Marcella Pobbe is probably best known to American opera lovers as the temperamental prima donna who gave Stefan Zucker such a hard time in his Opera Fanatic film. It's great to have such an excellent document that explains her celebrity in Italy in the 1950's and 60's. She was a beautiful, glamorous woman and some of that comes through in this performance despite the fact that we can't see her. The voice is in good condition and she has no trouble with the music (the optional top C at the end of Act Two is terrific.) She has all the passion the role of Fedora needs and she is able to show that without going overboard. Perhaps she isn't as colorful or specific as Olivero, but you won't be disappointed by her performance here.Bottion is in much better voice than he was with Zeani five years later. The tone is steadier, less flinty although he still drops a few lines here and there. The audience likes him very much and at least his sobbing isn't embarrassing. D'Orazi is a first-rate De Sirieux (I like to think he'd be more appreciated today) and the young Mazzucato is a lovely Olga. Once again, the Cirillo is sung very well by an unnamed bass; he gets a good hand after his mini-monologue in Act One. The other singers are very strong too. Molinari-Pradelli knows how this opera is supposed to go and leads accordingly. The sound is excellent. We are given a bonus of Pobbe in arias from Tosca and Otello. They are transferred at too high a level. Fedora fans should get this!

Fedora the only opera of Giodano after his success of Andrea Chenier that is still performed today with any regularity. Like Chenier it has a good libretto and is a treasure trove of beautiful and beguiling music. It consists of few standard arias and duets, but the music ebbs and flows and beautiful moments constantly appear unheralded. The one famous set piece is the brief and beautiful outpouring "Amor it Vieta" which soon after morphs into a show stopping intermezzo and then returns unexpectedly with heartbreaking theatrical effectiveness in the final moments. The good baritone Attilio D'Orazi delivers the other standard piece, the boisterous La Donna Russa with- well- boisterous accuracy. The big attraction here is Marcella Pobbe. Her voice seems a little harsh to begin with, her beautiful instrument seemingly having lost some of its bloom. It is an impression that fades as the opera progresses. Aldo Bottion is a sensitive artist with a hefty voice whose tone is inclined to spread unpleasantly. He delivers his famous aria for once without the obligatory sobs and gulps loved by many more famous tenors.The voices and orchestra are well balanced with no signs of distortion. The sound is particularly good.