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).

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.

In honor of Beethoven’s birthday today we are posting the complete film devoted to the life of Rossini including the scene representing his meeting with Beethoven. It is fabulous entertainment ( if not 100% history) filmed in Rome at a very difficult time.

The American Rossini Society gets the inspiration for its logo from Figaro ( who is everywhere). So it’s fitting to feature a passage from this legendary duet on this date. No North American artists, but one singer is from Peru ( before his time!)

New York City went all out to celebrate the Rossini bicentenary. Chris Merritt was one of the artists who made it possible.

Although Rossini did not write these variations (Chopin did)  they serve to show what a master of melody he really was. James Galway does them justice.

No, there wasn’t a danger of a real fire, but when June Anderson and Sam Ramey took on Semiramide and Assur, there was a tension that made the audience sit back in their seats!!!

The final trio of Le comte Ory is tricky to stage. With the help of three first rate singers, the Metropolitan Opera was able to do justice to one of the most sublime interludes written by Rossini. Wonder how it was staged in Rossini’s day?

This lovely production by Jean-Pierre Ponnelle,a director who truly understood the beauty of Rossini is still in revival today. Here the much-loved Federica von Stade stars.

The final rondo from “Matilde di Shabran” by an American singer who many may not know is from Texas.