The economically minded will have already noticed that this set takes only two CDs to the three of its rivals. The reason isn't far to seek. While they both complete, the DG cuts the second verses of cabalettas and of ''Addio del passato'', and also foreshortens the Third Act in a way that is still fairly common in the theatre. I think I have become a little less tolerant of these excisions that I was eight years ago when this set appeared on LP. On the other hand, as this performance is so compelling dramatically, and as a recording much more natural in the latter respect that its rivals, it could well be a newcomer's first choice.
Cotrubas is quite as moving as Violetta as Scotto (Muti/EMI), a little smaller in scale but free from those ugly high notes that mar the older singer's performance. At any and every point one feels the vulnerability of this Violetta and the hard deal she gets from life. She isn't a grand Violetta, not a society queen, but a wholly believable woman and lover, whose tragedy is expressed in moving accents. Her vocal control is also exemplary—listen to the repeat of ''Dite alla giovine'', and here Milnes's Germont pere is at its most flexible and eloquent, though not vocally quite so warm or secure as the impeccable Bruson for Muti. As Alfredo, domingo has both the honeyed tone for the duets with Violetta and the Otello-like power for the outburst chez Flora, but isn't quite so individual as Muti's Kraus.
Kleiber's volatile, incisive direction, sometimes in questionable tempos, has worn perhaps a little less well than the rest. I think I prefer Muti, particularly as he gives the score complete, but then I hear Cotrubas's heart-rending ''Amami, Alfredo'' and lean again towards these new CDs. If yu want to work on two discs, you won't be dissappointed, and will certainly enjoy the theatrical-like sound and get caught up in the drama.'