Corelli, one of the period's most viscerally exciting tenors, adds high notes and generally shows off, but in a way that is regularly thrilling. Leonie Rysanek's Elisabetta possesses discretion and insight and is founded on resilient yet pliant vocalism.

[Corelli] is on terrific form and his admirers will not be upset...he's passionate and involved in his confrontation with Elisabetta in the courtyard and ends it on a blazing B flat...[Dalis's] sound is hardly Italianate but she has Eboli well in hand - high, low, seductive, vindictive.

This is one of the more erratic issues from Sony's Met Archive series, but also among the most compelling...both [Corelli and Rysanek] sing with such overwhelming grandeur of passion that you really believe in them as a titanic pair of lovers, destroyed by the petty systems and creeds of those around them...Kurt Adler keeps it all wonderfully together, though I suspect the stars on stage are controlling the speeds.