Jurinac sang a much wider repertoire than most of us are aware of as did Hotter. Here we have them in two roles from the bread-and-butter Italian repertoire singing in Italian. The results are very enjoyable if not life-changing. Jurinac was reputed to have a short top, but that is disproven here. She has no trouble with any of Tosca's top notes nor really with any of music in general. She is less fiery than most Toscas (her reading of the line "Voglio vederlo" in Act Two sounds almost casual), but she rises to all the big moments. We are obviously deprived of her regal physical presence that must've brought a lot to her performance.Hotter speak-sings his way through Scarpia, singing out occasionally, generally husbanding his declining vocal resources. Even without seeing him though one can sense his implacable authority. Scarpia is not his greatest role, but it's good to have a document of him in it all the same.Cossutta sings very beautifully, especially in Act Three, and partners Jurinac well. He has ringing top notes, but never lingers over them. He is a musicianly, lyrical rebel. Whoever does the offstage scream for him at the climax of the torture scene should have gotten a raise: it's terrifying! Erich Kunz, by the way, is a delight as the Sacristan.Cluytens conducts a solid, better-than-average performance probably deriving from a broadcast as the voices are clearly heard over the orchestra. Jurinac, Cossutta, and Hotter fans should definitely get this!

Jurinac as we know is a great puccinian, a very pleasant young Cossutta . About Hotter facing an evidently no great form it can be said that like the ultime Callas he never sacrifies anything of the partition .

Jurinac is great, passionate Tosca. Cossutta nice, a bit lyrical Cavaradossi. I heard some strain in his voice in Vittoria, vittoria, however it is dramatically convincing. Both are real gems of this recording. Regarding Hotter- clearly, this was his off day/night. Cluytens and orchestra are in top form and very exciting. Worth buying.