This set has been grossly underrated in the work’s not altogether over-populated discography. In the first place it is blessed with Serafin’s lithe, clear, unforced conducting based on strongly articulated rhythms, but there is nothing of the modern fault of the orchestra dominating the sound and therefore drawing attention to itself. Secondly, Serafin’s presence obviously had a good influence on the singers in the matter of obedience to what Verdi wrote. And here we have an Italian conductor in charge of a cast all of whose members are Italian.
Bergonzi, it hardly needs restating, is a paragon of a Verdi tenor. In his only interpretation of Manrico on disc he offers finely schooled tone matched to an immaculate line and a fair rapport with the character. Bastianini is far more disciplined here than in the contemporaneous, live version from the Salzburg Festival (DG, 9/95), where his phrasing is often sloppy. Even if one would still like some more light and shade in his singing, his brazen, vibrant voice is ideal at conveying the malevolence appropriate to Luna. Cossotto, in the first of her recorded Azucenas, sings with a firmly etched line and the drive that always characterized her Verdi. Stella isn’t quite in the same class as her colleagues. She has the right voice for Leonora but it doesn’t always quite obey her will. Still, her arias are shaped intelligently and honestly, and at least her voice has a true spinto tone to it. Vinco is an admirably positive Ferrando.
A reasonably full version of the score is given; a few second verses of cabalettas are missing. With sound that is often an improvement on what we hear today, this is a bargain not to be missed, even if the supporting material is inadequate. I derived more pleasure from it than from all but two or three of the full-price sets.'