Montserrat Caballé (Maria), José Carreras (Roberto), Michèle Vilma Menendez (Elisabetta), Maurizio Mazzieri (Talbot), Enrique Serra (Cecil), ORTF Paris/Neilo Santi Memories 4417 (2CD) (Koch International) 120 min

This is the second CD issue for a performance taped in Paris March 26, 1972. It is Caballé's most attractive Maria on records. Reviewing another of her Marias (Sept/Oct 1991), George Loomis recalled this Paris performance as "alert, involved, and sometimes thrilling". Her limpid singing is particularly beautiful (Mr Loomis noted the way, during the great prayer, "her sustained G hovers above the chorus seemingly forever, then goes on to rise chromatically to a B-flat"); but she rouses herself to a fine state of anger in the confrontation scene with Elisabetta and spits out the 'Vil bastards!' venomously. The Elisabetta is Michèle Vilma (here listed as Vilma Menendez), whose rich mezzo contrasts strongly with Caballé's soprano in their scene together. Her coloratura is a bit labored in her aria, but she sings with regal authority in dramatic scenes. Neither lady ventures the expected high notes to cap ensembles, and I confess I miss them.

A very young Carreras is fresh-voiced and ardent as Leicester. Do I detect a hint of glottal attack, a "wetness" in his vocal production-a portent of future vocal problems? But it was a lovely voice, and this is a treasurable souvenir of him in his youth.

The Cecil is a dull dog, but Mazzieri sings Talbot's lyric music with comforting warmth. Chorus and orchestra are fine and the sound is quite good. The discs are adequately tracked, but there is no libretto. Despite the stingy presenta-tion, this will be the Maria Stuarda of choice for many Donizettians.

Copyright © 1992 Record Guide Productions.