You can hear Verdi's genius growing through the course of this opera, in part because it is about (among other things) parent-child relationships, a theme that stirred him to the depths of his soul. Luisa Miller begins in the manner of early Verdi, goes on to a foretaste of his middle period (Rigoletto, Traviata) and even hints at his late manner (Aida, Otello). Placido Domingo's name is (coincidentally) evoked in his show-stopping aria, "Quando le sere al placido," and that may help explain the special energy he puts into it. Aprile Millo matches his power after a slightly strained beginning, and James Levine conducts a performance that is quite satisfactory (note Paul Plishka as the exquisitely named villain, Wurm), though many will prefer Peter Maag (on London) or Fausto Cleva (on RCA). --Joe McLellan