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What first and foremost made him stand out was his superb articulation, his identification with his role characters, his sense of style and his willingness to scale down the volume. At pianissimo he produced soft beautiful tones and a perfect legato. In the long scene from the second act of La traviata he gives ample proof of all these characteristics, inspired no doubt also by the sensitive and involved Violetta of the late lamented Inga Nielsen. There are few more moving readings in my vast collection and Skram’s development from stern brutality to sympathy is well portrayed. A worthy tribute to an eminent singer … [Goran Forsling/MusicWeb]