The opera that few tenors dare sing and which Flórez has made his own throughout his career. Recorded at the 2012 Pesaro Festival, Flórez reprises the role that shot him to stardom in 1996 aged twenty-three. Conducting is the up-and-coming young Italian maestro Michele Mariotti who was praised for his pacing in this long opera. The performance also features the much-admired Olga Peretyatko - a fine stage artist and a consummate performer of Rossini’s fiorature - in the title role.

Staged for the first time at Teatro Nuovo in Naples in 1826, Don Gregorio is the Neapolitan version of one of Donizetti’s earliest masterpieces, L’ajo nell’imbarazzo (1824). This is the first representation in Italy in modern times, and a world premiere recording. Director Roberto Recchia sets the performance in the 1920s, at a time when restrictions and false morality were strongly linked with Italian political and social situation. In its new adaptation, the work differs from the original version in several aspects, the most important being the insertion of spoken dialogues in Neapolitan dialect in place of the recitatives. But Donizetti’s musical verve remains unchanged as he underlines the very enjoyable farcical situations of this comic work. The characters are inspired by Italian Commedia dell’Arte, but possess at the same time a deeper psychological and human dimension.

The plot of La cambiale di matrimonie, which Rossini composed when he was just eighteen years old, revolves around the farcical attempts of Tobia Mill, a rich English merchant, to combine business with pleasure by forcing this daughter, the lovely Fanny (“the merchandise”) to marry Slook, his rich colonial correspondent from America, by means of a bill of exchange. Eventually, it is the gallant Slook himself who persuades Mill to allow Fanny to marry her true love, Edoardo Milfort. This Rossini Opera Festival—Pesaro production features two well-established singers, Désirée Rancatore and Saimir Pirgu, who are joined by three promising young singers: Fabio Maria Capitanucci, Enrico Maria Marabellie and Maria Gortsevskaya.

The title La Gazza Ladra is translated as ‘The Thieving Magpie’, which as expected is a story based around the theft of some silverwear which a magpie has absconded for its nest, a crime which a servant girl is wrongly accused of. La Gazza Ladra is an "opera semiseria", a genre from Rossini’s time which was used to define a drama with a happy ending in which the innocent victim, unjustly condemned, should be saved from the scaffold at the eleventh hour and the rascal persecutor punished.

An opera about a company who are staging an opera? Donizetti is at the height of his comic powers and provides an abrasively disenchanted take on a world he knew all too well, with it tantrum-throwing primadonnas and narcissistic tenors, its spite and envy, its mean and noble sides… a world which is still very much with us.

The opera that few tenors dare sing and which Flórez has made his own throughout his career. Recorded at the 2012 Pesaro Festival, Flórez reprises the role that shot him to stardom in 1996 aged twenty-three. Conducting is the up-and-coming young Italian maestro Michele Mariotti who was praised for his pacing in this long opera. The performance also features the much-admired Olga Peretyatko - a fine stage artist and a consummate performer of Rossini’s fiorature - in the title role.

Un giorno di regno is the rare case of a musical comedy by Verdi. But his second stage work proved a complete fiasco when unveiled at La Scala, Milan, in 1840 and more than half a century was to pass before he attempted a second comedy with his final opera, Falstaff. Today, conversely, Verdi’s early melodrama giocoso enjoys increasing popularity thanks to its wellspring of musical ideas and effervescent melodies.

This 2010 production of La Cenerentola, recorded at the Teatro Petruzzelli in Bari, is set in modern times. On the rather empty, bare stage there are a few elements which stand out: the colourful costumes, the two giant chandeliers and the 1970’s kitchen. Quoting the director’s own words, “the emptiness of the stage leaves room for creativity as the characters keep on changing and disguising their true identity. I have stuck to Rossini’s original notes while neglecting all the legends linked to the character of Cinderella”.