Ponchielli's old warhorse has had a bad press in recent times, which seems strange in view of its melodic profusion, his unerring adumbration of Gioconda's unhappy predicament and of the sensual relationship between Enzo and Laura.
But it does need large-scale and involved singing – just what it receives here on this now historic set. Nobody could fail to be caught up in its conviction. Callas was in good and fearless voice when it was made, with the role's emotions perhaps enhanced by the traumas of her own life at the time. Here her strengths in declaiming recitative, her moulding of line, her response to the text are all at their most arresting. Indeed she turns what can be a maudlin act into true tragedy.
Ferraro's stentorian ebullience is most welcome. Cossotto is a vital, seductive Laura.
Cappuccilli gives the odious spy and lecher Barnaba a threatening, sinister profile, while Vinco is a suitably implacable Alvise. Votto did nothing better than this set, bringing out the subtlety of the Verdi-inspired scoring and the charm of the 'Dance of the Hours' ballet. The recording sounds excellent for its age.

Callas gave one of her most vibrant, most compelling, most totally inspired performances on record in the title-role of La Gioconda...[Votto] has never done anything finer on record. The recording still sounds well, though it dates from 1959