This Barber of Seville preserves many of the performance traditions that used to be commonly heard in this opera up until this time (1972). Peters' lovely high soprano is heard to excellent effect in a role that has long since been given back to mezzo-sopranos (I can't think of a recent performance that used a soprano as Rosina). She had been singing the role for two decades and still sounds fresh. Her interpolation of "O luce di quest'anima" in the lesson scene instead of Rossini's own "Contro un cor" may cause consternation among the Rossini purists, but the rest of us will enjoy her show-stopping turn. The men are all good though, it must be admitted, not up to the florid standards of men singing this music today. Johnson has a beautiful lyric tenor and makes a handsome Almaviva. Guarrera's voice shows a little wear and tear (he'd been singing for nearly thirty years), yet he still has all the high notes and knows how the role is supposed to go. He jumps a beat in the last part of "Largo al factotum", causing some momentary misalignment with the orchestra, but is savvy enough to know how to make everything right. He and Peters have a great time in "Dunque io son".Foldi is a funny Bartolo who knows all the tricks (his improvisations are right on the mark). Voketaitis is a formidable Basilio. The unnamed Berta is also excellent. Maestro Csonka keeps everyone together - no mean achievement in this opera; all the usual cuts are made. The audience thoroughly enjoys the performance.This sounds like it was recorded in-house with a good balance between the voices and orchestra; the pitch of the tape is correct.For fans of the opera and the singers.

The audience for this performance had a high old time as did the performers. This is an old-fashioned Barber of Seville in the best sense with all the interpolated high notes, improvisations, and cuts. It also preserves the tradition of having Rosina sing an aria of her choice during the lesson scene instead of Rossini's "Control in cor". The singers here are all experts of these traditions and perform them to the manner born.Guarrera had been singing professionally for nearly 30 years when this performance was given and his voice sounds a little worn though he still has all the high notes. He also knows where all the laughs are and is completely comfortable with the style. He jumps a beat towards the end of his "Largo al factotum" causing some momentary misalignment with the orchestra, but rights everything before the end. Peters is delightful, still singing with precision and enjoyment. Her interpolated "O luce di quest'anima" is one of the performance highlights. Robert Johnson was an excellent lyric tenor with a lovely voice. He is not as nimble with the coloratura as we would expect of a tenor today, but his solid portrayal fits in well with the ensemble. Foldi is a very funny Bartolo who honors all the traditional schtick as does Voketaitis whose "La calunnia" brings down the house. The unnamed Berta is also very good. Paul Cszonka manages to keep everyone together and paces the evening well. The audience's laughter is infectious.The sound is very good for what was probably a house tape, the voices clearly heard, the pitch of the tape correct.All fans of the singers should get this.