Gioachino Rossini

Biography

Born: Feb 29, 1792; Italy   Died: Nov 13, 1868; France   Period: Romantic
Gioachino Rossini's parents were both working musicians. His father played the horn and taught at the prestigious Accademia Filharmonica in Bologna, and his mother, although not formally trained, was a soprano. Rossini was taught and encouraged at home until he eventually enrolled at the Liceo Musicale in Bologna. After graduation from that institution, the young musician was commissioned by the Venetian Teatro San Moise to compose La cambiale di Read more matrimonio, a comedy in one act. In 1812, Rossini wrote La pietra del paragone, for La Scala theater in Milan and was already, at the tender age of 20, Italy's most prominent composer.
In 1815, Rossini accepted a contract to work for the theaters in Naples, where he would remain until 1822, composing prolifically in comfort. He composed 19 operas during this tenure, focusing his attention on opera seria and creating one of his most famous serious works, Otello, for the Teatro San Carlos. While he served in this capacity, Rossini met and courted Isabella Colbran, a local soprano whom he would eventually marry. Other cities, too, clamored for Rossini's works, and it was for Roman audiences that he composed the sparkling comedies Il barbiere di Siviglia (The Barber of Seville, 1816) and La cenerentola (Cinderella, 1817).
In 1822, Rossini left Naples and embarked on a European tour. The Italian musician was received enthusiastically to say the least, and enjoyed fame and acclaim everywhere. Even Beethoven, at the opposite stylistic pole in the musical scene of the day, praised him. The following year, Rossini was commissioned to write Semiramide, a serious opera, for La Fenice, a theater in Venice. This work was less successful in its own day than some of his previous efforts, but spawned several arias that remain part of any vocalist's songbook. In 1824, Rossini traveled, via London, to Paris where he would live for five years and serve as the music director at the Théâtre Italien from 1824 to 1826. The composer gained commissions from other opera houses in France, including the Paris Opéra. Rossini composed his final opera, Guillaume Tell (1829), before retiring from composition in that genre at the age of 37. Its overture is not only a concert favorite but an unmistakable reflection and continuation of Beethoven's heroic ideal. The catalog of work Rossini had written at the time of his retirement included 32 operas, two symphonies, numerous cantatas, and a handful of oratorios and chamber music pieces. After moving back to Italy, Rossini became a widower in 1845. His marriage to Isabella Colbran had not been particularly happy, and shortly after her death, the composer married Olympe Pelissier, a woman who had been his mistress.
In 1855, Rossini, along with his new bride, moved once again, this time settling in Passy, a suburb of Paris. He spent the remaining years of his life writing sacred music as well as delectable miniatures for both piano and voice (some of which he called "sins of my old age"). He was revered from the time he was a teenager until his death. Rossini was buried in Paris' Père Lachaise cemetery in proximity to the graves of Vincenzo Bellini, Luigi Cherubini, and Frédéric Chopin. In 1887, Rossini's grave was transferred from Paris to Santa Croce, in Florence, in a ceremony attended by more than 6,000 admirers.
Rossini's chief legacy remains his extraordinary contribution to the operatic repertoire. His comedic masterpieces, including L'Italiana in Algeri, La gazza ladra, and perhaps his most famous work, Il barbiere di Siviglia, are regarded as cornerstones of the genre along with works by Wolfgang Amadeus Mozart and Giuseppe Verdi. Read less
Rossini: Overtures / Pappano
Release Date: 10/28/2014   Label: Warner Classics  
Catalog: 624344   Number of Discs: 1
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Rossini: Il Turco In Italia / Chailly, Bartoli
Release Date: 04/14/1998   Label: Decca  
Catalog: 458924   Number of Discs: 2
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Rossini: Il Barbiere Di Siviglia / Florez, DiDonato, Spagnoli
Release Date: 04/20/2010   Label: Virgin Classics  
Catalog: 94581   Number of Discs: 2
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Rossini: Guillaume Tell / Muti, Zancanaro, Merritt, La Scala
Release Date: 06/15/2004   Label: Opus Arte  
Catalog: 3002   Number of Discs: 2
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Rossini:  La Donna Del Lago / Muti, Blake, Merritt, Et Al
Release Date: 01/18/2005   Label: Opus Arte  
Catalog: 3009   Number of Discs: 1
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Work: Il barbiere di Siviglia: Overture

 

About This Work
If the music of Rossini's overture to The Barber of Seville seems to have a peculiar amount of "swashbuckling" surge and vigor for a comic opera prelude, it may be because the self-same overture had originally been composed for an earlier Read more opera, Aureliano in Palmira, an historical work whose subject was the Crusades. It is believed that the same overture was called into use two more times before settling into the waiting room of the good barber Figaro. Rossini's recycling provides an interesting contrast with Beethoven, who composed four different overtures to arrive at the one he deemed suitable to his sole opera Fidelio. The once-perceived Sturm und Drang of the overture has been blunted by association, not only by the composer's accompanying setting of the Beaumarchais comedy but also by its jocular appearances in a Bugs Bunny cartoon, the Beatles' film Help, and a Seinfeld episode. The music is inextricably linked with high-spirited humor.

Owing to its transposed origins, the overture contains no material from the opera Il Barbiere di Siviglia. It is, however, most successful in its function, that of providing a feeling of deliciously nervous anticipation for the action to follow. Its wealth of vivacious and varied themes and its feeling of impetuous momentum render it one of the best opera overtures penned by anyone. Two brash chords herald the beginning, followed by a scampering yet hesitating figure which figures through most of the introduction; a contrasting central section is a sunny lyrical tune which could easily have been an aria. The intro seemingly drifts to somnolence until the opening chords jolt the music back to reality. A slightly grotesque Neapolitan dance takes center stage and is followed by a more jovial theme tossed between woodwinds and horns. Then begins one of Rossini's best crescendi, its headlong propulsion almost breakneck. A dramatic and sonorous chord progression in the coda suggests the overture's more serious origins, leading to the heartily assertive major key close of one of opera's most popular and best-wrought overtures.

-- Wayne Reisig Read less

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