As with Volumes One and Two (still awaiting CD reissue), the present anthology embraces a broad range of vocal and musical styles. That said, Hardwick points out that the 1926-39 period covered here was considered to parallel a decline in vocal standards. The florid, legato-based bel canto style had mostly given way to a more declamatory, impassioned kind of singing. One might blame the more overt "realism" of the verismo operas for this but I suspect that bigger venues and louder orchestras were equal culprits. Nevertheless, beautifully controlled legato distinguishes most of the German and Anglo-American artists here. Random favorites include Lawrence Tibbett's imposing, unpublished Ford's aria from Verdi's Falstaff, Peter Dawson's effortless Handel runs, the young Lily Pons at her freshest, and Marian Anderson's bone-chilling Schubert "Death and the Maiden". Mimi's Act One aria from La Boheme is heard in three utterly different but equally convincing renditions from Maria Cebotari, Ina Souez, and Grace Moore.

Not surprisingly, many of the Italian singers are represented in verismo repertoire, and imbue their selections with characterful refinement, variegated tone, and luscious diction. There's a wide array of French singers, from veteran Lucien Fugere's still-ample baritone and Germaine Lubin's sexy "Elsa's Dream" from Wagner's Lohengrin to Reynaldo Hahn's dry-martini timbre in a pair of self-accompanied Offenbach bon-bons. And what interesting, individual Slavic voices: Chaliapin in great form at the end of his career, the young Mark Reizen, Maria Kurenko's haunting Gretchaninov, and Maria Basilades' tangy Bartok. The latter two examples feature their composers at the piano. Vocal aficionados are encouraged to further investigate this long-awaited reissue for more undiscovered gems. Collectors strapped for shelf room will appreciate Testament's space-saving presentation.