This sequence gives a marvellous experience of Verdi's music, with Kaufmann's magnificent timbre unfailingly hitting the right note whether in quiet or loud passages. The ripe emotional utterance tends to be the norm with this composer, but the tenderness is equally apparent in, say, an aria from Luisa Miller or La Forza del destino, where he dovetails with a clarinet touchingly. The brass are to the fore in Aida, sounding thrillingly full as Verdi would have wanted in this state-of-the-art recording. He is also very well set against a solo baritone in Don Carlo, while my personal favourite is probably from Simon Boccanegra because it is musically at such a pitch of excitement. The Parma Opera orchestra is very vivid but without shrillness under the sensitive direction of Pier Giorgio Morandi, with chorus well brought into focus on occasion, but it is really the sound of Kaufmann that makes Verdi seem so fantastically noble and alive in all these numbers. He really is a perfect fit with the idiom, with a range of colour and emotion that is unusually wide. He makes you eager to hear ever more phrases; the sound is beautiful like the fur of the wolf, perhaps, its slight roughness adding that nth degree of allure. Kaufmann himself writes a note on each aria with both musical and personal observations, complemented by an essay on Verdi tenors, texts and translations and seven photos of Kaufmann in a presentation that folds over three times.