I knew a chorus member who was hired for this particular production who has now passed on. I'm glad I found it. It supplies proof that this production was incredible vocally and production wise. According to my friend the highlight of the night was the set Treigle appeared in during the opening scene. Posed like a giant spider ready to pounce any minute. I have this photo which was given to me by this singer hanging on my wall near my desk. It reeks Treigle and of his performances during that run. My friend always said this photo was very special for him and a reminder of that performance.It was a highlight of that evening . I wish he had lived so I could have shared shared this tape with him. Unfortunately there is too much hidden for the average listener due to the continuous rattling of the recorder, coughing and discussion that went on tape. The voices sometimes come out clear enough to enjoy what was going on and sometimes the orchestra can be heard to good effect but this tape would have been better served as a highlight disc. That way we could enjoy the voices and skip the cumbersome sound effects from the audience. How sad so many great performances were not commercially recorded live as this one. I am a fan of live recordings no matter how they are set down on tape and refuse to listen may of the in-studio recordings of today. That's not REAL opera. They are rehearsals in my opinion recorded in bits and pieces. This recording is real theater and smacks of this event that must have been incredible. Fine for those who can let the ear settle in on the performance and concentrate as they listen. I agree it is a fine addition for the Treigle fan.

If you’re looking for an incredible live performance of Mefistofele, this is it. This is a top-level cast, starting with Normal Treigle—who gives the title role a dimension that is still unrivaled today. Treigle’s portrayal is sinister and dark (as opposed to the elegance of Siepi). Salvador Novoa is exceptional in this role—it fits his dramatic tenor voice like a glove. Novoa gives Faust an excitement and pathos that is hard to find. Most tenors are lucky to be able to sustain the dramatic-molodic line of Boito, but Novoa brings it home in the last act’s Epilogue with his "Giunto sul passo estremo"—revealing the profoundness of the words. Hilda Cruz-Romo tour-de-force performance of Margherita and Elena of Troy is superb—making one cry at the despair of Margherita and fall in love as Elena. Julius Rudel conducts a powerful New York City Opera orchestra, giving nuance to every section of Boito’s great score. By the end of this performance, you will be standing on your feet, cheering—just like everyone else in audience. I know this because I am the son the late Salvador Novoa. My mother sat next to the person who recorded this performance. The ovations go on for several minutes past what is released in this recording (I have the original tapes). If you want to hear an awesome performance, this is it. It’s so good, that if I had one singular performance to see live in the history of ALL opera, I’d see this one.

Norman Treigle's performance here is so vivid it almost pops out of the disc. One can easily imagine his balletic movements and theatrical gestures without actually seeing him. He is in very good vocal shape too, the top in particular having some squillo, not all of which was captured in his famous studio recording made a few years later. Gilda Cruz-Romo is also superb as both of Faust's love interests. She can trill and has exciting high notes to boot. More importantly she is able to suggest through her voice alone that these are two different people. The audience loves her and rightly so. Unfortunately, she is also the victim of a tape gaffe: the famous "Lontano, lontano" duet for Margarita and Faust is missing from the Prison scene. We get the music leading up to it and the music right after it, but the duet itself is AWOL. Perhaps the tapist had to change cassettes? Salvador Novoa is a good Faust with a ringing top B in the last scene. Bernard Fitch stands out as an unusually mellifluous Wagner. Rudel leads his forces in a very powerful performance of a work that I enthusiastically count as one of my guilty pleasures. The sound is far better than fair. The voices are very clearly heard over the orchestra. True, there are a few irritatingly loud coughs in a few exposed places, but I'm grateful this was preserved for future generations. A must-have for all Treigle devotees!

Too much noise from the tape recorder in the audience. Sometimes the sound wasn't strong enough. Though a wonderful performance overall - orchestra and conductor - it is not as good as other recordings of yours which come from the radio.

Treigle is simply magnificent!

Can’t say enough good things about this performance. The soloists are fantastic. Treigle rules the roost. Nobody can touch him for the sheer animal ferocity of that voice! A force of nature! Cruz-Romo is the best Marguerite (AND Elena!) I’ve ever heard. Simply stunning! A youthful spinning, Tebaldi-esque spinto soprano, with fearless high notes hurled about like lightning bolts! Salvador Novoa was unknown to me! No longer the case. His voice easily rides the sea of orchestral sound. Rudel knows this score and he relishes it. The only drawback to the recording is the muffled sound. However, listen to it on VLC Player. There is an excellent, user-friendly Equalizer that can correct that in a few simple adjustments! This is now my Go-To recording of this opera. Boito says it best, “Poësia libera t’alza pe’cieli!”

Great performance led by best Mefistofele in memory.