Le Comte Ory

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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Le Comte Ory is a comic opera in two acts by Gioachino Rossini, with a libretto by Eugène Scribe and Charles-Gaspard Delestre-Poirson, first performed in Paris in 1828. The story is set in the Middle Ages, at Formoutiers Castle in Turenna, whilst the lords are away on the Crusade. The libertine Count Ory, with the help of his friend Raimbaud, disguises himself as a hermit to seduce Countess Adèle, who lives confined to the castle with her ladies-in-waiting. The page Isolier, who is in love with Adèle, plans to sneak into the castle disguised as a pilgrim; Ory steals the idea and attempts to enter, but is unmasked by his tutor. A messenger announces the imminent return of the Crusaders, but Ory does not give up.

In the second act, during a storm, Ory and his companions arrive at the castle disguised as female pilgrims seeking shelter. Isolier discovers the deception and warns Adèle. During the night, amidst misunderstandings and revelry, Ory attempts to seduce the Countess, believing he is holding Isolier’s hand (in reality, it is the page who kisses the lady’s hand). Upon the arrival of the Crusaders and Ory’s father, the Count and his companions flee hastily through a secret passage, whilst everyone hails the return of the valiant knights and the end of the amorous adventures. The opera concludes with a joyful celebration of cunning and love.

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