So, here’s the scoop: the fellas are off on a crusade, leaving the ladies behind. Enter Count Ory, a guy who’s all heart but totally clueless in love and life. He’s dead set on making the most of the knights’ absence and sets his sights on Countess Adèle. Trouble is, Adèle is as pure as snow and not buying any of his nonsense. Meanwhile, our bumbling Ory is totally clueless that his trusty page, Isolier, has his own grand plans for the countess.
Le comte Ory is a whirlwind blend of silly and sublime. The music and script are bursting with that 1820s pizzazz, while our modern-day sensibilities are nodding along to the tunes of sensuality, sexuality, and those pesky and entitled dudes. And let’s not forget the pièce de résistance: an outrageous three-in-a-bed romp with over fourteen minutes of slow-burn musical sensuality.
Get ready for a rollercoaster of deception, intrigue, and a dash of playful flirtation, all wrapped up in some of the smoothest Rossini tunes you’ve ever heard.