This is a bargain-issue and by no means underpriced. The recordings were made live at a concert (or concerts) in the tenor's hometown, Bratislava, where the loudest of bravos generally greet the least admirable of the performances. An exception is ''Questa o quella'' which is a colourless piece of singing to a dully rigid accompaniment, and which provokes only mild applause. In the recitative before ''Celeste Aida'' Radames speculates without excitement over his military future and turns to thoughts of his beloved with little change of tone; he also pushes uncomfortably hard on the A flat of ''vinto''. The aria itself begins encouragingly but lacks interest of phrasing, nuance or drama, and ends with an ugly B flat eliciting the loudest bravo of all.
The aria best sung is probably ''Pourquoi me reveiller'', affectionately begun, the first verse rounded off quietly, the second with strong passionate fullness. Otherwise most enjoyable are the three songs at the end of the programme, where the voice has warmth and freedom, the manner becoming a little more personal. Orchestral contributions include a lugubrious account of the Prelude to Aida and a cool run-through of the Intermezzo from Manon Lescaut. At least the Entr'acte from Carmen ensures a few moments of genuine beauty with not a single bravo to follow.'