Many experts say Callas was in precipitous vocal decline after 1954, but that is proven wrong in this wonderful performance from 1957, given while La Scala was in tour in Cologne. She is in excellent voice: the voice is relaxed, the coloratura fleet, the top steady and secure. Her top E-flats (and there are a number of them in this performance) are dead on; she even makes a diminuendo on the last one in "Ah, non giunge" before executing an immaculate downward scale. She is heartbreaking in her "Ah, non credea" a few minutes before and presents Amina as a real person rather than a generic bel canto heroine. If you want to understand why Callas was Callas, this is one of the performances that will show you.Monti is an elegant, if somewhat limited, Elvino and Zaccaria a first-rate Rodolfo. Mariella Angioletti is a good Lisa (her aria in Act Two is cut), the young Cossotto a strong Teresa. Votto makes many cuts as was the standard of the time. This is Callas' show, however, and she makes the most of it.The sound is excellent; either a mic was misplaced or hadn't been switched on at Callas' entrance as for a few moments she is barely audible. She then comes downstage and all is well. A classic performance.

This presents a fabulous performance from Callas - she is on superb form and this performance shows her at her absolute best in this repertoire. Her coloratura is spell binding and unbelievable in its accuracy, her covered chiarascuro tone reflecting the sadness of Ah credea is heartbreaking and then the contrasting joy and stunning vocal pyrotechnics of Ah non giunge is a thing to wonder at (also Sovra il sen in Act 1)). Would that one had been there in the opera house that evening! But this is the next best thing in very presentable sound. At every turn she demonstrates a singing lesson to any aspiring bel canto singer of whatever voice. The supporting cast is more than adequate but then you hardly listen to Sonnambula for anyone else in it.