This is a real night at the opera, one that is memorable for all the right reasons! Nilsson had only taken up Turandot the year before and she is in her most confident voice. The top Bs and Cs are like lasers and she sounds the vindictive princess to the life. Later performances would bring more shades to her characterization, but Nilsson's Turandot was always more about the incredible sound of that voice and it is displayed at its best here.Di Stefano sounds appropriately obsessed and ardent as the Unknown Prince. In 1958 the effects of forcing his lyric tenor voice hadn't yet become apparent and he is still able to float many phrases in a seductive manner. He joins Nilsson on an excellent top C at the end of "In quesra reggia" (he wants to leave it before she does), but thinks twice about going for the optional top C at "No, no, principessa altera". His "Nessun dorma" wins cheers from the audience. Carteri is a Liu with a back bone. Her singing is most convincing as is Modesti's Timur. The three ministers are superb as is Mercuriali as the Emperor. The chorus is white hot (so important in this opera). Votto leads his forces with authority and style.The sound is occasionally a little congested, but very listenable. If you love Turandot and/or these singers, do yourself a favor and get this set!

Suzanne is right. Nilsson sang her first Turandot at the Stockholm Opera on febr 23th -57. I am a witness, I was there, Nilsson had already sung all heavy Wagner roles and an extraordinary Salome but the public was not prepared for her Turandot. We were chocked and overwhelmed. How could there be a a voice capable to be heard the whole act 2? Enormous sound without effort and when the lasertones met one´s body they provoked a thrilling physical feeling. The initiative was taken by Svanholm, the famous wagnertenor, chief of the opera since -56. The old production was by Dobrowen. Svanholm wanted to find a new role for her. She was glad as the role was so short! Ít has gone 60 years and such a voice will never be heard again.

Some live recordings are so satisfying and compelling the they have achieved the status of being the preferred version; the 1955 Berlin LUCIA, with Callas and Di Stefano, the 1957 Trovatore with Del Monaco and Gencer, to mention but two. This recording would happily take it's place in their ranks. Di Stefano's beautiful voice is not the kind one immediately associates with this rather heavy role, but he proves to be ideal, bringing a warmth to this rather unsympathetic character while retaining the heroic ring and force of the role. Rosanna Cateri's beautiful voice has an edge to it that puts some steal into Liu's sacrifice and love.Nilsson is the quintessential Turandot.Of course nothing can be done to repair Puccini's failing theatrical sense, and in spite of much re-orchestration over the years the fact that the monster Turandot finds love in the final moments remains unacceptable dramatically. This recording uses as was customary until recent times, Toscannini's changes to Alfano's work on the opera after Puccini's death.The sound is very good

Great historical Turandot!

You’ve probably received umpteen replies to your query about whether Nilsson’s 1958 La Scala Turandot was her first ever performance in the role, but just in case: According to her memoirs, La Nilsson: My Life in Opera, she first performed Turandot in Stockholm in 1957. God bless whoever thought of dusting off this opera for her!Cheers, and thanks for your wonderful web site!