Giuseppe Verdi

“There has never been quite so electrifying a Forza as Walter's vital, brilliantly executed reading, which encapsulates the essence of the forthcoming drama. It confirms what few may know today, that Walter was a superb interpreter of Verdi. Yet this was the first time he had conducted Forza, so his lithe, finely honed reading is all the more remarkable. The other revelation is the Leonora of Stella Roman, a greatly underrated soprano brought to the Met in 1941, who yields few points to such notable interpreters of the part as Ponselle, Milanov and Tebaldi. They apart, you would go far to hear a Leonora so well equipped for the role, and so committed to it, one who uses her warm, generous voice to unerring effect in projecting the woman's dire predicament.
Padre Guardiano appears in the guise of Pinza, none better, and sounding, one uncertain high E apart, secure, concerned and authoritative. Jagel as Don Alvaro passes easily the test of the taxing aria of sad recollection at the start of Act 3. Tibbett as Don Carlo compels attention at every entry with his distinctive timbre and faultless style, but truth to tell the glorious tone had dulled since his great days in the 1930s and at times he sounds stretched by the part. Both his arias suffer cuts. Carlo's second (of three) duets with Alvaro is also excised as was then the custom, and strettas throughout are foreshortened. Baccaloni enjoys himself hugely as Melitone and obviously relishes his encounters with his superior, the Padre Guardiano, the two Italians revelling in the text.
Petina is a lively but lightweight Preziosilla.
The sound is a bit crackly and restricted but good enough to enjoy an absorbing account of the score. This vivid version has much to commend it at the price.” Gramophone Classical Music Guide, 2010

“a lively, incisive account...[Hold-Garrido draws] out the formidable talents of his company in a warmly idiomatic reading. It is more impressive that this is a repertory performance without imported stars” Penguin Guide, 2010 edition **/***

“This performance marked the return of Björling to the Met after a wartime break of four years spent mostly in his native Sweden. And what a return it was: at 34 he was at the absolute peak of his powers and sings a Duke of Mantua imbued with supreme confidence and tremendous brio – just try the start of the Quartet. He and the house clearly revel in his display of tenor strength, yet that power is always tempered by innate artistry. If not a subtle interpreter, he's always a thoughtful one, and never indulges himself or his audience.
Similarly, Warren was, at the time, at the zenith of his career. Vocally he's in total command of the role and the house. His reading, although slightly extroverted in some areas, evinces a firm tone, a secure line and many shades of colour. He's at is very best in his two duets with Gilda (sadly and heinously cut about) and no wonder, given the beautiful, plangent singing of Sayão, whose 'Caro nome' is so delicately phrased, touching and keenly articulated. 'Tutte le feste' is still better, prompting Paul Jackson (who in general is unjustifiably hard on the performance in SaturdayAfternoons at the old Met, Duckworth:1992) to comment that Sayão's 'lovely, pliant, fully rounded tones are immediately affecting'.
Indeed, in spite of the merits of the two male principals, it's her truly memorable interpretation that makes this set essential listening.
All round, there are few recordings that match this one for vocal distinction – perhaps only the Serafin-Callas-Gobbi on EMI and the Giulini- Cotrubas-Cappuccilli on DG. They are much more expensive but boast superior sound. Björling and Warren both made later studio sets, but neither matches his live contribution here, off the stage.
The final virtue of this absorbing experience is the conducting of the little-known Sodero.
His moderate – but never sluggish – tempos allow for almost ideal articulation on all sides, and his insistence on letting us hear the score so clearly makes one regret even more all those excisions then common in the opera house and the studios.” Gramophone Classical Music Guide, 2010

“Few singers on disc can match Eleanor Steber as Violetta...The beauty and precision as well as the power of Steber's singing are phenomenal...the emotional thrust of the drama comes over at full force, with Giuseppe Antonicelli drawing playing and singing from his Met. forces to match even a Toscanini. Limited radio sound clearly transferred.” Penguin Guide, 2010 edition ***

“It is an electrifying performance, with Serafin at his most magnetic leading an outstanding cast of principals, all with voices firm and true. Heralded by trumpets that vividly leap out of the speakers, Gigli launches into Celeste Aida at the start with a clarity and bravura that marks this whole performance.” Penguin Guide, 2010 edition ***