This chapter discusses the singers who have performed and recorded Puccini’s works since the mid-twentieth century. The author analyses changing trends in Puccini performance, particularly in terms of the sorts of voices that were considered most suitable for singing this repertory in audio recordings. The chapter begins with a discussion of the rivalry between Maria Callas and Renata Tebaldi, two sopranos who took quite different approaches to the performance of Puccini’s female roles. Mirella Freni and Tebaldi took a more lyrical approach than their immediate predecessors. By the 1960s and 70s – the era of the long-playing record – a new breed of international sopranos and tenors with opulent voices was emerging, including Montserrat Caballé, Luciano Pavarotti, and Placido Domingo. The 1970s and 80s was the era of the big-budget studio recording, featuring starry conductors and casts and the world’s greatest orchestras. The 1990s saw a drop-off in recordings by major labels, yet a new generation of bankable stars was emerging, including Roberto Alagna, Angela Gheorghiu, and (in the 2000s) Jonas Kaufmann. The chapter concludes with a discussion of a recent turn towards lighter voices tackling this repertory, epitomised by the success of the compelling Albanian soprano Ermonela Jaho, who brings into question the idea of what an ‘authentic’ Puccini singer might be.