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Budapest Failoni Chamber Orchestra. Sinfonia Act I No. Act I: Cavatina: Ecco, ridente in cielo Act I: Recitativo: Gente indiscreta! Act I: Recitativo: Ah, ah! Act I: Recitativo Povera disgraziata! Act I: Recitativo: Oh cielo! Act I: Recitativo: Ev - viva il mio Padrone! Act I: Recitativo: Si, si, la vincero Act I: Recitativo: Oh buon di, signorina! Act I: Recitativo: Ah, disgraziato Figaro!
Act I: Recitativo: Ah! Barbiere d'inferno Act I: Recitativo: Ma bravi! Act I: Recitativo: Ora mi sento meglio Act I: Recitativo: Brontola quanto vuoi Act I: Recitativo: Finora in questa camera Get the item you ordered or get your money back. Learn more - opens in new window or tab. Seller information badlandsuk Contact seller. Visit store. See other items More See all. Item Information Condition:. GBP Sign in to check out Check out as guest. The item you've selected was not added to your cart. Add to Watchlist Unwatch.
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Learn More - opens in a new window or tab Any international shipping is paid in part to Pitney Bowes Inc. Act I: Recitativo 8. Act I: Recitativo e Aria 9. Act I: Recitativo e Aria Act I: Recitativo Act I: Recitativo e Duetto Act I: Coro Act I: Recitativo instrumentale e Finale Act I: Finale primo Act II: Recitativo Act II: Aria Act II: Scena Act II: Cavatina Act II: Duetto Act II - Act II: Gran Scena Act II: Coro Act II: Rondo Act II: Secondo finale.
Born in Pesaro in , the son of musician parents, Gioachino Antonio Rossini was early familiar with the life of the theatre. His musical gifts led him to instrumental and vocal study in Bologna.
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There he also learned composition and notably the art of counterpoint, his models being Haydn and Mozart. With this rigorous technical basis he preserved in his work clarity in writing and precision in orchestration. Rossini had his first great success with La pietra del paragone at La Scala, Milan, in There followed a prolific period in which he composed in little more than a year Seven operas, principally comedies in which he already showed his developing talent and character, works including La scala di seta and Il Signor Bruschino.
The following year Tancredi was first performed at La Fenice in Venice. The work definitively established the composer, who was still not yet twenty-one and made his name known outside Italy. Subsequently Rossini's style developed, while remaining profoundly original, adapting itself to the places where he worked, and he contributed to the aesthetic changes of the period, notably in the genre of opera.
From to he was official Court composer to the theatre in Naples, renouncing in some of his serious operas neo-classical heroism in favour of the growing romantic climate, as in Otello and La donna del lago. At the same time he also reformed opera buffa, giving the singers longer arias, developing vocal virtuosity and word-setting, as in L'italiana en Algeri and Il turco in Italia. His speed in composing was legendary and if he often transferred passages from one work to another, his work was never less careful, even painstaking.
Of this Il barbiere di siviglia and La cenerentola , both composed in less than a month, are evidence. From political difficulties in his Own country and his growing reputation led Rossini gradually to leave Italy for the great capitals of Europe, Vienna, London and finally Paris, where his arrival in opened a very lively debate among composers and the public. Adapting his style to the French language and tradition, he composed his last opera in a romantic style very different from his other works, marking the beginning of French grand opera with his Guillaume Tell in In , worn out by years of intense work and affected by the political and aesthetic changes of the period, Rossini retired to Italy.
For twenty-five years he hardly composed at all, with the exception of the Stabat mater , performed after various vicissitudes in At the end of his life, with his second wife Olympe Pelissier, first in Italy and then again in Paris, he found again the energy to compose what he called the sins of his old age, Peches de vieillesse , and a masterpiece, the Petite Messe solennelle of He died on 13th November at his house at Passy.
The wit and light-hearted spirit of many of his last works suggest the return of a certain serenity in the evening of his life.
The success of Rossini's comic operas has gone some way to obscure his importance as a composer of serious operas. After having known great success, his works quickly fell into oblivion, even in his life-time. In a period when the art of music had undergone profound changes, in particular with the birth of romantic opera, his La gazza ladra The Thieving Magpie , revived at the end of his life, seemed, as one contemporary critic remarked, like a former mistress, now seen forty years later.
This shows how much the spirit of the period differed from Rossini's style of composition and explains partly why his serious operas have practically disappeared from the repertoire. With Tancredi , a work that Stendhal already considered Rossini's masterpiece, the composer found new solutions to some problems that had then arisen in Italian opera. In the first years of the nineteenth century, in fact, the adaptation of new subjects in the libretti introduced new characters and dramatic situations, demanding other means of expression and dramatic action than those of existing traditions in opera seria.
The innovation in Tancredi is, therefore, not only in the tragic finale, exceptional in the tradition of the period, composed for the performance of the opera in Ferrara, but also in the new manner of realising the synthesis between the needs of lyrical expression and the necessities of the dramatic action. Rossini achieved this, in spite of the generally still traditional form of Tancredi the juxtaposition of numbers interrupted by recitatives , thanks to a skilful inter cutting of arias, alternating meditative passages and more dynamic sections, to a particular treatment of the recitatives and to his use of the expressive resources of the orchestra.
These procedures are illustrated not only in the arias for solo voice but also in the duets, or in important ensembles such as that at the end of the first act. In Tancredi Rossini shows perfect mastery of the balance between dramatic, lyrical and musical elements. Interview with Alberto Zedda, who analyses the nature of Rossini's music and explains the interpretation of an opera such as Tancredi.
Unlike romantic opera, built on a realistic conception of the art, the music of Rossini tends to idealise feelings, hence the lack of concern with historical or narrative probability, the scorn for psychological detail and introspection dear to romantic art. Seeking to free the essential and non-anecdotal character from emotions, Rossini uses notes as a poet uses words, to reach the truth behind their immediate sense. With him the primacy accorded to the melody has not the same importance as with romantic composers like Bellini and Verdi. His musical vocabulary is simple, with no great introspective melodies nor long developments of a theme.
The Rossini phrase is constructed from micro-cells some bars of a very short melody , often instrumental in character, repeated several times in an almost obsessive way so far as to suggest, in the same movement, an impression of immobility, as, for example, in the 'Calumny' aria in Il barbiere di Siviglia. These rhythmic repetitions, far from being the result of mere chance, follow a very rigorous arrangement.
This formal construction, short melodic fragments, repetitions, simple and lively rhythms, balanced structure, quite simple harmony, often reduced to the alternation of tonic and dominant, make Rossini a composer who is classical in form and he was so considered by his contemporaries. For all these reasons, the works of Rossini seem generally easy to approach, but to appreciate his dramatic operas this first level of listening is not enough.
In these works, as the notes do not in themselves carry expression, the message is much more hidden than in operas such as La traviata or Madama Butterfly. Generally with Rossini the same composition can as well express a profound emotion as its contrary.
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In these conditions, how can the composer attain truth as well, if not better than in more realistic works? He demands, in fact, the active cooperation of the interpreter and even of the audience. More than its words or content, it is the affetto that is the general emotional ambience that characterizes the Rossini aria. This conception goes back to Baroque tradition and arises from the aesthetic of the marvellous, of astonishment and of surprise.
The vocal writing of Rossini relies on the virtuosity of the singer, which must be exceptional, all directed to this affetto.