Rossini Ediion

Countertenor performances of 19th century opera are a historical and, ultimately, true novelty. This said, for those who love the sound of the countertenor voice and want to give it a try, there are several factors that recommend this release by countertenor Franco Fagioli, with the small orchestra Armonia Atenea under George Petrou. First is that castrati were still around in Rossini's time, although on the decline, and the composer was reportedly intrigued by their voices. Second, Fagioli, unlike the vast majority of other countertenors, studied bel canto singing rather than Baroque repertory exclusively, and a certain distance present in the work of other countertenors is absent here. And third, and most important, is Fagioli's voice itself. Of the countertenors active today, he's the one with the range, the power, the attitude to make you suspend disbelief and think for a moment that you're actually listening to a castrato. He enters into the various Rossini roles represented on this recording, several of which were mezzo-soprano "pants" roles; this adds to the layers of identity-switching happening, and the parts hit Fagioli's vocal sweet spot. A bonus is that several of these are from Rossini opere serie that are little played or recorded.

Elisabetta regina d'Inghilterra, marked Rossini's first venture into the San Carlo Theatre in Naples, the most glamorous theatre of that time. The famous impresario Domenico Barbaja, had carefully prepared the launching of the rwenty-three year old composer -with sumptuous scenery, designed by a celebrated archirect, Antonio Niccolini, and engaging a firsr-rate cast. Foremost was Isabella Colbran, who later became Rossini's wife; and tenors — Andrea Nozzari and Manuel Garcia.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

Cecilia Bartoli both thrills the senses and touches the heart in Rossini's sparkling comedy, her feisty Cinderella combining rebelliousness with pathos, vocal beauty with stunning virtuosity. She and a star cast of Italian principals captivate the Houston audience in this exuberant Bologna production, recorded live in November 1995.

Good performances of Rossini overtures of the kind taken for granted by a previous generation whenever men like Beecham, Gui, Serafin, or Toscanini stepped on to the rostrum are something of a rarity these days. Too often, conductors, orchestras, and engineers turn poor Rossini into what Scott Goddard once called that "obese old gallant". (Not always very gallant, either.) Happily, in these pieces as in much else besides, Claudio Abbado is a cut above the average.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

The Biblical story of Belshazzar’s hubristic arrogance set against the valour of the young warrrior-leader Cyrus provided the 20-year-old Rossini with a dramatic story with West-Eastern resonances which still speak to us today. For the title role of Cyrus, Rossini wrote what would be his longest-ever contralto role, to which the great Rossini singer Ewa Podles is both naturally attracted and ideally suited. She is partnered by two young American stars of Rossini singing, Jessica Pratt and Michael Spyres, and a conductor-scholar, Will Crutchfield, of immense experience and sympathy.

This is a world première production on DVD. Torvaldo merits greater attention than has been previously paid to it; the rich orchestration, preludes of infallible expression and recitative passage of extraordinary clarity deem this an opera of considerable interest.

Filmed at New York's Metropolitan Opera, John Copley's production of Rossini's last, longest and most elaborate work for the Italian stage brings together what many consider the definitive contemporary cast, led by Marilyn Horne and June Anderson. Semiramide, a strong and melodious work, is one of Rossini's greatest dramatic operas, offering a fine challenge to the superb contralto and soprano bel canto singing of Ms. Horne and Ms. Anderson.