(Photo: Amati Bacciardi) This summer’s Rossini Opera Festival’s imaginative and fast-moving production of the composer’s 1813 comic opera, “L’Italiana in Algeri,” hit the mark in so many ways: it was funny, colorful and energetic; the cast were fully engaged with their characters, which they hammed up brilliantly for laughs; the underlying dynamics of the narrative were expertly handled by the {…}
(Photo: Amati Bacciardi / ROF 2025) Soirées musicales After the triumph of his last opera, “Guillaume Tell,” Gioachino Rossini decided to abandon theatrical composition and retire to his home in Paris to recover from nervous exhaustion. Even so, he never stopped writing music: he composed for himself, for Olympe Pélissier–whom he married in 1846 after the death of Isabella Colbran–and {…}
(Photo: ROF/Amati Bacciardi) There are many operas that rarely see the light of day. Even some works by the great composers are lucky to receive more than an occasional staging; one need only think of Wagner’s or Verdi’s early works. Often, this neglect is unjustified, but sometimes, it’s simply because the opera is not very good. Second Rate Rossini Unfortunately, {…}
