OP3042. AÏDA (in Russian), Live Performance, 29 December, 1952, w.Melik-Pashaev Cond. Bolshoi Theatre Ensemble; Nina Pokrovskaya, Georgi Nelepp, Veronika Borisenko, Pavel Lisitsian, Eugeny Ivanov, Antonina Ivanova, etc. (Russia) 2-Aquarius AQVR 392. - 4607123631591
"This, one of the most exciting performances of AÏDA I have heard, stems from the second season of a famous 1951 production by Boris Pokrovsky....The hero of the hour is Alexander Melik-Pashaev who whips up the big scenes so that the first two acts come in under 80 minutes....He makes the Triumphal March sound really barbaric and takes the dance at a very fast tempo. He has clearly coached his singers exhaustively so that the great duets, which are the glories of this score, come alive, even in Russian."
- Tully Potter, THE RECORD COLLECTOR, 2015
"Surely one of the most gripping performances of AÏDA I've ever heard. The spontaneity is quite remarkable in terms of the wonderful singers and the exciting Melik-Pashaev, and on the part of the enraptured audience [who appear to be hearing this work for the very first time, as evidenced by their spontaneous applause at the strangest moments]. One is not likely to encounter a more convincing Amneris in any language; Borisenko is outstanding, as well as Pokrovskaya, the exciting Aïda! Nelepp gives us a duly strong Radames, interspersed with moments of great tenderness, and Lisitsian's reputation is abundantly fulfilled on this momentous occasion. The sound quality is vibrant, always conveying the sense of occasion."
- J. R. Peters
“The Bolshoi had a remarkable dramatic tenor, Georgi Mikhailovich Nelepp, an artist of impeccable taste, with a beautiful, youthfully resonant voice. I have yet to hear a better Hermann in THE QUEEN OF SPADES. When I first joined the Bolshoi, we worked on FIDELIO together; that time ranks among the best memories of my career.”
- Galina Vishnevskaya, GALINA, pp.185-86
“Lisitsian had a major career….enjoying three decades as a leading artist at the Bolshoi. He was the foremost interpreter of Tchaikovsky’s baritone rôles – perhaps the finest Onégin of his time. He also created several rôles in works by Prokofiev and was admired for his interpretation of leading rôles in the operas of Verdi, Gounod, Bizet and Puccini. The voice was a supremely beautiful instrument used with the phrasing and sensitivity of a fine instrumentalist.”
- Vivian A. Liff, AMERICAN RECORD GUIDE, Jan./Feb., 2011
"This Armenian baritone remains one of the best-kept musical secrets of the old Soviet state. The voice was remarkably warm, bright, and well produced, with a faster-than-normal vibrato that was perfectly even and possessed no beat. He also had Schipa’s own gift for phrasing in an imaginative, highly musical fashion that breathed life into whatever he did; and he had the technique and breath control to support his ambitious efforts."
- Barry Brenesal, FANFARE, July/Aug., 2002
“The great name here for collectors is Pavel Lisitsian, born in 1911, who was probably one of the [last] century’s dozen best operatic baritones. To spend an hour or so with Lisitsian’s records is to be reminded what a joy it is to hear the work of a real master.”
- Will Crutchfield, THE NEW YORK TIMES, 29 July, 1990