The first thing I did at the Toronto Audiofest—after eating breakfast and attending some business meetings—was visit the Zesto Audio room, where I was hosted by Zesto Audio President and designer George Counnas. I was eager to hear the just-announced Leto Ultra vacuum tube preamplifier ($9995 US), which features—wait for it—tone controls.

My journalistic objectivity be darned! The Goerner Audio/Grandinote room produced the sort of sound that melts my heart, ravishes my senses, and reminds me of why great hi-fi is worth the money . . .

Making their North American debut in the Rotel/Monitor Audio room were Rotel's P5 preamp, with built-in 32- bit/768kHz DAC ($CAD5299), and 1080Wpc M8 mono amps ($CAD18,000/pair). Speakers were Monitor Audio Gold 300s, said to employ technology trickled down from the company's flagship Platinum ll model.

With its abundance of high rises and freeways, Toronto has the feel of a big, bustling metropolis. It is Canada's most populated city, North America's fourth after Mexico City, New York, and Los Angeles. It is also the country's business epicenter and the only Canadian city to have an MLB team and an NBA one, the latter the Toronto Raptors, the league's 2019 championship winners.

What's the point of reviewing a pair of monoblock amplifiers that costs more than most people spend on two or even several cars— and far more than most audiophiles spend on an entire music system? That's a good question. Another is: Why should I write this review when, just seven years ago, I reviewed a pair of darTZeel monoblocks that look exactly like this new pair?

I realize that products such as the darTZeel NHB-468 ($170,000/pair) are for the very few, but the very few include far more people throughout the world than you may realize— people who can afford such costly audio products and who do buy them. I know, because in my travels I've met a lot of them, and they deserve to read reviews of products they're considering buying—things most of us can only dream of owning.

Romantics rejoice! In an age where ice seems to melt faster than hearts, there are still great musicians who uphold the Russian tradition of romantic music. Vadim Gluzman, Johannes Moser, and Yevgeny Sudbin may not (yet) have the cachet of David Oistrakh, Mstislav Rostropovich, and Sviatoslav Richter, who famously came together with Herbert von Karajan to record Beethoven’s Triple Concerto, but their new SACD of Tchaikovsky’s Piano Trio in A minor, Op. 50, and Arno Babajanian’s sole Piano Trio (BIS-2372) places them firmly in the grand Russian tradition of emotive, give-it-all-you’ve-got musicianship.