Rossini D.A.

(Rossini) Gioacchino Antonio (29 II 1792, Pesaro - 13 XI 1868, Passy, \u200b\u200bnear Paris) - Italian. composer. His father, a man of advanced, republican convictions, was a mountain musician. spirit. orchestra, mother - a singer. He learned to play the spinet initially with J. Prinetti, later (in Luga) with J. Mullerby. With an excellent voice and outstanding muses. abilities, R. from childhood sang in the church. choirs. OK. 1804 the R. family settled in Bologna. R. studied with A. Tezei (singing, playing the harpsichord, musical theory), later with M. Babini (singing); also mastered the art of playing the viola and violin. He sang with success in theaters and churches in Bologna, was a choir conductor and accompanist (accompanied on the harpsichord) in opera houses, isp. part of the viola in the amateur strings organized by him. quartet. Since 1806 (at the age of 14), member. Bologna Philharmonic. academy. In 1806-10 he studied at the Bologna muses. Lyceum with V. Cavedagni (cello), S. Mattei (counterpoint), as well as in the class of php. At the same time. wrote a number of opuses: 2 symphonies, 5 strings. quartets, the cantata "Complaint of Harmony on the Death of Orpheus" (Spanish in 1808 under the supervision of the author), etc. In 1806 he composed the first opera "Demetrio and Polybio" (post. 1812, Rome) in the tradition. genre of opera-series. In 1810 his farce "A Promissory Note for Marriage" was performed. Already here a bright and original musical theater appeared. R.'s talent, his melodic. generosity. Mastering the skill, R. wrote on several. operas a year (in 1812 - 5 operas, unequal, but testifying to the formation of the author's creative personality). Into the comic. operas, the composer found original solutions. So, in the farce "Happy Deception" he created a type of opera overture that became characteristic of most of his operas written for Italy: a contrasting juxtaposition of a melodious, slow introduction and a temperamental, cheerful, impetuous allegro, usually built on a cheerful, perky and lyrical, sly themes ... Thematic. there is no connection between the opera and the overture, but the color of the latter corresponds to the general emotional and psychological. the tone of the opera (an example of such an overture is in the farce The Silk Stairs, 1812). His next opera-buffa Touchstone (1812, commissioned by La Scala) was distinguished not only by the wit and cheerfulness of the music, but also by expressiveness and satirism. the accuracy of the characters. The opera-series "Tancred" and the opera-buffa "Italian in Algeria" (both 1813) reflected the patriotic. ideas that inspired ital. people in the atmosphere of the growing national-liberate. movements of the Carbonari. These operas showed reformatory tendencies, although the composer still does not break the framework of the tradition. genres. In Tancreda (based on the historical tragedy of the same name by Voltaire) R. introduced the heroic choirs. marching character, imbued with the intonations of mass fighting songs, developed a drama. recitative scenes, created heroic. arias of the nar.-song warehouse (however, by tradition, the role of the courageous Tancred was intended for the singer-drag queen). The opera-buffa "Italian in Algeria", replete with hilarious scenes, was enriched by R.'s pathetic. and heroic. episodes (the heroine's aria, accompanied by a chorus, a militant marching chorus of Italians, in which the intonations of the Marseillaise sound, etc.).

At the same time. R. continued to write trad. opera buffa (for example, "A Turk in Italy", 1814) and operas-seria ("Aurelian in Palmyra", 1813; "Sigismondo", 1814; "Elizabeth, Queen of England", 1815, etc.), but also in them he introduced innovations. So, for the first time in history ital. operatic art R. wrote out all virtuoso woks in the score of "Elizabeth". decorations and passages, which were previously improvised by singers; he introduced strings to the accompaniment of recitative. orchestral instruments, thereby eliminating the secco recitative (i.e., against the background of sustained harp chords).
In 1815 R., keen on national liberation. ideas, wrote at the request of the patriots of Bologna "The Hymn of Independence" (first used under his direction). After R.'s participation in the patriotic. demonstration Austr. the police established unspoken surveillance over him, which lasted many more. years.
In 1816, in 19-20 days, R. created his best op., An Italian masterpiece. opera buffa - "The Barber of Seville" (based on the comedy of Beaumarchais; in order to avoid parallelism with the opera by G. Paisiello on the same plot, R.'s opera was called "Almaviva, or A vain precautionDue to lack of time, R. used the overture to his opera Aurelian in Palmyra. In The Barber of Seville, he relied on the musical and dramatic discoveries of W. A. \u200b\u200bMozart and the best Italian buffoon traditions. everything innovative and bright, found by R. in his previous comic operas, was combined.The characters received juicy, multifaceted characteristics, the music sensitively follows unexpected turns of the action.The richness and flexibility of the vocal melody, either lyrically canted or generalizing intonation of temperamental Italian, is striking. Numerous and varied ensembles are the focus of musical and dramatic action. Even in previous works, R. updated and enriched the art of orchestration. The score of "The Barber of Seville" is evidence of R.'s high achievements in the field of orchestra: sparkling and melodious, timbre saturated and contrasting, loud and transparent.R. brought to perfection the reception he had encountered earlier of a huge emotional-dynamic growth, achieved by a gradual increase in the power of sonority and, connecting new singers. voices and instruments (in particular drums), general acceleration of tempo, rhythm. injection. R. introduced a similar crescendo at the end of certain arias, ensembles, and always in the conclusion of opera finals. The Barber of Seville is truly realistic. muses. comedy with elements of satire. Her heroes are endowed with typical characters snatched from life. Situations, with all the jumble of comedic situations and vivid theatricality, are natural and true. At the premiere, due to the intrigues of intriguers and envious people, the opera failed, but the next performance was already triumphant.

G. Rossini. "The Barber of Seville". Cavatina Figaro. Score page. Autograph.
R. sought new solutions in the opera-seria. The appeal to the drama of W. Shakespeare in the opera "Othello" (1816) meant a break with the legendary historian. themes typical of the opera seria. In a number of scenes in this opera, R. achieves a dramatically expressive outline of situations. New to Italian. of the opera was that the whole orchestra participates in the accompaniment of recitatives (recitative obligato). However, in "Othello" the conventions have not been completely overcome, there are miscalculations in the libretto, there are no muses. outlining characters.
Having exhausted the possibilities of opera-buff in "The Barber of Seville", R. strove to become a playwright. and imaginative genre renewal. He created everyday muses. comedy in lyric. tones, - "Cinderella" (based on the tale of C. Perrault, 1817), the semi-serious opera "The Thief Forty" (1817), in which genre scenes full of lyrics and soft humor are compared with pathetic. and tragic. episodes. Fundamentally new is thematic. the connection of the overture with the opera. The role of the orchestra has been strengthened, the rhythm and harmony have become richer, more diverse.
The most important milestone on the path of Italian restructuring. opera-seria in the nar.-heroic was the opera "Moses in Egypt" (1818), written in the genre of "tragic-sacred action". The biblical legend, which served as the basis for the libretto, is interpreted by the composer as an allusion to the modern. position ital. the people who suffered under the yoke of foreign invaders. The opera is sustained in the character of a stately oratorio (wide-ranging ensemble choir scenes prevail). The music is imbued with heroic. and a hymn. intonations and rhythms, severe marching. At the same time, she also has a purely Rossinian tenderness and lyricism. It went on with great success in Italy and abroad. Among the composer's successes is the opera "The Lady of the Lake" (based on the poem by Walter Scott, 1819), marked by pathos, restrained noble heroism; R. for the first time captured in his music the feeling of nature, the knightly flavor of the Middle Ages. Massive chorus. the scenes became even larger and more significant (in the finale of the 1st act, a sextet of soloists and 3 different choirs alternate and unite).
The constant need to write several. opera scores a year often adversely affected performance. The traditionally resolved opera-series on the historical stage was unsuccessful. plot "Bianca and Faliero" (1819). At the same time it means. an achievement was the opera "Mahomet II" (based on the tragedy of Voltaire, 1820), intended for the "San Carlo" theater in Naples, in which the composer's gravitation towards the heroic-patriotic. themes, unfolded scenes, through muses. development, dram. specificity. The composer also asserted new creative principles in the opera-series Zelmira (1822).
In 1820, during the revolutionary period. uprising in Naples, led by officers-carbonarii, R. joined the ranks of the nat. guard. In 1822 R., together with Italian. the troupe, which performed his opera with great success, was in Vienna. He was deeply impressed by Weber's opera "Free Shooter", performed under exercise. the author. In Vienna, R. visited L. Beethoven, whose creations he admired. In the end. 1822 he completed in Venice the score of the "tragic melodrama" "Semiramis" (after the tragedy of Voltaire, post. 1823). This is the last of the operas he wrote for Italy. She is distinguished by the integrity of the muses. development, active development of bright relief themes that have the value of through images, colorful harmony, symphony. and timbre enrichment of the orchestra, organic. weaving numerous. choirs to dramas. action, plastic, expressive recitation. recitatives and wok melodies. parties. With the help of these means, the composer embodied the island. and conflict situations, psychologically tense episodes of muses. tragedy. However, some traditions of the old opera-seria have been preserved here: solo woks. the parties are excessively virtuoso; the role of the young commander Arzache was entrusted with the contralto. The problem of muses has not yet been resolved. character in the opera-seria.
For R.'s work, the interpenetration of genres is typical (he did not consider opera-seria and opera-buffa as something isolated, mutually exclusive). Into the comic. operas meet drama. and even tragic. situations, in the opera-series - genre and everyday episodes; the lyric-psychological is increasing. the beginning, the drama intensifies, the features of the heroic appear. oratoriosity. R. strove for an operatic reform, similar to the one that Mozart carried out in Vienna. However, the well-known conservatism of the arts. Italian flavors. audience slowed down his creative. evolution.
In 1823 R. with a group of Italian. singers were invited to London for the Spanish. their operas. He conducted performances, performed as a singer and composer in concerts. From 1824 he was the head of the Teatro Italien, from 1826 the king. composer and inspector general of singing in Paris. Revolutionary city traditions, intellectual and arts. the center of Europe, the focus of advanced figures of art and culture - Paris of the 20s. became the most fertile ground for the full implementation of R.'s innovative aspirations. R.'s Paris debut (1825) turned out to be unsuccessful (opera-cantata Journey to Reims, or the Hotel of the Golden Lily, commissioned for the coronation of Charles X in Reims). Having studied the French. operatic art, especially its muses. drama and style, fr. language and its prosody, R. reworked for the Parisian scene one of his heroic-tragic. opera ital. period "Mohammed II" (written in a new lib., which acquired a topical patriotic orientation, R. deepened the expressiveness of the vocal. parts). Premiere of an opera titled The Siege of Corinth (1826, Royal Academy of Music and Dance) drew the approval of the audience and the Parisian press. In 1827 R. created the French. ed. opera "Moses in Egypt", also met with enthusiasm. In 1828, the opera The Count Ory appeared (libre by E. Scribe and III. Delestre-Poirson; the best pages of the music of Travel to Reims were used), in which R. proved to be a master in the new genre of French. comic. opera.
R. received much from the operatic culture of France, but at the same time influenced it. In France, R. had not only adherents and admirers, but also opponents ("anti-Russianists"), but they also recognized the high skill of the Italian. composer. R.'s music influenced the work of A. Boaldieu, F. Gerold, D. F. Aubert, as well as in the definition. measure by J. Meyerbeer.
In 1829, in the setting of societies. the rise of the eve of the July Revolution of 1830, the opera "Wilhelm Tell" was composed (libra. according to an old Swiss legend, which also served as the basis for the tragedy of F. Schiller), which became an outstanding result of all the previous searches of the composer in nar.-heroic. genre. The overture is interpreted in a new way - a free software symphony. poem, in a cut alternate lyric-epic., pastoral-pictorial, genre-effective episodes. The opera is full of choirs depicting people who live, rejoice, dream, mourn, resist, fight and win. According to A. N. Serov, R. showed "the seething of the masses" (monumental choir scene of the finale of the 2nd act; soloists and 3 choirs participate). In "Wilhelm Tell" the problem of creating individually outlined muses was solved. characteristics of the characters in the heroic. opera. Each character is endowed with a definite. the structure of rhythmic intonations; Tell is most prominently outlined. R. achieved the preservation of the individual appearance of each of the participants in numerous. ensembles developing into large stages full of continuous muses. development and drama. contrasts. Will distinguish. features of "Wilhelm Tell" - the monolithic acts, the development of musical-scenic. action in a big stroke. The role of dramatic-expressive recitatives, fastening the det. scenes into an indivisible whole. You will notice. the peculiarity of the timbre-colorful score is a subtle transfer of the local color. Opera is characterized by a new type of muses. drama, a new interpretation of heroics. R. created a realistic. nar.-heroic. and patriotic. an opera, in which great deeds are performed by ordinary people endowed with living characters, and their muses. the language is based on widespread song and speech intonations. Soon after "William Tell" the glory of the revolutionary was strengthened. opera. In monarchic. countries it was prohibited by censorship. For post. the name and the text had to be changed (for a long time in Russia the opera was called "Karl the Bold").
A restrained reception given to "William Tell" bourgeois aristocratic. public in Paris, as well as new trends in operatic art (the assertion of a romantic trend, alien to R.'s worldview, an adherent of the aesthetics of the Viennese classics), overwork caused by the most intense creativity - all this prompted the composer to abandon the further composing of operas. In the years that followed, he created many woks. and fp. miniatures: collection "Musical evenings" (1835), "Sins of old age" (not published); a number of hymns and 2 large vocals-symphons. manuf. - Stabat mater (1842) and "Little Solemn Mass" (1863). Despite the Orthodox Catholic. texts, expressive and emotional, embodying the wide world of human experiences, the music of these works. perceived as truly secular.
From 1836 to 1865 R. lived in Italy (Bologna, Florence), was engaged in teaching. work, supervised the Bologna muses. lyceum. He spent the last 13 years of his life in Paris, where his house became one of the most popular muses. salons.
R.'s work had a decisive impact on the subsequent development of Italian. operas (V. Bellini, G. Donizetti, G. Verdi) and a great influence on the evolution of 19th-century European opera art. "Positively, the entire great movement of the musical drama of our time, with all its wide horizons opening up before us, is closely connected with the victories of the author of" Wilhelm Tell "" (A. Serov). Inexhaustible melodic. wealth, lightness, sparkle, lyric-drama. The expressiveness of the music and the vivid scenic character determined the popularity of R.'s operas throughout the world.
Key dates of life and work
1792 .-- 29 II. In Pesaro in the family of a mountain musician. orchestra (French horn and trumpet player), slaughterhouse inspector Giuseppe R. (a native of Lugo) and his wife Anna - singer, daughter of a Pesar baker (nee Gidarini), born. son of Gioacchino.
1800. - Moving with parents to Bologna. - The first lessons of playing the spinet with J. Prinetti. Learning to play the violin.
1801. - Work in the theater. orchestra, where his father was a French horn player (performs the violin part).
1802. - Moving with parents to the city of Lugo. - Continuation of muses. classes with the canon J. Malerby, who introduced R. to the works. J. Haydn, W. A. \u200b\u200bMozart.
1804-05. - Return to Bologna. Lessons from Padre A. Tezei (singing, playing the harpsichord, initial musical-theoretical information) .- First muses. op. R. - Performances as a singer in churches. - Invitation to the t-ry of Bologna and nearby cities for conducting a choir, accompaniment of recitatives on a string, isp. solo woks. parts.- Lessons from tenor M Babini - Making R. amateur strings. quartet (performs viola).
1806. - IV. R.'s adoption. member Bologna Philharmonic. Academy. - Summer. Admission to the Bologna muses. Lyceum (cello class V. Cavedagni and php class).
1807. - Classes in counterpoint class with Padre S. Mattei. - Independent. study of scores by D. Cimarosa, Haydn, Mozart.
1808 .-- 11 VIII. Use under control R. his cantata "Complaint of Harmony on the Death of Orpheus" in a concert by the Bologna muses. lyceum. - Isp. in a concert of one of the academies in Bologna, the symphony D-dur P.
1810 - Mid-year. Termination of classes in the Bologna muses. lyceum. - 3 XI. Premiere of the farce opera Bill for Marriage (the overture was later used by R. in the opera Adelaide of Burgundy). - Conductor at the Concordi Academy concert in Bologna (Haydn's oratorio The Creation of the World was performed).
1812. - 8 I. Post. farce opera "Happy Deception" (the overture is used in the opera "Cyrus in Babylon"). - 26 IX. Fast. opera-buffa "Touchstone" (overture used in "Tancred") and other operas.
1813. - Post. a number of operas, including the opera series "Aurelian in Palmyra".
1815. - April. Use under control R. his "Anthem of Independence" in t-re "Cantavali" (Bologna) .- Autumn. Invitation of R. impresario D. Barbay to the post of permanent composer of the tr. "San Carlo" in Naples. - Acquaintance with the singer Isabella Colbrand. - Presentation of R. to the widow of Field Marshal M. I. Kutuzov - E. I. Kutuzova cantata "Aurora" , in a cut the melody of rus is used. dance song "Oh, why fence the garden" (later entered into the final of the 2nd day. "The Barber of Seville").
1816. - First post. operas R. outside Italy.
1818. - Honoring R. in Pesaro in connection with the opening of a new opera house and post. "Magpies-thieves".
1820. - Revolutionary. uprising in Naples, led by officers of the Carbonari. Adoption of the Constitution, the temporary coming to power of the bourgeois-liberal government - R.'s entry into the ranks of the nat. guard.
1821. - Post. in Rome, the opera "Matilda di Shabran", the first three performances were conducted by H. Paganini.- March. The defeat of the Austr. army of revolutionaries. uprisings in Naples, restoration of absolutism. - April. Use in Naples under control. R. Haydn's oratorio "Creation of the World".
1822. - Post. in t-re "San Carlo" (Naples) of the opera-series "Zelmira" (the last opera, written for this t-ra). - Marriage to I. Colbrand. - 23 III. Arrival of R. with his wife to Vienna. - 27 III. Attendance at the Viennese premiere of Weber's opera "Free Shooter". - Attendance at a concert where isp. 3rd ("Heroic") symphony of Beethoven. - Meeting and conversation of R. with L. Beethoven. - End of July. Return to Bologna. Creation of Sat. wok. exercises. - December. A trip to Verona at the invitation of K. Metternich for the purpose of composing and using 4 cantatas during the festivities accompanying the congress of the members of the Holy Union.
1823 .-- 3 II. Fast. "Semiramis" - the last opera by R., created in Italy. - Autumn. A trip with his wife to Paris, then, at the invitation of the Covent Garden impresario, to London.
1824 .-- 26 VII. Departure from London. - August. Occupation of the post of muses. director of the Théâtre Italien in Paris.
1825 .-- 19 VI. Fast. the opera-cantata "Journey to Reims", commissioned for the coronation of Charles X in Reims.
1826. - Appointment of R. to the post of king. composer and inspector general of singing - 11 VI. Fast. in Lisbon the farce "Adina, or the Caliph of Baghdad".
1827 - Received an honorary position as king. retinue, approval by a member of the King's Management Board. muses. schools and a member of the committee t-ra "King. Academy of Music and Dance".
1829 .-- 3 VIII. Fast. "William Tell." - Rewarding R. Order of the Legion of Honor. - Departure with his wife to Bologna.
1830. - September. Return to Paris.
1831. - Visiting Spain. Receiving an order from the Archdeacon of Seville, Don M. P. Varela to write Stabat mater - Return to Paris. - Severe nervous illness.
1832. - Acquaintance with Olympia Pelissier (later R.'s second wife).
1836. - Receiving from the French. government life pension. - Return to Bologna.
1837 - Break with I. Colbrand-Rossini.
1839. - Deterioration of health. - Received the title of honorary president of the commission for the reform of the Bologna muses. lyceum (becomes his permanent consultant).
1842. - Isp. Stabat mater in Paris (7 I) and in Bologna (13 III, under the direction of G. Donizetti).
1845. - 7 X. Death of I. Kolbran.- Appointment of R. to the post. director of the Bologna muses. lyceum.
1846 .-- 21 VIII. Marriage to O. Pelissier.
1848. - Moving with his wife to Florence.
1855. - Departure with his wife from Italy. Life in Paris.
1864 .-- 14 III. Use "Little Solemn Mass" in the palace of Count Pillé-Ville.
1867. - Autumn. Deterioration in health.
1868 .-- 13 XI. Death of R. at Passy, \u200b\u200bnear Paris. - 15 XI. Burial at the Pere Lachaise cemetery.
1887. - 2 V. Transfer of R.'s ashes to Florence, to the Church of Santa Croce.
Essays : operas - Demetrio and Polybio (1806, post. 1812, tr. "Balle", Rome), Bill for marriage (La cambiale di matrimonio, 1810, tr. "San Moise", Venice), Strange case (L "equivoco stravagante, 1811," Teatro del Corso ", Bologna), Happy deception (L" inganno felice, 1812, t-r "San Moise", Venice), Cyrus in Babylon (Ciro in Babilonia, 1812, t-r "Municipal", Ferrara), Silk staircase (La scala di seta, 1812, t-r "San Moise", Venice), Touchstone (La pietra del parugone, 1812, t-r "La Scala", Milan), Chance makes a thief, or Confused suitcases (L "occasione fa il ladro, ossia Il cambio délia valigia, 1812, tr." San Moise ", Venice), Signor Bruschino, or Accidental son (Il signor Bruschino, ossia Ilfiglio per azzardo , 1813, ibid.), Tancred (1813, t-r "Fenice", Venice), Italian in Algeria (L "italiana in Algeri, 1813, t-r" San Benedetto ", Venice), Aurelian in Palmyra (Aureliano in Palmira, 1813, La Scala, Milan), The Turk in Italy (Il turco in Italia, 1814, ibid.), Sigismondo (1814, "Fenice", Venice), Elizabeth, Queen of England (Elisabetta, regina d "Inghilterra, 1815, t-r" San Carlo ", Naples), Torvaldo and Dorliska (1815, t-r" Balle ", Rome), Almaviva , or Vain precaution (Almaviva, ossia L "inutile precauzione; known under the name. The Barber of Seville - Il barbiere di Siviglia, 1816, t-r "Argentina", Rome), Newspaper, or Marriage by competition (La gazzetta, ossia Il matrimonio per concorso, 1816, t-r "Fiorentini", Naples), Othello, or Venetian Moor (Otello, ossia Il toro di Venezia, 1816, t-r "Del Fondo", Naples), Cinderella, or Triumph of virtue (Cenerentola, ossia La bontа in trionfo, 1817, t-r "Balle", Rome) , Thief Magpie (La gazza ladra, 1817, te. "La Scala", Milan), Armida (1817, te. "San Carlo", Naples), Adelaide di Borgogna, 1817, te. "Argentina", Rome), Moses in Egypt (Mose in Egitto, 1818, t-r "San Carlo", Naples; French ed. - under the name Moses and Pharaoh, or Passage through the Red Sea - Mose et pharaon, ou Le passage de la mer Rouge, 1827, "The Royal Academy of Music and Dance", Paris), Adina, or the Caliph of Baghdad (Adina o Il califfo di Bagdado, 1818, post. 1826, t-r "San Carlo", Lisbon), Ricciardo and Zoraida (1818, t-r "San Carlo", Naples), Hermione (1819, ibid.), Eduardo and Christie on (1819, t-r "San Benedetto", Venice), the Virgin of the Lake (La donna del lago, 1819, t-r "San Carlo", Naples), Bianca and Faliero, or Council of three (Bianca e Faliero, ossia II consiglio dei tre, 1819, te. "La Scala", Milan), "Mohammed II" (1820, te. "San Carlo", Naples; French ed. - under the name. Siege of Corinth - Le siège de Corinthe, 1826, "Royal Academy of Music and Dance", Paris), Matilde di Shabran, or Beauty and an iron heart (Matilde di Shabran, ossia Bellezza e cuor di ferro, 1821, t-r "Apollo ", Rome), Zelmira (1822, t-r" San Carlo ", Naples), Semiramis (1823, t-r" Fenice ", Venice), Travel to Reims, or the Hotel of the Golden Lily (Il viaggio a Reims, ossia L "albergo del giglio d" oro, 1825, "Théâtre Italien", Paris), Count Ory (Le comte Ory, 1828, "The Royal Academy of Music and Dance", Paris), William Tell (1829, ibid.); pasticcio (from excerpts from R.'s operas) - Ivanhoe (Ivanhoe, 1826, t-r "Odeon", Paris), Testament (Le testament, 1827, ibid.), Chinderella (1830, t-r "Covent Garden", London ), Robert Bruce (1846, "The Royal Academy of Music and Dance", Paris), Going to Paris (Andremo a Parigi, 1848, "Teatro Italien", Paris), Amusing incident (Un curioso accidente, 1859, ibid.); for soloists, choir and orc. - Anthem of independence (Inno dell`Indipendenza, 1815, t-r "Kontavalli", Bologna), cantatas - Aurora (1815, ed. 1955, Moscow), The wedding of Thetis and Peleus (Le nozze di Teti e di Peleo, 1816, t -r "Del Fondo", Naples), Sincere tribute (Il vero omaggio, 1822, Verona), A happy omen (L "augurio felice, 1822, ibid.), Bard (Il bardo, 1822), Sacred union (La Santa alleanza, 1822), Complaint of the Muses on the death of Lord Byron (Il pianto délie Muse in morte di Lord Byron, 1824, Hall Almac, London), Choir of the Municipal Guard of Bologna (Coro dedicato alla guardia civica di Bologna, instrumented by D. Liverani, 1848, Bologna), Hymn to Napoleon III and his valiant people (Hymne b Napoleon et a son vaillant peuple, 1867, Palais des Industries, Paris), The national hymn (The national hymn, 1867, Birmingham); for orc. - symphonies (D major, 1808; Es major, 1809, used as an overture to the farce A Bill of Exchange), Serenade (1829), Military March (Marcia militare, 1853); for instruments with orc .-- Variations for obligate instruments F-major (Variazioni a piu strumenti obligati, for clarinet, 2 violins, viola, cello, 1809), Variations C-major (for clarinet, 1810); for the spirit. orc. - fanfare for 4 trumpets (1827), 3 marches (1837, Fontainebleau), Crown of Italy (La corona d "Italia, fanfare for military orc., tribute to Victor Emmanuel II, 1868); chamber instrumental ensembles - duets for French horns (1805), 12 waltzes for 2 flutes (1827), 6 sonatas for 2 skr., Vv. And k-bass (1804), 5 string quartets (1806-08), 6 quartets for flute, clarinet, French horn and bassoon (1808-09), Theme with Variations for Flute, Trumpet, French Horn and Bassoon (1812); for fp. - Waltz (1823), Verona Congress (Il congresso di Verona, 4 hands, 1823), Neptune's Palace (La reggia di Nettuno, 4 hands, 1823), Soul of Purgatory (L "вme du Purgatoire, 1832); for soloists and chorus - cantata Complaint of Harmony about Orpheus's death (Il pianto d "Armonia sulla morte di Orfeo, for tenor, 1808), Death of Dido (La morte di Didone, scenic monologue, 1811, isp. 1818, t-r" San Benedetto ", Venice), cantata (for 3 soloists, 1819, t-r" San Carlo ", Naples), Parthenope and Igea (for 3 soloists, 1819, ibid.), Gratitude (La riconoscenza, for 4 soloists, 1821 , ibid.); for voice with orc. - cantata Shepherd's offering (Omaggio pastorale, for 3 voices, for the opening of the bust of Antonio Canova, 1823, Treviso), Song of the Titans (Le chant des Titans, for 4 basses in unison, 1859, isp. 1861, Paris); for voice with php. - cantatas Elier and Irene (for 2 voices, 1814) and Jeanne d "Arcs (1832), Musical evenings (Soirées musicales, 8 ariette and 4 duets, 1835); 3 vocal quartets (1826-27); Exercises for soprano ( Gorgheggi e solfeggi per soprano.Vocalizzi e solfeggi per rendere la voce agile ed apprendere a cantare secondo il gusto moderno, 1827); 14 albums of vocals and instrumental pieces and ensembles, united under the title Sins of old age (Péchés de vieillesse: Album of Italian songs - Album per canto italiano, French album - Album français, Restrained pieces - Morceaux réservés, Four appetizers and four desserts - Quatre hors d "oeuvres et quatre mendiants, for fp., Album for fp., skr., ow., accordion and French horns; many others, 1855-68, Paris, unpublished); sacred music - Graduate (for 3 male voices, 1808), Mass (for male voices, 1808, Spanish in Ravenna), Laudamus (c. 1808), Qui tollis (c. 1808), Solemn Mass (Messa solenne, with P. Raimondi, 1819, Spanish 1820, Church of San Fernando, Naples), Cantemus Domino (for 8 voices with piano or organ, 1832, Spanish 1873), Ave Maria (for 4 voices, 1832, Spanish 1873), Quoniam (for bass and orc., 1832), Stabat mater (for 4 voices, choir and orc., 1831-32, 2nd ed. 1841-42, Spanish 1842, Vantadour hall, Paris), 3 choirs - Faith, Hope, Mercy (La foi, L "espérance, La charité, for women. Choir and fp., 1844), Tantum ergo (for 2 tenors and bass), 1847, Church of San Francesco dei Minori Conventuali, Bologna), O Salutaris Hostia (for 4 voices 1857), Little solemn mass (Petite messe solennelle, for 4 voices, chorus, accordion and fp., 1863, Spanish 1864, in the house of Count Pilllet-Ville, Paris), the same (for soloists, chorus and orc., 1864, isp. 1869, "Théatre Italien", Paris), Melody Requiem (Chant de Requiem, for ralto and fp. , 1864); music for drama performances. t-ra - Oedipus in Colon (to the tragedy of Sophocles, 14 numbers for soloists, choir and orc., 1815-16?). Letters : Lettere inedite, Siena, 1892; Lettere inedite, Imola, 1892; Lettere, Firenze, 1902. Literature : Serov A. N., "Count Ory", Rossini's opera, "Musical and Theater Bulletin", 1856, No. 50, 51, the same in his book: Selected Articles, vol. 2, M., 1957; same, Rossini. (Coup d "oeil critique)," Journal de St.-Pétersbourg ", 1868, No. 18-19, the same in his book: Selected Articles, vol. 1, M., 1950; Khokhlovkina A.," The Barber of Seville "G. Rossini, M., 1950, 1958; Siniaver L., Gioacchino Rossini, M., 1964; Bronfin E., Gioacchino Rossini. 1792-1868. A brief sketch of life and work, M.-L., 1966; e. same, Gioacchino Rossini. Life and work in materials and documents, M., 1973; Gioacchino Rossini. Selected letters, statements, memoirs, ed.-comp., author of introductory article and notes E. F. Bronfin, L., 1968; Stendhal, Vie de Rossini, P., 1824 (Russian translation - Stendhal, Rossini's Life, Collected works, vol. 8, M., 1959); Carpani G., Le Rossiniane, Padua, 1824; Ortigue J. d ", De la guerre des dilettanti, ou de la révolution opérée par M. Rossini dans l" opéra français, P., 1829; Berlioz G., Guillaume Tell, Gazette musicale de Paris, 1834, 12, 19 , 26 octobre, 2 novembre (Russian transl. - Berlioz G., "Wilhelm Tell", in his book: Selected Articles, M., 1956); Escudier M. et L., Rossini, P ., 1854; Mirecourt E. de, Rossini, P., 1855; Hiller, P., Aus dem Tonleben unserer Zeit, Bd 2, Lpz., 1868; Edwards H., Rossini, L., 1869; his, Rossini and his school, L., 1881, 1895; Rougin A., Rossini, P., 1870; Wagner R., Gesammelte Schriften und Dichtungen, Bd 8, Lpz., 1873; Hanslisk E., Die moderne Oper. Kritiken und Studien, B., 1875, 1892; Naumann E., Italienische Tondichter von Palestrina bis auf die Gegenwart, B., 1876; Daurias L., Rossini, P. 1905; Sandberger A., \u200b\u200bRossiniana, "ZIMG", 1907/08, Bd 9; Istel E., Rossiniana, "Die Musik", 1910/11, Bd 10; Saint-Sals C., Ecole buissonnière, P., 1913, p. 261-67; Para G., Gioacchino Rossini, Torino, 1915; Curzon H. de, Rossini, P., 1920; Radiciotti G., Gioacchino Rossini, vita documentata, opere ed influenza su l "arte, t. 1-3, Tivoli, 1927-29; its same, Anedotti autentici, Roma, 1929; Rrod" hоmme J.-G., Rossini and his works in France, "MQ", 1931, v. 17; Toue F., Rossini, L.-N. Y. 1934, 1955; Faller H., Die Gesangskoloratur in Rossinis Opern ..., B., 1935 (Diss.); Praccarolli A., Rossini, Verona, 1941, Mil., 1944; Wasshelli R., Gioacchino Rossini, Torino, 1941, Mil., 1954; him, Rossini on esperienze rossiniane, Mil., 1959; Rfister K., Das Leben Rossinis, W. 1948; Franzin N. O., Rossini, Stockh. 1951; Kuin J. P. W., Goacchino Rossini, Tilburg, 1952; Gozzano U. , Rossini, Torino, 1955; Rognoni L., Rossini, (Parma), 1956; Weinstock H., Rossini. A biography, N. Y. 1968; "Nuova Rivista musicale italiana", 1968, Anno 2, no. 5, sett./oct. (number of dedic. R.); Harding J., Rossini, L., 1971, the same, N. Y., 1972. E. P. Bronfin.

Musical encyclopedia. - M .: Soviet encyclopedia, Soviet composer. Ed. Yu.V. Keldysh. 1973-1982 .

Gioacchino Antonio Rossini (1792-1868) - an outstanding Italian composer, author of 39 operas, sacred and chamber music.

short biography

Born in Pesaro (Italy) into a French horn family. In 1810 he wrote the opera "The Marriage Bill", which received no recognition. Success came to Rossini three years later, when his opera Tancred was staged in Venice, which won the largest opera houses in Italy. Since then, he has been successful in almost all European countries. In 1815 he signed a contract in Naples with the entrepreneur D. Barbaya, pledging to write two operas a year for a constant annual salary. Until 1823, the composer worked selflessly, fulfilling the terms of the contract. At the same time, he made a tour of Vienna, where he received an enthusiastic welcome.

Having lingered for a short time in Venice, and having written the opera "Semiramis" there for the local theater, Rossini went to London, where he enjoyed great success as a composer and conductor, and then to Paris. In Paris, he became director of the Italian Opera, but was soon fired from this position. Taking into account the merits of Rossini as the greatest composer of the era, the post of chief intendant of royal music was created for him, and then - chief inspector of singing in France.

Having finished work on "William Tell" in 1829, Rossini did not write another opera until his death. All his composing work of this time was limited to "Stabat Mater", several chamber and choral works and songs. This is perhaps the only case in the history of music when the composer himself deliberately interrupted his creative work.

At times he still conducted, but mainly enjoyed the fame of an honored musician-composer and was engaged in cuisine. A great gourmet, he loved delicious dishes and knew how to cook them, endlessly inventing new recipes. For some time he was a co-owner of the Paris Opera House. From 1836 he lived in Italy, mainly in Bologna, but after 19 years, he returned to Paris and did not leave it until the end of his life.

When it was decided during Rossini's lifetime to erect a monument worth two million lire in his homeland in Pesaro, the composer disagreed, objected: "Give me this money, and I will stand for two hours on the plinth in any position every day for two years." ...

Rossini's creative legacy includes 37 operas (The Barber of Seville, The Thief Magpie, The Italian Woman in Algeria, Cinderella, William Tell, etc.), Stabat Mater, 15 cantatas, numerous choral works, songs, chamber pieces (mainly wind quartets). His music is in the style of late classicism and in Italian traditions. It is distinguished by extraordinary temperament, inexhaustible melodic diversity, lightness, brilliant use of all shades of instruments and performing voices (including the coloratura mezzo-soprano that has not been encountered before), rich accompaniment, independent interpretation of orchestral parts, and skillful characterization of stage situations. All these merits put Rossini, along with Mozart and Wagner, among the greatest opera composers.

Artworks

operas:
"Promissory note for marriage" (1810)
"Italian in Algeria" (1813)
The Barber of Seville (1816)
Cinderella (1817)
"Moses in Egypt" (1818)
Wilhelm Tell (1829)
5 string quartets
Stabat Mater (1842)

Plan
Introduction
1 Biography
2 Operas
3 Others musical works
List of references

Introduction

Gioachino Antonio Rossini (Italian Gioachino Antonio Rossini; February 29, 1792, Pesaro, Italy - November 13, 1868, Passy, \u200b\u200bFrance) - Italian composer, author of 39 operas, sacred and chamber music, cellist.

1. Biography

Rossini's father was a French horn player, his mother was a singer; the boy grew up from an early age in a musical environment and, as soon as his musical talent was discovered, he was sent to develop his voice to Angelo Thesei in Bologna. In 1807, Rossini became a pupil of the Abbot Mattei in composition at the Liceo filarmonico in Bologna, but interrupted his studies as soon as he took a course of simple counterpoint, since, according to Mattei, knowledge of the latter was quite enough to be able to write operas.

Rossini's first experience was the one-act opera La cambiale di matrimonio (1810 at the Teatro San Mose in Venice), which received little attention, as did the second, Strange Case (Italian L "equivoco stravagante ; Bologna, 1811); however, they liked them so much that Rossini was overwhelmed with work and had already written 5 operas by 1812. The following year, Tancred was staged at the Fenice Theater in Venice, and then Italian Woman in Algeria, which had a large success.

But Rossini's greatest triumph came in 1816 with the production of the Barber of Seville on the stage of the Argentina Theater in Rome; In Rome, The Barber of Seville was greeted with great distrust, since they considered it impudent that anyone would dare to write, after Paisiello, an opera on the same plot; Rossini's opera was received even coldly at the first performance; the second performance, which the upset Rossini himself did not conduct, on the contrary, had an intoxicating success: the audience even staged a torchlight procession.

In the same year followed in Naples "Othello", in which Rossini for the first time completely expelled recitativo secco, then "Cinderella" in Rome and "Forty-thief" 1817 in Milan. In 1815-23, Rossini signed a contract with the theatrical entrepreneur Barbaya, according to which, for an annual fee of 12,000 lire (4450 rubles), he was obliged to deliver 2 new operas every year; at that time Barbaya had in her hands not only the Neapolitan theaters, but also the Scala Theater in Milan and the Italian Opera in Vienna.

In 1821 Rossini married the singer Isabella Colbrand. In 1823, at the invitation of the director of the Royal Theater in London, the composer went to Great Britain, where he was paid a salary of 7,000 pounds sterling for five months' work. In 1824 Rossini was appointed director of the Italian Theater in Paris.

Rossini had no organizational skills at all, and within two years the position of the theater had fallen so badly that Viscount La Rochefoucauld, with the consent of Rossini himself, dismissed him from the entreprise and appointed him chief quartermaster of royal music and chief inspector of singing, a sinecure that brought Rossini 20,000 francs of salary. Although the July Revolution deprived Rossini of these positions, he succeeded through a lengthy process to secure a pension of 6,000 francs. Rossini wrote Tell in 1829, his main work in the field of grand opera and at the same time his last stage work.

During a long period of time from 1829 until his death (38 years), Rossini took up the pen only to write his anthem Stabat Mater (1832); in a later, expanded form 1841) and several church compositions and cantatas.

In 1845, the composer's first wife dies. In 1847 Rossini married Olympia Pelissier. In 1855 he settled again in Paris, making his home one of the most fashionable music salons.

Rossini died on November 13, 1868 in the town of Passy, \u200b\u200bnear Paris. In 1887, the composer's remains were transported to Florence.

The Conservatory is named after Rossini hometown, created according to his will.

· "Marriage bill" (La Cambiale di Matrimonio) - 1810

· "Strange case" (L'equivoco stravagante) - 1811

· "Demetrio and Polybius" (Demetrio e Polibio) - 1812

· "Happy Deception" (L'inganno felice) - 1812

· "Cyrus in Babylon, or the Fall of Belshazzar" (Ciro in Babilonia (La caduta di Baldassare)) - 1812

· "Silk staircase" (La scala di seta) - 1812

· "Touchstone" (La pietra del paragone) - 1812

· "Chance makes a thief" (L'occasione fa il ladro (Il cambio della valigia)) - 1812

· "Signor Bruschino" (Il Signor Bruschino (or Il figlio per azzardo)) - 1813

· "Tancredi" (Tancredi) - 1813

· "Italian in Algeria" (L'Italiana in Algeri) - 1813

· "Aureliano in Palmira" (Aureliano in Palmira) - 1813

· "Turk in Italy" (Il Turco in Italia) - 1814

· "Sigismund" (Sigismondo) - 1814

· "Elizabeth of England" (Elisabetta regina d'Inghilterra) - 1815

· "Torvaldo and Dorliska" - 1815

· "Almaviva, or Vain Precaution" (The Barber of Seville) (Almaviva (ossia L'inutile precauzione (Il Barbiere di Siviglia))) - 1816

· "Newspaper" (La gazzetta (Il matrimonio per concorso)) - 1816

· "Otello, or the Venetian Moor" (Otello o Il moro di Venezia) - 1816

· "Cinderella, or the Triumph of Virtue" (La Cenerentola o sia La bontà in trionfo) - 1817

· "Thief Magpie" (La gazza ladra) - 1817

· "Armida" (Armida) - 1817

· "Adelaide of Burgundy, or Otto, King of Italy" (Adelaide di Borgogna or Ottone, re d'Italia) - 1817

· "Moses in Egypt" (Mosè in Egitto) - 1818

· "Adina, or the Caliph of Baghdad" (Adina or Il califfo di Bagdad) - 1818

· "Ricciardo and Zoraide" (Ricciardo e Zoraide) - 1818

· "Hermione" (Ermione) - 1819

· "Eduard and Christina" (Eduardo e Cristina) - 1819

· "Virgin of the Lake" (La donna del lago) - 1819

· "Bianca and Falliero" ("Council of Three") (Bianca e Falliero (Il consiglio dei tre)) - 1819

· "Maometto second" (Maometto secondo) - 1820

· "Matilde di Shabran, or Beauty and the Iron Heart" (Matilde di Shabran, or Bellezza e Cuor di Ferro) - 1821

· "Zelmira" (Zelmira) - 1822

· "Semiramide" (Semiramide) - 1823

· "Travel to Reims, or the Hotel" Golden Lily "" (Il viaggio a Reims (L'albergo del giglio d'oro)) - 1825

· "Siege of Corinth" (Le Siège de Corinthe) - 1826

· "Moses and Pharaoh, or the Passage through the Red Sea" (Moïse et Pharaon (Le passage de la Mer Rouge) - 1827 (revision of "Moses in Egypt")

· "Count Ori" (Le Comte Ory) - 1828

· "Wilhelm Tell" (Guillaume Tell) - 1829

3. Other pieces of music

Il pianto d'armonia per la morte d'Orfeo

Petite Messe Solennelle

· Cats Duet (attr.) - attributed.

Bassoon concerto

Messa di Gloria

List of references:

1. One or two “ks” in Gioaquino's name reflect the instability in the writing of the Italian original: Gioachino or Gioacchino.

2. Rossini in the Great Soviet Encyclopedia

The Belcanto Foundation organizes concerts in Moscow featuring music by Gioacchino Rossini. On this page, you can see the poster of upcoming concerts in 2020 with music by Gioacchino Rossini and buy a ticket for a date convenient for you.

Rossini Gioacchino (1792 - 1868) - Italian composer, nicknamed the "Pesar Swan". Son of a trumpeter and an opera singer. As a child, Rossini moved to Bologna, where he began his studies on the harpsichord; he also practiced singing. For 15 years, Rossini entered the Bologna Music Lyceum, where he studied until 1810; Abbot Mattei was his teacher in composition. At the same time, Rossini began conducting opera performances. Rossini's first creative experiments - vocal numbers for an itinerant troupe and a one-act comic opera "A Promissory Note for Marriage" (1810) date back to this time. The young composer tried to compose several operas for Milan and Venice, but none of them was successful.
Then the composer went to Rome, where he was going to write and stage several operas. The second of these was the opera The Barber of Seville, first staged on February 20, 1816. The failure of the opera at the premiere was as loud as its future triumph. The following comic operas by Rossini, like Donizetti, did not bring anything fundamentally new, with all their individual artistic merit.
Not having time to write the overture, he used an overture from "Elizabeth" in this opera. The music of The Barber of Seville, temperamental, sparkling with wit and merriment, is rooted in the favorite genres of Italian folk dance and song. Characteristics of the characters (mainly in the arias) are distinguished by accuracy and figurative relief.
Later, having lost interest in comic opera, Rossini in subsequent years devotes his work mainly to the heroic-patriotic opera. This should be seen as a reflection of the growth of patriotic feelings and national consciousness during the period of the liberation struggle of the Italian people.
Gioachino Rossini possessed a rare melodic talent. An endless stream of captivating melodies, now sincerely lyrical, now sparkling, fills the music of his operas, which Pushkin compared to young kisses, a stream and splashes of hissing ai. The orchestra in Rossini's operas is not limited to an accompanying role - it is notable for its dramatic expressiveness, it participates in the characteristics of heroes and stage situations.
If the composition of Rossini's operas is traditional (musical numbers alternating with recitatives), then in essence his work led to the renewal of the main directions of Italian operatic art and determined his further paths.

Gioachino Rossini is an Italian composer of wind and chamber music, the so-called "last classic". The author of 39 operas, Gioacchino Rossini is known as one of the most prolific composers with a unique approach to creativity: in addition to studying the country's musical culture, he includes working with language, rhythm and sound of the libretto. Rossini was noted by Beethoven for the opera-buff "The Barber of Seville". The works "Wilhelm Tell", "Cinderella" and "Moses in Egypt" have become world opera classics.

Rossini was born in 1792 in the city of Pesaro into a family of musicians. After the arrest of his father for supporting the French Revolution, the future composer had to live in wanderings around Italy with his mother. At the same time, the young talent tried to master musical instruments and was engaged in singing: Gioacchino had a strong baritone.

The works of Mozart and Haydn, which Rossini studied while studying in the city of Lugo from 1802, had a great influence on the work of Rossini. There he also made his debut as an opera performer in the play Gemini. In 1806, having moved to Bologna, the composer entered the Musical Lyceum, where he studied solfeggio, cello and piano.

The composer's debut took place in 1810 at the Venetian theater "San Moise", where he staged a buffo opera based on the libretto "Marriage Bill". Inspired by his success, Rossini wrote the opera-series Cyrus in Babylon, or the Fall of Belshazzar, and in 1812 - the opera Touchstone, which brought Gioachino the recognition of La Scala. The following works "Italian in Algeria" and "Tancred" brought Rossini fame as the maestro of buffoonery, and for his penchant for melodic and melodic harmonies Rossini was nicknamed "Italian Mozart".

Having moved to Naples in 1816, the composer wrote the best work of the Italian buffoonery - the opera The Barber of Seville, which eclipsed the opera of the same name by Giovanni Paisiello, which was considered a classic. After a resounding success, the composer switched to an opera drama, writing The Thief Magpie and Othello - operas in which the author worked not only the scores, but also the text, setting strict requirements for the soloists.

After successful work in Vienna and London, the composer conquers Paris with the opera "The Siege of Corinth" in 1826. Rossini skillfully adapted his operas for the French audience, studying the nuances of the language, its sound, as well as the peculiarities of national music.

The musician's active creative career ended in 1829, when classicism was replaced by romanticism. Further, Rossini teaches music and is fond of gourmet cuisine: the latter led to a stomach illness, which caused the death of the musician in 1868 in Paris. The property of the musician was sold in accordance with the will, and with the proceeds, the Educational Conservatory was founded in the city of Pesaro, which teaches musicians today.