In the courtroom, Joan Alton (Brick Randall) and Mike Hathaway (John St. James) are legal adversaries, but outside the halls of justice they are entangled in a torrid love affair. When Mike's wife finds evidence of her husband's extramarital activities, she confronts him with the proof, and he storms out. Unable to reach Joan, Mike stops at a local strip club where he finds comfort in a few stiff drinks and the come-on of a blonde who doesn't want to know his name. When Hathaway wakes up alone at a local motel, the blonde is gone. Soon after, he discovers that his wife has been brutally murdered, and he's the number one suspect. Suddenly, all of the people able to verify his alibi are not talking or they're turning up dead. As the police build a case against Mike, digging up all the dark secrets they can find, Mike turns to the one person he can trust and the one person who might be able to clear his name—his mistress.
This superb recording of the compositions of Lully for the court of Louis XIV is almost perfect in delivery; evoking the sophistication, wit, grandeur, humor that would be required to entertain the most demanding of monarchs amidst the most sophisticated court in Europe. The character of Lully is fascinating. Lully was an Italian actor, dancer and musician who becomes the central creative force in music theatre in the court of the Sun King. However it is the flawless music that is contained in this recording that should be heard. With use of period instruments William Christie and Les Arts Florissants paint a range of compositions from various operas and periods in Lully's career in the court of the Sun King.
“…Tebaldi proved at the Maggio Musicale at Florence in 1953 under Mitropoulos that Leonora was to be among her most successful roles, and here she confirms the fact in spades with her lustrous, effortlessly shaped and eloquent traversal of the role. By her side she has the incomparable Corelli, singing his first Don Alvaro, and revealing that his brilliant, exciting yet plangent tone is precisely the right instrument to project Alvaro's loves and sorrows. At this stage of his career his thrilling upper register and incisive delivery of the text were at their most potent, as he makes abundantly clear in aria and duet. As his antagonist, Bastianini sings with the kind of Verdian élan seemingly now extinct among his breed. He may not be the most subtle of Verdian baritones, but here his macho approach ideally suits Don Carlo's vengeful imprecations.” (Gramophone Classical Music Guide)