OP0623. DER FLIEGENDE HOLLÄNDER, Live Performance, 16 Feb.,1963, w.Böhm Cond. Met Opera Ensemble; George London, Giorgio Tozzi, Leonie Rysanek, Sándor Kónya, etc.; BALLO – Excertps, Live Performance, 20 April, 1968, w.Schippers Cond. Kónya, Arroyo, Merrill & Clements. (Portugal) 2-Gala 100.728. Final copy! - 8712177045112
"As Senta pledges faithfulness unto death, the soprano’s triumph is complete. Is it danger that vibrates in those top tones and makes Rysanek so intriguing as an artist, a heroine singing on the edge, abandon and exaltation captured in the cutting brilliance of her tone? She is an artist who markets rapture as though it were her daily bread. The soprano retains vocal control in the final scene as well….The tang is the aftertaste of ecstasy."
- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.290
“In the many performances I have appeared in, there were many wonderful colleagues who had me in raptures. There were those with magnificent voices, or great musicians, wonderful actors or great personalities. But George London had it ALL. He was as impressive on stage as he was the wonderful colleague and friend in his private life.”
- Birgit Nilsson, as quoted in Leonardo A. Ciampa’s THE TWILIGHT OF BELCANTO, p.130
“George London was a dramatic and very expressive singer. In many rôles he sang like a demonic panther with a sound of purple-black in color. London was a singer favoring the drama in a piece, varying color to suggest shifts of mood. His acting on stage was described as overwhelming. The special magnetism of this artist is documented on his great recordings. Every rôle he sang was sung with utmost expression and unbelievable commitment, truly a singing-actor!”
- Andrea Shum-Binder, subito-cantabile
“Mr. Kónya had a powerful, dramatic voice and was most highly regarded as a Wagnerian tenor. But his broad repertory also included several of the major Verdi and Puccini rôles, as well as Edgardo in Donizetti's LUCIA DI LAMMERMOOR and Turiddu in Mascagni's CAVALLERIA RUSTICANA. Although his Wagner was criticized by some for embodying an Italianate sob, Mr. Kónya's admirers prized exactly that tendency toward stylistic cross-pollination. Just as he brought the emotional lyricism of Italian opera to Germanic rôles, he sang Italian rôles with the big, heroic sound more typically heard in German works.
Mr. Kónya was born in Sarkad, Hungary, on 23 Sept. 23, and studied at the Franz Liszt Academy in Budapest, as well as in Milan and at the Music Academy of Detmold, in northwestern Germany. In 1951 he made his professional début as Turiddu at the Bielefeld Opera. He remained on the company's roster for three years, during which he expanded his repertory, both in grand opera and in lighter rôles.”
- Allan Kozinn, THE NEW YORK TIMES, 6 June, 2002