The New York City Opera’s 1970 production of this opera was a legendary showpiece for Beverly Sills, then at her vocal prime. I saw Sills during this run and find this recording an accurate document of the singer’s powers. In addition to spectacular coloratura, she added a keen dramatic sense to her scenes with Roberto, showing both feline playfulness that could at a moment shift to frightening authority. But a strength of the performance is the strong sense of ensemble. While Sills is the star, she is supported by a strong and dramatically committed supporting cast. Placido Domingo, then a relative newcomer, adds the golden tone of his young voice to Roberto and earns a generous ovation for his final-act cavatina. Susanne Marsee vividly puts across the dilemma of Sara. the hero’s other woman, a position that she knows will bring down the wrath of the jealous queen on them both. And I’d call out the outstanding work of Canadian baritone Louis Quilico in the role of Nottingham: he brings a mellow, tuneful timbre to the early scenes, where he is Roberto’s most devoted supporter. Once his pal’s affair with his wife comes out, Quilico adds a Verdian intensity to his vindictive actions that recalls Renato in “Masked Ball,” a similar role that the baritone also sang with success. The sound quality is quite good for both voices and orchestra, especially in the composer’s brooding orchestral preludes to scenes.

I'm not Beverly Sills biggest fan, but this performance is a knockout. And the young (well, younger at 29 in 1970) Domingo is a bonus.

Great and so worth it having new operas with Sills as the leading soprano and live too the price is so wonderful I will be on the look-out for more Thanks

My favorite Donizetti opera. Elisabetta was one of Beverly Sills' best roles. In good voice here, and fully committed dramatically, she is gripping from beginning to end. Domingo's voice is at the height of its youthful beauty. The versatile Louis Quilico also in top form. Rudel is a very exciting conductor in this repertoire. The sound recording is more than passable.

This recoding of Roberto Devereux truly stands out as a benchmark recoding of this opera. While the Sills/Mackerras studio recoding from 1969 is excellent, this live version easily outshines that. Sills vocal skills are clearly evident here and her ornamentation only adds to the drama of the recording. Having Domingo in the title role is another treat. Hearing his voice at the start of his career in a role he never recorded in the studio further elevates this recording.

Everyone was on for this performance of Roberto Devereux. Sills had been a sensation as Elisabeth I at the opening night and she is definitely in top shape here. One wonders how the soprano could could possibly give any more either vocally or dramatically without collapsing. She tends to over-ornament as was her wont in certain roles, but she is thrilling (the ovation after her first cabaletta is deafening). Without even seeing her, one gets a sense of Sills' fantastic stage presence. One can also hear why the enamel began to wear off her voice pretty quickly: a voice can only take so much!Domingo sings and acts extremely well; it's no wonder he was soon a big star. Quilico and Marsee are also first-rate, both singing beautifully and with passionate involvement. Rudel leads his forces with elan and an apt sense of pacing. The sound is very listenable, the voices only slightly recessed, giving a good sense of what these voices sounded like in the house.If you love Sills, Donizetti, or bel canto opera in general, you must hear this performance!