Kraus was always a terrific Werther and he is here too. Singing comfortably in the then standard Italian translation, his voice has more suppleness and sap in it than he would have a decade later when his tone dried out considerably. The audience goes crazy for him as they do for Zeani, singing a role a little outside her Fach. Her portrayal is more emotional than most French singers would have performed it, yet it is entirely within the compass of Massenet's score. The supporting cast has Domenico Trimarchi as a complex Alberto, much more interesting than how this role is usually played. Valeria Maniconda also brings more to Sofia than we usually get. Mario Basiola Jr. makes us wish his role of the Baliff was bigger. Votto conducts passionately, but indulges in the then traditional cut in the final scene (the omission of the Sofia and the children) that weakens the finale. The sound is mostly very good though there is some very brief warped tape in the first act (it's not that bad). Either the prompter is chatty or someone in the audience is; they are repeatedly shushed.Fans of the singers should get this; Zeani and Kraus are magical together.

Werther was Krauss's signature role and justifiably so. Here singing in Italian, his idiom remains very much in the French. He is a poetic Werther, and his attention to detail his individually expressive phrasing and exemplary diction adds up to an incomparable performance.Zeani's Charlotte is predictably vulnerable and beautifully sung, her lovely firm lower register valuable here in cutting through a slightly too dominant orchestra. We have a good Albert in Dominico Trimarchi, and Mario Basiola Jnr. is a luxury voice to have as the Bailiff.Valeria Maniconda avoids the trap of turning Sophie into a flippittygibbit.The sound is marred in big moments by some distortion but is nonetheless more than acceptable, and a valuable record of a great Werther and Zeani's Charlotte.