There are terzettos throughout the operatic repertory, and terzettions abound, but there is only one terzettone, that in Rossini's "Maometto II".

Rossini penchant for humorous titles is well-known: the "allegro cristiano" of "Petite Messe Solennelle" is a prime example. But adding the Italian suffix which is more at home with "mangione" (someone who eats to much) or with "chiaccherone" (someone who talks too much) to a musical piece, moreover, a tragic one, was certainly a most unusual idea... But it works for the terzettone, basically a very long trio for father, daughter and suitor (lasting around 28 minutes, three scenes and three full numbers), really is a "big, fat trio", though in the best possible meaning of the word. Similar to Mozart's Act Two Finale to "Le nozze di Figaro", the terzettone is a continuous torrent of inspired music. Even dramatic continuity is not a problem for Rossini: playing with the way operatic ensembles were done in Italy and on our ability to hear the piece beginning and ending in the same tonality (E major), Rossini creates a full interconnected scene, not just a string of unrelated pieces and ideas. But let us go through the terzettone one part at a time.

Before we pass onto the piece itself, here is a list of the soloists and their respective roles:

Anna Erisso - June Anderson,
Calbo - Margarita Zimmermann,
Paolo Erisso - Ernesto Palacio.

Scene 2. Anna's apartments.

1. 0:00 - 4:52. "Ohimè! qual fulmine", a terzettino for Anna, Calbo, her suitor, and Erisso, her father. Before the beginning of the piece Anna told the men of her affection towards Uberto, Lord of Mytilene, whom she claims she met in Corinth (where the opera is set) during her father's absence. Erisso is astonished by this, as the real Uberto has been with hum. The terzettino deals with the shock of all three characters at this sudden revelation. The piece is quite simple: after a short but thunderous couplet which expressed the primary suprise, the piece settles into a slowly flowing melody which is sung by all three characters, one after the other. The previous "stater" of the theme is then brought into the background where with each change of the singer a more and more elaborate musical tapestry is created: what started as Anna's simple arioso over a simple bass line turns into an exquisite piece of unusual depth. The piece ends with a short but very difficult cadential flourish for all three.
2. 4:52 - 7:03. "Dal cor l'iniquo affetto", the first tempo di mezzo. The piece continues traditionally with what seems to be each of the characters singing statements over the same melodic line just before the final allegro. But right in the middle of Anna's statement, the music is broken apart with outside gunfire. All three are surprised at first, then Calbo and Erisso run out, leaving Anna alone, helpless to understand what is happening.

Scene 3, the grand place of the city Negroponte.

3. 7:03 - to the end. "Misere! or dove... ahime!", chorus and scene. The scene opens with an agitated women's chorus. Anna quickly joins them and is told that some traitor has opened the gates to the Muslims. The music is then brought down to a solemn, tragic prelude that leads to the subsequent prayer.

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