What a great thread... on the shrieking sopranos thing: most sopranos (certainly most who get to make records don't actually shriek) but I think it can be an acquired taste - rather like whisky. First go may seem unpleasant, but keep going and you educate your palette. When you listen to a Joan Sutherland, say, and hear the support, the technique, the agility and the sheer beauty of the sound it's quite breathtaking IMHO. Similar, but different is the likes of Birgit Nilsson (steely heroism), Jessye Norman (regal dignity), Kiri Te Kanawa (alluring beauty), Leontyne Price (smoky sensuality) and so on.
My intro to classical was more basic - I remember being played The Planets at school and thinking it was fun, and being engaged by the titles of the pieces and how that related to the character of the music. At 18, owning my first CD player I went and bought The Planets on CD. I remember the local WH Smith had the Levine and Karajan (both on DG). The Levine would probably have had better sound, but for some reason "Berliner Philhrmoniker - Herbert Von Karajan" grabbed my attention. To be fair, apart from a little ferocity in the strings it is an incredible recording. Peer Gynt came next, I think with my first Mozart and Beethoven soon after.
I really don't know what turned me on to opera, but a compulsion had bitten. Tosca with Kiri Te kanawa and La Traviata with Joan Sutherland were my gateways into that world (after dabbling with CDs by Kiri, Jessye Norman and Joan).
My local record store of the time used to get the printed Decca, Philips, EMI and DG catalogues and they kind of opened the door in a big way for me too - allowing me in pre-WWW days to get a feel for the repertoire and artists. September 1991 was my first Gramophone magazine which I read solid for fifteen years!
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