Victoria de los Angeles's second EMI recording of Madama Butterfly (reissued on LP by Classics for Pleasure in 1985) sent the first into neareclipse. There was one good reason for this, namely that her feeling for tragedy in the second half of the opera had deepened. The two other principal reasons now look less convincing: it was generally assumed that the substitution of Jussi Bjorling for Giuseppe di Stefano in the role of Pinkerton must be a step in the right direction, and that the 'modern' recording was bound to be better than the 'old'. Well, both are 'old' now and still give undimmed pleasure. For the Pinkertons, Bjorling, a sick man at the time, sings musically, as ever, but has no humour or charm in Act 1 and very little affection in his tones. Di Stefano, by contrast, is exactly the right kind of easy-going fellow, likely and naturally amorous. The Love Duet in particular has much more sense of reciprocity, Butterfly able more convincingly to snuggle up to her lover and sigh ''Son contenta''.
For happiness (and the tears are proportionate to it), this is easily the more satisfying performance. A major contribution is the conductor's: where Santini (just as in Simon Boccanegra) brings a generally dull touch, Gavazzeni has life, warmth and a sure control. Then there is the compassionate and beautifully sung Sharpless of Tito Gobbi, a more effective presence than that of Mario Sereni, good as he is in the second recording. A better (though hardly ideal) Suzuki further strengthens the cast, and it is good to hear Maria Huder once again in the role of Kate which she sang as long ago as 1939 to the Butterfly of Toti dal Monte. Los Angeles herself is adorable in both sets, the voice in richest bloom here, the portrayal almost unbearably vivid in charm and magnanimity.'