This book is a synthesized view of Bellini's life and career, paying special attention to the literary sources of the libretti. It is restricted by limitations of space dictated by the Master Musicians Series of which it is a part. Rosenthal finds it unfortunate that Orrey's monograph is far too short, "so sketchy on the musical side" and "far too kind to his subject," for Bellini was "hardly a moral person." Orrey is in fact quite objective about Bellini the man. Klein wishes that Orrey had been able to delve deeper into Beatrice di Tenda, which Bellini himself believed to be the equal of Norma, and which has been treated unjustly ever since its unsuccessful premiere. Orrey considers La Sonnambula to be "arguably" Bellini's best opera. - Music & Letters 56/2 (1975): 204-05.