Elena e Constantino was his second opera (or opera semiseria as it was described) and was a considerable success in Spain. Its fizzing overture is very Rossinian, even to the point of including imitation Rossini crescendos, and the fluently melodic vocal style is recognisably like that of his Italian counterpart. Overall the opera makes agreeable listening, even if there is no single number that has comparable memorability with those of his more famous contemporary. The accompaniments too are often attractively scored, with pleasingly simple use of woodwind and solo horn.

The story centres on the false accusation of the murder by Prince Costantino of his father Adolfo, Lord of Arles. The real killer, Romualdo, has seized the throne, and the Prince and his wife have had to flee. At the beginning of the opera Costantino’s wife, Elena, disguises herself as a man and finds refuge with the peasant, Carlo, working in his house as a servant. The latter soon suspects her real identity – not surprisingly as she sings as a brilliant soprano! Costantino later returns and is reunited with his wife, only for the pair to be captured by the Governor and his troops, with the mob demanding their execution. All this happens in Act 1, but in Act 2 Edmondo, son of Romualdo, finally saves the day by denouncing his father as the true murderer, so the Prince can finally return to his throne. The music is all lyrically dramatic and the principals make a consistently good vocal team. They are dominated by Ruth Rosique, whose coloratura is impressively secure. The chorus and orchestra are of a good standard and Jesús López-Cobos conducts this enjoyable live performance with spirit. The documentation is excellent with a full, clear translation. Well worth trying by those who like to discover forgotten opera composers.