Davis, in his book on Puccini's late style, notes that Lauretta's aria and the two interruptions by the young lovers () as Schicchi mulls over the will, constitute interruptions in the Romantic style, delivered during a lengthy sequence of non-Romantic music. Another interruption, both dramatically and musically, is that provided by the appearance of Doctor Spinelloccio. The doctor's dissonant harmonies contrast sharply with the scena music for Schicchi and symbolise Spinelloccio's place as an outsider to the dramatic action of the opera. The music historian Donald Jay Grout has written that in this opera Puccini's comic skill is "seen at its most spontaneous, incorporating smoothly all the characteristic harmonic devices of his later period." Greenfield remarks on the score's inventiveness, imagination and flawless timing. Several critics have likened to Verdi's Falstaff, as both are masterpieces of operatic comedy from composers more usually associated with tragedy. Both composers took the conventions of comic opera into consideration, choosing a baritone for the principal role, setting the tenor-soprano love story against family opposition to the marriage, and constructing a hoax that permits the happy ending. Charles Osborne cites in particular the trio for three female voices, , as equal to anything in Falstaff, "its exquisite harmonies almost turning the unprepossessing women into Wagnerian Rhine maidens", and its lilting melody reminiscent of Rossini. Arias and musical numbers Although the score is through-composed, within the general structure of the opera there are several identifiable numbers: four solos given to the three main characters, a trio and a brief love duet. Only Lauretta's , the best-known of the solos, is separable from its context and can be sung as a concert piece. Recordings Despite its popularity as a stage work, was not available as a recording until after the Second World War, a neglect described by a Gramophone reviewer as "extraordinary". One of the earliest recordings, a Turin Radio 1950 broadcast performance conducted by , was praised for its lively presentation but was considered by the critic Philip Hope-Wallace to be "too rough a piece of recording to be warmly recommended". By contrast, the 1958 recording under Gabriele Santini, with a cast including Tito Gobbi and Victoria de los Ángeles, was still being discussed nearly 50 years later as the classic performance, with Gobbi's singing at a standard rarely equalled. Among more recent recordings, that of the complete with the London Symphony Orchestra under Antonio Pappano