Ciro in Babilonia

Gioachino Rossini

Gioachino Rossini (1792–1868) was the most celebrated Italian composer of his age, a master of both opera buffa and opera seria. Born in Pesaro, he penned nearly forty operas before the age of thirty-seven, including immortal works such as “Il barbiere di Siviglia,” “La Cenerentola,” and “Guillaume Tell.” “Adina, ovvero Il Califfo di Bagdad” (1818), though lesser-known, showcases all the melodic wit, rhythmic verve, and vocal brilliance that made Rossini the darling of Europe.

Rossini’s distinctive style, characterized by elegant melodies, rapid vocal passages, lively rhythms, and inventive orchestration, had a profound influence on nineteenth-century opera. His music combines theatrical energy with remarkable technical precision, allowing singers to display both virtuosity and expressive range. Even today, his operas remain staples of the international repertoire, admired for their wit, brilliance, and enduring freshness.

After retiring from the operatic stage at the height of his fame, he spent his later years in Paris as a revered cultural figure and gourmet.

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Ciro in Babilonia, ossia la caduta di Baldassare is a two-act opera with choruses by Gioachino Rossini, with a libretto by Francesco Aventi, first performed in Ferrara in 1812. Set in Babylon in 539 BC, the opera recounts the war between the Persian king Cyrus and the Babylonian tyrant Belshazzar. During a raid, Belshazzar captures Amira, Cyrus’s faithful wife, and their young son Cambyses; having fallen in love with her, he proposes marriage, threatening her with death should she refuse. Cyrus, disguised as an ambassador, enters the palace to negotiate the release of his loved ones, but is recognised and imprisoned.

In the second act, whilst in prison, Cyrus invokes the God of Israel, promising to free the Jews. Amira manages to reach him for a moving love duet, which is interrupted by Belshazzar. During a lavish banquet at which the king desecrates the sacred furnishings of the Temple of Jerusalem, a mysterious hand writes ‘Mene, Tekel, Peres’ on the wall: the prophet Daniel interprets this miracle as a sign of Belshazzar’s imminent downfall. Whilst preparations are being made for the sacrifice of the prisoners, the Persians, led by Cyrus and aided by General Arbace, storm the city. Baldassare is killed and his kingdom destroyed; Cyrus triumphs, frees Amira and her son, and the opera concludes with the victors’ jubilation and clemency towards the vanquished.

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