Gioachino Rossini - L'italiana in Algeri - Ouverture (Marriner)
The year 1813 proved a productive one for Rossini, with several important works: "Il signor ", "Tancredi", "Aureliano in Palmira"... In between came an opera that nearly didn't happen. Carlo Coccia, who had accepted a commission to compose an opera for the Teatro San Benedetto in Venice, apparently ran into difficulty in completing his assignment. Rossini accepted the offer from the theater's impresario and wrote "L'italiana in Algeri" in less than a month. Given the tight schedule, the composer turned to a libretto already in existence, one by Angelo Anelli, already set by Luigi Mosca (Meyerbeer1's channel includes a version of the duet between Isabella and Taddeo by Mosca, do check it out). Although Rossini was likely familiar with Mosca's opera, significant additions and changes were made to the libretto. The 21-year-old composer elected to go for broke with the effects of his ensemble writing. The opera was premiered on May 22, 1813, to applause that, according to one critic, "thundered without pause". "L'italiana" was the first of several important Rossini comic operas to hold prominent roles for lower female voices, the third, to be precise. The protagonist is a determined Italian lady, sung by contralto, who travels to Algiers to search for her lover, Lindoro, kidnapped and held as a slave by Mustafa, the Bey of Algiers. Isabella's wit and charm prove too much for Mustafa and his retinue, and she is able to escape with Lindoro at the end, leaving the Bey fuming <b>...</b>
Gioachino Rossini - La scala di seta - Ouverture
Two full comic operas notwithstanding, the beginning of Rossini's career is best represented by a continuous succession of five one act operas or farsas, as Rossini himself described them: "La cambiale di matrimonio", "L'inganno felice", "La scala di seta", "L'occasione fa il ladro" (only this piece is designated by the composer as a "burletta" but the nature of the work gives us an opportunity to consider it an important part of this quintet of operas) and "Il signor Bruschino". All these works are also closely connected by the fact that they follow the same basic form with just a few variations. Structurally, all the first five operas share several obligatory elements: a lively overture; an introduction, usually limited to just three singers; arias for the main quartet of bass, baritone (or another bass), soprano and tenor (though one of these can be skipped); a central ensemble which feels almost as a first act finale, if the opera was just an hour longer (a terzet (in three operas), quartet or sextet); duets for two basses, tenor and soprano or soprano and bass; a long finale during which the plot reaches its' climax but all things invariably end happily. Usually the pieces are composed of just eight numbers, amounting to about an hour of music, only in "L'occasione" do we get eleven (mainly, because of two arias for the soprano). Moreover, all operas, in spite of being designated as "farsas" which, arguably, they are to a great extent, feature a very strong <b>...</b>
Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - Overture (Chailly) - No. 3 & 4. The call to the dairy cows & The Galop
With "Guillaume Tell" Rossini finally offered Parisian audiences an original opera in French, though the public wouldn't be too excited by Rossini's experiment with the genre and the opera; coldly received at the premiere, not often performed after, never truly forgotten, but not a popular favorite, the work has only recently went through a veritable Renaissance on the wave of reappraisal belcanto has enjoyed for the past fifty years and it absolutely deserves our reevaluation. Into its historical panorama based on the play by Schiller Rossini wove pastoral elements, patriotic deeds and superbly drawn characters. He responded imaginatively to the challenge of creating a work for the French Opera without abandoning his Italian roots, integrating the belcanto lyricism and formal refinement of Italian opera (mostly evident in the lovers' music) with the declamatory immediacy and scenic splendor (particularly in the extensive choruses and ballets) of French opera. Carefully written, harmonically daring, purged of melodic ornamentation, orchestrally opulent, "Guillaume Tell" represents a final purification of Rossini's style, possibly his best creation. When I first listened through it, I couldn't believe just how ideal it was: the whole opera is composed on one breath, there are virtually no self-borrowings, as Rossini usually did, moreover, each piece has its' logical place in the whole opera, making for a thoroughly delightful experience; the story is exciting and, though <b>...</b>
Rossini Guglielmo Tell Guillaume Overture classical belcanto
ROSSINI: William Tell Overture (full version)
Gioacchino Rossini: William Tell Overture (1829) London Philharmonic, Alfred Scholz
Rossini William Tell Overture classic london symphony orchestra alfred scholz bad ass good music clockwork orange romantic italian extreme driving full entire long version original popular inspirational classical music opera entertainment Gioachino Antonio lone ranger looney toons cartoon catherine storm trombone justin bieber Wilhelm Guillaume Guillermo Guglielmo Вильгельм Телль Ouverture Obertura Ouvertüre barber of seville yt:stretch=4:3
Rossini's "Cats Duet" (animation)
This duet is called "Duetto Buffo di due Gatti" in Italian, and was probably (but not 100% certain) written by Rossini. It is a comic duet for two cats who seem not to be getting on too well together. This is an animation using CrazyTalk5. I programmed the vocal track using Vocaloid Lola. The musical arrangement is in a pop style using piano, bass guitar, rhythm guitar and drums. The other Vocaloid tracks on my chanel are: Flight of the Bumble Bee, Nebula, Cats Duet, and Gothic Prelude.
Joyce DiDonato - Rossini : "Colbran, the Muse"
OUT NOW: links.emi.com Arias from Rossini's Operas sang by Joyce DiDonato
Rossini - Overture 'William Tell' Part 1
Rossini's William Tell Overture (Theme of the Lone Ranger) performed by the Hallé Orchestra, conducted by Mark Elder at the Royal Albert Hall during the Nations Favourite Prom 2004 ... Part 2 click here... uk.youtube.com
Rossini William Tell Overture Prom Halle Orchestra Mark Elder Royal Albert Hall
Rossini - Overture 'William Tell' Part 2
The conclusion to Rossini's William Tell Overture (Theme of the Lone Ranger) performed by the Hallé Orchestra, conducted by Mark Elder at the Royal Albert Hall during the Nations Favourite Prom 2004 ... Opening part click here...uk.youtube.com
Rossini William Tell Overture Halle Orchestra Mark Elder Classical Royal Albert Hall
Max Emanuel Cencic sings Rossini
Semiramide (Rossini) If you like countertenors : www.counter-tenor.net
Gioachino Rossini Google Doodle
Today Google shows a funny "frog-Doodle" on the homepage. It celebrates two events: 2012 is a leap year. The day today is additional to synchronize the calendar year with the astronomical year. Only once every four years is a leap year. Of course some people are born on 29th February. One of the was Gioachino Rossini (also "Gioacchino Rossini" with "cc"). Google celebrates Rossini's 220 Birthday with this doodle. Gioachino Rossini (1792 - 1868) was an italian Composer. He wrotes 39 operas. His best known opera is "The Barber of Seville". Why frogs? Take a look on the past "leap year doodles". 2004 and 2008 Google shows frogs. Any idea why Google uses frogs to symbolize the leap year? Anyway... Happy Birthday, Gioachino Rossini. And congratulation if it's your birthday today ;-) Thumbs UP if you like the doodle. Music: "Narcissus" by Kevin MacLeod & some Frogs More info: - www.tagseoblog.com (engl) - www.tagseoblog.de (german)
Gioachino Rossini Gioacchino Rossini Gioachino Rossini Google Gioachino Rossini doodle Rossini italian opera opera The Barber of Seville Opera The Barber of Seville music leap year leap year google leap year doodle leap year Google doodle Google doodle Google doodle february 29th february february 29 year frogs frog funny nice amazing
Rossini - Overture from the "Barber of Seville"
Gioachino Antonio Rossini (1792 - 1868) "The Barber of Seville", or "The Useless Precaution" ("Il barbiere di Siviglia, ossia L'inutile precauzione") is an opera buffa in two acts by Gioachino Rossini with a libretto (based on Beaumarchais's comedy Le Barbier de Séville) by Cesare Sterbini. The overture, first written for "Aureliano in Palmira", is a famous example of Rossini's characteristic Italian style. The première (under the title Almaviva, or the Useless Precaution) took place on February 20, 1816, at the Teatro Argentina, Rome.
Largo al factotum (della città)! The Barber of Seville
The Barber of Seville (Il barbiere di Siviglia) Gioachino Rossini El Barbero de Sevilla West Long Br The Barber of Seville (Il barbiere di Siviglia) Gioachino Rossini The Barber of Seville (Il barbiere di Siviglia) West Long Branch, NJ : Kultur, c1992. "Comic opera in two acts, edited by Alberto Zedda". 'Le Barbier de Seville' by De Beaumarchais. Sung in Italian ; subtitles in English. Director, set design and costumes: Dario Fo; production, George van Breemen; director [video], Hans Hulscher. Performer(s) David Malis (Figaro), Richard Croft (Almaviva), Renato Capecchi (Bartolo), Jennifer Larmore (Rosina); Netherlands Chamber Orchestra ; Choir of the Netherlands Opera Company, choral conductor, Winfried Maczewski.
The Barber of Seville (Il barbiere di Siviglia) Gioachino Rossini El Barbero de Sevilla Opera Classics
Giaochino Rossini - Chorus for mixed voices (1857) - "O salutaris hostia" (Stuttgart Vocal Ensemble)
Rossini is often considered to be, above all, a secular composer, and, to be honest, some of his holy masses are, well, not exactly "holy"; the most obvious example are the two masses I posted several months ago: "Messa di Gloria" and "Messa di Milano" which, if it were not for the text and some genuinely spiritual music, could pass off as cantatas or even operatic material. This motion is contrasted, however, by a number of pieces that, if not exactly on par with more well-established sacred music, are surprisingly (for a composer who has "Il barbiere" and "L'italiana" in his resume) beautiful invocations of the holy sphere, including the present simple but breathtaking prayer for mixed chorus, composed around 1857. "O salutaris Hostia" or "Oh, saving Host" is a section of one of the Eucharistic hymns written by St. Thomas Aquinas for the Feast of Corpus Christi. He wrote it for the Hour of Lauds in the Divine Office. It is actually the last two stanzas of the hymn "Verbum supernum prodiens". Rossini, however, only sets the first verse a verse rendering of which is provided below: O saving Victim, open wide The gate of Heaven to man below; Our foes press on from every side; Thine aid supply; Thy strength bestow. The music itself is thoroughly beautiful and affecting, though, among this sheer musical splendor, three sections stand out in my opinion: 1:06 which finds the men extending the final note of the phrase into a reprise of the main theme; 2:10, a stunning <b>...</b>
ANTONIO PAPPANO CONDUCTS ROSSINI: STABAT MATER
ORDER YOUR COPY HERE: links.emi.com ... Award-winning conductor Antonio Pappano and his acclaimed Roman orchestra the Accademia di Santa Cecilia release Rossini's Stabat Mater. The recording includes star soloists Anna Netrebko, Joyce DiDonato, Lawrence Brownlee and Ildebrando d'Arcangelo. Although Rossini focused heavily on opera, he was still able to find some time to undertake commissions of a non-operatic nature. Supreme among these was to be the Stabat Mater. "I would say that the Stabat Mater - the picture of the Virgin Mary standing below the crucifix watching her son die and this beautiful set of prayers or scene setting is sublimely put to music by Rossini." says Maestro Pappano. Pappano's recent releases with the Roman orchestra includes the award-wining and critically-acclaimed Verdi Requiem, Respighi's 'Roman Trilogy', the Tchaikovsky Symphonies 4-6 and Puccini's opera 'Madama Butterfly' with Angela Gheorghiu and Jonas Kaufmann which won Gheorghiu the Female Artist of the Year honour at this year's Classical Brit Awards. Pappano himself won the Critics' Choice award for his recording of the Verdi Requiem.
Stabat Mater Rossini Verdi Pergolesi domingo netrebko Antonio Pappano Accademia di Santa Cecilia orchestra Anna Joyce didonato Lawrence Brownlee Ildebrando d'Arcangelo Virgin Mary Virgen Maria Jesus Gesu Cristo piedad pieta pope papa vatican vaticano sna pedro san pietro bartoli angela gheorghiu Respighi roma Jonas Kaufmann
Gioachino Rossini - Otello - "Assisa a pie d'un salice" (Frederica von Stade)
Finally, the most important woman in Rossini's life - mezzo-soprano Isabella Colbran - has an opportunity to enchant us. If we were to choose "a crown jewel" of Barbaja's and Rossini's cast, the choice would be all to obvious: Isabella Colbran. She was one of the first in a line of brilliant dramatic singers that would bless belcanto operas for decades: Pasta, Grisi, de Bengis, Malibran... She appeared in ten Rossini operas, and the love that formed between the primadonna and the maestro is evident in every page of the scores. Except for the rather bland character of Zoraide in "Ricciardo" and, possibly, Zelmira, all roles are incredibly dramatic: Armida and Ermione are anti-heroines, in spite of their tragic situations; Fiorilla is a comic role of unusual proportions; Elcia, Anna, Elena and Desdemona, in spite of being ingenue-like characters, are faced with staggeringly complex situations (indeed, only Elena gets a happy ending, while Anna commits suicide, Elcia's lover is killed before her eyes and Desdemona is killed by Otello); even the less interesting characters of Elisabetta and Semiramide require an unlimited amount of charisma. Although the label "soprano" is often used when describing Colbran's voice, Rossini's music speaks otherwise: she is regularly asked to go down to A flat and even G, while high notes rarely go beyond B; though additions aren't really prohibited, so Colbran roles are essayed by both sopranos and mezzos without any real threat to the music <b>...</b>
#DSOLive: Rossini's William Tell Overture
DSO performing Rossini's William Tell Overture during the first "Live from Orchestra Hall" broadcast of the 2011-2012 Season. "Live From Orchestra Hall," October 9, 2011. Detroit Symphony Orchestra Leonard Slatkin, conductor Live from Orchestra Hall is presented by the Ford Motor Company Fund, and made possible by generous support from The John S. and James L. Knight Foundation. Produced in Collaboration with Detroit Public Television.
detroit symphony orchestra dso leonard slatkin rossini william tell overture live from hall
Rossini: La Cenerentola - Glyndebourne Festival Opera
www.amazon.co.uk La Cenerentola is Gioachino Rossini's version of the popular Cinderella story, an exciting mixture of comedy, pathos, coloratura fireworks and masquerade. This Glyndebourne production by John Cox captures perfectly the fairy-tale spirit of the piece, matched by Allen Charles Klein's imaginative scenery, distorted like three-dimensional cut-outs in an old-fashioned story book. Cast: Angelina - Kathleen Kuhlmann, Ramiro - Laurence Dale, Clorinda - Marta Taddei, Tisbe - Laura Zannini, Don Magnifico - Claudio Desderi, Dandini - Alberto Rinaldi, Alidoro - Roderick Kennedy.
Glyndebourne Festival Opera Classical Opera La Cenerentola Classical Music cenerentola Gioachino Rossini Rossini singing vocal singers live staged Sussex Glyndebourne Cinderella Kathleen Kuhlmann Laurence Dale Marta Taddei Laura Zannini Claudio Desderi Alberto Rinaldi Roderick Kennedy John Cox
Rossini: Ermione - Glyndebourne Festival Opera
www.amazon.co.uk Recorded at Glyndebourne's superb new opera house, this lavishly praised production of Rossini's forgotten and unusual tragic opera has proved to be an unequivocal success. Based on Racine's Andromaque, this account of the Greek and Trojan love tangle has been set by Graham Vick in the classically-inspired auditorium of an Italian opera house, rather than in ancient Greece. The set designs, with their stricking colours, forms and lighting are as if created escpecially for the small screen. Cast: Anna Caterina Antonacci - Ermione Diana Montague - Andromaca Bruce Ford - Oreste Jorge Lopez-Yanez - Pirro Paul Austin Kelly - Pilade Paul Nilon - Attalo Gwynne Howell - Fenicio Julie Unwin - Cleone Lorna Windsor - Cefisa Oliver Bridge - Astianatte
Glyndebourne Festival Opera Classical Opera Classical Music Classical Period (music) Glyndebourne live staged Rossini Ermione sussex vocal singing singers Choir Anna Caterina Antonacci Diana Montague Bruce Ford Jorge Lopez-Yanez Paul Austin Kelly Paul Nilon Gwynne Howell Julie Unwin Lorna Windsor Oliver Bridge Live Music
The Thieving Magpie Overture by Rossini
Utah Youth Symphony Orchestra, conducted by Barbara Scowcroft, Libby Gardner Hall at the University of Utah, February 2011
symphony classical music Utah Youth Symphony Scowcroft uyso Rossini Thieving Magpie uyo&e
Rossini: L'assedio di Corinto "Giusto Ciel!" - Marilyn Horne
My favorite mezzo soprano Marilyn Horne is singing Rossini's "Giusto Ciel! In Tal Periglio" from L'assedio di Corinto. Quite possibly the most beautiful woman voice that ever graced human ear.. About the score: As you can tell I am using pdf files for my videos and there is no way to transpose the pdf scores.. So, some of my videos may not be a match. I hope you can figure out all those scribbles over the score.. Some do match the way M. Horne is singing and some don't. But there is such variation in interpretation of this aria that I doubt there can be a perfect-match edition of this score. Specially if it is Horne who is singing:)) Also, I do not have the choir partition, but one cannot get everything one wants, right? :)) Gioachino Rossini : L'assedio di Corinto "Giusto Ciel! In Tal Periglio" Libretto: Luigi Balocchi & Alexandre Soumet Giusto Ciel! in tal periglio Più consiglio, più speranza Non ci avanza, Che piangendo, che gemendo Implorar la tua pietà, etc Merciful Lord! In such peril the only course, the only hope which remains to us, is weeping, lamenting to beg Thy mercy, etc..
Gioachino Rossini L'assedio di Corinto Giusto Ciel In Tal Periglio Marilyn Horne Maometto mezzo soprano bel canto opera
