Bianca e Falliero is a full length opera seria composed in 1819 by Gioachino Rossini for the Teatro alla Scala of Milan. It was his final opera for Milan and his thirtieth opera altogether. He had as his librettist the talented Felice Romani, an eminent author of librettos of the day. The two had already collaborated on several operas, including Aureliano and Il Turco in Italia. Romani took the story of his libretto from a rather lurid and theatrical story written by Antoine-Vincent. In Vincent's version of the tale, which includes a domineering father, a daughter, her lover, and the spouse whom her father has chosen for her, the plot is moved to its denouement by Venetian political machinations. The ending is bloody and scandalous, as the lover's corpse is found murdered on the stage and Bianca casts her own over his and dies of grief. Romani altered the ending of Vincent's story to suit operatic tastes, and the lovers are eventually triumphant. The unwilling father consents to their marriage, and the suitor magnanimously steps aside so that the two may live happily ever after.

The opera is filled with magnificent set pieces around which the drama is structured. Rossini composed four operas in 1819. In Bianca e Falliero he adheres to a comparatively conservative treatment of the operatic structure: the other three were more adventurous dramatically and formally. He uses secco recitativo for most of the dialogue, and adds orchestral accompaniment only for dramatic emphasis. His orchestrations, however, are sensitive, with attention to the effects of various timbres and orchestral motives in the accompaniment. His use of the chorus is extensive. It is heavily involved in the action of the drama, and an integral part of all of the major musical numbers. This emphasis on chorus adds sumptuousness to the overall vocal language, which is very embellished and filled with nuance and delicacy. His vocal language also showcases vocal virtuosity, and rich sonorities. It is this richly embellished style which drew fire from the critics, but came to its full flowering in Semiramide, to the composer's everlasting triumph.

Bianca e Falliero premiered on December 26, 1819, at Teatro La Scala, to mixed reviews. Although its first run had thirty-nine performances, the initial reception was rather cool. One critic ascribed this tepid response to Rossini's vocal style, which he thought was unsuited to expressing the grand passions of the operatic stage. Rossini's virtuosic and embellished music is much more concerned with beauty, splendor, elegance, and lush sonorities, than with the theatricality required in the expression of grand passions. However, nowhere does his composition fall short of dramatic demands, and his orchestration, recitative, and various set pieces are structured to propel the drama to its joyful conclusion. The opera eventually played throughout all of the major cities in Europe, and was a triumph throughout Italy. Several of the pieces, especially the final quartet in Act II, became quite popular numbers on their own.

There is much borrowed material in this opera from other Rossini operas. Of particular note is the "Aria Bianca," which he took from Rondo Elena in his La donna del lago. The accompaniment has been greatly enhanced and enriched, making this piece serve as a climax, or denouement. The conclusion which follows is the famous quartet of the second act, which is one of the finest ensemble pieces ever written by the composer. There is also borrowed material in the handsome overture which introduces the opera. This includes music from Ermione, La donna del lago, and music from Ricciardo e Zoraide.

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