One could make the case that is the best Lucia on record. If I prefer Sills/Bergonzi, it might be just because Schippers's conducting is more positive than Rescigno's, and surprisingly the 1971 analogue sound has more presence than this early digital (1983) version. But the singing has not been bettered . . . which is not to say that all the voices are better. Bergonzi at 47 has more juice in the voice than Kraus at about 60, but Kraus's singing is, as they say, textbook. He deploys his voice so beautifully -- and the voice still HAS beauty, though it's a bit dry -- and with regard to the drama of what he's singing that criticism seems beside the point. His singing in the final scene is one of the great pieces of singing on record. Gruberova, by contrast, was a young singer in 1983, and she sings the role as well as it has been sung. Lacking the distinctiveness of Callas and Sills, she probably is more technically secure than either, and she brings the drama home in a way that Sutherland, for all her virtues,cannot. Listen to her scene with Bruson, where he convinces her that Edgardo has deserted her --Sills and Cappuccilli are superb here, and Bruson and Gruberova are at least as moving. Bruson throughout sings as beautifully as I've heard him sing. With Lloyd as a solid Raimondo and Bottone as the hapless Arturo, it's clear that the whole opera has been cast from strength. Gruberova, as I write (2012), is still singing -- hers is one of the great underrated careers. This example of her youthful voice and art shouldn't be missed. BTW: the opera is recorded complete, unlike the Callas versions -- so you get Wolf's Crag, and other smaller cuts are opened.