Puccini's Il Tabarro is now viewed as one of his masterworks though it took a while for critics to come around. In less than an hour Puccini gives us three vivid, well-rounded characters in turmoil with each other and their situation. Even the supporting characters are convincingly human.This performance captures that humanity. Petrella is one of those cult-divas in the best sense. She sings very honestly and shows us Giorgetta's soul. Perhaps Scotto is more specific in her choices, but Petrella with a voice not as fine as Scotto's is the Real Deal. Picchi's very Italianate, if strange, voice conjures up a Luigi who is more than just a lusty stevedore looking for a good time. Bastianini is a sleek, handsome Michele. The final moments of the opera are terrifying.The supporting cast is made up of excellent comprimarios like Mafalda Masini (Suzuki to Petrella's Butterfly on the old Cetra recording), Virgilio Carbonari, and Piero De Palma. Santini knows well how this opera is supposed to go.The sound is very good. Use this as a stand-alone Tabarro or combine it with another stand-alone Suor Angelica and/or Gianni Schicchi. Puccini was a genius!

Little known cast shines effectively

Bastianini's beautiful finely focused voice, one would think would be too young sounding and attractive for the unsympathetic and ageing Michele. In 1955 he was at the height of the full glory of his career, with a grittiness in his voice that sits well with the role. However he in no way overshadows the wonderful Clara Petrella whose powerful and sensually beautiful voice and her signature passionate commitment, ensure that once heard in this role one will want no other.Mirto Picchi although a fine artist is not in this class, his voice, which opens up well to the demands of the music is rather lean and anonymous.The sound is good