Gioachino Rossini, born Gioachino Antonio Rossini, on February 29 1792, in Pesaro, Papal States [Italy], is the composer noted for his operas, particularly his comic operas, of which The Barber of Seville (1816), Cinderella (1817), and Semiramide (1823) are among the best known. Of his later, larger-scale dramatic operas, the most widely heard is William Tell (1829).
Gioachino Rossini was the son of Giuseppe Rossini, an impoverished trumpeter who played in miscellaneous bands and orchestras, and Anna Guidarini, a singer of secondary roles. Thus, Rossini spent his entire childhood in the theatre. Though a lazy student, the young Rossini found it easy to learn to sing and play. At age 14 he entered Bologna’s Philharmonic School (now the G.B. Martini State Conservatory of Music) and composed his first opera seria—Demetrio e Polibio (1806; staged in 1812)—for the Mombelli, a family of singers. At 15 he had learned the violin, horn, and harpsichord and had often sung in public, even in the theatre, to earn some money.
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When his voice broke and he was unable to continue singing, Rossini became an accompanist and then a conductor. He had already realized the importance of the German school of composition, perceiving the new elements by which Joseph Haydn and Wolfgang Amadeus Mozart had enriched music. These influences can be found in the early cantata he wrote for the Philharmonic School, performed there in 1808. During the next 20 years (from 1808) this genial lazybones was to compose more than 40 operas.
By taste, and soon by obligation, Rossini threw himself into the genre then fashionable: opera buffa (comic opera). His first opera buffa, La cambiale di matrimonio (1810; The Bill of Marriage), was performed in Venice and had a certain success, although his unusual orchestration made the singers indignant. Back in Bologna again, he gave the cantata La morte di Didone (1811; The Death of Dido) in homage to the Mombelli family, who had helped him so much, and he scored a triumph with the two-act opera buffa L’equivoca stravagante (1811; The Extravagant Misunderstanding). The following year, two more of his comic operas were produced in Venice.
Rossini had already broken the traditional form of opera buffa: he embellished his melodies (he was the true creator of bel canto, a florid style of singing), animated his ensembles and finales, used unusual rhythms, restored to the orchestra its rightful place, and put the singer at the service of the music. In 1812 Rossini wrote the oratorio Ciro in Babilonia (Cyrus in Babylon) and La scala di seta (The Silken Ladder), another comic opera.
The same year, Marietta Marcolini, who had already sung in Rossini’s operas and who was interested in the young composer, recommended Rossini to the committee of La Scala opera house in Milan. It was under contract to them that he wrote La pietra del paragone (1812; The Touchstone), a touchstone of his budding genius. In its finale, Rossini—for the first time—made use of the crescendo effect that he was later to use and abuse indiscriminately.
By this time Rossini’s experience in writing seven operas and several cantatas and his intimate contact with the theatre had given him a profound knowledge of his profession. Singers no longer held terrors for him. He was now ready for his major works. Venice, the most-refined city in Italy, was to offer him his true glory. After the comic opera Il signor Bruschino (1813), written for the San Moisè Theatre, he next wrote—for La Fenice—his first serious opera, Tancredi (1813), in which he tried to reform opera seria (the formula-ridden, serious operas of the 18th century), and he composed an authentically dramatic score. This work, spirited and melodious, was an instant success. Tancredi’s famous song, “Di tanti palpiti,” was whistled all over town. The success of L’Italiana in Algeri (1813; The Italian Girl in Algiers) followed, showing further refinements in his reforms of opera buffa. These two successes opened wide the doors of La Scala. With Aureliano in Palmira (1814) the composer affirmed his authority over the singers; he decided to prescribe and write the ornaments for his arias, but the work was not a success. After L’Italiana he wrote Il Turco in Italia (1814; The Turk in Italy) for the Milanese and a cantata for Princess Belgioioso, “one of the most likeable of protectresses,” as the French novelist Stendhal referred to her. Rossini’s next work, Sigismundo (1814), was a failure.
Rossini’s fame soon spread to Naples, where the reigning impresario was Domenico Barbaia, an ambitious former coffeehouse waiter who by gambling and running a gaming house had amassed a fortune and was now in charge of the two great Neapolitan theatres. Barbaia realized Rossini’s growing fame and went to Bologna to offer him a contract. Impressed by the terms of this contract—security, two operas a year—as well as by Barbaia, a millionaire rather than the customary fourth-rate impresario on the verge of bankruptcy, Rossini did not hesitate to accept. How could anyone refuse a tempting impresario whose favourite was none other than the imposing diva Isabella Colbran?
Colbran’s first Rossini opera, Elisabetta, regina d’Inghilterra (1815; Elizabeth, Queen of England), was a triumphant success. Rossini admired Colbran very much and soon fell in love with her. The brilliant success of Elisabetta prompted an invitation from Rome to spend the Carnival season of 1816. The first of Rossini’s Rome operas was unsuccessful. So was the second, Almaviva, soon to become Il barbiere di Siviglia (1816; The Barber of Seville). The Romans, who knew and loved Giovanni Paisiello’s version of Pierre-Augustin Caron de Beaumarchais’s play, took a dislike to this new setting, but when it was given elsewhere in Italy it was received with unbounded success. Written in less than three weeks, the work is a piece of inspired inventiveness that has delighted opera lovers ever since. There followed La cenerentola (1817; Cinderella). As with The Barber, this work uses a contralto for the heroine’s role (though both roles are often sung by sopranos); it proved no less successful. In between these two comedies came Otello (1816; Othello), a setting of William Shakespeare’s play that held the stage until superseded by Giuseppe Verdi’s greater opera of the same name. La gazza ladra (1817; The Thieving Magpie), a semi-serious work, was a triumph in Milan.
Armida, a grand opera requiring a trio of tenors and a dramatic soprano (Colbran), appeared in 1817. Rossini was now finding interpreters that suited his music. Colbran, the tenor Manuel del Popolo García, the bass Filippo Galli (“the most beautiful voice in Italy”), and the contralto Benedetta Pisaroni (whose art had no equal in depth) were his usual exponents and carried forward his art of bel canto.
La donna del lago (based on Sir Walter Scott’s poem “The Lady of the Lake”) failed at its premiere in 1819 but soon came into favour. After several more-or-less successful works, he left Naples for Vienna, along with Colbran (whom he had just married), anxious to meet Ludwig van Beethoven. Disappointed by the economic situation of the composer of Fidelio, he returned to Venice, where he attempted to crown his Italian career with Semiramide (1823). The old-fashioned Venetians, however, did not understand the astonishing work, his longest and most ambitious, and so he resolved not to write another note for his countrymen. Following his resolution, he decided to leave Italy.
Parisian period of Gioachino Rossini
Rich, married, unstable, and by nature an epicurean, Rossini wanted to travel. He arrived in Paris in November 1823 and was enthusiastically welcomed in the French capital. The Academy in Paris received him; all of the town fawned upon him. At the end of the year, he visited London, where he conducted and sang in concerts with his wife and met King George IV. Back in Paris, he embarrassed the old musicians. “Rossini,” wrote the Escudier brothers, Paris music publishers,
was then 31 years old and in his prime. His countenance revealed a lofty and congenial expression. His subtle, quick penetrating eye held one magnetically before him. His smile, benevolent and caustic at the same time, reflected his whole disposition. The clear line of his aquiline nose, his vast and prominent brow, which his prematurely receding hairline entirely revealed, the even oval of his face enclosed in jet-black sideburns, all formed a kind of virile and fascinating beauty. He has a marvelously shaped hand, which he displayed somewhat coquettishly through his cuff. He dressed in a simple manner, and, under his clothes, which were more proper than elegant, the appearance of a newly disembarked provincial into the capital.
If the old nicknamed him “Monsieur Crescendo,” the young very quickly paraded their admiration for him. Paris was then the centre of the world and Rossini knew it. After some of his works had been staged, he composed Il viaggio a Reims (“The Journey to Reims”), a cantata improvised for the coronation of Charles X.
For a long while Rossini hoped to modify his style: to replace the comparative artificiality and coldness of florid opera coloratura with declamatory and lofty singing—that is, with truth and intensity. In order to do that, he also had to reform the orchestra and give more importance to the chorus. Thus appeared Le Siège de Corinthe (The Siege of Corinth, 1826), a revision of the earlier Maometto II (1820), which was saluted by the prominent composer Hector Berlioz. Le Siège was followed by Moïse (Moses, 1827) and Le Comte Ory (Count Ory, 1828), an adaptation of opera buffa style to French opera.
Rossini’s final opera, Guillaume Tell (William Tell), is on the noble themes of nationalism and liberty, and his music is worthy of the elevated subject. The Parisian public gave him an ovation, and, in a single work, he had responded to all the critics in the most elegant manner. Then he decided, at age 37, not to write again for the theatre. Tell was to have been the first of five operas for the Opéra, but the new government following the Revolution of 1830 set aside Rossini’s contract.
The reasons for his musical silence remain only suppositions. Some cite his legendary laziness as the cause, while others point to the Parisian hostility to his work and Rossini’s resulting sulkiness. Another cause might have been his jealousy over the Parisian success of the opera composer Giacomo Meyerbeer.
In 1845 Colbran died. In 1847 Rossini married Olympe Pélissier. During his retirement he had written, returning to his first love, some religious pieces: the Stabat Mater (1832) and Petite messe solennelle (1864). He also wrote a few songs and piano pieces but never agreed to their publication.
After a period in Italy, he returned to Paris in 1855, never again to leave it. His parents being deceased, his new wife less demanding than the preceding one, and he himself a wealthy man whose retirement was assured, Rossini gave way to the sweetness of life and to being a wise man who permitted himself to shine in society with a few clever expressions and witticisms. His bons mots, in fact, are legendary, as were his caustic wit and low humour. At his Paris home and later at his villa in Passy, Rossini gave superb gourmet dinners attended by many of the greats of the musical and literary world of the mid-19th century. In 1860 the renowned German composer Richard Wagner visited him, and their fascinating conversation was recorded by Wagner in his essay “Eine Erinnerung an Rossini” (“A Memory of Rossini”).
For years Rossini was known virtually only by the omnipresent Barber of Seville and an occasional revival of William Tell. From the 1950s more and more of his operas were revived, particularly at festivals, and nearly always with public and critical acclaim.
By Jean-Louis Caussou / Source: Britannica
La Donna del Lago
melodrama in two acts
Libretto by Andrea Leone Tortola, after “The Lady of the Lake, by Walter Scott
premiered October 24 1819
Shepherds are watching flocks at dawn on the shores of Loch Katrine, and men in the nearby forests are hunting (Chorus: “Del di la messaggiera”). Elena crosses the lake and sings of her longing for her true love, Malcolm (Cavatina: “Oh mattutini albori”). At the edge of the lake, Elena meets King James who has disguised himself as “Uberto” in the hope of meeting the beautiful Elena. Elena thinks him a lost hunter and offers aid. James agrees and the two go off toward Elena’s home (Duettino: “Scendi nel piccol legno”). Meanwhile the men in his entourage search for the disguised King (Chorus: Uberto! Ah! dove t’ascondi?).
Upon arrival at Elena’s home, Uberto/King James see the insignias of his ancestors and learns that Elena’s father is Douglas, the King’s former tutor now turned against the King. Elena’s friends arrive and sing of her betrothal by her father to Rodrigo, chief of a Scots tribe opposed to King James – the Highlanders. Uberto/James becomes jealous. He determines, however, that Elena is not in love with Rodrigo (Duet: “Le mie barbare vicende”) and leaves Elena’s house somewhat encouraged about his own prospects (Duet: “Cielo! in qual estasi!”). Malcolm arrives, having determined to join the Highlanders. Alone, he sings of his fond memories of Elena (“Mura felice… Elena! oh tu, che chiamo”). Unseen, Malcolm then watches Elena and her father discussing her upcoming marriage to Rodrigo. Douglas orders his daughter to marry as he has commanded, despite her reluctance (Aria: “Taci, lo voglio, e basti”). After Douglas leaves, Malcolm approaches Elena and they pledge their undying devotion to each other (Duettino: “Vivere io non potro”).
The Highlanders’ warriors welcome their leader Rodrigo (Chorus: “Qual rapido torrente”). Rodrigo is anxious to see his future bride (Cavatina: “Eccomi a voi, miei prodi”). She arrives with her father. Douglas reminds Elena of her obligation and Rodrigo declares his love. Malcolm arrives to join the Highlanders and Rodrigo introduces Elena as his bride-to-be. Despite Elena’s efforts to hide her emotions, both Rodrigo and Douglas perceive a connection between Malcolm and Elena. Serano enters to warn of an attack by the King’s forces. Rodrigo, Malcolm and the Highlander warriors prepare to depart for battle (“Su…amici! guerrieri!”).
Uberto/James has come to find Elena in the hope of saving her from the coming battles (Cavatina: “Oh fiamma soave”). Meanwhile Elena asks Serano to find her father who she is expecting to see before he goes off to fight. Uberto/James approaches Elena and declares his love. She tells him that she is in love with another. Nevertheless, Uberto gives Elena a ring which he tells her was given to him by the King. He tells her it will see her through times of danger. Uberto/James prepares to depart, but Rodrigo has overheard the prior exchange with his bride. Overwhelmed with rage and jealousy, Rodrigo orders his men to kill this stranger. Elena pleads with Rodrigo’s men, and then Rodrigo determines to duel with Uberto himself. The two men exit, as Elena tries in vain to calm the situation.
Malcolm, taking a break from battle, is looking for Elena. Serano tells him that she has gone after her father Douglas who is travelling to the King’s palace seeking peace. Rodrigo has been killed and the Highlanders face certain defeat. Malcolm heads toward the palace, determined to rescue Elena from peril even if it means risking his own life (Aria: “Ah! si pera: ormai la morte!”).
At the palace, Douglas begs his former student King James for forgiveness, but the King refuses. Meanwhile, Elena has separately gained entry to the palace by showing her ring from “Uberto”. She hopes to save the lives of her father, Malcolm and even Rodrigo (unaware of his death). In the next room she hears the voice of “Uberto” who is singing of his love for her (“Aurora! ah sorgerai”). Elena is thrilled, certain that Uberto will help her gain an interview with the King.
The members of the King’s court have joined him in his throne room (Chorus: “Impogna il Re”). As Elena attempts to approach the King, the mystery is revealed to her: Uberto and King James are one and the same. James, softening his stance due to his affection for Elena, decides to forgive both Douglas and Malcolm. Elena rejoices to have saved both her father and her true love Malcolm, while everyone else rejoices that peace has been restored (Rondo: “Tanti affetti in tal momento!”)