Robertafleck,i Told Jesus

Rossini liked to write operas about women (specifically mezzo-sopranos) who were smarter than the men around them, such as Rosina in "The Barber of Seville" and Angelina in "La Cenerentola." This charming, melodious bit of operatic fluff, composed before either of those two better-known operas, is dedicated to the proposition that an Italian woman is a match for any man or group of men. The thesis is tested in an extreme situation; Isabella (Larmore) is shipwrecked on the coast of a place where shipwrecked Europeans were routinely enslaved and, if they were women, consigned to a harem.

Violist Jesus Rodolfo makes his PENTATONE debut, accompanied by pianist Min Young Kang, with an album showcasing three iconic 20th-century Russian composers who all left their homeland: Prokofiev, Rachmaninov and Stravinsky. Rodolfo presents selections of Prokofiev’s Romeo and Juliet and Rachmaninov’s Cello Sonata in G Minor in arrangements by Vadim Borisovsky, while Stravinsky’s Suite Italienne can be heard in his own transcription for viola and piano. The pieces performed revolve around love, decency, hope and optimism prevailing against mortality, mistrust, injustice and uncertainty. Within the context of a world slowly respiring from a severe pandemic, this has become a recording about the importance of the perseverance of hope, determination and love in the face of death and uncertainty. Acclaimed for his exhilarating, passionate performances, innate musicality and technical prowess, Spanish violist Jesús Rodolfo has been praised by The New York Times Digest as "a star whose light transcends the stage."

Composed for the coronation of Charles X in Rheims Cathedral, this pièce de circonstance was to remain Rossini's last Italian opera. It contains some of the most inspired and brilliant vocal writing the composer ever produced. Most experts and analysts agree that this is an unconventinal opera, light and ironic, festive and exuberant, with a plot as simple as it is extrvagant, a work full of musical references which almost turn it, very subtly, into a "metaopera," or an "opera about opera."