This is a solid, idiomatic performance. Cellini's conducting is more vital here than in most of his studio recordings, and there are no serious weaknesses among the cast. Di Stefano is on very good form, Roberti is exciting and moving if not wholly secure, and Ausensi is a strong, masculine presence. Domínguez is a marvel, here singing a rôle that is near-ideal for her singular instrument.The release of this performance on the GDS label indeed cites Ana de Sà Earp as Oscar, but both the Bellas Artes archives and a newspaper article from August 1960 state that Oscar was sung in this performance by Judith Sierra.

The role of Riccardo could have been written with Di Stefano in mind. He was in excellent voice at this time. He was ably partnered by Margarita Roberti. The Ulrica of Dominguez is the best I've heard. Recommend this recording highly.

Giuseppe Di Stefano was very popular in Mexico and made many excursions there to perform his various roles. This Ballo finds him in very good voice without some of the blasting and crudities that would detract from his singing only a few years later. It doesn't hurt that his voice is perfectly suited to Riccardo. He rarely forces, concentrating on singing lyrically and ardently. His Amelia, American soprano Margherita Roberti (i.e. Maggie Roberts) shows why she was in such demand as a Verdian. You never have to worry about whether or not she'll get the notes. Her technique doesn't have a lot of polish and there are times when her phrasing is a little pedestrian (i.e. the cadenzas of her arias), but she'd be a much bigger star today when this type of voice is no longer common. Manuel Ausensi sings a stirring Renato and Oralia Dominguez is an Ulrica to be reckoned with - don't get in her way! Anna Sà Earp gives us a charming Oscar who sneaks in a quick high D at the end of "Saper vorreste". Cellini leads a more organized, better rehearsed performance than one often got in Mexico City in those days. He makes a few extra small cuts I haven't heard in any other performance.The very tops of most scenes are missing and the sound is only adequate though much better than some other Mexico City pirates I've heard. Most of the applause after arias and ensembles is cut short by the original tapist, slightly irritating. Fans of the singers will enjoy this!

Very good performance. Audio a little raspy but one has to consider the date it was recorded and how it was recorded. I wanted the recording to add to my collection of operas featuring Roberti, a lady who I went to high school with when she was Margaret Jean Roberts in Iowa.