Solti's collection of Verdi choruses is not derived from his various opera sets, but newly and resplendently recorded, with the usual characteristics of Decca's recent ventures in Orchestra Hall, Chicago. The balance is forward, for chorus and orchestra alike, and the sound is beefily full-bodied and present, with the orchestral brass fat, sonorous and telling. The impact is undeniable. The opening chorus from Nabucco, ''Gli arredi festivi'' is enormously vibrant, the balance between singers and brass very believable, and the later lyrical contrast of women's voices floating over harp roulades would surely have brought a smile of pleasure to the composer, could he have heard it. Similarly the great choral cantilena of ''Va, pensiero'' begins gently, but the choral line is firm and beautifully focused.
We then move on to ''Gerusalem!'' from I Lombardi with the echo of the opening word making a riveting contrast, and one realizes this is not just another chorus collection, but one in which Solti has lavished much imaginative care over detail. And, of course, Margaret Hill, the Musical Director of the Chicago Symphony Chorus, must have made a major contribution to the sophistication of the singing here, by her rehearsal training before Solti took over for the actual sessions. The sonorous breadth of the Chicago brass is again breathtaking at the opening of ''Patria oppressa'', nobly sung, while ''Le rube, gli stupri'' from I Masnadieri jigs along gleefully, with an enticing rhythmic felicity. (The words are: ''Plunder, rape, arson, murder are our amusements, are mere pastimes: Brothers let us rid ourselves of care today for tomorrow the noose may await us''. Jolly stuff, and Verdi was equal to the occasion!) In the chorus of gipsies from Act 2 of La traviata the ladies of the chorus shine most elegantly; Solti displays a disarmingly light touch here, and he is equally refined in the fantasy of the Fire chorus from Otello. The concert does not end with the obvious Triumphal scene from Aida (which comes earlier in the programme and includes the ballet music) but with the ''Sanctus'' from the Requiem, which may be less resplendent, but makes an attractively lively and joyous coda. This is Solti at his best, with a high voltage throughout, but the maestro showing willingness to relax when the music calls for it.
The Naxos collection is, however, by no means an also-ran. It, too, has an excellent modern digital recording and although it offers some 14 minutes less music, it is on a super-bargain label. Moreover, the balance, with the chorus rather more backwardly placed, is in some ways more natural, and the splendid Slovak Philharmonic Choir of Bratislava can still make a considerable impact without being given extra presence by the microphones. The Slovak Radio Symphony Orchestra provides an excellent back-up. Oliver Dohnanyi is a first-rate Verdian, and if the overall effect here is rather more direct and robust, less subtle than with Solti, ''Fuoco di gioia'' from Otello still has an attractive scherzando quality. The chorus men are very eloquent indeed in ''Si rideste il Leon di Castiglia'' from Ernani (not included by Solti) and—again with a fine, rich brass introduction—the Macbeth chorus, ''Patria oppressa'', is movingly sung. I liked, too, the breadth of the Triumphal march from Aida, with splendid fanfare trumpets that seem to leap out of the speakers. This is a less intense performance than Solti's—it misses out the ballet sequence, but has plenty of triumphal spirit.
Other items not included on the Solti disc are the Rataplan from La forza del destino, where the Preziosilla (Ida Kirilova) is agile if a bit hard, and two splendid vintage excerpts from La battaglia di Legnano, ''Deus meus'' and ''Giuramento'', the latter with fine solo singing. All in all this is very enjoyable and excellent value. There is extensive documentation but no translations, which is fair enough for a super-bargain disc.'