This is an exciting, if flawed, performance of Luisa Miller played in front of a very involved, enthusiastic La Scala audience. It was recorded in-house by someone quite close to the stage.Caballe recorded this role memorably in the studio with Pavarotti and Milnes about a year earlier. Her singing is very generous and she clearly enjoys the role. By 1976 Caballe's top had started to become a bit blousy and strident and some of singing here bears that out. She makes it to all the high notes though including a strong D-flat at the end of the duet with Miller in the third act. The audience responds with unrestrained joy: Caballe was a favorite and the love is reciprocal. Pavarotti is in excellent voice and this Rodolfo (along with Puccini's) was always one of his best roles. He sings the big aria superbly and fully justifies the cheers that follow. His scene with Caballe in the third act is enough to welcome him into the operatic Hall of Fame for posterity. Cappuccilli is a terrific Miller, ending his Act One cabaletta with a rousing A-flat thar drives the audience crazy.The two basses sing very well as does Baglioni as Federica. There is a little music missing after the bass duet in the second act possibly because it was inaudible due to the noisy audience.All Verdians should get this as well as Caballe and Pavarotti fans.

This "Luisa Miller" comes up trumps in every aspect. The closest one can come to criticism is to note that Bruna Baglioni's Federica is only competent, but even that's saying a lot (the part is awkwardly written). Rodolfo was always one of Luciano Pavarotti's best roles and he is in prime estate here, which is high praise indeed. Similar things could be said about Montserrat Caballe, who has both the agility for Luisa's more delicate passages and the power for the role's dramatic aspects. Piero Cappuccilli's high baritone wraps itself fluently around Miller's music and, as was his wont, live-performance circumstances bring out the best in him. The worst that could be said about Carlo Zardo (Count Miller) and Carlo Del Bosco (Wurm) is that they sound too much alike, but "L'alto retaggio" has rarely been so gratifyingly delivered. Gianandrea Gavazzeni leads a febrile reading of the score, one that does Verdi proud.

The dream duo of Pavarotti and Caballe deliver as expected in this very underrated opera. One of the best recordings I’ve purchased on this site.