I finally got around to listening to this exciting performance of Cherubini's most famous opera. Marisa Galvany is typically terrific, her plunges into the chest register and her blazing top notes all contributing towards a memorable portrayal of this infamous anti-heroine. I loved her audible crocodile tears before her duet with Giasone in the second act and her evil laughter after he leaves. She caps the second act finale with a huge top C, spoiled by the flawed mastertape that is riddled with pitch wavering wow for the last six minutes of the act. A young bass named Samuel Ramey is heard to very good effect as Creonte. Erik Townsend sounds like he has a good voice that someone roped into singing Giasone, a role too heavy for his lyric instrument. Barbara Hocher gets off some great high notes as Glauce and Frances Bible deserves the cheers she receives for her plangent singing of Neris' big second act aria. There are some blood-curdling screams interpolated into the end of Act Three. I'm going to assume these were a reaction to Medea's revelation of her murdered sons. Whatever the reason, they are chilling. Giuseppe Morelli leads an exciting performance. The basic sound of the tape is a good in-house with the voices slightly recessed. As David McKee points out below, the wow at the end of Act Two is disappointing, but there we are. I'm grateful we have this performance in circulation all the same. All Galvany fans should have this.

This performance fires on all cylinders, especially Marisa Galvany's galvanic Medea. However, there is horrid tape "wow" in the second-act finale. It's not enough to disqualify the recording, which generally boasts excellent sound, but the buyer should be prepared to grit and bear it for a couple of minutes in Act II.

Very Exciting! You know,I was there and now with the passing of time I've come to realize the greatness of Galvany's voice and temperament! I humbly think that Callas would have applauded Galvanys as Medea!