This seems to be a spin-off from the five-LP Thill issue that was welcomed in November 1985 by JBS, who also commented appreciatively on the comprehensive presentation material. This time, however, apart from a brief sketch (in three languages) of the great French tenor's career, nothing is provided—no texts or translations, no resumes of the dramatic context of the arias—EMI apparently thinking either that listeners would be familiar with all these extracts (Hands up those who know the words or the context of the Gluck and Rossini arias! … Yes, I thought so) or that the texts don't matter and it is sufficient to bask in the sound of that splendid voice. It is true that besides Thill's rare technical mastery, which fitted him for both lyrical and dramatic roles, he possessed an equally rare taste and a quality of musicality that would surely grip the attention even of an unprepared hearer, but appreciation of his command of tone-colour and verbal nuance would be heightened by possession of the relevant information, even though his superbly clear diction is a model for all singers. One hardly knows what to admire most—the wonderfully evenly produced tone, the fine legato line, the moulding of phrases, the total security of intonation, or the honest ringing attack on climaxes (e.g. at ''Juliette est vivante'' in the Gounod) or top notes (in Les troyens, Faust and Le Cid). John Steane, Heaven forgive him, cannot altogether rid himself of a feeling that Thill was ''very good but rather boring'': for myself I would be happy to be more often bored in this way. This is a disc every student and teacher of singing should have and treasure.'