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The prompter! At some points, he is reading the entire libretto to them. He’s the third person in the love duet. And sometimes, its just funny: (mai piu.) Mai piu! (mai piu.) Mai piu! Did he really think she’d forget the line? Still, Tebaldi is wonderful, and the audience loves her like a daughter. Well worth getting, but you’ve been warned.

I don't have much to add to the already positive reviews here. I deducted a star because the prompter was somewhat obtrusive; it's never been clear to me why some prompters deliver almost every line - surely these well-seasoned professionals know the roles. Anyway, the performance is in great sound and the singers are excellent. Tebaldi and Raimondi bring what some may consider to be oversized voices to the parts, but I relished their richness. Butterfly is an odd opera for me because I find the plot distasteful (Pinkerton deservedly unsympathetic and the time/setting an unfortunate period of colonial abuse), but the music for Butterfly is exceptional. As for the demands on the singer. Tebaldi is more than up to it here, and I find her involvement very satisfying and superior to the studio versions.

Tebaldi made two fine studio recordings of Madama Butterfly. They are classics and anyone who loves her must hear them. Yet this performance shows why the Italian soprano was so beloved by her public. In front of a live audience and free from the interference of recording producers, she gives an unabashedly passionate performance. One of the most powerful moments is an unscripted one. Just before she commits suicide, the child cries out "Mama!" and Tebaldi lets out a scream that tears at your heart. It would probably be too much for a studio recording, but in the context of this performance it is gut-wrenching. It doesn't hurt that she's in very fine voice too having little, if any, difficulties with her top notes (she and Raimondi bring the big first act duet to a rapturous conclusion with a fine high C from both of them).Raimondi, Taddei, and di Stasio are all great in their roles as is Mariano Caruso as Goro (he is one of the few Goros I've heard who screams in the second act where Puccini and his librettists ask him to). Questa leads an exciting performance. The sound captures the voices very well. Honesty insists I mention the penetrating voice of the prompter who gives every word of the text and then some. It's worth enduring for the sake of the performance. Tebaldi made many fine studio recordings, but if you want to understand why she was so loved you must hear performances like this one. I fell in love with her all over again.

Giuseppe Valdengo is the fine Sharpless, not Giuseppe Taddei (although he would've been great too!) My apologies to both gentlemen!

Tebaldi, in a role she sang infrequently, is glorious in her singing of this role in Naples; her voice soars with emotion and her portrayal is truly affecting.The downside of this recording is that the prompter’s voice is particularly prominent throughout; a debit, but Tebaldi’s committed and highly performance makes this cd one to cherish.

An exciting performance, with Tebaldi almost at her top. The rest of the cast is good. Sound more than good.

Already owning Tebaldi's two commercial recordings, I wanted a live performance. There is much to enjoy hear. The sound is good. Raimondi is quite wonderful as Pinkerton. di Stasio is very solid and Valdengo is a good Sharpless. Tebaldi is basically wonderful (marring some pitch issues). There are always moments of magic with Tebaldi and there are many hear.

beautiful performance due to the great singers. As it is expected Tebaldi is not really adequate in the first act but breathtaking in the further parts. Her "Un bel di vedremo" is one of the most wonderful performances I have ever heard. Both Raimondi and Valdengo are excellent in their roles. Angelo Questa leads a brisk and dramatic performance

what do you think...?