Thus recording is just glorious. Oh to have been there! It is so sensual. Recorded sound also superb

cast was flawless a wonderful performance. There is no Adriana to beat Caballe.

Caballe and Carreras work well together and this is an excellent example of their artistry. Really enjoyed it. In fact when I went to file it with my other recordings, I discovered I already had it.

I particularly enjoyed Carreras’ performance in this performance. The recorded sound is excellent.

Caballe and Carreras remain a peerless team. Think ravishing, ardent and so on. Add Cossotto to the mix and this potboiler soars. It is unrelenting melodrama ennobled by great singers. Without them the libretto would be tripping over itself. Excellent sound.

Captured in breathtaking stereo sound, this is almost the best performance of Adriana on CD. One says almost because of the presence of the epoch-making Olivero/Simionato/Corelli/Bastianini account (OD 10490). However, the closest one can come to making a knock on this Tokyo transmission is that the NHK Symphony is clearly not conversant with Cilea's idiom, as some watery brass playing and frayed string entries suggest. Gianfranco Masini's conducting occasionally lapses into brashness but it is mostly *con amore* for a score that responds to tender, loving care.If you didn't think Montserrat Caballé was a fine singing actress, this performance (and any of her Salomes) ought to change your mind. She not only spins the most beautiful tone imaginable, it always in the service of characterization, while her 'Fedra' recitation is up there with the best of them. She is ideally partnered with José Carreras, a perfect Maurizio. As this broadcast shows, his voice was the most intrinsically beautiful of the Three Tenors in their respective primes. Fiorenza Cossotto was the go-to choice for the Princess, as you will appreciate from her vocalism here, although she gets serious scene-stealing competition from Piero de Palma's Abbé, lightning in a bottle. Last but far from least is Attilio D'Orazi's Michonnet. The baritone made a career of this role and his lovable characterization is just what the role demands. This is must-have opera.

I was surprised how engaged I got while listening to this recording. I've never heard Carrearas sound better anywhere. And, of course, Caballe was made for a role like this. Such control! The entire cast is in terrific form and it is a very tight production. Highly recommended.

A vivid, gorgeous performance!

Cilea's beautiful opera here gets four star treatment. Jose Carrerras was in 1976 arguably the best lyric tenor in the world. He is an ardent open throated Maurizio. His Ardrianna is Montserrat Caballe in the prime of her vocal powers. She was probably not the most alluring Anrianna on stage, but she was on record a wonderful singing actress as demonstrated here; not afraid to harden her beautiful voice when something more than beautiful singing is required. Perhaps her Phedra declamation is too overwrought from the outset so that the final potent sung phrases lose their impact but she delivers a most beautifully phrased " poverty fiori" - it's almost like hearing the famous aria a new.Her rival for Maurizio, the countess is the wonderful Fioreza Cossotto, the preeminent Italian Mezzo of the 50's and 60's. Her distinctly beautiful voice is produced with flawless technique and seamless emission, and capable of tremendous bite and power.The libretto makes it difficult to know what Maurizio has been up to with her but at least we know it's not good. Ivo Vinco, Cossotto's husband sings the count, her stage husband. Attilo D'Orazi is by no means an "also ran" in this company and delivers a well sung Michonnet, sounding appropriately middle aged.The sound is excellent: well balanced and clean.

A must for any Caballé, Carreras or Cossotto fan.