Opera Depot already has another Scotto Lucia from. La Scala a few years later. She and Raimondi are the common denominators. Both are in excellent form. Scotto's ability to fuse a bel canto line with a heightened awareness of text made her stand out from so many other worthy lyric coloraturas of her generation. There are other singers who may have made prettier sounds, but few who attained Scotto's specificity of character: a classic portrayal. Raimondi is very good though perhaps not at his vocal peak the night this was recorded (he ducks a few high notes). He was considered something of a second-stringer in his day; today he'd rule the roost.Cappuccilli is a determined Enrico, better here than he was in the studio recording with Callas five years earlier. Ferrin was always good. De Palma is listed above as singing Arturo, but he sings Normanno (I don't know who the other singer is). Sanzogno conducts efficiently and makes all the traditional cuts. The sound is clear and pitched correctly.For Scotto and Raimondi fans.

It's easy to take for granted just how good Scotto was as Lucia. There are other sopranos who may use more fleet ornaments or possess more impressive interpolated high notes, but few have Scotto's command of the text and the style. Listen to the way she joyfully declaims "Gli affanni miei dimentico" in her Act One cabaletta or how she always uses her cadenzas as an extension of her thoughts rather than just another ornament. Her Mad Scene is always impressive, but it's the smaller details that make Scotto so memorable.Raimondi is a passionate Edgardo, not perhaps in his best voice (he ducks the high B in the cadenza to his "Fra poco" in the last act). Cappuccilli is an intimidating Enrico, Ferrin an unusually eloquent Raimondi. Though listed as Arturo above, De Palma is heard as Normanno; I don't know who the Arturo is. A pity we're not told who the Alisa is; she's very good. Sanzogno makes most, but not all of the traditional cuts, playing a little bit more of the Act Two finale and the "S'avanza Enrico!" section of the Mad Scene. The audience loves the performance and the sound is excellent.Both Lucias that Opera Depot has with Scotto are worth having (the one from a few years later under Abbado has the Wolf's Crag scene if that's important to you).

Excellent, outstanding.Scotto is amazing, and the rest of the cast and orchestra are excellent.Sound is very good.