If critics were kings.... Well, what a world it would be. ''Listen to this; don't dare to buy that'': the edicts would be stern and uncompromising. The royal command in favour of this new Nimbus might let a small number of seasoned collectors off on the grounds that they probably possess all the originals and experience a special and incorrigible difficulty when confronted with the Nimbus sound. To all others the peremptory order to acquire would be accompanied by unusually detailed instructions about listening. The record should be stored for three months during which its contents will be studiously forgotten. It must then be brought forth and played 'blind': that is, no one is to know in advance who is singing or what comes next. This way (for my monarchy is not only enlightened but benevolent too) pleasure will be enhanced, prejudice minimized, and if in suitable company the whole programme will be orchestrated with cries of recognition, mistaken identity, surprise and delight.
It is in fact an utterly splendid collection, winners every one, with the possible exception of the last, for though Mafalda Favero was a singer of charm and distinctive character hers is by no means an exquisite performance of the solo from Manon Lescaut. Otherwise it is a tour from one superlative to another. Tamagno sings so beautifully, quite apart from the power, both vocal and dramatic. Calve and Plancon perform their respective miracles, Ruffo and de Luca air their differences to the benefit of both, Onegin and Pinza are gorgeous in their richness and subtle shading, Rethberg's Czardas and Bjorling's Adelaide, both of them unusual selections, are almost best of all. Of course the hall acoustic of the transfers suits some better than others: Chaliapin doesn't need it, having plenty of space in the original recording, but I don't think I have ever heard Ivogun's Zerbinetta to greater advantage.
The booklet has some good photographs, but presentation in this series continues to be somewhat elementary in style and content. An abject note on Martinelli's exuberant La leggenda del Piave states that ''it has not been possible to trace the text of this song''. No, maybe not, but have we no Italians around, nobody even with enough operatic Italian and a dictionary at hand who might at least catch the gist?'