This CD of highlights from Rigoletto focuses almost exclusively on Zeani's Gilda. I wish Opera Depot had just issued the entire performance. The source is a 1955 RAI television performance (it can be seen complete on YouTube). Conductor Simonetto makes all the traditional cuts, but does give us the full statement of "O veglia, o donna" in the first Rigoletto/Gilda duet.Zeani is one of the best Gilda's I've ever heard, her lovely, plaintive tone perfect for the role. She interpolates most of the traditional high notes, including a great E-flat at the end of the "Si, vendetta". Protti sings Rigoletto so well one is disinclined to comment on his rather straightforward, unimaginative portrayal; this was always the case with Protti though (at least he's consistent). As Paolo writes below, Zampighi, not Zampieri, is the excellent Duke with his lyrical and charming singing. Zaccaria is heard only briefly as Sparafucile, Luisa Ribacchi is the capable Maddalena.Frustratingly, the tape used here is missing some music present in the YouTube video. In "Caro nome" a minute or so is missing from the middle section as are a few phrases from the famous Quartet. Very odd. Otherwise the sound is excellent and pitched correctly. It sounds like this was transferred from a record.The fillers are from a 1967 Montreal Aida. Zeani is marvelous though her voice is a little recessed.

I purchased this recording for Virginia Zeani. She is everything one could want in the role of Gilda. It’s remarkable that she had the vocal range, technical ability and dramatic instincts for such a wide variety of roles throughout her career. She never disappoints. The other singers are all fine. The performance is well conducted, and the sound quality is good for the time.

Despite its good sound quality and the terrific interpretation of the couple Protti/Zeani at their best, these excerpts of Rigoletto are very likely taken from the RAI 1955 performance under the baton of Nino Sanzogno. The Duke is Carlo Zampighi, who sounds totally totally different, in his light lyrical mellifluous accents, from the more dramatic and "Pertile-like" singing of Giuseppe Zampieri. (Pity, I had bought it mainly for Zampieri). Maybe the rest can be dated 1965, as declared, but surely not the tenor's part, that is taken from the 1955 performance.