Scotto magnique, Raimondi une voix de ténor comme on en tou e plus. Zanzasi très beau styliste, belle Ligne de chant.Belle représentation ,dommage que le son ne soi pas top C est écoutable néanmoins mais à réserver aux connaisseurs de cet opéra

Riccardo was not a role Del Monaco kept in his repertoire for long. In 1946 his voice hadn't become as muscular and driven as it was to once he started singing Otello a few years later. His access to the top was easier, his timbre lighter, but no less powerful. He is, in fact, a very good Riccardo. A pity his voice, probably because of the singing technique he chose, became less malleable and flexible.Carla Castellani's career was mostly centered in Italy. She was a good singer although her technique tended to be a little haphazard. She certainly knows how the role is supposed to go and rises to the big climaxes convincingly (she and Del Monaco end their big duet on an orgasmic high C). Some of her mannerisms probably wouldn't be tolerated today, but I enjoyed her passionate, if at times rather crude, singing. Simionato is excellent; she would be even better in this role a decade later. Pietro Biasini (I wish Andy would fix the spelling of his name above) is a good, somewhat unrefined Renato and Marisa Morel a confident Oscar. I think the chorus sings in French while the soloists sing the original Italian. Sanzogno leads a strong performance. It should be noted that there are some strange cuts, including Riccardo's last act aria (traditional at that time) and the last line of the opera ("Notte d'orror!"), a weird omission I've heard in other performances too.The sound is very good and is pitched correctly. Del Monaco's fans should have this.

It's a very interesting performance. The true surprise is del Monaco in the role of Riccardo. In this time he was able to sing "bel canto" and not only crash as later. He is elegant and passionate. Unfortunately he left this role later in his career though according to my opinion it was one of his best productions. Here we get also Pietro Biasini, Toscanini's Ford from his legenday Falstaff performance in Salzburg. Around ten years later he was able to do a very good job. He sings beautiful with great expressiveness.Carla Castellani has a huge voice but she knows how to use it. Here great moments - the two arias and the love duet - are really beautiful. Simionato is simple the best Ulrica I have ever heard. Last but not least Sanzogno conducts a terrific performance, combining beauty with tensity. I gave 4 star only because of the acceptable sound. The performance itself is highly recommended and an unique document of the art of the young del Monaco.

Del Monaco didn't record Riccardo role commercially so this recording is welcome. He is vibrant and dramatically energetic with the voice not yet in 1946, the full bronze sound it was to be for the iconic recordings for Decca a decade later. Riccardo's signature and difficult aria in the final act is cut leaving only the recitative. An unfortunate omission not uncommon in the 40's but unacceptable there after.Carla Castellani has a big voice with a fruity sound and forceful vocal attack. She offers a fine if rather formal Amelia.Piero Brasimi is an uninteresting Renato.The wonderful Giuletta Simionato is heard in the early stages of her career as Ulrica.