Flaviano Labo shows why he was in demand for the standard Italian repertoire at this time. His Riccardo is very well-sung, noble, and sympathetic. He was considered a second stringer after Corelli, Bergonzi, and Tucker, but an extremely good second stringer. The very young Souliotis (she was just 23) also shows why there was so much enthusiasm for and expectation of her. The big moments are all most satisfying: thrilling top Cs crown "Ma dall'arido" and the love duet and dramatically she is always involved. We also hear that her technique is far from polished. She ends her first big aria underpitch because the support isn't there. There are awkward moments in the phrasing and some sloppiness when the music demands finesse - but she was only 23! A remarkably mature 23 to be sure, but the body and voice never really got a chance to catch-up with the superb musical insights.Paskalis sings a really fine Renato. Dora Minarchi has the right instincts, but the voice can't always fill out the phrases. The Oscar, Monique de la Torre, may have been a last minute substitute or at least that's the most charitable explanation for her completely blank portrayal. She doesn't seem to have any idea of who she is or what she's singing about. The audience makes their displeasure known during her "Saper vorreste".The sound is mixed: mostly listenable, but with some glitches. The volume level fluctuates annoyingly here and there and there are a few editing errors.

The protagonists of this performance sing better in the course of the event, which is a must have for Souliotis fanatics. It convinces me that she was a Verdi singer at this stage of her career and should not have touched belcanto so early. Apart from Souliotis, I particularly liked Paskalis for his voice and dramatic involvement. The soprano singing Oscar is a disaster. The quality of the recording is ok most of the time but is rather bad at some places, especially in the first part.

This is a very satisfying recording with Labo and Souliotis at the peak of their powers. Labo was a major voice of the 50's and 60's and by all accounts a big one. He sings and impassioned Riccardo, the voice warm and individual, recalling (for me anyway) Di Stefano in the role.Souliotis here at 22 was at the beginning of her meteor-like career. The very sound of her voice with the almost plaintive upper register brings an appropriate sadness to her clearly delineated sound picture of Amelia. She and Labo create a vital chemistry, the love duet delivering much exciting singing.Kostas Paskalis may not have the vocal bloom of some others but his is an emotionally aware and well sung Renato. We have a wonderfully shady pair of conspirators and an excellent Ulrica in Dora Minarchi- new to me. The sound is good and it all adds up to a "must have" recording

rara grabacion

Well, I bought this for Kostas Paskalis, an artist I have admired since being taken to see him as Macbeth at Glyndebourne in the 1960s. However, good though P. is (with his usual vocal & dramatic excesses!) the star of the show is Flaviano Labo! This is a tenor I had never heard, but he is amazing!!! Lyrical, sensitive, yet with an exciting heft and power to the voice – unusual for a tenor to have all the assets, but Labo is one of the most interesting of his generation. Why is he not better known?