The focus of this paper is about the emergence of very successful versions of a good in cultural industries. We label this occurrence disruptive cultural fade. The case of Rossini, but in general of any cultural disruptive fade, shows similarity to other disruptive product innovations, but its peculiarity should be carefully considered. Indeed in the consumption of cultural goods, the hedonistic component in the purchasing decision plays a focal role. Theories in cultural consumption explain purchasing choice with various individual covariates. We suggest that this framework might not apply in the case of disrupting cultural fades and we contextually put forward a different hypothesis to tackle the problem, always keeping the focus on the hedonic component. Eventually, we test our hypothesis on a dataset on the music industry on North Italy in the early 19th century.