I found these the most exciting interpretations of Verdi heard in a very long time. Of course, I agree with HF that the readings are, in terms of characterization, sometimes ill-formed, but where, in recent years, have we heard such a secure technique, such a clean attack in all registers, such a bold line (listen to ''Tu che la vanita''), and such a poised pianissimo in, for instance, ''Pace, pace''? Not even Tebaldi could manage that, and it is Tebaldi's timbre that Millo's most resembles. American critics have made comparisons with Ponselle and Leontyne Price, but I hear little of their warmer, richer sound in Millo's tone, which has a more Italianate edge to it.
Compact Disc makes these points very plain. It also show up the few weaknesses in Millo's armoury. The closing phrases of ''O patria mia'' ought to have been remade; they are clumsily and uneasily sung. So should the end of the otherwise finely sung Macbeth Sleepwalking scene. But these are small points as against the variety of nuance brought to the ''Salce'', the easy floating of ''Tacea la notte'', the emotional involvement of ''I sacri nomi''. And congratulations to the singer and EMI for giving us 73 minutes of music.
The perceptive, well-played accompaniments, Patane at his most sensitive, are too loudly recorded, and ''O patria mia'' has distinct distortion towards the end. Of course, we need to hear this singer in person before proclaiming her the much-needed spinto, but the promise and achievement are far out of the ordinary.'