What a pity Montreal didn't broadcast the touring performances that traveled through the city! The sound here is just listenable; it is certainly not a recording to try to get to know the opera.Experienced live opera listeners,on the other hand, will enjoy whatever effort it takes to make it through the sonic haze. The principals are marvelous. All three were in excellent voice and give the public their money's worth. Tebaldi is completely invested in her role, uttering a frightening shriek when thrown to the ground by Otello in Act 3. Her big scena in Act 4 is heartbreaking (and kudos to the audience for not breaking the spell by applauding after her "Ave Maria"). Del Monaco plays to the crowd by holding his ringing top notes as long as he can, but so what? Gobbi's voice had dried out, yet his superb diction carries the day. Di Stasio, Foiani, and Garaventa all hold their own while Erede leads with consummate knowledge of how the score is supposed to go. He also makes several cuts that no conductor would make today.The filler has Del Monaco in a 1960 concert in Berlin, singing arias from Pagliacci and Otello and. Neapolitan song. Great stuff!

I wish the Pirate Gods had been in a better mood the evening this was recorded. It begins with the voices very recessed and then becomes more listenable after the first five minutes (Del Monaco's "Exultate!" pierces through the gloom). Thereafter the ear adjusts and the sound for the rest of the performance is tolerable though never great. There are also some issues with the correct tape pitch in the second act (it is slightly sharp), issues that are resolved for the rest of the performance.All three principals can be heard in far better sound in other live performances, yet all three "bring it" to this performance. All three were, perhaps, a little past their vocal primes, but it doesn't matter. Tebaldi is heartbreaking and unsparing of herself (she gives a terrifying shriek when thrown to the ground by Otello in Act 3). Del Monaco and Gobbi are both in fine, representative form. Di Stasio is an assertive Emilia while Foiani's strong bass makes an impact as Lodovico. Erede makes cuts most conductors wouldn't make today, but leads with an experienced hand. Kudos to the enthusiastic audience too for not spoiling the end of Desdemona's "Ave Maria" with applause.The filler has Del Monaco singing the Prologue from Pagliacci, Macduff's aria from Macbeth, "Niun mi tema" from Otello, and a Neapolitan song, all in front of an adoring audience.

I loved the performance. Unfortunately the sound wasn't great but it's worth it to hear this classic performance again.