Back in the day, one could assemble a great cast like this for what was probably a one-off performance in Miami, FL. The three leads would be brought in from New York (in this case the Met) and the other parts were assigned to local singers. All three leads give strong performances and justify their higher fees.Morell was one of those singers who was always good, the "house singer" par excellence. He sings very handsomely here with his ringing high Bs in "La donna e mobile". Peters had been singing Gilda for nearly two decades, but she still sounds fresh. She ends "Caro nome" with Verdi's written trill (and she had a beautiful trill too), but interpolates all the other expected high notes. She and MacNeil end the second act with a thrilling E-flat/A-flat combination. MacNeil is in terrific form, his voice steadier than it could be. He is on top of every moment dramatically too. The Sparafucile, Maddalena, and Monterone all are excellent, measuring up to the standards set by the three guest singers. Buckley makes every standard cut possible and follows the singers well. He conducted the first opera I ever saw, Rigoletto, for the Michigan Opera Theater in Kalamazoo, MI in the autumn of 1973.The voices are clearly heard over the orchestra, only slightly recessed and the pitch of the tape is correct. There is some minor tape scraping here and there, but it is brief and doesn't interfere with the music.Highly recommended!