L'opera

Il Marito Disperato was a very popular opera in the late 18th century, premiered in 1785 and revised for more performances in 1798. The fact that it has such a long and illustrious performance history and has since fallen into oblivion explains why the San Carlo Theatre thought it worthy of revival. The score is exceedingly lively and clever, based on a libretto that is clever as well as hilarious, so much so that even Mozart, in his Don Giovanni, saw it fit to ‘borrow’ from Il Marito Disperato (the statute scene)./quote]

Despite his rather extensive output (especially in the realm of violin sonatas), composer Francesco Maria Veracini is likely unknown to most. His life history and personal writing read something like that of a modern-day groupie. Veracini was enamored with the works of Corelli and held the composer's works up with the highest possible esteem. It does not come as a surprise, then, that one of his most significant works would be based entirely on the works of Corelli. The Dissertazioni sopra l'Opera Quinta del Corelli is an entire set of expansions and elaborations of Corelli's Op. 5.

For those who can only judge Callas' voice, any recording can be very disapointing. To enjoy listening to her voice, one must be aware of her work as a dramatic performance rather than a technically perfect and beautiful voice. She sang with her soul, her heart and all the deep feelings a human being can experience and this led her to the top of the opera world, although her voice never achieved beauty and evenness as it would be expected of an opera Diva.

Opera Rara recorded the new critical edition by the Rossini Foundation of Otello. Hugely admired in its day, this highly innovative score contains some of Rossini’s most inspired music. The recording includes the reconstruction of the alternative happy ending (written for Rome in 1820) as well as an aria for Desdemona which the great Giudetta Pasta sang to acclaim in Paris and London.