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Encyclopedia Britannica - Main :: RON-SAC |
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ROSSINI, GIOACHINO ANTONIO (1792-1868) , Italian musical composer, was born at Pesaro on the 29th of February 1792. His father was town trumpeter and inspector of slaughter-houses, his mother a baker's daughter. The elder Rossini
critical pupil. Gioachino was taken from him and apprenticed to a smith
for his cantata Il pianto d' armonia per la ',torte d'Orfeo. Between 1810 and 1813, at Bologna, Rome, Venice and Milan, Rossini
Paisiello were undeniably present in fragments of the music. But all critical feeling on the part of the public was drowned in the effect of sweetness and clarity produced by such melodies as " Mi rivedrai, ti rivedro " and " Di tanti palpiti," the former of which became so popular that the Italians would sing it in crowds at the law courts until called upon by the judge to desist. Rossini continued to write operas for Venice and Milan during the next few years, but their reception was tame and in some cases unsatisfactory after the success of Tancredi. In 1815 he retired to his home at Bologna, where Barbaja, the impresario of the Naples theatre, who had once been a waiter in a coffee-house
Paisiello in Naples was an incentive to intrigue against the success of the youthful composer, but all hostility was made futile by the enthusiasm which greeted the court performance of his Elisabetta regina d' Inghilterra, in which Isabella Colbran, who subsequently became the composer's wife, took a leading part. The libretto of this opera by Schmidt was in many of its incidents an anticipation of those presented to the world a few years later in Scott's Kenilworth. The opera was the first in which Rossini wrote the ornaments of the airs instead of leaving them to the fancy of the singers, and also the first in which the recitativo sac() was replaced by a recitative accompanied by a quartet of strings. In Almaviva, produced in the beginning of the next year in Rome, the libretto, a version of Beaumarchais' Barbier de Seville by Sterbini, was the same as that already used by Paisiello in his Barbiere, an opera which had enjoyed European popularity for more than a quarter of a century. The indignation of Paisiello's admirers expressed itself strongly on the production of the new setting, but in the thirteen days devoted to the composition of his Almaviva, Rossini had created such a masterpiece of musical comedy that the fame of Paisiello's opera was transferred to his, to which the title of Il Barbiere di Siviglia passed as an inalienable heritage. Between 1815 and 1823 Rossini produced twenty operas. Of these Otello formed the climax to his reform of serious opera, and offers a suggestive contrast with the treatment of the same subject at a similar point of artistic development by the composer Verdi. In Rossini's time the tragic close was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello; and there are still places in Italy in which the Shakespearian end of the story can never be performed without interruption from the audience, who warn Desdemona of Otello's deadly approach. Conditions of stage mechanism in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element
ment of harmony " was too tempting to be refused, and he arrived at the Congress in time for its opening on the 20th of October 1822. Here he made friends with Chateaubriand and Madame de Lieven. In 1823, at the suggestion of the manager of the King's Theatre, London, he came to England, being much feted on his way through Paris. In England he was given a generous welcome, which included an introduction to King George IV. and the receipt of f7000 after a residence of five months. In 1824 he became musical director of the Theetre Italien in Paris at a salary of 800 per annum, and when the agreement came to an end he was rewarded with the offices of chief
triumph
house
Mario , Rubini, Delle Sedie, Albani, Grisi, Patti and Nilsson.End of Article: ROSSINI, GIOACHINO ANTONIO (1792-1868) If you wish, you can link directly to this article.
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