Notes and Editorial Reviews
"It is probably now or never. With classic older sets vying with a clutch of more recent recordings, there is currently as complete and interesting an array of recordings of Rossini's La Cenerentola as we are likely to get at any one time. Among recent versions, Chailly's new Decca set is self-evidently a powerful contender. Cecilia Bartoli is arguably the most personable and musically accomplished Cenerentola since Teresa Berganza recorded the role with Abbado in 1971; and there is a strong cast of supporting principals, among them Alessandro Corbelli who offers the best characterized Dandini since Bruscantini. (With the added advantage of being far more technically expert in fioriture passages than was his distinguished predecessor.)
...All eyes and ears, inevitably, are on Bartoli, and she doesn't disappoint. In the past, I have been tempted to think it hardly matters if the Cenerentola is foxed by the technical intricacies of the Rondo finale, as Simionato is for de Fabritiis and as Marina de Gabarain is on the Glyndebourne set. For most of the opera, Cenerentola colours the score, adding her own sad tinta to it. When she does finally come into her own, in the last scene, the play is effectively over. We may still be in our seats, but mentally we are heading for the cloakroom. That said, even more than Berganza, Bartoli makes something of this final scene. The singing itself is ravishing. At the same time, the performance makes dramatic sense, Cenerentola's dream state giving way in the final verse to a mood that is liberated, carefree, spiritually buoyant."
-- Gramophone [11/1993]
Review of original release