The audience fans in Act Three start to ruin what is otherwise a superlative “Traviata”. Scotto, very much in the Callas mould, deploys exemplary bel canto technique without signs of calculation. Bergonzi shows the joy he took in live music-making.

The audience at this performance is definitely the fourth lead. Their comments and wildly enthusiastic applause contribute mightily to the sense of actually being at the Arena di Verona.The three other leads are in excellent shape. Scotto's Violetta is a classic portrayal, heard here in its vocal and dramatic prime. The Act One finale is more beautifully sung in the 1966 performance from Naples (OD-11565), but this is still echt Scotto. She is especially moving in the death scene where her legato and sense of line carry all before them. Bergonzi and Zanasi are also in great form. The audience goes nuts every time they finish a solo or duet. Inbal's conducting manages to keep everyone (mostly) together. He observes all the traditional cuts.This was obviously taped from the audience and it occasionally takes them a while to settle down. The voices are clearly heard for the most part, but Scotto is often difficult to hear when she sings quietly. This can't be a first choice Traviata - it's almost like being at a sporting event. But for fans of the singers this is worth acquiring.

This was a great evening of operatic singing in the Arena di Verona. I was visiting one of these La Traviatas back in August 1970 - unforgettable! So I am happy to have the sound photography of this wonderful performance with Renata Scotto an Carlo Bergonzi as incomparable duo. The sound is good!

This recording feels just like having a good seat in the Arena di Verona (judging by the audio perspective in Act III, I suspect the recordist moved to a better seat, even closer to the stage). Ignore the oom-pah-pah conducting of Eliahu Inbal and enjoy the singing of Renata Scotto, sensitively inflected and floating perfectly on the breath. Carlo Bergonzi is in peak form as Alfredo, meaning you will hear nothing finer. While Mario Zanasi had sung much of the nap off his voice by the time (1970) of this performance, he doesn't led the side down. There's a bit of heckling in Act III; I can't imagine why -- we'd kill for a "Traviata" like this today.

THIS WAS MY FIRST VISIT TO VERONA AS A STUDENT, AND TO SEE MY FAVORITE TENOR WAS SOMETHING. I STAYED ON FOR 3DAYS MORE TO CATCH THE LAST PERFORMANCE OF THIS TRAVIATA. VERONA AS WE KNOW IS IMMENSE BUT SCOTTO,BERGONZI AND ZANASI MADE IT AS THOUGH WE WERE IN A SMALL OPERA HOUSE DESPITE THE SIZE. BERGONZI HAS ALWAYS SAID THAT ALFREDO IS THE ROLE THAT TEACHES YOU TO SING, ONE WRONG NOTE AS IT’S ALL OVER FOR THE ALFREDO OF THE NIGHT, MORE SO THAN ANY OTHER VERDI TENOR ROLE.