There were two broadcasts of Falstaff from La Scala, 1951 and 1952. This recording is of the earlier one with Noni as Nanetta and Maionica as Pistola, the next year had Carteri and Tajo in those roles. The rest of the cast was the same; both were conducted by De SabataDe Sabata's brilliant conducting helps give a great cast even more zest and fun. The singers certainly have to stay on their toes because De Sabata doesn't let up for a moment. By 1951, Stabile's voice wasn't what it had been a decade or so earlier, but it matters not at all. He responds to every moment as if it were the first time he'd sung the role. Other baritones have sung more beautifully, few with as much specificity. The young Tebaldi is also marvelous, her voice lighter in color than it would become within the next few years. She has no trouble with the top Cs here, joining Noni for a triumphant conclusion. Noni and Valletti are ideal as the lovers as is Elmo as Quickly, a role that lay in the best part of her voice. Silveri is a most distinguished Ford, Canali a wonderful Meg. The supporting roles are handled by true experts. The pitch of the tape is correct and, except for a few fleeting glitches in the final scene the sound is excellent. If you love Falstaff and/or Verdi, you must hear this life-affirming performance!

This performance of Falstaff is among the most ebullient and scintillating you will find. I replayed the entire opera immediately, in awe of the jubilant pace and accuracy of De Sabata, soloists and orchestra. Stabile and Silveri are magnificent individually, rising to majesty in their scene together. The quartet of ladies is stellar, possessing infinite charm and sly wit. Tebaldi captivates with glittering scales and trills. Elmo creates a sugar plum Quickly. Noni and Valletti are ideally partnered lovers. Sound is excellent, with a single technical flub (repeat) in the fugue finale. Listen to the La Scala audience laugh and cheer Verdi’s and Boito’s mercurial masterpiece.