The point of a good production of Rossini's Il Barbiere di Siviglia is to have a Rosina and a Figaro who will knock your socks off in their respective arias, while holding back enough in all those crescendo ensembles in which the farce plot reaches its several culminations that the other stars get a chance to shine too. Cecilia Bartoli and Gino Quilico give full-blooded enough performances when on stage by themselves that self-effacement seems far from imminent, yet both are capable of less, and give it when it is needed. Of the others, David Kuebler is an attractively raffish Almaviva, while Robert Lloyd turns Basilio into a memorable cameo. Gabriele Ferro is one of the most intelligent of Rossini conductors--he understands the relationship between the pulse of the music and its dramatic function, and he is also outstanding in the delicacy of phrasing, even in climaxes, that ensures that every voice, every instrument, gets the moment of glory Rossini intended. Michael Hampe's solid reliable unfussy production keeps everything moving without drawing attention to itself.

The DVD has subtitles in English, French, German, Italian and Spanish, as well as trailers for other Arthaus Musik discs. --Roz Kaveney

The 2001 Zurich production of Il Barbiere di Siviglia has many strengths, but the point of it is ultimately Vesselina Kasarova's vocal gymnastics as Rosina; when you cast a singer with so very steely a voice in the part you expect something special, and we are not disappointed. Her acting is perhaps a little arch--this is a very knowing Rosina, though no more so than such rivals in the part as Baltsa and Bartoli--but she gives a ferocious point and precision to every note and every word.

This is a production with touches of luxury casting: Nicolai Ghiaurov is on hand to give Basilio's slander aria an apocalyptic aspect it rarely has; less known singers like Reinaldo Macias as Almaviva and Manuel Lanza as Figaro are entirely in the same league as far as vocal quality goes. Veteran conductor Nello Santi gives the performance real vigour; not a note of this comic standard sounds routine. The production, set in early 20th century Spain, makes imaginative use of a revolving stage and sets whose stylised fan motif give it a toy theatre feel.

On the DVD Il Barbiere di Siviglia on disc offers a choice of Dolby Digital, PCM stereo and DTS surround sound and is presented with a widescreen visual aspect of 16:9; the picture quality is unremarkable and the sound wonderfully clear in all formats. --Roz Kaveney

L'Italiana in Algeri, Rossini's first real hit as a writer of comic opera, is one of those almost unsinkable works difficult to get entirely right. Michael Hampe's production for the 1987 Schwetzinger festival captures both its charm and its sense of menace--the court of the Bey is both a setting for farce and a place in which the Italian characters are at the mercy of a despot who will not necessarily find things funny. Gunther von Kannen's Mustafa is a convincing Bey of Algiers, with all the arrogance of power and the vulnerability to mockery that goes with it. His adversary, the tough witty proto-feminist Isabella, is given real presence in Doris Soffel's performance--it is entirely credible, listening to her throaty mezzo, that everyone else should be more-than-a-little in love with her. The slightly effete tenor of Robert Gambill as her lover Lindoro makes him a perfect partner in intrigue for her. Conducting Rossini is not just a matter of winding the crescendos up and letting them go; Ralf Weikert is particularly fine in the complicated finale of Act One with its imitations of bells and drums and its complicated vocal lines.

The DVD comes with menu material in English, French, German and Spanish, and with English, French and German subtitles; the stereo sound is particularly crisp. --Roz Kaveney

La Cenerentola is one of the few operas to have an important subtitle, "The Triumph of Virtue". This Salzburg production makes a point of its being a moral tale rather than a mere fairy tale like the version reflexively sung by Angelina in her "Cavatina": the defeat and forgiveness of the stepsisters and their greedy father is a settling of moral accounts. The production is also tremendous fun--partly because of gimmicks like the mechanical coach and horses that arrives on stage in the high wind of the Act Two storm--but mostly because of the endlessly energetic pulse of Riccardo Chailly's conducting of the Vienna Philharmonic. Anne Murray is an ideal Angelina, equally good at the heroine's witty intelligence and at the complexity of her emotional situation--loyal to the family that mistreats her. Francisco Araiza is an attractive Don Ramirez; the byplay between him and his servant Dandini (Gino Quilico)--in the duet "Zitto, zitto. Piano, piano", for example is for once genuinely amusing. Parts like Don Magnifico were the late Walter Berry's stock-in-trade--his occasionally menacing portrayal is far richer and more interesting than a mere buffoon.

On the DVD: As usual with Arthaus Musik, an excellent production and performance is left to sink or swim without any detailed production notes either on the disc or in the leaflet. The sound is standard PCM stereo and the picture ratio 4:3. There are instructions in French, German, English and Spanish and subtitles in all of those languages plus Italian. --Roz Kaveney

Bel canto can be translated as "pretty singing", and that definition seems tailor-made for this production, which offers grace, charm, and a fine-tuned sense of style in abundance to compensate for its limited psychological and emotional impact. The four principal singers are all specialists in the bel canto style and this opera has played a key role in building their substantial reputations. For its sweeping musical imagination and technical wizardry, Rossini's epic about royal assassination and misdirected lust in the ancient Babylonian Empire deserves a place in any inclusive opera collection, and we are not likely to have a better video recording of Semiramide in the foreseeable future.

June Anderson has an attractive appearance and sounds exactly right in the music's florid melodic lines. But she is not dramatically compelling as the wicked queen who had her husband killed and fell in love with a man who turned out to be her long-lost son, Arsace. Marilyn Horne rose to the highest levels of international fame in the role of that conflicted son, and her presence alone would be enough to give this video classic status. Her voice was a bit past its prime when this performance was recorded in 1991, but still there is no other voice quite like it, no other voice so suited to Rossini's heroic mezzo roles. Samuel Ramey is a close bass counterpart to Anderson: great tone, agile florid singing, and a rather wooden but visually appealing stage presence. Sanford Olsen has a small role and sings it near perfectly. James Conlon gets excellent musical results; John Copley's staging is massive and static. --Joe McLellan, Amazon.com

Tancredi was the work on which Rossini's reputation as a composer of tragic operas rested, just as L'Italiana in Algeri ("The Italian Girl in Algiers") had been his first comic masterpiece. Inevitably, given the opera seria conventions within which he was working, it can seem terribly static nowadays--this is a work whose stage action consists almost exclusively of entrances and exits, and of characters emoting in various combinations--but when the emotions are as powerful as those here it hardly matters. The breeches part of Tancredi is one of Rossini's most powerfully lyrical: Bernadette Manca de Nisa is especially moving in the famous aria "Di Tanti Palpiti". The heroine Amenaide, wrongfully accused of treason, has the most to do emotionally, and Maria Raul is suitably touching, collapsing decorously to the floor as a way of conveying extremes of shame or incredulous hurt. Ildebrando D'Arcangelo does what he can with the stiff villain, Orbazzano. In some ways, the star of the performance is Raul Giménez in the unpromising role of Amenaide's much-deceived father Argirio, combining authority with pain and making both highly musical. Throughout, Gianluigi Gelmetti's intelligent conducting of the Stuttgart Radio Symphony Orchestra makes the delicate sides of the scoring matter most:he has learned from original instrument performances how to bring out the plangency of Rossini's woodwind writing.

On the DVD: The DVD has no additional features except for subitles in Italian, French, German, English and Spanish and menus in French, Spanish, German and English. The sound is presented perfectly adequately but unexcitingly in PCMstereo and the picture ratio is 4:3. --Roz Kaveney

Opening with a Dido theme tune and featuring character-driven, sweet-natured melodrama, Roswell was a show with a surprisingly dedicated fan base, who twice won it reprieve from cancellation. One of its main strengths was, of course, the extent to which its premise--alien teenagers trying to sort out their identities while involved emotionally with their human contemporaries--was a free-floating metaphor for race and sexuality issues. Another was the strong ensemble that its cast developed; you believed in the strangeness of the alien trio and the well-intentioned normality of their three human friends. Jason Behr gave the alien Max a quiet authority and Majendra Delfino took the sidekick role of Maria and gave it both intensity and fine comic timing. It was also a show in which you were never sure what adults you could trust--William Sadleir trod a fine line of ambiguity as the local sheriff and Julie Benz was silkily sinister as an FBI agent. Anyone who ever loved this show will want these DVDs--and many others may want to find out what the fuss was about.

On the DVD: Roswell is presented in 1.85:1 anamorphic widescreen. The special features include commentaries on six episodes by writer Jason Kanims, the directors and various of the cast as well as a featurette on the making of the show and another on its adaptation from the original Roswell High series of young adult novels. The commentaries are unusually insightful on the casting process and the discs also include the auditions for the part of Tess as well as a deleted scene and a music video. --Roz Kaveney