Getting the chance to sing I Puritani at all in 1952 was a big deal and Callas probably used her growing star power as leverage for a revival. The edition used is cut about quite a bit, but enough remains for the opera to make its effect. This is Callas' only extant live Puritani. She didn't get to perform it a lot (there were performances in Chicago in 1955, but no recordings have emerged). As in her other 1952 Mexico City roles, she is in strong, confident voice, easily spinning out Elvira's coloratura and freely interpolating many extra high notes. Her "Son vergin vezzosa" in Act 1 is notable for its rhythmic elan, but is compromised because of the afore-mentioned cuts. The Mad Scene in Act 2 is a masterclass in legato and vocal color. She and Di Stefano give us some very exciting moments in Act 3 with their central duet (transposed down a half-step.) Di Stefano is in much better form here than he is in the Rigoletto also performed that season, top notes gleaming and on pitch, his beautiful tone an asset to Bellini.Campolonghi also interpolates a number of high notes, including a ringing A-flat at the end of "Suoni la tromba". His sturdy baritone is reliable, if not memorable. Silva sings Giorgio's aria extremely well and is rewarded with zero applause - go figure. Rosa Rimoch is an unusually good Enrichetta, for once registering as a character. Picco holds things together as well as he can given that there were probably few rehearsals.The sound is certainly listenable and pitched correctly. A low whistle can be heard in the background during Acts 2 and 3, but it isn't too distracting.All Callas fans should have her 1950-52 Mexico City performances, sonic flaws and all. She would improve and strengthen her interpretations of these roles, but rarely sang them again with such confidence and vocal security.

The five stars are for Callas, three for everyone else edging to four for Di Stefano even though stylistically he is all over the place and ends up shouting his way (albeit in an exciting way) through most of his role. Callas is in wonderful voice and it is amazing how she can rise above lacklustre conducting, mediocre fellow principals and a certain amount of musical chaos. But rise above it she does in spectacular fashion and it a wonder to hear how she portrayed Elvira with such insight and understanding. Better than the EMI recording which followed later and is more studied and less spontaneous. I regard this performance as essential listening for anyone beguiled by her artistry.

Wasn't aware of this recorded performance and glad I've been able to add it to my collection. I've only given it 4 stars due to the sound quality in some passages but I can't fault the soloists in this performance. Was impressed with Di Stefano in particular as I wouldn't have associated him with the tenor role here. Nothing to add re Callas other than superb.

For this live performance the sound is good.

It is such a shame that we only have this one live recording of Callas in what was an iconic role for her. The performance is quite a train wreck, or rather a series of train wrecks, with very poor coordination between pit and stage. It sounds as if the rehearsal time had been very limited, and most of the cast have very little idea of the style necessary for this kind of work. Even Di Stefano sings in a crude way with little sense of style. Above it all is Callas, the only singer who both knows and understands the music, offering everyone a lesson in what this kind of work is all about and how it should be performed. She is on wonderful form, but even so there are times when she seems to get temporarily overwhelmed by the chaos around her. It is extraordinary to think what she was offering the world in these early performances in Mexico, thank goodness so many of these performanceswere recorded.