Classical The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. Sat, 15 Jun 2024 13:48:41 +0000 Joomla! 1.5 - Open Source Content Management en-gb Gioacchini Rossini - La Cenerentola (Abbado) [1972] Gioacchini Rossini - La Cenerentola (Abbado) [1972]

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Disc 1
01. Sinfonia    [0:08:10.25]
02. No, no, no, non v'e    [0:01:42.52]
03. Una volta c'era un re    [0:04:42.35]
04. O figlie amabili    [0:05:08.33]
05. Miei rampolli femminini    [0:06:08.42]
06. Tutto e deserto    [0:11:41.15]
07. Scegli la sposa    [0:06:44.53]
08. Allegrissimamente, che bei quadri    [0:01:54.25]
09. Signor, una parola    [0:13:46.67]
10. La del ciel nell'arcano profondo    [0:08:35.25]
11. Conciossiacosacche trenta botti gia gusto    [0:05:11.00]

Disc 2
01. Dueto - Zitto, zitto: piano, piano ...Principino, dove siete    [0:08:05.07]
02. Ah! se velata ancor ...Sprezzo quei don    [0:06:57.45]
03. Signot, Altezza, e in tavola    [0:04:57.18]
04. Sia qualunque delle figile    [0:08:59.35]
05. Si ritrovarla io guiro    [0:06:04.42]
06. Duetto - Un segreto d'importanza    [0:04:58.60]
07. Canzone - Una volta c'era un re    [0:03:15.23]
08. Storm Music    [0:03:37.37]
09. Sestetto - Siete voi ...Questo e un nodo avviluppato    [0:04:34.20]
10. Sestetto - Donna sciocca, alma di fango    [0:08:26.38]
11. Finale II - Della Fortuna instabile    [0:02:02.12]
12. Scena - Sposa/ Signor perdona ...Rondo - Nacqui all 'affanno    [0:08:37.08]

Teresa Berganza (Mezzo Soprano)
Luigi Alva (Tenor)
Renato Capecchi (Baritone)
Paolo Montarsolo (Bass)
Margherita Guglielmi (Soprano)
Laura Zannini (Soprano)
Ugo Trama (Bass)

Scottish National Opera Chorus
London Symphony Orchestra
Claudio Abbado – conductor


La Cenerentola might just be my favorite Rossini opera, and this Abbado version is probably the best there is. In fact, this recording was Abbado's first as an opera conductor in 1972. He delivers an utterly spirited, sparkling and lively version, warm and humane, and has the LSO play their hearts out; the orchestral playing is technically impressive, of course, rhythmically exact, but more importantly manage to realize a range of colors and textures and a freshness that one rarely hears in a Rossini opera.

The singers might perhaps be a little more variable. Teresa Berganza is wonderfully idiomatic and sympathetic as Cenerentola, giving a touching and vivid, beautifully sung and warmly characterized portrayal - one which I cannot really imagine being surpassed. Luigi Alva is a steady, impressively sung Don Ramiro and Ugo Trama, despite being perhaps a little heavy-handed at times, is generally good as Alidoro. Evaluating Capecchi's performance is more difficult - on the one hand, he gives us an impressively sung role, with lots of character and color, but on the other he does seem to lack a little in humor. Something of the same applies to Montarsolo's Don Magnifico. I have no qualms about Guglielmi or Zannini who delivers generally finely sung and characterized parts.

Yet the glory of the set is undeniably Abbado and the LSO, and I believe he is responsible for the fact that the ensembles are consistently magnificent; an all-important feature of a Rossini opera, of course. Importantly, the 1972 sound quality is exemplary; vivid and clear. In the end, this is really not a recording you'd want to be without, despite the fact that equally good - perhaps even better - singing can be found elsewhere. I'd say it's a classic. ---G.D.,


This 1817 opera was a popular success when premiered and never entirely passed out of the operatic repertoire during the time when operas of Rossini's period were out of favor. Don't expect fairy godmothers and glass slippers. Perrault's famous fairy tale is stripped of all supernatural characters and events in this loose adaptation of it. According to librettist Jacopo Ferretti, this was done to please the Roman audience who disdained "children's tales." Cinderella here suffers indignities from her stepfather and two stepsisters, but still retains her kindness, charm, and interest in the latest fashions. The slipper is replaced by a bracelet (in order to comply with current moral standards and not show the ankle), by which the Prince recognizes Cinderella at the end of the opera.

Ferretti and Rossini spent just over one month working on the opera, beginning work December 23, 1816, with a premiere on January 27, 1817. It is consistently tuneful, lighthearted, and spirited. The overture represents another of those cases in which Rossini raided an earlier score (La Gazetta) as the last-minute source of an overture for the new opera. It fits this opera like a glove. Cinderella's part provides sopranos with two popular coloratura arias, "Una volta c'era un re" and "Ah prence, io cado ai vostri pie," more challenging than any music Rossini had composed previously. Cinderella's father has a great buffo aria, "Miei ramipoli" in which he complains of being awakened from sleep by noisy people. ---Rovi

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]]> (bluesever) Rossini Gioachino Fri, 19 Mar 2010 12:31:02 +0000
Gioacchino Rossini – Bianca e Falliero (2000) Gioacchino ROSSINI – Bianca e Falliero (2000)

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1 Act 1.: Sinfonia	6:50
2 Act 1.: "Dalle lagune Adriache"	4:11
3 Act 1.: "Pace alfin per l'Adria splende"	5:30
4 Act 1.: "Esce il Doge"		3:19
5 Act 1.: "Ministri del Consiglio"		2:23
6 Act 1.: "Viva Fallier"	2:13
7 Act 1.: "Inclito Prence"	2:46
8 Act 1.: "Se per l'Adria il ferro io strinsi"	3:27
9 Act 1.: "Il ciel custode"	3:32
10 Act 1.: "Grata Vinegia"	0:47
11 Act 1.: "Nigli orti di Flora"	4:55
12 Act 1.: "Come sereno il dì"	2:26
13 Act 1.: "Della rosa il bel virmiglio"	3:40
14 Act 1.: "Oh! serto beato"	4:14
15 Act 1.: "Costanza? ebben? che rechi?"	2:53
16 Act 1.: "Se l'amor mio ti è caro"	0:50
17 Act 1.: "Pensa che omai resistere"	3:05
18 Act 1.: "Figlia mia, se forza al core"	3:54
19 Act 1.: "Il piacer di mia ventura"	2:50

CD 2
1 Act 1.: "Mai con maggior coraggio"	2:13
2 Act 1.: "Divisi noi!"	0:46
3 Act 1.: "Sappi che un Dio crudele"	5:24
4 Act 1.: "Ciel! qual destin terribile"	3:28 	
5 Act 1.: "Deh! Va', ti scongiuro..."	3:25
6 Act 1.: "Ella mi fugge"		0:52
7 Act 1.: "Fausto imene"	2:53
8 Act 1.: "Si, congiunti"	4:03
9 Act 1.: "Bianca, alla mia ventura"	6:42
10 Act 1.: "Ecco espressi in questo foglio"	2:19
11 Act 1.: "Inportuno! in qual momento"	4:15
12 Act 1.: "Con qual dritto il piè ponesti"	5:46

1 Act 2.: "Al mio timor, deh! cedi"	2:46
2 Act 2.: "Dell'onor tuo!"	0:37
3 Act 2.: "Va' crudel!"	4:37
4 Act 2.: "Ch'io t'abbracci..."	4:45
5 Act 2.: "Fermate... siam perduti"	3:05
6 Act 2.: "Come potesti, indegna"	0:57
7 Act 2.: "Non porferir tal nome"	4:12
8 Act 2.: "Cadde il Fellone"	3:22
9 Act 2.: "Prendi il foglio"	1:15
10 Act 2.: "Sorte amica"	2:24
11 Act 2.: "Ah! qual notte di squallore"	2:56
12 Act 2.: "Qual funebre apparato"	2:35
13 Act 2.: "Alma, ben mio, sì pura"	3:58
14 Act 2.: "Vieni, signor"	1:28
15 Act 2.: "Tu non sai qual colpo atroce"	2:26
16 Act 2.: "Lasso! cessar di vivere"	2:50
17 Act 2.: "Ma più che onore e vita"	2:58	
18 Act 2.: "No, non è reo"	1:50
19 Act 2.: "Donna chi sei?"	1:11
20 Act 2.: "Cielo, il mio labbro inspira"	5:31
21 Act 2.: "Parla dunque"	4:30
22 Act 2.: "Grazie, o Cielo!"	3:02
23 Act 2.: "Inoltra il dì... lassa!"	1:06
24 Act 2.: "Vieni, vieni per te tremante"		1:04
25 Act 2.: "Perdona, o mia Costanza"	1:48
26 Act 2.: "Teco resto, in te rispetto"	3:42	
27 Act 2.: "Oh padre! oh eroe benefico!"	4:04

Bianca, figlia di Contareno  - Majella Cullagh
Falliero, generale di Venezia  - Jennifer Larmore
Contareno, senatore  - Barry Banks
Capellio, senatore  - Ildebrando D'Arcangelo
Costanza, nutrice di Bianca - Gabriella Colecchia
Priuli, Doge di Venezia - Simon Bailey
Pisani - Ryland Davies
Un cancelliere del Consiglio dei Tre - Dominic Natoli

The Geoffrey Mitchell Choir
The London Philharmonic Orchestra
David Parry - conductor

Recorded:  IX, 2000, Henry Wood Hall, London


Though not absolutely top-drawer Rossini, Bianca e Falliero, which was composed between La donna del lago and Maometto II, nonetheless has enough fine music to get the blood boiling, the toes tapping, and the hands clapping. What it lacks is memorable, hummable melodies (except for Bianca's final aria and cabaletta, which Rossini had used to close his previous opera as well), but it is ferociously strong in rhythmically exciting pieces and showy, virtuosic singing--and this performance gives us just about everything we could want in those two departments. (Stendhal thought that the second act quartet was "among the noblest conceptions with which any maestro in the world has ever been inspired." It's a fine piece of ensemble writing, but it's not that good.)

Jennifer Larmore is a properly aggressive Falliero (he's an army general), and she gets through the character's very difficult opening scena (and the rest of his music) with incredible aplomb, attention to the text, and a truly handsome tone. Her (his) warmhearted second-act aria, "Alma ben mio, si pura", with its long, Bellini-like line, is just as impressive as the more razzle-dazzle moments. Majella Cullagh's Bianca is almost as technically fine as Larmore's Falliero, and she also pays close attention to expressing her predicament, but the voice itself has an unappealing edge to it--and subjective though a statement like that is, it affects my appreciation of everything she does.

Contareno, Bianca's cruel father (he wants her to marry Capellio, a bass, rather than the travesti Falliero), is sung by the exciting, accomplished tenor Barry Banks, who seems to realize instinctively that Rossini occasionally used high notes and difficult roulades as expressive weapons. Ildebrando d'Arcangelo, with no solos to call his own and playing the unsympathetic Capellio, nevertheless impresses with his warm bass voice. The minor characters are just that, and it's nice to hear the veteran British tenor Ryland Davies singing well in one of these bit parts. David Parry obviously loves this music and he knows that one of the secrets to successful Rossini performances lies in the build-ups: both the first-act finale and the can-be-run-of-the-mill aria/interruption/allegro/more allegro scenes for soloists have an inner tension that keeps the listener riveted. The playing of the LPO is terrific and Opera Rara's sonics, which in the past occasionally have been problematic, add to the overall quality of this outing. As I said, Bianca e Falliero is perhaps not a great opera, but it's a smashing ride, especially for bel cantists. ---Robert Levine,

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]]> (bluesever) Rossini Gioachino Sat, 08 Jun 2013 16:19:05 +0000
Gioacchino Rossini – Stabat Mater (Kertesz) [1988] Gioacchino Rossini – Stabat Mater (Kertesz) [1988]

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1. Stabat Mater - 1. Stabat Mater dolorosa Pilar Lorengar 8:26
2. Stabat Mater - 2. Cujus animam gementem Luciano Pavarotti 5:47
3. Stabat Mater - 3. Quis est homo qui non fleret Pilar Lorengar 5:38
4. Stabat Mater - 4. Pro peccatis suae gentis Hans Sotin 4:31
5. Stabat Mater - 5. Eja Mater fons amoris Hans Sotin 4:18
6. Stabat Mater - 6. Sancta Mater istud agas Pilar Lorengar 6:58
7. Stabat Mater - 7. Fac ut portem Christi mortem Yvonne Minton 3:59
8. Stabat Mater - 8. Inflammatus et accensus Pilar Lorengar 4:24
9. Stabat Mater - 9. Quando corpus morietur London Symphony Chorus 4:06
10. Stabat Mater - 10. Amen London Symphony Chorus 5:31

Pilar Lorengar, Luciano Pavarotti, Hans Sotin, Yvonne Minton
London Symphony Orchestra and Chorus
Istvan Kertesz – conductor


The traditional Stabat Mater text, which portrays Mary weeping beside the Cross, is so gloomy that it has attracted few great composers. The most memorable settings are by Pergolesi, Dvorak, and this one form Rossini. His innate bounciness and insouciance never go away, even under tragic circumstances, and the famous tenor aria form this work, "Cuius anima," became a hit because of its rollicking rhythm and cheerful tune - one can blank out what the text is actually saying.

The Kertesz version would stay afloat if for no other reason than Pavarotti's glorious singing; the sessions are from Dec. 1970 and March 1971, so the voice is fresh and thrilling. No other Italians appear in the vocal quartet, but Lorengar, Minton, and Sotin are a matchless set with the addition of Pavarotti, and they take care to blend beautifully in ensembles, not always true in big bowwow works like this one or the Verdi Requiem. Kertesz displays his abundant gifts as conductor, and Decca's sound, if a bit dulled over time, is by any standard very good. The LSO and its chorus are in top form.

The only real question is whether some new rivals over the past forty years have surpassed this recording. Of course they have, in isolated departments. The Muti on EMI is more visceral but was made in a cavernous acoustic. The recent Pappano, also on EMI, is thoroughly Italiante and won raves on all counts. I differ in finding both women, Anna Netrebko and Joyce DiDanato, not quite up to par. My choice for a viable rival would be Myung-Whun Chung on DG, featuring ear-catching sound, excellent conducting, and very balanced vocal forces, even if his solo quartet - Luba Orgonasova [Soprano], Cecilia Bartoli [Mezzo-Soprano], Raúl Gimenez [Tenor], Roberto Scandiuzzi [Bass] - isn't as starry as some. It's a refreshing account of a work that skims along with high spirits to begin with.

Between them, Chung and Kertesz cover every aspect of this engaging, thoroughly unreligious work, but it's hard to relinquish Pavarotti for any reason except the most compelling, so Kertesz it is. ---Santa Fe Listener,

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]]> (bluesever) Rossini Gioachino Sun, 18 Apr 2010 15:16:17 +0000
Gioachino Rossini - Adina (2003) Gioachino Rossini - Adina (2003)

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1. Coro – Splente Sereno e Fulgido
2. Coro – Vezzosa Adina
3. Selimo – S’Alza La Notte
4. Mustafa – Ah! Ah! Che Avvenne

Adina - Joyce di Donato
Setima - Raul Giménez
Il Califfo - Carco Vinco
Mustafà - Carlo Lepore
Ali - Saimir Pirgu

Orchestra del Teatro Comunale di Bologna
Coro da Camera di Praga
Renato Palumbo - conductor

Pesaro, 09.08.2003


Among Rossini's operas Adina has perhaps the most mysterious origins. Commissioned by an unknown Portuguese admirer as a gift for an unknown soprano, composed in 1818 yet not performed until 1826, the opera develops the popular theme of the "abduction from the serraglio." Rossini, pressed by the contract to complete the work quickly, composed anew only four of the work's nine numbers: the Introduction, the disarming Cavatina Adina "Fragolette fortunate" (Lucky little strawberries), the Quartet, and the Finale; for three others he turned to his own Sigismondo of 1814; the remaining two were written by a collaborator.

The critical edition, the first publication in full score, draws on the autograph of Sigismondo and Rossini's drafts for setting the new texts as well as the autograph of Adina. In his preface discussing Adina's uncertain genesis and successive history, Fabrizio Della Seta examines the documents extant in Portugal and Italy and considers hypotheses about the identity of the commissioner, the dedicatee, and the collaborator.p>


Adina (wł.: Adina ossia Il califo di Bagdad) – opera buffa Gioacchina Rossiniego – farsa w jednym akcie, do której libretto napisał Gherardo Bevilacqua-Aldobrandini, jej premiera miała miejsce w Lizbonie 22 czerwca 1826 roku. Po napisaniu Mojżesza w Egipcie Rossini udał się w podróż po Włoszech, na swoisty urlop, w trakcie którego wiosną 1818 roku uczestniczył w otwarciu teatru w rodzinnym Pesaro, a następnie przybył się do Bolonii. W trakcie pobytu w Bolonii napisał na zamówienie Diega Ignacia de Pina Manique prefekta policji w Lizbonie i inspektora portugalskich teatrów za honorarium w wysokości 2000 lirów jednoaktówkę Adina ossia Il califo di Bagdad. Tekstu dostarczył boloński przyjaciel kompozytora, hrabia Gherardo Bevilacqua-Aldobrandini, który przerobił libretto Felice Romaniego Il califo e la schiava. Rossini nie przywiązywał dużej wagi do zamówienia, nie napisał nawet uwertury do utworu, a na pretensje Piny Manique odpowiedział, że umowa nie zobowiązywała go do tego. Opera została wystawiona 8 lat później w Lizbonie, wraz z II aktem Semiramidy i baletem i po jednym przestawieniu zeszła ze sceny. W 1963 roku pojawiła się ponownie jednorazowo w Sienie.

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]]> (bluesever) Rossini Gioachino Mon, 13 Jun 2011 08:48:28 +0000
Gioachino Rossini - Demetrio e Polibio (1996) Gioachino Rossini - Demetrio e Polibio (1996)

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1. Demetrio e Polibio: Act I: Sinfonia	Sara Mingardo	5:32
2. Demetrio e Polibio: Act I Scene 1: Mio figlio non sei (Polibio, Siveno)	Sara Mingardo	5:20
3. Demetrio e Polibio: Act I Scene 1: Vanne al tempio, o Siveno, e la m'attendi! (Polibio, Siveno)
Sara Mingardo 0:44 4. Demetrio e Polibio: Act I Scene 1: Pien di contento in seno (Siveno) Sara Mingardo 3:45 play 5. Demetrio e Polibio: Act I Scene 2: Signor, di Siria un messagger s'avanza (Onao, Polibio, Eumene)
Sara Mingardo 4:01 6. Demetrio e Polibio: Act I Scene 2: Non cimentar lo sdegno (Polibio, Eumene) Sara Mingardo 5:31 7. Demetrio e Polibio: Act I Scene 3: O di Polibio sudditi fedeli, Amati Parti, la vostra vista oh quanto mi
consola! (Siveno, Polibio) Sara Mingardo 0:47 8. Demetrio e Polibio: Act I Scene 3: Nobil gentil donzella in si ridente giorno (Chorus) Sara Mingardo 1:38 9. Demetrio e Polibio: Act I Scene 3: Deh! fate, amici Dei, che in tal momento (Lisinga) Sara Mingardo 0:37 10. Demetrio e Polibio: Act I Scene 3: Alla pompa gia m'appresso (Lisinga) Sara Mingardo 1:58 11. Demetrio e Polibio: Act I Scene 3: Dell'ara v'appressate, o figli, al piede (Polibio) Sara Mingardo 0:27 12. Demetrio e Polibio: Act I Scene 3: Questo cor ti giura amore (Lisinga, Siveno) Sara Mingardo 5:13 13. Demetrio e Polibio: Act I Scene 1: Si, mia vita, sarai (Siveno, Lisinga, Polibio) Sara Mingardo 2:22 14. Demetrio e Polibio: Act I Scene 3: Sempre teco ognor contente (Lisinga, Siveno, Polibio, Chorus)
Sara Mingardo 6:56 15. Demetrio e Polibio: Act I Scene 3: Che pensi, o padre! (Siveno, Polibio, Onao, Olmira) Sara Mingardo 2:01 16. Demetrio e Polibio: Act I Scene 4: Andiamo taciti a lento passo (Chorus) Sara Mingardo 1:31 17. Demetrio e Polibio: Act I Scene 4: Amici, ormai propizia appieno (Eumene) Sara Mingardo 1:20 18. Demetrio e Polibio: Act I Scene 4: All'alta impresa tutti (Eumene, Chorus) Sara Mingardo 6:46 19. Demetrio e Polibio: Act I Scene 5: Mi scende sull'alma un dolce sopore (Lisinga) Sara Mingardo 3:49 20. Demetrio e Polibio: Act I Scene 5: Fermatevi. Io sol m'inoltrero. Contento io sono (Eumene, Lisinga)
Sara Mingardo 1:36 21. Demetrio e Polibio: Act I Scene 5: Ohime, crudel, che tenti, ah vile traditore ? (Lisinga, Eumene, Siveno,
Polibio, Chorus) Sara Mingardo 5:48
CD2 1. Demetrio e Polibio: Act II Scene 1: Ah che la doglia amara si legge nel suo volto (Chorus)
Sara Mingardo 2:22 2. Demetrio e Polibio: Act II Scene 1: Ove la cara figlia involata sara (Polibio) Sara Mingardo 1:45 3. Demetrio e Polibio: Act II Scene 1: Come sperar riposo, dove trovar la figlia (Polibio, Siveno, Chorus)
Sara Mingardo 6:03 4. Demetrio e Polibio: Act II Scene 2: Onao, ove t'en vai? (Olmira, Onao, Lisinga, Eumene, Siveno, Polibio)
Sara Mingardo 1:56 5. Demetrio e Polibio: Act II Scene 2: Donami omai Siveno o le trafiggo il petto (Eumene, Polibio, Lisinga,
Siveno) - Scene 3: Vieni, caro, al mio sen (Eumene) Sara Mingardo 8:51 6. Demetrio e Polibio: Act II Scene 3: Ov'e Lisinga? (Siveno, Eumene) Sara Mingardo 0:59 7. Demetrio e Polibio: Act II Scene 3: Perdon ti chiedo, o padre (Siveno, Eumene) Sara Mingardo 5:36 8. Demetrio e Polibio: Act II Scene 4: Inosservato io vidi dell'armata di Eumen l'ordin disposto (Onao)
Sara Mingardo 0:34 9. Demetrio e Polibio: Act II Scene 4: Io piu sposo non ho, per man d'un empio egli mi fu rapito (Lisinga,
Polibio) Sara Mingardo 4:32 10. Demetrio e Polibio: Act II Scene 4: Superbo, ah! tu vedrai se abbasserai l'orgoglio (Lisinga, Chorus)
Sara Mingardo 5:14 11. Demetrio e Polibio: Act II Scene 5: Quanto e possente amor, real donzella! (Olmira)Sara Mingardo 0:55 12. Demetrio e Polibio: Act II Scene 5: Che feci mai! Ove n'ando Siveno? (Eumene) Sara Mingardo 2:25 13. Demetrio e Polibio: Act II Scene 5: Lungi dal figlio amato mi si divide il core (Eumene, Chorus, Lisinga,
Siveno) Sara Mingardo 4:44 play 14. Demetrio e Polibio: Act II Scene 6: Festosi al Re si vada ad apportar la pace (Chorus)Sara Mingardo0:50 15. Demetrio e Polibio: Act II Scene 6: Oh Ciel, che miro! Lisinga la figlia (Polibio, Eumene, Lisinga, Siveno)
Sara Mingardo 1:20 16. Demetrio e Polibio: Act II Scene 6: Quai moti al cor io sento (Everybody, Chorus) Sara Mingardo 1:53
Demetrio - Dalmacio González Polibio - Giorgio Surjan Lisinga - Christine Weidinger Siveno - Sara Mingardo Orchestra Sinfonica di Graz Coro da Camera Sluk di Bratislava Massimiliano Carraro - conductor, 1996


Demetrio e Polibio (Demetrius and Polybius) is a two-act operatic dramma serio by Gioachino Rossini to a libretto by Vincenzina Viganò-Mombelli. The opera was orchestrated for strings only.

Demetrio e Polibio was Rossini's first attempt at a full-scale opera, though it was not his first staged opera. Written for the Mombelli family of singers, Rossini completed the opera in 1806, during his student days at the Philharmonic Academy of Bologna. However it was not staged until May 18, 1812 when it premiered at Rome's Teatro Valle.


    Time: 2nd Century,B.C.
    Place: Parthia

Act 1

The good Polybius, King of Parthia, is the protector of both his own daughter Lisinga and her lover Siveno. Everyone believes Siveno to be the son of Minteus, a minister of King Demetrius of Syria, but he is actually the long estranged son of Demetrius. Demetrius, holding Minteus responsible for his son's disappearance, arrives at the court of Parthia in the guise of Eumeno, a royal messenger, and demands that Siveno be turned over to Syria. Polybius refuses. Siveno and Lisinga celebrate their marriage. Polybius confides to Siveno that he is worried about what has happened, but Siveno reassures him. Meanwhile, Eumene (Demetrius) plots to kidnap Siveno and bring him back to Syria. He bribes the servants and guards and at night manages to enter the Parthian court. However, when he arrives in the bed-chamber of the young couple, he finds Lisinga alone and kidnaps her instead. Polybius and Siveno try in vain to stop him.

Act 2 Polybius and Siveno plead for Lisinga's release. In reply, Euemeno (Demetrius) threatens to kill her unless Siveno is turned over to him. In turn, Polybius threatens to kill Siveno unless Lisinga is released. The situation starts to resolve when Eumene (Demetrius), looks at an old medallion and realizes that Siveno is actually his lost son. Meanwhile, Polybius does not want to lose Lisinga, and Eumene (Demetrius) only wants Siveno. Desperate at their impending separation, Lisinga tries to kill Eumene, but he finally reveals his true identity as King Demetrius and announces that Siveno is his son. Peace is restored, and the couple live happily ever after.

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]]> (bluesever) Rossini Gioachino Sat, 08 Oct 2011 08:40:26 +0000
Gioachino Rossini - Il Turco In Italia (Chailly) [1998] Gioachino Rossini - Il Turco In Italia (Chailly) [1998]

Disc: 1
1. Sinfonia - Orch del Teatro alla Scala/Riccardo Chailly
2. Atto primo: Nostra patria e il mondo intero - Coro del Teatro alla Scalla/Riccardo Chailly
3. Atto primo: Ho da far un dramma buffo - Roberto De Candia
4. Atto primo: Ah! se di questi Zingari l'arrivo - Roberto De Candia
5. Atto primo: Vado in traccia d'una Zingara - Alessandro Corbelli
6. Atto primo: Chi vuol farsi astrologar - Laura Polverelli/Coro del Teatro alla Scalla
7. Atto primo: Ah! mia moglie, san chi sono - Alessandro Corbelli
8. Atto primo: Brava! Intesi ogni cosa - Roberto De Candia
9. Atto primo: Non si da follia maggiore - Cecilia Bartoli
10. Atto primo: Voga, voga, a terra, a terra - Coro del Teatro alla Scalla
11. Atto primo: Bella Italia, alfin ti miro - Michele Pertusi
12. Atto primo: Che bel Turco! Avviciniamoci - Cecilia Bartoli
13. Atto primo: Serva...Servo - Cecilia Bartoli/Michele Pertusi
14. Atto primo: Della Zingara amante - Roberto De Candia
15. Atto primo: Un marito scimunito! - Roberto De Candia
16. Atto primo: Ola: tosto il caffe - Cecilia Bartoli
17. Atto primo: Siete Turchi: non vi credo - Cecilia Bartoli
18. Atto primo: lo stupisco - Michele Pertusi
19. Atto primo: Come! Si grave torto - Ramon Vargas
20. Atto primo: Sono arrivato tardi - Roberto De Candia
21. Atto primo: Per piacere alla signora - Alessandro Corbelli
22. Atto primo: No mia vita, mio tesoro - Cecilia Bartoli
23. Atto primo: Ho quasi del mio dramma - Roberto De Candia
24. Atto primo: Gran meraviglie - Coro del Teatro alla Scalla/Riccardo Chailly
25. Atto primo: Per la fuga e tutto lesto - Michele Pertusi
26. Atto primo: Perche mai se son tradito - Ramon Vargas
27. Atto primo: Evviva l'amore - Coro del Teatro alla Scalla/Riccardo Chailly
28. Atto primo: Chi servir non brama amor - Cecilia Bartoli
29. Atto primo: Qui mia moglie ha da venire - Alessandro Corbelli
30. Atto primo: Ah! che il cor non m'ingannava - Cecilia Bartoli
31. Atto primo: Vada via: si guardi bene di cercar - Laura Polverelli
32. Atto primo: Quando il vento improvviso - Cecilia Bartoli/Laura Polverelli/Ramon Vargas/Francesco Piccoli/Roberto de Candia...

Disc: 2
1. Atto secodo: A proposito, amico - Michele Pertusi
2. Atto secodo: D'un bell'uso di Turchia - Michele Pertusi
3. Atto secodo: Se Fiorilla di vender bramate - Michele Pertusi
4. Atto secodo: Ed invece di pagarla - Michele Pertusi
5. Atto secodo: Credeva che questa scena - Roberto De Candia
6. Atto secodo: Non v'e piacer perfetto - Coro del Teatro alla Scalla/Riccardo Chailly
7. Atto secodo: Che Turca impertinente! - Cecilia Bartoli
8. Atto secodo: Credete alle femmine - Michele Pertusi
9. Atto secodo: Fermate! - Roberto De Candia
10. Atto secodo: Intesi: ah! tutto intesi - Ramon Vargas
11. Atto secodo: Tu seconda il mio disegno - Ramon Vargas
12. Atto secodo: Oh sorte deplorabile! - Alessandro Corbelli
13. Atto secodo: Se ho da dirla, avrei molto piacere - Alessandro Corbelli
14. Atto secodo: Ah, se nel mondo - Alessandro Corbelli
15. Atto secodo: Oh! che fatica! - Roberto De Candia
16. Atto secodo: Ah! sarebbe troppo dolce - Francesco Piccoli
17. Atto secodo: Amor la danza mova - Coro del Teatro alla Scalla/Riccardo Chailly
18. Atto secodo: E Selim non si vede! - Cecilia Bartoli
19. Atto secodo: Amor la danza mova - Coro del Teatro alla Scalla/Riccardo Chailly
20. Atto secodo: Cara Fiorilla mia - Michele Pertusi
21. Atto secodo: Amor la danza mova - Coro del Teatro alla Scalla/Riccardo Chailly
22. Atto secodo: Eccomi qui - Alessandro Corbelli
23. Atto secodo: Oh! guardate - Alessandro Corbelli
24. Atto secodo: Dunque seguitemi - Ramon Vargas/Michele Pertusi
25. Atto secodo: Questo vecchio maledetto - Cecilia Bartoli
26. Atto secodo: Ah! Poeta, non sai... - Alessandro Corbelli
27. Atto secodo: Chi avria creduto - Cecilia Bartoli
28. Atto secodo: I vostri cenci vi mando - Cecilia Bartoli
29. Atto secodo: Squallida veste - Cecilia Bartoli
30. Atto secodo: Caro padre - Cecilia Bartoli
31. Atto secodo: Si: mi e forza partir - Cecilia Bartoli
32. Atto secodo: Son la vite sul campo appassita - Cecilia Bartoli
33. Atto secodo: Rida a voi sereno il Cielo - Coro del Teatro alla Scalla/Riccardo Chailly

Cecilia Bartoli (Mezzo Soprano)
Alessandro Corbelli (Baritone)
Michele Pertusi (Bass)
Ramón Vargas (Tenor)
Laura Polverelli (Mezzo Soprano)
Francesco Piccoli (Tenor)
Roberto De Candia (Baritone) 

Milan Teatro alla Scala Orchestra and Chorus
Riccardo Chailly - conductor


This Pirandello-like, 1814 comedy of manners has long lived in the shadow of Rossini's better-known L'Italiana in Algeri, but this recording, more than either of its predecessors, allows it to bloom in all its ironic loveliness. Cecilia Bartoli, a born comedian, sings expressively and angelically while her character behaves devilishly, and the supporting cast is no less effective. Riccardo Chailly brings out all of the score's humor, and all of its warmth as well. A little-known gem for fans of The Barber of Seville. ---Robert Levine,


"Mr Chailly’s genius for the Rossini style has ripened with the years. His performance has daring and velocity, the music stripped for action, yet it is open-hearted and free-spirited: obsessive and funny. Did Rossini really take so much care over his orchestration in this slender diversion? I had not thought so until now.... Mr Pertusi’s Selim is as vocally expert as it is theatrically amusing. And Mme Bartoli dazzles here as rarely before. Such vocal brilliance and the words – my words! – so forward and crystal-clear. “Squallida veste bruna!” – an aria you will search for in vain on Mme Callas’s recording – is a tour de force. ..So there you have it, my friends: as fine a set of Il turco as you’re likely to get." --- Richard Osborne, Gramophone

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]]> (bluesever) Rossini Gioachino Sun, 25 Oct 2009 20:24:08 +0000
Gioachino Rossini - Konzertstücke, etc (1996) Gioachino Rossini - Konzertstücke, etc (1996)

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1. Introduction, Theme and Variations for Clarinet and Orchestra in E flat major
2. Koncertstück for 2 Clarinets and Orchestra no 1 in C minor
3. Introduction, Theme and Variations for Clarinet and Orchestra in B minor
4. Grand Duo Concertant for Clarinet, Bassoon and Orchestra in Eb major
5. Fantasie for Clarinet and Piano in E flat major
6. Konzertstück for 2 Clarinets and Orchestra no 2 in E flat major

Dieter Klöcker – clarinet
Oliver Link – clarinet
Karl-Otto Hartmann  - bassoon
Southwest German Radio Symphony Orchestra
Holger Schröter-Seebeck – conductor


Rossini wrote just one, or perhaps two, original works for clarinet and piano. “Perhaps” refers to the “Introduction, Theme and Variations”, which was described in the first edition as for “clarinet and orchestra or pianoforte”. However, only the orchestral score was published and no version for clarinet and piano attributable to Rossini, whether printed or in manuscript, has ever come to light. There are, or course, several modern editions with piano accompaniment, but always of the unpianistic kind typical of orchestral transcriptions of concerto accompaniments. We can suppose that a Rossini original, if it ever existed and if it should ever be found, would be more radically recast in pianistic terms. We did not include this piece, therefore. --- Christopher Howell,

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]]> (bluesever) Rossini Gioachino Mon, 27 Apr 2015 16:07:50 +0000
Gioachino Rossini - L'Assedio di Corinto (1992) Gioachino Rossini - L'Assedio di Corinto (1992)

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Disc: 1
1. Sinf - London SO/Thomas Schippers
2. Act One, Scene One: Signor, un sol tuo cenno - Ambosian Opr Chor/John McCarthy play
3. Act One, Scene One: Del vincitor superbo di Bisanzio - Harry Theyard
4. Act One, Scene One: In cosi reo periglio - Ambosian Opr Chor/John McCarthy/Shirley Verrett/
Gwynne Howell
5. Act One, Scene One: La spada omicida - Gwynne Howell/Harry Theyard/Shirley Verrett/
Ambrosian Opr Chor/John McCarthy
6. Act One, Scene One: Tua figlia m e promessa - Shirley Verrett/Harry Theyard/Beverly Sills
7. Act One, Scene One: Destin terribile! - Shirley Verrett/Harry Theyard/Beverly Sills
8. Act One, Scene One: Di morte il suon mando - Ambosian Opr Chor/John McCarthy/Beverly Sills/
Harry Theyard/Shirley Verrett
9. Act One: Scene One: La data fe rammento - Ambosian Opr Chor/John McCarthy/Beverly Sills/
Harry Theyard/Shirley Verrett
10. Act One, Scene Two: Dal ferro del forte - Ambosian Opr Chor/John McCarthy
11. Act One, Scene Two: Duce di tanti eroi - Justino Diaz/Ambosian Opr Chor/John McCarthy play
12. Act One, Scene Two: Trionfammo, signor - Robert Lloyd/Justino Diaz
13. Act One, Scene Two: Capo all'oste ribelle - Justino Diaz/Harry Theyard
14. Act One, Scene Two: O ciel! fermate... - Beverly Sills/Justino Diaz/Harry Theyard/Delia Wallis/
Robert Lloyd/Ambrosian Opr Chor/John McCarthy
15. Act One, Scene Two: Ritrovo l'amante nel crudo nemico - Beverly Sills/Justino Diaz/Harry Theyard/
Delia Wallis/Robert Lloyd/Ambrosian Opr Chor/John McCarthy
16. Act One, Scene Two: Pamira mi sei resa - Beverly Sills/Justino Diaz/Harry Theyard/Delia Wallis/
Robert Lloyd/Ambrosian Opr Chor/John McCarthy
17. Act One, Scene Two: L'alma che geme - Beverly Sills/Justino Diaz/Harry Theyard/Delia Wallis/
Robert Lloyd/Ambrosian Opr Chor/John McCarthy

Disc: 2
1. Act Two: Cielo! che diverro? - Beverly Sills
2. Act Two: Si, ferite, il chieggo, il merto - Beverly Sills
3. Act Two: Dal soggiorno degli estinti - Beverly Sills
4. Act Two: Ah! che spiegar non posso - Beverly Sills play
5. Act Two: Sgombra il timor - Justino Diaz/Beverly Sills
6. Act Two: Che vedo? Ohime... tu piangi? - Justino Diaz
7. Act Two: Potrei lasciar che l'alma - Beverly Sills/Justino Diaz
8. Act Two: Vinci, Pamira, il terror - Justino Diaz/Delia Wallis/Ambrosian Opr Chor/John McCarthy
9. Act Two: Divin profeta, dator di bene - Ambrosian Opr Chor/John McCarthy play
10. Act Two: Pamira... Questo altar - Justino Diaz/Beverly Sills/Shirley Verrett/Robert Lloyd
11. Act Two: E suo germano! - Justino Diaz/Beverly Sills/Shirley Verrett
12. Act Two: Sian tolti a lui quei ferri - Justino Diaz/Beverly Sills/Shirley Verrett
13. Act Two: Oh, sol di chi t'adora - Justino Diaz/Beverly Sills/Shirley Verrett
14. Act Two: Corinto in suon di sdegno - Robert Lloyd/Justino Diaz/Shirley Verrett/Beverly Sills/
Harry Theyard/Ambrosian Opr Chor...
15. Act Two: Ebbene, il nuovo sole - Robert Lloyd/Justino Diaz/Shirley Verrett/Beverly Sills/
Harry Theyard/Ambrosian Opr Chor...

Disc: 3
1. Act Three: Avanziam... questo e il luogo! - Shirley Verrett
2. Act Three: Ciel! chi vegg'io? - Gaetano Scano/Shirley Verrett
3. Act Three: Non temer, d'un basso affetto - Shirley Verrett
4. Act Three: Signor, che tutto puoi - Beverly Sills/Ambrosian Opr Chor/John McCarthy/Harry Theyard
5. Act Three: Oh come al cor soavi - Harry Theyard
6. Act Three: D'ogni intorno vegliate - Justino Diaz/Harry Theyard
7. Act Three: Pria svenar con ferme ciglia - Justino Diaz/Harry Theyard play
8. Act Three: Speri invan - Harry Theyard/Justino Diaz/Shirley Verrett
9. Act Three: All'empio in braccio - Harry Theyard/Justino Diaz/Shirley Verrett
10. Act Three: Tu che tanto orgoglioso ostenti - Harry Theyard/Justino Diaz/Shirley Verrett
11. Act Three: Di generoso, nobile - Shirley Verrett/Justino Diaz
12. Act Three: O mio Cleomene! - Shirley Verrett/Harry Theyard
13. Act Three: Ciel! Ella! - Harry Theyard/Beverly Sills/Shirley Verrett
14. Act Three: Celeste prowidenza - Harry Theyard/Beverly Sills/Shirley Verrett
15. Act Three: Tutto percorsi il marzial recinto - Gwynne Howell/Harry Theyard
16. Act Three: Chiuso serbate il cor - Gwynne Howell/Beverly Sills/Shirley Verrett/Harry Theyard/
Ambrosian Opr Chor/John McCarthy
17. Act Three: Nube di sangue intrisa - Gwynne Howell/Beverly Sills/Shirley Verrett/Harry Theyard
/Ambrosian Opr Chor/John McCarthy
18. Act Three: Questo nome, che suona vittoria - Gwynne Howell/Beverly Sills/Shirley Verrett/Harry Theyard/
Ambrosian Opr Chor/John McCarthy play
19. Act Three: L'ora fatal s'appressa - Beverly Sills
20. Act Three: Giusto ciel! - Beverly Sills/Ambrosian Opr Chor/John McCarthy
21. Act Three: Vittoria! Vittoria! - Beverly Sills/Ambrosian Opr Chor/John McCarthy
22. Act Three: Parmi vederlo, ahi misero - Beverly Sills/Ambrosian Opr Chor/John McCarthy
23. Act Three: Ma qual mai suona - Beverly Sills/Ambrosian Opr Chor/John McCarthy/Justino Diaz

Pamira - Beverly Sills
Neocle - Shirley Verrett
Maometto - Justino Diaz
Cleomene - Harry Theyard
Jero - Gwynne Howell
Omar - Robert Lloyd
Ismene - Delia Wallis
Adrasto - Gaetano Scano

Ambrosian Opera Chorus

London Symphony Orchestra Thomas Schippers - conductor, 1974

Libretto by Luigi Balocchi and Alexandre Soumet, based on Cesare della Valle's libretto
for Rossini's Maometto II


Le Siege de Corinthe premiered at the Paris Opéra on October 9, 1826, to enthusiastic acclaim by critics and public alike. Although Rossini had been in Paris working at the Theâtre Italien since 1824, he now made his first attempt at creating an Italian opera which would please the fastidious French public. The tastes of the French ran strong, and their opera was imbued with their national identity. With his new French honorary title ("Premier Compositeur du Roi et Inspecteur General du Chant en France") he set about revising his Neapolitan opera, Mahomet II, for its premiere at the Opéra.

The original work, Mahomet II, was experimental in many respects: the set pieces did not slavishly conform to the early- nineteenth-century standard operatic forms, but were instead suited to their specific dramatic purposes. It was written to showcase the vocal talents of Isabella Colbran, an Italian coloratura star who dominated Rossini's Neapolitan writing. The opera was initially revised in 1823 for the Venetian stage: Rossini added an overture, a trio, and changed the ending so that he could include the joyous rondo from La Donna del Lago. Received coolly in its initial state, the opera was booed and hissed in its second form -- hardly the success the composer had hoped for.

For the French revision, Rossini hired two literati, Balocchi and Soumet, to rewrite the libretto. They kept the original story line but changed the setting: instead of the Venetians, the Turks are laying siege to the Greek city of Corinth, and the Greeks are fighting for their very survival. The ending remains tragic: Corinth is dramatically razed to the ground and Pamira kills herself rather than marry the Turkish sultan. Feelings in France ran high for the cause of Greek independence at the time, and the librettists were able to capitalize on those emotions. Rossini even conducted a benefit concert for the Greek cause and raised quite a sum.

The score is greatly changed; the original formal experiments are dispensed with and the florid writing is made simpler. The famous "Terzettone" that spans two scenes of Act I in the original opera is completely redone into a smaller, more comprehensible piece. Although the result is an opera that is less dramatic and less grand, it is also more coherent. The flavor of the recitative now reflects that of the French language; the orchestration is richer, with more brass and woodwind writing, and the role of Neocles is now a tenor voice, rather than an Italian contralto. Rossini used a Gloria from a mass composed in 1820 as the basis of the new, splendid overture, and also as the basis of the grand finale to Act II. ---Rita Laurance, Rovi


A few weeks before this performance, Beverly Sills made her Met debut in this all-but-unknown Rossini opera. As one critic explained, “The arias are vocal extravaganzas that would terrorize all but a few singers today.” But as Pamira, the young Greek woman who loves the Turkish leader, Maometto (Justino Díaz), who conquers Corinth with tragic consequences, Sills herself was really the conquering hero. “Perfectly phrased abandon,” was one description of her singing, and the audience simply went berserk. Shirley Verrett co-stars in the pants role of Neocle, the young Greek captain who has been promised Pamira in marriage.

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]]> (bluesever) Rossini Gioachino Mon, 21 Mar 2011 09:34:19 +0000
Gioachino Rossini - L'Inganno Felice (1997) Gioachino Rossini - L'Inganno Felice (1997)

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1. L'Inganno felice: Sinfonia
2. L'Inganno felice: Scene 1: Introduzione: Duetto: 'Cosa dite ! Ma Cosa dite !' (Isabella, Tarabotto)
3. L'Inganno felice: Scene 1: Recitativo: 'Ebben che ascondi a Tarabotto ?' (Isabella, Tarabotto)
4. L'Inganno felice: Scene 2: Aria: 'Qual tenero diletto' (Bertrando)
5. L'Inganno felice: Scene 2 - 5: Recitativo: Ne posson due lustri ancora cancellarti (Bertrando, Ormondo,
Batone, Tarabotto, Isabella)
6. L'Inganno felice: Scene 5: Aria: 'Una voce m'ha colpito' (Batone)
7. L'Inganno felice: Scene 6 - 8: Recitativo: 'Egli resto indeciso' (Isabella, Tarabotto, Bertrando) play
8. L'Inganno felice: Scene 6 - 8: Terzetto: 'Quel sembiante quello sguardo (Bertrando, Tarabotto, Isabella)
9. L'Inganno felice: Scene 9 - 10: Recitativo: 'Oh l'impressione e fatta' (Tarabotto, Bertrando, Ormondo)
10. L'Inganno felice: Scene 10: Aria: 'Tu mi conosci' (Ormondo)
11. L'Inganno felice: Scene 11: Recitativo: 'Me la paghera tua vita !' (Batone, Tarabotto)
12. L'Inganno felice: Scene 11: Duetto: 'Va taluno mormorando' (Batone, Tarabotto)
13. L'Inganno felice: Scene 13: Aria: 'Al piu dolce' (Isabella)
14. L'Inganno felice: Scene 14 - 15: Recitativo: 'Son fuor di me !' (Bertrando, Ormondo, Tarabotto) play
15. L'Inganno felice: Finale: 'Tacita notte amica' (Batone, Isabella, Tarabotto, Bertrando, Ormondo)

Annick Massis (Soprano),
Rodney Gilfry (Bass),
Raúl Giménez (Tenor),
Pietro Spagnoli (Bass),
Luca Regazzo (Baritone)

Le Concert des Tuileries
Marc Minkowski


L'inganno felice (The Fortunate Deception) is an opera in one act by Gioachino Rossini with a libretto by Giuseppe Maria Foppa. Foppa reworked the libretto which Giuseppe Palomba had written for an opera of the same name by Paisiello (1798).

Rossini called his opera a farsa, although as Richard Osborne in the New Grove Dictionary of Opera explains: "Its designation as a farsa is misleading in the light of its semiseria status as a romantic melodrama with buffo elements." The work has much in common with French Revolutionary operas such as Cherubini's Les deux journées.

It was first performed at the Teatro San Moisè, Venice on January 8, 1812 and was an instant success. By the end of the decade it had been heard in theatres throughout Italy as well as in Paris and London. Following this triumph, Rossini was commissioned to write three more operas by the manager of the Teatro San Moisè.


An interesting plot and glorious music combined to make this opera a success in its day and a very stageable work today. There are only five soloists and no chorus. The orchestra in our recording play on original instruments, bringing out subtleties that a modern large orchestra just cannot bring across. It is unfortunate, however, that a harpsichord was used to accompany the secco recitative. A forte-piano should have been utilized. As for the soloists, Annick Massis sings very lyrically and handles the tessitura very well. She can sing coloratura flawlessly. The same cannot be said for tenor Raul Gimenez. Despite a good sense of line and beauty of tone, his coloratura turns nasal and is somewhat muddy. The other three male singers are excellent in their roles except for some interpolated high notes which are not stylistically accurate and also do not sound good. There are notes and a libretto in English with this Erato set. If you buy this recording, despite a couple of musical drawbacks, you will enjoy a first class Rossini comedy. ---Halvor


The singers, all of them, are so fine and the orchestra so supple and attentive to Maestro Marc Minkowski, you'd swear you'd heard a much "grander" opera with, perhaps, a huge chorus. The performance is rich with talent and heart and at its finish one can ask nothing more of it. Rossini wrote L'INGANNO for five voices and orchestra. (There is no chorus, of course.) The recitativo secco (accompanied by harpsichord), is an extremely well thought-out part of Maestro Minkowski's plan for this offering and the orchestra is positively brilliant, stunning us with nuance. It is an astounding accomplishment for a small work. Annick Massis, Raul Gimenez, Rodney Gilfrey, Pietro Spagnoli and Lorenzo Regazzo sing the five roles. They sing with extraordinary style and warmth. The agility of the coloratura delights. The delicate and dynamic merging of orchestra and voice is wonderful. It is buoyant, full of life and so much more melodically impressive than I had expected. ---W. Burton


L'inganno felice è una farsa di Gioachino Rossini. Il libretto, in un atto, è di Giuseppe Maria Foppa, che adattò l'omonimo libretto di Giuseppe Palomba musicato da Giovanni Paisiello nel 1798. Rientra nell'ambito dell'opera semiseria. La prima rappresentazione ebbe luogo l'8 gennaio 1812 al Teatro San Moise di Venezia. L'inganno felice è la terza opera rappresentata di Rossini (dopo La cambiale di matrimonio e L'equivoco stravagante) e fu il suo primo grande successo. Infatti all'immediato successo a Venezia, seguirono non solo rappresentazioni in tanti teatri italiani e stranieri ma anche la stampa dello spartito e della partitura, cosa all'epoca piuttosto rara.

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]]> (bluesever) Rossini Gioachino Mon, 28 Mar 2011 19:05:57 +0000
Gioachino Rossini - L'italiana In Algeri (Abbado) [1989] Gioachino Rossini - L'italiana In Algeri (Abbado) [1989]

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1. Rossini: L'italiana in Algeri - Overture	Claudio Abbado	7:52
2. Rossini: L'italiana in Algeri / Act 1 - Serenate il mesto ciglio	Helmut Froschauer	6:54	
3. Rossini: L'italiana in Algeri / Act 1 - Ritiratevi tutti	Alessandro Corbelli	1:21
4. Rossini: L'italiana in Algeri / Act 1 - Languir per una bella	Claudio Abbado	6:41
5. Rossini: L'italiana in Algeri / Act 1 - Ah, quando fia ch'io possa in Italia tomar?	Ruggero Raimondi	0:42
6. Rossini: L'italiana in Algeri / Act 1 - Se inclinassi a prender moglie	Ruggero Raimondi	4:09
7. Rossini: L'italiana in Algeri / Act 1 - Quanto roba! amor tiranno!	Agnes Baltsa	4:47	
8. Rossini: L'italiana in Algeri / Act 1 - Già ci siam. Tanto fa.	Agnes Baltsa	1:02	
9. Rossini: L'italiana in Algeri / Act 1 - Ah! Isabella ... siam giunti a mal partito	Agnes Baltsa	0:56
10. Rossini: L'italiana in Algeri / Act 1 - Ai capricci della sorte	Agnes Baltsa	7:18	
11. Rossini: L'italiana in Algeri / Act 1 - Ascoltami, Italiano	Ruggero Raimondi	0:40	
12. Rossini: L'italiana in Algeri / Act 1 - Dunque degg'io lasciarvi?	Patrizia Pace	0:44
13. Rossini: L'italiana in Algeri / Act 1 - Già d'insolito andore	Ruggero Raimondi	3:22	
14. Rossini: L'italiana in Algeri / Act 1 - Vi dico il ver	Patrizia Pace	1:02	
15. Rossini: L'italiana in Algeri / Act 1 - Viva, viva, il flagel delle donne	Agnes Baltsa	8:25
16. Rossini: L'italiana in Algeri / Act 1 - "Pria di dividerci da voi, Signore" - "Va sossopra il mio cervello"	Agnes Baltsa	9:12

1. Rossini: L'italiana in Algeri / Act 2 - Uno stupido, uno stolto	Patrizia Pace	1:37	
2. Rossini: L'italiana in Algeri / Act 2 - Amiche, andate a dire all'italiana	Patrizia Pace	0:42	
3. Rossini: L'italiana in Algeri / Act 2 - Qual disdetta è la mia!	Agnes Baltsa	1:15
4. Rossini: L'italiana in Algeri / Act 2 - Ah, come il cor di giubilo	Claudio Abbado	2:12
5. Rossini: L'italiana in Algeri / Act 2 - Ah! Se da solo a sola	Enzo Dara	0:53
6. Rossini: L'italiana in Algeri / Act 2 - Viva il grande Kaimakan	Helmut Froschauer	1:01	
7. Rossini: L'italiana in Algeri / Act 2 - Kaimakan! Io non capisco niente	Enzo Dara	0:21	
8. Rossini: L'italiana in Algeri / Act 2 - Ho un gran peso sulla testa	Konzertvereinigung Wiener Staatsopernchor	3:55	
9. Rossini: L'italiana in Algeri / Act 2 - Dunque a momenti	Agnes Baltsa	1:25	
10. Rossini: L'italiana in Algeri / Act 2 - Per lui che adoro	Agnes Baltsa	5:14
11. Rossini: L'italiana in Algeri / Act 2 - Io non resisto più	Enzo Dara	0:32
12. Rossini: L'italiana in Algeri / Act 2 - Ti presento di mia man	Agnes Baltsa	9:04	
13. Rossini: L'italiana in Algeri / Act 2 - Con tutta la sua boria	Alessandro Corbelli	0:24	
14. Rossini: L'italiana in Algeri / Act 2 - Le femmine d'Italia	Alessandro Corbelli	2:24
15. Rossini: L'italiana in Algeri / Act 2 - E tu speri di togliere Isabella	Enzo Dara	1:17
16. Rossini: L'italiana in Algeri / Act 2 - Pappataci! che mai sento?	Enzo Dara	5:27	
17. Rossini: L'italiana in Algeri / Act 2 - Tutti i nostri Italiani	Enzo Dara	0:35	
18. Rossini: L'italiana in Algeri / Act 2 - "Pronti abbiamo e ferri e mani" - "Amici, in ogni evento" - "Pensa alla patria"	Agnes Baltsa	8:32
19. Rossini: L'italiana in Algeri / Act 2 - Che bel cor ha costei!	Enzo Dara	0:37	
20. Rossini: L'italiana in Algeri / Act 2 - Dei Pappataci s'avanza il coro	Agnes Baltsa	9:00
21. Rossini: L'italiana in Algeri / Act 2 - Son L'aure seconde	Agnes Baltsa	1:48	
22. Rossini: L'italiana in Algeri / Act 2 - "Mio Signore ..." - "Mio marito ..."	Agnes Baltsa	2:26	

Agnes Baltsa (Mezzo Soprano), 
Ruggero Raimondi (Bass Baritone), 
Enzo Dara (Baritone), 
Alessandro Corbelli (Baritone), 
Anna Gonda (Mezzo Soprano), 
Patrizia Pace (Soprano), 
Frank Lopardo (Tenor)

Vienna State Opera Chorus
Vienna Philharmonic Orchestra
Claudio Abbado – conductor


The year 1813 proved a productive one for Rossini, with four important works for four different theaters. Il Signor Bruschino was premiered in January at the Teatro San Moisè in Venice, Tancredi was produced at Venice's La Fenice in February, and Aureliano in Palmira was introduced at Milan's La Scala in December. In between came an opera that nearly didn't happen. Rossini's La Pietra del Paragone (1812) was announced for a revival, but the Teatro San Benedetto in Venice used Rossini's second act only, substituting a first act drawn from the work of another composer. It was not a success. Meanwhile, Carlo Coccia, who had accepted a commission to compose an opera for that theater, apparently ran into difficulty in completing his assignment. Rossini accepted the offer from the theater's impresario and wrote L'Italiana in Algeri in less than a month. Given the tight schedule, the composer turned to a libretto already in existence, one by Angelo Anelli, already set by Luigi Mosca.

Although Rossini was likely familiar with Mosca's opera, significant additions and changes were made to the libretto, quite possibly by Gaetano Rossi. The 21-year-old composer elected to go for broke with the effects of his ensemble writing. The impression made by the breathless piling up of rhythmic patterns using repeated consonants is often deliriously funny. The opera was premiered on May 22, 1813, to applause that, according to one critic, "thundered without pause."

L'Italiana was the first of several important Rossini comic operas to hold prominent roles for lower female voices. While voices were less rigidly categorized than they were to become in the twentieth century, Rossini clearly wrote for what we now call a coloratura mezzo-soprano. The deeper, fuller sound he had in mind lends a greater piquancy and strength to figures such as L'Italiana's Isabella, Rosina in Il Barbiere di Siviglia, and Angelina in La Cenerentola.

The protagonist in L'Italiana is a determined Italian lady who travels to Algiers to search for her lover Lindoro, kidnapped and held as a slave by Mustafà, the Bey of Algiers. Isabella's wit and charm prove too much for Mustafà and his retinue, and she is able to escape with Lindoro at the end, leaving the Bey fuming until he realizes there is nothing to be done. The role of the Bey is a gift for that rare bass with agility, comic presence, and a gift for rapid patter.

L'Italiana, though often performed, existed in manuscript only until the Ricordi publishing house offered a printed score toward the end of the nineteenth century. Numerous errors and modifications had crept in by then, however, and a more accurate documentation of the composer's intentions was not made available to performing organizations until the critical edition was researched and prepared by the Rossini Foundation in the late twentieth century. ---Erik Eriksson, Rovi

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]]> (bluesever) Rossini Gioachino Wed, 10 Mar 2010 17:25:28 +0000