I suspect there wasn't as much rehearsal for this performance as Böhm would have liked. De Luca gets the proceedings off to a rough start by fudging his first line, singing "La mia Fiordiligi" rather than "La mia Dorabella" as Da Ponte wrote. As one point before the "Alla bella Despinetta" ensemble, Stabile and Morel get lost in the recitative and give up, Böhm just brings in the orchestra. The chorus gets noticeably ahead of the orchestra in "Bella vita military!" It's a live performance: these things happen.Danco and Simionato blend gorgeously together in their duets. Danco gives superb renditions of both her big arias. Morel is a delightful Despina, full of fun (she sang one season at the Met in 1938-39). De Luca recovers from his opening gaffe quickly and sings a strong Ferrando, Cordis is a terrific Guglielmo, and Stabile a humorous Alfonso, suggesting little of the sinister about him. Böhm's cuts come fast and furiously, especially in Act 2. Danco (or is it Morel?) interpolates a high C on the last sung note of the opera.This is a very enjoyable performance in good sound that is also on pitch throughout. It shouldn't be the Cosi by which one learns the opera, but it is a fascinating document of how the opera was played in Europe almost 80 years ago.