This Lucia is usually discounted as being an inferior performance to others that were recorded. Indeed, there are many signs of vocal frailty in evidence, Fernandi's singing as Edgardo isn't the most subtle, and the sound is variable depending on what label the performance was issued.
However, there is one feature of this performance that makes it extremely valuable and unique. The ensemble finale at the end of act two includes music not heard in Callas's voice anywhere else. In the Karajan production of Lucia at La Scala, he opened a cut that has been repeatedly noted in books on Callas. In the Rome performance, Serafin opens a different cut, and while Michael Scott mentions it in his book, he doesn't make the difference clear.
John Ardoin criticizes Serafin's conducting in this performance, but I disagree with his view. This is an exciting yet lyrical performance that deserves better than it has received.
