This is a very fair selection from an attractive set. In spite of a voice not wholly suited to the demands of Aida's role, Ricciarelli succeeds in giving a very involved, subtly defined account of her music, particularly in the Third Act encounters with Nucci's forthright Amonasro and Domingo's near-ideal Radames. It's good to have so much of Domingo's contribution included here. The set's weakness, Obraztsova's Amneris, is sensibly played down. For a true understanding of Abbado's direction you really need to hear the whole set, but even in excerpts its strengths are obvious, and one admires the performance of his chorus and orchestra. The sound is excellent.'