Naxos
Rossini: Ricciardo e Zoraide / Perez-Sierra, Virtuosi Brunesis
$35.99
Only 2 left
Details
- Composer
- ROSSINI, GIOACHINO
- Artist
- Bills, Poznan, Virtuosi Brunensis, Perez-Sierra
- Format
- CD
- Label
- Naxos
- Released
- Feb 09, 2018
- Catalog #
- 8660419-21
- UPC
- 730099041973
About
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)
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)
Tracklist 40 tracks
- Disc 1
-
1 Act I Scene 1: Sinfonia e Introduzione 08:41
- Track
- 1
- Title
- Act I Scene 1: Sinfonia e Introduzione
- Duration
- 08:41
- Composer
- Gioachino Rossini
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
2 Act I Scene 1: Cinto di nuovi allori (Chorus) 02:41
- Track
- 2
- Title
- Act I Scene 1: Cinto di nuovi allori (Chorus)
- Duration
- 02:41
- Composer
- Gioachino Rossini
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
3 Act I Scene 1: Recitative: Popoli della Nubia, ecco tra voi (Agorante) 01:01
- Track
- 3
- Title
- Act I Scene 1: Recitative: Popoli della Nubia, ecco tra voi (Agorante)
- Duration
- 01:01
- Composer
- Gioachino Rossini
- Performer
- Randall Bills
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
4 Act I Scene 1: Cavatina: Minacci pur: disprezzo (Agorante) 04:25
- Track
- 4
- Title
- Act I Scene 1: Cavatina: Minacci pur: disprezzo (Agorante)
- Duration
- 04:25
- Composer
- Gioachino Rossini
- Performer
- Randall Bills
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
5 Act I Scene 1: Sì, con quel serto istesso (Chorus, Agorante) 04:47
- Track
- 5
- Title
- Act I Scene 1: Sì, con quel serto istesso (Chorus, Agorante)
- Duration
- 04:47
- Composer
- Gioachino Rossini
- Performer
- Randall Bills
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
6 Act I Scene 2: Quai grida!… Qual giubilo!… (Chorus, Zoraide, Fatima) 02:58
- Track
- 6
- Title
- Act I Scene 2: Quai grida!… Qual giubilo!… (Chorus, Zoraide, Fatima)
- Duration
- 02:58
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Diana Mian
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
7 Act I Scene 3: Recitative: Deh! frena il lungo duol (Fatima, Zoraide) 01:26
- Track
- 7
- Title
- Act I Scene 3: Recitative: Deh! frena il lungo duol (Fatima, Zoraide)
- Duration
- 01:26
- Composer
- Gioachino Rossini
- Performer
- Diana Mian, Alessandra Marianelli
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
8 Act I Scene 4: Scene: Zoraide, e qui ten stai? (Zomira, Zoraide) 03:01
- Track
- 8
- Title
- Act I Scene 4: Scene: Zoraide, e qui ten stai? (Zomira, Zoraide)
- Duration
- 03:01
- Composer
- Gioachino Rossini
- Performer
- Silvia Beltrami, Alessandra Marianelli
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
9 Act I Scene 4: Duet: Invan tu fingi, ingrata (Zomira, Zoraide) 05:49
- Track
- 9
- Title
- Act I Scene 4: Duet: Invan tu fingi, ingrata (Zomira, Zoraide)
- Duration
- 05:49
- Composer
- Gioachino Rossini
- Performer
- Silvia Beltrami, Alessandra Marianelli
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
10 Act I Scene 4: Duet: Io più non resisto (Zomira, Zoraide) 02:47
- Track
- 10
- Title
- Act I Scene 4: Duet: Io più non resisto (Zomira, Zoraide)
- Duration
- 02:47
- Composer
- Gioachino Rossini
- Performer
- Silvia Beltrami, Alessandra Marianelli
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
11 Act I Scene 5: Recitative: A voi ritorno alfine (Agorante, Zomira, Zoraide) 02:56
- Track
- 11
- Title
- Act I Scene 5: Recitative: A voi ritorno alfine (Agorante, Zomira, Zoraide)
- Duration
- 02:56
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Silvia Beltrami, Alessandra Marianelli
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
12 Act I Scene 5: Trio: Cruda sorte! Oh amor tiranno (Zoraide, Agorante, Zomira, Bridesmaids) 05:01
- Track
- 12
- Title
- Act I Scene 5: Trio: Cruda sorte! Oh amor tiranno (Zoraide, Agorante, Zomira, Bridesmaids)
- Duration
- 05:01
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Randall Bills, Silvia Beltrami
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
13 Act I Scene 5: Trio: Dunque ingrata (Agorante, Zoraide, Zomira) 04:19
- Track
- 13
- Title
- Act I Scene 5: Trio: Dunque ingrata (Agorante, Zoraide, Zomira)
- Duration
- 04:19
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Alessandra Marianelli, Silvia Beltrami
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
14 Act I Scene 6: Chorus: Che recate? Tutto è calma (Soldiers, Scouts) 03:19
- Track
- 14
- Title
- Act I Scene 6: Chorus: Che recate? Tutto è calma (Soldiers, Scouts)
- Duration
- 03:19
- Composer
- Gioachino Rossini
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
15 Act I Scene 7: Recitative: Eccoci giunti al desiato loco (Ricciardo, Ernesto) 04:05
- Track
- 15
- Title
- Act I Scene 7: Recitative: Eccoci giunti al desiato loco (Ricciardo, Ernesto)
- Duration
- 04:05
- Composer
- Gioachino Rossini
- Performer
- Maxim Mironov, Artavazd Sargsyan
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
16 Act I Scene 7: Cavatina: S'ella mi è ognor fedele (Ricciardo, Ernesto) 03:36
- Track
- 16
- Title
- Act I Scene 7: Cavatina: S'ella mi è ognor fedele (Ricciardo, Ernesto)
- Duration
- 03:36
- Composer
- Gioachino Rossini
- Performer
- Maxim Mironov, Artavazd Sargsyan
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
17 Act I Scene 7: Cavatina: Qual sarà mai la gioia (Ricciardo, Ernesto) 03:34
- Track
- 17
- Title
- Act I Scene 7: Cavatina: Qual sarà mai la gioia (Ricciardo, Ernesto)
- Duration
- 03:34
- Composer
- Gioachino Rossini
- Performer
- Maxim Mironov, Artavazd Sargsyan
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
18 Act I Scene 8: Recitative: Elmira, e non degg'io - Scene 9: Ch'entri l'ambasciator (Zomira, Elmira, Agorante, Ernesto, Ricciardo) 06:10
- Track
- 18
- Title
- Act I Scene 8: Recitative: Elmira, e non degg'io - Scene 9: Ch'entri l'ambasciator (Zomira, Elmira, Agorante, Ernesto, Ricciardo)
- Duration
- 06:10
- Composer
- Gioachino Rossini
- Performer
- Silvia Beltrami, Anna Brull, Randall Bills, Artavazd Sargsyan, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
- Disc 2
-
1 Act I Scene 10: Se al valore compenso promesso (Chorus, Agorante) 03:25
- Track
- 1
- Title
- Act I Scene 10: Se al valore compenso promesso (Chorus, Agorante)
- Duration
- 03:25
- Composer
- Gioachino Rossini
- Performer
- Randall Bills
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
2 Act I Scene 11: Recitative: Scaccia ogni tema - Scene 12: Che veggo! (Agorante, Zoraide, Ricciardo) 02:10
- Track
- 2
- Title
- Act I Scene 11: Recitative: Scaccia ogni tema - Scene 12: Che veggo! (Agorante, Zoraide, Ricciardo)
- Duration
- 02:10
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Alessandra Marianelli, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
3 Act I Scene 12: Finale: Cessi omai (Agorante, Ricciardo, Ernesto, Zoraide) 04:14
- Track
- 3
- Title
- Act I Scene 12: Finale: Cessi omai (Agorante, Ricciardo, Ernesto, Zoraide)
- Duration
- 04:14
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Maxim Mironov, Artavazd Sargsyan, Alessandra Marianelli
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
4 Act I Scene 12: Finale: Risolvesti! - Scene 13: T'arresta (Ernesto, Agorante, Zoraide, Ricciardo, Chorus, Zomira) 07:11
- Track
- 4
- Title
- Act I Scene 12: Finale: Risolvesti! - Scene 13: T'arresta (Ernesto, Agorante, Zoraide, Ricciardo, Chorus, Zomira)
- Duration
- 07:11
- Composer
- Gioachino Rossini
- Performer
- Artavazd Sargsyan, Randall Bills, Alessandra Marianelli, Maxim Mironov, Silvia Beltrami
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
5 Act II Scene 1: Recitative: Zamorre, ed è pur quegli! - Scene 2: Sicuro e franco (Agorante, Zamorre, Ricciardo) 03:34
- Track
- 5
- Title
- Act II Scene 1: Recitative: Zamorre, ed è pur quegli! - Scene 2: Sicuro e franco (Agorante, Zamorre, Ricciardo)
- Duration
- 03:34
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Bartosz Żołubak, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
6 Act II Scene 2: Duet: Donala a questo core (Agorante, Ricciardo) 05:53
- Track
- 6
- Title
- Act II Scene 2: Duet: Donala a questo core (Agorante, Ricciardo)
- Duration
- 05:53
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
7 Act II Scene 2: Duet: Teco or sarà (Agorante, Ricciardo) 04:02
- Track
- 7
- Title
- Act II Scene 2: Duet: Teco or sarà (Agorante, Ricciardo)
- Duration
- 04:02
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
- Disc 3
-
1 Act II Scene 3: Recitative: Partì… Che mai farò? - Scene 4: Cielo, che veggo! (Ricciardo, Zoraide) 03:11
- Track
- 1
- Title
- Act II Scene 3: Recitative: Partì… Che mai farò? - Scene 4: Cielo, che veggo! (Ricciardo, Zoraide)
- Duration
- 03:11
- Composer
- Gioachino Rossini
- Performer
- Maxim Mironov, Alessandra Marianelli
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
2 Act II Scene 4: Duet: Ricciardo!… che veggo? (Zoraide, Ricciardo) 05:54
- Track
- 2
- Title
- Act II Scene 4: Duet: Ricciardo!… che veggo? (Zoraide, Ricciardo)
- Duration
- 05:54
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
3 Act II Scene 4: Duet: Sarem noi sempre insieme (Zomira, Ricciardo, Zoraide) 03:14
- Track
- 3
- Title
- Act II Scene 4: Duet: Sarem noi sempre insieme (Zomira, Ricciardo, Zoraide)
- Duration
- 03:14
- Composer
- Gioachino Rossini
- Performer
- Silvia Beltrami, Alessandra Marianelli, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
4 Act II Scene 4: Recitative: Ah, dimmi, spiegami - Scene 5: Oh ciel, che sento! - Scene 6: Ah! gl'impeti raffrena (Zoraide, Ricciardo, Agorante, Ircano) 04:52
- Track
- 4
- Title
- Act II Scene 4: Recitative: Ah, dimmi, spiegami - Scene 5: Oh ciel, che sento! - Scene 6: Ah! gl'impeti raffrena (Zoraide, Ricciardo, Agorante, Ircano)
- Duration
- 04:52
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Maxim Mironov, Randall Bills, Nahuel di Pierro
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
5 Act II Scene 6: Quartet: Contro cento e cento prodi (Ircano, Agorante, Zoraide, Ricciardo) 05:02
- Track
- 5
- Title
- Act II Scene 6: Quartet: Contro cento e cento prodi (Ircano, Agorante, Zoraide, Ricciardo)
- Duration
- 05:02
- Composer
- Gioachino Rossini
- Performer
- Nahuel di Pierro, Randall Bills, Alessandra Marianelli, Maxim Mironov
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
6 Act II Scene 6: Nel più profondo carcere (Agorante, Zoraide, Ricciardo, Ircano, Guards) 03:03
- Track
- 6
- Title
- Act II Scene 6: Nel più profondo carcere (Agorante, Zoraide, Ricciardo, Ircano, Guards)
- Duration
- 03:03
- Composer
- Gioachino Rossini
- Performer
- Randall Bills, Alessandra Marianelli, Maxim Mironov, Nahuel di Pierro
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
7 Act II Scene 7: Scene: Un stranier nella reggia! - Scene 8: Che intesi!… (Zomira, Chorus, Elmira) 02:29
- Track
- 7
- Title
- Act II Scene 7: Scene: Un stranier nella reggia! - Scene 8: Che intesi!… (Zomira, Chorus, Elmira)
- Duration
- 02:29
- Composer
- Gioachino Rossini
- Performer
- Silvia Beltrami, Anna Brull
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
8 Act II Scene 8: Aria: Più non sente quest'alma dolente (Zomira) 05:04
- Track
- 8
- Title
- Act II Scene 8: Aria: Più non sente quest'alma dolente (Zomira)
- Duration
- 05:04
- Composer
- Gioachino Rossini
- Performer
- Silvia Beltrami
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
9 Act II Scene 9: Coretto e Strofette: Il tuo pianto, i tuoi sospiri (Chorus, Zoraide) 03:30
- Track
- 9
- Title
- Act II Scene 9: Coretto e Strofette: Il tuo pianto, i tuoi sospiri (Chorus, Zoraide)
- Duration
- 03:30
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
10 Act II Scene 10: Recitative: Zomira! oh ciel! - Scene 11: Vendicata son io… - Scene 12: Come! - Scene 13: L'inganno (Zoraide, Zomira, Agorante, Followers) 05:12
- Track
- 10
- Title
- Act II Scene 10: Recitative: Zomira! oh ciel! - Scene 11: Vendicata son io… - Scene 12: Come! - Scene 13: L'inganno (Zoraide, Zomira, Agorante, Followers)
- Duration
- 05:12
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Silvia Beltrami, Randall Bills
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
11 Act II Scene 14: Qual giorno, ahimè! d'orror! (Chorus, Zoraide, Ricciardo) 06:20
- Track
- 11
- Title
- Act II Scene 14: Qual giorno, ahimè! d'orror! (Chorus, Zoraide, Ricciardo)
- Duration
- 06:20
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Maxim Mironov
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
12 Act II Scene 15: Scene: Che veggo… - Scene 16: E ancor non eseguite (Zoraide, Ircano, Ricciardo, Agorante) 02:46
- Track
- 12
- Title
- Act II Scene 15: Scene: Che veggo… - Scene 16: E ancor non eseguite (Zoraide, Ircano, Ricciardo, Agorante)
- Duration
- 02:46
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Nahuel di Pierro, Maxim Mironov, Randall Bills
- Ensemble
- Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
13 Act II Scene 16: Aria: Salvami il padre almeno (Zoraide, Agorante, Ircano, Ricciardo, Chorus) 06:02
- Track
- 13
- Title
- Act II Scene 16: Aria: Salvami il padre almeno (Zoraide, Agorante, Ircano, Ricciardo, Chorus)
- Duration
- 06:02
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Randall Bills, Nahuel di Pierro, Maxim Mironov
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
14 Act II Scene 16: Aria: No: ceda nel petto - Scene 17: Sorpresi, traditi (Zoraide, Agorante, Chorus, Ircano, Ricciardo, Zomira, Ernesto) 04:43
- Track
- 14
- Title
- Act II Scene 16: Aria: No: ceda nel petto - Scene 17: Sorpresi, traditi (Zoraide, Agorante, Chorus, Ircano, Ricciardo, Zomira, Ernesto)
- Duration
- 04:43
- Composer
- Gioachino Rossini
- Performer
- Alessandra Marianelli, Randall Bills, Nahuel di Pierro, Maxim Mironov, Silvia Beltrami, Artavazd Sargsyan
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra
-
15 Act II Scene 17: Finale: Or più dolci intorno al core (Ernesto, Ricciardo, Zoraide, Ircano, Chorus, Agorante, Zomira) 03:05
- Track
- 15
- Title
- Act II Scene 17: Finale: Or più dolci intorno al core (Ernesto, Ricciardo, Zoraide, Ircano, Chorus, Agorante, Zomira)
- Duration
- 03:05
- Composer
- Gioachino Rossini
- Performer
- Artavazd Sargsyan, Maxim Mironov, Alessandra Marianelli, Nahuel di Pierro, Randall Bills, Silvia Beltrami
- Ensemble
- Poznań Camerata Bach Choir, Virtuosi Brunensis
- Conductor
- José Miguel Pérez-Sierra