He finally managed to do so, and later described the encounter to many people, including Eduard Hanslick and Richard Wagner. Living in Bologna, he occupied himself teaching singing at the Liceo Musicale, and also created a pasticcio of Tell, Rodolfo di Sterlinga, for the benefit of the singer Nikolay Ivanov, for which Giuseppe Verdi provided some new arias. Such gatherings were a regular feature of Parisian life – the writer James Penrose has observed that the well-connected could easily attend different salons almost every night of the week – but the Rossinis' samedi soirs quickly became the most sought after: "an invitation was the city's highest social prize. Charles X was overthrown in a revolution in July 1830, and the new administration, headed by Louis Philippe I, announced radical cutbacks in government spending. Be blessed then, and grant me Paradise. [140] The influence was lasting; Gossett notes how the Rossinian cabaletta style continued to inform Italian opera as late as Giuseppe Verdi's Aida (1871). The formal "classicist" libretti of Metastasio which had underpinned late 18th century opera seria were replaced by subjects more to the taste of the age of Romanticism, with stories demanding stronger characterisation and quicker action; a jobbing composer needed to meet these demands or fail. [44][n 33]. The first version of the Stabat Mater consisted of six sections by Rossini and six by his friend. Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music.He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. [122] It is neither especially petite (little) nor entirely solennelle (solemn), but is notable for its grace, counterpoint and melody. Thus, the role of the soloists is significantly reduced compared to other Rossini operas, the hero not even having an aria of his own, whilst the chorus of the Swiss people is consistently in the musical and dramatic foregrounds.[156][157]. [66] The impresario, Vincenzo Benelli, defaulted on his contract with the composer, but this was not known to the London press and public, who blamed Rossini. [32] Within weeks of Tancredi, Rossini had another box-office success with his comedy L'italiana in Algeri,[n 10] composed in great haste and premiered in May 1813. [131] Rossini's strategies met this reality. The composer often transferred a successful overture to subsequent operas: thus the overture to La pietra del paragone was later used for the opera seria Tancredi (1813), and (in the other direction) the overture to Aureliano in Palmira (1813) ended as (and is today known as) the overture to the comedy Il barbiere di Siviglia (The Barber of Seville). Lo Stabat Mater per coro e orchestra (insieme alla Petite Messe Solennelle) ruppe quel leggendario “silenzio” di Rossini che iniziò dopo il Guillaume Tell (1829) e durò fino alla morte del compositore (1868). Viale de Coubertin . © 2010 ANSC . [91][115] The first of their Saturday evening gatherings – the samedi soirs – was held in December 1858, and the last, two months before he died in 1868.2007, Rossini began composing again. [44] In 1817 came the first performance of one of his operas (L'Italiana) at the Theâtre-Italien in Paris; its success led to others of his operas being staged there, and eventually to his contract in Paris from 1824 to 1830. [27], Rossini maintained his links with Bologna, where in 1811 he had a success directing Haydn's The Seasons,[28] and a failure with his first full-length opera, L'equivoco stravagante. [2] He was the only child of Giuseppe Rossini, a trumpeter and horn player, and his wife Anna, née Guidarini, a seamstress by trade, daughter of a baker. [161] Gossett writes of the Péchés "Their historical position remains to be assessed but it seems likely that their effect, direct or indirect, on composers like Camille Saint-Saëns and Erik Satie was significant. [4][180], In the 21st century, the Rossini repertoire of opera houses around the world remains dominated by Il barbiere, La Cenerentola being the second most popular. 25% di sconto per gli under 30, Locandina della prima romana dello Stabat Mater (1842), ACCADEMIA NAZIONALE DI SANTA CECILIA . [174], It was perhaps inevitable that the formidable reputation which Rossini had built in his lifetime would fade thereafter. [112], Gossett observes that although an account of Rossini's life between 1830 and 1855 makes depressing reading, it is "no exaggeration to say that, in Paris, Rossini returned to life". [n 42], "Rossini" redirects here. But although Othello could at least claim to be genuine, canonic, Rossini, the historian Mark Everist notes that detractors argued that Robert was simply "fake goods, and from a bygone era at that"; he cites Théophile Gautier regretting that "the lack of unity could have been masked by a superior performance; unfortunately the tradition of Rossini's music was lost at the Opéra a long time ago. [n 27], For the next twenty-five years following Guillaume Tell Rossini composed little, although Gossett comments that his comparatively few compositions from the 1830s and 1840s show no falling-off in musical inspiration. 9) in 1936 and Matinées musicales (Op. Finales began to "spread backwards", taking an ever larger proportion of the act, taking the structure of a musically continuous chain, accompanied throughout by orchestra, of a series of sections, each with its own characteristics of speed and style, mounting to a clamorous and vigorous final scene. [168][n 38], The continuing popularity of his comic operas (and the decline in staging his opere serie), the overthrow of the singing and staging styles of his period, and the emerging concept of the composer as "creative artist" rather than craftsman, diminished and distorted Rossini's place in music history even though the forms of Italian opera continued up to the period of verismo to be indebted to his innovations. "[130] Rossini's approach to opera was inevitably tempered by changing tastes and audience demands. This was aided and refined by the musical barber and news-loving coffee-house keeper of the Papal village. "All genres are good except the boring ones". L’appetito è per lo stomaco quello che l’amore è per il cuore. Both Mosè and Maometto II were later to undergo significant reconstruction in Paris (see below).[38]. "[143], With extremely few exceptions, all Rossini's compositions before the Péchés de vieillesse of his retirement involve the human voice. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained; contributary factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. [114] He and his wife established a salon that became internationally famous. Celeberrima, anche se molti critici lo considerano troppo romanzata, è la Vita di Rossini scritta da Stendhal, quando il compositore aveva trentadue anni. [138] A landmark in this context is the cavatina "Di tanti palpiti" from Tancredi, which both Taruskin and Gossett (amongst others) single out as transformative, "the most famous aria Rossini ever wrote",[139] with a "melody that seems to capture the melodic beauty and innocence characteristic of Italian opera. "[38] He further comments: The growth of Rossini's style from Elisabetta, regina d'Inghilterra to Zelmira and, ultimately, Semiramide, is a direct consequence of th[e] continuity [he experienced in Naples]. Guillaume Tell premiered in August 1829. His basic formula for these remained constant throughout his career: Gossett characterises them as "sonata movements without development sections, usually preceded by a slow introduction" with "clear melodies, exuberant rhythms [and] simple harmonic structure" and a crescendo climax. The score was reconstructed from rediscovered manuscripts in the 1970s, and has since been staged and recorded. Both were substantial reworkings of pieces written for Naples: Maometto II and Mosè in Egitto. [65] Rossini and Colbran had signed contracts for an opera season at the King's Theatre in the Haymarket. He declined the offer: the strict academic regime of the Liceo had given him a solid compositional technique, but as his biographer Richard Osborne puts it, "his instinct to continue his education in the real world finally asserted itself". The other was to be with his new mistress, Olympe Pélissier. [61] The work survived that one major disadvantage, and entered the international operatic repertory, remaining popular throughout the 19th century;[62] in Richard Osborne's words, it brought "[Rossini's] Italian career to a spectacular close. [108] In 1845 Colbran became seriously ill, and in September Rossini travelled to visit her; a month later she died. The city had once been the operatic capital of Europe;[37] the memory of Cimarosa was revered and Paisiello was still living, but there were no local composers of any stature to follow them, and Rossini quickly won the public and critics round. [26] Rossini followed the success of his first piece with three more farse for the house: L'inganno felice (1812),[n 6] La scala di seta (1812),[n 7] and Il signor Bruschino (1813). [46] By far the most important of these relationships – both personal and professional – was with Isabella Colbran, prima donna of the Teatro San Carlo (and former mistress of Barbaia). [n 41] The Operabase performance-listing website records 2,319 performances of 532 productions of Rossini operas in 255 venues across the world in the three years 2017–2019. His determination to reuse music from Il viaggio a Reims caused problems for his librettists, who had to adapt their original plot and write French words to fit existing Italian numbers, but the opera was a success, and was seen in London within six months of the Paris premiere, and in New York in 1831. [154] Tell was very successful from the start and was frequently revived – in 1868 the composer was present at its 500th performance at the Opéra. 1. For La Cenerentola (1817), for example, he had just over three weeks to write the music before the première. Ritratto di Rossini di A. Scheffer, 1843. Gossett claims that it is "from the time of Tancredi that the caballetta ... becomes the obligatory closing section of each musical unit in the operas of Rossini and his contemporaries. The London production was "selected and adapted to the English stage" by, Heine added that the title "The Swan of Pesaro", sometimes applied to Rossini, was clearly wrong: "Swans sing at the end of their lives, but Rossini has become silent in the middle of his. [153], Rossini's government contract required him to create at least one new "grand opėra", and Rossini settled on the story of William Tell, working closely with the librettist Étienne de Jouy. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. The Opéra sought to present Robert as a new Rossini opera. I was born for opera buffa, as you know well. The Globe had reported enthusiastically at its opening that "a new epoch has opened not only for French opera, but for dramatic music elsewhere. [n 26] Modern Rossini scholarship has generally discounted such theories, maintaining that Rossini had no intention of renouncing operatic composition, and that circumstances rather than personal choice made Guillaume Tell his last opera. [126] In 1887 his remains were moved to the church of Santa Croce, Florence. In 1824 Rossini, under a contract with the French government, became director of the Théâtre-Italien in Paris, where he introduced Meyerbeer's opera Il crociato in Egitto, and for which he wrote Il viaggio a Reims to celebrate the coronation of Charles X (1825). [71] He was also to help run the latter theatre and revise one of his earlier works for revival there. But this act is divinely beautiful, and what is so strange is that [its] beauties ... are blatantly un-Rossinian: outstanding, even passionate recitatives, mysterious accompaniments, lots of local colour. [73] He permitted only four performances of the piece,[74][n 20] intending to reuse the best of the music in a less ephemeral opera. On its notoriety, Rossini wrote of himself self-mockingly in a letter of 1865 to his publisher Ricordi as "the author of the too-famous, Although it did not always seem so attractive to its contemporary audiences or musicians: one review of the première of. His Otello (1816) provoked Lord Byron to write, "They have been crucifying Othello into an opera: music good, but lugubrious – but as for the words! In the words of Rosselli, in Rossini's hands "the aria became an engine for releasing emotion". [165], The popularity of Rossini's melodies led many contemporary virtuosi to create piano transcriptions or fantasies based on them. Add to that what Verdi called the opera's "abundance of true musical ideas", and the reasons for the work's longer-term emergence as Rossini's most popular opera buffa are not hard to find. The piece was a great success, and Rossini received what then seemed to him a considerable sum: "forty scudi – an amount I had never seen brought together". [n 4] Two years later he was admitted to the recently opened Liceo Musicale, Bologna, initially studying singing, cello and piano, and joining the composition class soon afterwards. [44], During the late 18th-century, creators of opera buffa had increasingly developed dramatic integration of the finales of each act. For these reasons, Richard Osborne suggests, the piece has been somewhat overlooked among Rossini's compositions. By now, Rossini's career was arousing interest across Europe. [147] In a letter to his brother of September 1818, he includes a detailed critique of Otello from the point of view of a non-Italian informed observer. [108] The events of the Year of Revolution in 1848 led Rossini to move away from the Bologna area, where he felt threatened by insurrection, and to make Florence his base, which it remained until 1855. [111] Rossini returned to Paris aged sixty-three and made it his home for the rest of his life. [51] He travelled with Colbran, in March 1822, breaking their journey at Bologna, where they were married in the presence of his parents in a small church in Castenaso a few miles from the city. [109] The following year Rossini and Pélissier were married in Bologna. [20] Rossini and his parents concluded that his future lay in composing operas. Ivor Bolton, direttore [22] In 1810 at the request of the popular tenor Domenico Mombelli he wrote his first operatic score, a two-act operatic dramma serio, Demetrio e Polibio, to a libretto by Mombelli's wife. Within a year events in Paris had Rossini hurrying back. TUTTI I DIRITTI SONO RISERVATI . Public opinion was not improved by Rossini's failure to provide a new opera, as promised. [64], Once in England, Rossini was received and made much of by the king, George IV, although the composer was by now unimpressed by royalty and aristocracy. For other people with the surname, see. [12] Giuseppe Rossini was charming but impetuous and feckless; the burden of supporting the family and raising the child fell mainly on Anna, with some help from her mother and mother-in-law. [179] A firm re-evaluation of Rossini's significance began only later in the 20th century in the light of study, and the creation of critical editions, of his works. [n 39], If Rossini's principal legacy to Italian opera was in vocal forms and dramatic structure for serious opera, his legacy to French opera was to provide a bridge from opera buffa to the development of opéra comique (and thence, via Jacques Offenbach's opéras bouffes to the genre of operetta). "[136], Rossini's handling of arias (and duets) in cavatina style marked a development from the eighteenth-century commonplace of recitative and aria. [172][173] Critical of Rossini's style was Hector Berlioz, who wrote of his "melodic cynicism, his contempt for dramatic and good sense, his endless repetition of a single form of cadence, his eternal puerile crescendo and his brutal bass drum". The Opéra was moved to present a French version of Otello in 1844 which also included material from some of the composer's earlier operas. L’appetito è per lo stomaco quello che l’amore è per il cuore. Arsace in Aureliano was sung by the castrato Giambattista Velluti; this was the last opera role Rossini wrote for a castrato singer as the norm became to use contralto voices – another sign of change in operatic taste. It had been agreed that the composer would produce one grand opera for the Académie Royale de Musique and either an opera buffa or an opera semiseria for the Théâtre-Italien. Rossini's contract did not prevent him from undertaking other commissions, and before Otello, Il barbiere di Siviglia, a grand culmination of the opera buffa tradition, had been premiered in Rome (February 1816). [38] Rossini's first work for the San Carlo, Elisabetta, regina d'Inghilterra[n 12] was a dramma per musica in two acts, in which he reused substantial sections of his earlier works, unfamiliar to the local public. These included the Teatro di San Carlo,[31] the city's leading opera house; its manager Domenico Barbaia was to be an important influence on the composer's career there. The main operatic centre in north eastern Italy was Venice; under the tutelage of the composer Giovanni Morandi, a family friend, Rossini moved there in late 1810, when he was eighteen. "[160] These include a mock funeral march, Marche et reminiscences pour mon dernier voyage (March and reminiscences for my last journey). Richard Osborne catalogues its excellencies: Beyond the physical impact of ... Figaro's "Largo al factotum", there is Rossini's ear for vocal and instrumental timbres of a peculiar astringency and brilliance, his quick-witted word-setting, and his mastery of large musical forms with their often brilliant and explosive internal variations. [118] Violinists such as Pablo Sarasate and Joseph Joachim, and the leading singers of the day were regular guests. Consequently, musicologists have found it difficult to give definite dates for his late works, but the first, or among the first, was the song cycle Musique anodine, dedicated to his wife and presented to her in April 1857. [n 16], In Vienna, Rossini received a hero's welcome; his biographers describe it as "unprecedentedly feverish enthusiasm",[54] "Rossini fever",[55] and "near hysteria". It was publicly staged in 1812, after the composer's first successes. [31] In mid-1812 he received a commission from La Scala, Milan, where his two-act comedy La pietra del paragone[n 9] ran for fifty-three performances, a considerable run for the time, which brought him not only financial benefits, but exemption from military service and the title of maestro di cartello – a composer whose name on advertising posters guaranteed a full house. This model could be adapted in various ways so as to forward the plot (as opposed to the typical eighteenth-century handling which resulted in the action coming to a halt as the requisite repeats of the da capo aria were undertaken). The equivalent of nearly £3.5m. [72] The death of the king and the accession of Charles X changed Rossini's plans, and his first new work for Paris was Il viaggio a Reims,[n 19] an operatic entertainment given in June 1825 to celebrate Charles's coronation. "[44][n 31] Both writers point out the typical Rossinian touch of avoiding an "expected" cadence in the aria by a sudden shift from the home key of F to that of A flat (see example); Taruskin notes the implicit pun, as the words talk of returning, but the music moves in a new direction. Lo stomaco è il direttore che dirige la grande orchestra delle nostre passioni. [91] The salons were held both at Beau Séjour – the Passy villa – and, in the winter, at the Paris flat. [164] At the end of the manuscript, the composer wrote, Dear God, here it is finished, this poor little Mass. [59][n 17], After the Vienna season Rossini returned to Castenaso to work with his librettist, Gaetano Rossi, on Semiramide, commissioned by La Fenice. Tuneful and engaging, they indicate how remote the talented child was from the influence of the advances in musical form evolved by Mozart, Haydn and Beethoven; the accent is on cantabile melody, colour, variation and virtuosity rather than transformational development. Rossini had heard her sing in Bologna in 1807, and when he moved to Naples he wrote a succession of important roles for her in opere serie. [91][92] Some have supposed that aged thirty-seven and in variable health, having negotiated a sizeable annuity from the French government, and having written thirty-nine operas, he simply planned to retire and kept to that plan. [84] The work was an undoubted success, without being a smash hit; the public took some time in getting to grips with it, and some singers found it too demanding. Fra i vari personaggi – da Anthelme Brillat-Savarin (autore di La fisiologia del gusto) a Balthazar Grimod de la Reyniere (che scrisse Manuale degli anfitrioni), fino adAlexandre Dumas padre (che raccolse il suo sapere in Le grand Dictio… "Vor allem machen Sie noch viele Barbiere". [93], The poet Heine compared Rossini's retirement with Shakespeare's withdrawal from writing: two geniuses recognising when they had accomplished the unsurpassable and not seeking to follow it. [18], In 1802 the family moved to Lugo, near Ravenna, where Rossini received a good basic education in Italian, Latin and arithmetic as well as music. ", Gioachino Rossini è stato ed è molto amato anche all'estero; sulla sua figura sono stati scritti molti libri e biografie. The unusual effect employed in the overture of Il signor Bruschino, (1813) deploying violin bows tapping rhythms on music stands, is an example of such witty originality. [89] Attempting to restore the annuity was one of Rossini's reasons for returning. "The audience ... were remarkably good-humoured ... and asked slyly why the libretto had been changed since the last performance". Already in 1818, Meyerbeer had heard rumours that Rossini was seeking a lucrative appointment at the Paris Opéra – "Should [his proposals] be accepted, he will go to the French capital, and we will perhaps experience curious things. [20] He wrote some substantial works while a student, including a mass and a cantata, and after two years he was invited to continue his studies. From the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. [137] Rossini's typical aria structure involved a lyrical introduction ("cantabile") and a more intensive, brilliant, conclusion ("cabaletta"). [26] The following year his first opera seria, Tancredi, did well at La Fenice in Venice, and even better at Ferrara, with a rewritten, tragic ending. [36], The musical establishment of Naples was not immediately welcoming to Rossini, who was seen as an intruder into its cherished operatic traditions. In April 1855 the Rossinis set off for their final journey from Italy to France. a popular opera of that title by Paisiello, List of compositions by Gioachino Rossini, extensive collection of scores, documents and other Rossiniana, Longman Dictionary of Contemporary English, "Performances by City: Gioachino Rossini", "The thirty-nine operas of Gioachino Rossini (1792–1868): A conspectus of their composition and recordings", "The opera fantasias and transcriptions of Franz Liszt (D. Phil thesis, Oxford University)", 10.1093/gmo/9781561592630.article.O009039, 10.1093/gmo/9781561592630.article.O900429, 10.1093/gmo/9781561592630.article.O008249, 10.1093/gmo/9781561592630.article.O002744, 10.1093/gmo/9781561592630.article.O904698, 10.1093/gmo/9781561592630.article.O006978, International Music Score Library Project, Ciro in Babilonia, ossia La caduta di Baldassare, L'occasione fa il ladro, ossia Il cambio della valigia, Il signor Bruschino, ossia Il figlio per azzardo, Il barbiere di Siviglia, ossia L'inutile precauzione, La gazzetta, ossia Il matrimonio per concorso, La Cenerentola, ossia La bontà in trionfo, Adelaide di Borgogna, ossia Ottone, re d'Italia, Bianca e Falliero, ossia Il consiglio dei tre, Matilde di Shabran, ossia Bellezza e Cuor di Ferro, Il viaggio a Reims, ossia L'albergo del Giglio d'Oro, Moïse et Pharaon, ou Le passage de la mer rouge, Conservatorio Statale di Musica "Gioachino Rossini", https://en.wikipedia.org/w/index.php?title=Gioachino_Rossini&oldid=987094649, Burials at Basilica of Santa Croce, Florence, Conservatorio Giovanni Battista Martini alumni, Conservatorio Giovanni Battista Martini faculty, Recipients of the Pour le Mérite (civil class), Short description is different from Wikidata, Articles with Italian-language sources (it), Articles with International Music Score Library Project links, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with Léonore identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 4 November 2020, at 21:48.
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