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.

Legend has it ( and it’s reinforced in the wonderful movie ‘Rossini Rossini”) that Rossini’s father was so captivated by the voice and fame of the super-star castrato, Velluti  that he hinted that such a future might be advantageous for the young Gioachino. Apparently Mama vetoed this idea.

Sometimes the Metropolitan Opera gets it right. It’s hard to believe that a bit of Rossini’s credo ( if he had one) does not reside in this aria of Alidoro. Pisaroni fortunately has not retired this role.. fits him like a glove.