When one collects multiples of any opera on record there comes a time, for me anyway, to ask myself "will I want to listen to this specific recording again? For many recordings here the answer is "probably not" - simply because I don't have storage space. I WILL listen to this one again, though. Gencer, who could be fabulous or so-so on any particular night, turns in a fabulous performance here, in spite being slightly under pitch in parts of "Pace, pace". Siepi, Carturan and DiStefano are also fabulous. Here DiStefano is superior to his commercial recording; what a voice he had on a good night. The sound is first rate for what I assume to be a radio performance and, although there are lamentable cuts, there is more music here than on some others recorded performance.If you are interested in any of these singers or this opera, you should listen to this recording.

This was an excellent performance. Gencer was superb. Her “Pace, pace” reminded me of my favorite Leonora—Zinka Milanov. di Stefano shows why this role was made for him. Siepi sings the Padre in a very comforting manner. His duet with Gencer is very moving. The rest of the cast and the conducting by Votto make this a performance well worth purchasing.

This has all the ambiance of live opera theater. Gencer's performance represents complete assumption of the character through greatly expressive singing. The men are specific to character in their singing as well. This is all in good sound and does Forza and Verdi proud.

I'd forgotten how wonderful this performance of Forza was (given while La Scala was on tour in Cologne). Gencer pours her heart and soul into Leonora. Her voice is at its freshest and most colorful. The pianissimo B-flat in "Pace, pace" is taken effortlessly and pierces your heart with its beauty. Hyperbole? Check it out. Di Stefano not only sings well, but invests Alvaro with all of his being. This was just before his vocal decline. There are a few moments where his intonation isn't perfect, but that's really nitpickling. Opera lovers tend to see Protti's name in a cast list from this period and sigh. "Why couldn't it have been (fill in the blank)?" He knows his role and does it unfailingly.Carturan is a good Preziosilla with all of the high B's that Verdi gave her, Calabrese and Campi are terrific in their roles, and Siepi sounds like a God. The rest of the cast is first-rate as well. Votto, so often maligned as an ordinary house conductor, shows his skill at shaping this unwieldy opera into a coherent whole. He does cut the second Alvaro/Carlo duet (the "Sleale" scene) which leaves a hole in the plot, but that was traditional in Italy at that time. We do get the Inn scene though (Act Two, scene one), always cut at the Met in those days.The sound is very good. There are a few moments of static from the tape source, but these are brief and passing. If you love Verdi, Forza, or these singers you owe it to yourself to hear this performance. It's that good!