Che Dio Perdona a Tutti

"For the sisters of Ferrara, [Klemperer] had amply voiced singers very apt for his approach. Price and Minton were then in their early prime, with warm, sappy, peaches-and-cream tone, and ideally matching each other in timbre. Their duets show as much. Price's exemplary breath-control enables her to cope with the slow speeds adopted for Fiordiligi's arias and display that sovereign gift of hers for bold, long Mozartian phrases. Minton is hardly less remarkable in that respect. Alva's diction does make Muti's point (see July, page 36) that as soon as an Italian artist comes on the scene one hears the advantage of pointed, felicitous enunciation of the text; he also sings mellifluously and with character. By 1971, Evans was already an Alfonso rather than a Guglielmo, and for all his accomplishment in the latter role one wishes he was singing the former rather than the po-faced Hans Sotin. However, Lucia Popp's vivacious, smiling Despina manages to bring Sotin to life in their important exchanges." (Alan Blyth, Gramophone)

This is the first time that a complete edition of Bellini's operas is released. The box includes an essay by Friedrich Lippmann, one of the world's most eminent scholars of the Sicilian composer, who in 2007 was awarded the international Galileo Galilei prize by the Italian Rotary Club for his contribution to the dissemination of Italian music in the world.

As part of Deutsche Grammophon’s release of a limited and numbered edition of Claudio Abbado’s complete recordings for DG, Decca and Philips, you can now enjoy Volume 10 in a series of 16 digital albums, which are organised in alphabetical order of composer name. This twelfth digital album presents music by Gioachino Rossini.