Gioachino Rossini was summoned to Paris in 1824 to breathe new life into its opera culture, and one of his most exciting innovations in this period was the creation of an entirely new genre of opera comedy. The risqué tale of Le Comte Ory had its origins in vaudeville theatre and is based on the story of a villainous Count who attempts the seduction of Countess Adele as she awaits the return of her husband from the Crusades. Le Comte Ory is the last of Rossini s comic operas, making full use of the libretto s farcical disguises and humor in one of his most colorfully orchestrated scores. This production, staged by Linda Mallik, features the Malmo Opera Orchestra and Chorus with world renowned soloists Leonardo Ferrando as Count Ory and Erika Miklosa as Countess Adele.

This is the first ever album devoted to the chamber music of Helena Munktell, one of the earliest female composers in Sweden. The daughter of an industrialist, Munktell received private lessons in piano and song from an early age, but soon also training in music theory and composition. In 1877 she visited Paris, where two of her sisters lived, and during the next thirty-odd years the city would be a second home to her.

Swedish composer Johan Helmich Roman (1694-1758), born 308 years ago today, was the son of a violinist in the Royal Opera Orchestra in Stockholm, and was employed there in the same capacity as his father. After a year or so, he was allowed to travel to complete his studies. He played in Handel's opera orchestra in London, earning the nickname 'the Swedish virtuoso' and worked for the Duke of Newcastle, before being summoned back to Stockholm, where he was swiftly promoted to vice concertmaster and later, in 1727, to concertmaster.