This is a beautiful performance of the beloved opera, and what a cast! Though Anna Moffo had filmed the role for Italian television and made a successful studio recording under Leinsdorf, I was unprepared for her excellence in the part in a theatrical setting. Her voice's unique blend of warmth and brightness is all there in the service of Puccini's heroine. Without stinting the picturesque and "charming" aspects of the part, Moffo brings power and gleaming tone to Butterfly's most outspoken utterances (the sequence from "Ora a noi" through the end of the Act II is superb). She resorts to some parlando effects in order to project the text when the line descends below her comfort zone, but overall, an exquisite account of the role. Giuseppe Campora is a fine complement for Moffo, with his bright, forward voice, alert musicianship, and lyric impulse. Enzo Sordello and and Huguette Tourangeau are luxury casting as Sharpless and Suzuki, and you even get a young James Morris as Yamadori. Best of the supporting players, though, is Mariano Caruso, an expert and well-sung Goro. Anton Guadagno's tempi are brisk throughout, which perhaps aids his mostly lyric cast make their points, though in places a bit more luxuriating would be welcome. The only major drawback to this recording is the sound, which is somewhat recessed, with ample audience noise throughout. But the performance is dynamite!

Moffo's 1958 studio recording of this opera under Leinsdorf was my introduction to this opera. Moffo had been having some vocal issues that really came to light in her 1969 Met broadcast of Lucia. The high notes were all there, but the rest of her voice sounded alarmingly fragile. To her credit she sang her two scheduled Lucias after that performance as well. Like Robert below I wasn't sure how she'd come out singing such a heavy role onstage.I needn't have worried. Her middle register is in much better condition, her ever dependable top notes lovely. Dramatically, she is convincing as the child bride and then as the young woman who faces her bitter betrayal with dignity. There are some tears here, but not nearly as effusive as they were in the studio recording 12 years earlier: a beautiful performance (yes, she sings the D-flat at her entrance).Tourangeau is a luxury as Suzuki (the low A-flat on "Che giova" in the last act is superb; she blends exceptionally well with Moffo in the brief second act duet. Campora is good too, occasionally a little under pitch on some of his high points though he musters a great top C with Moffo at the end of Act 1. Sordello is a superb Sharpless, very sensitive in his scenes with Butterfly. A young James Morris is easily identifiable as Yamadori. Guadagno conducts one of the fastest performances of this opera I've ever heard. The sound is acceptable, the voices a little recessed. The audience is very vociferous in its approval, one man shouting out "Brava!" at every opportunity. They also cheer after "Ritorna e m'ama!" in Act 2, a tradition no longer allowed in most houses.All Moffo fans should get this!