From the very first notes, Leonora's ''Son giunta?'', it is evident that this is another of those big unsteady voices that may be impressive in the theatre but are something of a headache on records. The first impression is confirmed throughout. The Forza scene is not undramatic, not badly phrased, not lacking in powerful high notes, but for firmness of line and beauty of tone this is not the place to look. The solo from Brahm's Requiem has the phrases sustained by a good supply of breath, but the sound is unsteady and inappropriate. These, we notice, come from way back in 1971 and 1972; we should be hearing the firm, fresh tones of youth. By 1977, with the Liebestod, the squally, uneven emission appears to have worsened, though she is certainly rather better in the Liszt.
Marton is to make her Covent Garden debut as Turandot in May; she arrives with a considerable international reputation which this record will do little to enhance. Its sole recommendation, to my mind, is the excellent singing of the bass Kolos Kovats. The recent recording of Macbeth (reviewed in January), in which he sings Banquo, suggests that he is now past his best.'