The late South African tenor is never less than impressive, negotiating even the most taxing vocal lines smoothly and stylishly. The voice is focused and well supported throughout its range: this is a singer whose well-schooled technique can be heard in every phrase…the Italian repertoire highlights what the tenor was less adept at.

Botha’s many admirers should doubtless invest without delay.

The voice’s firm core and its consistency throughout the range constantly impress. Botha could skilfully brighten or darken the colour in relation to character…He displays exceptional legato, anchored in an endless supply of breath. For this singer, there were seemingly no limits…Here, then, is a truly fitting memorial to Botha’s artistry.

Caught live, the voice is obviously large and incredibly well-produced, and nothing seems to faze him, plus he is attentive to the score (floating the final B flat of ‘Celeste Aida’, for example). Where there is a chink in the armour is the interpretative skill, which flickers in and out of focus. His Turridu (Cav) and Canio (Pag) both have drama, but then he was onstage with the whirlwinds of Agnes Baltsa and Cristina Gallardo-Domas respectively.