Bellini’s take foregoes familiar business of Shakespeare’s play, opting for a more straightforward context of medieval warfare. He also wrote the role of Romeo for a treble voice, allowing the era’s leading sopranos and mezzos to take on the heroic role. In this version, prepared by Abbado, the part is transposed and assigned to a tenor. Giacomo Aragall sang the role often and presents it with martial and manly assurance, especially in his opening scene and the following Act I duet with his Juliet. But the vocal line, written with the vocal effects of a bel-canto mezzo in mind, is often awkward for the tenor to negotiate. And the work already includes a demanding role for a tenor (Tebaldo, here sung by a youthful Pavarotti) so the contrasts in vocal timbres planned by Bellini are lost. Pavarotti is best in his opening aria “E serbato a questo acciaro” but afterwards seems disinterested in his second-tenor role.In any case, the evening belongs to his Giulietta, Renata Scotto, who takes command of each of her dramatic scenes with lustrous tone, dolce pianissimos, and thrilling high notes. She gets the house on her side with her entrance aria, “Oh! quante volte,” and makes her sleeping-potion scene in the following act a vocal showpiece. Unlike her two tenors, she is bold in adding variations to da capo passages, and the second part of this scene, “Ah! non poss'io partire” (an interesting “slow cabaletta”) is a breathtaking array of pinpoint high notes and passagework, leading to a thrilling top E in the concluding stretta. This gets her the ovation of the evening, the La Scala house recalling her twice for hearty cheers.Abbado does a fine job of letting the composer’s rich melodies breathe and supports the singers well. The sound is excellent, with lead voices and orchestra both clear. Purists may prefer a version with a mezzo Romeo, as Bellini intended (I like the 1999 Teldec version with a feisty Jennifer Larmore). But there is plenty to enjoy in this performance.

総合的にみてソプラノの技巧は素晴らしいが、三人の声のバランスに欠ける気がする。アラガルとパバロッティが一緒に共演しているのが画期的で興味深い。アバドの指揮も良い。

I have already a mono tape recording of the 1966 Amsterdamperformance with Margherita Rinaldi as Giulietta. Unfortunatly,the recording is rather bad and I was very pleased with your offer because your recording is so much better technically and so is also the performance with young Pavarotti in ottima forma.is

I'll admit upfront that I wish Fiorenza Cossotto had sung Romeo at these performances. The music just wasn't written for a tenor. And now I'll turn right around and state Giacomo Aragall is simply wonderful in the role. His voice at this time was one of great, virile beauty and he partners Scotto like a champion. His duets with the young Pavarotti are also thrilling as both try to outsing the other. Perhaps it's not what Bellini had in mind, but it makes for an exciting night at the opera.Scotto, on the other hand, is probably very much what Bellini had in mind. She sculpts her lines in exquisite fashion and is a passionate Giulietta, one capable of sustaining the long phrases with great skill. She was at the height of her powers here, interpolating a high E-flat at the end of Act One and a top E at the end of her big second act scena.In the role actually written for a tenor, Pavarotti is a terrific Tebaldo. The two basses are superb in their important supporting roles as well. In a performance where the leads interpolate a number of high notes, the chorus gets into the act too singing an unwritten high note in their last phrase (the last phrase in the opera)! I loved it, but musicologists may not approve. Abbado leads an exciting performance recorded in very good broadcast mono sound with no glitches that I heard.Highly recommended to bel canto lovers and fans of the soloists!

WONDERFUL PERFORMANCE !

Although this performance has 2 tenors and not 2 female leads the signing of first class and well worth the investment. Buy it.