A stylish "Esultate, jubilate" with accomplished passagework and trills opens the disc. "L'amerò, sarò costante" from "Il Rè Pastore" . . . is handled adeptly, in a cool instrumental manner that reminds one of Maria Callas' admonition not to sing Mozart as if one were on tip-toes. An imaginative cadenza with string accompaniment at the conclusion adds an unexpected bravura touch. Pamina's "Ach ich fühls", on the other hand, offers a flesh and blood character poignantly and movingly drawn, the complex vocal hurdles of this treacherous piece deftly handled. Susanna's two arias from "Figaro" are a delight. "Venite inginocchiatevi" is warm, knowing and loaded with personality; "Deh vieni non tardar" sensual, elegant and impressive for its dynamic control . . . A dramatically engaged, vocally impressive reading of Ilia's "Se il padre perdei" from "Idomeneo" is followed by a rarity from that opera, "Non temer, amato bene" . . . Lauretta's often cloying "O mio babbino caro" from Gianni Schicchi is delivered in a manner refreshingly direct, charming and persuasive . . . "Tu che di gel cinta" is extremely successful. Gueden is attentive to Puccini's dynamic markings, and the character sounds drained and exhausted as intended. The presence of Alberto Erede at the helm for the "Traviata", "Falstaff" and "Puccini" selections have a beneficial stylistic effect.

Les viennoiseries, Hilde Güden, timbre fruité, aigu de charme et phrasé caressant, en raffole elle aussi, ne quittant pas son dirndl lorsqu'elle s'aventure chez Noel Coward ou Ivor Novello le temps d'un album entier. Irrésistible, cette distinction dans la goguette et la guinguette.