Just excellent Carreras as always in 1974. But the recording itself has nothing specifically outstanding. It would be quite great choice.

The young Carreras sounded so marvelous. His timbre was perhaps even more beautiful than Pavarotti's. It wasn't destined to last long, but we can put that aside while listening to this 1974 Tosca. The audience obviously adores him and who could blame them? He also sounds the hot-headed revolutionary; we can definitely understand why Tosca is so in love with him.And that Tosca is none other than Pirate favorite Marisa Galvany who acts and sings up a storm. She holds on to her high C's as long as she can, seduces us with a haunting "Vissi d'arte", and kills Scarpia with incredible ferocity. Following a tradition also employed by Tebaldi and Nilsson, she even adds a scream as she jumps at the end. Shinall's grumbly baritone is familiar from many Met broadcasts. His Scarpia is very good, well-acted and specific in its intent although the voice itself is rather ordinary. NYCO regulars here include James Billings, William Ledbetter, and Don Yule, all of whom are very good. Moresco leads a solid performance. The sound is very listenable, the voices heard clearly though occasionally getting a little lost behind the orchestra.The filler shows the young Carreras in some other familiar arias and scenes with a really winning "Che gelida manina" from Salzburg. There is another Tosca with Carreras and Maralin Niska from NYCO about this time - maybe Andy will find and release that one too!

It is, of course, Giuseppe Morelli, not Moresco, who conducts this performance. Mea culpa...