Riccardo Muti was quite young when he conducted this performance and was not yet able to insist on the "come scritto" (as written) rules that would come to dominate his later performances and recordings. He takes the traditional cut in the Nedda/Silvio duet, but otherwise plays the score complete. All the traditional high interpolations are allowed. More importantly, the performance seethes with a smoldering sensuality it needs in order for this opera to work. More than a decade later, Muti gave an interview insisting that "Tucker should've known better (than) to take the final "La commedia e finita!" away from Tonio!" Maybe, but Tucker's heartbroken delivery of the line compensates for any lack of fidelity to the original score and wins him an ovation.Tucker is tremendously good. Vocally he is in top shape with ringing high notes in place. He may be a shade over-the-top dramatically, yet he is always sincere so it works. His "Vesti la giubba" drives the audience nuts and brings the performance temporarily to a halt.Sighele is a superb Nedda, singing with her fresh Italianate soprano and always responding honestly to her colleagues. Nurmela is allowed the traditional top A-flat and G added to the Prologue. He also shows his range by singing the optional low D at "Veglio su voi" at his exit in Act Two. He is right on top of things in the drama as is Alberti as Silvio. Lorenzo is a fine Beppe. The chorus and orchestra are both exceptionally good under Muti's direction. The sound is very good, the pitch of the tape correct. This is a performance for those who want to hear what this type of opera used to sound like on a regular basis. Verismo operas are not generally performed as well now as they were 50 years ago.