Maybe Francesca da Rimini is not a masterpiece (whatever that is), but is a truly romantic, almost exotic work with a colorful orchestration and an appealing setting of the text. It is not really a verismo opera, but an attempt by Zandonai to answer Wagner's Tristan und Isolde. In the Metropolitan Opera Guide to Recorded Opera the critic (whose name I don't recall) is rather dismissive of this performance. I've heard it before, but not for almost a decade and I'd forgotten how good it is.Caniglia was a mistress of this repertoire and she was caught in very good voice here. She has no trouble with Francesca's one top C at the end of Act One and is always involved with text. Prandelli's voice may be a shade small for this music, but he never forces and sounds the handsome Paolo il Bello to the life. He too is most sensitive to the beautiful text. Tagliabue was still in good voice when this was recorded. His Gianciotto is more complex than other portrayals I've heard. Similarly, Mario Carlin is a slimy Malatestino whose voice is distinct from Prandelli's. The other supporting roles are very well taken. Italian is their mother tongue and it shows. Guarnieri makes the usual cuts, but they help to tighten up an opera that in the wrong hands can emerge soupy and melodramatic. The sound is excellent broadcast mono, very crisp and clear although the transfer level is a little low. If you love this opera and haven't heard this version, you're missing something special.