Carol Neblett came to Milwaukee to sing Violetta, and my cello teacher called me up to say I should attend the open dress. I was floored! Everything about her was amazing, from her voice, to her sincerity to her presence, just a diva in the beginnings. I have adored Carol in so many roles after that - Leonora in Fidelio, Donna Anna!, Leonora in Trovatore, War Requiem by Britten, Tosca, and Chrysothemis - all roles I heard her live as well as a recital - where she publicly announced to her teacher in the audience, that she would NOT take on Salome (even though she did Turandot!). A very wonderful middle voice, tremendous flexibility throughout the range, musicality that was right on the mark and able to negotiate the trickest passagework at tempi that are on the brisk side of things. Conductor Nance keeps things moving along, but sometimes I wish there were more space so that Ms. Neblett could be more expansive. In Act 2 scene 2, where those over arching phrases are needed to contrast Violetta from the gambling, there is that space, so I am surprised a bit that the rest of it moves well, yet somewhat impersonally. John Stewart I had heard as Oronte in Alcina apposite Carol Vaness, yet much later than this performance. It reveals a nice warm sound, though a bit of intonation lapses that are apparent. A nice presence in terms of character with a bit of nobility. Dominic Cossa is wonderful as Germont. So very well sung and it was a joy to encounter him in a major role. This release is HIGHLY recommended. I would like to see even more of her work released. Does anyone have her Dido from LA Opera Troyens in the mid- 80s? That would be wonderful considering the sumptuousness of her middle voice indeed.

Carol Neblett was all of 25 when she sang this performance. It is incredible how mature she is vocally and how she's able to use her voice to convey Violetta's heartbreak. Her top notes are enviable in their security (yes, she sings a great E-flat at the end of "Sempre libera") and she has enough color in her tone to reflect Violetta's many moods. I agree with Andy above: she was a great Violetta.John Stewart was a handsome tenor who made much of his career in Europe; he sings a very creditable, passionate Alfredo. Dominic Cossa is an excellent Germont who gets a very enthusiastic hand after his beautifully sung "Di Provenza". The supporting cast includes Joaquin Romaguera in the small role of Giuseppe; a few years later he would create the role of Pirelli in Sondheim's Sweeney Todd. Chris Nance conducts capably, making all the traditional cuts. This was the Frank Corsaro production so be prepared for a long pause before Violetta begins "E strano!" in Act 1 (I'm glad it wasn't edited out).The sound is good, the voices slightly recessed, but always audible. Fans of the opera or the singers should acquire this set.