...and here I'm talking about Crespin. She sings with great beauty while bringing the text and the emotion behind it to the fore. She plays Tosca as a diva rather than a shrew; suspicious, jealous and protective? Definitely - but within certain bounds. This makes the few outbursts and discovery that Mario is dead all the more powerful. Her "Visi d'arte" is sung with inner sadness rather than bitterness. I have two other recordings of her singing Tosca and I think this is the one to which I will return.Taddei's Scarpia is effective as usual: not as subtle as Gobbi, but for the most part, better sung. He does tend to chew the scenery from time to time.Raimondi was an excellent, but under-recorded, tenor. His voice is bright and appealing. However, his "Vittoria" is forced, strained and hung onto painfully. The audience's response is orgiastic.The sound, except for occasional overload, is quite good.

Wonderful , full blooded Tosca with Crespin in one of her great Italian roles, capturing the excitement of when I saw her live at the Met in those years (with Corelli). Sound is fine.

There are a number of recordings of Tosca with Crespin, but this is the hottest of them. She was in sterling voice and has no problems with her top notes. She is also on fire dramatically, burning up the stage against Taddei's incendiary Scarpia. Her scream when she realizes Mario's death is blood-curdling.Raimondi demonstrates once again what an underrated singer he was with his powerfully sung Cavaradossi. His top notes earn bravos from the audience. Taddei with his distinctive baritone is a frightening Scarpia. The supporting cast is first-rate. Cillario conducts with great flair, supporting his singers very well. The sound is terrific.If you love Tosca, Crespin, or Puccini, you need this in your collection!

Crespin is voluptuous and volatile, her voice sailing freely through the Colon. Taddei laces every contemptuous word and phrase with enough courtly manner to underscore his hypocrisy. Raimondi wisely relies upon the point in his lyric instrument, rather than strain to match the amplitude of his colleagues. Cillario conducts expertly. Sound excellent; the sheer size of Crespin’s top voice distorts only slightly. Supporting cast very good (credits): Angelotti: Juan Zanin, Sacristano: Eduardo Ferracani, Spoletta: Italo Pasini, Sciarrone: Hector Barbieri, Jailer: Pino de Vescovi, Shepherd: Corrada Malfa.