Rossini Arias

1	Semiramide, opera: Ah dov
2	Otello, opera: Che ascolt
3	Il barbiere di Siviglia (
4	La gazza ladra (The Thiev
5	L'italiana in Algeri (The
6	Zelmira, opera: S'intessa
7	La donna del lago (The La
8	La cenerentola (Cinderell
Rossini Arias
1.	Semiramide, opera: Ah dov'è il cimento 8:05
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan
2.	Otello, opera: Che ascolto! 6:47
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan
3.	Il barbière di Siviglia (The Barber of Seville), opera: Cessa di più resistere 7:46
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan
4.	La gazza ladra (The Thieving Magpie), opera: Vieni fra Queste Braccia 5:10
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan
5.	L'Italiana in Algeri (The Italian Girl in ALgiers), opera: Concedi, Amor Pietoso 5:55
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan
6.	Zelmira, opera: S'intessano agli allori...Terra Amica 11:30
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan
7.	La donna del lago (The Lady of the Lake), opera: O fiamma soave 8:22
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan
8.	La cenerentola (Cinderella), opera: Sì, ritrovarla io giuro 6:02
	Composed by Gioachino Rossini
	Conducted by Riccardo Chailly
	Performed by Juan Diego Flórez, Giuseppe Verdi Symphony Orchestra of Milan and Giuseppe Verdi Symphony Chorus of Milan

Barnes & Noble

If you want to become a world-class tenor nowadays, it seems you ought to hail from Latin America. Ramón Vargas, José Cura, and Marcelo Álvarez are the best-known of the recently minted, Latin-tongued opera stars, but now another addition to their ranks has emerged: Peruvian Juan Diego Flórez. Still in his 20s, Flórez has made a splash in the world's opera capitals singing bel canto repertoire. He's garnered glowing reviews, and this impressive debut recital of Rossini arias confirms he is a talent to watch closely. Flórez's voice is pleasantly bright and sturdy, yet unforced, buoyant, and with dazzling, ringing high notes -- qualities that make him well suited to this repertoire. Rossini's arias demand equal parts melting lyricism and stunning agility; indeed, they are often spectacularly difficult, such as the Act II aria from The Barber of Seville, "Cessa di più resistere," which is clearly the highlight here. Flórez pulls it off with cheerful self-assurance; there is never any doubt of his ability to negotiate the rapid flights of coloratura, and his lyric singing is expressive and elegantly phrased. It's a shame the aria is so often omitted from performances of the full opera. Riccardo Chailly is one of today's leading Rossini conductors, boasting several complete opera recordings as well as his ongoing project of Rossini cantatas (volumes one and two are completed); he always seems to find the proper tempo to bring out the delight in Rossini's ever-jolly music. But Flórez's singing is the real news here, and all told, it's quite a portentous debut. EJ Johnson

New York Times

On Florez's January 2002 Metropolitan Opera debut in Rossini's "Barber of Seville":
Juan Diego Flórez, the Peruvian tenor who sang Almaviva, has already launched a large-scale international career and just released a solo recording of Rossini arias on Decca; his first Met appearance was awaited with some anticipation... Mr. Flórez can be very happy with his debut; the audience certainly was. His voice is bright and firm, relatively light but ringing; it has a metallic, slightly driven edge, but it's not excessively pushed... His bravura showpiece at the end of Act II was a piece of fine singing and deservedly brought down the house. His Almaviva was headstrong, spoiled and very young: a convincing character portrait. Anne Midgette