. . . from the evidence on this disc, which comprises nearly the entirety of her time in the recording studio, Tatum had a massive, thrilling voice and the talent and temperament to back it up . . . The operatic disc leads off with an opulent "Dich, teure Halle," showing off Tatum's gleaming high notes, followed by Elisabeth's Act III prayer, rendered in tones of hushed despair. Weber's "Ocean, Though Mighty Monster" from "Oberon" is, quite simply, one of the most thrilling accounts of this demanding aria ever recorded. Singing with fierce commitment, Tatum handles the declamation and the challenging leaps between register extremes with ease. Her diction is very clear, and she lightens her voice successfully to produce the required trill . . . [Verdi / "Ernani! Ernani involarmi"]: Tatum gives the rather dull character of Elvira a pleasant dash of gutsiness to contrast with her soaring, effortless melismas. The same holds true for "Trovatore"'s Leonora in "D'amor sull¿ali rosee," and her Aida in "O patria mia" takes a fearless approach to that daunting high C. Tatum also tears into the "Gioconda" "Suicidio!" with passion and power . . . this is the kind of mighty dramatic-soprano delivery that seems to be in short supply these days. A bonus is that Tatum's tone is almost always pleasing to the ear, even in the most harrowing dramatic moments. Argeo Quadri, conducting the Wiener Opernorchester, provides strong support.