Galvany and Domingo are excellently paired in this fine performance. Galvany is an under appreciated singer who could hold the stage with the best of them. No one today rivals her. Have always liked the young Domingo, not so the later one. He is very committed in this performance. His ringing tones are well placed. Ciminelli sings an Alfio who learns of his wife's infidelity and tears up the stage. Recommend highly.

Marisa Galvany was the cult diva par excellence. Her fans loved her passionate performances, never knowing where she might interpolate one of her legendary high notes. She and Domingo are terrific, feeding off each other and the excitement they generate in the audience. Her top C at the end of the Alfio-Santuzza duet provides just the kind of frisson missing from performances of this opera today. She also sings the written C at the end, holding out it and then turning it into a despairing shriek. I wish we had more risk-taking singers like Galvany today.It's so easy to take Domingo for granted. His Turridu here is every bit as well sung as it would be a decade in the future. He acts up a storm too. Ciminelli recorded a series of Italian opera highlights discs about a decade before this performance. He's just as lusty and committed as Domingo and Galvany. We need more of him today too! The Lola and Mama Lucia are very good as is the chorus. Guadagno knows how Cavalleria is supposed to go.The sound is from an in-house source and is accompanied by the comments of two opera lovers who voice their enthusiasm during the vociferous applause. Somehow it adds to the fun: you feel like you're right there experiencing the performance with them. Some listeners may not like that though: you've been warned!