I am very satisfied with this performance. The 1950s mono sound is good. The performance is a little short on slapstick, but it gives a good representation of the opera. I bought the recording to hear Renato Capechi, and he does not disappoint. He is in good voice and takes command of the situation at his entrance. I will look for more performances with Capechi in them. The supporting cast is excellent, with a lot of familiar voices like De Palma and Clabassi. I would recommend the recording.

Those with memories of long-ago CD reissues might remember that this studio Gianni Schicchi was the filler for a studio La Boheme with Antonietta Stella and Gianni Poggi on the Philips label. I remember enjoying it thoroughly: an all-Italian cast performing one of Puccini's greatest achievements.Bruna Rizzoli made a number of recordings for Columbia (including Norina in Don Pasquale and Musetta in the aforementioned La Boheme). She is a fine, underrated soprano with a spinning, easy top without the acidulous timbre that many of her fellow Italian sopranos were afflicted with (she was also the priestess on Zinka Milanov's studio Aida recording). She sings the big aria beautifully without becoming too emotional and soars to a radiant optional D-flat at the end of the opera. Her tenor, Agostino Lazzari, also recorded his role with Renata Tebaldi on her studio recording of the opera. One can hear why the studios wanted him: strong voice, excellent diction. Capecchi is a formidable Schicchi, one who knows well how to imitate Buoso Donati and witty enough to fool the greedy relatives. Vittoria Palombini, Plinio Clabassi, Piero De Palma, and Giuseppe Modesti are just a few of the names recognizable from other recordings of this era. Molinari-Pradelli leads the ensemble. He might not do anything strikingly original, but he knows how the piece is supposed to go and, frankly, that's a relief, The sound is very good with all the voices registering clearly.