|
Every attempt has been made to replicate the original as printed.
Some typographical errors have been corrected;
.
[Contents.] [List of Rossini’s works with the date of their production in public.] (etext transcriber's note) |
THE
LIFE OF ROSSINI.
BY
H. SUTHERLAND EDWARDS.
IN ONE VOLUME.
LONDON:
HURST AND BLACKETT, PUBLISHERS,
13, GREAT MARLBOROUGH STREET.
1869.
The Right of Translation is Reserved.
LONDON:
BRADBURY, EVANS, AND CO., PRINTERS, WHITEFRIARS.
CONTENTS.
| INTRODUCTION. | |
| PAGE | |
Rossini’s Influence, and Success | |
| [PART I.] ROSSINI AND HIS EARLY WORKS. | |
|---|---|
| [CHAPTER I.] ROSSINI’S YOUTH. | |
Pedigree and Arms—Rossini’s First Work—Rondo Finale—FiveOperas in one Year—Rossini and the Conscription—“UnCurioso Accidente”—The Mombelli Family—AnOperatic Burlesque | |
| [CHAPTER II.] ITALIAN OPERA UNTIL “TANCREDI.” | |
Rossini’s Innovations—Rossini and an old Habitué—TheOpera at Naples—Scarlatti and his School | |
| [CHAPTER III.] FOUR HISTORICAL OPERAS. | |
Pergolese and Gluck—Cimarosa and Paisiello | |
| [CHAPTER IV.] MOZART AND ROSSINI. | |
Mozart in Germany; and Abroad | |
| [CHAPTER V.] ROSSINI’S REFORMS IN SERIOUS OPERA. | |
The Basso Cantante—Overture to “Tancredi”—Rossini’sCrescendo—“Di tanti palpiti” | |
| [CHAPTER VI.] ROSSINI’S REFORMS IN COMIC OPERA. | |
“L’Italiana in Algeri”—Anecdote of a Duet—Livelinessand Laziness | |
| [CHAPTER VII.] ROSSINI’S REFORMS IN WRITING FOR THE VOICE. | |
“Aureliano in Palmira”—The Sopranists—Porpora andCaffarelli—Rossini and Velluti—Vocal Embroidery—Singersand Composers—Change of System—A RoyalSinging-master | |
| [CHAPTER VIII.] FROM MILAN TO NAPLES. | |
“Il Turco in Italia”—A Fiasco—The Opera at Rome—TheOpera at Turin—Operatic Subventions—The Two-ActDivision—Baldness of Rossini’s Managers | |
| [PART II.] ROSSINI AT NAPLES. | |
| [CHAPTER I.] ROSSINI, BARBAJA, AND MDLLE. COLBRAN. | |
The Illustrious Barbaja—Mademoiselle Colbran—APatriotic Hymn | |
| [CHAPTER II.] “ELISABETTA”: ROSSINI’S DEBUT AT NAPLES. | |
“Elisabetta”—Accompaniment of Recitative | |
| [CHAPTER III.] ROSSINI VISITS ROME—“TORVALDO E DORLISKA.” | |
Rossini’s Barber | |
| [CHAPTER IV.] BEAUMARCHAIS, PAISIELLO, AND ROSSINI. | |
“Le Barbiere de Seville”—Beaumarchais’ Preface—LaCalunnia—Paisiello’s “Barbiere” | |
| [CHAPTER V.] “THE BARBER OF SEVILLE.” | |
Contract for the “Barber”—Rossini and the Music-Publishers—Gettingto work—The Composer andthe Librettist—Hard work—Preface to the“Barber” | |
| [CHAPTER VI.] “THE BARBER OF SEVILLE”—FIRST REPRESENTATION. | |
The Two Overtures—Madame Giorgi Righetti—Almaviva’sAir—Trio of the Music-Lesson—Transpositions | |
| [CHAPTER VII.] “OTELLO”: FURTHER REFORMS IN OPERA SERIA. | |
Cast of “Otello”—Davide—Progress of Instrumentation—TheClarinet—Brass Instruments—A Solo on theKettledrum | |
| [CHAPTER VIII.] ROSSINI’S REPRODUCTIONS FROM HIMSELF. | |
Religious and Secular Music—Borrowed Pieces—Parts in“Il Barbiere”—“La Cenerentola” and “Il Barbiere” | |
| [CHAPTER IX.] “LA GAZZA LADRA”: THE CONTRALTO VOICE. | |
The Magpie and the Trowel—Beethoven and Paer—Contraltoparts—Overture to “La Gazza Ladra”—ADrum-hater—Operatic prayers | |
| [CHAPTER X.] “ARMIDA,” “ADELAIDA,” AND “ADINA.” | |
“Adina,” an Opera for Lisbon | |
| [CHAPTER XI.] “MOSÈ IN EGITTO”: REFORMS IN OPERA SERIA. | |
Emancipation of the Serious Basso—Musical Fevers—Crossingthe Red Sea—The Preghiera | |
| [CHAPTER XII.] THREE UNFAMILIAR WORKS. | |
“Ermione”—Memory of a Neapolitan Merchant—NewMusic and Old | |
| [CHAPTER XIII.] SACRED AND SECULAR SUBJECTS. | |
An Operatic Mass—Secular and Religious Music | |
| [CHAPTER XIV.] “LA DONNA DEL LAGO.” | |
Operatic Subjects—Classical and Mythological Opera—VictorHugo on the Libretto—New Combination—“RobertBruce.” | |
| [CHAPTER XV.] END OF ROSSINI’S ITALIAN CAREER. | |
Departure from Naples—“Matilda di Sabran”—Rossini’sMarriage—Carpani and “Zelmira”—Madame Rossini—“Semiramide”—Farewellto the Italian Stage | |
| [PART III.] ROSSINI’S FRENCH CAREER. | |
| [CHAPTER I.] A VISIT TO LONDON—ROSSINI AND GEORGE IV. | |
A Successful Manager—Rossini’s English Adapters—HisPopularity in London—Rossini and George IV.—Concertat Almack’s—Rossini on his stay in England—Artin London Drawing-rooms | |
| [CHAPTER II.] ROSSINI’S OPERA FOR THE KING’S THEATRE. | |
Operatic Management in England—The Missing Act | |
| [CHAPTER III.] ROSSINI IN PARIS. | |
Musical Feuds in Paris—Rossini in a Vaudeville—Bertonand Paer—Boieldieu and the French Rossinists—Auberand Rossini’s Music—“Art is lost” | |
| [CHAPTER IV.] ROSSINI AND HIS CRITICS. | |
“Signor Crescendo”—Paisiello’s “Barbiere”—Curious instanceof Antipathy | |
| [CHAPTER V.] ROSSINI AT THE ITALIAN OPERA OF PARIS. | |
Rossini and Paer—“Il Viaggio a Reims”—“Andiamo aParigi”—Rossini and Bellini | |
| [CHAPTER VI.] ROSSINI AT THE ACADEMIE. | |
Rossini on “Ermione”—Italian Artists at the FrenchOpera—“Le Siège de Corinthe”—Rossini’s Profits asa Composer—“Moïse”—M. Scribe as a Librettist—TheRoyal Italian Opera | |
| [CHAPTER VII.] “GUILLAUME TELL.” | |
The Libretto—Beauty of the Music—Avoidance of the“Cavatina”—Dramatic Effects peculiar to Operas | |
| [CHAPTER VIII.] ROSSINI AFTER “WILLIAM TELL.” | |
Windmills and Wind—Industry and Idleness—Rossini’s“Faust”—After “Guillaume Tell”—Rossini and M.Guizot | |
| [CHAPTER IX.] THE “STABAT MATER.” | |
Rossini and Mendelssohn—Religious and Secular Styles—Heineon the “Stabat Mater”—Rossini’s Mass—ThreeMasterpieces | |