The work is a masterpiece but a famously difficult one. The vocal lines are taxing, no one virtuosic role dominating the opera (though it can with the presence of one star performer), but rather four psychologically complex characters each asserting their dominance. One must also work hard to convey the narrative successfully, the plot richly textured but often tending to seem unclear, sometimes ridiculous. However, Verdi's dramatic and musical instincts are superbly displayed throughout, the melodies consistently memorable and the drama's dark heart conveyed effectively through rich chromaticism and musical/dramatic contrast.

Herbert von Karajan's reading, with the Orchestra of La Scala, Milan is every bit as rich as the opera itself, the orchestral textures lush and detailed, though not lacking gritty dynamism at climactic ensemble outbursts. The scenes of character dialogue - say, that between Manrico and Azucena in Act II - work for Karajan's subtle manipulations of tempo and uncovering of instrumental lines to support the voice. However, certain slow, atmosphere-favouring tempi can sap drama from the work, and I sometimes wished for a grainier, more wildly intense orchestral reading: one that could truly dig to the work's seams and present raw passion where, here, we have deeply atmospheric beauty. I often find that live recordings of this opera work best, the perfection of the recording studio brushing over Verdi's sharp dramatic contours.

Giuseppe Di Stefano's performance of Manrico is equally problematic. Di Stefano's beautiful voice is generally conveyed better on disc in lighter roles, and here he can struggle to fit into those intense, high-lying lines, his voice not specifically strained but rather caught and occasionally unsteady. In Act III, his Ah, sì, ben mio is beautiful, lyrically phrased and subtly shaded, but Di quella pira (performed with both verses), though ardent, is somewhat of a struggle, the top C especially. Comparisons between singers are futile, but here, I often found myself wishing for the enveloping luxury and powerful arrogance of Franco Corelli in the role: Di Stefano is a heroic Manrico, but an understated one. He does, however, uncover reserves of power in the final act, his contributions to the final ensembles transfixing.

Rolando Panerai's distinctive timbre and supple delivery make him a commendable Count, while Nicola Zaccaria makes much of the underwritten role of Ferrando. Fedora Barbieri is excellent as gypsy Azucena, her delivery biting and fearless, fully characterised; her Act II cries of "Mi vendica" carry an otherworldly quality, worthy of Callas herself. And with regard to Callas, I repeat the words of a critic from The Times in 1953: "when she moves an arm the audience sits forward, gripped by the stimulus of a dynamic personality in action". Though we can only hear the singer's voice on disc, her dynamism and commitment are completely evident. Typically, there are moments of harshness and unsteadiness in Callas' upper registers, but one is hardly likely to find Leonora interpreted more convincingly, either on disc or live.

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