Rossini’s operatic world is a crossroads of things: the formal conventions of arias, duets, cavatina, patter number, the stock characters of the Commedia dell’arte, a hotchpotch of contemporary patriarchal and orientalist stereotypes, and reheated scenarios from various librettists. How do modern audiences, relatively unmoored from this world, connect with these shows? A Brilliant Production In this new production of “Il {…}