Despite trying now and then, I was never attracted to I Puritani. This lyrical, un-stuffy performance changed my mind. Gavazenni has just the right touch, animating the music but not trying to over-inflate it. The cast is lyrical and all of them are near the top of their form, Kraus especially suave and unforced. Very decent sound.

This is one of three finest opera recording I own. The performance is strongly sung answers more. Maliponte's voice has deeply sensuous overtones which create an unparalleled mad scene. The voice is darkly coloured yet flexible and easily lightened in order to create the otherworldliness demanded by a mad scene.

A hugely enjoyable performance of I Puritani. Fine singing from all involved. maliponte is a sensitive Elvira and Kraus delivers a stylish Arturo. The (well-deserved)encore of Suoni la tromba from Cappuccilli and Raimondi is great fun and shows how the Italian audience can become a part of the performancetoo.

From the opening quartet, you will be hard pressed to find four more ravishing, seamless, well balanced principals for Puritani. Maliponte’s timbre is pearly and haunting, her technique flawless. Kraus is a model of Byronic elegance and heroic dash. Cappuccilli and Raimondo are lyric ermine and sable, stopping time with “Suoni la tromba!” Di Stasio, Molica, Pedroni are “comprimari straordinari”. Gavazzeni is “maestro of all he surveys”. Sound is excellent, ambient but not reverberant.

Excellent. All singers are very fine. I like Kraus, with his elegant, sublime phrasing and good high notes. Perhaps some tenors could sing Arturo more powerful or with better high notes, but still Kraus is very good here. I was allways an admirer of Maliponte, and she is very nice here. Capuccilli and Raimondi were compelled by the enthusiastic audience to repeat Suona la tromba. Who could blame them? Gavazzeni conducts well Orchestra and Chorus of Teatro Bellini di Catania and brings a new light on this masterpiece. It is a great treat to have this recording from Bellini's birthplace.