For a first operatic effort, Giordano's score is accomplished and given an authoritative reading here by idiomatic leads Eleonora Buratto and Freddie De Tommaso, both relishing the high-octane vocal writing.

I doubt that even Giordano himself invested more care, and more artistic self-belief, in Marina. If he had been able to hear this recording, he might have changed his mind.

It’s the arresting writing for the two lovers which confirms Giordano as the real deal, and in terms of technique and temperament one could hardly wish for better exponents than Eleonora Buratto and Freddie De Tommaso. Buratto in particular is magnificent throughout. Her opening scena showcases a real old-school Italian spinto voice, with plenty of bite in the chest register and laser-beam top notes which suggest that Turandot might figure in her future.

It’s not the most sophisticated writing but it comes straight from the heart...Eleonora Buratto is treasurable as Marina, her bright soprano thrilling at the top. As Giorgio, Freddie De Tommaso proves a classy verismo hero, his voice dark yet suitably Italianate. The Orchestra I Pomeriggi Musicali is supple and secure under the idiomatic baton of Vincenzo Milletarì.