Corelli's pale '70s recordings of the title role (1970 and 1972 in Vienna and at the Met respectively), where he sounds embarrassingly overparted, can in no way compare with this magnificent 1964 Carlo from the Met. Rysanek's Elisabetta is rather matronly, but she's in glorious voice. Dalis - known to us mainly from her Bayreuth Kundry - is a sympathetic Eboli (rightly flirtatious in the Veil Song and unbearably regretful in 'O don fatale'). Uhde (Grand Inquisitor) - another Wagnerian - matches Tozzi (Filippo) note for note: the latter tends to declaim (rather than sing) some of his lines (including 'Ella giammai m'amo'), but it's still a moving characterization. The little-known Herlea sings Posa: not as graceful as (say) Bastianini's, a trifle wobbly and loud but not entirely forgettable. The Monk is sung by the young Diaz (one wishes that he and Herlea had reversed roles). The recording's sound quality is acceptable: good soloist-chorus-orchestra balance. But the cuts are annoying, given the fact that Adler used an almost complete text at the same house nine years earlier (Tucker, Steber, Thebom, Bastianini, and Hines). If you don't have a Corelli CARLO, get this one and ignore his '70s recordings; however, if for any reason (eg Janowitz's Elisabetta or Talvela's Inquisitor) you can't resist the Vienna performance (sonically superior to this one), make sure you don't even touch his 1972 Met CARLO issued on Living Stage (a shameful release, poorly recorded and sung).