Severely cut and rearranged, Zeffirelli's famous film suffocates under its own opulence; but Parisian and Provencal locations, Levine's rich conducting, Domingo and Stratas remain rewarding.

From the start Stratas's face reflects all the shades by which hope and fear, the public image and the inner self may be expressed. Both meet the notoriously disparate vocal demands of the role, though Stratas's voice sounds worn on the high notes. In the last act Stratas's relative slightness of vocal and physical build works to her advantage. Both are fine in the developing emotions of the great duet with Germont père...Levine's flair is most evident in vigorous rhythmic passages such as the dances and the card game

… the start Strata's face reflects all the shades by which hope and fear, the public image and the inner self may be expressed.

It is Zeffirelli who dominates the filmed Met. production...But that does not detract from the passion or the tragedy...[Stratas] totally identifies with Violetta and movingly carries us with her...Domingo is Domingo, and he sings with the fullest, boldest ardour.

Dazzling…a triumph…not to be missed.