To begin with: some better information on the recording’s provenience, double-checked from other sources.Date: July 30, 1969.Place: Baldwin Pavilion, Meadow Brooks Music Festival, Rochester Hills, Michigan.Cast: As given above, plusFernando: Ara BerberianInes: Mary MooreRuiz: Richard VealeGypsy: John Seabury Chorus of the Meadow Brook Music Festival (Director Robert Sadin).The Cleveland Orchestra, conducted by James Levine. One source comments that the performing orchestra was “not the Cleveland Symphony Orchestra.” But the official name of the renowned musical group has always been simply “The Cleveland Orchestra,” and Levine was at this time its Assistant Conductor under George Szell. Anyhow, the richness of the first chords of the prelude leaves no doubt that a world-class orchestra is backing this performance. The conductor gives us a fresh impression of this familiar work, discarding the usual indulgent plod of the Molinari-Pradelli era for a brisk and lively reading. Some tempos seem to go past brisk to breakneck, especially the concerted ensemble ending Act 1 that is paced at a dramatic level, then sped up even more for the stretta. But the singers keep up with the pace, and the bracing result gives us a fresh way to hear the work.The central cast – Tucker, Tucci, MacNeil, and Barbieri – were familiar operatic forces in the Mid-20th-century; this group would ensure a good night at the Met. But don’t assume that familiarity means an undistinguished performance, for the drive that Levine brings to this warhorse energizes all of them. Tucci in particular sings a gutsy version of her role, particularly in the critical Act 4 aria and “Misereri” scene, and Levine allows her a verse of the (then) little-performed cabaletta for an exciting climax. Tucker’s voice was ageless, and here he surprises with an especially elegant “Ah si, ben mio,” earning him the ovation of the evening. MacNeil also sings well, particularly in repeated concertato pieces with tricky timing, a fine foil for the others. Barbieri often opts for camp that could have come straight out of the Marx Brothers; “A Night at the Opera.” But Trovatore is already permeated with camp, and the mezzo’s vocal antics are a good contrast with the others’ high seriousness.One interesting detail: after the opening scene, there is a huge roar of approval from the audience, lasting over a minute, during which one of the performers (Ferrando?? Really??) gets called back to the stage and cheered. I think the reason is that Ferrando’s performer, the bass Ara Berberian, was a Detroit homeboy. (Meadow Brook is located in the north suburbs of that city and often features the Detroit Symphony.) To be clear, he performs this tricky scene better than I’ve ever heard it, and for that he deserves all the huzzahs he gets. Up to this point he had seen only provincial exposure, mainly at the New York City and San Francisco Operas. His proud family and friends likely showed up in force to see him sing for the first time with a world-class ensemble, a kind of “Met debut.” (Ten years later the Met gave him the call he deserved, and he sang there for eighteen consecutive seasons.) The sound is mostly excellent, though a crackle is evident throughout. The only exception is the beginning of Act 4, where there is a lot of extraneous sound likely caused by a well worn disc recording. It’s possible that this part of the recording was played more often by its original owner, causing audible damage. Tucci’s aria is still quite listenable, however. I’d rate this an essential performance for Verdi lovers: one may disagree with some of Levine’s tempos, but the effect is a through deep cleaning and tightening of this masterpiece.