Among Puccini's great operas, Madama Butterfly is the one that had reference recordings relatively later. Among them, the first to represent the most modern and innovative side of the composer was this stereo recording from 1957 edited by Richard Moore for the American RCA. It is indisputable that the fundamental interpretative approach was that of a great non-Italian conductor such as Erich Leinsdorf, who would later record all of Puccini's most important operas. Leinsdorf's interpretative modernity was magnificently assisted by the participation of a lyric soprano like Anna Moffo and an impeccable tenor like Cesare Valletti. After many years, and also thanks to the splendid quality of the recording, the production of Butterfly remains among those of absolute reference.

Sony Classical announces a further batch of complete recordings from the CBS/Sony and RCA Victor catalogues. The newest installment of this popular series features some unusual repertoire as well as documents of the New York Metropolitan Opera in its postwar heyday. In Rome in 1965, RCA produced a benchmark set of Gluck’s Orfeo ed Euridice, with an outstanding all-American cast led by Shirley Verrett as Orpheus and Renato Fasano conducting the Virtuosi di Roma. “This is undoubtedly the best performance and recording of the opera we have had,” wrote the Gramophone reviewer. Penguin Guide concurred: “If you have a mezzo as firm and sensitive as Shirley Verrett, then everything is in favour of your using the original Italian version. Fasano also uses the right-sized orchestra … and adopts an appropriately classical style. Anna Moffo and Judith Raskin match Verrett in clean, strong singing … The recording is vivid and atmospheric.”

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Excerpt from a review of the set's previous CD release:

Shirley Verrett makes a deeply impressive Orfeo, firm and pure in sound, classically restrained in expression; and her ''Che faro'', at a moderate, beautifully judged speed, is very finely sung, poised and quietly moving. The many other good moments include ''Che puro ciel'', done with a real sense of wonderment, to sounds of delicious refinement from the orchestra. Anna Moffo provides a competent, not specially interesting Euridice and there is an Amor of real charm and style from the late Judith Raskin.

The set is conducted by Renato Fasano, whose pacing of the score shows a very sure touch. The orchestra's playing is first-rate; in its long-breathed phrasing, this performance is of its time and represents its time persuasively. There is an excellent chorus; singing in their native tongue—a real advantage.

– Gramophone