Marisa Galvany inspired great devotion from her admirers (of which I am one). The voice was never beautiful in the conventional sense, but then Galvany was far from a conventional soprano. Her interpolated, sometimes unexpected, high notes were legendary. Here she interpolates a D-flat at the end of Act One (and holds it long after everyone on stage has stopped singing) and a thrilling high E at the end of Act Two. Of course she has no problem with the D-flat at the end of the Sleepwalking Scene; in fact, she holds that note out quite long too. She also sings the rest of the role smashingly well. This is one determined Lady - don't get in her way!Guillermo Sarabia is the other star here, singing a memorable Macbeth. Listen to the way he shades the vocal line in his Fourth Act aria; he is clearly thinking about what he is singing. No, his voice isn't as lush as Sherrill Milnes, but Sarabia is more the part. He is fully Galvany's equal and surpasses her in subtlety and finesse.The other singers are more than adequate. This sounds like it was recorded from the prompter's box as we can hear her give the chorus (and occasionally the soloists) their cues. But the voices are heard clearly over the orchestra so I won't complain too much. The final two minutes of the opera waver in and out. Occasionally some music is missing: the ballet music abruptly stops and the prelude to the Sleepwalking Scene is absent.An exciting performance, well worth hearing for its two principals.