ing or shouting, sticks to the music, is never embar- rassing. At moments in the dialogue, she shows a sense of stage life and a seductiveness that make one wonder why more of these qualities are not to be found in the singing. Kiri Te Kanawa, also bouncy and even urgent in some of the dialogue, is almost unvarying in her treatment of the music and has little light to throw on Tatiana Troyanos the text when singing. Except for a dry momentor two in the lower -middle range, her sound is always full and warm, and in the aria often really ravishing- it is a special voice. Placido Domingo is on balance the most effective of the principals, simply because, although he takesa basically lyric approach to the part, he brings more metal and temperament to his music. As is often the case, his dusky tenor sounds a bit uneven, a bit vague and even tremulous when he is trying to singa clean, even legato, but straightens up nicely when he leans into the voice for the more dramatic passages; for this reason, his performance becomes progressively more persuasive. His French is just borderline pass- able, but he too has moments in the dialogue that show the level he might reach with perceptive direc- tion. Jose van Dam, also the Escamillo of the recent Georg Solti Erato set, again sings it with a silky bass -baritone nap and ample thrust, and again pointlessly shouts most of the downbeats in the "Votre toast" (the wrong sort of "dramatic involvement"). Like the oth- ers except for Domingo, he seems unable to much vary the attractive timbre of his voice. The supporting singers fill out the frame, for the most part singing pleasingly and warmly, and with- of simplicity or tenderness. 3) Later, during the out much point or vitality. An exception,I was added section of the factory fight and the moment happy to find, is the Dancaire of Michel Roux, a bari- when the fight breaks out again, cited by Solti as dra- tone who was a capable Escamillo and Golaud on matically important: "Hard to picture what's going records back in the Fifties, now much reduced of on-where is sense of change, of sudden disturbances voice, but not of spirit. Michel Senechal's name on and quietings?" say my notes. the cast list is a hopeful sign, but his Remendado, Or in Act III, the "Quant au douanier" ensemble: though entirely competent, is a predictable stock "Plays right through center section as if there were type. no change of any sort. Everything smoothed over this London's sound is just about exemplary-expan- way." Or: "B section of Micaela's aria made to sound, sive, warm, well in agreement with the dun tones of miraculously, just like A and repeat." In short, I find the performance. There are no acoustical gimmicks; a lack of flexibility, of sense of light and shade or in- this is very musical engineering. All told, there is deed any coloristic principle, an unresponsiveness to nothing one can fault in the effort that has gone into the dramatic cues in the music, and, finally, a heavi- this production, and very little, moment by moment, ness. It is all too rational. A curious outcome in view that can be faulted in the performance. But from all of the lightness and pace Solti says he feels in the these moments must issue an outcome, and to my work; but for these qualities, and for the suppleness ears, at least, this is more an accurate, sensible, not - and piquancy that give the music its most essential quite -complete report on Carmen than a perform- spirit, we must best look back to the Cluytens and ance of it. (among grand -opera versions) Beecham (AngelSCL 3613) performances. BIZET: Carmen. The cast carries through the assignment-round, Escamillo Jose van Dam (b -b) mellifluous, full-bodied voices singing smoothly and Carmen Tatiana Troyanos (ms) Remendado Michel Senechal (I) Micaela Kin Te Kanawa (s) Dancaire Michel Roux (b) with frequently appealing tonal result, but not much Frasquita Norma Bur rowes (s) Morales Thomas Allen (b) sense of theatrical engagement. This is especially Mercedes Jane Berbe (ms) Zuniga Pierre Thau (be) true of the women. Tatiana Troyanos, a very solid Don Jose Placido Domingo (I) (plus speaking roles) Boys Chorus from the Haberdashers' Aske's School, Elstree; singer with a fine, large mezzo of almost ideal weight John Alldis Choir; London Philharmonic Orchestra, Georg and timbre for the part, sings musically, conscien- Solti, cond. [Christopher Raeburn, prod.] LONDON OSA 13115, tiously, attractively, but with remarkably little $20.94 (three discs automatic sequence). Tape: OM OSA5 change of tone and with a sameness of color that 13115, $23.85, drags her aural characterization down (I have not Comparisons. seen her do the role). Like Solti's, her performance is Bumbry, Vickers. Fruhbeck de Burgos/Paris Opera Ang. SCL 3767(11/70) Motto, Coreih. Maazel Deutsche Oper Berlin Eur. 80489 XR (1 /72) full of virtue-she avoids ranting, superficial sneer- Home, McCracken. Bernstein /Metropolitan Opera DG 2709 043 (7/73) 94 HIGH FIDELITY MAGAZINE.