The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

American tenor Rockwell Blake in this pyrotechnical recital conducted by Patrick Fournillier performs hits from the French repertoire by Bizet or Donizetti, and rare pieces by Adam, Auber or Boieldieu. This album includes the often-dismissed aria from Gluck’s Orphée et Eurydice “L’espoir renaît en mon âme”. At the time of this recording, Blake was at his prime in the 80s and the 90s one of the most sought-after performers of classical and early Romantic operas being gifted with an incredibly agile voice.

The stellar cast of this popular opera includes superb singers as well as excellent actors like Kathleen Battle, Leo Nucci, Rockwell Blake, Ferruccio Furlanetto and Enza Dara
Critical praise for this production: “One of [the Met’s] most ingenious stagings in recent years…made to order for a great Rossini ensemble” (New York Times ) – and for this ensemble: “Battle’s coloratura flowed with astonishing ease and grace, beautifully varied in color” (New York Times). “Alongside Battle’s stunning Rosina, the cast is close to ideal…Blake’s Almaviva is extraordinary…Nucci is a remarkable Figaro…Furlanetto makes a formidable Basilio, Dara an irresistible Bartolo” (Répertoire)

Director Werner Herzog and conductor Riccardo Muti combine with the finest of casts to lavish Rossini’s rarely-performed Neapolitan masterpiece, set in feudal sixteenth century Scotland, with the genius it deserves. June Anderson is an outstanding Elena (the Lady of the Lake) in the 1992 production of the melodrama based on Sir Walter Scott’s poem.
''The slickness of the scene changes, the direction of Werner Herzog, together with Rossini’s music, the solo and choral singing and Muti’s vibrant conducting keep the watcher and listener interested. As Elena, June Anderson keeps a pure vocal line with secure legato, plenty of tonal colour and secure coloratura.'' (MusicWeb International)

Elisabetta regina d'Inghilterra, marked Rossini's first venture into the San Carlo Theatre in Naples, the most glamorous theatre of that time. The famous impresario Domenico Barbaja, had carefully prepared the launching of the rwenty-three year old composer -with sumptuous scenery, designed by a celebrated archirect, Antonio Niccolini, and engaging a firsr-rate cast. Foremost was Isabella Colbran, who later became Rossini's wife; and tenors — Andrea Nozzari and Manuel Garcia.

“Yvonne Kenny was already experienced in the role of Aspasia when this production was filmed in 1986, and here she is musically agile and dramatically compelling. Rockwell Blake is vocally muscular as Mitridate… The American soprano Ashley Putnam was simply an inspired choice for the… trouser-role of Sifare, and the rest of the cast is good. The direction is fluid…” BBC Music Magazine

Rossini's La donna del lago ("The Lady of the Lake") is a lush, positively verdant dramatic opera, first performed in 1819, that deserves to be better known. Derived from Sir Walter Scott's famous poem, the story concerns love both unrequited and requited amid rebellious Scottish clans, as the titular lady is wooed by two rivals while her heart is pledged to another. Given Rossini's luxuriant orchestration and emphasis on romance, one can't help feeling that the composer had the hills of Tuscany more in mind than the rugged Scottish highlands. A succession of highly charged scenas contrast with languid melodies, such as Ellen's delightful introductory "Oh mattutini albori", making this a less bloodily melodramatic companion-piece to Donizetti's Scott-inspired Lucia di Lammermoor.