Count Ory by Rossini, tre 20 vas 2013, Nuo (2013/2013), Režisierius Moshe Leiser, Patrice Caurier, Dirigentas Jean-Christophe Spinosi, Theater an der Wien, Vienna, Austria

The desert Count Ory is a character from the troubadour poetry. A Picard ballad tells how he smuggled himself into a monastery with 14 cronies in nun disguise and there begat 14 new knights with the real nuns. Rossini's last comic opera was created on the basis of a piece by comedy routineer Eugène Scribe about this Count Ory - an extremely piquant masterpiece both musically and in terms of content. The libretto is a witty parody of classic French tragedy. Almost all men are on a crusade. When they left, the women had to pledge chastity and are now sitting around bored in the castles. The beautiful young Comtesse Adèle de Formoutiers sinks into deep melancholy. Her sadness is inexplicable to her, so she seeks out a supposedly pious hermit in order to get to the bottom of her bad mood with his help. This hermit is none other than the nationally known libertine Comte Ory, who wants to take advantage of the absence of the other men. He has almost got the Comtesse to the point where she takes him to the castle as spiritual advisor, when he is exposed and chased away. But the lascivious does not give up and, disguised as a nun, still gains entry into the castle. Only the page Isolier finds out about Ory and finally can tenderly For Le Comte Ory, Rossini used music from his coronation opera Il viaggio a Reims (1825), which he himself found difficult to perform, but of whose music he was rightly proud. Hector Berlioz praised the trio “À la faveur de cette nuit obscure”, in which the nocturnal erotic confusion between Comtesse, Ory and Isolier culminates as a uniquely ingenious idea. Le Comte Ory is Rossini's last musical comedy before he finally withdrew from opera composition after Guillaume Tell (1829).