This performance of Ballo in Maschera has been around before, but it sounds better here than in other issues. Andy has corrected what pitch issues he could. There are still some audible moments where the original tape was damaged, but these are brief and most of us won't care (the prelude has 1-3 seconds of tape instability, there is some wow and flutter in Act Three, scene 1).Welitsch had caused a sensation at the Met earlier that year (1949) as Salome. She is in excellent voice and gives fine accounts of both arias. She also sings the normally omitted cadenza at the end of "Morro, ma prima in grazia". She and Picchi make something special of their big duet and end it on a strong top C. Picchi's reputation should be revised upwards after hearing this performance. He captures Riccardo's frivolity, but also his nobility in a voice of sweet lyricism. As with Welitsch that lyricism wouldn't last long, but it's in ample evidence here.Silveri is caught in his fairly brief prime too. The voice has none of the wooliness it would acquire in a few years. Noni sings very well as does Jean Watson, her solid, secure contralto a real bonus. Gui conducts with great authority and style. He cuts Riccardo's aria in the last act (a traditional cut in those times). The end of the Act One trio for Riccardo, Amelia, and Ulrica is missing, but that has been so in every transfer of this performance I've heard.Fans of the singers or the opera should get this!

A pretty important issue especially for UK opera lovers - the Edinburgh Festival, due to links with Rudolf Bing, presented Glyndebourne's productions on a regular basis in its earliest years. This means this performance must have been at the King's Theatre in Leven Street where the acoustic is fuller than that in the old house in Glyndebourne which would have been a tad boxy for Verdi's score and the voices at work here. The cast is eccentric in terms of its homogeneity or lack thereof but all the singers have something individual and interesting to bring: Welitsch's famous slivery tone and brightness are there, a few years later the voice suffered a collapse, and Mirto Picchi was a really intelligent musician and stylist too, never abuses the music rhythmically, and is impassioned where it is needed, and Silveri is at his best. But for me it's Gui, balancing energy and passion and charm equally in this very complex score. He was a complete genius in Verdi, sadly too few of whose operas he recorded, even on live issues. The sound is not at all bad for 1949 - it must have been a radio tape originally, and thanks for getting the pitch right!

Interesting and rather uneven performance of a well known title in the Italian canon. The chief attraction is the opportunity to hear Ljuba Welitsch sing Amelia. Although her sound lacks the Italian roundness we may expect and appreciate from the best interpreters of this role, her top is thrilling and on display throughout. The other principals all have their strengths and weaknesses -- none are really ideal. Really worthwhile mostly to hear Welitsch.

A fascinating performance for Ballo veterans. The cast is committed and capable but kind of mis-matched stylistically. Welitsch and Silveri certainly do not come from the same Verdi tradition, but they both deliver the goods in their own individual ways. Picchi is less interesting vocally but his native slancio carries all before it. In a good working environment and charged with selling what was a less than well-known Verdi opera in 1949, Gui does a great job. He supports the singers and steers the whole piece forward with passion and skill. So it's not a Ballo for beginners, but there are a lot of places of interest along the route.