Operatic Conventional Wisdom insists Elena Souliotis was on her way out by 1971. This performance shows that wasn't true. There's still a lot of voice left and a lot of imagination. Souliotis has no problems with any of the high notes nor is there any wobble. Her portrayal of Puccini's heroine is very passionate, yet one can hear her mature from act to act. Her death scene is moving because she doesn't overact it.Domingo is in fine voice though my guess is he'd love to have had another try at the high B in the "Pazzo son" aria in Act Three. His sobs at the end are very believable. Even after hearing this opera hundreds of times I shed a few tears myself.The supporting cast is excellent. Ermanno Lorenzi gets things off to a great start as Edmundo, Mario D'Anna is a fine Lescaut, Sergio Pezzetti is an unusually vivid Geronte, and Giuseppina Dalle Molle sings the Musico's brief solo with a rich, beautiful mezzo. De Fabritiis conducts a fiery performance (listen to the frenzied end of Act Two.)This probably derives from an in-house source given the proximity of some of the audience's remarks, but from a seat close to the stage as the voices are very close. There are a few one second drop-outs before "L'ora o Tirsi" in the second act, but fortunately this doesn't happen during Souliotis' singing.Souliotis and Domingo deserve the acclaim they receive here. Fans of the opera or the singers should get this!

I like this recording of Manon Lescaut with Souliotis and Domingo as couple. The singing is dramatic and in a way really verismo style. The sound quality is acceptable.

Edizione di rilievo. Ero bambino quando al san Carlo fui presente ad una recita di questa Manon che ricordo con commozione. Risentirla ma ha fatto un gran piacere.

Domingo is a magnificent Des Grieux, ardent and masculine, and finds the perfect foil in Elena Souliots, a vulnerable and sweet Manon. The voice itself has a sensuous sound that is backed by tremendous power when required.The supporting cast is more than adequate and the sound very good.