As in many of his later recordings waived Solti here on the formerly characteristic of his report effects in the orchestra, is based on a less rugged sound image and choose also more fluid tempi, which just this opera, the gayest, most conciliatory gets well under Verdi's dramas.
Even with the female lead, the new recording is ahead: instead of something stiff here Birgit Nilsson sings the Mozart specialist Margaret Price Amelia - with bright lyric voice and great expressive intensity. Besides vocally much more opulent Leontyne Price one of the most compelling role representatives at all.
The King Gustav / Ricardo was a favorite role of Luciano Pavarotti and next to the Duke of Mantua (Rigoletto) perhaps his best Verdi-game, perfect for its bright, metallic radiant voice: What opposite him artists like Björling, Bergonzi, Domingo interpretive subtlety lacked, he made musical by instinct more than offset.
Renato Bruson finally, the singer Renato / Anckarström, was discovered rather late by the record industry, so that his noble, soft voice is worn in many recordings quite. Here he presents himself still in good shape, especially in the first act. For the large Racheschwüre in the third he somewhat lacks metal in his voice.
The supporting roles are very visibly, with Kathleen Battles Oscar but little boyish sounds. Christa Ludwig, however convincing as less sinister than sensitive and maternal Ulrica. The conspirators are occupied awarded.
So overall this is one of the most complete recordings of the masked ball, which it does not deserve to be forgotten.
