Callas's Mexico City performances are some of her greatest. She was young and amazingly mature. It's no wonder audiences went crazy over her passionate singing. That being said there must have been little or no rehearsal for most of these performances. This Tosca is a perfect example of that. Cues are missed, singers enter early or late (or not at all), and the coordination between stage and pit often seems strictly coincidental. The conductor, Guido Picco, either rushes the singers giving them no room to breathe or is late coming in at crucial moments (i.e. the last couple minutes of Act Three).Nevertheless Callas fans love these performances and consider them a major part of her discography. She was in excellent voice the night this was recorded and sings every phrase with specific colors. Her teasing of Cavaradossi in Act One is as vivid as her loathing of Scarpia in Act Two. Her voice is incredibly responsive and does everything she wants it to. Sadly, that wouldn't last, but we can enjoy her vocal profligacy while it was still intact.Di Stefano was also in good voice. The audience adores him and is granted an encore of "E lucevan le stelle". Campolonghi is not world class, but he has a strong voice and knew how the role was supposed to go. The other singers are good when they remember their parts (the Sacristan!)The tops of each act are missing and there is some scratchiness, but everything is pitched correctly. Callas fans need not hesitate!

Great performance. Di Stefano and Callas at their very best, and the baritone Campolonghi is a revelation. Pity the recording is so disappointing.

A great musical document of great opera art live