Elena Souliotis was taking the world by storm in the late '60s, and while Aida presents a formidable test of vocal technique, this performance reveals both her raw talent and the first signs of the technical strain that would eventually shorten her career. Still, she sings with remarkable openness and generosity, qualities that give her Aida an undeniable emotional pull. Simply put, Shirley Verrett is one of the greatest Amnerises I have ever heard. She strikes a powerful balance between imperiousness and vulnerability, with an Act IV scene that is nothing short of astonishing. Those high B-flats must have been shattering in the house.

Amedeo Zambon, a tenor very much in the mold of Del Monaco, may not offer much in the way of nuance, but delivers thrilling high notes with abandon. Giangiacomo Guelfi sets the stage ablaze as Amonasro, bringing the vocal color of a bass and the security of a tenor to the role.