The three principals in this performance all deliver the goods - and in spades. Scotto is in terrific form, singing with abandon and obvious enjoyment. Her cadenza in "Ah, forse lui" takes her to a top D and then she adds a piano C to cap it off. The runs in the "Follie" and "Sempre libera" are effortless and the concluding E-flat one of her best. The audience loves her and shows even more appreciation of her searing "Amami, Alfredo" in the second act. In fact, there are continuous shouts for an encore that Gavazzeni, the conductor, will not countenance. This leads to a complete halting of the performance until the audience calms down again.Bondino was considered a good, second string tenor at the time, but he is one of the most ardent, well-sung Alfredos I've ever heard. Cappuccilli sings a marvelous duet with Scotto before being loudly lauded for his "Di Provenza". He doesn't interpolate a high B-flat on this occasion, but still gives us a ringing A-flat to conclude the second act.All of the comprimarios are unusually good here, singing not only with strong voices, but are fully invested in their characters, something that doesn't always happen. Gavazzeni is a most considerate conductor without being a doormat.The sound is probably from a house tape, the voices always clearly heard over the orchestra. I love these types of in-house performances where the audience is definitely the fourth character. If you love Scotto, you must get this!