Good performance once again poor sound.

Performances of Manon Lescaut don't get more passionate than this one. Everyone in the cast is terrific and contributes strongly to this smoldering early Puccini opera. Petrella is, perhaps, condescended to nowadays as one of those Italian verismo sopranos of the 1950's who were all temperament and little voice. Time for a reassessment! True, Petrella's top while accurate doesn't have the reach and throb of a Leontyne Price or Magda Olivero, but here she successfully negotiates all the C's and provides a stirring lesson in how to shape and phrase an aria for maximum effect. One roots for Manon's beauty and immaturity all at once. Di Stefano is an ardent Des Grieux for whom the stakes are incredibly high. As beautiful as his voice is one can almost see the enamel wearing off his tone so intense is his performance. He and Petrella make a great couple; her death is as heartbreaking as it us inevitable. Borriello is a superb Lescaut (he sang the role in Tebaldi's studio recording.) A thankless, but fun role, Borriello makes the most of every opportunity Puccini gives him. Leo Pudis is an intimidating Geronte. Bellezza conducts very well. This almost sounds like an in-house recording as the voices are more recessed than in a broadcast of the period, but maybe the mics were turned the wrong way (not uncommon in Italy during this period.) There seems to be some doubt as to where

There seems to be some doubt as to where this performance took place. Andy lists Naples, but Gianfranco (see below) says it's La Scala. At any rate, the ear adjusts to the sound and the pitch of the tape is correct. Lovers of this opera or the singers should get this.

Bought this because of Di Stefano. He sang with usual gusto and fervor. Petrella surprised me. She was a very good Manon.

Sorry to say Di Stefano couldn’t sing Manon Lescaut in Napoli on March 3 1957, since he was singing Manon Lescaut at La Scala (just wuth Clara Petrella) in the same date (see La Scala archives)Best wishesGianfranco