Rossini's father was sympathetic to the French Revolution and welcomed Napoleon Bonaparte's troops when they arrived in northern Italy. When Austria restored the old regime in 1796, Rossini's father was sent to prison and his mother took him to Bologna, making a living as a leading singer at various theatres of the Romagna region. Her husband would ultimately join her in Bologna. During this time, Rossini was frequently left in the care of his aging grandmother, who had difficulty supervising the boy.
He remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang. The boy had three years of instruction in the playing of the harpsichord from Giuseppe Prinetti, originally from Novara, who played the scale with two fingers only; Prinetti also owned a business selling beer and had a propensity to fall asleep while standing. These qualities made him a subject for ridicule in the eyes of the young Rossini.
In 1805 he appeared at the theatre of the Commune in Ferdinando Paer's ''Camilla'', his only public appearance as a singer. He was also a capable horn player, treading in the footsteps of his father. Around this time, he composed individual numbers to a libretto by Vincenza Mombelli called ''Demetrio e Polibio'', which was handed to the boy in pieces. Though it was Rossini's first opera, written when he was thirteen or fourteen, the work was not staged until the composer was twenty years old, premiering as his sixth official opera.
In 1806 Rossini became a cello student under Cavedagni at the Conservatorio di Bologna. The following year he was admitted to the counterpoint class of Padre Stanislao Mattei (1750–1825). He learned to play the cello with ease, but the pedantic severity of Mattei's views on counterpoint only served to drive the young composer's views toward a freer school of composition. His insight into orchestral resources is generally ascribed not to the strict compositional rules that he learned from Mattei, but to knowledge gained independently while scoring the quartets and symphonies of Haydn and Mozart. At Bologna, he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart.
The libretto for ''Tancredi'' was an arrangement by Gaetano Rossi of Voltaire's tragedy ''Tancrède''. Traces of Ferdinando Paer and Giovanni Paisiello were undeniably present in fragments of the music. But any critical feeling on the part of the public was drowned by appreciation of such melodies as "Di tanti palpiti... Mi rivedrai, ti rivedrò", which became so popular that the Italians would sing it in crowds at the law courts until called upon by the judge to desist. By his 21st birthday Rossini had established himself as the idol of the Italian opera public. He continued to write operas for Venice and Milan during the next few years, but their reception was tame and in some cases unsatisfactory after the success of ''Tancredi.'' In 1815 he retired to his home in Bologna, where Domenico Barbaia, the impresario of the Naples theatre, contracted an agreement that made him musical director of the Teatro di San Carlo and the Teatro del Fondo at Naples. He would compose one opera a year for each. His payment was to be 200 ducats per month; he was also to receive a share from the gambling tables set in the theatre's "ridotto", amounting to about 1000 ducats per annum. This was an extraordinarily lucrative arrangement for any professional musician at that time.
He visited the Naples conservatory, and, although less than four years senior to Mercadante, he said to the Director Niccolò Zingarelli, "My compliments Maestro – your young pupil Mercadante begins where we finish."
Some older composers in Naples, notably Zingarelli and Paisiello, were inclined to intrigue against the success of the youthful composer, but all hostility was rendered futile by the enthusiasm that greeted the court performance of his ''Elisabetta, regina d'Inghilterra'', in which Isabella Colbran, who subsequently became the composer's wife, took a leading part. The libretto of this opera by Giovanni Schmidt 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 airs instead of leaving them to the fancy of the singers, and also the first in which the recitativo secco was replaced by a recitative accompanied by a string quartet.
Later in 1822, a 30-year-old Rossini succeeded in meeting Ludwig van Beethoven, who was then aged 51, deaf, cantankerous and in failing health. Communicating in writing, Beethoven noted: “Ah, Rossini. So you’re the composer of ''The Barber of Seville''. I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature.”
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'' was as successful as Barbiere. The absence of a similar precaution in construction of his ''Mosè in Egitto'' led to disaster in the scene depicting the passage of the Israelites through the Red Sea, when the defects in stage contrivance always raised a laugh, so that the composer was at length compelled to introduce the chorus "Dal tuo stellato soglio" to divert attention from the dividing waves.
In 1822, four years after the production of this work, Rossini married the renowned opera singer Isabella Colbran. In the same year, he moved from Italy to Vienna where his operas were the rage of the audiences. He directed his ''Cenerentola'' in Vienna, where ''Zelmira'' was also performed. After this he returned to Bologna, but an invitation from Prince Metternich to come to Verona and "assist in the general re-establishment of harmony" was too tempting to refuse, and he arrived at the Congress in time for its opening on October 20, 1822. Here he made friends with Chateaubriand and Dorothea Lieven.
In 1823, at the suggestion of the manager of the King's Theatre, London, he came to England, being much fêted on his way through Paris. In England he was given a generous welcome, which included an introduction to King George IV and the receipt of £7000 after a residence of five months. The next year he became musical director of the Théâtre des Italiens in Paris at a salary of £800 per annum. Rossini’s popularity in Paris was so great that Charles X gave him a contract to write five new operas a year, and at the expiration of the contract he was to receive a generous pension for life.
In 1829 he returned to Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return to Paris on a new agreement were temporarily upset by the abdication of Charles X and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, did return, however, to Paris in November of that year.
Six movements of his ''Stabat Mater'' were written in 1832 by Rossini himself and the other six by Giovanni Tadolini, a good musician who was asked by Rossini to complete the work. However, Rossini composed the rest of the score in 1841. The success of the work bears comparison with his achievements in opera, but his comparative silence during the period from 1832 to his death in 1868 makes his biography appear almost like the narrative of two lives—the life of swift triumph and the long life of seclusion, of which biographers give us pictures in stories of the composer's cynical wit, his speculations in fish culture, his mask of humility and indifference.
In the meantime, after years of various physical and mental illnesses, he had slowly returned to music, composing obscure little works intended for private performance. These included his Péchés de vieillesse ("Sins of Old Age"), which are grouped into 14 volumes, mostly for solo piano, occasionally for voice and various chamber ensembles. Often whimsical, these pieces display Rossini’s natural ease of composition and gift for melody, showing obvious influences of Beethoven and Chopin, with many flashes of the composer’s long buried desire for serious, academic composition. He died at the age of 76 from pneumonia at his country house at Passy on Friday, November 13, 1868. He was buried in Père Lachaise Cemetery in Paris, France. In 1887, his remains were moved to the Basilica di Santa Croce di Firenze, in Florence, at the request of the Italian government.
Immediately after Rossini's death, Giuseppe Verdi proposed to collaborate with twelve other Italian composers on a ''Requiem for Rossini'', to be performed on the first anniversary of Rossini's death, conducted by Angelo Mariani. The music was written, but the performance was abandoned shortly before its scheduled premiere. Verdi re-used the "Libera me, Domine" he had written for the Rossini Requiem in his 1872 ''Requiem for Manzoni''. In 1989 the conductor Helmuth Rilling recorded the original ''Requiem for Rossini'' in its world premiere.
In 1900 Giuseppe Cassioli created a monument to Rossini in the Basilica of Santa Croce, Florence.
In 1925, Ottorino Respighi orchestrated four pieces from ''Péchés de vieillesse'' as the suite ''Rossiniana'' (he had earlier used pieces from the same collection as the basis of his ballet ''La Boutique fantasque'').
A characteristic mannerism in Rossini's orchestral scoring is a long, steady building of sound over an ostinato figure, creating "tempests in teapots by beginning in a whisper and rising to a flashing, glittering storm," which earned him the nickname of "Signor Crescendo".
A few of Rossini's operas remained popular throughout his lifetime and continuously since his demise; others were resurrected from semi-obscurity in the last half of the 20th century, during the so-called "bel canto revival."
According to Herbert Weinstock's 1968 biography (see below), the composer's estate was valued at 2.5 million francs upon his death in 1868, the equivalent of about 1.4 million US dollars. Apart from some individual legacies in favour of his wife and relatives, Rossini willed his entire estate to the Commune of Pesaro. The inheritance was invested to establish a ''Liceo Musicale'' (Conservatory) in the town. When, in 1940, the ''Liceo'' was put under state control and turned into the ''Conservatorio Statale di Musica "Gioachino Rossini"'', the corporate body to which Rossini’s inheritance had been conveyed, assumed the style of ''Fondazione G. Rossini''. The ends of the institution which is still in full activity, are to support the Conservatorio initiatives and to promote the study and the spread worldwide of the figure, the memory and the works of Rossini. The institution has collaborated since the beginning with the Rossini Opera Festival.
;Texts, books
;Scores (sheetmusic)
;Historical recordings
;Films
;Performance
;Images
Category:1792 births Category:1868 deaths Category:People from Pesaro Category:Burials at Père Lachaise Cemetery Category:Honorary Members of the Royal Philharmonic Society Category:Italian composers Category:Légion d'honneur recipients Category:Opera composers Category:Classical era composers Category:Romantic composers Category:Romanticism
ar:جواكينو روسيني ay:Gioachino Rossini be:Джаакіна Расіні bs:Gioacchino Rossini bg:Джоакино Росини ca:Gioacchino Rossini cs:Gioacchino Rossini da:Gioacchino Rossini de:Gioachino Rossini et:Gioachino Rossini el:Τζοακίνο Ροσσίνι es:Gioachino Rossini eo:Gioachino Rossini eu:Gioacchino Rossini fa:جواکینو روسینی fr:Gioachino Rossini ga:Gioachino Rossini gl:Gioacchino Rossini ko:조아키노 로시니 hy:Ջոակինո Ռոսսինի hr:Gioachino Rossini id:Gioachino Rossini ia:Gioachino Rossini os:Россини, Джоаккино Антонио it:Gioachino Rossini he:ג'ואקינו רוסיני ka:ჯოაკინო როსინი kk:Россини Джоаккино Антонио la:Ioachimus Rossini lv:Džoakīno Rosīni lb:Gioacchino Rossini lt:Džoakinas Rosinis hu:Gioacchino Rossini arz:جواكينو روسيني ms:Gioachino Rossini nl:Gioacchino Rossini ja:ジョアキーノ・ロッシーニ no:Gioacchino Rossini oc:Gioacchino Rossini pms:Gioachino Rossini pl:Gioacchino Rossini pt:Gioachino Rossini ro:Gioachino Rossini qu:Gioacchino Rossini ru:Россини, Джоаккино scn:Giaucchinu Rossini simple:Gioachino Rossini sk:Gioacchino Rossini sl:Gioacchino Rossini sr:Ђоакино Росини sh:Gioacchino Rossini fi:Gioachino Rossini sv:Gioacchino Rossini tr:Gioacchino Rossini uk:Джоаккіно Антоніо Россіні vi:Gioachino Rossini zh:焦阿基诺·罗西尼
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Trained in the bel canto style, von Stade is known for her roles in Rossini's ''The Barber of Seville'' and ''La Cenerentola''. In addition to opera, von Stade has also performed a wide range of musicals, from ''Show Boat'' to ''The Sound of Music'' to ''A Little Night Music'' and has appeared on numerous PBS specials, most notably in 1991's ''A Carnegie Hall Christmas Concert.'' She has also appeared in many Kennedy Center Honors broadcasts for CBS. Von Stade is also a respected recital artist, performing works ranging from Mozart and Haydn to Mahler to Broadway show tunes. Her LP album of Mahler songs was praised as "cherishable" by Peter G. Davis of ''The New York Times''.
Composers, including Dominick Argento, Jake Heggie and Richard Danielpour, have produced works specifically for von Stade. She originated the role of "Tina" in Dallas Opera's world premiere production of Argento's ''The Aspern Papers''. She has also recorded other works by Argento. Danielpour composed ''Elegies'' for orchestra, mezzo-soprano, and baritone in memory of von Stade's father, Charles von Stade, who was killed late in World War II, two months before von Stade's birth. ''Elegies'' premiered in January 1998 with the Jacksonville Symphony led by Roger Nierenberg and has now been recorded by the London Philharmonic Orchestra. In 2008, she created the role of "Madeline" in the opera ''Last Acts'', a part which the composer Jake Heggie had specially written for her.
Von Stade was the featured performer at the opening ceremonies of the 2002 Winter Olympics in Salt Lake City and also sang with the Mormon Tabernacle Choir at the Cultural Olympiad held in conjunction with the games. She also sang at the choir's annual Christmas Concert the following year.
She currently resides in Alameda, California where she gives performances supporting the arts in local schools.
A case summary involving a dispute over marital property and earnings (''Elkus v. Elkus'', 572 N.Y.S.2d 901 (N.Y. App. Div. 1991)) between von Stade and Peter Elkus, formerly her husband, appears in Dukeminier's Property textbook, commonly used in the first year of law school.
Von Stade appeared in the finale of We Are Most Amused, the Charity Gala thrown for the 60th birthday of Prince Charles. She performed as a Valkyrie accompanying Eric Idle in singing a modified version of "Always Look on the Bright Side of Life".
Category:American female singers Category:Operatic mezzo-sopranos Category:American opera singers Category:1945 births Category:Living people Category:Grammy Award winners Category:Chevaliers of the Ordre des Arts et des Lettres Category:Mannes College of Music alumni Category:People from Somerville, New Jersey
ca:Frederica von Stade de:Frederica von Stade es:Frederica von Stade fr:Frederica von Stade it:Frederica von Stade ja:フレデリカ・フォン・シュターデ pt:Frederica Von Stade ro:Frederica von Stade sv:Frederica von StadeThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Ewa Podleś (; born on April 26, 1952 in Warsaw) is an internationally celebrated Polish coloratura contralto with a very wide vocal range (up to soprano high D) and great vocal agility.
After studying at the Warsaw Academy of Music under Madame Bolechowska, Podleś made her stage debut as ''Rosina'' in Rossini's ''The Barber of Seville'' in 1975. Podleś made her Metropolitan Opera debut on February 14, 1984, singing the title role in Handel's ''Rinaldo'', but only for a few performances that year (from which only two were in the Met's House), and was notably absent from the Met for more than 24 years, since then pursuing her career elsewhere and performing regularly at all other major opera houses in Europe and America. In May 2003, she was in a car accident in Santa Fe, New Mexico and suffered a broken arm. Her return to the Met took place on September 24, 2008, when she sang the role of ''La Cieca'' in Ponchielli's ''La Gioconda''.
Though known mainly for her Baroque works, Podleś's repertoire ranges from Handel's ''Giulio Cesare'' (Cesare) to songs by Shostakovich. Right at the center of her abilities, however, are the contralto roles (some of them "trouser" roles) of Rossini. She is also a specialist in Russian works. She has frequently been labeled a "force of nature."
Her recent performances include roles of ''La Cieca'' in ''La Gioconda'', ''Bertarido'' in Handel's ''Rodelinda'', the title role in Rossini's ''Tancredi'', the title role in Handel's ''Giulio Cesare in Egitto'', ''Isabella'' in Rossini's ''L'italiana in Algeri'', ''Erda'' in Wagner's Ring Cycle at the Seattle Opera, and Klytämnestra in Richard Strauss's ''Elektra'' with the Canadian Opera Company. She was scheduled to appear as Azucena in Verdi's ''Il trovatore'' at the Atlanta Opera in March 2009, but apparently cancelled.
Ewa Podleś and her husband, the accomplished pianist Jerzy Marchwinski, live in Warsaw, Poland.
DVD
Category:1952 births Category:Living people Category:Operatic contraltos Category:People from Warsaw Category:Polish female singers Category:Polish opera singers
ca:Ewa Podleś de:Ewa Podleś es:Ewa Podles it:Ewa Podleś no:Ewa Podleś pl:Ewa PodleśThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
After graduation, Kasarova joined the ensemble at Zurich Opera in 1989 and made her professional stage debut in Wagner’s Götterdämmerung as the 2nd Norn and Wellgunde. She soon became a local favorite there with the audience appreciative of her unique vocal timbres, expressive intensity, and virtuoso ability. She also entered and won that year's "''Neue Stimmen'' (New Voices)" competition at Gütersloh (2nd and 3rd behind her were Rene Pape and Bernard Lombardo). The competition was sponsored by Bertelsmann, which ownes BMG Classics label, leading to her exclusive recording contract.
In 1991, she made her debut at the Salzburg Festival singing 2 concerts in commemoration of Mozart's 200th death anniversary and as ''Annio'' in Mozart's La Clemenza di Tito under Sir Colin Davis. In that same year she left Zurich to fulfill her contract at the Vienna State Opera debuting in the role of ''Rosina'' in Rossini's The Barber of Seville, and remained with the company for 2 years. There she married her Swiss husband.
Her international career took flight in Salzburg in 1992 when at short notice, she stood in for Marilyn Horne as ''Tancredi'' in two concert performances of the Rossini opera. Since then she has been a regular guest at that summer festival, performing in Mozart's ''La Clemenza di Tito', 'Idomeneo', 'Cosi fan tutte', 'Mitridate', 'Ombra Felice'', and Berlioz's ''La Damnation de Faust''. She has also performed at other notable opera festivals such as Bregenz, St. Moritz, Glyndebourne, Munich and Pesaro.
Kasarova initially specialized in Mozart's operas and works by bel canto composers such as Rossini, Bellini, and Donizetti. By the mid 2000's she became much sought after in Baroque trouser roles such as ''Orphée'' in Gluck's "Orphée et Eurydice", ''Ruggiero'' in Händel's "Alcina", and ''Ariodante'' in "Ariodante". After her first assumption of Bizet's "Carmen" in 2008, however, her voice has gained more warmth and size as she adds more dramatic roles to her repertoire. When asked about her repertory change in interviews the singer consistently states her intention to keep singing bel canto roles for as long as possible in order to maintain vocal health as she moves toward the heavier roles.
In 2003 Kasarova collaborated with the Bulgarian composer Krassimir Kyurkchiyski to produce the CD 'Bulgarian Soul'. She sings with the Cosmic Voices from Bulgaria and the Sofia Soloists Orchestra in this compilation of Bulgarian folk songs. "Many people don't know my native land. I would like them to discover the Bulgarian soul," the singer commented. She won the 2003 ''German ECHO Award'' for "Singer of the Year". In 2005 she won the ''Merkur Preis'' and was elected ''Bayerische Kammersängerin''. She hosted Deutsche Welle’s Euromaxx television series ''Vesselina Kasarova: Bulgarian Encounters'', introducing European audiences to her native Bulgaria. Kasarova was also named an ''Österreichische Kammersängerin'' in April 2010.
Her recent roles (since 2008) include:
Category:1965 births Category:Living people Category:People from Stara Zagora Category:Bulgarian female singers Category:Operatic mezzo-sopranos Category:Bulgarian opera singers
ca:Vesselina Kasarova de:Vesselina Kasarova es:Vesselina Kasarova ja:ヴェッセリーナ・カサロヴァ pl:Weselina Kacarowa ro:Vesselina KasarovaThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
She began her career at Opera de Nice in 1986 with Mozart's La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Berlin Deutsche Oper, and London Covent Garden.
Jennifer Larmore has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date.
With her frequent collaborator Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues.
Symphonic repertoire plays a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackarras, Spinosi, Guidarini, Kalmar, Rudel, Barenboim, Queler, Bonynge, Maazel , Osawa and Hengelbrock.Jennifer Larmore's upcoming schedule takes her to the Théatre des Champs-Elysees, London’s Barbicon, Venice, Budapest and Paris Opera Bastille as “Alcina” in Vivaldi’s ORLANDO FURIOSO with Jean-Chrsitophe Spinosi; to Paris’ Opera Bastille for the “Countess Geschwitz” in Berg's Lulu which she debuted in June 2009 to great success at Covent Garden in the Christof Loy production with Tony Pappano; to Brussels La Monnaie as Dulcinée in Massenet's Don Quichotte with Marc Minkowski; to Berlin Deutsche Oper for Kostelnichka in Janacek's Jenufa with Donald Runnicles; to Washington Concert Opera for “Charlotte” in WERTHER; to Geneva for the role of “Lady Macbeth” in a new Christof Loy production of Verdi’s opera MACBETH.
Miss Larmore, in collaboration with the double bass player Davide Vittone has created a new ensemble called Jennifer Larmore and OpusFive. The three programs they offer are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway which feature string quintet and voice. They give concerts all over Europe, including in Seville, Pamploma, Valencia, Las Palmas, Venice, Amiens and Aix en Provence and Paris.In addition to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera!
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Larmore attended Westminster Choir College in New Jersey and trained with John Bullock and Regina Resnik. She made her professional debut in 1986, at Opéra de Nice in Mozart's ''La clemenza di Tito''. In 1988, she sang Rosina in Rossini's ''The Barber of Seville'' (Jérôme Savary production in Strasbourg) She made her Carnegie Hall debut as Romeo (Bellini's ''I Capuleti e i Montecchi)'' in 1994 and her Metropolitan Opera debut in 1995. She appeared as Gertrude in the Met's ''Hamlet'' in 2010.
Larmore has won the Richard Tucker Award and a Grammophon ''Best Baroque Opera'' award for singing ''Giulio Cesare'' on Harmonia Mundi. She has had eight Grammy Award nominations and sang at the 1996 Summer Olympics closing ceremony in Atlanta. Larmore also hosted a satellite radio show for two years called ''Backstage With Jennifer Larmore''. She received knighthood (''Chevalier de l'Ordre des Arts et des Lettres'') from the French Government in 2002.
She has also appeared in supporting roles in ''Orphée et Eurydice'', ''Maria Stuarda'', ''Francesca di Foix'', ''Elvida'', ''Adelaide di Borgogna'', and ''Alessandro nelle Indie''.
Category:Living people Category:1958 births Category:American female singers Category:Operatic mezzo-sopranos Category:American opera singers Category:Westminster Choir College alumni Category:People from Atlanta, Georgia Category:Chevaliers of the Ordre des Arts et des Lettres Category:Musicians from Georgia (U.S. state)
de:Jennifer Larmore es:Jennifer Larmore fr:Jennifer LarmoreThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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