"was originally written, became rare, it fell slowly out of the repertoire. 20th century and beyond From the 1960s onward, Rossini's work enjoyed a renaissance, and a new generation of Rossini contraltos ensured that ""La Cenerentola"" would once again be heard around the world. The opera is now considered a staple of the standard repertoire. In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified, not by a glass slipper, but by her bracelet. The supernatural"
"Ferrara in 1812, he went on to compose three more operas featuring her in the leading soprano role, Tancredi (1813), ""Sigismondo"" (1814), and ""Adelaide di Borgogna"" (1817). ""Adelaide"" had only a modest success when it premiered at the Teatro Argentina in Rome. The ""Gazzetta di Bologna"" reported that the music was not well-suited to her and that her voice had been affected by the fumes of the oil lamps used to light the theatre. Although this was the last Rossini role that she created, she continued to perform in multiple revivals of his other operas until 1824, appearing as Desdemona"
"Conti) and Gian Battista Velluti, the last castrato. Caffarelli, Farinelli, and Gizziello were products of the local conservatories of Naples From 1815 to 1822, Gioachino Rossini was house composer and artistic director of the royal opera houses, including the San Carlo. During this period he wrote ten operas which were ""Elisabetta, regina d'Inghilterra"" (1815), ""La gazzetta"", ""Otello, ossia il Moro di Venezia"" (1816), ""Armida"" (1817), ""Mosè in Egitto"", ""Ricciardo e Zoraide"" (1818), ""Ermione"", ""Bianca e Falliero"", ""Eduardo e Cristina"", ""La donna del lago"" (1819), ""Maometto II"" (1820), and ""Zelmira"" (1822). Regular singers of the period included Manuel Garcia and his"
"produced 20 operas. Of these, ""Otello"" formed the climax to his reform of serious opera (""opera seria""), and offers a suggestive contrast with the treatment of the same subject at a similar point of artistic development by the composer Giuseppe Verdi. In Rossini's time, the tragic ending was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to ""Otello"". Conditions of stage production in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element should be omitted. The opera ""La Cenerentola"""
"creating the role of Dandini for him in ""La cenerentola"". This opera premiered in Rome on 25 January 1817 and ran for twenty consecutive performances; it was to remain in his repertory for the rest of his life. That same year while in Verona, the de Begnis couple met a very young Donizetti. In the course of time his voice matured and his technique became more sophisticated and as early as 1821 he was described as baritone. In 1818, for the grand inauguration of the newly built Teatro Nuovo in Pesaro, Rossini wanted Isabella Colbran and Andrea Nozzari—who had appeared"
"popular demand was such that two more were added. The opera was played at the theatre in most seasons until 1716–17, and Pilotti-Schiavonetti was the only singer from the original cast that appeared in all 47 performances of the opera up to that point. Evidently Pilotti-Schiavonetti's voice and skill as an actress impressed Handel, as the composer went on to compose at least three more roles for the soprano. She created parts in the world premieres of Handel's ""Il pastor fido"" (1712, Amarilli), ""Teseo"" (1713, Medea), and ""Amadigi di Gaula"" (1715, Melissa). It is likely that she also created the"
"1816 to discover that fire had destroyed the Teatro San Carlo, that he was obliged to compose a cantata to celebrate a royal wedding, plus supervise a production of his ""Tancredi"". And the music for ""La gazzetta"" was due for August performances. It would be Rossini's second opera written for Naples and the only comedy he wrote there. As was his wont, Rossini borrowed music from some of his previous works, These included ""Il Turco in Italia"" (1814), ""La pietra del paragone"" (1812), and also from ""Torvaldo e Dorliska"" (1815). None of these pieces would have heard by Naples' audiences"
"Gioachino Rossini Gioachino Antonio Rossini (; 29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as some sacred music, songs, chamber music, and piano pieces. He was a precocious composer of operas, and he made his debut at age 18 with ""La cambiale di matrimonio"". His best-known operas include the Italian comedies ""The Barber of Seville"" (""Il barbiere di Siviglia""), ""The Italian Girl in Algiers"" (""L'italiana in Algeri""), and ""Cinderella"" (""La Cenerentola""). He also wrote a string of serious operas in Italian, including works such as ""Tancredi"", ""Otello"", and ""Semiramide"". ""The Thieving"
"was engaged at the Teatro di San Carlo, Naples, and appeared in Valentino Fioravanti's ""La Molinara"". From 1812 to 1817 he sang at Palermo. In 1817, at La Scala in Milan, he took the part of Dandini in Rossini's ""La Cenerentola"". The opera ""Elisa e Claudio"" was written for him in 1821 by Saverio Mercadante and his position was assured. His reputation spread throughout Europe. From Milan he went to Turin, returned to Milan in 1822, then appeared at Venice, and in 1824 at Vienna. Going back to Naples after an absence of twelve years, he created a great sensation"
"as promised in the morning. He finished the libretto in twenty-two days of breakneck work, and Rossini completed the score in an equally hectic twenty-four days. The poet had serious doubts about the success of this opera; Rossini, on the other hand, predicted that it would conquer Italy in a year and spread to France and England in another: ""the impresarios will fight for staging it, as well as the primadonnas for being able to sing it"". ""La Cenerentola"" premiered on Jan. 25, 1817 and quickly gained popularity, both in Italy and internationally, despite a cold initial reception by the"
"was in many of its incidents an anticipation of those presented to the world a few years later in Sir Walter Scott's ""Kenilworth"". The opera was the first in which Rossini wrote out the ornaments of the arias instead of leaving them to the fancy of the singers, and also the first in which the ""secco"" recitative was replaced by a recitative accompanied by a string quartet. Rossini's most famous opera was produced on 20 February 1816, at the Teatro Argentina in Rome. The libretto, a version of Beaumarchais' stage play ""Le Barbier de Séville"", was newly written by Cesare"
"Théâtre des Tuileries in Paris. Other operas based on the first play were composed by Giovanni Paisiello (his ""Il barbiere di Siviglia"" premiered in 1782), by Nicolas Isouard in 1796, and then by Francesco Morlacchi in 1816. Though the work of Paisiello triumphed for a time, only Rossini's version has stood the test of time and continues to be a mainstay of operatic repertoire. On 11 November 1868, two days before Rossini's death, the composer Costantino Dall'Argine (1842–1877) premiered an opera based on the same libretto as Rossini's work, bearing a dedication to Rossini. The premiere was not a failure,"
"resigns himself. As a consolation he is given Rosine's dowry money to keep. Giovanni Paisiello's opera based on the play was first performed in 1782, but it is Gioachino Rossini's opera, ""The Barber of Seville"", premiered in 1816, that has better stood the test of time. Other lesser-known adaptions include those by Nicolas Isouard in 1796, Alexander Reinagle and Samuel Arnold in 1794, and Francesco Morlacchi in 1816. Figaro is inspired by the Commedia dell'arte character of Brighella, and like his predecessor he is a clever liar; moral and yet unscrupulous; good humored, helpful and brave, though somewhat embittered and"
"the same year he married Cecilia Pallini, and the marriage was a happy one. In 1776 Paisiello was invited by the empress Catherine II of Russia to St. Petersburg, where he remained for eight years, producing, among other charming works, his masterpiece, ""Il barbiere di Siviglia"", which soon attained a European reputation. The fate of this opera marks an epoch in the history of Italian art; for with it the gentle suavity cultivated by the masters of the 18th century died out to make room for the dazzling brilliance of a later period. When, in 1816, Gioachino Rossini set a"
"Cendrillon (Isouard) Cendrillon (""Cinderella"") is a French opera in three acts by the Maltese-born composer Nicolas Isouard. It takes the form of an ""opéra comique"" with spoken dialogue between the musical numbers, although its authors designated it an ""opéra féerie"". The libretto, by Charles Guillaume Etienne, is based on Charles Perrault's fairy tale ""Cinderella"". The work was first performed by the Opéra-Comique at the Salle Feydeau in Paris on 22 February 1810. ""Cendrillon"" was a success throughout Europe until its popularity was eclipsed by that of Rossini's opera on the Cinderella theme, ""La Cenerentola"" (1817). Cendrillon is the stepdaughter of"
"disguise"". It was the first of the Italian operas to be based on Scott's romantic works, and marked the beginning of romanticism in Rossini's work. Scott was ""deeply influential in the development of Italian romantic opera"" to the extent that by 1840 (barely 20 years after this opera), there were 25 Italian operas based on his works, the most famous being Donizetti's ""Lucia di Lammermoor"" of 1835. Others in German, French and English followed. Written for the Teatro San Carlo in Naples, this was the seventh of nine operas which Rossini wrote for that house between 1815 and 1822. Although"
"Adelaide di Borgogna Adelaide di Borgogna, ossia Ottone, re d'Italia (Adelaide of Burgundy, or Otto, King of Italy) is a two-act opera composed by Gioachino Rossini (with contributions by Michele Carafa) to a libretto by Giovanni Schmidt. It was premièred at the Teatro Argentina in Rome on 27 December 1817. 20th century and beyond Performances have included concert versions with Della Jones as Ottone and Eiddwen Harrhy as Adelaide given at London's Queen Elizabeth Hall in November 1978, and another at Usher Hall in Edinburgh on 19 August 2005 The Festival della Valle d'Itria in Martina Franca in Italy presented"
"and Colbran, materially well off as the result of her professional success and family fortune, developed a fondness for gambling. To complement Colbran's talents Barbaia signed Gioachino Rossini to a seven-year contract as a composer of operas for the company. Upon his arrival in Naples in 1815 Rossini composed the title role of ""Elisabetta, regina d'Inghilterra"" (""Elizabeth, Queen of England"") especially for her. His next Neapolitan opera was ""Otello, ossia il Moro di Venezia"" in which Colbran sang the role of Desdemona. This opera proved to be immensely popular and found Colbran at the height of her powers. Her popularity"
"Cesare"",""Tamerlano"", and ""Rodelinda. The directors of the Royal Academy of Music decided to increase the appeal of the operas by bringing another internationally famous singer, the soprano Faustina Bordoni, to join the established London stars Cuzzoni and Senesino, as was reported in the London press - the ""Daily Journal"" wrote on 31 August 1725 'We hear that the Royal Academy (of) Musick, in the Hay Market, have contracted with famous Chauntess for 2500 ""l"". who is coming over from Italy against the Winter' with the ""London Journal"" adding ""'Signiora Faustina, a famous Italian Lady, is coming over this Winter to"
"different aria for Alidoro, """"; this seems to have been added by an anonymous hand for an 1818 production. For an 1820 revival in Rome, Rossini wrote a bravura replacement, """". The genesis of this work - whose literary and musical aspects were both created with surprising speed – deserves to be told, according to the account given by librettist Jacopo Ferretti. In December 1816, Rossini was in Rome and tasked with writing a new opera for the Teatro Valle, to be staged on St. Stephen's Day. An existing libretto, ""Francesca di Foix,"" had unexpectedly been vetoed by the papal"
"critics. In short, Rossini's prediction came entirely true, and ""Cenerentola"" soon overshadowed even ""Barber"" throughout the nineteenth century. Nonetheless, the collaboration between composer and librettist got no easier, and Ferretti wrote only one more libretto for Rossini, the ""Matilde di Shabran"", in 1821. 19th century At the first performance, the opera was received with some hostility, but it soon became popular throughout Italy and beyond; it reached Lisbon in 1819, London in 1820 and New York in 1826. Throughout most of the 19th century, its popularity rivalled that of ""Barber"", but as the coloratura contralto, for which the leading role"
"of the time. However, musicologist Philip Gossett stresses that: While the overture was written specifically for this opera, it is probably the best known piece from the work, because, along with other music from ""La gazzetta"", it was incorporated into ""La Cenerentola"". These borrowings may have speeded up the process of composition, but Charles Osborne notes that ""on this occasion, Rossini failed to complete the opera with his usual alacrity"" and speculates that it may have been caused by his attraction to the soprano Isabella Colbran. It opened a month later than originally scheduled. 19th century performances The opera was"
"sembiante"" for Almaviva, and a finale for act one. In 1788 the opera was given in Berlin, followed by London and Paris (1789); Lisbon (1791); Brussels (1793); Stockholm (1797); and New Orleans (1801) In 1789 Mozart dedicated the aria "" ""Schon lacht der holde Frühling"""" (K. 580) to his sister-in-law Josepha Hofer as a substitute for Rosina's original act 3 aria (""Già riede primavera""). Although it is missing only the closing ritornello, the incomplete orchestration suggests it was never used. The opera proved to be Paisiello's biggest success. Even after the 1816 premiere of Gioachino Rossini's own version of ""The"
"as a young man Giacomo Meyerbeer had musical ambitions and studied and traveled in Italy. Much impressed and influenced by the leading Italian composer of operas of the day, Rossini, Meyerbeer composed an opera in the style of that composer, ""Romilda e Costanza"", which was produced in Padua in 1817. Through the support of a star singer of the day, Carolina Bassi, Meyerbeer had the opportunity to compose an opera for Turin, which became his second opera for Italy, ""Semiramide riconosciuta"". Both of these operas being successful with Italian audiences, Meyerbeer presented a third Italian opera in Venice. Although the"
"said ""La Cenerentola"" (""Cinderella"") and at last Rossini decided he liked it, so Ferretti went home and began at once, worked night and day on it, and gave sections to Rossini on Christmas Day. Early on during the production there were problems, but Rossini predicted (correctly) that it would be a great success in the long term. Ferretti married the singer Teresa Terziani in 1820, and their house was continually visited by musicians and poets, including Donizetti who had been given a letter of introduction to Ferretti by Johann Simon Mayr. They became good friends after the young composer's arrival"
"in Naples in 1651, but was then neglected until the rediscovery of the score in 1888, after which it became the subject of scholarly attention in the late 19th and early 20th centuries. Since the 1960s, the opera has been performed and recorded many times. George Frederick Handel also wrote several operas based on historical characters, including ""Giulio Cesare"" (1724), ""Tamerlano"" (1724) and ""Rodelinda"" (1725). Historical subjects for operas also developed during the 19th century. Usually with 4 or 5 acts, they are large-scale casts and orchestras, and spectacular staging. Several operas by Gaspare Spontini, Luigi Cherubini, and Gioachino Rossini"
"violin and composition at the conservatory in Naples, and organized concerts among his compatriots. The opera composer Gioachino Rossini said to the conservatory Director, Niccolo Zingarelli, ""My compliments, Maestro – your young pupil Mercadante begins where we finish"". In 1817 he was made conductor of the college orchestra, composing a number of symphonies, and concertos for various instruments – including six for flute about 1818–1819, and whose autograph scores are in the Naples conservatory, where they were presumably first performed with him as soloist. The encouragement of Rossini led him to compose for the opera, where he won considerable success"
"making his mark with a number of brilliant comic operas (most notably ""Il barbiere di Siviglia"", ""La Cenerentola"", ""Il turco in Italia"", and ""L'italiana in Algeri""), Rossini turned more and more to serious opera (""opere serie""). During the years 1813 (when Rossini composed ""Tancredi"") until 1822 he wrote a considerable series of them, mostly for the Teatro di San Carlo, Naples"". One reason for his new interest in the serious genre was his connection with the great dramatic soprano Isabella Colbran, who was first his mistress, then his wife. She created the leading female roles in ""Elisabetta, regina d'Inghilterra"" (1815),"
"Armida (Rossini) Armida is an opera in three acts by Italian composer Gioachino Rossini to an Italian libretto (""dramma per musica"") by Giovanni Schmidt, based on scenes from ""Gerusalemme liberata"" by Torquato Tasso. ""Armida"" was written to be performed at the Teatro di San Carlo, Naples, on 11 November 1817 to celebrate the opening of the rebuilt opera house, which had been destroyed by fire the previous year. Isabella Colbran sang the title role, which is one of the longest and most demanding that Rossini wrote, with difficult coloratura passages of every kind during the entire opera. The most notable"
"operas of this period are ""La Rosaura"" (1690, printed by the Gesellschaft für Musikforschung), and ""Pirro e Demetrio"" (1694), in which occur the arias ""Le Violette"", and ""Ben ti sta, traditor"". From about 1697 onwards (""La caduta del Decemviri""), influenced partly perhaps by the style of Giovanni Bononcini and probably more by the taste of the viceregal court, his opera arias become more conventional and commonplace in rhythm, while his scoring is hasty and crude, yet not without brilliance (""L'Eraclea"", 1700), the oboes and trumpets being frequently used, and the violins often playing in unison. The operas composed for Ferdinando"
"oratorio ""La morte di Saule"" by (1804) and the operas ""Nardone e Nannetta"" by (1806) and ""Ifigenia in Aulide"" by (1809). From 1805 the Mombelli family was based in Bologna, although they travelled to Lisbon and various theatres in Italy with their own opera troupe which included Domenico, Ester, and Ester's younger sister Anna. In Bologna the Mombelli's befriended the young Rossini who was still a student at the Accademia Filarmonica. Domenico commissioned Rossini to compose the opera ""Demetrio e Polibio"" for which Vincenza had written the libretto. It was to be Rossini's first opera, although not the first to"
"(from 1736) as ""maestro di cappella"", a position he held until his death. In 1717 he was given leave to go to Dresden, where a number of his operas were produced, including ""Giove in Argo"", ""Teofane"" and ""Li quattro elementi"" (all with librettos by Antonio Maria Lucchini). Other works written in Venice include ""Giustino""; ""Trionfo dell'Innocenza""; the first act of ""Tirsi"", ""Achille Placato"", ""Teuzzone"", ""Ama più che non si crede"", ""Il comando inteso e tradito"", ""Sidonio"", ""Isaccio tiranno"", ""La forze de sangue"", ""Il Tradimento traditore di sè stesso"", ""L'Infedeltà punita"", ""Poresenna"", ""Irene Augusta"", ""Polidoro"", ""Foca superbo"", ""Alessandro Severo"", ""Il Vincitore"
"the opera's impresarios. The appearance of the opera in Lithuania is quite early, especially considering the fact that italian opera phenomena was formed at about 1600 and first opera staged in Paris was just before 1650. In 17th century in Palace of the Grand Dukes of Lithuania 3 Italian operas were staged - all by palace composer Marco Scacchi, to librettos by Virgilio Puccitelli - ""Il ratto d’Elena"" (""The Elena Kidnapping"") (1636), ""L'Andromeda"" (""Andromeda"") (1644), ""Circe Delusa"" (""Disillusioned Circe"") (1648). The scenography and stage machinery was made by Italian architects and engineers Agostino Locci, Bartolomeo Bolzoni and Giovanni Battista Gisleni."