I agree. It is shameful to cut or shorten any opera and especially when you have a voice such as Raimondi's but with all the cuts - this performance, with this powerhouse cast, is *the* one. Better than any other you'll find and those include the later performances of Joan in 64 and 65 on here. The casting here is one to envy and Joan only gives us that one glorious 'E' among other stellar moments...worth it.

SEMIRAMIDE IS JOAN SUTHERLAND AND JOAN SUTHERLAND IS SEMIRAMIDE. A(NOTHER) MUST HAVE! ThHE TENO'S NAME IS GIANNI RAIMONDI, NOT GIANNI ROLANDI (IN THE CRITICAL NOTES).

I AM TERRIBLY SORRY FOR THE TYPO MISTAKES... SO... SEMIRAMIDE IS JOAN SUTHERLAND AND JOAN SUTHERLAND IS SEMIRAMIDE. A(NOTHER) MUST HAVE! THE TENOR'S NAME IS RAIMONDI, NOT ROLANDI. THANK YOU SO MUCH!

Naturally the main virtue of this historical performance is the debut of Dame Joan Sutherland as Semiramide, really great in this marvellous and extremely difficult Belcanto role; and if in the future performances conducted by the most competent M° Richard Bonynge she will be even more outstanding (also thanks to the presence of the unrivaled Arsace of Mme Marilyn Horne), in this production she sung much more recitatives, and with an excellent interpretative accent, making this first recording not only a precious document, but also a necessary musical evidence of her imperishable Art.

Back before there was Sutherland and Horne, there was Sutherland and Simionato. No, Simionato didn't quite have Horne's coloratura ability, but what she does have is more than adequate. Perhaps more importantly she blends well with Dame Joan, both singers listening and responding to each other, challenging the other to give her best. In addition, Sutherland sings a dazzling "Bel raggio" (still in key here), crowning it with a bell-like high E. The two leading men are very good, but this type of music wasn't really in their training and requires a different style than that to which they were accustomed. Raimondi joins Sutherland on a great high C at the end of Act One. Ganzarolli actually handles Assur's coloratura better than I thought he would. This music must have seemed very daunting at the time (1962). It still is difficult, but now we have singers more capable of Rossini's rapid coloratura demands. The original ending is used here (where Semiramide is killed instead of Assur); I prefer it to Bonynge's use of the "lieto fine" that Rossini wrote later. The sound is from a very good broadcast source and is pitched correctly too.Santini cuts the heck out of the score, but get this for the two leading ladies, both of whom sing like the divas they were!

Correction of previous review title.

the singers were fantantic the opera is also great but not performed very often in opera houses

Overall excellent performance & the sound is great for the period. The only drawn back are the cuts. Sutherland is in top form. Simionato is a treasure, however - do not look for Arsace's IN SI BARBERA as it's not here! The gentlemen are also up to snuff! A worthwhile addition to anyone's library & if you are a SEMIRAMIDE connoisseur… a must!

Enough cannot be said to describe the vocal mastery that transpires here. Sutherland and Simionato, each is resplendent, together miraculous! Ganzarolli is excellent, dark and fluid throughout. Raimondi is so striking, the omission of his arias is regrettable. Several ensembles and choruses are also cut. Santini may lack “elan vital”, but he partners the singers with care. Sound is very good.

Great performance