[Vittorio] Gui produced the most beautiful sound from an opera orchestra, even in the acoustically 'dry' pit we then had at Glyndebourne, for the fifteen seasons he was there. His Rossini was the finest in my experience, and I sometimes wonder why most other conductors have not realised the simple fact that most of his scoring requires a particular sort of staccato. Gui had this to perfection, and could even vary it if acoustics changed; he did so in Cenerentola when we recorded it for EMI during the 1959 season.