I am really glad Andy decided to release this performance despite the last act being rained out. Gencer is in top form, singing Verdi as only she can with passion, commitment and vocal assurance. Her "O patria mia" wins her a roar of approval as well it should: the top C is floated beautifully as is the final A. She and Simionato make a fiery duo in their Act Two encounter. Simionato is simply superb. I have no criticism of her. Limarilli may not be Corelli, but he sings very satisfyingly. His intonation isn't perfect, but some of that may be due to singing outdoors. Guelfi is a frightening Amonasro: woe to those who get in his way! Giaiotti is terrific as Ramfis, another singer with a fine voice who was often taken for granted. The chorus is outstanding too. Serafin's tempi are a little slow, but everything clicks.Rather than leave us hanging with no Act Four, Andy gives us that act from Vienna performance given a few months earlier with Simionato. Since Act Four is dominated by Amneris, this was a wise decision, especially since Simionato is so marvelous in the scene. Price and Uzonov sing the final scene with passion. Uzonov is in better shape here than elsewhere. I began to understand why he was so admired.The sound is very vivid, the voices always clear and forward. Highly recommended to Verdi lovers or fans of the singers!

As a big fan of Giulietta Simionato, I wanted to add this recording to my collection. I was skeptical about Leyla Gencer whom I don't generally find very expressive and about the quality of the sound as it was an outdoor performance in the gigantic Arena di Verona. However, I was pleasantly surprised by both the excellent sound and by Gencer's singing, especially her ethereal and long-breathed high pianissimi. Not surprising was the glorious Simionato, still in her prime in 1963 at age 53. It must have been a blow to the audience when Act IV had to be cancelled due to rain. To us today too it is a shame not to have Amneris' heart-rending final pleas in the Judgment Scene. The inclusion of Act IV from a stirring performance in Vienna two months earlier is welcome, but one wishes one of the other four performances in the Arena had been recorded.