Christiane Eda-Pierre should have been a global super-star. Her voice is peerless in its beauty power and agility.

Matteo Manuguerra began his singing career relatively late (age 38), but I for one am very grateful he switched to baritone because he is a terrific Rigoletto. His scenes with Gilda are the highlights of the performance, yet he also has a solid grasp of the waspish side of the character. Christiane Eda-Pierre is the Gilda of one's dreams. Her voice is very beautiful with a slight edge to it that enables her to surmount the orchestral outbursts. Her "Caro nome" is truly exquisite. For those who love high notes she sings all the traditional ones except the high E sometimes interpolated at the end of "Caro nome" (where she sings the haunting trill Verdi asked for).Umberto Grilli doesn't have the most mellifluous voice (it's a little tight and edgy), but he certainly has high notes, joining Eda-Pierre on the D-flat at the end of their cabaletta. Macurdy is a frightening Sparafucile with a great low F that he sustains until he goes offstage. Rita Noel is a more than capable Maddalena. The other singers are good too, but not identified. Emerson Buckley conducted the first opera I ever saw (Rigoletto for the Michigan Opera Theater in Kalamazoo, MI 1973). He knows how the opera is supposed to go, but I wish he hadn't made all the traditional cuts.The voices are clearly heard over the orchestra though there are some occasional volume drops that, fortunately, don't last long.A Rigoletto then for those who love the opera and/or the singers!

It is wonderful to have this performance with Christiane Eda-Pierre, though all of the singers are quite good. The sound level varies some in the first act, but is good overall for a live recording.