Manrico was one of Bergonzi's best roles. He may have lacked the swagger and machismo that Corelli and Del Monaco brought to it, but he was their superior in elegance and phrasing. He was feeling good the night this was recorded, having no difficulties with any of the high notes (he joins Mancini on the interpolated D-flat at the end of Act 1) and regaling us with an exquisite "Ah, si ben mio". As Andy notes above, Mancini was a last minute replacement for Leontyne Price. Though I miss Price's exquisitely beautiful tone, Mancini holds her own. She knows the style intimately, phrases like a true Verdian, and adds some excitement to the proceedings. If her fourth act aria isn't as even as one might wish, she still is a Leonora with gumption. Grillo is mostly familiar as a wonderful Met comprimaria, yet she shows her prowess here. If she doesn't match Simionato or Cossotto, she still is better than most of the singers we hear in this role today. Colzani is excellent, receiving a very enthusiastic hand for his "Il balen". Unfortunately, the first scene is missing so we don't get to hear much of Moscona's Ferrando.Whoever recorded this focused on the soloists music so most of the choral moments are missing. The sound is adequate, the soloists clearly heard; the pitch of the tape is correct.For fans of the soloists.

Lamentablemente, el audio no es excelente. Para mi, que estimo mucho los documentos sonoros, está bien. Pero a veces os he comprado grabaciones de mucha mejor audición. En todo caso, todo lo que publiquéis con Caterina Mancini, me interesa mucho.