In the Vienna of Schubert's time, Rossini was an immense figure. Il barbiere di Siviglia became tremendously popular when it was first performed there, and the Pesaro-born composer's music caused such a sensation that it became known as Rossini fever. Although Schubert did not surrender unconditionally to Rossini's music, like most Viennese, he did state that "one cannot deny that he is a genius". Schubert tried to find his way into the operatic genre without success, with forays such as Fierrabras or Das Dreimäderlhaus, which were premiered after his death and which, unlike his cycles, have never entered the great repertoire. In this scenario, it is not unreasonable that the composer absorbed, consciously or unconsciously, influences from Rossini in the composition of his operas. Martin Hässler returns to the Festival accompanied by Marta Fontanals-Simmons, in her Festival debut, and a group of regulars such as Mercedes Gancedo, Ruzhe Li and Mar Compte.