''Pavarotti In Concert'' is the title, but when I've heard Pavarotti in concert he has had piano accompaniment, and I wish he had that here. Instead, the songs are provided with inflated orchestrations quite out of keeping with their character. Pavarotti is relatively stylish in his dealings with the Italians still tend to classify generally as arie antiche; but he is not helped by the anachronistic orchestral settings. Even in the songs by Tosti they are out of period, smacking more of the 1950s than of the late nineteenth century. Pavarotti is excellent in some of these, notably Malia and the gentle, long-drawn-out Non t'amo piu. In Respighi's Nebbie he offers something better still: it is a piece of concentrated, finely modulated, great singing. Of the earlier songs, Bellini's Dolente immagine is quite a lovely example of the tenor's personal way of communicating apparently heartfelt emotion and of his ability to support his quieter singing with graceful control.'