Alessandro Corbelli

Madcap physical comedy and impeccable coloratura come together for Natalie Dessay’s indelible portrayal of the feisty tomboy raised by a regiment of French soldiers. Juan Diego Flórez is the young Swiss villager who conquers her heart—and a slew of high Cs. Also featuring uproarious performances by Felicity Palmer and Alessandro Corbelli, as well as a cameo by Tony Award winner Marian Seldes, this laugh-out-loud production was a runaway hit that left audiences exhilarated.

In the mid-20th century, in Fucecchio, near Florence, Buoso Donati, an elderly collector and wealthy antique dealer, has just passed away. He lies in his bed, surrounded by relatives feigning grief. They are all worried, as the deceased has bequeathed his entire fortune to a monastery. They search frantically for the will. The young Riniccio, Donati’s nephew, finds it but agrees to show it to the family only if they promise to let him marry Lauretta, the daughter of Gianni Schicchi, a local figure of dubious reputation. Everyone accepts the condition and discovers to their horror that the rumour was true: the monks are set to inherit the fortune. Riniccio suggests calling on Schicchi for help, much to the family’s disgust. Summoned, Riniccio arrives at the house accompanied by his daughter. He proposes keeping the death a secret, taking his place, and instructing a doctor and a notary to alter ‘his’ testamentary dispositions. But has the hunter become the hunted? Not so sure...

A dramma giocoso at the Teatro dell'Opera in Rome, set to music by Gioachino Rossini. Libretto by Jacopo Ferretti based on the French libretto by Etienne for Isouard's Cendrillon.

Verdi's sweepingly ambitious opera on war, religion, love and fate is given a cinematic staging by Christof Loy. The Marquis of Calatrava forbids his daughter Leonora to marry the South American nobleman Don Alvaro. The lovers attempt to elope, but the Marquis catches them. In the ensuing altercation, Alvaro accidentally kills the Marquis, who curses his daughter as he dies. Leonora and Alvaro become separated during their escape. Leonora's brother Don Carlo di Vargas decides to find them and avenge his father.

The king and the queen conceive Snow White during a sexual relationship in the snow.

Rossini’s charming take on the Cinderella story features a brilliant cast, led by bel canto stars Joyce DiDonato in the title role and Juan Diego Flórez as her Prince Charming. Alessandro Corbelli delivers a comic tour de force as Don Magnifico, Cinderella’s stepfather. Pietro Spagnoli is Dandini, the Prince’s valet, who, disguised as his master, puts the prospective brides to the text, and Luca Pisaroni is the philosopher Alidoro, who takes the place of the fairy godmother. Met Principal Conductor Fabio Luisi leads Cesare Lievi’s whimsical production.

Figaro uses every trick he can muster to outwit Dr Bartolo and ensure his master wins his chosen bride. He meets his match in the would-be-bride Rosina, who has schemes of her own. Glyndebourne favourite Danielle de Niese adds the crafty Rosina to her growing list of bel canto heroines. Directed by Annabel Arden with playful energy springing from Rossini’s joyous music, this new production heralds the welcome return of a masterpiece not seen at Glyndebourne Festival since 1982.

Divested of its traditional attributes – glass slipper and pumpkin carriage – and dominated by a tyrannical stepfather instead of a cruel stepmother, Rossini’s la Cenerentola plays with these most conventional of fairy‑tale characters. Nonetheless Cinderella lives in a closed world devoid of tenderness and under the yoke of the tormentor whom she protects. Deep beneath her goodness smoulders a fire that her encounter with the prince will set free… Guillaume Gallienne subtly highlights the halftones of this dramma giocoso, somewhere between opera buffa and opera seria, and ranging from sombre melancholy to the burlesque.

Including world-class artists such as Bryn Terfel, Cecilia Bartoli, Anne Sofie von Otter, Jose Cura, Simon Keenlyside and Agnes Letestu, this 50-minute sampler will give you a taste of many beloved classics in opera and ballet.

This beautiful production by renowned opera director Michael Hampe was recorded at the exquisite Rococo Theatre in Schwetzingen Palace in May 1990. La scala di seta is one of the five one-act operas - farsa giocosa - in which the young Rossini first demonstrated his operatic genius. This sparkling production continues the Rossini one-act opera series emerging from the Schwetzingen Festival. The staging is perfectly suited to the screen and the cast of principals, led by David Griffith and Luciana Serra provide musical excellence together with the flexible Stuttgart Radio Symphony Orchestra.

One of the reasons why Donizetti's Don Pasquale is regarded as a cornerstone of the Italian comic opera tradition is because its characters are no mere commedia dell’arte stereotypes, but complex, vulnerable human beings. This is brought to the fore in Mariame Clément's sensitive and perceptive production, which was hailed by the Financial Times as ‘a Glyndebourne classic’. Acclaimed buffo baritone Alessandro Corbelli sings the title role ‘with just the right degree of lugubriousness’, while Danielle de Niese, one of today's most sought-after sopranos, is an ‘engaging’ and ‘irresistible’ Norina (The Telegraph). Bel canto specialist Enrique Mazzola conducts with flair and panache. Filmed in High Definition and recorded in true Surround Sound.

In war-torn Rome, Floria Tosca and Mario Cavaradossi live for each other and for their art. But when Cavaradossi helps an escaped prisoner, the lovers make a deadly enemy in the form of Baron Scarpia, Chief of Police. At the mercy of Scarpia’s twisted desires, Tosca is forced to make a horrific bargain: sleeping with the man she hates in order to save the man she loves. Can she find a way out?

Isabella is a strong, independent woman who has no intention of giving in to the clumsy advances of the powerful Mustafà. In this production by Mosh Leiser and Patrice Caurier, which plays on preconceptions about culture clash, Mustafà is no longer a handsome Ottoman, but a shady gangster who traffics in electronic goods in the port of Algiers. Make of it what you will...

Riccardo Muti leads the Orchestra of the Wiener Staatsoper in this performance of Mozart's opera, recorded live in 1996. The performers include Barbara Frittoli, Angelika Kirchschlager, Angelika Kirchschlager and Michael Schade.

Starring Angela Gheorghiu as the celebrated French actress Adriana Lecouvreur and Jonas Kaufmann as her lover Maurizio, Count of Saxony, Cilea s verismo drama explores celebrity, romance, jealousy, and death. The trio of sublime voices is completed by Russian mezzo-soprano Olga Borodina as Adriana s jealous rival, the Princess de Bouillon. David McVicar s hit production the first performance of the opera at the Royal Opera House, Covent Garden for more than a century presents the life of the French actress as a blurring of the distinction between fantasy and reality. The action revolves around a life-size Baroque Theatre, taking us from the bustle and colour of the first act backstage at the playhouse, to the bare final scenes as the drama reaches its fatal climax.

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23-year-old Gioachino Rossini completed his masterpiece IL BARBIERE DI SIVIGLIA incredibly quickly – legend has it in just 13 days – which Rossini attributed to ‘facility and lots of instinct’. The opera, characterized by youthful energy and bold wit, has all the ingredients for comic chaos: an imprisoned young woman, her lecherous guardian and a young noble suitor. Skilfully plotting behind the scenes is Figaro, an irrepressible and inventive character in whom many have seen a resemblance to the young Rossini himself. The score fizzes with musical brilliance, from Figaro’s famous entrance aria to the frenzy of the Act I finale. This recording sees Joyce DiDonato (Rosina) bring literal meaning to the old theatrical motto Break a leg! She did just that in an earlier show but was determined to finish her commitment and was re-staged into the production to allow for the additional challenges that come when a leading lady in a lively physical role must wheel around the other performers...

This occasionally off-the-wall but finely sung and colourfully staged La Cenerentola was Rome Opera’s first foray into the media market, shown on television and in cinemas across Italy in 2016. It clearly had the funding. Emma Dante’s production will not have come cheap – Vanessa Sannino’s costumes are a particular feature – nor would the singers, given that this is as good a Cenerentola cast as any international house might currently muster.

In January 2007, superstar soprano Natalie Dessay, joined on stage by acclaimed tenor Juan Diego Florez dazzled British audiences in Laurent Pelly's new production of Donizetti's "LA FILLE DU REGIMENT". The perfectly staged & cast production became the operatic event of the year, receiving rave press reviews & rapturous audience ovations.

From the Opera House of Rome Il barbiere di Siviglia by Gioachino Rossini. Orchestra and Choir Of The Opera of Rome, conductor Daniele Gatti. Directed by Mario Martone.

Esteemed Italian conductor Gianluigi Gelmetti leads the Stuttgart Radio Symphony Orchestra in a moving performance of Rossini's one-act opera "L'Occasione Fa Il Ladro." Singers Susan Patterson, Robert Gambill, Natale de Carolis and Monica Bacelli fill the theater with their soaring voices in this 1992 production staged by director Michael Hampe at the elegantly cozy Rococo Theatre, in the quaint town of Schwetzingen, Germany.

In the bright sunlight of opera buffa, a handsome Turkish prince (with an agile bass voice) lands on the coast of Naples looking for amorous adventures. In no time at all he meets a vivacious Italian girl (a coquettish virtuoso soprano), who is accustomed to flitting between admirers, much to the displeasure of her elderly husband. This little group carries on its flirtations, rivalries and quarrels under the delighted eyes of the poet Prosdocimo, who, as it happens, has been seeking inspiration for a dramma buffo.

Whoever does not yet know Gaetano Donizetti's Don Pasquale will learn to love it with this elegant and stylish production by Stefano Vizioli. Lovers of this opera will be enthralled by Eva Mei's high, clear voice as well as Alessandro Corbelli's and her touching performances. Gérard Korsten conducts the orchestra of the Teatro Lirico and proves that Donizetti's spritely music gives room for fascinating interpretations. The opera tells the story of an elderly dandy, who is thoroughly cured from his desire to get married and thus hands over his young lady to her actual lover a tale as old as comedy itself. Donizetti however, being the master of cryptic comedy, extends this traditional "buffa" subject matter to a character comedy. His characters are not merely archetypes; they develop their individual profile throughout the differentiated and diversified plot. This work shines with musical wit, expressed in numerous coloraturas, cavatinas and duets.

"Irresistible" (Opera News) rising-star mezzo Elina Garanca triumphs as Rossini's Cinderella in this delightful Metropolitan Opera production. "As close to pure joy as you will find in a big-time opera house" (New Yorker), conquering audiences and critics alike, "Garanca has a gorgeous voice that she uses with exceptional skill, melting tenderness; but when the part calls for coloratura fireworks, she unleashes a flawless technique and ringing high notes of impressive power" (Associated Press). Filmed in High Definition Widescreen.

Il signor Bruschino is the last of the five one-act operas - farsa giocosa - in which the young Rossini first demonstrated his operatic genius. The stage is small and the beautifully elegant and this shining production by Michael Hampe, recorded in May 1989, provides one and a half hours of the entertaining story about "the son won in a game" as it is subtitled. The staging transfers to the screen perfectly and the cast of principals, led by Alessandro Corbelli, Alberto Rinaldi and Amelia Felle provide musical excellence together with the flexible Stuttgart Radio Symphony Orchestra under Gianluigi Gelmetti.

Alessandro Corbelli takes the title role in Annabel Arden's whirlwind production of Puccini's compact opera, in which the scheming Gianni Schicchi retrieves for himself the spoils of a disinherited family to pave the way for his daughter to marry her love.

A timeless tale told in a florid bel canto style, Rossini’s take on the Cinderella story offers an ideal propellant for a virtuosic mezzo-soprano to rocket from rags to riches. But in this retelling, the supporting characters soar just as high: Cinderella’s Prince, her stepfather, and the Prince’s valet are given memorable arias, and the composer rounds out his score with ingenious ensemble flourishes. A vivacious masterpiece, La Cenerentola brings stock fairy tale characters to dazzling life.

La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.---- IMDB id refers to Great Performances: Season 24, Episode 12 La Cenerentola (3 Apr. 1996) from Houston Grand Opera so release date is misleading.

Officers Ferrando and Guglielmo are certain that their lovers Dorabella and Fiordiligi are faithful to them, but the cynical Don Alfonso challenges them to a bet that the women will be unfaithful given the chance. The officers thus pretend to go off to war, and return in disguise as Albanian strangers, to woo Dorabella and Fiordiligi incognito. The ladies are initially frosty, but soon warm to their new suitors, spurred on by their maid Despina. Performed at the La Scala Theatre in Milan.

Live from La Scala Friday 22 December 1989