Arturo Benedetti Michelangeli gave his first performance of Sonata No. 32 in C minor Op.111 on 29 January 1937 in Brescia. Of a later performance, 'we read in the Popolo di Brescia  by critic Antonio Grassi on December 31, 1937: "Certainly Benedetti's interpretation is flawless, especially in the second part where the artist's power of penetration and translation must struggle against the sublime, but Beethoven would have caressed the head of this boy so bold and so talented,

In December 1968, New York Philharmonic, Carlo Maria Giulini: Mozart: Divertimento No. 11 in D major, K.251; Piano Concerto No. 20 in D minor, K.466; Masonic Funeral Music, K.477 / 479a; Symphony No. 40 in G minor, K.550 Irving Kolodin wrote in  Saturday Review  (28 December 1968):  'A different direction began to assert itself early in the D-minor Concerto, performed with fastidious artistry and superior insight by the orchestra as well as the invincibly facile Michelangeli.

A Polish "Kalendar" of 1956 reviewed the Chopin Competition of the previous year, from which this extract is taken. 'Each of these artists [the adjudicators in the competition] is a greatness in their own right, whether Kentner, Oborin, Levy, or others. But among them, the brilliant Italian pianist Benedetti Michelangeli, a true Michelangelo among pianists, shone with extraordinary brilliance.   Polish reviewers simply lacked words to describe the greatness of this artist. Ap

26 February 1957.  In  The Musical Times (April 1957), the gracious music critic and biographer of Schumann Joan Chissell wrote:  ' When Michelangeli failed to turn up for his B.B.C. recital towards the end of February, there was wide-spread anxiety that his two appearances with the Philharmonia Orchestra under Sir Malcolm Sargent in the Festival Hall might also be cancelled. In the event, he called off his Schumann performance in the second of the two concerts, but made the

Olaszországban feltünt az "uj Liszt Ferenc" Pesti Hírlap 1 September 1940 'The "new Liszt Ferenc" appeared in Italy. At the beginning of the summer, a report appeared in the Pesti Hirlap about the musical events of the festive games in Florence. The writer of the report, Countess Ceruttiné Paulay Erzsi (gróf Ceruttiné Paulay Erzsi, a Hugrarian actress married to Italian ambassador Count Vittorio Cerrutti ) dedicated extremely warm lines to the praise of an 18-year-old Itali

David Hurwitz in December 2024 on Arturo Benedetti Michelangeli's recording of Ravel and Rachmaninoff. He makes an interesting comparison with Carlos Kleiber. ABM recorded Ravel's Concerto in G and Rachmaninoff's Concerto No. 4 for His Master's Voice, with the London Philharmonia Orchestra conducted by Ettore Gracis. 7-8 & 10 March, 1957 in London (Abbey Road Studios - Studio No. 1). Peter Andry, Inside the Recording Studio (2008), gives an account of the recording process.

On 5 February 1941, L'Avvenire   d'Italia  reported on a recital in the Liceo Musicale, Bologna: 'Arturo Benedetti Michelangeli undoubtedly possesses a privileged nature. In him, virtuosity blends with temperament and the refinement of an acute and remarkably responsive sensitivity. His technique is extremely solid, rational, logical, complete, and constructive; governed by an inner control that elevates it to artistic thought and will. His sound can be, depending on the case

There were two recitals at the Barbican, London in June.  Andrew Clements commented in The New Statesman  (7.6.85) that the pianist had...