David Rossi

First performed at the Teatro Regio, Turin, on 5 March 1876, Lauro Rossi's penultimate opera Cleopatra caught the public's attention in the wake of Verdi's Aïda (1871). Like that better-known work, it contains some wonderful arias and set pieces, including a marvellous Act 1 banquet scene, Cleopatra's Act 2 aria, the thrilling ensemble that closes Act 3, and the confrontation between Cleopatra and Octavian in Act 4, all making for compelling viewing and listening. From the brooding opening scene in which Diomedes foretells the fall of Egypt to Cleopatra's death scene, this gripping grand opera by one of Italy's forgotten masters springs vividly to life in this revival filmed at the 2008 Macerata Sferisterio Festival.

Luigi Rossi (1598-1653), along with Monteverdi and Frescobaldi, were significant composers of the first half of the seventeenth century. His appreciation for the emotions of texts led him to devise a new means of expression in vocal music, which was the major part of his output. He was one of the first composers whose primary field was secular vocal music.

In 1646, France's first minister, Italian-born Cardinal Mazarin, eager to bring Italian culture to Paris, hired Luigi Rossi to write an opera for the Paris carnival. The premiére was given a magnificent staging and the performance, which lasted six hours, was a triumph. However, the expense of the performance only stoked discontent against Mazarin, which soon broke out into full-scale popular rebellion. On this video, Raphaël Pichon and Ensemble Pygmalion recreate the magic of that first performance, thanks to a skillful musical reconstruction and the group's vibrant, multi-colored timbre. The dramatic power of the myth of Orpheus is brilliantly conveyed in Jetske Mijnssen's production, which transposes the story into contemporary terms, to evoke the timeless experience of love and death that humanity both desires and fears.

L’amor conjugale tells the same story as Beethoven’s Fidelio, but in a charmingly different adaptation of the original French text by the Italian librettist Gaetano Rossi. In Giovanni Simone Mayr’s hand, the conjugal love is not just between the two principal characters Amorveno and Zeliska, but also between two theatrical and musical traditions, a love affair between two styles developed north and south of the alps. While the orchestration is clearly influenced by Mozart and Haydn, the vocal writing is often purely bel canto, and this blending of styles is one of the most attractive and unique attributes of the opera.

L’amor conjugale tells the same story as Beethoven’s Fidelio, but in a charmingly different adaptation of the original French text by the Italian librettist Gaetano Rossi. In Giovanni Simone Mayr’s hand, the conjugal love is not just between the two principal characters Amorveno and Zeliska, but also between two theatrical and musical traditions, a love affair between two styles developed north and south of the alps. While the orchestration is clearly influenced by Mozart and Haydn, the vocal writing is often purely bel canto, and this blending of styles is one of the most attractive and unique attributes of the opera.

In 1646, France's first minister, Italian-born Cardinal Mazarin, eager to bring Italian culture to Paris, hired Luigi Rossi to write an opera for the Paris carnival. The premiére was given a magnificent staging and the performance, which lasted six hours, was a triumph. However, the expense of the performance only stoked discontent against Mazarin, which soon broke out into full-scale popular rebellion. On this video, Raphaël Pichon and Ensemble Pygmalion recreate the magic of that first performance, thanks to a skillful musical reconstruction and the group's vibrant, multi-colored timbre. The dramatic power of the myth of Orpheus is brilliantly conveyed in Jetske Mijnssen's production, which transposes the story into contemporary terms, to evoke the timeless experience of love and death that humanity both desires and fears.