Artemus -- I bet there are lots of London/Decca and EMI/HMV/Angel records in your pile. Both labels are chock full of the finest opera recordings in existence.
The only difference between London and Decca is the name on the label, as the British Decca company was unable to use "Decca" in the USA because of rights restraints. Otherwise, they are the same LPs from the same first rate pressing plants.
Meanwhile, EMI (Electrical and Musical Industries) marketed LPs both under its own name and under the moniker HMV (His Master’s Voice). The thing is, the company couldn’t use either the name HMV or its logo of a dog dutifully listening to an old gramophone because these were owned in the USA by RCA. Because of this, EMI released their performances in the US on a label they named Angel Records. Sure, all this shouldn’t make a difference...except for the fact that Angel Records were pressed in the USA and were often (but not always!) pretty terrible.
I’ll cut to the chase. If you got these two albums, give ’em a spin: First, Puccini’s Turandot conducted by Zubin Mehta, featuring Luciano Pavarotti and Joan Sutherland. On London/Decca. Side one is outstanding. Side two is even better. Great tunes, great voices and great recording. Enough energy, passion & drama to launch a thousand ships.
Second, Mozart’s Le Nozze de Figaro (The Marriage of Figaro) on EMI, conducted by Vittorio Gui. Lovely, gracious, and funny. The recording is pure Blumlein, i.e., done with a single pair of crossed figure-8 microphones. A veritable stereo test record for three-dimensionality and soundstaging.
The only difference between London and Decca is the name on the label, as the British Decca company was unable to use "Decca" in the USA because of rights restraints. Otherwise, they are the same LPs from the same first rate pressing plants.
Meanwhile, EMI (Electrical and Musical Industries) marketed LPs both under its own name and under the moniker HMV (His Master’s Voice). The thing is, the company couldn’t use either the name HMV or its logo of a dog dutifully listening to an old gramophone because these were owned in the USA by RCA. Because of this, EMI released their performances in the US on a label they named Angel Records. Sure, all this shouldn’t make a difference...except for the fact that Angel Records were pressed in the USA and were often (but not always!) pretty terrible.
I’ll cut to the chase. If you got these two albums, give ’em a spin: First, Puccini’s Turandot conducted by Zubin Mehta, featuring Luciano Pavarotti and Joan Sutherland. On London/Decca. Side one is outstanding. Side two is even better. Great tunes, great voices and great recording. Enough energy, passion & drama to launch a thousand ships.
Second, Mozart’s Le Nozze de Figaro (The Marriage of Figaro) on EMI, conducted by Vittorio Gui. Lovely, gracious, and funny. The recording is pure Blumlein, i.e., done with a single pair of crossed figure-8 microphones. A veritable stereo test record for three-dimensionality and soundstaging.