L’Italiana in Algeri is probably the finest operatic comedy still performed today. Why? Comedy is subtler than farce and it is in just such subtleties that Rossini scores higher than any other, not least in the musical characterisations of his three main characters. The Italian girl herself is distinguished by her vocal charm. And by her irony. Of course, Rosina in Barbiere has charm, but not to the same degree as Isabella: this Girl is purposeful and has even been used (mistakenly in my view) as an agent of feminism. Read the full blog by Jack Buckley on Festival Bytes.