Dec 25: Looking to the future

Often the last window on an advent calendar is quite special. Here we offer you “orchestra” seats for one of the most moving Rossini performances that New York has experienced in recent times. It serves as a reminder that often the best Rossini performances are those that try to get as close to the composer as possible. Big stars, sets, costumes, nor concepts are not needed for works like these.

Thank you to the team at Teatro Nuovo ( in particular Jakob Lehmann )whose commitment to Bel Canto in general and Rossini in particular is a promising light along the path to the next Rossini revival.


Dec 22: Will Isabella be home for Christmas?

We are so lucky to have her sing for us no matter where she is!

Dec 21: The trio that should never be cut!

William Tell is a long opera some say. And there are parts that are often cut. The following trio, near the end is not only sublime, but helps clarify the drama. Cutting it seems like amputation.



Dec 20: When Paganini got a hold of Rossini

Paganini and Rossini had some interesting “intersections” not the least the premire of Matilde di Shabran. However Paganini’s violin works on themes by Rossini¬† probably did more to make Rossini known than any other contribution. Here is the legendary David Oistrakh playing the Moses Fantasy .


Dec 19: More Elisabetta with Zedda, Blake, and Merritt

Luxury casting and conducting made for a memorable performance!

Dec 18: A gold-standard Maometto

The only thing a Rossini opera requires to be a¬† box-office success is singing like this. Thankfully Sam Ramey’s Maometto has been captured ( on film that is).


Dec 17 A rare Elisabetta

An opera that has neither history nor legend on its side can still serve to give us psychological insight into characters of the past. Particularly when given an authentic Rossini interpretation as Lella Cuberli does here.