McCracken and Jones made a famous studio recording of this opera under Sir John Barbirolli that is distinguished for their singing and his sometimes unbearably slow tempos. Under Nello Santi they breather more freely and are more expressive.It's easy to underestimate what a fine Verdian Jones was. She didn't sing many of his works, but what is available is very impressive. Here she is a vulnerable, sexy Desdemona consumed with love for her Otello. Her singing is poised and beautiful. If you've only heard her post 1970 or so, you're really missing something. She also isn't afraid to give a blood-curdling scream in the murder scene! McCracken was a force to be reckoned with. He is in very good voice, never seeming to tire from the role's considerable demands. Occasionally he does go over the top - subtlety is not his thing. But what wouldn't we give for an Otello like this today? Gobbi sings well though his finest vocal years were behind him. Jose Van Dam is heard as Lodovico and his potential in unmistakable. The Emilia is unusually assertive - too bad we aren't given her full name.The sound is, as Andy says above, slightly muffled, but is certainly very listenable; it is also pitched correctly. The audience got their money's worth that night and so will you!

All the stars were in alignment on this night in Geneva. Even the recording (of indeterminate provenance) captures details -- like the organ pedal in the opening scene -- that elude commercial efforts. James McCracken reminds us again of what an explosive (and undervalued) Otello he was, excerising tigerish intensity, even in his more vulnerable moments. This is a true heroic-tenor Otello, unlike the lirico-spintos we have settled for today. By 1966, Tito Gobbi's vocalism was getting rather hit-and-miss. He talk-sings most of Act I. However, having gotten that out of his system, he is able to find his vocal palette in the remainder of the opera and paints Iago in myriad shades of malice. Gwyneth Jones' instrument is so colossal she drowns out McCracken and Gobbi combined (in the Act II quartet), yet is a model of Verdi style throughout. Hers is a sensual Desdemona but one whose enveloping softness never leads one to doubt her purity. Glade Peterson is a fine Cassio and Jose Van Dam's Lodovico is already the work of a finished art. While conductor Nello Santi had many "off nights," this spirit was definitely with him this time and the orchestral contribution to the performance is a co-protagonist.