It's easy to forget how good Pavarotti was even as a young tenor before the opera world fell at his feet. Here he sings lyrically and fervently with his trademark clear diction. What a pity he didn't sing more Mozart (he was supposed to sing Ferrando in "Cosi Fan Tutte" early on, but it didn't happen.) Janowitz sings a meltingly beautiful Ilia, full of love and hope. Lewis may not negotiate some of the coloratura as accurately as some contemporary singers, but he always sounds like a king. He conveys Idomeneo's tortured state of mind without overplaying or losing his nobility. Andy doesn't care for Tarres in his comments above; I thought she was terrific. Her three arias are sung passionately and accurately and she provides amply contrast to Janomitz's cooler tone. Pritchard provides strong leadership and pacing.The sound is from an excellent broadcast tape with no glitches that I heard. Other editions of this performance squeeze it onto two discs, but by spreading it over three there is one act per disc with no mid-act interruptions.A classic performance.

I love this recording so much. I think it is exciting and well sung. I do have to take issue with the statement that Idamante was given to a tenor based on some misguided 1950's prudish attitude. Idamante was written for a castrato because Mozart was told to do so by his employer. Mozart wanted to write the role for a tenor but the court wanted to use a favorite castrato, thus the role was cast as a castrato. For the vienna concert revival, Mozart wasted no time and rearranged the part for a tenor and that was that.So, speaking as a tenor here; We have every right to the role of Idamante as much as to the role of Orpee and please do not imply that casting either role with a tenor is some sort of compromise to bend to "tastes" or anything. Casting a tenor as Idamante (or Orphee) is as historically accurate and valid as casting a mezzo.

This performance is one of my favorites of the opera. Unfortunately the sound os OK. Lewis was a legend, but his italian was not the best, the rest of the cast is quite good.I have to take exception to the characterization that Pavarotti was singing a role that should have been sung by a mezzo but it is OK because it is him. The fact is that Mozart wanted to have a tenor Idamante from the moment he decided to compose the opera but his desire was nixed by the emperor, who wanted his favorite Alto-Castrato in the role. As soon as he was able, Mozart rearranged the role for tenor and it was with a tenor that the opera was revived. So do not fear a tenor as idamante, as it has the stamp of approval of Mozart himself.

I enjoyed this very much