Journal articles: 'Gioachino Rossini'

1

Ashbrook, William. "Semiramide. Gioachino Rossini." Opera Quarterly 11, no. 1 (1994): 151–53. http://dx.doi.org/10.1093/oq/11.1.151.

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2

Graeme, R. "Tancredi. Gioachino Rossini." Opera Quarterly 14, no. 2 (January 1, 1997): 158–60. http://dx.doi.org/10.1093/oq/14.2.158.

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3

Rishoi, N. "Semimmide. Gioachino Rossini." Opera Quarterly 15, no. 2 (January 1, 1999): 314–15. http://dx.doi.org/10.1093/oq/15.2.314.

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4

Law, J. K. "Otello. Gioachino Rossini." Opera Quarterly 17, no. 1 (January 1, 2001): 136–41. http://dx.doi.org/10.1093/oq/17.1.136.

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5

Ashbrook, William. "Armida. Gioachino Rossini." Opera Quarterly 6, no. 4 (1989): 127–29. http://dx.doi.org/10.1093/oq/6.4.127.

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6

Shewan, Rodney. "Ermione. Gioachino Rossini." Opera Quarterly 6, no. 4 (1989): 139–42. http://dx.doi.org/10.1093/oq/6.4.139.

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7

Rosenberg, M. L. "La Cenerentola. Gioachino Rossini." Opera Quarterly 16, no. 2 (January 1, 2000): 305–7. http://dx.doi.org/10.1093/oq/16.2.305.

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8

Fregosi, W. "Guglielmo Tell. Gioachino Rossini." Opera Quarterly 16, no. 4 (January 1, 2000): 677–80. http://dx.doi.org/10.1093/oq/16.4.677.

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9

Ashbrook, William. "L'inganno felice: Gioachino Rossini." Opera Quarterly 7, no. 3 (1990): 196–97. http://dx.doi.org/10.1093/oq/7.3.196.

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10

Hamilton, David. "Guillaume Tell. Gioachino Rossini." Opera Quarterly 8, no. 1 (1991): 117–21. http://dx.doi.org/10.1093/oq/8.1.117.

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11

Ashbrook, W. "Robert Bruce. Gioachino Rossini." Opera Quarterly 20, no. 2 (April 1, 2004): 330–31. http://dx.doi.org/10.1093/oq/kbh046.

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12

Sterpellone, Di Luciano. "Gioachino Rossini: Mali in “Crescendo”." Giornale di Clinica Nefrologica e Dialisi 24, no. 3 (January 26, 2018): 59–64. http://dx.doi.org/10.33393/gcnd.2012.1161.

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13

PINES, R. "Ricciardo e Zoraide. Gioachino Rossini." Opera Quarterly 16, no. 1 (January 1, 2000): 130–32. http://dx.doi.org/10.1093/oq/16.1.130.

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14

Pines, R. "L'Italiana in Algeri. Gioachino Rossini." Opera Quarterly 18, no. 4 (October 1, 2002): 622–24. http://dx.doi.org/10.1093/oq/18.4.622.

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15

Shewan, Rodney. "Le Comte Ory. Gioachino Rossini." Opera Quarterly 6, no. 4 (1989): 116–20. http://dx.doi.org/10.1093/oq/6.4.116.

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16

Ashbrook, William. "Il signor Bruschino. Gioachino Rossini." Opera Quarterly 7, no. 1 (1990): 207–9. http://dx.doi.org/10.1093/oq/7.1.207.

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17

Harris, Dale. "Le Comte Ory. Gioachino Rossini." Opera Quarterly 7, no. 3 (1990): 151–54. http://dx.doi.org/10.1093/oq/7.3.151.

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18

Sterpellone, di Luciano. "Gioachino Rossini: Mali in “Crescendo”." Giornale di Tecniche Nefrologiche e Dialitiche 24, no. 3 (July 2012): 59–64. http://dx.doi.org/10.1177/039493621202400312.

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19

Jellinek, G. "L'Italiana in Algeri. Gioachino Rossini." Opera Quarterly 22, no. 1 (December 13, 2006): 189–90. http://dx.doi.org/10.1093/oq/kbi087.

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20

Pearlman, Richard. "La cambiale di matrimonio. Gioachino Rossini." Opera Quarterly 10, no. 4 (1994): 128–31. http://dx.doi.org/10.1093/oq/10.4.128.

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21

Willier, Stephen A. "La scala di seta. Gioachino Rossini." Opera Quarterly 11, no. 2 (1995): 179–81. http://dx.doi.org/10.1093/oq/11.2.179.

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22

Glasow, E. T. "Le siEge de Corinthe. Gioachino Rossini." Opera Quarterly 14, no. 1 (January 1, 1997): 172–74. http://dx.doi.org/10.1093/oq/14.1.172.

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23

Pines, R. "Il turco in Italia. Gioachino Rossini." Opera Quarterly 15, no. 4 (January 1, 1999): 764–67. http://dx.doi.org/10.1093/oq/15.4.764.

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24

Jellinek, George. "Il Turco in Italia. Gioachino Rossini." Opera Quarterly 6, no. 1 (1988): 120–21. http://dx.doi.org/10.1093/oq/6.1.120.

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25

Shewan, Rodney. "Il barbiere di Siviglia. Gioachino Rossini." Opera Quarterly 6, no. 3 (1989): 139–41. http://dx.doi.org/10.1093/oq/6.3.139.

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26

Schauer, John. "La donna del lago. Gioachino Rossini." Opera Quarterly 6, no. 4 (1989): 134–35. http://dx.doi.org/10.1093/oq/6.4.134.

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27

Eckert, Thor. "Il barbiere di Siviglia. Gioachino Rossini." Opera Quarterly 7, no. 1 (1990): 199–200. http://dx.doi.org/10.1093/oq/7.1.199.

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28

Astor, Dorian. "Rossini, músico do futuro. Nietzsche e Peter Gast na descoberta da grande saúde rossiniana." Cadernos Nietzsche 38, no. 1 (April 2017): 148–83. http://dx.doi.org/10.1590/2316-82422017v3801da.

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Resumo O presente artigo tem o objetivo de refletir acerca das relações entre Nietzsche e o compositor italiano de ópera Gioachino Antonio Rossini. No intuito de traçar o desenvolvimento da influência do músico sobre o filósofo, o artigo realiza um apanhado e examina os textos de Nietzsche em que Rossini é citado. Ao longo do trabalho, tenta-se evidenciar que essa influência foi gradativa, mas de essencial importância nas vivências do filósofo. Como temática secundária, o artigo também traz algumas reflexões sobre a relação entre Wagner e Rossini.

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29

Fântână, Cristina Simionescu. "An Analysis of the Voice Assemblies from the Opera La Cenerentola by Gioachino Rossini." Review of Artistic Education 21, no. 1 (June 1, 2021): 56–70. http://dx.doi.org/10.2478/rae-2021-0008.

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Abstract A musical inspiration, the opera La Cenerentola by Gioachino Rossini offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal ensembles and to emphasize their musical and dramaturgical. realization.

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30

Perich, O. V., and A. V. Sivkova. "Music Peculiarities of the Piano Miniatures by Gioachino Rossini." Университетский научный журнал, no. 60 (2021): 115–26. http://dx.doi.org/10.25807/pbh.22225064.2021.60.115.126.

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31

Joerg, Guido Johannes. "Zur Wiederentdeckung einer Kantate Gioachino Rossinis in Berlin." Die Musikforschung 46, no. 2 (September 22, 2021): 181–83. http://dx.doi.org/10.52412/mf.1993.h2.1155.

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Die "Cantata per Sampieri" (Bologna 1830) wurde im September 1991 in Berlin wiederentdeckt. Einer Beschreibung der Partiturhandschrift folgt die Analyse der Besetzung, der Besonderheiten der Instrumentierung, des Textes, der Entstehungsgeschichte und der ersten Aufführung der Kantate als Geschenk zum Namenstag des Bologneser Marchese Francesco Sampieri. In der musikalischen Analyse zeigen sich die Einflüsse durch die Kantate "La riconoscenza" und die Bühnenwerke "Aureliano in Palmira" und "Le comte Ory". Die Kantate dient als Argumentationshilfe gegen die Vorstellung, daß Rossini nach dem "Guillaume Tell" nicht mehr komponiert habe. (Joerg, Guido Johannes)

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32

Fântână, Cristina Simionescu. "8. Gioachino Rossini, Voice Assemblies In The Opera IL Barbiere Di Siviglia." Review of Artistic Education 19, no. 1 (April 1, 2020): 58–70. http://dx.doi.org/10.2478/rae-2020-0008.

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AbstractIn Naples, Gioachino Rossini creates some of his works for representations in other cities. The best known, the Barber of Seville or Useless Precaution, opened on February 20, 1816, atTeatro Argentina in Rome. The booklet, a version of Pierre de Beaumarchais’s eponymous novel, was rewritten by Cesare Sterbini, being a variant other than that already used by Giovanni Paisiello. Moreover, since then the work has enjoyed a great popularity, contributing to this triumph and the extremely short period in which it was conceived: two or three weeks. Later, Rossini claimed that he had created the work in just twelve days. The opening, initially bearing the title of Almaviva, was not successful, as the admirers of Paisiello, extremely indignant, sabotaged the show by whistling and shouting throughout the first act. However, shortly after the second performance, the work became so appreciated that the fame of Paisiello’s work was transferred to Rossini, the title The Barber of Seville becoming an inalienable Rossinian heritage. Il Barbiere was not Rossini’s favourite work. Ironically, it won the status of classical opera much later, at the end of the Rossini’s career. Today we clearly consider its status as the first in the history of the work, often overlooking the radical impact it had at the time of the opening, when it shocked and provoked a large audience of unknowing persons. The speed of his writing could explain the dramatic drop in intensity felt in the second half of the second act.

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33

White, Kimberly. "Le comte Ory: opéra en deux actes by Gioachino Rossini." Notes 72, no. 3 (2016): 610–15. http://dx.doi.org/10.1353/not.2016.0007.

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34

Heilbron Ferrer, Marc. "Isabel Colbran: una soprano española en el mundo de Gioachino Rossini." Anuario Musical, no. 55 (January 24, 2019): 155. http://dx.doi.org/10.3989/anuariomusical.2000.i55.229.

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El nombre de la soprano española Isabel Colbran (1784-1845) permanece ligado al de Gioachino Rossini de quien estrenó diez óperas y tres cantatas y con el que contrajo matrimonio en 1822. La primera parte de este artículo resume los rasgos esenciales de su biografía. En la segunda, se apuntan las características distintivas de su vocalidad, incidiendo sobre la siempre problemática cuestión de la clasificación vocal de su voz. Finalmente se resumen los rasgos esenciales de su personalidad artística, incluyendo sus composiciones. El objetivo global es hacer una aportación en el terreno del estudio de la práctica teatral de la ópera italiana en la primera mitad del siglo XIX.

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35

Deasy, M. "Il barbiere di Siviglia. By Gioachino Rossini. Ed. by Patricia B. Brauner." Music and Letters 93, no. 4 (November 1, 2012): 594–96. http://dx.doi.org/10.1093/ml/gcs089.

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36

Marvin, Roberta Montemorra. "Introduction to the Special Issue on Ottocento Opera." Nineteenth-Century Music Review 7, no. 2 (November 2010): 3–5. http://dx.doi.org/10.1017/s147940980000358x.

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In the early 1960s a PhD candidate at Princeton University informed his professors that he wished to write a dissertation on the operas of Gioachino Rossini. He was pointedly discouraged from doing so and told that, if he wished to be taken seriously in musicology, he should focus on worthwhile repertory such as Renaissance music or works by nineteenth-century German composers. The student persisted in his purpose and, with his groundbreaking dissertation, set the study of ottocento opera on a solid trajectory. That student was Philip Gossett. Recently, at a gala event celebrating Philip's ‘retirement’, many of us who have focused our scholarship on this repertory were reminded about the evolution of the study of nineteenth-century Italian opera during the past 50 years.

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37

Riva, Michele Augusto, Iacopo Bellani, Massimo Turato, and Giancarlo Cesana. "Physicians and alternative medicines in “The Barber of Seville” by Gioachino Rossini: A bicentennial debate." European Journal of Internal Medicine 26, no. 10 (December 2015): 757–58. http://dx.doi.org/10.1016/j.ejim.2015.09.018.

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38

Orlante, Emiliano. "Del progresismo ilustrado al conservadurismo burgués. Un análisis comparatístico de La Cenerentola de Rossini, y Cendrillon de Massenet." Káñina 45, no. 3 (November 3, 2021): 57–84. http://dx.doi.org/10.15517/rk.v45i3.48969.

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Este artículo se propone explorar la relación entre las versiones de las óperas La Cenerentola (1817), de Gioachino Rossini (1792-1868), y Cendrillon (1894/5), de Jules Massenet. A su vez, dichas obras musicales se analizarán en relación a las fuentes literarias más relevantes del cuento popular: “La Cenicienta” de Charles Perrault y de los hermanos Grimm. Dadas la distancia temporal y geográfica entre los textos que integran el corpus de este trabajo y la diferencia en cuanto a géneros -relato maravilloso y ópera- se adopta una perspectiva metodológica comparada que posibilita analizar los sentidos literarios que construyen cada una de las piezas musicales y los vínculos que pueden establecerse entre ellas sin desatender a las variables contextuales y estilísticas. El estudio de estas relaciones permite proponer como hipótesis de lectura que, mientras Cendrillon se construye como expresión acabada de una burguesía conservadora en clave musical, La Cenerentola, en cambio, revela, mediante procedimientos artísticos, su dimensión ilustrada.

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39

Junjie, Gui. "Spiritual choral chants by Gioachino Rossini and Giuseppe Verdi in the aspect of comparing European and Chinese interpretations." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(45) (December 24, 2019): 70–79. http://dx.doi.org/10.31318/2414-052x.4(45).2019.189800.

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40

Walton, Benjamin. "Denise P. Gallo, Gioachino Rossini: A Guide to Research (New York and London: Routledge, 2002). xxxii + 345pp. £65." Nineteenth-Century Music Review 1, no. 1 (June 2004): 165–69. http://dx.doi.org/10.1017/s1479409800001956.

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41

Rosen, David. "L'italiana in Algeri: Dramma giocoso per musica in due atti di Angelo Anelli . Gioachino Rossini , Angelo Anelli , Azio Corghi ." Journal of the American Musicological Society 44, no. 3 (October 1991): 502–12. http://dx.doi.org/10.1525/jams.1991.44.3.03a00070.

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42

MARVIN, ROBERTA MONTEMORRA. "Review: Semiramide, melodramma tragico in due atti di Gaetano Rossi, musica di Gioachino Rossini, edited by Philip Gossett, Alberto Zedda; Il viaggio a Reims ossia L'albergo del Giglio d'oro, dramma giocoso in un atto di Luigi Balochi, musica di Gioachino Rossini, edited by Janet Johnson." Journal of the American Musicological Society 59, no. 1 (2006): 202–15. http://dx.doi.org/10.1525/jams.2006.59.1.202.1.

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43

Rosen, David. "Review: L'italiana in Algeri: Dramma giocoso per musica in due atti di Angelo Anelli by Gioachino Rossini, Angelo Anelli, Azio Corghi." Journal of the American Musicological Society 44, no. 3 (1991): 502–12. http://dx.doi.org/10.2307/831649.

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44

MARVIN, ROBERTA MONTEMORRA. ":Il viaggio a Reims ossia L'albergo del Giglio d'oro, dramma giocoso in un atto di Luigi Balochi, musica di Gioachino Rossini." Journal of the American Musicological Society 59, no. 1 (April 2006): 202–15. http://dx.doi.org/10.1525/jams.2006.59.1.202.2.

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45

Zsovár, Judit. "In Favour with Queen and Nation: Giulia Grisi, the “Fugitive Norma” in London." Studia Musicologica 59, no. 3-4 (December 2018): 419–38. http://dx.doi.org/10.1556/6.2018.59.3-4.9.

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Abstract Giulia Grisi (1811–1869), the first Adalgisa in Vincenzo Bellini's Norma (Milan, 1831), broke her Italian contract and left for Paris in 1832, where she became prima donna under Gioachino Rossini at the Théâtre Italien. In addition, she made her London debut in 1834, replacing Maria Malibran in the young Victoria's eyes and ears with her singing, acting, and flawless beauty, especially in the operas of the future Queen's favourite, Vincenzo Bellini. Grisi's real goal, however, was to conquer Giuditta Pasta's throne by embodying Norma: she first performed the role in London in 1835, and then in almost every season until 1861. Despite her success, she was unjustly attacked for copying Pasta, as established by Thomas G. Kaufman. Bellini himself likewise misjudged her, stating that “the elevated characters she does not understand, does not feel, because she has neither the instinct nor the education to sustain them with the nobility and the lofty style they demand.” “In Norma she will be a nonentity; … the role of Adalgisa is the only one suited to her character.” Nonetheless, even hostile critics like Henry F. Chorley had to acknowledge that “her Norma, doubtless her grandest performance … was an improvement on the model [i.e. Pasta]; … there was in it the wild ferocity of the tigress, but a certain frantic charm therewith, which carried away the hearer – nay, which possibly belongs to the true reading of the character.” The purpose of this article is to investigate Grisi's London reception, primarily in the context of her Norma performances.

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46

Macchione, Daniela. "Gioachino Rossini, La scala di seta - Daniele Zanfardino ten, Olga Peretyatko sop, Anna Malavasi mezzo, José Manuel Zapata ten, Carlo Lepore bass, Paolo Bordogna bar - Orchestra Haydn di Bolzano e Trento, Claudio Scimone cond - Damiano Michieletto stage director, Paolo Fantin set and costume design - Opus Arte 1075, 2012 (1 DVD: 105 minutes [opera] and 22 minutes [bonus material]), $23." Nineteenth-Century Music Review 14, no. 3 (November 6, 2017): 431–34. http://dx.doi.org/10.1017/s147940981700043x.

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47

Malnati, Andrea. "The Edizione critica delle opere di Gioachino Rossini and Self-Borrowing." Nineteenth-Century Music Review, January 31, 2023, 1–14. http://dx.doi.org/10.1017/s1479409822000507.

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Self-borrowing and Rossini: music theatre scholars are well acquainted with this topic. Many publications have been dedicated to it, most of which concentrate on compositional-analytic aspects, the artistic and communicational nature of self-borrowing and its reception in nineteenth-century periodicals. At present, however, no study has attempted to question the relation between Rossini's self-borrowings and the critical edition of his works. This is the issue to which this contribution is dedicated. Beginning with the operating indications summarized by the editorial criteria provided for the Edizione critica delle opere di Gioachino Rossini – first published in 1974, and revised and updated in 2015 – this study compares the various methodological approaches adopted while preparing critical editions and dealing with the specific features of each passage in which self-borrowing appears. This comparison furthermore allows us to formulate a general overview of the entire editorial undertaking. This in turn will give us a glimpse of how principles such as the autograph's centrality and concepts such as authenticity and originality have often become problematic and have been put into question. Knowing that Rossini often rewrote the pieces he self-borrowed is fundamental for philologists working on the critical edition of his works. Decoding the modus operandi Rossini adopted in each case of self-borrowing is therefore equally important, and can help choose the sources closest to Rossini's idea of the self-borrowed pieces at the time of their reuse.

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48

Логунова, А. А. "Gioachino Rossini’s Autographs at the Russian State Historical Archive." OPERA MUSICOLOGICA, no. 4(42) (November 15, 2019). http://dx.doi.org/10.26156/om.2019.42.04.008.

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В статье представлены автографы Дж. Россини из фондов Российского государственного исторического архива. Публикуемые документы, охватывающие период с 1834 по 1858 годы, не только открывают новые сюжеты в истории русских контактов Россини, но содержат малоизученные факты, касающиеся биографии композитора и его связей с деятелями итальянской культуры. This paper presents autographs by G. Rossini housed at the Russian State Historical Archive. These new documents published embrace the period from 1834 to 1858 and not only disclose new episodes in the history of Rossinis contacts in Russia, but also contain poorly explored facts concerning the composers biography and his connections with the figures of Italian culture.

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49

Galera Núñez, María del Mar, and Rocío de Frutos Domínguez. "Musicogramas dinámicos: danza Tarantella Napoletana (Gioachino Rossini)." Portal de Vídeo Didáctico de la Universidad de Sevilla, September 28, 2021. http://dx.doi.org/10.35466/vid2021n7124.

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En este musicograma se presenta un tipo de danza: la tarantela. La tarantela es un baile popular del sur de Italia de origen napolitano que tiene un movimiento muy vivo, acompañado de canto. La versión musical que acompaña al musicograma es simplemente orquestal. El término tarantella procede de taranta que en italiano se refiere a una araña venenosa muy extendida en el sur de Europa y cuya mordedura parece que provocaba diferentes efectos como: melancolía, convulsiones, malestar, agitación. Los que eran mordidos por una tarántula sufrían movimientos espasmódicos y un dinamismo exagerado, de ahí el carácter rápido y rítmico de la composición musical. Es por eso que la música de esta tarantella tenga un carácter rápido y rítmico. En el proyecto Musicogramas dinámicos las alumnas y alumnos del grado de Educación Infantil dentro de la asignatura de Formación Musical, generaron musicogramas de determinadas piezas instrumentales. Se han seleccionado piezas que se consideran adecuadas para la escucha activa en la etapa de infantil y que por tanto, no superan los tres minutos de duración. Los diferentes recursos elaborados contienen animaciones que representan la forma musical de la pieza y algunas de sus características musicales más destacadas.

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50

Van Kerrebroeck*, Philip. "FR01-08 GIOACHINO ROSSINI: COMPOSER AND CHRONIC UROLOGICAL PATIENT." Journal of Urology 201, Supplement 4 (April 2019). http://dx.doi.org/10.1097/01.ju.0000555399.24938.db.

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Journal articles on the topic 'Gioachino Rossini'

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