This performance was taped by some intrepid opera lover while sitting in the house and I'm forever grateful to that person for doing so. The cast is superb. Siepi is a hot Don Giovanni whose fluent Italian takes him to the top of the list of interpreters of this role. His portrayal is less wild, more seductive than it was in the 50s. By this point he was singing his final scream on the note Mozart wrote rather than bellowing with rage as he descends to the underworld. His Leporello, Richard Van Allen, is equally good and is vociferously applauded by the usual sedate Covent Garden audience for his "Madamina". The audience, in fact, applauds enthusiastically for everyone as well they should. The three ladies are stellar. Ryland Davies sings Ottavio's music extremely well and a young Robert Lloyd is a memorable Masetto. No less than Joseph Rouleau sings the Commendatore. Colin Davis leads a spirited performance. By this time the singers are using appropriate appoggiaturas and it makes the performance livelier and more interesting. The sound isn't great though it's certainly listenable with the voices only slightly recessed. The tapist has some difficulty sitting still, but overall is quiet enough.A very enjoyable performance then with some outstanding singing, especially from the women.

With the exception of Cesare Siepi, a ringer from the Continent, this is an all-Commonwealth effort, one that shows how high repertory standards were under Colin Davis, who leads with is wonted Mozartean flair. All three ladies are exceptional, so it would be invidious to single out any one. Ryland Davies tackles the long divisions of Il mid tesoro intrepidly, Richard Van Allan is a seasoned old dog of a Leporello, slavishly devoted to his Don and Robert Lloyd is a Masetto of uncommon weight. As for Siepi, he is still going strong as the infamous seducer, one year since being shown the door of the Metropolitan Opera. His interpretation may be too self-enamored for some but he's still equal to almost all the vocal demands of the part, save in the Champagne Aria, and dominates the proceedings through force of personality. Were the sound not so distant (and occasionally afflicted with tape de-lubrication) this would merit full marks.

Very poor sound probably taken from the audience on a cheap recorder - unlistenable