This performance, from an open-air theatre, features a superb set of principals with fine support from the secondary players and chorus. Corelli is in fine voice and plays to the crowd at times, but shapes his “Flower Song” with fine attention to details, including one of his lovely diminuendos. Simionato seems a little pale in the first act but doubles down on dramatics as the drama continues. Her version of the fortune-telling scene is chilling, and the audience, often over-anxious to clap at what they liked, do her the honor of several seconds’ silence at the end of this piece. The tragic lovers’ scenes together generate considerable heat, showing how Bizet’s opera, in its Italian versions, served as a central influence on the verismo tradition. Bastianini, in a role he never recorded, is superb, his cello-tinged voice strong throughout the part’s extensive range. And Scotto also makes the most of a brief role, showing a strong, pure soprano tone and distinctive dramatic touches. This really is a performance for the ages, and the recording captures the principals’ voices vividly.But two drawbacks force me to leave off a star. First, the recorded sound, while it favors the voices, captures the orchestra only distantly. Bizet’s softer passages (such as the “Fate” motif, often can barely be heard. Corelli’s lovely “Flower Song” suffers particularly: the orchestral lead-in is barely audible and the creepy modulations under the penultimate note (which the tenor faithfully holds as long as possible) are inaudible. The microphone must have been set up on the stage near the percussion section, for the cymbal crashes and castanet clatter are much louder than anything else, a serious distraction during Carmen’s second-act “Gypsy Song.” Also, no track information is given, on the excuse that the producers could not find a copy of the Italian lyrics. But there are many Italian librettos available online. One from a 1886 Florence production is available at The Internet Archive -- https://archive.org/details/carmendrammaliri00meil_2/mode/2up -- provides the lyrics that, with a number of changes, were used in this performance. (Anyway, the Act and Scene numbers are found in any score and would have provided much needed help in locating important arias and scenes.)

🔹🔹🔹 It is a Stellar cast. All the performers are geniuses. Franco is at the peak of his genius. Hard to believe he used no amplification to generate that power of sound. He possessed an incredible instrument. Being a big Franco aficionado i must have this in my collection. The Orchestra sometimes is not well heard. It is a live recording at Verona arena and sung in Italian. Even though i am used to Carmen being sung in French this recording is all about voices. But if the voices is what you are looking for - then you got it. Hear unbelievable vocal technique with all performers being equally outstanding both technically and artistically. Simionato has huge dark voice and Scotto is fascinating Michaela her timbre perfectly matching Michaela’s character. Bastianini was a great baritone who unfortunately died young, so not too many recordings are available.Often i have recordings with NOT ALL singers BEING AT the SAME vocal technical LEVEL. The PERFORMANCES at open arenas are more of an entertainment with visual effects. Then they are just a musical (like a Broadway musical?), i.e. a show accompanied by good music but not vocal technique. This will not impress if you really distinguish the notes, range, pitch, timbre, tessitura etc. This recording allows to focus on those. This particular set - even though the orchestra is sometimes not well audible and the sound itself imperfect with some noise interferences -is able to eternalize the vocal genius of the great Italian singer Corelli and his superb contemporaries making this the best VOCAL VERSION I have ever heard. 🔹🔹🔹🔹

Sorry, but I cannot share the possitive reviews.Happened to listen to two authentic french recordings shortly before I took this one.The differences couldn't be bigger !!The very bad sound made it hardly possible to judge the singers.As far I could hear it: Corelli is showing off again; giving a completely non-stylistic performance.Simionato (a great singer) is not a real Carmen.Scotto, a wonderful soprano, is good enough here, but I have heard much better Micaëlas. Bastianini, is his solid, powerful Italian self. The orchestra is too far away and is rather disturbed by the stage sounds.Indeed a very, very Italian version of this FRENCH opera.Will not listen to this recording again. Disappointing in many ways; a waste of the time.

The audience certainly got its money's worth at this performance. This cast turns Bizet's classic opera into a blazing verismo piece- and it's so much fun! For once, the voices are up front and the orchestra is recessed. There is some very rhythmic flamenco dancing that might annoy on repeated hearings though none of it occurs during the actual singing.Corelli is a thrilling beast here, grandstanding with high notes that he holds and flaunts forever. At his entrance in Act Two he interpolates a high B-flat that he begins offstage and continues to hold until he is onstage and the audience goes wild. He interpolates (naturally) a high C at the end of the act and holds it long after everyone else has finished. His Jose deteriorates very believably in the last act and the audience bursts into applause after he kills Carmen. What a ham, what a voice!Simionato gets into the act too by uttering a chilling scream when stabbed (something she usually didn't do). Her singing is thrilling though it is more restrained than Corelli's. Scotto actually makes Micaela interesting and is vociferously applauded for the extra high note in her big aria. Bastianini is a fine, macho Escamillo. The supporting cast has some very strong voices, especially the Morales, Guglielmo Ferrara. Several dances are interpolated in the last act, causing an unfortunate, but necessary disc break. This recording is a must for those who love Carmen, these singers, and some very hairy-chested singing!

This performance is a barn-burner. Thrilling, exciting wonderful. Very Italian, not very French. It grabs you by the seat of your pants and leaves you exhausted at the end. I wish I had been in the house to hear it. Curiously, I once saw Corelli do it in French with Rosalilnd Elias in a Met in the Parks performance. I've never forgotten the intensity of that performance but, all in all, this is a better quartet. It's a feast for the ears.

I've had four or five editions of this CARMEN and this pressing sports the best sound I've heard. Well worth the upgrade if you don't have it. The approach is old fashioned, lusty and exciting. Not much subtlety here! The singers are all top quality, solid professionals and could not be bettered at the time, Stellar cast with Bastianini in a rarely recorded role and Simionato and Corelli are on fire!! Scotto is an assertive, spot-on Micaela. Great ensemble singing and vocal acting.