Ricciardo e Zoraide

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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Ricciardo e Zoraide is a two-act opera by Gioachino Rossini, with a libretto by Francesco Berio di Salsa, which was first performed in Naples in 1818. The story centres on the Christian paladin Ricciardo and the beautiful Zoraide, daughter of Prince Ircano, who is taken prisoner by the Nubian king Agorante during an expedition and brought to his palace. Agorante, having fallen in love with her, intends to marry her by force, ignoring the deep love that binds Zoraide to Ricciardo. Ricciardo’s faithful friend Ernesto accompanies him to Nubia to free his beloved, whilst in the enemy camp, Queen Fatima – neglected and hurt by her husband’s behaviour – secretly allies herself with the Christians. Disguises, clandestine meetings and Fatima’s astute intervention enable Ricciardo to draw near to Zoraide, but their happiness is constantly threatened by the sentries and Agorante’s jealousy.

In the second act, the danger comes to a head: Agorante catches the two lovers and, in a rage, condemns them both to death despite Zoraide’s pleas and Fatima’s intercession. Just as the Nubian people are preparing to witness the execution, news suddenly arrives that Ircano, at the head of his army, has crossed the border to rescue his daughter. Battle breaks out, Agorante’s troops are defeated and the king is taken prisoner. Ricciardo and Zoraide are set free; Ircano magnanimously pardons the defeated Agorante, who is reconciled with Fatima, and generosity triumphs over tyranny. The opera concludes with the joy of the lovers finally reunited and a solemn chorus celebrating clemency, love and valour.

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