In its day La scuola de’ gelosi (1778) was one of the best-known comic operas by Antonio Salieri (1750–1825), remaining a box-office hit for decades. All the more astonishing is the fact that it could sink into obscurity. Even Goethe was excited by this masterpiece: “The opera is the audience’s favourite, and the audience is right. It contains an astonishing richness and variety, and the subject is treated with the most exquisite taste. I was moved by every aria.” In the wake of its world premiere in Venice in 1778, La scuola de’ gelosi was performed in opera houses all over Europe, from Dresden, Vienna, Prague and Paris to cities as far away as London and St Petersburg, before it passed into near-oblivion.
Before the emergence of Daniel Catan, whose Rappaccini's Daughter (1991) and Florencia en el Amazonas (1996) have had considerable exposure and success, Mexican opera had passed largely under the radar of most opera lovers. Urtext's excellent new recording of La Mulata de Cordoba (1948) by Jose Pablo Moncayo (1912-1958) helps fill in that gap in awareness.