I enjoyed this performance more than I thought I would. All of the principals bring strong, solid voices to their roles and Maazel is an idiomatic conductor (not always the case with him and Verdi).Wixell was already developing a reputation as a serious Verdian when this was recorded (1971). He would sing this role at the Met within a few years. He does not have a very Italianate voice, yet he makes the role work for him. Talvela makes a gorgeous noise as Fiesco and I mean that as a compliment. His habitual gravitas suits the character well; I have nothing to object to in his actual singing. Cossutta is a marvelous Gabriele with his ringing top notes and sensitive, fiery phrasing. I rather agree with David M's assessment below: Chiara's deficiencies are not so much voice (she has an attractive lirico spinto soprano), but one of training. She doesn't even try to trill in the "Pace" ensemble despite the fact that she was still singing a number of bel canto roles at this time. Yet Chiara makes a winning heroine. The recognition scene brought tears to my eyes. Van Dam is superb as Paolo, a major voice in an important supporting role. He ducks the optional high G in his Act 2 monologue (he sang it in Abbado's studio recording a few years later). I wish Maazel hadn't made the traditional cut in the Act 2 trio.The first ten minutes or so of act 3 are missing - a real pity, but that's the way it goes with live performance recordings sometimes. The sound is listenable, the pitch of the tape correct.For fans of the singers.

Tontechnisch mäßiger Mitschnitt

Recommendation of this recording comes with several qualifiers. In increasing order of magnitude, they are 1) some pitch fluctuation at the very beginning of the opera, 2) the absence of much of Act III, which here begins at Simon's entrance, and 3) Maria Chiara's Amelia. Hers is an unfinished, verismo-oriented technique, laid bare at exposed moments such as straining for top notes and the absence of a trill to cap the Pace ensemble. Everything else is fine. José van Dam is a purposeful Paolo, with intimations of the fine Simon he would become a few decades later. Stepping a bit outside his usual Fach, Martti Talvela is a blackly baleful Fiesco. Carlo Cossutta, in his best role, puts his juicy spinto voice to vigorous use as Adorno. Ingvar Wixell's Simon ranks with the finest, his lucid, tenurial instrument everywhere expressive and rarely challenged by the music. Wixell's moving portrayal of the Doge culminates in a death scene that is sustained on seemingly endless reserves of *fil di voce.* Lorin Maazel leads a supple account of the score and the Deutsche Oper chorus deserves special mention for its exceptional precision and verbal involvement.

It's a very good performance I got four star only because of the sound quality and the first scene of the third act is missing. All performers are in the heights of their powers especially Talvela and Cossutta. I think Cossutta is one of the best Gabrieles I have ever heard (he was also a revelation for me in an earlier performance from Buenos Aires also from Opera Depot). Chiara sings well but my first choice for Amelia/Maria would be Lorengar (who has never sung this role), who was this time the first soprano in German Opera. I don't like van Dam, but here at the age of 31 he is really excellent. Maazel leads an exciting performance, it was really a great experience.