OP1918. LES TROYENS À CARTAGE (in English) (Berlioz), Live Performance, 20 June, 1957, w.Kubelik Cond. Royal Opera Ensemble; Jon Vickers, Blanche Thebom, Amy Shuard, Jess Walters, David Kelly, Michael Langdon, Richard Verreau, Forbes Robinson, Joseph Rouleau, etc.; Jon Vickers in conversation with Jon Tolansky, 25 Oct. 1998. (England) 4-Testament SBT4 1443. Transfers by Paul Baily. Winner of GRAMOPHONE’s 2009 Historic Archive Award. Final Sealed Copy! - 749677144326
"From our privileged position, half a century on, there may be a temptation to feel superior and to undervalue the 1957 Covent Garden TROJANS and what it achieved. We hear these distant sounds with ears familiar with the work from performances - conducted by the likes of Colin Davis, John Eliot Gardiner, James Levine and others - more assured and accurate than was possible for those worthy pioneers, tackling it for the first time. They had to make do with inaccurate performing material hired from the Paris firm of Choudens, disfigured by mistakes. But what Rafael Kubelík and his performers achieved was absolutely crucial. The Covent Garden production vindicated Berlioz's original conception of a five-act opera embracing Troy and Carthage in a single span and did so in the face of a century of hostile, dismissive opinion."
"Best Historic Archive Recording" at the 2009 Gramophone Awards. Recorded Live at the Royal Opera House Covent Garden, 1957.
“Vickers has to be considered as one of the greatest singers of the last century, and Aeneas was perhaps his finest rôle….This run of performances mark the long-delayed entry of LES TROYENS to the repertoire of other great opera houses. We can only be thankful that excellent tape recordings survive from one of the original performances. Historic, nostalgic and wonderful.”
- Stanley Henig, CLASSIC RECORD COLLECTOR, Autumn, 2009
"In a field long dominated by Europeans, Ms. Thebom was part of the first midcentury wave of American opera singers to attain international careers. Associated with the Met from the mid-1940's to the mid-1960's, she was praised by critics for her warm voice, attentive phrasing and sensitive acting."
- Margalit Fox, THE NEW YORK TIMES, 28 March, 2010