In The Box With The Shaded Dog

Somehow Leonard Warren looks like
Sean Connery which is pretty cool.

I was never looking to blog on RCA as I have been on a big EMI kick for the last year.  After acquiring some EMI opera boxes cheap on eBay and listening to them, I recalled thinking in the distant past that RCA opera boxes had a lot of potentiaI, so I decided to play Verdi Hamlet first since I really had not heard that album and it was on display on my new record shelves.

Well, the Hamlet blew me away. It was not really better overall than the EMI, but in many ways it was superior. The high-frequency ambient air and detail was amazing and also the treble dynamics were astounding giving incredible clarity and dynamics to the voices.  I have been getting similar improvements with other LP's due to system changes, but I did not think the RCA sound would take off to this extent. And really the sound for my other RCA Shaded Dogs is not unexpectedly improved when I listen to familiar RCA LSC orchestral releases on the original and Classic Records pressings (I've got most of the originals and reissues). But with the Opera box sets the sound is unbelievably improved easily exceeding the best of the orchestral releases in my collection.

Briefly, for those who are up to date with my Taking the Sound Floor post the most recent changes have been with vacuum tubes associated with my phono stage, an Arthur Loesch design where I changed the 6GK5 tube from a Mullard to a Hitachi and I also changed a power supply tube from a very nice CBS 7025 to a Raytheon 5755 with a pin adapter. These two changes have given my system an incredible degree of clarity and energy turning previously bright and aggressive LP's into show pieces. It also appears that the upgrade to Black Gate capacitors and Schottky diodes in my subwoofer section have not just improved sound floor and noise floor in a general sense but also have improved noise that effects tube recordings (i.e. solid state noise). It seems that my system is reaping the benefits of excellent solid state control while veils have been removed from the sound presentation with the elimination of diode noise and the sound of electrolytic capacitors (the sound of solid state, in my opinion.) I did not expect this result from this upgrade thinking I would only see benefits to blackness of background, etc..  Contrary to my original expectations and goals (to make my tube system sound more solid state), these changes have been very friendly to tube recording.  The Taking the Sound Floor post is sorely in need of update now.

Elegantly dressed patrons fill the boxs of the Metropolitan Opera in 1898 -- sketch NYPL collection

So after that Hamlet, I kept playing more more RCA boxes and I was blown away by the sound and the performances. And so now we are going to have an entire series on the much neglected, "Lost", RCA boxes from the Golden Era. (The Golden Era for most classical labels starts with the advent of the stereo LP in 1958 for which most of the classical catalog was rerecorded with no expense spared using still advancing tube technology through until about 1964, which coincidentally was when the transistor started showing up in the recording chains of most labels.) I have acquired almost all of these RCA Shaded Dogs with the exceptions of orchestral music (as most of these are compilations of individual RCA LPs) and chamber music. I would like to have the chamber music but many of the titles are quite expensive.

Based on my cover photo file count that is 30 titles and 84 actual discs not counting any later RCA on Dynagroove, etc. (with many being selected by the Metropolitan Opera.) No other site has all of these titles and covers and even the RCA Bible does not have reviews on nine of them. Another Miles to Mozart first. These reviews will be primarily sound based reviews with some general comments on performance (sorry Opera lovers I do not have double digit copies of all the versions of these pieces as I am more of an audiophile Opera lover). 

Before getting to our first handful of box reviews. I’ll make some general comments on this series of Opera and choral works. First, the performances generally range from excellent to legendary. At the time of these recordings many were already bemoaning the decline of opera and claimed the older singers were the best.

Metropolitan Opera House 1937

Things have not gotten better in the last 50 years. RCA went all out on these recordings and had awesome singers at their disposal. RCA took many of the stars from the Metropolitan Opera to Europe to record, creating unique casts of stars only heard on LP. Apparently Columbia had exclusive recording rights with the Met, but RCA had exclusive rights to many of the stars, and this combined with the much cheaper recording costs in Europe (no American Federation of Musicians union, meant there were very few recordings of the superior Metropolitan Opera.) The average quality was even higher than Decca/London, the most prolific opera label with excellent recording quality to boot (the London blueback sound).

Massive Stage Opening at the Metropolitan Opera House

Those familiar with the RCA classical living stereo series know how pressing variations can be a big issue for sound quality (often you have to have the right stamper). Quite a few of the classical releases have sound that just is not good on any pressing. For Opera, based on my collection, things are much better. Everything sounds at least very good. And why do these LP's as a group sound consistently so good? I would propose that there were a host of factors:

1.     Each recording was an expensive premium effort on the part of RCA covering multiple LP's. They had more days to record and get the sound right.

2.     The high cost of the LP's (most over $100 each in today’s dollars) reduced the sales greatly so the stampers are always very close to the mother stamper.

3.     Often the LP's were played much less than single LP's and therefore are in great condition. The boxes also helped keep the LP's in better shape and less dusty.

4.    The original box buyers probably tended to have nicer playback equipment than the typical single LP consumer. This combined with the limited sales meant that RCA did not have to deal with returned LP's and adjust the later pressings to remove bass so the stylus would not jump out of the groove.

5.     Many of these recording were done in Europe either by Decca/London (the most valuable shaded dogs were ones recorded by Decca) or by RCA in Europe. The RCA recordings would have involved different equipment as the AC voltage is 220 in Europe (not to mention whole 50 Hz versus 60 Hz hum thing.) RCA invested heavily in there Rome recording operation with audible results.

All of the above make for quite a combination of performance and sound. Through my initial survey through these records I have yet to hear a bad one. Unlike the original list price of these boxes, the going prices are quite low. Demand is low still for some reason (some of the Decca and EMI Golden Age opera boxes are crazy money, $$$$) and the supply of NM copies is really good. The patient buyer may be able to acquire most of these for $15 a box or less with US collectors ideally positioned since shipping within the US is quite cheap. (The shoe is on the other foot for yours truly with EMI opera where shipping of a box is typically $25 or more.)

Before one goes out to buy one of these boxes there is a question of which pressing. All pressings sound good to these ears (RCA did not screw up these high price endeavors even with later pressings), but there are differences. Generally, the earliest releases have a more bloomy tube sound with incredible upper treble dynamics and air and a nice sound, that is a bit more diffuse.  The later pressings and later releases bring the dynamics down into the midrange while still maintaining good treble dynamics. There is more drive to the sound and I would prefer the later pressings marginally as a group (later shaded dog, white dog, and even red seal). I have a few very satisfying red seal pressings so do not hesitate to try them as they are often very low in price. That being said, the bloom on the earliest pressings and recordings is quite lovely on the right system and can add some magic to the voices which are critical for Opera. Also, to be sure, a huge part of the sound of some of the earliest RCA is the fact they are dual track recordings (only two recording tracks with two main microphones and a few helper microphones. Also noteworthy on all RCA is the sound of special effects are on lines with the Bob and Ray Throw a Stereo Spectacular approach.) I have been an original pressing Nazi in most of my RCA Golden Era Living Stereo Shaded Dog collecting, so my views on the later pressings are based on just a few copies and comparisons. I’ll update this section as my views evolved during the series of reviews. No need to wait for my reviews before you snap up any deals.

And now the reviews. This first set has the ones with which I have had magic moments.

LDS-6706

Wagner: Die Walkure

London Symphony Orchestra, Leinsdorf Conductor

Nilsson, Gorr, Vickers, London, Ward, Brouwenstein

Decca recorded this for RCA in 1963 and later reissued on Decca Ace of Diamonds and on CD. Considered by the Amazon reviewers to be a reference performance and I concur. I particularly like the orchestration. The opening overture gives me goose bumps (I also like this music for the silent acting by Nicole Kidman in the movie Birth). Ride of the Valkyries on side 8 is amazing and with the opera you get the Valkyries singing/screaming for some hair raising sound. I love Leinsdorf's conducting. The more controlled tube sound of this later shaded dog recording is a perfect match for the music where drive and bass extension are most welcome. The RCA Bible under rates this LP as Very Good/Excellent, "suffers from a bit too much reverberance on voice." This five record set sold for $336 in today's dollars ($42 in 1963.) You might not get this for as little as $10, but it is a deal at any price. This was a Soria release (LDS prefix) and so has a very durable box if not the most attractive and the records have a red Soria label.The Skira (from Italy) produced liner notes are weak for a Soria release. I would not bother seeking out the Ace of Diamonds version except at bargain prices. Simply some of the best sound I've heard and a great performance and cast.

LSC-6154

Verdi: La Traviata

Rome Opera House Orchestra and Chorus, Prevetalli Conductor
Moffo, Tucker, Merrill

An RCA recording from 1961 recorded by the team of Mohr and Layton of RCA fame. Well the performance here may even be more respected then the above Wagner. Rave reviews on Amazon and be sure to watch the above clip of Anna Moffo (amazing beauty and performance). Another excellent sounding recording. By this time Mohr and Layton had finished their polishing of the production process and yet RCA mastering was still evolving so this record has a more immediate, airy sound then the later Rome efforts. You can really hear Moffo moving around on the stage. The RCA Bible grossly under rates this LP as Fair to Good. It is excellent at the very least. My copy might be a bit lean in the bass, but that seems as much the orchestration as anything. The sound is full and brilliant and Anna Moffo really belts it out. Later pressings of this LSC Shaded Dog might garner interesting sonic results for those who wish for more bass drive and less bloom. I would still value the shaded dog higher in value, but do grab a later pressing (white dog or red seal) if the condition is perfect and the price is low. This sold for a modest $144 in today's dollars ($18 in 1961), well worth the price of this legendary performance with amazing sound.

LSC-6143

Rossini: Barber of Seville

Metropolitan Opera Orchestra and Chorus, Leinsdorf Conductor

Merrill, Peters, Tozzi, Valleti, Corena

A rare treat is this recording of the Metropolitan Opera due to the expense of recording opera in the United States. Robert Merrill shines here and definitely watch the amazing video clip of Merrill as Figaro above. The Amazonians also favor the vintage EMI stereo release with Callas. This performance has a very theatrical feel (as does the clip above) that seems most appropriate for this Opera Buffo comedy.The bloom and airiness of the early RCA tube sound is well nigh perfect with no want for bass extension. The recording quality seems very well attuned to the performance and I love it and the performance. This might be the best sounding RCA opera recording and is an absolute triumph for the Metropolitan Opera. The RCA Bible was unable to review this record, so only here on Miles to Mozart will you see a review. The earliest boxes will have a nice metal clasp as pictured. I doubt rival EMI's original Blue and Silver pressing of SAX 2266-68 ($300) would match this sonically, but the later SLS-853 would make some interesting sounds. This sold for $192 in today's dollars ($24 in 1959). At probably one tenth the price of the EMI or less why would you buy anything else?

LDS-7024

Puccini: Tosca

Vienna State Opera and Chorus, Karajan Conductor

Price, Taddei, Steffano

Decca recorded this for RCA in 1963. The Amazonians love Price and Karajan and many prefer this to the Callas 1955 Tosca (mono). I am not a big fan of Callas and much prefer Leontyne Price (see her doing Tosca in the video clip above.) Side 3 is a revelation with incredible conducting and bass drive to the sound and voices. Jonathon Valin states in the RCA Bible "I don't think I've heard a Vienna recording with more beautiful string tone or better mid and low end clout (Excellent)." I also have a German pressing which is an absolute joke compared to the US Soria. Deccaphiles can get this on the much later London OSA-1284, but I doubt the sound is an improvement. The Soria Skira booklet is nothing to right home about, but is still light years ahead of rival Decca. I'd categorically recommend this if I hadn't just bought another RCA Tosca (review follows).

LSC-6052

Puccini: Tosca

Rome Opera House Orchestra and Chorus, Leinsdorf Conductor

Milanov, Bjoerling, and Warren

RCA recorded this in 1957 before the stereo LP existed. Milanov was well known for her role as Tosca performing it at the Metropolitan Opera for over 30 years. The Callas debate rages on Amazon (but neither the above Price Tosca or this one mention each other.) For some this is their favorite Tosca and I may be one of them. Bass is adequate, but when matching up with side 3 on the Karajan/Price Tosca we do not have the same drive in the performance or the sound. However, with the earlier RCA (dual track recording) we have a wonderful delicacy to the sound with lively highs and extremely dynamic voices.  The chorus sounds very distant in comparison to the Karajan, but is wonderful with detail.  Jussi Bjoerling's Cavaradossi is out standing. Horns have a nice texture. The earlier RCA even has a relatively quiet background for such and old recording. Zinka Milanov sounds very powerful and dignified in this role. People complain about Milanov being shrill and wobbly in spots, but I think this is the recording which is very dynamic and requires tremendous treble dynamics to bring out the full power of Milanov, a real screamer. The screams and sound affects are great.  On side 4 is where this Tosca pulls away from the above Soria. The sound and voices are just amazing. Wonderful bloom and air.  I love Milanov. The horns and brass very detailed and nice if not the last word in power. The aura of this recording is amazing. Bjoerling just pegs it on side 4 and their is a whole to the performance that is greater than the sum of its parts. The RCA Bible under rates this recording as very good/excellent stating "Rich and luminous in the midrange and deep, warm, and powerful in the bass...imaging is not as realistic as RCA's later recordings--only a rudimentary attempt is made to follow the singer's movement on stage." I have the rival London Blue Back with Tebaldi and a tube pressed Japanese Super Analogue (nicer sound floor) of the recording. Both RCA destroy the Decca releases. Both RCA Tosca releases are a must buy. The Milanov Tosca is on 5 sides with a bonus sixth side of highlights which is equally amazing, so buy both. I picked this up recently for $15 and I am so glad that I did.

LDS-6077

Berlioz: Requiem

Boston Symphony Orchestra, Munch Conductor

Leopold Simoneau, Tenor

Mohr and Layton recorded this in 1959 bringing the orchestra down in front of the stage and placing the chorus onstage and brass 40 feet up in the balconies to the side of the stage. Munch is quite the Berlioz conductor and I'd also recommend his Romeo and Juliet (review coming soon) and Harold in Italy on RCA LSC(sound a little more problematic.) The Skira booklet claims it is one of 200 first edition copies and has nice color photos pasted within. This is an impressive sounding recording and the Amazonians generally rave about the performance and sound on CD. I recently acquired this and had low expectations as the RCA Bible grossly under rates this as Fair, "Choirs are overmodulated, strings are thinned out and very left/right, brass are disembodied, and ambiance .. well it's every where." The strings are fine (perhaps not as lush as the usual living strings, but probably better balanced in level,) The brass is supposed to be other worldly as Berlioz placed brass bands at the four corners of the orchestra. I find the recording to be quite successful with a large sound that is appropriately impressive. There is wonderful ambiance which if anything lends a heavenly aura to the sound. This may be the best Boston recording I've heard as instead of weak bass, we have the most wonderful deep bass hits that are completely defined in space by all the hall queues. This bass is magnificent and I fell like a pig wallowing in it. Some of the best bass I've heard recorded because of this quality. Dr. Munch gives us god like performance and sound. Valin and his Bible can go straight to hell.