Opera-lovers owe the Caramoor Festival a vast debt for their splendid revivals of bel canto masterpieces. Rossini’s massive opera seria is perhaps not as obscure as some, because Joan Sutherland adopted it as a vehicle (in a mutilated form, in which her character, Semiramide, made even more prominent by cuts in other roles, does not die in the end), and the Met staged it for Marilyn Horne in 1990, after a ninety-five year hiatus. Once we become accustomed to Rossini’s highly conventionalized musical language, in which we have to listen through charming tunes and florid ornamentation to connect with a psychological and dramatic core which is most definitely present, we can appreciate the force and grandeur of his neo-classical music drama. Rossini’s fixed musical forms, which remained the same, no matter how fully developed or elaborate they might be, give Semiramide a special monumentality all its own: the tensions of the plot, in which unknown relationships and criminal secrets emerge, become all the more powerful, as they act against this classical inertia. Semiramide is a great opera, and it was a brilliant idea to present it in concert with minimal dramatic action with Will Crutchfield, who has a unique affinity for Rossini, and The Orchestra of St. Luke’s, a small orchestra with plenty of color in its string section that sound just right for Rossini, and with a stellar cast of some of the most promising younger singers, including Vivica Genaux, Angela Meade, Lawrence Brownlee, and Daniel Mobbs. The results were quite thrilling, and it was a joy to see Rossini’s masterpiece in working order again.