Scotto and Pavarotti never really got on together, but you'd never notice from the passion they generate at this performance. Both singers are in excellent shape vocally and dramatically. Pavarotti's voice practically glows, his diction precise, the top notes ringing. This was one of his best roles and he shows why here. Amelia was not a role Scotto sang often, just as well as it too big for her voice. Yet she makes it work with her passionate phrasing and imaginative vocal colors. Mittelmann was a useful (and excellent) house baritone who made the most of his opportunities. He sings Renato very well indeed. Later on the voice acquired a bit of a wobble, but here he sounds very healthy. He always knows what he's about. Boese's rich contralto is heard to great advantage, her low G at "Silenzio!" very impressive. Marheineke is a terrific Oscar, having the florid technique for her coloratura bits, but also the weight of tone for the bigger moments. The other singers are very good (especially the Silvano with his pleasant baritone), but are not identified. Santi leads a fluid, enjoyable performance with a few oddities (why don't Scotto and Marheineke sing the final top B-flat on "Notte d'orror!"?).The sound is listenable, the voices a little more recessed than one would like. Track 25 on the first disc should be skipped as it repeats music heard on track 26. If you are a Scotto and/or Pavarotti fan, you'll want this. Others may want to use more caution.