Buenos Aires audiences love their high notes and there are plenty of them in this performance! Deutekom sang a number of bel canto heroines and, if she never became a renowned specialist in that genre, she provided her audiences with lovely singing and ringing high notes. Her characterization of Elvira has nothing of Sills' specificity, Sutherland's virtuosity, or Callas' ecstasy, but she holds her own against the considerable competition.Kraus, as always, is very elegant and eloquent. His top ranges to some high D's in the last act and he sings very confidently with his leading lady. No, he doesn't try the F in the "Credeasi" ensemble - so what? Mastromei is a handsome Riccardo with his own exciting high notes. He sings his opening aria very well indeed. Giaiotti gives us a noble Giorgio and completes a satisfying Puritani quartet.Veltri conducts very capably, making most of the standard cuts. His chorus and orchestra are very good. The sound is good though the voices occasionally sound a little recessed - this may have been taken from a house tape. The audience loves the singers and so will you!

I have the Callas recordings and another one featuring Devia. This recording is a nice addition and a chance to hear a less familiar soprano as well as Kraus.