1-10 of 59 videos of music composed by Gioachino Rossini

G. Rossini: Arsace's Cavatina from "Semiramide"
G. Rossini: Arsace's Cavatina from "Semiramide" Naira Asriyan, mezzo Alexandra Borisova, piano
Gioachino Rossini - L'italiana in Algeri - "Cruda sorte! Amor tira
Gioachino Rossini - L'italiana in Algeri - "Cruda sorte! Amor tira Out of all Rossini's comic heroines, Isabella would have to be the most assertive, the most charming creation. While other heroines, with possible exception of Matilde, are still characterized by their femininity and they are still very much controlled by the men around them, Isabella is the one who does most of the controlling, making her a most powerful presence in the list of Rossini's heroines. Even her short cavatina is proof to this. Written as a simple succession of cantabile - tempo di mezzo - cabaletta, the piece is so vivacious and so perfect in describing the heroine, that the brevity of it only highlights its' dramatic opportunities. Starting with a furious call of woman who isn't used to being captured by anyone, the cavatina then mellows down as Isabella remembers Lindoro. But the woman soon throws any languishing thoughts to the wind, she is Isabella, after all. Her cabaletta is given to a list of Isabella's womanly weapons, ranging from a sigh to a storm. Teresa Berganza is, perhaps, not the classical tomboyish Isabella we are accustomed to, but her gentle singing and elegant manner are just as welcome. Enjoy :)!
Rossini-'Semiramide Overture'/Leibowitz/ 1/2
Rossini-'Semiramide Overture'/Leibowitz/ 1/2 Rare. Rene Leibowitz conducts The Paris Pasdeloup Orchestra (1958, Urania) Rene Leibowitz (1913-1972) was born in Warsaw but moved to Paris in his teens and there began a long, illustrious conducting career. Particularly interested in contemporary music, he studied with Webern and Schoenberg and wrote a detailed analysis of twelve-tone music. A keen ear for instrumental coloration (Ravel was his orchestration teacher) was evident in his kaleidoscopic transcriptions of such works as Bach's Passacaglia and Fugue in C (for double orchestra!). But he is best known for his often highly personal renditions of many staples of the Classical and Romantic repertoire.
Gioachino Rossini - Il turco in Italia - Ouverture (Neville Marriner
Gioachino Rossini - Il turco in Italia - Ouverture (Neville Marriner I am returning, after quite a bit of time, to my comedic collection with excepts from one of Rossini's most "Shakespearean" comedies, "Il turco in Italia". "Il turco" was commissioned by the famed La Scala for the autumn season of 1814. Although only 22 at the time of composition, Gioachino Rossini had already reached great esteem as an operatic composer (having scored hits with several opere buffe as well as grander, more serious works, such as "Tancredi"), and the success of his "L'italiana in Algeri" the year before spurred him to write a companion piece. Although the two cannot be considered sequels in the literal sense, the similarities are obvious: in "L'italiana", amorous intrigues surround an Italian woman stranded in Algiers, while in "Il turco", a Turk arrives in Italy only to add himself to an existing love triangle (making a love quadrangle, perhaps?). Unfortunately for Rossini, the Milanese public was all too aware of these similarities and, although Rossini's score was every bit as fresh and inventive and his characterizations as well-drawn as those for "L'italiana", they heartily disapproved. However, the quality of the score would eventually carry the day and, as Stendhal wrote in his biography of Rossini, the opera was revived just four years later to wild enthusiasm. In short, the opera involves the Pirandello-like theme of an author in search of six characters: here, the capricious married woman, Fiorilla (soprano); her buffoonish but sincere husband ...
Gioachino Rossini - Concert Aria (1813) - "Alle voci della gloria"
Gioachino Rossini - Concert Aria (1813) - "Alle voci della gloria" This virtuoso scene for bass and orchestra, "Alle voci della gloria", a typical "aria di baule" or "suitcase aria" (meaning arias that singers in the nineteenth century carried around with them, should a need arise to sing a piece of suitable demands; sometimes literally in a suitcase :D), generally supposed to have been written by Rossini in 1813 for Filippo Grimani, a Venetian patron, is something of an enigma in the list of Rossini's works, and has a decidedly troubled modern life. It was considered not so long ago (and interpolated as such) as an insertion aria for the completely-sololess Blansac from one of Rossini first operas, "La scala di seta". But there are several signs that, as Philip Gossett rightly points out in his book on performing belcanto, overturn a possibility of Rossini actually considering such an insertion: first off all, we have the text, worthy of opera seria, speaking of a languishing lover, completely lost in his desire to see his beloved again, though the cabaletta is set in a more hopeful mood; then, there is the rich orchestration which includes instruments - trumpets, trombones and percussion - that are actually absent from the earlier opera itself; the level of virtuosity that is asked throughout also seems alien to the comprimario from the farse; finally, there is a question of musical balance, Blansac does not actually need an aria, as it would destroy the balance of the opera where half of the numbers are already traditionally set as ...
Gioachino Rossini - Otello - "Non arrestar il colpo" (Frederica vo
Gioachino Rossini - Otello - "Non arrestar il colpo" (Frederica vo Another except to savor the young Carreras in a Rossini role, this time - the penultimate duet with Desdemona. "Duet" is actually a very liberal name for this scene which, on top of abandoning the unneeded in the situation idiom, is more like a string of concentrated passages connected by a hurried dialogue between the characters. The piece starts classically, as if it is going to continue in similar fashion, with opening verses for both Desdemona and Otello. We can immediately notice that Rossini refuses to use the same musical expression for both of these expressions with Otello's reply being given a strikingly different ornamental structure, as the lovers are already set against each other. A dialogue ensues in which Desdemona is shocked to learn Otello weighing the word of his enemy against that of his lover. The next duettino is built over a tormented musical background of a storm rising over Venice, as the lovers, echoing each other sing a dramatic invocation of their conflicting feelings only strengthened by the tempest. In the final dialogue, developed with the help of the "tempest", Desdemona accepts her sorry fate, before dying from Otello's hand. A "duet" of infinite dramatics and one of the more acute (story-wise) of Rossini's created. Jose Carreras is joined here by the lovely Desdemona of Frederica von Stade who remains my favorite interpreter of the role. Hope you'll enjoy :)!
Gioachino Rossini - Tancredi - "Di tanti palpiti" (Cecilia Bartoli
Gioachino Rossini - Tancredi - "Di tanti palpiti" (Cecilia Bartoli Not one compilation of Rossini's musical output would be complete without his first "hit tune": "Di tanti palpiti", the moderato section (a cabaletta of sorts) from the cavatina of Tancredi. In his biography of the Maestro, Stendhal wrote that the aria of Tancredi, known throughout Europe, was the most popular opera aria of its time... And also refered to as the "rice aria" because Rossini is supposed to have composed it while waiting for his risotto to cook one day in Venice (imagine: a hungry composer composing such a little masterpiece out of boredom :) )! The cavatina deals with Tancredi's return from exile Tancredi to defend his homeland against the Saracene besiegers (and to see Amenaide, of course). Although many recordings of the aria usually give us only the moderato, Tancredi's cavatina is actually a whole scene: an interlude (depicting Tancredi's boat dropping anchor in a port) - an impassioned recitative - a short (and rather boring) aria - a "cabaletta". It's also interesting to point out that the aria is quite "unrossinian" in character, it almost seems to come from another musical period: the moderato section could be attributed to any composer from the end of the 18th century. I decided to post only the "Di tanti palpiti" section for a number of reasons, chief amongst them being the fact that it is really the best part of Tancredi's cavatina. It's almost a suprise when it appears after the rather uninspired cantabile. I once had about ten versions of this ...
-Galina Vale -classical guitar / "Tarantella" G.Rossini
-Galina Vale -classical guitar / "Tarantella" G.Rossini Galina Vale / "TARANTELLA" G.Rossini-J.Morel
Gioachino Rossini - Mose in Egitto - "Ah! Se puoi cosi lasciarmi"
Gioachino Rossini - Mose in Egitto - "Ah! Se puoi cosi lasciarmi" The series of musical excepts from Giachino Rossini's operas, entitled "Master of Belcanto", continues with new uploads and a whole new concept. I decided to do something a bit different for my new upload: a compilation based on a single theme which is featured prominently in all selections. The first theme is love (what else :)?). The compilation is entitled: "Tornami a dir che m'ami". Originally, I had planned a more diverse program which would have included arias as well as duets. But when I saw the size of the content I wanted to upload (the remaining compilation is about two hours long), I decided to do love arias as a separate series. The chosen items include love scenes from the very first to the very last operas by Rossini. We start at "L'occasione fa il ladro" with a simple pastoral duet and finish at the beginning of the second act of "Guillaume Tell" with a romantic grand scena. Such an approach gives us a chance to understand how Rossini's composing style changed with each passing year. The presented excepts are listed below with some notes detailing their characteristics. As the whole compilation is quite large, I'm going to upload everything slowly. 1) «Se non m'inganna il core» for Alberto and Berenice from «L'occasione fa il ladro». 2) «Quanto e dolce a un'alma amante» for Florville and Sofia from "Il Signor Bruschino". 3) "L'aura che intorno spiri" for Amenaide and Tancredi from "Tancredi". 4) "Credete alle ...
Introduction, Theme and Variations by Rossini last 2 min arr by Ralp
Introduction, Theme and Variations by Rossini last 2 min arr by Ralp The music is played by IL Corpo Musicale Olgiatese and assisted by members of the Mount Prospect Community Band. The Clarinet soloist is Edoardo Piazzoli. This concert is the culmination of a foreign exchange between Olgiate Comasco Italy and Mount Prospect, IL. The director of the CMO is Edoardo Piazzoli and Ralph Wilder is the director of the MPCB.