The famous composer's life and his career. His love story with Isabella Colbran, the soprano who was to become his wife and the singer in all his operas up to the unfortunate day she lost her voice.
"Irresistible" (Opera News) rising-star mezzo Elina Garanca triumphs as Rossini's Cinderella in this delightful Metropolitan Opera production. "As close to pure joy as you will find in a big-time opera house" (New Yorker), conquering audiences and critics alike, "Garanca has a gorgeous voice that she uses with exceptional skill, melting tenderness; but when the part calls for coloratura fireworks, she unleashes a flawless technique and ringing high notes of impressive power" (Associated Press). Filmed in High Definition Widescreen.
Early Rossini has a youthful, buoyant vibrancy about it, even in the dark swirls of drammi per musica like Sigismondo. The work, centered on a mad king and his delusions, was rarely played after its premiere in 1814. This performance marked the first from the critical new edition at the 2010 Rossini Opera Festival in Pesaro and was hailed as a "perfect symbiosis of music and stage work" resulting in "truly brilliant theatre." Complete with a cast of sought-after Rossini singers, this is not to be missed.
Zigeuner is on the hunt for the woman of his dreams, a woman who should also play the main role in the film. Meanwhile, ruthless producer Oskar Reiter wants to buy the film rights at all costs - and he is struggling for the love of the beautiful Valerie.
La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.---- IMDB id refers to Great Performances: Season 24, Episode 12 La Cenerentola (3 Apr. 1996) from Houston Grand Opera so release date is misleading.
For his first opera production, Dario Fo, the theatre director known for his brilliant wit, chose to stage Rossini's Il Barbiere di Siviglia sung in Italian for the Netherlands Opera. First mounted in 1987, it was a huge success and a live recording of its revival in May 1992, the 200th anniversary of Rossini's birth, has been made. Fo has said that Rossini is the musician of eating and love. He composes music rich in herbs and aromas, in which you find olives, tomatoes, fish, grapes, roses and rosemary, sheets and tablecloths, dry wine and the laughter of girls. His Barber is a joyful carnival. During the overture he fills the stage with carnival revelers and immediately the commedia dell' arte origins of opera buffa are restored. Visual theatrics abound, never at the expense of the music, but highlighting it, engaging the eye as well as the ear. Fo addresses the heart more than the intellect and Rossini's comedy comes up dazzling and vital.
This is an excellent version of one of the greatest of all comic operas, featuring superb singing and orchestral playing. And it's not just the two headliners; listen, for example, to the entrance of the stepsisters at the beginning of Act One. Nevertheless, some viewers may find the staging problematic, with singers in clown-like costumes and sets featuring human-sized rodents. Those seeking a more conventional production might want to consider the Houston Grand Opera DVD, also on Decca, with Cecilia Bartoli and Raul Jimenez. Both sets are wonderful, but, for me, Joyce Didonato and Juan Diego Florez are slightly to be preferred. Highly recommended.
Music & Musicals, Classical Music, Classical Instrumental Music - Gabriela Beoaekova, Florence Quivar and James Wagner star in this documentary that re-creates the life and times of Italian composer Gioacchino Antonio Rossini. Specifically, the film explores Rossini's efforts to bring to life his requiem mass, "Messa per Rossini," all the while securing his place in the pantheon of talented musicians from the 19th century. It also examines why Rossini's compatriot Giuseppe Verdi respected him so.
Semiramide (June Anderson), the queen of Babylon, has killed her husband and must find a new king. Although Assur (Samuel Ramey) is courting Semiramide, the queen, meanwhile, is falling in love with Arsace (Marilyn Horne), her long-lost son. Filmed at the Metropolitan Opera of New York and directed by John Copley, this performance of Rossini's final opera boasts an acclaimed cast and high production values.
An all-star cast assembled for the Met’s first-ever performances of Rossini’s romantic retelling of Sir Walter Scott’s epic poem The Lady of the Lake. Joyce DiDonato is Elena, the title heroine, who is being pursued by not one, but two tenors—setting off sensational vocal fireworks. Juan Diego Flórez is King James V of Scotland, disguised as the humble Uberto, and John Osborn sings his political enemy, and rival in love, Rodrigo Di Dhu. Complicating matters is the fact that Elena herself loves Malcolm, a trouser role sung by mezzo-soprano Daniela Barcellona, and that she is the daughter of Duglas (Oren Gradus), another of the king’s political adversaries. Paul Curran’s atmospheric production is conducted by Michele Mariotti.
Esteemed Italian conductor Gianluigi Gelmetti leads the Stuttgart Radio Symphony Orchestra in a moving performance of Rossini's one-act opera "L'Occasione Fa Il Ladro." Singers Susan Patterson, Robert Gambill, Natale de Carolis and Monica Bacelli fill the theater with their soaring voices in this 1992 production staged by director Michael Hampe at the elegantly cozy Rococo Theatre, in the quaint town of Schwetzingen, Germany.
Rossini's first staged opera already contains all the elements that would take the music world by storm in Il barbiere di Siviglia, L'italiana in Algeri and La Cenerentola in the years to come: melodic inventiveness, ingenious connections between sung lines and orchestral accompaniment in the exuberant finale, musical humour and ensembles using breathtakingly fast parlando singing. This sparkling production continues the Rossini one-act opera series emerging from the Schwetzingen Festival with excellent direction, acting and stagecraft. Director Michael Hampe created a perfect realization of the opera in the small, jewel-like Rococo Theatre of Schwetzingen Palace in May 1989.
Nine-year old Reliana witnesses Rossini's efforts to salvage his seemingly cursed new opera, the Barber of Seville.
The life of legendary opera composer Gioacchino Rossini is recounted in this documentary, which examines how the author of "The Barber of Seville" opted to give up composing for the life of a performer at the age of 37. Using historical context, the film follows Rossini's life from his early years up to the height of his career, and includes a variety of excerpts from both his popular and his lesser-known works.
The Nobel Prize-winning writer Dario Fo applies his inventive genius to Rossini's comic opera in its premiere video release.
Cenerentola (Joyce DiDonato) is the stepdaughter of Don Magnifico but is treated as a servant in his household. As she sweeps the floor and obeys every command given to her, Cenerentola dreams that she will find her very own Prince Charming. Then one day the handsome Prince Ramiro (Juan Diego Florez) arrives at the mansion, announcing that he's looking for the most beautiful girl in the land to be his bride - which changes Cenerentola's life forever!
Rossini's "Le Comte Ory" tells the story of a libidinous and cunning nobleman who disguises himself first as a hermit and then as a nun in order to gain access to the virtuous Countess Adele, whose brother is away at the Crusades. The 2011 Met production was directed by Tony Award winner Bartlett Sher, who presented the action as an opera within an opera, updating the action by a few centuries and giving the costume designer, Catherine Zuber, the opportunity to create some particularly extravagant headgear. Juan Diego Florez starred as the title role while Diana Damrau plays Countess Adele, and Joyce DiDonato was in breeches as his pageboy Isolier. Conducted with verve and finesse by Maurizio Benini, the production also features the stylish French baritone Stephane Degout as Ory's bibulous conspirator Raimbaud, charismatic Italian bass Michele Pertusi as the Count's long-suffering Tutor, and, formidable as Adele's housekeeper Ragonde, the Swedish dramatic mezzo Susanne Resmark.