Interesting details that the sharp listener might pick out include the famous Chinese folk tune - "What a Beautiful Jasmine Flower" which Puccini merrily copied from the earliest imports of a few Chinese LPs he had chanced upon. It is said that a friend had arranged to have them delivered to his home as he had increasingly towards the end of his life become more interested in oriental themes and tunes from the Far East.

Critics believe that Turndot and Liu should ideally be lyrical and dramatic. Here in this chosen recording of Turandot, I am tempted to express that this ideal is achieved here in the balance of power between the usually dramatic Nilsson and the lyrical Tebaldi.

In her delivery, Nilsson (right; of Wagner’s Ring's Brunnhilde fame) does not lack the required lyrical tone and in her thick dramatism, enhances the overall effectiveness of her already golden tone. She has no restraints soaring above the staves in her gruelling arias "In questa Reggia" and "Straniero, ascolta" In the latter aria , even Dame Joan Sutherland (Decca 414 274-2) is heard struggling to maintain her famed tone (a very rare thing indeed) at the highest of tessituras. Nilsson shows us what a true helden-soprano can do when borrowed over to ‘taxing’ Puccini heroines - and the effect is more than compelling; listen to ‘Figlio del Cielo!’.

Tebaldi (left) on the other hand does not become overly sentimental and in her struggle of love-lost and imminent death, sings with plenty of noble dignity. Her testing aria "Tu che di gel sei cinta" may lack the certain dramatic poise of Callas or the floated pianissimi of Caballe made famous in "Signore, ascolta!" but Tebaldi's account remains one of the versions capable of withstanding the refiner’s fire - full of blue-veined nobility and her tone sufficiently thick to carry the required dramatic weight. Tebaldi without any question, was the prima donna assoluta of lyrical soprano roles.

Swedish tenor Jussi Bjoerling (right), now almost unheard of in the generation who has grown up with TVs and Pavarotti, is my choice of Calaf. Those accustomed to the dramatic version of "Nessun dorma" which has made Pavarotti famous should listen to Bjoerling’s more correct placement of this aria. In terms of sound and dramatic quality, Bjoerling does not overdo on both accounts - unlike Pavarotti, who has taken his signature song/role out of context - more fit for the World Cup than Turandot. Throughout, known for his beautiful sweet tenor voice, Bjoerling displays a warm heroic sound, secure in all registers, even and solid minus the harsh brightness of our other famed tenor while imbued with plenty of style and subtle nuance. No heroism should be lacking here, no need to overstate it either. Bjoerling is heard here in his prime.

The playing of the Rome Opera Orchestra under Leinsdorf sounds thin and understated. Understandably, the 1960s recording did not have the advantage of digital treatment. However, accompanying the glorious sound of the singers, all captured without any loss, Leinsdorf conjures a very refined sound from the string section, shimmering with excitment when required and somehow aptly bright, befitting the oriental theme, the oriental melodies and the subject matter. The brass is employed to great effect with superb control. Otherwise, small problems in ensemble-playing may be detected here and there; however, they do not mar my overall enjoyment of the performances. The chorus is effective in their interplay with Ping, Pong and Pang; the three ministers of Turandot.