Each of the primary characters in this opera are experiencing remarkable life challenges of their making As well as those beyond their control. In addition, they live under the constant threat of the Inqisition. Rysanek fully realizes the heartbreak, anxiety, fear and defiance of Giocanda through employment of superior vocal skill and a vocal timbre capable of expressing every sublime to high flying emotion. I challenge any listener not to be awed by the volcanic power of her voice as well as it's never-ending ability to appropriately shade, shape and color every phrase. The supporting cast are all in high gear in their effort to deliver this drama.

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Gioconda was a role Rysanek turned to after many years singing the big spinto Puccini and Verdi parts (Tosca, Aida, Amelia, etc.). She brings her customary commitment to Ponchielli's score, making us really care about Gioconda's plight. She is in good voice, her only concession to the part's considerable demands is that she does not attempt the final top C of the last act trio. Her colleagues are excellent. Franco Tagliavini sings Enzo very well. Eva Randova incites a frenzy after her thrilling "Stella del marinar" and then matches Rysanek excitingly in their famous duet. Paskalis not only sings with ringing tone, but isn't afraid of Barnaba's moustache-twirling villainy, letting out a frightening final howl as the opera ends. Peter Lagger is fine as Alvise though the part lies too high for him and Vera Little (an African-American contralto who made her career in Europe) sings La Cieca's famous aria with style and character. Patane's conducting keeps things moving; he is always sensitive to his singers' needs. The chorus and orchestra also perform well; the sound is very good. The prelude was either cut from the performance or from this recording (I suspect the former) and, as mentioned by David McKee below, we only hear the final stretta of the (in)famous Dance of the Hours. But let's face it: if you're getting this recording you're doing so for the singers and all of their music is present. You won't be disappointed.

A very heterogeneous cast provides a surprisingly idiomatic "La Gioconda." Passion is to the fore, led by Leonie Rysanek at her most abandoned. She emits some admittedly hair-raising phrases but her commitment to the role and glorious timbre ultimately carry the day. Franco Tagliavini's Enzo is small-scaled but otherwise satisfying and Eva Randova makes an unexpectedly blandishing Laura. Kostas Paskalis is in top form, relishing Barnaba's villainy (he and Rysanek generate sparks). Only Vera Little's La Cieca is a serious drawback. There are a few cuts, which include the prelude and all but the stretta of the "Dance of the Hours."