This is the Ballo which, above all else, glories in Muti as an exuberant man of the theatre. The impetus with which he whips up the constituent parts of an ensemble into the vortex, and the juxtaposition of blasting tutti with slim, sweetly phrased woodwind detail, so typical of this opera, hits the ear more thrillingly than ever. So does the equally characteristic tugging undercurrent of the ballo against the intrigue of the maschera, activated by Muti with such acute perception and élan.
He provides pliant, springing support for all his singers too: Domingo, a warm, generous Riccardo, is every bit as happy with Muti as with Abbado. The same can't be said of Martina Arroyo, the weak link on this recording. Dramatically forceful, but curiously cool and detached from the expressive nuancing of her part, she has little of the vulnerability of a Ricciarelli (Abbado), or the individuality of a Price (Solti). But, although this mid-price recording may not offer the most consistently luxurious vocal banquet, none the less, with Cossotto's stentorian Ulrica and Cappuccilli's staunch, resilient Renato, its strong sense of theatrical presence and its dramatic integrity will make it the chosen version for many new collectors.