Franco Corelli turned 50 in 1971 and he still sounded virile and sexy, the tone thrilling, the high notes sung with that amazing squillo. It wasn't to last much longer; by the next year the voice had become harder and less malleable. He still had the high notes: a 1975 Turandot from the Arena di Verona still finds him well able to handle Calaf's high Cs (OD #10208). His Pollione here is as potent as the one he sang in the recording studio with Callas 11 years earlier (though he ducks the written top C in his aria). The Parma audience adores him, greeting him with applause at his entrance.They also love Deutekom and well they should. She sings with beautiful tone, exciting high notes, and an exquisite pianissimo when she needs it. Her coloratura is less gargled here than it could be (maybe Votto said something to her about it). She crowns Act One with a huge top D, but (rather surprisingly) doesn't interpolate an E-flat at the end of "In mia man" (she usually did - did Votto object?). Mattiucci is a lovely Adalgisa who blends well with Deutekom and sings all the high notes. Mazzieri is a very good Oroveso, suitably grave and stoic. Votto knew this opera like the back of his hand and leads a strong, exciting performance.This was recorded by some intrepid person in-house, the voices clearly heard over the orchestra. The tapist is fidgety and there are some bumps and thumps, in addition to some chatty audience members. I'm grateful to have it all the same.