and only one but there is no reason why to do it, after all we can enjoy them all.

    There are two I always keep next to Mario del Monaco, they are Franco Corelli and Giuseppe di Stefano. I was raised in a home where classical music, especially opera was listened to a lot (in his youth my father had played as first violin in the Liceu’s orchestra) and it was always about del Monaco, Corelli and Pippo plus Pavarotti, Domingo, Bergonzi, Kraus and some other close behind (in those cases it was mostly about specific roles rather than them by themselves in all roles they sung). The list was quite numerous and the same with the ladies, Sutherland, de los Angeles, Moffo,… although as you can guess always on top La Callas and Tebaldi. I heard a lot of opera though in my youngest years I didn’t like it and preferred to listen to symphonic and chamber, finally Puccini and Verdi’s Otello and La forza won me for the bel canto’s side too… but that’s another story, I’m rambling. 🙄

    In short, thanks, thanks a lot for yet another gem. 😀

    • Hi Sergi….thank you for your words. First of all i’m a music lover and hifi(High-End) lover and last but not least, i’m a music engeneer, a music editor and i earn this way for my life and family 🙂 You can imagine: if you are a High-End-Fidelity fanatic and in some way you have the possibility to purchase very good and expensive parts for your equipement, that the result can only be excellent. I use for my vinyl rips two turntables that (without pick systems) cost togheter around 5000 EUR….with the systems and the two phono amplifiers and the right cables around 7500 EUR…. add this to a fine tube pre amplifier and to the skills i own to make the (excellent) recorded music a little bit more excellent and you understand, why you are so excited and why i’m disgusted about mr. ByGijS – not at all that he posts my music, my works (this is OK if you mention the original poster) but tha fact that he posts my works as if they were made by ihm and the equipement (my own equipement) would be his own.

      • No wonder you are disgusted, it’s understandable. One of these days, if I may, I’ll ask you for some advice on good hifi equipment (for a humble listener, not a skilled music engineer! 😆 ). Not yet, I have to tie up some lose ends first, but it’s certainly a purchase I will do in future.

    • About the other great tenors, i tell you: once i thought, that when you have records of Del Monaco you don’t need other records of other tenors anymore. Of course, this is nonsense and i love on my knees singers like Corelli, Pippo (Peppino, i say 🙂 that was born in Sicily, like me, few KM away of my town) Pavarotti, Alfredissimo Kraus, Domingo, Björling (i love ihm)… and i have several versions of the most known operas by Verdi, Puccini and co. I own 5 different “Turandot”, 4 or 5 “Tosca” and so on….ech one production is in its way particular: because of the orchestra, or the soprano, or Scarpia, or Liù, or the maestro…there are many different reasons – i own near 20 different “Scheherazade”, near 20 or more “Pictures…” by Mussorgsky, a dozen of “Seasons” by Vivaldi….ans so on. I once purchased the DGG-Turandot only for the voice of Liù (Barbara Hendricks) but i discovered a great Domingo as Calaf and a great dramatic conducting by von Karajan….and learned to hate Mrs Ricciarelli 🙂

      • Oh, I do understand you, I certainly do. It’s the same here, countless versions of many works, from symphonic to opera, chamber, anything. I have always been very fond of violin music, for instance, specially from the 19th century virtuosi/composers so you can guess the big deal of recordings I have just on that. I have even gone to the extreme of buying a cd because there was a short piece or a miniature in it I hadn’t ever heard before. I must be also around the 20’s in the works you name (Scheherezade, Pictures,…), probably more than 5 Turandots and Toscas being Pucinni one of my favourites,… as for what you said at the beginning about Mario del Monaco, I went through that period too. I mean, who can actually want another Otello after listening to him?! 😯 He is without doubt the one, the most rounded up, the most perfect. But then I also enjoyed the warmth of Vickers (though I can hardly stand how he “creaks” in the esultate 😕 ), the evolution through years of Domingo,… just a couple of days ago I got a copy of Furtwängler’s with Vinay, we’ll see. 🙂

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