Both Falstaffs boast Mariano Stabile in the title role and he is simply remarkable. Without ever resorting to cheap tricks, weird rhythms, or unmusical whisperings or shoutings, he has more "face" than any other recorded Falstaff. The false dignity and pride, the outrageous lack of self knowledge (he genuinely thinks he is a "grand seduttore"), the arrogance and cowardliness, and ultimately, the capitulation are all vivid and right-on. The ripeness of the voice in the later performance (by which time he had sung the role more than 1200 times during a period of 30 years) is never a detriment; indeed, so canny is his ability with text, note values, and phrasing, that there's virtually no audible difference in vocal quality from the 1941 to 1951 readings. Each is a gem.

Cloe Elmo appears as Mistress Quickly in both performances, and she too is close to definitive--colorful, rich, funny--and if anything even better later than earlier. Renata Tebaldi's Alice in '52 is a delight; Franca Somigli's in '41 shows a less distinguished sound but perhaps a greater sense of fun. Neither Nannetta is ideal. Rosanna Carteri is listed in the role here under De Sabata, whereas previous releases have indicated Alda Noni; I believe Noni is correct. Whomever, she's not very good, but is better than Augusta Oltrabella under Serafin, who sounds slightly like Santuzza. The Megs are good, but as usual with this role they tend to get lost in the shuffle.

Both Fentons are caught very early in their careers and are wonderful; pity that Ferrucio Tagliavini's aria is missing. As Ford, Paolo Silveri is fine, but Tito Gobbi, just starting out in '41, is dynamite, singing with great insights and that odd timbre that was decidedly his and his alone. Both conductors have nothing to learn and can stand tall with Toscanini; both are better, say, than the have-fun-or-die Solti, the buttoned-down Karajan, or the joyless Giulini. The 1941 sound is better than the '52. You can't go wrong here. The bonuses are great: Gigli and Cigna are a passionate pair of Middle-Easterners, and the Merli/Caniglia Otello Love Duet has to be heard to be believed: taking a full two minutes longer than the longest on CD, it is hypnotic and ravishing. Piero Biasini, a baritone unknown to me, is an exciting Iago. This release, at four CDs for the price of two, is priceless.