Composers

11-20 of 59 videos of music composed by Gioachino Rossini

Jonas Kaufmann - La Donna e Mobile - Classical Brits 2009
Jonas Kaufmann - La Donna e Mobile - Classical Brits 2009 Performance in the 10th annual Classical Brit Awards, 2009.
El barbero de sevilla (Rossini) ,aria de rosina part 1 - Raquel Rodr
El barbero de sevilla (Rossini) ,aria de rosina part 1 - Raquel Rodr For this time an unusual in my colection of old 78´sa Classical piece from the Barber of Seville pressed in a Polydor for the latin market, because all the writing it´s in spanish, and even the sleeve .. great record in great condition, sounds wonderful in the Pathé Diamond. All I can simply say its WOW!
Gioachino Rossini - La cambiale di matrimonio - "Come tacer" (Joan
Gioachino Rossini - La cambiale di matrimonio - "Come tacer" (Joan One of the most peculiar things in Dame Joan Sutherland's career, for me at least, was the fact that she has sang so few Rossini parts, except, of course, for Semiramide. It really is a pity that she hasn't recorded, for example, "La donna del lago", "Elisabetta" or any similar parts. I am sure that they would have suited her wonderfully. Still, I am happy with what Joan Sutherland has recorded (and that's quite a lot :-)). This early recording is a small clue on what may have been. "La cambiale di matrimonio" is one of Rossini's earliest operas and, as usual, it is quite delightful :-)! Presented here is the aria of the heroine, Fanny, as sung by Sutherland. Hope you enjoy (comments are most welcome :-))!
La Cenerentola - G Rossini -Scene 3 - Cecilia Bartoli' solo
La Cenerentola - G Rossini -Scene 3 - Cecilia Bartoli' solo Gioachino Rossini - " La Cenerentola" Acto 2- Scena 3 ( last one )- 24-Della Fortuna instabile ( Coro ) 25- Nacqui all'affanno ( Cerenterola - Cecilia bartoli ) 26- Non più mesta ( Cerenterola ) Houston Grand Opera - Directed for video by Brian Large Music Director Christoph Eschenbach Houston Grand Opera Corus Bruno Campanella 1996
La Cenerentola - G Rossini - Questo è un nodo avvilupatto
La Cenerentola - G Rossini - Questo è un nodo avvilupatto Gioachino Rossini - " La Cenerentola" Acto 2 - Scene 2 21-Questo è un nodo avvilupatto Magnifico ( Enzo Dara ), Tisbe (Jill Grove), Clorinda ( Laura Knoop ) , Cenerenterola ( Cecilia Bartoli ), Ramiro ( Raúl Giménez ), Dandini ( Alessandro Corbelli ) Houston Grand Opera - Directed for video by Brian Large Music DirectorChristoph Eschenbach Houston Grand Opera Corus Bruno Campanella
The Italian in Algiers by Rossini
The Italian in Algiers by Rossini This music is "The Overture to The Italian in Algiers" written by Gioacchino Rossini and arranged by Theo. Moses-Tobani. The Mount Prospect Community Band Performed this on March 18, 2007.
Zitto, zitto - La Cenicienta - Rossini - Flórez (sub.esp)
Zitto, zitto - La Cenicienta - Rossini - Flórez (sub.esp) Zitto, zitto - "La cenerentola" -Gioacchino Rossini - Juan Diego Flórez a Teatro Liceu de Barcelona - 2008
J. Heifetz Plays "Figaro" (Rossini "Largo al Factotum" Paraphras
J. Heifetz Plays "Figaro" (Rossini "Largo al Factotum" Paraphras Gioachino Rossini: "Figaro" Paraphrase of "Largo al Factotum" of "Il barbiere di Siviglia". Violin: Jascha Heifetz Transcribed by Jascha Heifetz
Princesses of Violin - Wilhelm Tell Ouvertüre 2007
Princesses of Violin - Wilhelm Tell Ouvertüre 2007 Princesses of Violin - Wilhelm Tell Ouvertüre 2007 Ouvertüre zur Oper 'Wilhelm Tell' von Gioacchino Rossini Ouverture de l'opéra Guillaume Tell de Gioacchino Rossini
Gioachino Rossini - Otello - "Assisa a pie d'un salice" (Frederic
Gioachino Rossini - Otello - "Assisa a pie d'un salice" (Frederic Finally, the most important woman in Rossini's life - mezzo-soprano Isabella Colbran - has an opportunity to enchant us. If we were to choose "a crown jewel" of Barbaja's and Rossini's cast, the choice would be all to obvious: Isabella Colbran. She was one of the first in a line of brilliant dramatic singers that would bless belcanto operas for decades: Pasta, Grisi, de Bengis, Malibran... She appeared in ten Rossini operas, and the love that formed between the primadonna and the maestro is evident in every page of the scores. Except for the rather bland character of Zoraide in "Ricciardo" and, possibly, Zelmira, all roles are incredibly dramatic: Armida and Ermione are anti-heroines, in spite of their tragic situations; Fiorilla is a comic role of unusual proportions; Elcia, Anna, Elena and Desdemona, in spite of being ingenue-like characters, are faced with staggeringly complex situations (indeed, only Elena gets a happy ending, while Anna commits suicide, Elcia's lover is killed before her eyes and Desdemona is killed by Otello); even the less interesting characters of Elisabetta and Semiramide require an unlimited amount of charisma. Although the label "soprano" is often used when describing Colbran's voice, Rossini's music speaks otherwise: she is regularly asked to go down to A flat and even G, while high notes rarely go beyond B; though additions aren't really prohibited, so Colbran roles are essayed by both sopranos and mezzos without any real threat to the music ...
YesNo