Marisa Galvany's fans were all in attendance at this performance, vociferously applauding her at her entrance and after all her big arias/scenes - and she deserves the acclaim. As in her other Aida recordings available from Opera Depot, she is a marvelous heroine with her command of the Verdian line and her passionate characterization. She interpolates a high E-flat here as she had in Mexico City, but dilutes the effect by jumping in a beat early. No matter: Galvany is a Prima Donna in the best sense.Joann Grillo had already been singing at the Met for nearly a decade when this performance took place. It must have been a pleasure to assume a leading role after singing so many comprimaria parts in New York. She certainly knows how the part is supposed to go and offers exciting, if occasionally shrill, singing Certainly she matches or surpasses what the Met offered just recently in this role. Ferraro is a little slower to warm up. His "Celeste Aida" is good, the top B-flats in place, but my guess is he would've loved another shot at it. He offers ringing high notes in the Act 2 Triumphal Scene and duets well with Galvany in Act 3. Quilico is a terrific Amonasro. For whatever reason Flagello's vibrato had started to spread by 1973 and occasionally borders on a wobble. He is still an impressive Ramfis as is Dworchak's King. Lando Bartolini is heard briefly as a compelling Messenger, fifteen years before his Met debut.Rivoli leads an effective performance. He rushes the singers and things occasionally get a little chaotic.The sound is adequate, the voices a little recessed (Galvany's E-flat would've been more effective had she been closer to the mic). There are rumblings during the Act 4 Judgement Scene probably due to a worn tape, but it doesn't last long.