L'italiana in Algeri (The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.“L'italiana in Algeri (The Italian Girl in Algiers)” is a two-act opera buffa by Gioachino Rossini, with a libretto by Angelo Anelli. It premiered at the Teatro San Benedetto in Venice on May 22, 1813. “L'italiana in Algeri” is the first opera buffa that Rossini wrote shortly after his first full-length work, “Tancredi.” Recorded live at the Teatro Municipale Romolo Valli in Reggio Emilia, Italy, on Sunday, February 22, 2026, at 3:30 P.M. (Central European Time).

L'ITALIANA IN ALGERI is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli. Rossini composed L'italiana in Algeri when he was 21 in either 18 or 27 days, depending on which source one believes (Rossini, not surprisingly, pegged it at 18). It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies. The plot, in brief: Isabella’s lover Lindoro has been kidnapped, and in her search for him she is shipwrecked and taken captive by Mustafa, Bey of Algiers. To her amazement and delight, she finds Lindoro among the Bey’s prisoners. Isabella hatches a plot that involves flirtation and stealth, and together she and Lindoro escape. Marilyn Horne, Pablo Montarsolo, Douglas Ahistedt, and Allan Monk star in this legendary Metropolitan Opera production conducted by James Levine.

Live performance from the Schwetzinger Festspiele, 1987. At the age of 21, Italian composer Giacchino Rossini penned the masterful comic opera “L’Italiana in Algeri” (“The Italian Girl in Algiers”) in less than a month. The composer’s youthful exuberance comes across in this infectious 1987 performance. Though she’s known mainly for her Wagner roles, acclaimed German mezzo-soprano Doris Soffel shines in the title role of Isabella. Ralf Weikert conducts, and Mauro Pagano oversees sets and costumes.

L’Italiana in Londra was Domenico Cimarosa’s first international triumph, thrilling audiences all over Europe after its premiere in 1778. It later became eclipsed by the even bigger success of Il matrimonio segreto however, and has become a rarity on stage today. Set in a London hotel, this cheerful ‘Intermezzo in musica’ has cleverly crafted arias, duets and ensembles that drive the plot along, the story being one of thwarted love, quarrels and misunderstandings. L’Italiana in Londra has been summed up by director R.B. Schlather as ‘incredibly charming and sophisticated ... demanding, dark, dirty and very funny ... an impeccable rom-com.’

In the plot for this production the story is updated to the 1970s. Gamberotto is a vegetable import/export merchant. According to the Dynamic website Ernestina is a seductive businesswoman. However when she first appears she drifts about reading a book entitled ‘Love’. Buralicchio becomes an Elvis rocker. Leave the rest of the plot alone, yes, including the castrati part, and you are indeed in the land of the ridiculous. Suspend disbelief? Essential if the plot is to have any relevance.

An funny, witty and bright biopic by the master of italian comedy Mario Monicelli about the famed italian composer Gioacchino Rossini, here portrayed in a wonderful way by famed actor and later director Sergio Castellitto.

Fragment of last reel from "History Lessons" presented in an installation as a special event for the Venice Biennale Arte.

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This new disc from the Zurich Opera presents just about as thoughtful and coherent account of Rossini's Otello as one could hope for. This isn't the first time the company has made something of a splash with the bel canto repertory. Some will remember their CD release, a few years back, of Bellini's Norma, also featuring Bartoli. That set got very mixed reviews, and those who hated that will probably hate this too, no doubt before they even watch it. But for those not initiated in the trench warfare that music loving often attracts, this disc will be most welcome. The world class cast, led by Cecilia Bartoli and tenor John Osborn, are (mostly) young, committed and talented. They deliver, here, an intense performance that makes a very strong case for this neglected opera.