Bonaventura Bottone, Saturday's stand-in tenor at the NCH, is one of the best-schooled English tenors around. Using the characteristic evenness of register, firm legato and ringing top remembered from previous visits here, he entertained with arias and duets by Verdi and Puccini. His unmannered way with two Italian songs was equally impressive. The only disappointment, a slight one, was in the way his assured technique precluded any degree of tension.

There was plenty of that from Cara O'Sullivan. In her opening Come scoglio, shallow low notes and an occasional catch in the voice suggested a possible indisposition. She recovered to melt hearts as Violetta in part of the second act soprano/baritone duet from La traviata; but then the odd sour note and uneven phrase marred her contribution to the Butterfly love duet, notwithstanding the thrilling climaxes.

All that was forgotten in the second half when she reverted to her best form with stunning performances of extended scenes from Ernani, Lucia di Lammermoor and La Boheme. Here was the familiar O'Sullivan aplomb, the sung-through phrasing and accurate coloratura, and all delivered in effulgent voice.

Marcin Bronikowski displayed solid tone and admirable musical qualities in duets, but the Polish singer's efforts to make his warm baritone produce more volume than it can at present resulted in laboured accounts of his solos. Whatever about the Pagliacci prologue, bluster is hardly appropriate in Gounod, Bellini or Donizetti.

Alistair Dawes accompanied firmly, albeit with rushed and sometimes abridged introductions. Grainne Gormley's Tallaght Choral Society's otherwise good contributions of pieces from Lohengrin, Nabucco and Israel in Egypt were hindered by some obtrusive, and sharp, solo voices from the soprano ranks.