The Rossini Opera Festival in Pesaro, the composer’s birthplace, is internationally renowned for its innovative stagings and musically impeccable productions.

This colourful and exuberant production was staged by Daminano Michieletto, “one of the truly new voices in stage direction today” (L’Unita). Damiano Michieletto made his international debut at the Wexford Opera Festival in 2003 with a highly-acclaimed production of Weinberger’s Svanda Dudák, named Opera Production of the Year by the Irish Times.

Claudio Scimone, a key figure in the international Rossini Renaissance, conducts the Orchestra di Bolzano e Trento and leads a cast of Rossini specialists including Daniele Zanfardino, Olga Peretyatko and Anna Malavasi. Gioachino Rossini LA SCALA DI SETA

Dormont – Daniele Zanfardino
Giulia – Olga Peretyatko
Lucilla – Anna Malavasi
Dorvil – José Manuel Zapata
Blanzac – Carlo Lepore
Germano – Paolo Bordogna

Bolzano-Trento Haydn Orchestra
Claudio Scimone, conductor

Damiano Michieletto, stage director

Recorded live at Rossini Opera Festival, Pesaro, August 2009

bonus
- Cast Gallery
- The making of La scala di seta

Picture format: NTSC 16:9
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Italian
Running time: 105 mins (opera) + 22 mins (bonus)
No. of DVDs: 1 (DVD 9)

R E V I E W:

"the musical aspects are in good hands as Claudio Scimone leads the Haydn Orchestra of Bolzano and Trento, with the piquant Olga Peretyatko’s Giulia miles above the rest of the cast in vocal terms, however involved they all are in the antics imposed by director Damiano Michieletto. Carlo Lepore acquits himself in the interpolated aria, “Alla Gloria,” familiar to those who are obsessive Rossinians in performances by Samuel Ramey and Michele Pertusi. Paolo Bordogna’s Germano is hampered by a vibrato housed in a voice of no particular distinction, though he does execute the fioritura quite well. José Manuel Zapata’s Dorvil requires the audience to suspend its belief in him as a romantic lead, while Anna Malavasi (Lucilla) executes the change from prude to sex-crazy puta in typical comic style."


FANFARE: Joel Kasow

The Pesaro Festival’s new offering in 2013 was an off-the-wall production of Rossini’s popular comedy, ‘The Italian Girl in Algiers’, presented as a Swinging Sixties, James Bond adventure, set in the desert oil fields of the North Africa. Davide Livermore’s gag-a-minute, helter-skelter romp followed an alarmingly life-like air-crash, which delivered the ‘Italian girl’ from Rome into the clutches of the local oil baron, Mustafa. All three lead singers (Alex Esposito as Mustafa, the high tenor Yijie Shi as the young lover Lindoro, and Anna Goryachova as the agile-voiced mezzo-soprano of the title role) were met with the audience’s roaring approval of the evening’s entertainment. ‘‘Italian bass Alex Esposito commanded our full attention as Mustafà…a spirited, charismatic actor of inextinguishable theatrical energy.’’ - Opera Today “Davide Livermore’s Rossini stagings are filled with wisdom and wit. Here again, he is sure handed.’’ - Seen and Heard International

This is a re-release of an SWRmusic bestseller. The recording was the very first one of the original version of Rossini’s Petite Messe solennelle, realized using the critical new edition based on Rossini’s autograph score published in 1991 by Carus. Gioachino Rossini's Petite messe solennelle (Little solemn mass) was written in 1863, possibly at the request of Count Alexis Pillet-Will for his wife Louise to whom it is dedicated. The composer, who had retired from composing operas more than 30 years before, described it as "the last of my péchés de vieillesse" (sins of old age). The extended work is a missa solemnis, but Rossini labeled it, not without irony, petite (little). He scored it originally for twelve singers, four of them soloists, two pianos and harmonium. The mass was first performed on 14 March 1864 at the couple's new home in Paris. Rossini later produced an orchestral version, including an additional movement, a setting of the hymn "O salutaris hostia" as a soprano aria. This version of the mass was not performed during his lifetime because he could not obtain permission to perform it with female singers in a church. It was first performed three months after his death, at the Salle Ventadour in Paris by the company of the Théâtre-Italien on 24 February 1869.

A bubbly effusion of Rossini’s music, some new, some re-cycled, all enjoyable.

Rossini’s pre-eminence among his contemporaries was widely recognised after the success of his opera seria Tancredi and comic opera L’Italiana in Algeri in Venice in 1813. The composer was summoned to Naples by the impresario Barbaja and offered the musical directorship of the Royal Theatres, the San Carlo and Fondo. The proposal appealed to Rossini for several reasons. First, his annual fee was generous and guaranteed. Secondly, and equally important, unlike Rome and Venice, Naples had a professional orchestra. Rossini saw this as a considerable advantage as he aspired to push the boundaries of opera into more adventurous directions and did so in the nine opera seria he composed during his seven year stay in the position. Under the terms of the contract, Rossini was to provide two operas each year for Naples whilst being permitted to compose occasional works for other cities.

The composer tended to push the limits of his contract in respect of composing for other theatres. In the first two years he composed no fewer than five operas for other venues, with Il Barbiere di Siviglia being the most successful. This pace of composition and presentation of operas was necessary for a composer to enjoy a decent standard of living. There was also the fact that an opera success in a city far away, at least by the standards of the day, allowed an element of self-plagiarisation. Why waste good tunes - even when a work has been a failure - although this was sometimes taken to excess with straight lifts of music with the words simply altered.

After his first trip to Rome, and the massive success of Il Barbiere di Siviglia, Rossini returned to Naples to find the San Carlo theatre burned down. He composed a cantata for a ceremony to celebrate the wedding of the royal princess. Rather than proceeding with the two operas he was contracted to write for Naples, Rossini then proceeded to enjoy himself around town rather than composing. This led to Barbaja writing a formal letter of complaint to the theatre management about the delay in production, whilst the local papers were scathing. At last, much delayed, the first of the two contracted operas, La gazzetta, (The newspaper), was premiered at the small Teatro dei Fiorentini, Naples on 26 September 1816. It was Rossini’s eighteenth opera and was to be the only comic opera that he wrote for the city. Having given time to the production of Tancredi during the rehearsals of La gazzetta, it was no surprise that Rossini completed the work in a hurry and used music that was well known in Rome and elsewhere and some which would be used again in the near future in La Cenerentola. This is fact, although in the booklet essay with this issue the writer contends that the hand-written score of La gazzetta shows evidence of much care. Being popular with the local audience if not with the local press, it had twenty-one performances. The work was soon withdrawn and not seen again until revived in Rome one hundred and forty years or so later.

The action of La gazzetta takes place in a Parisian inn where several guests are staying. Don Pomponio, a local big mouth, extols the virtues of his daughter and has advertised the fact in the local papers as he seeks to marry her off. To cater for local tradition at the Teatro dei Fiorentini the role of Don Pomponio was written in Neapolitan dialect and is sung here by a native of the city Marco Cristarella Orestano. I cannot vouch for the veracity of his Neapolitan patois but he certainly enters into the spirit of his character. Whilst not being the most mellifluous of baritones his quick patter is delivered with good Rossinian taste and skill (CD 1 Trs. 4-6). Don Pomponio is unaware that his daughter, Lisetta, is in love with Filippo, owner of the inn. Judith Gauthier sings this high role with warm tone, pleasing vocal purity and characterisation (CD 1 Tr. 8). In the duets with her father (CD 1 Tr. 14) and her lover (CD 2 Tr. 4) she characterises the role particularly well. Her lover, Filippo, is sung by Giulio Mastrototaro, one of a clutch of more than adequate lower-voiced males who appear in the cast. Whilst not being outstanding they play a vital part in making the opera truly comic.

Of the other pair of lovers the warm-tones of Sicilian soprano of Rossella Bevacqua contrasts nicely with those of Doralice (CD 1 Tr. 12). Alberto, in search of a wife confuses her with the lady advertised in the ‘Gazzetta’ and which confusion is all part of the improbable fun. While not written to feature any of the high-voiced tenors that Barbaja had under contract in Naples, the role has high tessitura as well as a low dramatic requirement. In this performance it is sung by American Michael Spyres. The following year at Bad Wildbad Spyres sang the role of Otello, written for the great Andrea Nozzari famous for his florid singing and powerful lower notes. Spyres has the range, with a strong baritonal patina, however, whilst being ardent he lacks security and easy divisions in the coloratura in the more florid writing (CD 2 Tr. 6). As Madama La Rose, Maria Soulis’s mezzo is rich and flexible (CD 2 Tr.2).

The enjoyment of this typically Rossinian froth depends so much on the cast and the conductor being sympathetic to the idiom. This is the case here with Christopher Franklin on the rostrum drawing a vibrant performance from orchestra, chorus and soloists. In what is obviously an updated staging proceedings are interrupted by warm applause at the end of most set numbers. The tracks are generous allowing for those who want to get rid of the extensive recitative; personally I do not find this troublesome – at least not in this lively performance. There is some stage noise.

The booklet has a good track-related synopsis as well as an informative essay on the background to the opera, both in English and German. There are artist profiles in English. The background essay addresses the problem of the composition of the Act 1 quintet (CD 1 Tr. 10) and whether Rossini himself composed it. Listen and see if you recognise the music. Rossini enthusiasts will want to pursue the research and solution carried out by Gossett and Scipioni and which is discussed at length in the former’s Divas and Scholars (Chicago, 2006). Also interesting is how a producer butchered their efforts at Pesaro in 2001 (pp. 246-247). The production concerned can be seen as reprised at the Gran Teatre del Liceu, Barcelona, in 2005 on Oopus Arte OA0953D. Interestingly, Gossett contends that the first authentic production of the critical edition was in Britain at the 2001 Garsington Festival. It was at this venue that the British premiere of Rossini’s Armida - which I attended - was produced in 2010.

If you like Rossini’s music for his comic operas you will enjoy this performance and have the somewhat naughty pleasure of identifying the music he borrowed and from where - a hint do not always look to what he had composed before La gazzetta. A full libretto, in Italian can be accessed at the Naxos site.

-- Robert J Farr, MusicWeb International

The 'sheer visual sophistication' of Annabel Arden's Barbiere serves 'a triumphant celebration of Rossini's musical genius', featuring de Niese's 'powerfully sung' Rosina, Burger's 'gale-force' Figaro and Stayton's 'pure and mellifluous' Almaviva - a leading trio 'musically and dramatically beyond compare' (The Independet - 5 stars). Contributing to the 'ensemble precision', the rest of the cast includes a 'scene-stealing' Berta in Kelly, a 'suavely unctuous' Basilio from Stamboglis and Corbelli's Bartolo, 'an object lesson in comic understatement' (The Guardian). With Enrique Mazzola at the helm of the London Philharmonic Orchestra, 'the score bubbles along on a Puckish current of merry mischief' (The Telegraph

Ricciardo e Zoraide, premiered in Naples on 3 December 1818, was Rossini’s 26th opera in eight years, and with close predecessor like Il barbiere di Siviglia, Otello, La Cenerentola, La gazza ladra and Mosè in Egitto it goes without saying that it has been rather overshadowed by the competition. This is not to say that it is uninteresting as a story and that the music is undistinguished.

It takes place during the Crusades in Dongola in ancient Nubia. The Nubian king Agorante is infatuated with Princess Zoraide, daughter of Ircano, whom Agorante has defeated. Zoraide was captured and the Christian knight Ricciardo, Zoraide’s lover, accompanies an emissary to have her released. Agorante’s wife, Zomira, feels her position as Queen is threatened and arranges that Ricciardo and Zoraide are captured and plots to have them executed. In the end an army of Christians rescues the two lovers.

The story is more complicated than the above summary says, but it is something of a thriller and it should be able to engage an audience – as it obviously did at Bad Wildbad in July 2013, even though it was only a concert performance. This on the other hand means that extraneous noises are reduced to a minimum – only applause after some numbers and at the end of acts.

The sinfonia is brass-laden and gloomy and we understand that this is going to be a sad story. After 3-4 minutes it becomes lighter in tone, march-like for a while, but there is little joy. Some woodwind for a while lighten things up further but a long horn solo spreads more gloom – though the melody is beautiful. In the end the Rossini we know steps forward, faintly smiling, but no crescendo within eyesight, just a jolly piccolo flute … and then: Curtain! There is a brassy intro to the opening chorus with troops and Nubian people – and here some joy creeps in: their leader Agorante has just returned home victorious.

Agorante addresses the people and informs that he has expelled Ircano and his followers because Ircano has denied him the hand of his daughter who, we already know from the summary, happens to be in love with Ricciardo. Thus we are at once involved in the love triangle that is the core of the story.

Agorante then sings a cavatina with high-lying tessitura and virtuoso passages, well-sung by Randall Bills who ends in the bass register. The cabaletta that follows, requires him to climb up in the stratosphere. A man of power he is properly hailed by his soldiers … and the audience.

Enter Zoraide, who is an important character – at the premiere she was sung by Isabella Colbran and we can expect some great things, but she is not quite in focus yet. After some dialogue with her confidante Elmira, the Queen, Zomira arrives. She offers to help Zoraide deal with Agorante’s unwelcome wooing – but her prime aim is to render Zoraide harmless since she believes Zoraide wants to force her off the throne. Zoraide doesn’t trust the Queen and the two women sing a dramatic duet, where the Queen is formidable in her anger (CD 1 tr. 8-10). When Agorante pops up this gives Rossini an opportunity to write a lively and dramatic terzetto, Cruda sorte! (CD 1 tr. 12-13), with a bridal chorus singing a wedding song in the background (the King is very sure he will bring home his new bride!), and here Rossini can’t avoid building up one of his famous crescendos.

There is a change of scenes, and after a proud soldiers’ chorus we finally encounter Ricciardo and his friend Ernesto. They have just arrived on a ship, Ernesto is there to plead to Agorante that he releases Zoraide and Ricciardo, disguised as an African, is acting as his guide. He sings a cavatina where he pours out his longing after Zoraide. Maxim Mironov, certainly one of today’s best bel canto tenors, has a sappy voice, elegant vocalism and marvellous phrasing (CD 1 tr. 16). In the cabaletta, which is filled with stunning coloratura, Ernesto also joins in. After a new change of scenes we meet the jealous Zomira and her confidante Elmira, who is ordered to keep an eye on Zoraide’s every move. In the final scene the tension builds up and Agorante’s decision to start another war creates turmoil, accompanied by martial rumble from the timpani.

We needn’t go into every complication during the second act, but there are some good musical numbers worth pointing out. The first is the duet between Agorante and Ricciardo, the latter still in disguise. Their voices are so different in character that there is no problem to tell them apart. They sing well together, and in the following florid cabaletta Agorante (Bills) excels in brilliant top notes, whereas Ricciardo (Mironov) displays his elegant bel canto (CD 2 tr. 6-7).

They separate and now Ricciardo and Zoraide meet alone for the first time – but they are secretly observed by Elmira! Their duet (CD 3 tr. 2-3) is one of the highlights of the score. The final note, taken fortissimo, causes furore in the audience. I would have preferred it much more lyrical. Before Ricciardo has been able to explain his plan to run away with his beloved, Agorante suddenly appears, and when Ircano, Zoraida’s father also unexpectedly appears, this gives room for a quartet, where Nahuel Di Pierro powerful black bass in the role of Ircano gives dramatic depth to the music.

In the next scene the vengeful Zomira has a big scene (CD 3 tr. 7-8). Musically it is excellent and Silvia Beltrami’s powerful and expressive voice – more contralto than mezzo-soprano – is certainly in phase with the character. A pity that her vibrato sometimes is a bit wider than one could wish, but it is a dramatic highpoint.

The final scene begins with plaintive sounds in the orchestra. Ricciardo and Zoraide are now certain they will be executed, and Zoraide, expresses her desperation in her grand scena. Alessandra Marianelli musters some really intensive singing here. But their rescue is imminent. Like a deus ex machina Ernesto arrives with his troops and disperses Agorante’s soldiers. He disarms Agorante, but Ricciardo prevents him from killing the King and gives his sword back to him. Moved by such chivalry Ircano grants Ricciardo the hand of Zoraide. Everybody, except Zomira, rejoices at this happy end!

Though not one of Rossini’s greatest operas, it still has a lot to offer. The singing on this issue is generally good and Maxim Mironov adds another great achievement to his CV as recording artist. The recorded sound is worthy of the occasion, and there is an interesting essay and a comprehensive synopsis. Rossinians shouldn’t miss this.

– MusicWeb International (Göran Forsling)

Tancredi and L’Italiana in Algeri, Rossini’s tenth and eleventh operas, both premiered in Venice, launched the composer on an unstoppable career. They saw him become the most prestigious opera composer of his time. The formidable impresario Domenico Barbaja summoned Rossini to Naples and offered him the position of musical director of the city’s two Royal Theatres, the San Carlo and Fondo. Barbaja’s proposals appealed to Rossini for several reasons. Not only was his annual fee generous and guaranteed, but also the San Carlo had a professional orchestra, unlike the theatres of Venice and Rome. The composer also saw this as a considerable advantage as he aspired to push the boundaries of his opera composition in more adventurous directions. Under the terms of the contract, Rossini was to provide two operas each year for Naples whilst being permitted to compose occasional works for other cities. The composer tended to test the limits of this contract and in the first two years composed no fewer than five operas for other venues, including four for Rome.

Although the whole performance is top-notch, the main reason for owning this Cenerentola is the warm, delightfully human, and stunningly sung Cinderella of Joyce DiDonato. There is no paucity of fine, recorded Cenerentolas (Bartoli, Larmore, Baltsa), but DiDonato, an under-recorded American mezzo, catches precisely the right tone of vulnerability and goodness in the character while never stinting on the coloratura fireworks we expect from the role. She's always in character--modest and kind; it's a beautiful, understated portrayal.


The rest of the cast is excellent as well. José Manuel Zapata's slim tenor may not have the ping of a Vargas or the brilliance of Florez, but he's got all the "little notes" needed for the Prince and is unafraid of heights. Paolo Bordogna's Dandini is well sung, but the voice has a fast vibrato that may not agree with everyone, and Bruno Pratico's Don Magnifico articulates every single note and refrains from mugging--a good combination. The sisters are nicely characterized by Patrizia Cigna and Martina Borst, and bass-baritone Luca Pisaroni delivers Alidoro's music, including the aria Rossini added for him in 1820, with a good tonal center and dignity.


Conductor Alberto Zedda includes a brief chorus penned by another composer at the start of Act 2, and he leads with suavity if just a bit less flair and energy than this opera seems to want. The orchestra and chorus are good enough. The first CD ends at an awkward spot, but had the offending few minutes been added to the second CD it would have reached a dangerously long 80 minutes and three seconds. (It would have been easier if the extra chorus had been cut!) Bicker, bicker--this is an excellent performance, at a great bargain price.
--Robert Levine, ClassicsToday.com

Garsington Opera, celebrating its 25th anniversary season in June-July 2014, releases its first commercially available recording, the rare Rossini opera Maometto secondo. Recorded live at Garsington Opera’s universally acclaimed 2013 performances – the first-ever fully staged production of Maometto secondo in the UK – the 3-CD set is stylishly packaged in a 100-page hardbound book, complete with synopsis, essay and libretto in Italian with English translations.

Set in the 15th century, Rossini’s hugely ambitious undertaking depicts the Turkish Sultan Maometto’s siege of the Venetian outpost of Negroponte and his ultimate defeat. The superb international cast is led by the suitably menacing bass-baritone Darren Jeffery in the title role, with American soprano Siân Davies in her European debut as his anguished daughter Anna, Australian mezzo Caitlin Hulcup as the general Calbo, and tenor Paul Nilon as the Venetian Governor. The assured baton of David Parry conducting the Garsington Opera Orchestra and Chorus highlights the brilliant and dramatic score.

This outstanding release mirrors Garsington Opera’s exceptional artistic standards presented in the spectacular, award-winning Pavilion, set in the extraordinarily beautiful Buckinghamshire countryside. - Avie

Rossini's brilliant satirical opera, Il Turco in Italia, is as notable for it's considerable use of ensemble set pieces as for it's many memorable tunes. The plot revolves around the tangled romance of the Turkish nobleman, Selim, on a visit to Naples to experience Italian life at first hand, and of his former mistress, Zaida, with whom he is finally reunited. Among the many highlights is the masterful duet of Geronio and Selim, in which the Turk tries to persuade the ageing husband to sell him his wife, the capricious Fiorilla.

This volume completes Naxos’ very enjoyable four-disc set of the complete Rossini overtures. Think about it: that’s a lot of orchestral music from a composer known almost exclusively for his vocal works–three or four Bruckner symphonies’ worth, and what would you rather listen to? This last installment includes two really popular overtures: The Barber of Seville and Il Turco in Italia, but much of the musical interest lies in the less familiar pieces.

Ricciardo e Zoraide, for example, has an unconventional form, ending quietly with a lengthy aria for solo flute, preceded by a romantic horn solo. Torvaldo e Dorliska reveals that Rossini was always ready with a new and interesting take on his signature “crescendo.” This one ends, not with the conventional climactic tutti, but with a series of more lyrical phrases for the violins. Armida’s opening march leads to another insanely difficult horn solo (the MET’s player blew it horribly at the performance of the opera that I saw). Rossini must have worked with some astoundingly fine individual players.

The performances, as with the other volumes in this series, are crisp, fleet, and shapely, with excellent solo winds nicely balanced against well-coordinated strings. Conductor Christian Benda also takes care to handle the percussion with good taste and common sense. For example, he reserves the cymbals for the very end of The Barber of Seville, an effective decision.

If you’re looking for the complete Rossini overtures, the only other option you have is Marriner’s set on Philips. These performances, on the whole, have just that much more more character and sparkle. They deserve your consideration.

-- David Hurwitz, ClassicsToday.com