Gioachino Rossini

Italian composer 1792-1868. Born 29 February 1792. Died 13 November 1868
Gioachino Rossini
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1792-02-29
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Gioachino Rossini

Gioachino Rossini Biography (BBC)

The most popular, successful and influential opera composer of the first half of the 19th century, Gioachino Rossini undertook the titanic task of dragging the cumbersome and moribund forms of 18th-century Italian opera into a new era. In the process, it took him just three weeks of 1816 to create in The Barber of Seville one of the all-time masterpieces of comic opera. That was just one of his 38 stage works in all the major contemporary genres.

Unlike that other giant of 19th century Italian opera, Giuseppe Verdi, Rossini chose to take early retirement from the theatrical world – at the age of only 37 – and to devote the remaining 40 years of his life to the other great passion of his life – food. We owe the Tournedos Rossini to his inspiration. The only musical products of his later life were the delightful series of salon pieces which he called Péchés de vieillesse (‘Sins of Old Age’, 1857–68) and two sacred works, the Stabat mater (1841) and his ‘last mortal sin’, the Petite messe solennelle (1863) for two solo voices, two pianos and harmonium.

Born in 1792 in Pesaro, the son of a horn player and a singer, Rossini began to compose as a child, and was commissioned to write his first opera at the age of 15. Further commissions followed; several from the Teatro San Moïse in Venice for a series of one-act farse including The Silken Ladder (1812) and Signor Bruschino (1813). Rossini rarely took more than a month or so to prepare each of his early operas, and between 1810 and 1822 he turned out a steady flow of works, both comic and serious, for production in Venice, Milan, Naples and Rome.

Of these, The Barber of Seville was a disappointing failure at its Rome premiere in 1816, but the following year Rossini bounced back with La Cenerentola (‘Cinderella’), closely followed by La gazza ladra (‘The Thieving Magpie’) for Milan. His greatest opere serie were written for Naples between 1817 and 1822: they included Mosè in Egitto (‘Moses in Egypt’), La donna del lago (‘The Lady of the Lake’), Maometto II and Zelmira. Semiramide, written in 1823, marked the end of Rossini’s Italian career. He was by then so famous that he could no longer resist tempting offers from abroad, and the same year he left for Paris. He had 34 operas to his credit, and was still only 31 years old.

Over the next six years he wrote his final compositions for the Paris stage; they included a revision of Mosè in Egitto as Moïse (1827), Count Ory (1828) and William Tell (1829), his last and arguably finest operatic work. Opera owes to Rossini the evolution of new musical forms in the service of the drama: in particular, the expansion and integration of the function of the chorus; the development of the coloratura aria; the introduction of new subjectmatter to revitalise the stereotypes of opera seria; and the creation of brilliant overtures able to take their place in the concert repertory.

Profile © Wendy Thompson

Gioachino Rossini Biography (Wikipedia)

Gioachino Antonio Rossini ( (listen); 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 works of 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 fame.

Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote a total of 34 operas for the Italian stage which were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa, as well as opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. 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.

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Gioachino Rossini Performances & Interviews


Gioachino Rossini Tracks

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Gioachino Rossini
Largo al Factotum (The Barber of Seville)
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Largo al Factotum (The Barber of Seville)
Gioachino Rossini
Il Barbiere di Siviglia, Overture
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Il Barbiere di Siviglia, Overture
Gioachino Rossini
The Thieving Magpie (Overture)
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The Thieving Magpie (Overture)
Gioachino Rossini
The Silken Ladder (Overture)
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The Silken Ladder (Overture)
Gioachino Rossini
La Cenerentola: Overture
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La Cenerentola: Overture
Gioachino Rossini
Il signor Bruschino (Overture)
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Il signor Bruschino (Overture)
Gioachino Rossini
Una voce poco fa - from Il Barbiere di Siviglia
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Una voce poco fa - from Il Barbiere di Siviglia
Gioachino Rossini
La pace mia smarrita (from Moses in Egypt)
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La pace mia smarrita (from Moses in Egypt)
Gioachino Rossini
The Thieving Magpie overture
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The Thieving Magpie overture
Gioachino Rossini
Overture to La Gazza ladra [The thieving magpie]
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Overture to La Gazza ladra [The thieving magpie]
Gioachino Rossini
Una voce poco fa
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Una voce poco fa
Gioachino Rossini
The Silken Ladder Overture
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The Silken Ladder Overture
Gioachino Rossini
Overture from Il Barbiere di Siviglia (The Barber of Seville)
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Overture from Il Barbiere di Siviglia (The Barber of Seville)
Gioachino Rossini
Largo al factotum (Barber of Seville)
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Largo al factotum (Barber of Seville)
Gioachino Rossini
Crucifixus, Et resurrexit, Et vitam from Petite Messe Solennelle
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Crucifixus, Et resurrexit, Et vitam from Petite Messe Solennelle
Gioachino Rossini
Petite Messe solennelle (Gloria - Qui tollis)
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Petite Messe solennelle (Gloria - Qui tollis)

Petite Messe solennelle (Gloria - Qui tollis)

Singer
Unnamed soloists
Choir
Kirchheimer Vokal-Consort
Performer
Simon Bucher
Andreas Grasle
Last played on
Gioachino Rossini
L'Italiana in Algeri (Overture)
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L'Italiana in Algeri (Overture)
Gioachino Rossini
Introduction, Theme and Variations for clarinet and orchestra
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Introduction, Theme and Variations for clarinet and orchestra
Gioachino Rossini
Sonata a quattro no.4 in B flat major (3rd mvt)
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Sonata a quattro no.4 in B flat major (3rd mvt)
Gioachino Rossini
The Thieving Magpie (Overture)
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The Thieving Magpie (Overture)
Gioachino Rossini
The Barber of Seville (Overture)
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The Barber of Seville (Overture)
Gioachino Rossini
Sonata No.1 in G major for string orchestra
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Sonata No.1 in G major for string orchestra

Sonata No.1 in G major for string orchestra

Orchestra
Romanian National Chamber Orchestra
Conductor
Gioachino Rossini
Variazione a più strumenti obbligati
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Variazione a più strumenti obbligati
Gioachino Rossini
William Tell, Act III: Danse, Toi Que L'Oiseau ne Suvrait pas, Pas De Soldats
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William Tell, Act III: Danse, Toi Que L'Oiseau ne Suvrait pas, Pas De Soldats
Gioachino Rossini
William Tell Overture
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William Tell Overture
Gioachino Rossini
La cambiale di matrimonio (Overture)
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La cambiale di matrimonio (Overture)
Gioachino Rossini
Introduction and theme and variations
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Introduction and theme and variations

Introduction and theme and variations

Performer
Laszlo Horvath
Orchestra
Hungarian Radio Orchestra
Gioachino Rossini
The Silken Ladder: Overture
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The Silken Ladder: Overture
Gioachino Rossini
Il Barbiere di Siviglia 'Dunque io son...tu no m'inganni?'
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Il Barbiere di Siviglia 'Dunque io son...tu no m'inganni?'
Gioachino Rossini
Introduction and Variations for clarinet and orchestra
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Introduction and Variations for clarinet and orchestra
Gioachino Rossini
String Sonata No.6 in D major: I. Allegro spiritoso
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String Sonata No.6 in D major: I. Allegro spiritoso
Gioachino Rossini
The Barber of Seville (Overture)
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The Barber of Seville (Overture)
Gioachino Rossini
Quartettino 'I Gondolieri
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Quartettino 'I Gondolieri

Quartettino 'I Gondolieri

Performer
Raphaela Papadakis
Alice Rose Privett
Jess Dandy
Martin Hassler
Gioachino Rossini
The Barber of Seville: Cavatina
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The Barber of Seville: Cavatina
Gioachino Rossini
William Tell (Overture)
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William Tell (Overture)
Gioachino Rossini
L'Italiana in Algeri
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L'Italiana in Algeri
Gioachino Rossini
L' Italiana in Algeri (overture)
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L' Italiana in Algeri (overture)
Gioachino Rossini
La Cenerentola (Overture)
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La Cenerentola (Overture)
Gioachino Rossini
Una voce poco fa
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Una voce poco fa
Gioachino Rossini
La Scala di seta [The silken ladder] - opera in 1 act i Overture
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La Scala di seta [The silken ladder] - opera in 1 act i Overture
Gioachino Rossini
Lindoro's cavatina 'Languir per una bella' (from L' Italiana in Algeri)
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Lindoro's cavatina 'Languir per una bella' (from L' Italiana in Algeri)
Gioachino Rossini
La Danza (Les Soirees musicales)
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La Danza (Les Soirees musicales)
Gioachino Rossini
Ricciardo e Zoraide Act II
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Ricciardo e Zoraide Act II
Gioachino Rossini
La scala di seta (Overture)
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La scala di seta (Overture)
Gioachino Rossini
William Tell - Overture
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William Tell - Overture
Gioachino Rossini
William Tell - Overture
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William Tell - Overture
Gioachino Rossini
Tancredi: Come dolce all'alma mia
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Tancredi: Come dolce all'alma mia
Gioachino Rossini
Gioachino Rossini (musical signature)
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Gioachino Rossini (musical signature)
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