This is another one of those Sleeper Ballos that most opera lovers will dismiss quickly. What a pity! The young Eva Marton is a superb Amelia, negotiating all of Verdi's demands with skill and confidence. She gets off the top C of her first aria quickly when it threatens to get away from her, but otherwise gives a world-class performance, one that equals or surpasses more famous exponents of this role. Mauro sings very well, joining Marton for a rapturous account of their big Act Two duet. His last act aria is memorable for its line and expression. Chico-Bonet has a beautiful baritone, perfectly suited to this character. He fudges the beginning of his first aria slightly by entering too soon and doesn't descend to the low A in "Eri tu", but his tenorial top is very exciting and he is always in the picture dramatically. Schlemm's voice may have become rather unsteady by this point, yet she makes a formidable character of the fortune teller. The Oscar is unnamed, but he is sung by a wonderful African American soprano who was dismissed from the Met in 1994 for "unprofessional actions". She is a delight throughout the performance, singing Oscar's two arias with brilliance and elan. The conspirators are excellent too - a pity we don't know who they are. Mund leads a tight, well-considered performance. This sounds like it was taken from a house tape, the voices slightly recessed, but always audible over the orchestra. Ballo lovers should get this!

Super, involving performance. Marton, while stretched to her limits, delivered a performance of unexpected elegance and delicacy.