What praises the poets of Gioacchino Rossini lavished! Heinrich Heine called him "divine maestro", Alexander Sergeevich Pushkin - "Europe's darling" ... but, perhaps, it would be more correct to call him the savior of Italian opera. Italy is invariably associated with the art of opera, and it is not easy to imagine that Italian opera could lose ground, degenerate into something empty - into empty entertainment in the opera buffa and a series of far-fetched plots in the opera seria. However, at the beginning of the nineteenth century, the situation was just that. The genius of Rossini was needed to correct the situation, to breathe new life into the Italian opera.

The life of Gioacchino Rossini was connected with opera in his childhood: having been born in Pesaro, the boy wandered around Italy with his father and mother, a horn orchestra player and opera singer. There was no talk of systematic studies, but hearing and musical memory developed perfectly.

Gioacchino had a beautiful voice. Due to his overly ardent temperament, his parents doubted that he could become an opera singer, but believed that he could become a composer. There were grounds for such assumptions - by the age of thirteen the boy had already created several sonatas for string instruments. He was introduced to the composer Stanislao Mattei. With him, the fourteen-year-old Rossini began to study composition at the Bologna Musical Lyceum. Even then, Gioacchino determined the direction of his future creative path, creating the opera Demetrio and Polibio - however, it was staged only in 1812, therefore, it cannot be considered Rossini's operatic debut.

Rossini's real operatic debut came later, in 1810, with the opera-farce The Marriage Promissory Note, presented at the San Moise theater in Venice. The composer spent a few days to create music. The speed and ease of work will continue to be the hallmark of Rossini. The following comic operas - Strange Case and Happy Deception - were also staged in Venice, and the plot of the latter was used by Giovanni Paisiello before Rossini (a similar situation will still arise in the composer's creative biography). This was followed by the first opera seria after Demetrio and Polibio - Cyrus in Babylon. And finally, an order from La Scala. The success of the opera The Touchstone, created for this theater, made the twenty-year-old composer famous. International fame was brought to him by the buffa opera "" and the opera on the heroic plot "Tancred".

It cannot be said that Rossini's creative biography was a continuous "road of fame" - for example, "Turk in Italy", created in 1814 for Milan, did not bring him success. Circumstances were much more successful in Naples, where Rossini created the opera Elisabeth, Queen of England. The main role was intended for Isabella Colbran. A few years later, the prima donna became the wife of Rossini ... But this is not the only thing that is remarkable about "Elizabeth": if before the singers arbitrarily improvised fioritures, demonstrating their brilliant technique, now Rossini put an end to this arbitrariness of the performers, carefully writing out all the vocal embellishments and demanding their exact reproduction.

A remarkable event in the life of Rossini took place in 1816 - his opera Almaviva was first staged in Rome, later known under the title "". To title it in the same way as the comedy of Pierre Augustin Beaumarchais, the author did not dare, because before him this plot was embodied in the opera by Giovanni Paisiello. Opera buffa failed in Rome and was a big hit in theaters other than Italy. According to Stendhal, after Napoleon, Rossini became the only person who is talked about throughout Europe.

Rossini creates another comic opera - "", but written in 1817 "" is closer to the drama. In the future, the composer is more interested in dramatic, tragic and legendary plots: "Othello", "", "Mohammed II", "Lady of the Lake".

In 1822 Rossini spent four months in Vienna. Here his opera "Zelmira" was staged. Not everyone was delighted with her - for example, Carl Maria von Weber sharply criticized her - but on the whole Rossini was a success with the Viennese public. From Vienna, he briefly returns to Italy, where his opera "", which has become the last example of an opera seria, is staged, and then visits London and Paris. A warm welcome awaited him in both capitals, and in France, at the suggestion of the Minister of the Royal Court, he headed the Italian Theater. His first work, created in this capacity, was the opera "", dedicated to the coronation of Charles X.

In an effort to create an opera for the French public, Rossini carefully studies its tastes, as well as the features of the French language and theater. The result of the work is the successful performance of new editions of two works - "Mohammed II" (under the title "The Siege of Corinth") and "", as well as a work in the genre of French comic opera - "Count Ory". In 1829, his new heroic opera "" was staged at the Grand Opera.

And now, after such a grandiose masterpiece, Rossini stops creating operas. In subsequent years, he wrote "", a cycle of piano pieces "Sins of Old Age", but did not create anything else for the musical theater.

Rossini spent twenty years - from 1836 to 1856 - in his native country, where he headed the Lyceum of Bologna, then returned to France, where he remained until his death in 1868.

Since 1980, the Rossini Opera Festival has been held annually in Pesaro.

Music Seasons

ROSSINI, GIOACCHINO(Rossini, Gioacchino) (1792–1868), Italian opera composer, author of the immortal Barber of Seville. Born February 29, 1792 in Pesaro in the family of a city trumpeter (herald) and a singer. He fell in love with music very early, especially singing, but began to study seriously only at the age of 14, having entered the Musical Lyceum in Bologna. There he studied cello and counterpoint until 1810, when Rossini's first noteworthy work was a one-act farce opera. Promissory note for marriage (La cambiale di matrimonio, 1810) - was staged in Venice. It was followed by a number of operas of the same type, among which two - Touchstone (La pietra del paragone, 1812) and silk staircase (La scala di seta, 1812) are still popular today.

Finally, in 1813, Rossini composed two operas that immortalized his name: Tancred (Tancredi) by Tasso and then a two-act opera buffa Italian in Algeria (L "italiana in Algeri), triumphantly accepted in Venice, and then throughout Northern Italy.

The young composer tried to compose several operas for Milan and Venice, but none of them (even the opera that retained its charm Turk in Italy, il Turco in Italy, 1814) - a kind of "couple" to the opera Italian in Algeria) was not successful. In 1815, Rossini was again lucky, this time in Naples, where he signed a contract with the impresario of the San Carlo Theater. It's about opera. Elizabeth, Queen of England (Elisabetta, regina d "Inghilterra), a virtuoso composition written especially for Isabella Colbran, a Spanish prima donna (soprano) who enjoyed the favor of the Neapolitan court and mistress of the impresario (a few years later, Isabella became Rossini's wife). Then the composer went to Rome, where he planned to write and stage several operas. The second of these was the opera barber of seville (Il Barbiere di Siviglia), first staged on February 20, 1816. The failure of the opera at the premiere turned out to be as loud as its triumph in the future.

Returning, in accordance with the terms of the contract, to Naples, Rossini staged an opera there in December 1816, which, perhaps, was most highly appreciated by his contemporaries - Othello according to Shakespeare: there are really beautiful fragments in it, but the work is spoiled by the libretto, which distorted the tragedy of Shakespeare. Rossini composed the next opera again for Rome: his Cinderella (La cenerentola, 1817) was subsequently favorably received by the public; the premiere did not give any grounds for assumptions about future success. However, Rossini survived the failure much more calmly. In the same 1817 he traveled to Milan to stage an opera magpie thief (La gazza ladra) is a delicately orchestrated melodrama, now almost forgotten, except for the magnificent overture. On his return to Naples, Rossini staged an opera there at the end of the year. Armida (Armida), which was warmly received and is still valued much higher than magpie thief: on resurrection Armides in our time, you can still feel the tenderness, if not the sensuality that this music radiates.

Over the next four years, Rossini managed to compose a dozen more operas, mostly not particularly interesting. However, before the termination of the contract with Naples, he presented the city with two outstanding works. In 1818 he wrote an opera Moses in Egypt (Mose in Egitto), which soon conquered Europe; in fact, this is a kind of oratorio, majestic choirs and the famous "Prayer" are remarkable here. In 1819 Rossini introduced Lake Maiden (La donna del lago), which was a somewhat more modest success, but contained charming romantic music. When the composer finally left Naples (1820), he took Isabella Colbrand with him and married her, but in the future their family life was not very happy.

In 1822, Rossini, accompanied by his wife, left Italy for the first time: he entered into an agreement with his old friend, the impresario of the San Carlo Theater, who now became director of the Vienna Opera. The composer brought his latest work, an opera, to Vienna Zelmira (Zelmira), which won the author an unprecedented success. True, some musicians, led by K.M. von Weber, sharply criticized Rossini, but others, among them F. Schubert, gave favorable assessments. As for society, it unconditionally took the side of Rossini. The most remarkable event of Rossini's trip to Vienna was his meeting with Beethoven, which he later recalled in a conversation with R. Wagner.

In the autumn of the same year, Prince Metternich himself summoned the composer to Verona: Rossini was supposed to honor the conclusion of the Holy Alliance with cantatas. In February 1823, he composed a new opera for Venice - Semiramis (Semiramida), from which only the overture remains in the concert repertoire. Howbeit, Semiramide can be recognized as the culmination of the Italian period in the work of Rossini, if only because it was the last opera he composed for Italy. Furthermore, Semiramide passed with such brilliance in other countries that after it the reputation of Rossini as the greatest opera composer of the era was no longer in doubt. No wonder Stendhal compared the triumph of Rossini in the field of music with Napoleon's victory at the Battle of Austerlitz.

At the end of 1823, Rossini ended up in London (where he stayed for six months), and before that he spent a month in Paris. The composer was hospitably greeted by King George VI, with whom he sang duets; Rossini was in great demand in secular society as a singer and accompanist. The most important event of that time was the receipt of an invitation to Paris as artistic director of the Théâtre Italiane Opera House. The significance of this contract, firstly, is that it determined the place of residence of the composer until the end of his days, and secondly, that he confirmed the absolute superiority of Rossini as an opera composer. It must be remembered that Paris was then the center of the musical universe; an invitation to Paris was for the musician the highest honor imaginable.

Rossini took up his new duties on December 1, 1824. Apparently, he managed to improve the management of the Italian Opera, especially in terms of conducting performances. The performances of two previously written operas, which Rossini radically revised for Paris, were performed with great success, and most importantly, he composed a charming comic opera. Count Ory (Le comte Ory). (She was, as one would expect, a huge success when resumed in 1959.) Rossini's next work, which appeared in August 1829, was the opera William Tell (Guillaume Tell), a composition that is usually considered the composer's greatest achievement. Recognized by performers and critics as an absolute masterpiece, this opera, however, never aroused such enthusiasm among the public as barber of seville, Semiramide or even Moses: ordinary listeners thought Tellya an opera too long and cold. However, it cannot be denied that the second act contains the most beautiful music, and fortunately, this opera has not completely disappeared from the modern world repertoire and the listener of our days has the opportunity to make his own judgment about it. We only note that all Rossini's operas created in France were written to French librettos.

After William Tell Rossini did not write another opera, and in the next four decades he created only two significant compositions in other genres. Needless to say, such a cessation of composer activity at the very zenith of mastery and fame is a unique phenomenon in the history of world musical culture. Many different explanations for this phenomenon have been proposed, but, of course, no one knows the full truth. Some said that Rossini's departure was caused by his rejection of the new Parisian opera idol - J. Meyerbeer; others pointed to the resentment caused to Rossini by the actions of the French government, which, after the revolution in 1830, tried to terminate the contract with the composer. The deterioration of the musician's well-being and even his supposedly incredible laziness were also mentioned. Perhaps all of the above factors played a role, except for the last one. It should be noted that when leaving Paris after William Tell, Rossini was determined to take on a new opera ( Faust). He is also known to have continued and won a six-year lawsuit against the French government over his pension. As for the state of health, having experienced the shock of the death of his beloved mother in 1827, Rossini really felt unwell, at first not very strong, but later progressing at an alarming rate. Everything else is more or less plausible speculation.

During the next Tellem For decades, Rossini, although he retained an apartment in Paris, lived mainly in Bologna, where he hoped to find the peace he needed after the nervous tension of the previous years. True, in 1831 he went to Madrid, where the now widely known Stabat mater(in the first edition), and in 1836 - to Frankfurt, where he met with F. Mendelssohn and thanks to him discovered the work of J.S. Bach. But still, it was Bologna (not counting regular trips to Paris in connection with litigation) that remained the composer's permanent residence. It can be assumed that he was called to Paris not only by court cases. In 1832 Rossini met Olympia Pelissier. Rossini's relationship with his wife had long since left much to be desired; in the end, the couple decided to leave, and Rossini married Olimpia, who became a good wife for the sick Rossini. Finally, in 1855, after a scandal in Bologna and disappointment from Florence, Olympia persuaded her husband to hire a carriage (he did not recognize trains) and go to Paris. Very slowly his physical and mental condition began to improve; a share, if not of gaiety, then of wit, returned to him; music, which had been a taboo subject for years, began to come to his mind again. April 15, 1857 - the name day of Olympia - became a kind of turning point: on this day, Rossini dedicated a cycle of romances to his wife, which he composed in secret from everyone. It was followed by a series of small plays - Rossini called them Sins of my old age; the quality of this music needs no comment for the fans magic shop (La boutique fantasque) - the ballet for which the plays served as the basis. Finally, in 1863, the last - and truly significant - work of Rossini appeared: Little Solemn Mass (Petite messe solennelle). This mass is not very solemn and not at all small, but beautiful in music and imbued with deep sincerity, which attracted the attention of the musicians to the composition.

Rossini died on November 13, 1868 and was buried in Paris at the Père Lachaise cemetery. After 19 years, at the request of the Italian government, the composer's coffin was transported to Florence and buried in the church of Santa Croce next to the ashes of Galileo, Michelangelo, Machiavelli and other great Italians.

Gioacchino Rossini is rightfully considered one of the greatest composers in history. Probably every person familiar with music remembers his famous opera "The Barber of Seville". This article will detail the life of Gioacchino Rossini as well as his most famous pieces of music.

Rossini's childhood

Many different books and publications have been written about Rossini. The most common among them is the 1973 biographical work of Elena Bronfin. This book describes in detail all those events that, one way or another, were connected with the life and work of the composer Rossini. Elena Bronfin describes in detail the childhood years of little Gioacchino, tracing his path to the creative pinnacle.

Gioacchino Antonio Rossini was born on February 29, 1792 in the small Italian town of Pesaro. Gioacchino's parents were musicians. His father played wind instruments, and his mother had a beautiful voice with an expressive soprano. Naturally, the parents tried to make little Gioacchino fall in love with music.

The carefree childhood of Gioacchino was overshadowed by the French Revolution. In addition, the future composer himself, according to many sources, was a very lazy and even naughty little boy. Parents saved the situation in time by giving Gioacchino to study with a local pastor. It was the priest who taught Rossini all the necessary composition lessons.

The first creative endeavors of the young Gioacchino

At the beginning of the 19th century, the Rossini family moved to Lugo. It was in this city that the young Gioacchino gave his first opera concert. Possessing a very high treble, the future great composer aroused considerable interest among the public.

Some sources indicate that Rossini began to release his first works as a composer by the age of 12. In those small sonatas written by the very young Gioacchino, one can trace very competent inclusions of operatic tendencies.

Of great importance for the future creative manifestations of Gioacchino was friendship with the famous Italian tenor Mombelli. Together they wrote musical numbers, composed the libretto and developed theatrical productions. In 1808, the composer Rossini wrote a whole mass. It was a male choir, accompanied by a vibrant organ and orchestra accompaniment.

About the early creative period

In 1810, the fate of Gioacchino changed dramatically: he was noticed by two famous Italian musicians at that time: Moranli and Morolli. This couple wrote a letter to Rossini expressing their desire to see the young Gioacchino in Venice. The aspiring composer immediately agreed. Gioacchino's task was to write a musical theme for the theatrical libretto. The production was called "Marriage on a bill." It was this work that became the brightest debut of Rossini as a composer.

The main quality that the composer Rossini possessed was the incredible speed and ease of writing music. This was noted by many of the musician's contemporaries: Gioacchino seemed to have known and understood for a long time exactly how this or that composition should line up. At the same time, the musician himself, according to many sources, led a very disorderly and idle lifestyle. In Venice, he walked a lot and had fun, but at the same time he always managed to write the right order on time.

"The Barber of Seville"

In 1813, the composer Rossini wrote a truly grandiose work that turned his whole life upside down - this is "Italian in Algeria". The excellent music, the deep content of the libretto, the bright patriotic mood that the work set - all this had the best effect on the future career of the composer.

However, the musician started something more grandiose. A monumental two-act opera that would become the pearl of Italian music - that's what Gioacchino Rossini was striving for. The Barber of Seville has become such an opera. The work was based on the famous 19th century comedy by Beaumarchais.

The main feature of Gioacchino's work on the work was, again, incredible lightness. Written in less than a month, "The Barber of Seville" became the first work of Rossini, famous outside of Italy. So, an amazing incident happened to Gioacchino in the Austrian Empire: it was there that the composer met Beethoven himself, who spoke positively about the "barber".

Rossini's new ideas

The main specialization of Gioacchino was comedy. Composer Rossini composed musical themes specifically for light, comedic librettos. However, in 1817 the musician went beyond the comic genre, which is so often associated with the name of Gioacchino Rossini. The opera "The Thieving Magpie" was one of the composer's first works, which was rather of a somewhat dramatic nature. Written in 1816, the opera Othello was a Shakespearean tragedy.

Gioacchino was more and more overgrown with ideas and new ideas. The most important milestone on the creative path of Gioacchino was the monumental opera series, called "Moses in Egypt". Rossini worked on this work for a month and a half. The premiere of "Moses" took place in Naples, where it was accompanied by a huge success.

The composer Rossini moved further and further away from the "light" genres, composing heavier and more monumental works. Such famous historical series as "Mahomet II", "Zelmira", "Semiramis" enjoyed great success both in Italy itself and abroad.

Vienna, London and Paris

The Austrian, English and Parisian periods played a big role in Rossini's life. The reason for sending the composer to Vienna was the resounding success of the opera Zelmira. In Austria, the composer first encountered mass unfavorable criticism: many German composers believed that any opera by Rossini did not deserve the success that accompanied Gioacchino in almost all of Europe. However, Beethoven was not among the haters. Already completely deaf, Ludwig closely followed the work of Rossini, reading his music, literally, from musical paper. Beethoven showed great interest in Gioacchino; he was extremely flattering about almost all of his works.

In 1823 the composer received an invitation to the Royal London Theatre. Rossini's opera "Italian in Algiers" and some of his other works were performed here. It was in England that Gioacchino acquired both devoted admirers and fierce enemies. Rossini received even more hatred in Paris: envious musicians tried in every possible way to discredit the composer. For Rossini, the time has come for a sharp controversy with critics.

Almost all musical figures of the 19th, 20th or 21st centuries speak of one thing: Rossini "raised from his knees" the unusually low level of musical creativity in England and France. Inspired by the works of Gioacchino, the musicians finally began to show themselves, providing the world with more and more beauty.

Getting closer to creativity

In the late twenties of the 19th century, Rossini agreed to work as the head of the Italian Opera House in Paris. However, he did not stay in this position for long: after a couple of years, Rossini's work became widely known throughout Europe, and therefore the composer decided to accept the title of "General Inspector of Singing and Composer His Majesty in France." Gioacchino received an honorary position under the king.

In Paris, Rossini wrote another musical masterpiece called "Journey to Reims, or Hotel of the Golden Line". This opera was played at the coronation of Charles X. However, the work was not successful with the general public.

After the "Journey" Rossini took up the development of the monumental opera "Mohammed II". This heroic-tragic work was distinguished by many innovative elements, which many critics could not fail to notice. Further, "Moses in Egypt" and "The Siege of Corinth" were written. All these works had a strong influence on young French composers: Aubert, Boildieu, Herold and others.

"William Tell"

Rossini, working simultaneously in two directions of French opera - comic and tragic, conceived the production of a great work, completely original and innovative. Something new, not like any previous work - that's what Gioacchino Rossini was striving for. The works of past years, though considered innovative, but only in places. That is why the composer set about composing an opera about the brave archer Wilhelm, the hero of an old Swiss legend.

The main feature of the work was the borrowing of elements of the local Swiss flavor: folk tunes, combined with Italian classical songs, made up an unusually original opera. It is not surprising that everyone was looking forward to "Wilhelm". The product was in development for about six months. This four-bar opera premiered in 1828.

The reaction from both the public and critics was very cold. The work seemed to many tedious, complex and simply boring. In addition, the composition lasted about 4 hours. Almost no one attended the opera. The theater management, trying to save the situation somehow, greatly reduced the work and began to present it in a distorted form. Of course, Rossini did not like this. He left the theatre, promising himself never to continue his career as a composer.

However, not everyone was outraged by the opera. Many novice composers saw in "Wilhelm" something surprising and beautiful. Over time, the work nevertheless acquired the status of a masterpiece, one of the cult operas of Gioacchino Rossini.

Biography of the former composer

Gioacchino "silenced" at the age of 37. Behind him were about 40 operas, great fame and resounding success. The rapid development of Romanticism in Europe also influenced Rossini's departure from art.

After spending several years in oblivion, Gioacchino nevertheless set about writing small overtures. However, almost nothing remained of the former intensity. After moving to Italy, the composer became interested in teaching. Rossini directed the Bologna Lyceum, of which he himself had been a pupil in his childhood. It was thanks to Gioacchino that musical education received its rapid and high-quality development.

In 1855, Rossini again decides to return to Paris. It is here that he spends the last 13 years of his life.

Rossini Culinary

What could captivate Gioacchino Rossini? Overtures, suites and operas are already left behind. The once great composer decided to firmly move away from writing music. However, he broke his promise only a few times. So, in 1863, "A Little Solemn Mass" was written - a rather famous essay to this day.

Gioacchino was a refined culinary specialist. Witty Rossini came up with an incredible amount of a wide variety of dishes. The composer was also a great lover of winemaking. His cellar was simply bursting with a wide variety of wines, of all types and varieties. However, cooking ruined Rossini. The former composer began to suffer from obesity and stomach diseases.

Composer's death

No one else in Paris was famous for such a celebrity as Gioacchino Rossini. "The Barber of Seville", "William Tell" - the author of all these works, although retired, enjoyed great success in France.

Rossini arranged grandiose receptions. The most famous personalities and politicians sought the opportunity to visit them. Sometimes Rossini conducted, while still attracting the attention of the European musical community. The personality of Gioacchino was truly great: Wagner, Franz Liszt, Saint-Saens and many other great composers of the world communicated with him.

The composer died on November 13, 1868. The composer bequeathed all his property to the Italian town of Pesaro, the place where the musician was born.

Heritage

Gioacchino left behind about 40 major operas and even more overtures with small compositions. Rossini wrote his first real opera, A Marriage Promissory Note, at the age of 18. It is impossible not to mention one more grandiose work created in 1817 - the opera Cinderella. Gioacchino Rossini wrote a fun and light comedy based on the famous fairy tale. The opera was a great success with both critics and the general public.

In addition to operas, Gioacchino wrote a variety of psalms, masses, cants and hymns. Rossini's legacy is truly great. His inventive and innovative style has been studied by many composers for many years. Rossini's music remains relevant today.

Plan
Introduction
1 Biography
2 Operas
3 Other musical works
Bibliography

Introduction

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

1. Biography

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

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

But the greatest triumph brought Rossini in 1816, the production on the stage of the theater "Argentina" in Rome, his "Barber of Seville"; In Rome, The Barber of Seville was met with great distrust, as they considered it impudent that anyone should dare to write, after Paisiello, an opera on the same subject; at the first performance, Rossini's opera was received even coldly; the second performance, which the frustrated Rossini himself did not conduct, on the contrary, was an intoxicating success: the audience even staged a torchlight procession.

In the same year, Othello followed in Naples, in which Rossini completely banished the recitativo secco for the first time, then Cinderella in Rome and The Thieving Magpie in 1817 in Milan. In 1815-23, Rossini signed a contract with the theatrical entrepreneur Barbaia, according to which, for an annual fee of 12,000 lire (4,450 rubles), he was obliged to supply 2 new operas every year; Barbaia was at that time in the hands of not only the Neapolitan theaters, but also the Scala Theater in Milan and the Italian Opera in Vienna.

In 1821 Rossini marries the singer Isabella Colbran. 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 a five-month work. In 1824, Rossini received the post of director of the Italian Theater in Paris.

Rossini did not possess organizational skills at all, and within two years the position of the theater fell so that Viscount La Rochefoucauld, with the consent of Rossini himself, dismissed him from the enterprise and appointed him chief intendant of royal music and chief inspector of singing, a sinecure that brought Rossini 20,000 francs in salary. Although the July Revolution deprived Rossini of these posts, he managed, through a long process, to obtain 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.

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

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

Rossini died on November 13, 1868 in the town of Passy near Paris. In 1887, the ashes of the composer were transferred to Florence.

The name of Rossini is the conservatory in his hometown, created according to his will.

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

“Strange Case” (L’equivoco stravagante) - 1811

Demetrius and Polybius (Demetrio e Polibio) - 1812

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

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

The Silk Staircase (La scala di seta) - 1812

The 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 Algiers” (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

"Torvald and Dorliska" (Torvaldo e Dorliska) - 1815

“Almaviva, or the 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 Moor of Venice (Otello o Il moro di Venezia) - 1816

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

The Thieving Magpie (La gazza ladra) - 1817

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 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

The Lady of the Lake (La donna del lago) - 1819

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

"Mahomet the second" (Maometto secondo) - 1820

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

Zelmira - 1822

"Semiramide" (Semiramide) - 1823

“Journey to Reims, or the Golden Lily Hotel” (Il viaggio a Reims (L’albergo del giglio d’oro)) - 1825

The Siege of Corinth (Le Siège de Corinthe) - 1826

Moses and Pharaoh, or the Crossing of the Red Sea (Moïse et Pharaon (Le passage de la Mer Rouge) - 1827 (reworking of Moses in Egypt)

Count Ory (Le Comte Ory) - 1828

"William Tell" (Guillaume Tell) - 1829

3. Other musical works

Il pianto d'armonia per la morte d'Orfeo

Petite Messe Solennelle

· Cats Duet (attr.) - attributed.

Bassoon concerto

Messa di Gloria

Bibliography:

1. One or two "k" in the name of Gioachino reflect the instability in the spelling of the Italian original: Gioachino or Gioacchino.

2. Rossini in the Great Soviet Encyclopedia

Date of death:

Portrait of Rossini

Gioachino Rossini

Gioacchino Antonio Rossini(Italian Gioachino Antonio Rossini; February 29, Pesaro, Italy - November 13, Ryuelli, France) - Italian composer, author of 39 operas, sacred and chamber music.

Biography

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

Rossini's first experience was a 1-act opera: "La cambiale di matrimonio" ("The marriage bill") (1810 at the San Mose theater in Venice), which attracted little attention, as well as the second: "L" equivoco stravagante "( “A Strange Case”) (Bologna 1811); however, they liked them so much that Rossini was overwhelmed with work, and by 1812 he had already written 5 operas. The following year, after his Tancred was staged on the stage of the Fenice Theater in Venice, the Italians had already decided that Rossini was Italy's greatest living operatic composer, a view reinforced by the opera The Italiane in Algiers.

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

In the same year, Othello followed in Naples, in which Rossini completely banished recitativo secco for the first time, then Cinderella in Rome and The Thieving Magpie in 1817 in Milan. In 1815-23, Rossini signed a contract with the theatrical entrepreneur Barbaia, according to which, for an annual fee of 12,000 lire (4,450 rubles), he was obliged to supply 2 new operas every year; Barbaia was at that time in the hands of not only the Neapolitan theaters, but also the Scala Theater in Milan and the Italian Opera in Vienna.

In the year the composer's first wife dies. In Rossini he marries Olympia Pelissier. In the city 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 near Paris. In 1887, the ashes of the composer were transferred to Florence.

The name of Rossini is the conservatory in his hometown, created according to his will.

operas

• "Marriage bill" (La Cambiale di Matrimonio) - 1810
• "Strange Case" (L'equivoco stravagante) - 1811
• "Demetrius and Polybius" (Demetrio e Polibio) - 1812
• "Happy Deception" (L'inganno felice) - 1812
• "Ciro in Babylon, or the Fall of Belshazzar" (Ciro in Babilonia (La caduta di Baldassare)) - 1812
• The Silk Staircase (La scala di seta) - 1812
• "The 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 Algiers" (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
• "Torvald and Dorliska" (Torvaldo e Dorliska) - 1815
• "Almaviva, or the Vain Precaution" (The Barber of Seville) (Almaviva (ossia L'inutile precauzione (Il Barbiere di Siviglia)) - 1816
• "Newspaper" (La gazzetta (Il matrimonio per concorso)) - 1816
• "Othello, 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
• "The Thieving 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 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
• The Lady of the Lake (La donna del lago) - 1819
• "Bianca and Faliero" ("Council of Three") (Bianca e Falliero (Il consiglio dei tre)) - 1819
• "Mohammed II" (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
• "Journey to Reims, or the Golden Lily Hotel" (Il viaggio a Reims (L'albergo del giglio d'oro)) - 1825
• "The Siege of Corinth" (Le Siège de Corinthe) - 1826
• "Moses and Pharaoh, or Passage through the Red Sea" (Moïse et Pharaon (Le passage de la Mer Rouge) - 1827 (reworking of "Moses in Egypt")
• "Count Ory" (Le Comte Ory) - 1828
• "William Tell" (Guillaume Tell) - 1829

Other musical works

• Il pianto d'armonia per la morte d'Orfeo
• Petite Messe Solennelle
• Stabat mater
• Cats Duet (attr.)
• bassoon concerto
• Messa di Gloria

Notes

Links

• Brief summaries (synopses) of Rossini's operas on the site "100 operas"
• Gioachino Antonio Rossini: Sheet Music at the International Music Score Library Project

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See what "Rossini" is in other dictionaries:

- (Gioachino Rossini) the famous Italian composer (1792 1868), who made up an era in the history of the development of Italian opera, although many of his operas are now forgotten. In his youth, R. studied at the Bologna Conservatory with Stanislav Mattei and already ... ... Encyclopedia of Brockhaus and Efron

Gioachino Antonio Rossini Gioachino Antonio Rossini Composer Date of birth: February 29, 1792 ... Wikipedia

- (Rossini) Gioachino Antonio (29 II 1792, Pesaro 13 XI 1868, Passy, ​​near Paris) Italian. composer. His father, a man of advanced, republican convictions, was a musician of the mountains. spirit. orchestra, mother a singer. Learned to play on the back ... ... Music Encyclopedia

- (Rossini) Gioacchino Antonio, Italian composer. Born into a family of musicians (father is a trumpeter and horn player, mother is a singer). From childhood, he studied singing, ... ... Great Soviet Encyclopedia

- (Gioachino Rossini) the famous Italian composer (1792 1868), who made up an era in the history of the development of Italian opera, although many of his operas are now forgotten. In his youth, R. studied at the Bologna Conservatory with Stanislav Mattei and ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

ROSSINI- (Gioacchino Antonio R. (1792 1868) Italian composer; see also PEZARSKY) Now I drink the foamy Rossini In a new way again And I see only through love, That the skies are so childishly blue. Kuz915 (192) … Proper name in Russian poetry of the XX century: a dictionary of personal names