The series of musical excepts from Giachino Rossini's operas, entitled "Master of Belcanto", continues with new uploads and a whole new concept.

I decided to do something a bit different for my new upload: a compilation based on a single theme which is featured prominently in all selections. The first theme is love (what else :)?). The compilation is entitled: "Tornami a dir che m'ami".

Originally, I had planned a more diverse program which would have included arias as well as duets. But when I saw the size of the content I wanted to upload (the remaining compilation is about two hours long), I decided to do love arias as a separate series.

The chosen items include love scenes from the very first to the very last operas by Rossini. We start at "L'occasione fa il ladro" with a simple pastoral duet and finish at the beginning of the second act of "Guillaume Tell" with a romantic grand scena. Such an approach gives us a chance to understand how Rossini's composing style changed with each passing year. The presented excepts are listed below with some notes detailing their characteristics.

As the whole compilation is quite large, I'm going to upload everything slowly.

1) «Se non m'inganna il core» for Alberto and Berenice from «L'occasione fa il ladro».

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2) «Quanto e dolce a un'alma amante» for Florville and Sofia from "Il Signor Bruschino".

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3) "L'aura che intorno spiri" for Amenaide and Tancredi from "Tancredi".

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4) "Credete alle femmine" for Selim and Fiorilla from "Il turco in Italia".

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5) "Quest'ultimo addio" for Torvaldo and Dorliska from "Torvaldo e Dorliska".

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6) "Ah qual colpo" for Almaviva and Rosina (plus, Figaro) from "Il barbiere di Siviglia".

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7) "Un soave che non e" for Ramiro and Angelina from "La Cenerentola".

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8) "Amor! Possente nome" for Armida and Rinaldo from "Armida".

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9) "Ah! Se puoi cosi lasciarmi" for Elcia and Osiride from "Mose in Egitto".

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We again get the classic musical structure: moderato - andante - allegro. But it is again used very effectively: the moderato depicts the shock Osiride fells as his wife says that she has to leave him (she is a follower of Moses; he is the son of the Pharaoh; a classical story of star-crossed lovers); the andante depicts their sorrow because of their tragic situation; the allegro opens with horns of the Israelites; Elcia is trying to leave the scene, while Osiride is trying to stop her. It is a very emotional scene (especially the andante which is wonderful in establishing the emotions of the two protagonists), and the original Elcia and Osiride, Colbran and Nozzari, must have created something very beautiful when they sung it for the first time.

Here we have June Anderson and Ernesto Palacio as they bring the characters to life.

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