Magda Olivero only got to record a highlights disc from this opera (it fills up the second CD of the Decca Fedora that was meant for Tebaldi), but she was always even more electrifying in front of an audience and this recording from La Scala 1959 is one of the great live opera sets from that or any period. Here she smolders with passion, lighting ablaze any man who comes near her. Del Monaco is a terrific Paolo; even on a recording where one can't actually see him, he's hot! Malaspina was one of those great Italian baritones who, like Olivero, knew how to make his character come to life. His howls of rage and hysterical laughter when he finds out about his wife's adultery are frightening and couldn't possibly be recreated effectively in a recording studio. De Palma not only makes Malestino the ungodly creep he's supposed to be, but sings his demanding music with ringing tone and nuance. The supporting cast is superb too, especially Enrico Campi as Francesca's conniving brother Ostasio, Gabriella Carturan as Smaragdi, and the ensemble of women playing Francesca's ladies-in-waiting. Gavazzeni knows exactly how this score should go and leads an exciting, white-hot performance. This was transferred from records, but except for one mild pop, the surfaces were quiet. There is a poorly chosen disc break (so that Del Monaco singing some extra arias could be included at the end), but that is my only complaint. All lovers of twentieth-century opera should have this.

This is a great performance by all involved. It elevates the opera so that it seems to be better than it actually is. Olivero is magnificent.

Zandonai's beautiful opera requires two protagonists who can deliver the emotional demands of the music and still sound youthful. Francesca has the perfect exponent in Magna Olivero whose lean, cutting voice with its fast vibrato packs a dramatic punch and still sounds young and vulnerable. Del Monaco is not as successful. His unique voice with its stentorian power creates much excitement, but hardly suggests the youthful Paolo.Malaspina has a dark and dramatic baritone used most effectively and it is interesting to note that most ubiquitous of tenors Piero di Palma as the one-eyed brother. A role which he performed some 20 years later on the studio recording for Decca.Only two studio recordings of this opera exist and this, in spite of my caveat about Del Monaco is, in my view, more successful than either.