Not yet top-notch, but appears to have room for improvement.
Basso cantante is too far off a description for Schrott's singing.
If you compare him with Shen Yang, the 24-year old who walked away with the title 'Cardiff Singer of the World' last year, you would but agree that young Shen is the rightful successor to this category, exemplified in the 20th century by Cesare Siepi.
Mr. Schrott requires to put much more work in his voice, though I am in no way negative to his potential.
As yet, he sounds a bit rough, and as Sante Fe Listener aptly describes, a bit flat in characterisation.
In terms of the latter, I unreservedly recommend Thomas Quasthoff's new 'Haydn arias' album as a top choice for a showcase of characterisation and vocal expression.

Sound vastly different from image.
Granted, nowadays 'huge' emphases are being laid on the appearance of an operatic singer so much so that a top class singer without a good stage presence really could not stand a slim chance of success.
Mr. Schrott is blessed with good looks, but alas, in terms of artistry, still has miles to go to rank among the large batch of top baritones.
For one thing, Mr. Schrott seems to be a bass baritone, but the timbre is raw in the low register and the upper register, though slightly better, still lacks expressiveness required for characterisation in operatic performances.
I think no matter how good one looks and how well one's acting skills, it is still vital to be able to act with one's voice in cases of operatic singers.
It would take some years before he would rank among those top peers. Luckily he still has ample time for it.

Beautiful man and voice
Having met and heard him sings, Mr. Schrott has a powerful and beautiful voice. He is very good looking and makes a great Don Giovanni. Mr. Schrott has become a well known singer in all the world Opera Houses. I have added this recording to my collection.

Safe, Staid, Perfunctory Performances
In a recent New York Times interview, Erwin Schrott is quoted as saying that "he was worried...that the sound of his voice -- 'my ideal sound, my inner sound, what my ear hears' was not coming through on [his debut] recording." The article goes on to disagree, stating that "the engineers have ably captured the heft, warmth and chocolate-tinged colorings of [Schrott's] voice." Personally, I agree a bit with both opinions. In this, his first recital CD, Schrott comes across as an able musician with a decent, often powerful, instrument, but not always an exciting one. Compare this disc to Simon Keenlyside's recent "Tales of Opera," on which he sings a collection of familiar arias with such superb vocal artistry and characterization that it's as if we're hearing them for the first time. No such magic happens during Schrott's ordinary, characterless portrayals; mostly what's lacking is a unique point of view that would separate him from other singers. (In fact, half-way through my first listening, I was so uninvolved I switched my iPod over to David Daniels's new Bach CD, which I had purchased on the same day.) Apparently, Schrott's stage persona is dynamic and almost dangerously spontaneous (I've never seen him, either live or on DVD); if only that shone through on this recording.

The stage image is sexy, but Schrott's vocal acting is serious and a bit flat
Decca is unbashedly leaping into the arena with "barihunk" Erwin Schrott, one of the hottest items on the list of male opera stars who take their shirts off and flirt seductively with their roles. Baritons -- or in this case a deeper bass-baritone - have enough handicaps competing with tenors for center stage, so why not? Schrott's calling card is Don Giovanni, a role where seductiveness is highly desirable, and here he takes on Leporello's catalog aria as well. One notices right away that this is a very good if somewhat generic voice -- solidly placed, dark, and flexible. Schrott really acts the catalog aria, adding a knowing laugh at one point.

To prove that he's not just a charmer, the second aria is King Philip's anguished Act 3 monologue from Verid's 'Don Carlo.' Schrott's basso isn't as rich and deep as Ghiaurov, Christoff, or Ramey, to name some notable Philips, but he's dramatically convincing, and the added flexibility of a "basso cantante," as Decca describes him, keeps this somber music from becoming turgid and lachrymose -- in fact, Schrott sings with a moving, restrained dignity. It's odd to hop back to Don Giovanni, where we hear "Deh vieni alla finestra" sung as suavely as Siepi ever did but with not nearly as much personality and urgency. The Don's Champagne Aria is taken slowly and feels bland rather than fizzy and exuberant.

More Verdi and Mozart follow -- this seems to be the territory Schrott has marked out for himself, but I'm bothered that Figaro's "Seh vuol ballare" sounds so humorless and phlegmatic; this offended groom-to-be doesn't seem upset at all that anaother man wants his bride. Schrott's sexy image, in fact, is tied to a decidedly conservative style of singing, with only occasional flashes of life. "Non piu andrai" should be a slam dunk for any Figaro, but here it sounds like old Don Basilio teaching a vocal lesson. Still, Schrott obviously has a quality voice, and I imagine that on stage his charisma does a lot to fill out the weak spots in his vocal acting.

Here's the track listing:
Berlioz:
Voice des roses (Air de Méphistophélès)

Gounod:
Serenade: Vous qui faite l'endormie (Mephistopheles) [from Faust]

Meyerbeer:
Voici donc les debris... Nonnes qui reposez (from Robert le Diable)

Mozart:
Madamina, il catalogo è questo (from Don Giovanni)

Deh! vieni alla finestra (from Don Giovanni)

Fin ch'han dal vino (from Don Giovanni)

Bravo, signor padrone...Se vuol ballare (from Le nozze di Figaro, K.492 / Act 1)

Le nozze di Figaro: Aprite un po'quegli occhi

Non più andrai (The Marriage of Figaro)

Verdi:
Elle ne m'aime pas! (from Don Carlo / Act 3)

Gran Scena: "Studia il passo, o mio figlio!" (from Macbeth / Act 2)

O toi Palerme (from Les Vespres siciliennes)