A young Italian tenor named Luciano Pavarotti was hired to sing some of the tenor leads in the famous tour of Australia in 1965. He sang alongside the likes of Joan Sutherland, Spiro Malas, and Robert Allmann, two of whom are heard in this performance. It is easy to hear why Pavarotti was so well-liked. His voice was already beautiful, his diction crisp and clear. Of course he would refine his singing and his portrayal of Nemorino in the coming decade, but most of what made him famous was already there. I was surprised he didn't interpolate a top C at the end of the duet with Belcore in Act Two (he doesn't sing it in his first studio recording of the role either), but his "Una furtiva lagrima" could melt a stone.Harwood is a lovely Adina who adds quite a few extra high notes, including an E-flat at the end of Act One. The performance is worth hearing just for her. Malas is a funny Dulcamara. He gets lost in his opening aria at one point, but recovers quickly. Allmann is a blustery Belmore, probably better suited to Verdi. The Gianetta is also excellent; a pity we're not told who she is. William Weibel's tempi are sometimes insanely fast.The sound is listenable and doesn't prevent enjoyment. Who knew that we'd still be listening to a tour performance given 57 years ago? Get this for Pavarotti and Harwood.

Listening to this 1965 performance was an exhilarating experience, even though the sound quality is pretty dire. Once your ears adjust you hear a very lively performance (really too fast in places) but with all participants fully committed and living their parts. I bought this for Elizabeth Harwood, a - most people would agree - much under-recorded soprano, and she didn't disappoint. In fact, I hadn't realized her bel canto technique was that good. The same goes for Pavarotti, really, who here displays an agility we didn't get to hear all that often later on in his career. The timbre is still a bit unfinished, dare I say anonymous. But perhaps that is due to the bad sound quality. This must be the earliest of his recorded Nemorinos. Malas is just fine (he briefly changes to English at the very end, which goes down very well), the Belcore a bit rough around the edges. I wish I knew who the Giannetta was.

As O was possibly in the audience it brought back a lot of memories. Are there any other Melbourne/Sydney 1965 performances from the Sutherland/Williamson Season "floating" around?

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Pavarotti at his prime!!! Absolutely wonderful,pure and lyric sound!!!