I generally agree with David P. below: this is a tantalizing glimpse of an important artist in a role that she sang with success. But the sound quality is, indeed, “the most primitive kind imaginable,” the recording level set too high, so that forte moments distort to an ugly bleat or simply explode into static. Cerquetti’s two aria are listenable, showing the artist’s careful attention to words and talent for coloring them in pleasing and appropriate ways. “Tacea la notte placida” audibly brings down the house, and “D’amor sull’ali rosee” is even better, Cerquetti’s shift of emotions at the very end made palpable through her word coloring and fine line of melody.But this is sadly just a hint of the quality of her whole performance and those of her colleagues. Bergonzi suffers more, though a good record of “Ah si, ben mio,” very gently sung, survives. He deserves credit for making a decent effort to execute trills. Madeira, the Azucena, also pays attention to the words and presents a fierce (but not campy) personality. Her fine “Condotta ell'era” wins cheers from the audience. But much is only fitfully audible. Verdi lovers can find fuller and better records of Bergonzi’s Manrico and Guelfi’s Di Luna elsewhere on Opera Debut.

Any fans of Cerquetti, Bergonzi, and Madeira must hear these excerpts from Mexico City 1957.The excerpts are as follows:1. "Tacea la notte" through the end of Act One.2. "Stride la vampa" through the end of Act Two, scene one.3. "Qual suono?" through the end of Act Two, scene two.4. "Ah, si, ben mio" 5. "Siam giunti" through the end of "D'amor sull'ali rosee"6. "Alcuno ti rassicura" through the death of Leonora.No "Il balen", "Di quella pira", Leonora/Di Luna duet, or the last few minutes - BUTwhat is here is marvelous: Cerquetti is the Leonora of one's dreams, Bergonzi is in top shape (he joins Cerquetti on a great D-flat at the end of Act One), and Madeira is a law into herself (I love her gasp at the end of "Stride la vampa"!) Whoever transferred this from some worn acetates at least bothered to pitch everything correctly.I wish this were complete and in better sound, but I'm grateful for what we do have all the same. The sound isn't that bad and these singers are thrilling.

Poor Anita Cerquetti. Because of the January 1958 Rome "Norma" production she'll always be thought of as Callas's understudy, but she emerges here as a talented soprano, not in Callas's league but similar in her power and interest in vocal acting. It's an O.K. performance but frustratingly incomplete (I especially miss the "Miserere", which with Cerquetti and Bergonzi was probably a delight).

These fragments of Anita Cerquetti singing Il Trovatore in Mexico City in 1957 are of a fabulous rarity and represent the only extant example of her live in the role of Leonora. 1957 was one of her peak years and she is here in excellent voice, as is the (relatively) young Carlo Bergonzi. So essential Cerquetti. However it has to be acknowledged that the sound is the most primitive kind imaginable. So for Cerquetti completists this is definitely a 'must-have'; for others it may be a case of 'treat with caution'.

Good on the whole.

Anita Cerquetti's voice was the real thing; big fruity and beautiful, pure and even through the range, and capable of delivering with fluid ease florid passages. ( listen to the lick at which the cabaletta of her first act aria is taken). Her career finished early not because of vocal problems, but because of personal ones. It's wonderful to have any document of this great singer, even if as here, in variable sound. Her Manrico is the wonderful Carlo Bergonzi ( who recently died at age 90) who has not perhaps the steel in the voice the role requires, but is the definitive Verdi stylist and in 1957 was at the beginning of his career as a tenor. Added attractions are the massive and gritty voice of Gian Giacomo Guelfi and the vibrant and exciting Azucena of Jean Madeira. This highlights disc is very generous, ( although inexplicably Di Quella Pira is absent; as is Di Luna's Il Balen,---both di rigeur I would have thought in any selection of highlights of this opera---- a small quibble).This sound is more than acceptable in spite of distortion on big moments.

Some great performers who are hard to hear through terrible sound

It is indeed a wonderful performance. I had to dial down the bass to get a satisfactory equalizer where I could hear Cerquetti clearly, but then what a marvelous presence she is. It is one of the great tragedies of opera that she was not on the stage longer and did not make more studio recordings. This was a superb voice—gigantic really—and she used it with great feeling and intelligence. It just overpowers you. Bergonzi is excellent and Madeira is a welcome surprise as Azucena. I downloaded the mp3 and at this price, I can’t imagine a better bargain.I hope that somewhere in someone’s closet there are more Cerquetti recordings that we have not yet heard. It’s a voice that transports you into another realm.