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Notwithstanding the technical imperfections of the recordings he made, one can tell that the voice of Peter Slovtzov was naturally rich and attractive, of mellow timbre, clear and unique in its strength yet velvet sounding. [[Feodor Chaliapin]] highly appreciated his talent, and they sang together in the operas ''Prince Igor'', ''Rusalka'', ''Faust'', ''[[Mozart and Salieri (opera)|Mozart and Salieri]]'' and ''[[The Barber of Seville]]''.
For long years the bosom friendship connected Slovtzov with well-known masters of drama as Leonid Sobinov, [[Nadezhda Obukhova]], Vasili Kachalov and [[Antonina Nezhdanova]]. Many newspapers and journals at that time highly appreciated Slovtzov's talent: "Slovtzov has a wonderful school. His voice, though of mellow timbre, impeccably obeys to its master."{{Citation needed|date=December 2011}}
His best roles included Vladimir Igorevich (''Prince Igor'', [[Alexander Borodin]]), the Prince (''Rusalka'', [[Alexander Dargomyzhsky]] ), Vladimir Dubrovsky (''[[Dubrovsky (opera)|Dubrovsky]]'', [[Eduard Nápravník]]), the Indian visitor (''[[Sadko (opera)|Sadko]]'', [[Nikolai Rimsky-Korsakov]]), Tsar Berendey (''[[The Snow Maiden (opera)|The Snow Maiden]]'', Rimsky-Korsakov), Mozart (''Mozart and Salieri'', Rimsky-Korsakov), Lensky (''Eugene Onegin'', [[Pyotr Ilyich Tchaikovsky|Pyotr Tchaikovsky]], in 1915), Count Almaviva (''The Barber of Seville'', [[Gioachino Rossini]]), Alfred (''[[La traviata]]'', [[Giuseppe Verdi]]), Faust (''Faust'', [[Charles Gounod]]), Romeo (''Romeo et Juliette'', Gounod), Nadir (''[[The Pearl Fishers]]'', [[Georges Bizet]]), Dzherald (''[[Lakmé]]'', Leo Delibes).
Other roles he sang included Vasya (''[[The Power of the Fiend]]'', [[Alexander Serov]]); the Duke (''[[Rigoletto]]'', [[Giuseppe Verdi]]) and Lohengrin (''[[Lohengrin (opera)|Lohengrin]]'' [[Richard Wagner]]).
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