The great event of these concerts was Marilyn Horne's aria from La donna del lago. The compilers of the CD must have reflected that theirs was an invidious task, for if the solo contribution of one of the three celebrities were included, might they not find the other two on their doorsteps inquiring why their item had not been chosen likewise. 'Duets and trios only' being the policy, the Beatrice di Tenda (which, like the Rossini solo, can be found on the original two-LP box-set) was clearly the one for disposal, leaving the Ernani (distinguished by Horne singing—at a convenient pitch—the bass part), the longish excerpt from Norma (distinguished by nothing very much), the Gioconda pieces (with the Enzo/Laura duet prosaic in mood but still the best thing so far), and then two items which do lodge rather more gratefully in the memory. Pavarotti hardly lives Otello's music, but it is still interesting to hear him sing it. And the passage from Il trovatore (the whole of the last scene) comes to life with a genuine involvement on the part of all the singers, and some particularly lovely sounds from Marilyn Horne's Azucena. The audience applauds this, as they do everything else, loud and long. From the depths of my arm-chair, I did not feel irresistibly tempted to join in.'