Christophe Allain

Considering that Rossini's opera buffa "La pietra del paragone" (The Touchstone) is hardly ever staged and that its title is not even known through its overture, like "La scala di seta" or "La gazza ladra," music lovers can be forgiven for being in the dark about this sparklingly luminous work. One of Rossini's first operas, it was written for Milan's La Scala and premiered there in 1812. It was a resounding success - in spite of its standard libretto filled with disguises, mistaken identities and trials of love and loyalty. But it boasts a splendidly varied orchestral writing, which includes dramatic hunt and storm scenes, and betrays a love of language and wordplay which presages Rossini's later works. For this alone, it deserves an above-average treatment.

Following his attractive performance of six of Vivaldi's cello sonatas, Christophe Coin has recorded six of the composer's 24 or so concertos for the instrument. Five of these, Michael Talbot tells us in an interesting accompanying note, probably belong to the 1720s while the sixth, the Concerto in G minor (RV416), is evidently a much earlier work. Coin has chosen, if I may use the expression somewhat out of its usual context, six of the best and plays them with virtuosity and an affecting awareness of their lyrical content. That quality, furthermore, is not confined to slow movements but occurs frequently in solo passages of faster ones, too. It would be difficult to single out any one work among the six for particular praise. My own favourite has long been the happily spirited Concerto in G major (RV413) with which Coin ends his programme. Strongly recommended. (Gramophone Magazine)

In several respects, Christophe Rousset gives a well-balanced performance of Bach's French Suites. He finds a balance between a straightforward, technical reading and a more expressive one that takes liberties with timing and ornamentation. He brings out themes with a lyric sensibility, and he acknowledges the importance of countermelodies and the interaction of musical lines. The Sarabande of the Suite No. 6 is full of ornamentation, yet Rousset can still bring out a melody with a sense of forward direction that isn't interrupted by the ornaments. The Gigue of the Suite No. 5 is technically brilliant and musically delightful as all of the various parts come together in a lively manner.

Written in 1735 for his protégée Anna Girò, Griselda takes a story from Boccaccio and turns it into a hymn of praise to nobility and constancy. Yet though the story is tired and true, Vivaldi's music is real and vibrant and as attractive as anything in his instrumental works. In this recording by Jean-Christophe Spinosi leading the Matheus Ensemble with Marie-Nicole Lemeux in the title role, Naïve has released another strong argument for the high quality of Vivaldi's operas. Spinosi has a light hand but a dramatic touch and he keeps the music moving even while granting the soloists ample scope to develop their characters.

The comedy in two acts, to a libretto by Lorenzo da Ponte, is based on one of Carlo Goldoni's best-known and most amusing French comedies, Le bourru bienfaisant. The opera premiered with triumphant success on January 4, 1786 at the Vienna Burgtheater. Mozart liked the work so much that he composed two “substitute arias” for it, both of which found their way into this Teatro Real de Madrid production. The director Irina Brook, daughter of the well-known English director Peter Brook, made her debut at the Teatro Real with this production. She brings the plot to our time, mixing several styles and eras, which, together with Soler's light, cheerful music, makes the work really amusing evening entertainment.