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“includes the most perfect trill (the Bononcini) we have ever heard” (alto) ‘After so many spinto Annas who sound like refugees from Brünnhilde’s riding club, it was a revelation to hear a fresh, young lyric voice of uncommon purity at the command of an impeccable musician…She did not stun with bravura; she captivated with humanity’ (Opera Magazine on Sutherland’s Donna Anna 1957/8)

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