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A fanciful biopic of legendary conductor Arturo Toscanini as a very young man.

Released in 1967, the famous black-and-white film adaptation of Donizetti's opera, starring tenor Carlo Bergonzi and soprano Renata Scotto, alongside Giuseppe Taddei, is known for its charming performances and popular recordings. The film and associated recordings captured leading Italian singers in their prime, showcasing Donizetti's beloved work, famous for the tenor aria "Una furtiva lagrima". L'Elisir d'amore saw various productions and releases in 1967, including a RAI TV film in Italy, performances at Glyndebourne starting June 17, San Francisco Opera in October, and a World Record Club vinyl release in the UK, indicating it was a popular year for Donizetti's opera across different media

This tribute to James Levine, first shown on PBS, was only part of that glorious evening. Here we have the whole performance, up to three hours. I could not stop watching these discs. Let me say this much; Levine has done for the Met, making it the premier opera house in the world, what Karajan did with the Berlin, making it one of the finest orchestras ever. So sit back and enjoy.

1966 film version of Verdi's opera.

Legendary opera stars Renata Scotto and Carlo Bergonzi are in peak form in this magnificent live 1967 performance of Donizetti’s bel canto masterpiece. The cast also includes Mario Zanasi as Enrico and Plinio Clabassi as Raimondo. The NHK Symphony Orchestra and Tokyo Philharmonic Chorus are under the direction of Maestro Bruno Bartoletti.

Here, we catch Cossotto within the period when she was delivering the meatiest and arguably most satisfying singing of her career. Her voice in 1973 remains a beautiful, distinctive, and responsive instrument, one ideal for conveying both sides of Aida's rival, outwardly fierce yet vulnerable and, ultimately, noble in spirit as well as birth. Carlo Bergonzi's Radamés signs of age-related decline on the great tenor's part are few. The voice is a little thicker and less freely produced than in previous years, and there is evidence here and there of a slight "tug" on some notes from the passagio upwards. The soprano Orianna Santunione, is a far less familiar and celebrated name seems to labor to meet demands of volume, and in the early scenes gives the impression of conserving. However, beginning with her first aria, she begins to pull it together, and somewhere along the way her diligence and responsibility transmute into something more, something quite affecting.