Teresa Berganza's beguiling voice and personal charm found a great outlet in Isabella. In this performance she amply demonstrates why she was so admired in this repertoire. Not a note is out of place and the coloratura sparkles. She doesn't have the bold assertiveness of Marilyn Horne so some may be disappointed by the lack of booming chest notes or interpolated high Bs. Berganza sings Rossini's music pretty much "come scritto" (as written). There are a few ornaments here and there, but all the arias and ensembles end downwards. In this she may have been influenced by her collaboration with Claudio Abbado who (like Riccardo Muti) did not appreciate or approve of the art of ornamentation. Nevertheless, the audience adores her and showers her with lengthy ovations.The other singers are all native Italian speakers. Ganzarolli is a fine Mustafa, comic and menacing at once. Casellato doesn't have the vocal dexterity of today's Rossini singers (Molinari-Pradelli makes cuts in his opening aria to spare him several high Cs), but he projects a masculine swagger that suits Lindoro well. Cesari is terrific as Taddeo, funny and lovable. Valeria Mariconda (not Maricoda as listed above) brings her attractive, silvery soprano to Elvira's top line.Molinari-Pradelli makes a few cuts, but plays more of the score than was normally heard in those days. The sound is superb with no glitches that I heard.All Rossini lovers should hear this!