Martina Arroyo, Placido Domingo, Sherrill Milnes, Ruggero Raimondi, James Levine - Verdi: I Vespri siciliani (1999)

In this wonderful recording, James Levine draws lush, swashbuckling playing from the New Philharmonia. The main attraction of this performance, however, is undoubtedly the most sensitively blended palette of voices. At the beginning, there are Kenneth Collins and Richard Van Allan being put through their paces as a highly distinctive Vaudemont and Thibaut. And there, too, is the youthful Maria Ewing, glinting through the rabble as Ninetta. Later on, we hear a young James Morris, as well. If the minor characters form a healthy foundation, the principals fulfil expectations in the superstructure. Martina Arroyohas all the poise and somber dignity of the wronged and bereaved Elena, and her voice has the ''penetrating intensity of melodic expression'' (to paraphrase Berlioz, in another context) which characterizes her writing. ''In alto mare'' and ''Arrigo! Ah parli a un core'' are beautifully contoured, but when required to be energetic at the top of the register, the voice rises splendidly. The three men are superb. Domingo as Arrigo sings with such conviction that every line leaps with life; this is Domingo at his finest. Matching him is Sherrill Milnes as a powerful, rich-voiced Montforte. Recitative is forcefully weighted, arias paced with the sad stillness unique to this role, and the extroverted parts roll forth sonorously. Raimondi's is a voice from the deep shadows and, as Procida, it comes from both the boots and the heart. The voice is as steady of focus as the character's own single-minded intent. He is allowed his Act 2 cabaletta just as the orchestra are given their head in the full ballet music, smoothly integrated into the drama. This is a classic recording which belongs in every collection.