What a great performance? MacNeil owns the role among baritones of my time and here in his prime he was great. Gencer has a bigger and richer sound than most Gildas( remember Toscanini record the fourth act with Milanov) and her singing is thrilling. And Raimondi is a fine Duke. All in all a superb performance

Purchased to hear Gencer in a role I'd never associate with her. She is a very good Gilda partnered by my favorite Rigoletto---MacNeil. Recommend highly.

This is one of those Rigolettos that are a lot of fun. Buenos Aires audiences are known for loving high notes and the three principals here certainly give the audience their money's worth. The best instant of that is the end of Act Two where Gencer knocks out a terrific E-flat only to be topped by MacNeil's stunning A-flat that he holds until almost the last chord. It think these were Gencer's only Gildas and she does Verdi proud. She has a habit of scooping up to high notes that some may find annoying, but this is a soprano who knew how to shape this music and who obviously loved it very much. Raimondi is superb. He loves his high notes and phrases beautifully throughout. He socks out a great D-flat with Gencer at the end of the "Addio, addio" cabaletta. He had a fine career, but tended to be taken for granted by opera managements. MacNeil was still a vocal wonder at the time of this performance, his voice still steady, the high notes tenorial in their brilliance. His characterization would develop more shades later on, but he's most effective here as well.The supporting cast is excellent, especially Algorta as Sparafucile (he has a great low F for his exit in Act One) and Carmen Burello, a Maddalena who registers for once. The sound is very good.Now could we please have the Puritani with Gencer and Raimondi from this same season!

MacNeil in top form in his best role, Gencer as Gilda, the young Raimondi and one of the best Verdi conductors...