What's Bellini's criteria for successful performance?
A reviewer repeatedly mentioned this recording as the Epitome of Bellini's vision of Elvira! I beg to differ. Did you 'weep, shudder, die' as he expected his audiences to when listening to the fantastic Sutherland and Pavarotti? Or did you merely go into ecstasy over the beautiful, sensational vocalism and unequalled technique, and run out of superlatives to praise the stupendous coloratura? These are vastly different reactions, and therefore one cannot claim that Bellini would approve of Sutherland in spite of her being the undisputed Queen of coloratura! Bellini was very frustrated with the great tenor Rubini for not being able to dramatize his role to his satisfaction in Il Pirata in spite of his fantastic voice. In contrast he adored the ugly voiced soprano Pasta because of her intense ability to dramatize her role. And to repeat Bellini's criteria again :'opera must make one weep, shudder, die from weeping'. Indeed he wrote this in frustration to his amaturish librettist Pepoli when they were working on I Puritani. I agree with Bellini. That's why Dame Joan only got 4 stars, because she did not make me weep even though she has no real rivals in the field of coloratura, be it Sills, Callas, or any one else. A number of vocally less exciting recordings but dramatically more exciting could actually claim to be closer to Bellini's ideal. Amongst these include those by Callas, Sills, Caballe, and Devia. Unfortunately, all of them are marred by shortcomings. The Callas is horrendously cut, the Sills was done too late, and with excessively embroidered coloratura which she could no longer execute and which are a hindrance to the flow of the drama, the Devia is also cut, despite being a 1990's performance and conducted by Bonynge. That leaves only Caballe - an unlikely candidate indeed. Muti ensured no cuts! But his strict adherence to the book meant little room for additional coloratura. There we go again. Thus I would recommend to the listener to buy them all, including this and the 1st Puritani by Dame Joan. Just listen according to your mood!

This album (in its entirety) is available for download on itumes for $9.99!!!
The price for this CD is so hard to take that I just wanted to alert amazon customers that they can get it on itunes for 9.99. Even if you have never used itunes, you can just download it for free, then use it to buy the opera (for 9.99!!!), then use the itunes program to burn it onto 3 CDs.

126 dollars just to get the libretto as well is crazy!!

I had eyed this set for a long time without being able to afford it (I see the used ones are a bit more reasonable here, but at the time I wanted it there were no used ones so reasonably priced). Anyway, I know it is a better format to get the physical set, but if you don't care about that, look at it on itunes.

I couldn't believe my eyes and bought it there at once.

IT'S GOOD, BUT WHAT GIVES WITH THIS PRICE???????
I don't know what Amazon is paying it's distributor for this recording, but the consumer price is plainly out of line --- WAY out of line. It is, of course, a fine recording of Bellini's "I Puritani", and there may be those who will pay the price. I know that while it is held in very high critical regard, I have a few problems with this recording. To begin with, as good as Joan Sutherland is here, I find her to be much brighter voiced and far more youthful-sounding on her 1963 Decca/London recording of a decade earlier. Most critics feel that as a performance, this later recording surpasses it, probably due to the presence of Luciano Pavarotti, who is far more vocally endowed than Pierre Duval was on the 1963 (though considering the time, Duval is perfectly acceptable in this impossible tenor role) Decca/London version. This is, of course, completely true. Pavarotti is heard here at the summit of his considerable powers, and his singing is spectacular (though his decision to include that high F near the end ----- and in falsetto at that ------is somewhat unnerving), providing a great illustration of his voice just around the time he had catapulted to international stardom. Cappucilli and Ghiaurov are also vocally spectacular, and Bonynge's pacing of the opera is probably superior to his previous Decca/London version. With all of this said, however, I still find myself happier and more satisfied with the earlier recording.

A Bel Canto Tenor Treat
Bellini's last opera is one of his best, and this recording more than does it justice. Sutherland was in her mature prime, and her vocal abilities are clearly in evidence, although not quite as breathtaking as in earlier recordings. She is ably supported by the sensitive conducting of Richard Bonynge as well as her fellow cast members. The opera has some wonderful music for the baritone and bass, including some great duets, and Piero Cappuccilli and Nicolai Ghiaurov take full advantage of their opportunities.
But in my view, the real star of this show is Luciano Pavarotti. The role of Arturo is fiendishly difficult, with an terribly high tessitura, (which is opera fancy for saying that the bulk of the music lies in the higher parts of the tenor's vocal range), as well as some incredibly high individual notes. This role is one in which many great tenors have crashed and burned in their recordings. But not Luciano. He handles the role with ease and glorious musicality, (even if the high F is a little strange.)
The sound recording is good, although the loud passages do tend to blare a little. [...]
Another excellent version is the monaural Callas/diStefano recording from 1953. Two other great sopranos recorded this opera with less success. Beverly Sills is done in by her tenor, (the wonderful Nicolai Gedda in a unfortunate train wreck of a performance), and even Monserrat Caballe is let down by the great Alfredo Kraus.
So if you want a fine recording of this opera in stereo, this is the one to go for. But do buy it from another and less expensive site.

Beautiful music, beautifully sung!
Truly the i puritani quartet for the ages! Any opera house would be thrilled with this
cast on their roster. Sutherland and Pavarotti are in especially good voice! She does tend to be a little droopy at times but the accuracy and beauty of tone are worth the price alone [the price quoted here not included]... her 'son vergin vezzosa' is thrilling. Luciano does some very beautiful singing, 'a te o cara' has never been sung more beautifully or ardently, even the F above high C is exiting even if it seems a little bizarre. Others have also referred to various set pieces, so I won't reiterate their kudos. All the ensembles are outstanding and the closing one in particular is superb! Yes Callas had more drama and Sills was excellent too. I don't for one minute dismiss their superb talents. But Elvira is a Sutherland specialty in spite of her shortcomings. No singer is without a flaw or two at least occasionally. IF you like Bellini and especially I Puritani, this is for you. Taste is a very personal thing but this recording does belong on your bel canto shelf. Ghiaurov is also part of this exalted company and Cappuccilli does himself no dishonor either... A wonderful set!