Maria Chiara became known as the Aida of choice not long after this performance was given so it's interesting to hear her in a more lyrical role earlier in her career when coloratura and high acuti came more easily to her. She sails comfortably through "Sempre libera" with an audience-pleasing top E-flat at the end and then fills out the more lyrical moments in the score with beautiful, passionate sound. Her last act "E tardi!" is more angry than others I've heard. She lives up to her reputation as a first-class Verdi specialist.Raimondi and Zanasi are both very good, if not as distinctive as Chiara. Santi's tempi are mostly accommodating, but are sometimes a little idiosyncratic. The orchestra is merely adequate, surprising since this a score they must've played hundreds of time. The voices are generally well-captured and the pitch of the tape is correct.Admirers of the soloists will enjoy this, especially if Chiara is one your favorites!

Maria Chiara was better known as Aida later on in her career, but her Violetta was also noteworthy, especially in this performance from 1975. Her voice is supple and flexible and she has a specific concept of the character. Her "Sempre libera" is impressive, still capped with an exciting E-flat (she would drop that note at the Met a few years later). She is memorable in the last act because she is one of the few Violettas I've heard who is angry at her fate and does not go gently into the night.Raimondi and Zanasi are both solid, if perhaps a little lacking in imagination. The supporting cast and chorus provide strong support. The scrappy orchestra sounds threadbare at times and clearly isn't paying attention to Santi a few times. He makes all the traditional cuts and pulls the tempi around strangely in places (the choral outburst after Alfredo has denounced Violetta a case in point). This sounds like it was recorded too close to the strings; the voices are clearly heard, but are a little recessed.Chiara's admirers should get this!