Once ones ears adjust to the recessed voices one can enjoy an extremely well-sung performance of Verdi's masterpiece. To my ears the sound improves considerably by the second act. Even so the sound is certainly good enough to hear what a glorious, golden tone the young Carreras had at this point in his career. He sings like a god throughout the performance. The audience, understandably, loves him.Galvany, a pirate queen in the best sense with many loyal followers, contributes an uncommonly exciting Amelia. Her fans will be thrilled to know she interpolates a high D to the end of the trio in Act Two. It's a stunt, but Galvany has the panache to bring it off. Fredericks never lacked for work, but he was underrated by many because he was always good. His Renato may have been a size too small for the Met across the plaza, yet his dramatic, imaginative singing fits in well in this production. Fowles sings a charming Oscar (I wish she had interpolated some extra high notes in her "Saper vorreste") and Rakusin is a powerful Ulrica whose scena doesn't make its full effect because she is too far back on the stage. Morelli leads a memorable performance only hampered by the so-so sound quality. All the same whoever recorded this at least sat still so we're not assaulted with irritating rustling noises, a common problem with in-house recordings. And the performance was certainly worth the risk of recording it!

Voices not captured well. It was supposed to be a young Carreras, but it could have been anybody.