

Premiered at La Scala in 1820, this opera was a grand success. It is a semi-seria; that is, with possible tragic elements along the way,

Giovanni Bononcini (1670-1747) was a gifted cellist and a rival of Handel’s; he wrote more than 30 operas and 300 cantatas. I approached this “serenata

Once we get the obvious out of the way–that from 1950 to 1964 (and arguably both before and since) Maria Callas was the greatest Norma

This is the 1754 revision of Rameau’s 1737 masterpiece. The earlier version was coolly received as a result of the Lulliste-Ramiste battles that were waged

This concise “tragedia buffa” (as Rautavaara calls it) is haunting and unusual in both subject matter and treatment. It is based on a true story

This somewhat comic opera was composed for Munich in 1775, when Mozart was 18. Before the opera opens, Count Belfiore and his fiancée, Marchese Violante,

This is the first recording of Rossini’s 1822 revision for Venice of his Maometto II, which had been premiered in the far more sophisticated city

This latest addition to Chandos’ admirable series of operas in English is problematic. David Parry conducts with great feeling and warmth, and even when he

German composer Gregori Frid (born 1915) set texts culled from Anne Frank’s beloved diary in the form of a dramatic song cycle–or “mono-opera”, as Frid

Composed right before L’Elisir d’amore, Ugo, conte de Parigi was a moderate success despite its awful libretto, which had to be changed drastically to please
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