At Beecham’s famous 1951 Covent Garden Meistersinger, Anders was the unforgettable Walther: at least after all these years I haven’t forgotten his masterly performance, combining at once the poetic and heroic aspects of the part. Confirmation is given here in Walther’s solos recorded two years later, which display the characteristics remembered from his stage portrayal. These are followed by what must have been some of his last recordings – of songs by Richard Strauss in orchestral clothing – made the year of his untimely death in a car crash aged only 46. These also come near to some kind of an ideal, the passion controlled by refined style and impeccable phrasing.

The two excerpts from the other Strauss’s Fledermaus are a reminder of Anders’s pre-eminence, and enormous popularity in operetta during the 1930s, which can be confirmed by his many shellac discs made at the time, reissued repeatedly since. These extracts come from a complete Fricsay Fledermaus with Anny Schlemm as a lively Rosalinde.

Anders is just as attractive in the Lortzing and Smetana arias, where his lyric tone is much to the fore, though by attempting heavier roles it is not quite as easy as it had been in pre-war days. It is good, too, to have a first issue of ‘Parigi, o cara’ (La traviata) where he is partnered by the charming Erna Berger, both singing in Italian. The other pieces from Italian opera, and the two from French opera, mostly sung in German, are less pleasing, not only because of the ‘wrong’ language but also because Radames, Canio and Chénier slightly over-stretch Anders’ resources. Throughout he is supported by excellent conductors and orchestras in pleasing mono sound.