These famous Salzburg performances helped establish the opera in the modern repertoire. The standout here is Tatiana Troyanos, heard in her prime, her distinctively rich, resinous tone absolutely even through the range, and her technique and communicativeness superb. Howells and Malfitano also excel as the young lovers, Malfitano with a fuller voice than is often heard in the role of Servilia. Hollweg brings too many veristic inflections to Tito, for my taste. Neblett is very fine as Vitellia, in full, stable voice, but lacking the nth degree of Mozartean refinement. Levine is a committed champion of the score.

wenn titus, dann so ! bloß nicht den eitlen currentzis.

Excellent. Everyone is at the top of their game in this performance. I had the pleasure of seeing Troyanos at the Met in this role in the '80s but this performance is even better!

The Austrian Orfeo label recently released a Clemenza with this exact cast from the 1977 Salzburg Festival. Whether this performance is the same or not I don't know. Andy dates it from 1976. In any case, Mozartians shouldn't hesitate. The cast is fully integrated into Ponnelle's famous staging and their intensity helps enliven an opera that can become formulaic. Furthermore the singing from everyone is excellent. Other Titos have been more handy with the coloratura, but Hollweg gives us Tito himself. Troyanos is spectacular, sailing through the difficult triplets of "Parto, parto" with enviable ease and really making us care about Sesto's predicament. Neblett's Vitellia is so good one wishes again that she had spared her voice all those Minnies and Verdi roles. She encompasses the quick top D in the trio and groans out a good low G in "Non piu di fiori". The other singers are just as good. Levine leads a dramatic performance that honors Mozart as much as the librettist. The sound is from a very good stereo broadcast tape. One of Opera Depot's best offerings!

Excellent. An outstanding performance. Highly recommended.