I have bought this recording because I collect the archives of the Paris opera between 1974 and 1981, a unique golden age for French which made me discover and love opera.Thanks to Rolf Liebermann!What was my disappointment!First of all, the Nello Santi ‘s conducting, a conductor whom I find underated, is heavy and annoying.Franco Bonisolli has the means for the role but has absolutely neither the style nor the technique. In short, he yells.I was curious to hear from Peter Glossop, my fears were confirmed. A terrible voice, let's not talk about the style.Raimondi made Procida one of his great role, and he confirms it here.Christina Deutekom does not have the voice for the role nor the technique.So, performance to flee.To conclude, long life to Montserra Caballe, Sherryl Milnes and especially Nicolai Gedda at the Met directed by Jimmy as they say and Muti with Renato Bruson at Florence May 1978

Who says Cristina Deutekom was a dull singer? She certainly isn't here. She has total command of all Verdi's requirements and she's very passionate too, perhaps not like Gencer, but she is most convincing as the conflicted woman torn between her desire for revenge and her love for Arrigo. Deutekom interpolates a number of high notes that might not be permitted today. At the end of her fourth act aria she alters the cadenza to include a top E-flat (she doesn't try the chromatic scale down to low F#); at the end of the so-called Bolero she sings a high E. She's very exciting.Also exciting is Bonisolli whose voice had begun to take on a more heroic ring at this time. His Act Four aria is crowned with two ringing high Bs and he lets out a terrific high D in his brief duet with Elena in Act Five (for which he is vociferously applauded.) He also joins Deutekom on the top C at the end of the penultimate trio a little later on. Glossip sings very well and Raimondi is a gloomy, determined Procida (the role is really too low for him.)Santi makes a few trims, but nothing too dire. The voices are clearer in this edition than in some others I've heard elsewhere. There is some garbled tape at the end of Act Four, but it doesn't last more than a minute or two. If you love this opera or these singers, you should get this!

First of all, I couldn't be happier with the sound. It's very good in-house house from audience sound. It has always bothered me that Deutekom was not credited as the exciting performer she was. As she matured vocally, the voice retained it's brightness but increased it's BRILLIANT edge and plants and chest tones. All vocal elements needed to express character and drama are there. The coloratura rates as drop dead exciting. Bonisli is in top voice. And, the conductor pulls astounding power, nuance and rhythmic here He from the orchestra. THANKS!

I enjoyed the singing of Glossop, Deutekom, Raimondi and especially of Bonisolli, but there are so many disfiguring cuts to the score.

It's an excellent recording of I Vespri Siciliani. Santi does a great job as the conductor. I heard him few times live also, and orchestra under him was allways like on this recording - a thing to cherish. I enjoyed all listed singers (the singers in small roles are not given in the notes). Deutekom (with her sometimes something like "basso" quality in her voice) is amazing (for this hear the second CD). The high notes were rarely a problem for her. Bonisolli is great, powerful Arrigo, who is able to bring the house down with his with his stentorian voice (Giorno di pianto). It is interesting to hear how polished he can be in La brezza allegia intorno. Glossop and Raimondi are both very fine in their respecitve roles. The very important duets (Monforte - Arrigo) and ensembles are nicely done. My advice: Grab it!