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It may not display this or other websites correctly. Her beauty of tone and de Luca's authoritative style in a role that can hardly have been his by nature are always gratefully heard; as for Lauri-Volpi, there is a rare thrill in such vibrant ardour, while the span of his top As in his surrender to the priests is magnificent. Incidentally, he used to tell as a pleasant anecdote a story that when it came to recording this trio, his voice so overpowered the others that he eventually sang from about ten yards behind.

I exaggerate, but then so I'm sure did he. As Otello he again sings magnificently, but I can't hear Otello in him. Though he was 47 in , when the records were made, he still sounds young, and while Otello need not sound as old as he does in some performances he nevertheless has ''declined into the vale of years''.

When Lauri-Volpi assumed the role at La Scala it was taken for virtue that he could with success sing Otello one night and the Duke of Mantua the next; personally, I would be inclined to think that this was part of the trouble.

In the ''Esultate'' and Love duet with Maria Caniglia he still sounds like Radames and in the later, tragic excerpts, though in a superficial way there is expression, he seems to have no feeling for the tension which is so essential a part of Otello's musical and dramatic being.

It still has its glory as singing. So too does his part in the duets from La forza del destino an opera he rarely sang , with Bechi as a fascinating partner occasionally giving his senior a lesson as in returning Lauri-Volpi's ''Addi-hi-hio'' without the aspirates.