Quote Originally Posted by antipodeancollections View Post
I am interested in the Frosch thread. There was no mention of the Kempe or Keilberth broadcasts and the former, though in poor sound is so much more lyrical, than Bohm, who remains my top pick( and not only because I attended the Jan 22 2017 Vienna perf with Rysanek, Nilsson et al.). There is also the1976 Stockholm Nilsson performance on youtube though of poor visual quality, alas. Does anyone know how come Orfeo released a Jan 16 Act 3 excerpt but DGG's cd set was of a composite performance from later that year?
Welcome to Opera Lively, antipodeancollections. Your question is deep, I don't know the specific answer to it, beyond saying that in general I'd suppose that composite recordings are done this way because something goes wrong with the capture of the sound in one specific performance so they use another performance or studio session to patch that stretch. Supposedly a composite recording will put together the best sound they can come up with for each part of the opera, from different performances; similarly this is one stated reason why the Met in HD broadcasts also film other performances, not only the one they plan to broadcast live, because if there is some accident (which happens in live theater) and later they want to put it on Met on Demand or make a DVD/blu-ray out of it, they have that stretch without the accident (such as a singer having a vocal failure or getting a respiratory illness, or merely a sound engineering problem). But I can tell that just by asking it, you have advanced knowledge of opera, and will be a great asset to the discussions, here.