Changes in Opera Recording Styles: A Comparative Study of Decades-old and Modern Recordings

When examining the evolution of opera recordings, a fascinating array of differences emerge between older and modern performances. These discrepancies extend beyond the technological advancements in recording equipment, offering insights into changing artistic preferences and scholarly discoveries that have reshaped our understanding of these classical works.

Shifting Standards in Performance Editions

One of the most notable changes in opera recordings is the re-evaluation of performance editions. In decades-past, many recordings adhered to stylistically haphazard and incomplete versions of operas due to limitations in artistic knowledge and philosophy.

Baroque Operas

Baroque opera recordings from the 20th century often present a baffling array of cuts, transpositions, and rearrangements aimed at making the performances accessible to artists with limited experience in the period style. Recent re-evaluations by scholars have sought to restore authentic manuscript scores, adjust to period pitch, and use appropriate instruments, resulting in significantly different and often more harmonious sounds. Performers now pay greater attention to ornamentation, such as the French da capo arias, making older recordings seem outdated or incorrect by modern standards.

Mozart’s Operas

Mozart's operas, particularly Die Entführung aus dem Serail and Idomeneo, were often recorded with multiple cuts, a practice that continues to be contentious even today. By the 1980s and 1990s, these works were finally recorded in their complete form, leading to earlier recordings sounding dramatically unsatisfying and musically incomplete. Even better-known works like Don Giovanni and Così fan tutte had remnants of uncut recordings, but even these later releases sometimes trimmed sections that are now considered essential for a complete experience.

Rossini and bel canto Operas

Rossini’s Il barbiere di Siviglia has maintained a universal approach but still faces some inconsistencies in its recordings, such as transpositions of soprano roles or missing pieces. In the 1964 Decca recording, we see the first complete rendition of CONTO di ROSINA. Similarly, Donizetti’s Lucia di Lammermoor often faced problematic ensemble cuts, as well as the omission of important scenes, such as Lucia’s Act II duet with Raimondo “Ah cedi” and the Act III Wolf’s Crag scene.

Other Composers

Mussorgsky’s Boris Godunov and Borodin’s Prince Igor present a unique challenge. Pre-1975 recordings of Boris Godunov used the version revised by Rimsky-Korsakov, while Prince Igor had a standard court sequence after the Prologue. The 1993 Philips recording moved the first Polovtsian scene, resulting in a significant change from previous editions. Bizet's Carmen continued to evolve with the Oeser edition of the score, but no two recordings use the same performance edition, frustrating some fans. Verdi’s operas, once commonly truncated, have seen more refined versions through recordings, such as Rigoletto and La Traviata, which now offer more complete vocal music.

Strauss and Elektra

Strauss’s Elektra offers a stark example of cuts made to ease the demands of the title role, with recordings from the 1950s and 1960s frequently following suit. The 1967 Decca and 1990 EMI recordings remain among the few that avoid these cuts, providing a more comprehensive experience.

Overall, the evolution of opera recordings reflects a rich tapestry of artistic and scholarly efforts to rediscover the intended original performances. These historical recordings serve as valuable documents, capturing the standards of their time and offering us a window into how modern interpretations have enriched our understanding and appreciation of these iconic works.