What an amazing find, Corelli in his prime and singing a poorly written role like it was rain falling off his back. It literally made me cry, it was beautiful and effortless. His Un di all azurro spazio is heroic and the B flats are effortless after sustaining such a low tessitura, and his Come un bel di di maggio is full of pathos and again, such an amazing heroic sound from Sia strofe l'ultima dea to the amazing high B flat on Gelido. Honestly, if you are a Corelli fan, this IS the recording that you need in your collection!Sorry I don't write about the rest of the cast, but Corelli just takes the stage and never relinquishes it.

Wonderful , must-have example of what the Italianate style was like before its recent decline. Yes, a few glitches in the live recording, but more intense that the EMI version with Corelli and Stella. There's something of the thrill I remember hearing them in the old MET in other roles.

This white-hot Andrea Chenier was probably considered just another night at the opera back in Naples 1958. Look at that supporting cast! Pirazzini was better known in bigger roles such as Adalgisa and Amneris; here she sings Madelon. And Loretta de Lelio as Bersi (she would become better known as Mrs. Franco Corelli).Corelli is incomparable; there is certainly no one like him today. The generous, passionate phrasing, the ringing high notes - we won't see his like again. Stella is so satisfying as Maddalena. Her high notes are effortless and exciting and she knows exactly how the role should go. Bastianini is a marvelous Gerard, perhaps not as specific moment to moment as Taddei is, but silencing all criticism with that manly Italian baritone of his.The sound is very good, the only drawback is that the mastertape is missing about 10 seconds from "La mamma morta" right at the beginning. A short portion of the ensuing choral scene is also missing. Get this recording and discover what's missing from most contemporary performances of this verismo classic.