I think this is the most vocally exciting Tosca I have ever heard, which is not to say that it is not dramatic, too. The two encored arias are superb--both times. This is the was to remember Tebaldi at her very best, stubbing singing. A must for fans of any of the three leads or for Tosca lovers.

The sound on this broadcast is about what you'd expect from this period, but the performance is worth whatever sonic imagination is required. Whoever pieced this together from what were probably Frankenstein-like parts did a good job of maintaining continuity and getting the pitch right. This is one of Tebaldi's earliest extant Toscas (there is another from Buenos Aires 1953 with Bergonzi and Taddei that is not complete) and she is already a Diva in the best sense. She goes for broke on all the big dramatic moments, especially the finale where her wrenching screams of "Mario!" are truly heartbreaking (I love the scream as she "jumps" too.) Her singing shows why opera lovers were already going crazy about her. She encores "Vissi d'arte" and is even better the second time round.Di Stefano is in tremendous voice. He partners his leading lady very well and sings meltingly throughout (not to be outdone, he encores "E lucevan le stelle" too.) His offstage scream when tortured is frightening! Taddei is terrific as Scarpia: venal, imposing, dangerous, sexy - no wonder he owned the role for years! The rest of the cast is excellent. De Fabritiis leads and follows very well (unlike Molinari-Pradelli who used to rush Tebaldi through certain moments.)Even if you have 100 Toscas you need this one too.

Though the poorer sound this performance can match with the famous Callas/diStefano/Gobbi/de Sabata commercial record. Di Stefano is incredible, he is simply the best Cavaradossi for ever. His "E lucevan le Stelle" is unmatched (and the repetition is more beautiful). Taddei is terrifying as Scarpia. Tebaldi is also very good in one of her most famous roles but I find Callas or Kabaivanska better. Modesti is the best Angelotti I have ever heard, I think he is a luxury in this role. But the biggest surprise for me was the conducting of de Fabritiis.He is a little underrated conductor though he made very good records in the past (e.g. a lot of complete operas with Gigli, among them the famous Tosca with Caniglia and Armando Borgioli). He leads the orchestra masterful presenting us a very exciting performance.

This TOSCA has the distinction of being Tebaldi's earliest documented live performance. It was recorded the same year as Di Stefano's classic EMI recording with Callas.De Fabriits ops for slow tempi which is in many ways a bonus. Tebaldi's is a gloriously sung, dignified and vulnerable TOSCA . Her VISSI D'ARTE is taken slowly and gently until it opens out in long arching phrases. It is wonderfully moving and superior to the versions on her two studio performances, and for me the best version of this much recorded aria.Di Stefano's warm beautiful voice with his distinctive and individual phrasing is the ideal CAVARADOSSI - with a smile in the voice. His E LUCEVAN le stella is more finely drawn than in the '55 studio recording. An encore is demanded and given.Taddei was the best Italian baritone of the post war years. Certainly the Italians thought so: "We gave Gobbi to the world and kept Taddei for ourselves" his beautiful bronze voice becomes gentle and conversational in a parlando way to great effect. He too here revels in the slow tempi.The sound is noisy but voice and orchestra are always well balanced and these marvellous voices cut through well.