This Lucia di Lammermoor is quite good but it's not the best and not the greatest Sutherland-recording. Compare it to Sutherland's early recordings of Lucia and notice how matronly Sutherland sounds here and how her diction and pacing has become worse. As for the difficult cadenza mentioned in a former review, that is untrue. Sutherland doesn't sing anything other great Lucias haven't sung previously or after her. I find mature Sutherland to be too old and mushy to sing girly roles, her live-Norma from the same period shows that THIS is where she belonged at this time. Just like with Callas and others, Sutherland's early Lucias are much better than this late one. Also, contrary to other reviewers, I think Sutherland sounds much more dramatic in her earliest recordings of Lucia. The two stars go to Sutherland.
I find Bonynge's bloodless conducting and slow tempi to be unacceptable. When I saw Sutherland live as Anna Bolena this was even worse, Donizetti's fiery music sounded like a bad lullaby. If this were conducted by a true Maestro like Serafin it might have sounded differently. My next big problem would be Milnes who was great in Puccini and some Verdi but totally miscast in Belcanto. Listen to his Scarpia in "Tosca" to see what I mean. Pavarotti sounds well but not as refined as young Carreras or young di Stefano, plus he lacks youthful ardour. This Edgardo and Lucy sound like an old married couple. Also, this Lucia is way too expensive. For a GREAT Lucia with Sutherland get her earlier recording with Cioni. And also get Callas and Sills.