This is a fine performance of one of my favorite operas. As has been noted, the performance is cut omitting an important soprano aria. So, this can't be recommended as a first performance. However, Maag leads a lively show and the singers are all up to the task. The sound is fine for a live performance, but is recorded at a low level. I recommend this as a nice alternative performance.

Other reviewers here have extolled the virtues of this performance so there's no point in my going on about it.BUT, be aware that Maag made many cuts including (unbelievably) "Per pieta", Fiordiligi's big second act rondo. Deutekom would have sung it so well too. Also missing is Dorabella's "Amore un ladroncello". These are not missing from the tape, they were clearly cut before hand. If that doesn't bother you, this is an enjoyable performance.

Previous to hearing this performance, I had esteemed Cost fan Tutté. Now I downright love it. Much of the credit is due to the fleet, affectionate leadership of conductor Peter Maag, who lets no grass grow under the score's potential longueurs, but who is expansive when necessary. The men -- Renzo Casellato, Claudio Giombi and Paolo Montarsolo -- would mainly be consigned to buffo repertory in the future (Casellato excepted). Here they show first-class lyric instruments, and sing their parts both lyrically and entertainingly. Cristina Deutekom makes a formidable Fiordiligi, executing her arias with dispatch and that lovable wuh-wuh-wuh coloratura that she used in preference. Any less of a Dorabella than the beyond-wonderful Tatiana Troyanos would be cast in the shade. Instead she not only sweeps imposingly through Smanie implacable but never lets you forget that Dorabella is the more vulnerable of the two sisters. Emilia Ravaglia is a comparatively routine Despite but she's in fast company. The sound is broad, fresh stereo, some of the best on Opera Depot. If you seek a Cosi, I can recommend this one without reservation.

This set is primarily of interest for the unique singing of Cristina Deutekom. A true dramatic coloratura, Deutekom has the most idiosyncratic coloratura technique of any singer I have ever heard. She makes Cecilia Bartoli and Vivica Genaux sound perfectly legato by comparison. The effect of her coloratura singing is much like early autotune technology—think Cher's "I Believe in Life after Love", and yet this is a singer truly in command of her vocal technique. (She is, by the way, a spectacular Queen of the Night and an incredible Kostanze in Abduction from the Seraglio). Her Come scoglio has the most cleanly executed triplets of any Fiordiligi on record. Whatever your opinion of her singing, this is a singer who needs to be heard at least once in every opera lover's lifetime.Another standout is Renzo Casselato (incorrectly listed as singing Guglielmo), a tenor in the lyric tradition, and yet even at his lightest, softest pianissimos, he is still heard over the orchestra without a hint of strain. This type of singing is all but completely absent from the modern opera stage, where pressed phonation is commonplace and overparted singers the norm.Do be forewarned that this is a live performance, for better or for worse. While it has the excitement of a performance for an audience, it also has pitfalls such as the disastrous beginning of the act I quintet, some imperfect intonation, and a fair amount of stage and crowd noise.

It is a nice recording, with energetic, lively conducting of Maag. Montarsolo is witty, cynical Alfonso. I liked Deutekom as Fiordiligi (especially in Come scoglio). Renzo Casellato is lovely, lyrical and light voiced Ferrando. Claudio Giombi is good, comical Guglielmo, his aria Donne mie, la fate a tanti is a gem to cherish. A worthy addition to my collection.