Pietra Paragone

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.

The most comprehensive edition devoted to Gioacchino 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.

Marietta Marcolini was an Italian contralto born in Florence in 1780. Rossini’s career would not have taken flight in so meteoric a fashion without a series of providential encounters, and that with Marietta Marcolini was to leave an indelible stamp on his entire output. By creating roles to measure for her, as in 'La pietra del paragone' and 'L’Italiana in Algeri', and exploiting this interpreter’s uncommon resources more fully than had other composers before him, Rossini ushered in the fashion for a new type of comedy, the brilliant, virtuoso comedy of which he was to remain the master until 'Le Comte Ory' (1828).