Carol Neblett made some role choices that however effective she may have in them probably shortened her vocal prime. Leonora in Trovatore was not one of them; it suits her to a T. She has the full measure of the Verdian line and sings with passion and involvement. She ends Act One on a great D-flat and interpolates a top C just before taking the poison in Act 4 (maybe she got the idea from Leontyne Price's second studio recording). She also sings a verse of "Tu vedrai".Most of us know Nedda Casei as an excellent comprimaria from her many Met broadcasts. Here we get to hear her in a leading role. If she's not a revelation as Azucena, she certainly doesn't disgrace herself. Unlike many other more famous mezzos in this role, she has an excellent trill and a strong top range that allows her to sing the top C in her duet with Manrico. She's very effective and the audience obviously likes her. Michael Molese was an underrated, hard-working NYCO tenor. In his review below Jim Lieberthal wonders whether or not Molese was really a tenor, yet he joins Neblett on the D-flat at the end of Act 1 and adds an extra high note to "Di quella pira". I liked him a lot.Bardelli had the authentic Italian baritone sound and is very good, if a little gruff and unrefined. Denson is a first-rate Ferrando. The orchestra gets too loud sometimes, but the voices, though a little recessed, are clearly heard. Not a bad night at the opera at all!

I grew up listening to Carol Neblett in Milwaukee, trying out roles or perfecting them. Her Leonore in Trovatore was a highlight of the many performances I attended and this record of it truly captures the crystalline power and superb control with strength and the uniqueness of her lovely middle voice. So grateful to have this! Nedda has a balanced voice and some power at the top and she really goes the distance and pulls out a strong performance. It a performance that surprised me and made me grateful also have more examples of her singing. Michele Molese I also encountered live and I wonder if he was somehow marking most of the performance until he got to act 3 which goes well and through there seems an obvious transposing down of Di quella lira. Ah, si ben mio is nicely done. I wonder if he really was a tenor, though like Neblett a NYCO mainstay.. Cesare Bardelli had an important career as a 50’s leading baritone in Italy where he eventually retired and taught. I really liked the quality of his voice and the support of the vocal line with a strong portrayal of the Count. I wish I heard more of this, these days. Irwin Denson gave a strong Ferrando to begin the proceedings and the audience clearly liked him. The conductor Carl Suppa was a mystery. Able to support the vocal line though in a very square sort of musicality and a mess of a time with the chorus. As a friend once declared - the chorus had only a ‘passing acquaintance’ of the score. Carol controlled and saved it.