On the most part, this is a pretty good CD. I am surprised how Bocelli managed to communicate so wonderfully with Mehta and the orchestra, despite his blindness. Considering that he is a pop singer, this is not so bad. But not all recordings are perfect, and this is definately a prime example. First of all, why switch around Di Quella Pira and Ah Si Ben Mio? And why not put the dialogue between Manrico, Leonora and Ruiz in? And why not identify the soprano singing in Di Quella Pira? this is quite puzzling that Phillips would release this recording without thinking straight. But despite this confusion, Bocelli still manages to produce a beautiful, if extremely light, sound. His diction is flawless. The color and beauty in his voice are also obvious, but he only lacks the ability to phrase, and his voice also has limited support and power. In both Di Quella Pira and Oh Mio Rimorso, he holds possibly the longest high C's ever recorded. Even Pavarotti hasn't held them for that long! He sounds extremely confident in the Celeste Aida, and his diminuendo at the end is amazing. The Luisa Miller, Il Trovatore and Forza del Destino arias are probably the best ones on the disc. Unfortunately, the Rigoletto arias are not so good. Possente Amore is barked, and a completely unnecessary high D at the end is screamed. In Questa o Quella and La Donna e Mobile, he sounds like he just woke up from a nap. In the Ernani selection, he sounds exhausted, and as if he were to fall asleep any second. The Lombardi selection is ok, but somewhat on the routine side. For the most part, this is an excellent disc, but to buy this CD only for half of the selections is a waste. You may be better off buying a CD of either Carreras, Domingo, Pavarotti, Bergonzi, Corelli, or Kraus, and that will prove to you what a Verdi singer really is.