A few seconds of A/B comparison between the CD and LP versions here illustrates the effortless superiority of the former: immediately you start the latter there is an irritating click, not very intrusive but unmistakably there, the sound is unquestionably more restricted than on the CD; even the minutest distortion on the soprano voice (Plowright on Band 3) simply isn't encountered on CD, the bass response is weaker than on CD, explaining why—in its complete form—there were questions concerning the acoustic on the LP version. On CD the bass is full, the voice/orchestra balance excellent.
After that CD commercial, it need only be added that we have here a fair and generous representation of the magisterial Giulini interpretation; as before, the slow speeds can be disconcerting at first hearing, but eventually make their own case because they are what Verdi wanted and because they allow the singers time to phrase so much more effectively—Leonora's first cabaletta and ''Di quella pira'' for instance, though I take JBS's point about the want of brilliance in one, fire in the other. The singers once more seem almost entirely commendable, though there may be passing doubts about the ease of vocalization in one or two cases. In particular, Domingo surpasses himself in nobility of declaration. Above all, as JBS commented, the work here had real dignity, needing to be taken with absolute seriousness. A pity that Gramophone cannot make two operatic awards, as I feel this set deserves one much as HMV's Don Giovanni. But, be warned, listening to these highlights may make you regret not having invested in the whole set.'