Roberta Pedrotti, Italian director of the online “Lape musicale”  and a knowlegble, fervent Rossini fan offered this choice along with a message (translated from Italian).

Dear Rossini friends, choosing just one piece is very difficult. Rossini is the author who changed my life, who accompanied me and resonates in my heart like no other, almost as if he were part of me. How to indicate just one piece? How to choose an aria, an opera, an overture?

I thought about how it all began and where it took me: the Sinfonia della Gazza ladra is the first piece by Rossini that I remember listening to as a child. This is a performance played at the Teatro Rossini in Pesaro with a great conductor who highlights all the refinements of the score but above all makes us understand that it is not “just” great and beautiful music, but the synthesis of a profound, dramatic work, in which we witness the condemnation to death of an innocent person and in which justice triumphs but almost by chance. An opera in which Rossini shows the horror of the world that we know well even today, but also offers us a way of salvation.
And then, my beloved companion plays here, whom I met thanks to music: how much happiness I owe to Rossini! I wish the same for you.

But if it’s not then let’s hope it’s Pizzi or someone with a similar appreciation of Rossini and the artists who perform him best. Although this clip doesn’t include Paolo Bordogna’s famous water projection, it’s still a masterful performance. Thanks to ARS advisory board member Celia Montgomery for this suggestion!

Take a tip from Rossini and do it in a delightful way!

From the memorable tribute concert for Alberto Zedda with some real Rossinians:

Cecilia Molinari – Rosina, Nicola Alaimo – Figaro, Maxim Mironov – Conte Almaviva, Carlo Lepore – Bartolo, Michele Pertusi – Basilio.

In a recent interview for the American Rossini Society, Jessica Pratt recalled ” The first opera I saw when I arrived in Rome from Australia over twenty years ago was Tancredi with Daniela Barcellona, Raul Gimenez and Mariella Devia. It was a life-changing event for me. I had never heard singing like that. This music, in the right hands, ascends to heaven. It entered my soul, and I decided to dedicate my life to the pursuit of this very particular repertoire.”

Here Jessica Pratt is in her first performance at the Rossini Opera Festival, sharing the stage with the very same Daniela Barcellona! Thanks to ARS Board member ( and webmaster)  Karl Varnik, for this suggestion!

It’s been 40 years since the modern revival of this masterpiece. One of the Americans there was Lella Curbeli and we were going to clip the video to highlight her performance. But we do not believe in cuts ( particularly of Rossini’s masterpieces) so here you can enjoy the whole performance including Lella’s. Thanks to ARS advisory board member, Molly Kelly for this sugestion.

Alessandro Marangoni visits some of the places in this promotional video for Naxos for whom he has recorded the complete authentic Peches de Vieillesse.

While ROF goers will have to wait until 2026 for Turco ( due to an opaque programming change) we can console ourselves with this snippet from a sizzling Italian film. Sergio Ragni who contributed this excerpt writes that this excerpt “is from a Rai recording dating back to 1958. You can see it all on https://www.youtube.com/watch?v=AVqSBTcTvzk where you will also find the list of performers ( Sciutti, Calabrese, Lazzari, Sanzogno etc). The recording [ in the posting here] is probably from another source but I think the quality is the same as the video on YouTube.”  Thanks, as always to Sergio Ragni for generously sharing his treasures and knowledge.

Reto Muller of the German Rossini Society suggested this work along with the observation: ” An outstanding composition during the great ‘silence’, the main sacral composition between Stabat and Petite Messe. Incredible how Rossini renewed himself and gives his composition a breath of Risorgimento!
The slow beginning and the very fast conclusion corresponds to Rossini’s metronome indication.”

Carla Di Carlo who suggested this, comments: “The most emotional piece [by Rossini] in my opinion, lies in the finale of Stabat Mater conducted by Alberto [Zedda], in particular. It has always given me a feeling of infinte peace “In Sempiterna Saecula”.

We’ve posted the entire work, but the finale ( at about 51:38) is truely transcendent.

This delightful sequence conveys the joy that arises when two artists with very different public personas collaborate.

Thanks to Sergio Ragni for sharing this with us.