First of all, it has to be said that Margaret Price's singing in Act 4 is simply beyond praise -- it is easily the finest, musically and dramatically, that I have ever heard, and it is alone worth the price of the set. Not that there's anything wrong with her singing elsewhere -- in the Act 1 love duet, she shapes the lines very seductively without any loss of purity in the singing, and in Act 3 she defends herself vigorously. It's a great interpretation by a great singer. There's much to like too about Carlo Cossutta's Otello. The voice is clear, big enough, and he sings musically, but he doesn't seem as dramatically engaged as Vickers (1960) or Domingo (1978), and his voice isn't quite as firm as either under pressure -- the vibrato widens noticeably, though not off-puttingly. I disagree with the other reviewer who thinks that Cossutta's voice is inherently better suited to the part than Domingo's -- compared with Vickers and Del Monaco, both are perhaps a bit underpowered, but then, so was Martinelli's. My overall impression is of a concert performance from Cossutta. The Iago, Gabriel Baquier, certainly is dramatically engaged, but the voice is uneven and he sounds hard pressed at times. Gobbi (1960) and Sherrill Milnes (1978) are in another league; big handsome voices, vivid actors. Finally, the conductor -- Solti's Vienna Philharmonic sounds great, but it is placed at more distance from the voices than, say, Levine's orchestra in the 1978, and the overall effect (partly the distance and partly the phrasing) isn't highly dramatic. It's never less than pleasing and much better than merely competent, but it isn't vivid. Levine, by contrast, whips up the drama, risks overpowering the singers at times, but has the smell of the stage, so to speak. I wouldn't be without Vickers and Gobbi (1960) or Domingo and Milnes (1978), and even Scotto (1978), while not as pure as Price, turns in a memorable and vivid performance. But I wouldn't be without this one either -- a distinguished effort, with one sublime performance.