Crespin’s voice is so easy and clean, not fussy or forced. I wish more sopranos studied her.

Corelli's Cavaradossis during these years are truly unrivaled for sheer power and beauty

Gobbi & especially Callas were past their sell by dates in these roles when this performance took place, IMO. As for London, he had still been a fine Scarpia several years prior to this but had to give up his career around a year later after this performance. The cause was supposedly a paralyzed vocal chord but being familiar with his GRADUAL vocal deterioration from 1961 on I contest this as being a sudden affliction. Perhaps there were technical & other health factors concerning London‘s instrument that eventually brought on the resulting ˋparalysis ´but the fact remains that his instrument was never quite the same for the 5 years prior to this performance here. His entrance, a normally awesome moment is especially disappointing. During this time London still had some impressive moments but they became unfortunately fewer as time went on. I am a big admirer of Crespin but TOSCA on what I hear in this performance although not without its merits might not have been ideal for her. It was an ideal role for Corelli although he was admittedly interpretively over the top at times. Still, his over indulgence (a guilty pleasure of mine I must confess!) was often intoxicating especially in his LIVE Parma TOSCA from 1967. Certainly there is no full spinto tenor instrument to match his these days especially in TURANDOT.

And...George London!! The masculine voice of a TRAIN!! And, I always liked Cleva. Thanks so much. I will listen tomorrow, dear man!

Corelli lascia senza parole e senza fiato❤

Thanks .. 💯

Very very tricky role for George London! valiant attempt.

Corelli and Crespin are sublime. I find Crespin to be a very underrated Tosca. London, however, runs out of steam at 01:07:07, admittedly the hardest moment for him. But this what he does here is... uhm.

Regine Crespin is one of best Tosca of the century,

Corelli is glorious as always in this role during this time period. He had everything. I think that Crespin is a really good Tosca. She's perhaps not as temperamental and intense as some, but she is quite feminine (to lack a better word). I do think that she has difficulty in some passages, such as in the Torture Scene. She omits the "no, no, no's" in order to rest up for "Ah, piu non posso...", and she is under some strain there. But I'm nitpicking now. I very much enjoyed her performance. I think that London sounds very good, all things considered. The voice is still imposing and incisive. It is a similar performance to his Wotan from the same year.

The ending of ‘Vissi d’arte’ is not so artfully managed. A huge but unruly voice (utterly defeated by ‘Aida’, for example), eventually losing the top altogether.

After listening to a few key points, I’d take the performance on 19 March over this one any time. I want Callas and Gobbi back!