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Opera - Verschenen op 16 augustus 2019 | Prima Classic

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Opera - Verschenen op 2 augustus 2019 | BR-Klassik

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Opera - Verschenen op 12 juli 2019 | Naxos

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Rossini’s Eduardo e Cristina was a huge success in its day, but as perhaps the last centone opera (one assembled from previously existing material) by a major composer, it became forgotten under the subsequent tide of Romantic idealism. Today we can put these prejudices aside and enjoy this masterful creation for what it is: a hugely entertaining parade of beautiful and spectacular musical ‘hits’ set to a familiar story of secret love, dramatic crisis and triumphant resolution. This "2017 Bad Wildbad" revival was summed up as ‘an evening of pure bel canto pleasure!’ by Operagazet. © Naxos
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Klassiek - Verschenen op 8 juli 2019 | Cypress Dawg Music

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Klassiek - Verschenen op 14 juni 2019 | SWR Classic

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Opera - Verschenen op 14 juni 2019 | Prima Classic

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Klassiek - Verschenen op 7 juni 2019 | Opera Rara

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Opera - Verschenen op 16 mei 2019 | WM Italy

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Klassiek - Verschenen op 3 mei 2019 | Warner Classics

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Klassiek - Verschenen op 5 april 2019 | PentaTone

Hi-Res Booklet
In Rossini’s Petite Messe sollenelle (1863-1867), sacred tones blend in seamlessly with allusions to his comic operas. “Is this sacred music which I have written or music of the devil?”, the composer tellingly asked himself in a personal letter. Rossini’s enigmatic but highly enjoyable mass demonstrates his rich musical palette, ranging from “archaic” remnants of Bach, Haydn and Mozart to harmonic audacities that point towards the music of Fauré and even Poulenc. Despite this stylistic range, the Petite Messe sollenelle sounds unmistakably Rossinian, and continues to enchant audiences to this day. Initially composed for a small ensemble of singers accompanied by two pianos and a harmonium, the piece is presented here in Rossini’s orchestration. © Pentatone
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Klassiek - Verschenen op 15 maart 2019 | Sony Classical

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Klassiek - Verschenen op 1 maart 2019 | Concerto

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Ouvertures - Verschenen op 16 november 2018 | PentaTone

Hi-Res Booklet Onderscheidingen Diapason d'or - Exceptional sound
From the moment they were performed, Gioachino Rossini’s overtures have enjoyed the status of colourful, elegant orchestral showpieces. With their sweet cantilene, their rich harmonies, their brilliant orchestration, and their powerful and exciting rhythmic drive, these overtures encapsulate all that was modern, exhilarating and electrifying in Rossini’s music, yet maintain their freshness and attraction to modern audiences. This album features a collection of Rossini overtures, taken from less well-known operas such as La Scala di seta, Tancredi, La gazza ladra, Matilde di Shabran and Semiramide, as well as from the classic comic operas L’italiana in Algeri and Il barbiere di Siviglia, concluding with the preludes to Rossini’s French operas Le siège de Corinthe and Guillaume Tell, in which the composer explored musical Romanticism. The overtures are performed by the Orchestra del Teatro Comunale di Bologna, which has played a seminal role in the Rossini renaissance of the last three decades. The orchestra is led by its Musical Director Michele Mariotti. Being born in Rossini’s native town Pesaro, Mariotti cherishes a life-long affinity with the city’s most famous son, and is commonly considered as one of the outstanding Rossini conductors of his age. He frequently works with the world’s most prestigious opera houses. © Pentatone
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Opera - Verschenen op 9 november 2018 | Naxos

Hi-Res Booklet
Rossini's opera Maometto II might not ring many bells. It was first performed in Naples in 1820. But what if we told you that the 1826 French version was named Le Siège de Corinthe… ? Of course, the revision for the French version was such that it is easy to think of them as two different works, if only because Maometto II deals with the Turkish-Venetian war of the 15th century (Mehmet II is a historical figure, an Ottoman Sultan), whereas Le Siège de Corinthe is pushed forwards into the 1820 Greek War of Independence! This is a recording of the original 1820 version and not one of the many reworkings that the piece underwent over the decades. Here we find Rossini in a most unusual mood: few bravura numbers and an almost unbroken writing style, it’s very close to the libretto and its incessant dramatic leaps. It is hardly surprising that Rossini didn't find much success with the piece’s many Italian performances. In a way it was too modern; it dared to deviate radically from the standards that everyone expected at the time. This is a live recording (so excuse the occasional rogue noises from the stage) made at the Rossini in Wildbad festival in 2017 with the Virtuosi Brunensis (an orchestra made up of Brno's finest stage musicians) and the Poznań Camerata Bach Choir, a fine set. © SM/Qobuz
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Klassiek - Verschenen op 9 november 2018 | Naxos

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Klassiek - Verschenen op 2 november 2018 | Sony Classical

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Klassiek - Verschenen op 26 oktober 2018 | Sony Classical

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