Joan Sutherland was probably always destined to have a great career. Yet if Richard Bonynge hadn't heard the unique qualities of her voice and pointed her in the bel canto direction, who knows what would've happened? This isn't her actual debut in the role, but the broadcast a little bit later on in the run. She is stunning, her enormous voice even from top to bottom, capable of tossing off effortless coloratura, a perfect trill, and thrilling high notes. Nor is she a slouch as an actress . Her diction here is much clearer than it could be later on, heightening the dramatic temperature considerably. I can only imagine the thrill contemporary audiences felt when they first heard her: a classic portrayal.The other singers are all excellent too. Gibin doesn't have the vocal beauty of a Pavarotti or an Aragall, but he manages to hold his own with a beautiful final scene. His "Risponda!" in the wedding scene is frightening. Shaw is a more than capable Enrico and Rouleau a fine Raimondo who is granted his aria, music that probably hadn't been heard in almost a century. McDonald and Elkins also stand out in their roles. I wonder what Serafin made of Sutherland after working with Callas for so many years.The sound is excellent and pitched correctly. For dessert, Andy treats us to Sutherland's "Casta diva" (with cabaletta) from the 1969 Buenos Aires Norma performance.All Sutherland and bel canto fans must have this!

I agree with all the comments about Sutherland and her thrilling voice. For me, Scene ii, Act 2 is the epitome of Italian opera at its greatest: wonderful melodies, dramatic scenes, strong characters displaying immense passion. This performance achieves all that. The voices deliver 100% and, most crucially, so does the conductor and orchestra. The fire in that old lion, Tullio Serafin, was as brilliant as ever. I can play this scene over and over and still feel the chill running down my spine. This is music making at its finest.

A historic document! Thrilling.

There are many places you can buy this recording, varying between somewhere under 10 to over 120 dollars. This is one of the cheapest options (if not the cheapest).The sound is great, and all the singers perform very well. Joan Sutherland is brilliant. The top notes are strong and the diction is a lot better than it became in the 1970s. The tracks are split well and labeled. You cannot go wrong with this recording, and if you appreciate either Joan Sutherland or even opera in general, this is an absolute must-have. This series of Lucias made history and will always remain regarded as one of the greatest achievements in bel canto.

I had just arrived in the UK 3 months prior, and it so happened, that for half-a-crown I managed to get a seat in the (I believe) fifth tier at Covent Garden for Joan Sutherland’s performance on 17FEB59. It was – as you said – completely dazzling! Not only her singing was “out of this world” but the entire stage scene during the madscene looked like a Rembrand painting having come alive! Already the following day Lucia di Lammermoor was broadcast over the network in London!With profound thanks for the 26FEB59 CD recording, H. Kiel

This Lucia was the one which came to Dallas later in the same year when Callas gave what was, I think, her last series of her Lucia. (In turn, Dallas traded its Medea/Minotis production for this Covent Garden Lucia.) As you say, it was magical, like a Rembrandt come to life, all misty, shadowed lavenders in the outdoors portions and, inside, warm dark gold chiaroscuro. It was one of the most beautiful and atmospheric productions I’ve ever seen, even to this day. I saw the same production, years later, at Covent Garden with June Anderson as Lucia. The Lighting Director should have had unspeakable things done to his person. The lighting was glaring, flat, one-dimensional; the sets were barely recognizable – but they were indeed the same ones from that wonderful 1959 season. Never underestimate the genius of good lighting!