It was a pleasure to hear again the many fine passages in Verdi's first opera so sensitively interpreted. Under Gardelli's loving care, the performance reveals how nearly formed was the Verdi style even at this early stage of its development, particularly so in the many thoughtful ensembles. Dimitrova brings down her vast voice to the needs of Verdian cantilena with considerable success, especially in the First Act duet for Leonora and her father, Oberto, a role sung with fervour but variable intonation by Panerai, and Bergonzi recovers from a quavery start to proclaim his familiar virtues as a Verdian tenor. The work fits neatly on to two CDs. The quality of the recording is good, if a little too recessed at times. All Verdians need to have the set.'