Bad news: this is far from a complete recording. What we have here is what remains of someone's old, deteriorating tapes. Act One: the performance begins just as Micaela is entering. The children's chorus is missing (or was cut), Corelli sings his recitative just before the cigarette ladies should start screaming, but the rest of Act One is missing: no Seguidilla!Act Two: prelude missing, but the rest intactAct Three: prelude and last 2-3 minutes of the act missingAct Four: prelude missing, rest of the act intact. For unknown reasons, Rodzinski cuts the last two chords of the opera. They're not missing, just not played.The sound is boxy and, especially in the second act, afflicted with wow and flutter. The basic pitch is correct, but it varies throughout the performance. Good News: Simionato and Corelli are like two caged animals circling each other. Both sing with hairy-chested passion in the Italian verismo style. I was a little disappointed Simionato didn't scream when stabbed, but let that pass. Jurinac sings all of Micaela's music with ravishing tone. She gets an ovation after her aria. Tagliabue is a good Escamillo. The audience loves what they're hearing.Simionato and Corelli can be heard in much better sound in the 1959 Palermo and 1961 Arena di Verona performances. They are just as wild there (the Verona is perhaps even wilder). This set is for opera nuts, like me, who must have everything and are extremely forgiving with regards to sound quality.