Rossini

(rés-sé’-né), Gioacchino A., Pesaro, Feb. 20, 1792—Ruelle, near Paris, Nov. 13, 1868; eminent Italian opera-composer. His father was inspector of slaughter-houses and also horn-player in strolling troupes in which the mother (a baker’s daughter) was prima donna buffa. Left in charge of a pork-butcher, R. picked up some knowledge of the harpsichord from a teacher, Prinetti; 1802 studied with Angelo Tesci; this began his tuition; he made rapid progre , and sang in church, and afterwards joined his parents as a singer, horn player and in the theatre. At 14 he studied comp. with Padre Mattei, and ’cello with Cavedagni at the Bologna Liceo. At 15 he prod. a cantata “J/ Pianto d@’Armonia per la Morte d’Orfeo,”’ which won a prize. Mattei soon told him that, though he had not enough cpt. to write church-mus., he knew enough to write operas, and he ceased to study. At 17 he prod. a succ. 1-act opera buffa ‘‘ La Cambiale di Matrimonio” (Venice, 1810); next year, a succ. 2-act opera buffa “DL? Equivoco Stravagante,” Bologna. He received various commi ions, writing 5 operas during 1812. 1813, his ‘‘Tancredi’”’ (Fenice Th., Venice) was an immense succ. and “ L’ Italian a in Algeri,” an opera buffa (San Benedetto Th.), was also succ. Two failures followed with disheartening effect, but ‘‘ Elisabetta” (its libretto curiously anticipating Scott’s “‘ Kenilworth”) was a succ. (Naples, 1813), and in it he dropped recitativo secco. A failure followed and on the first night of the next work the public resentment at his daring to set to mus. the text of one of Paisiello’s operas led to its being hi ed. This work “Almaviva” (Rome, 1816) was better “received the second night and gradually est. itself in its subsequent fame under the’ title “J Barbiere di Siviglia”; 1815-23 he was under contract to write two operas yearly for Barbaja, manager of La Scala at Milan, the Italian opera, Vienna, and Neapolitan theatres. His salary was 12,000 lire (about $2,400). these 8 years he c. 20 operas, travelling from town to town and working under highest pre ure. 1821 he m. Isabella Colbran (d. 1845), who had sung in his operas. The ill-succ. of his most carefully written “Semiramtde”’ (Venice, 1823) and an offer from Benelli, a mgr., led him to London where he was lionised and in 5 £7,000. months he was mgr. of the Th. It alien at Paris, and prod. several operas with artistic but not financial succ. He was, however, “‘Premier compos it eur du roi” and “Inspector-général du chant en France,” sinecures with a salary of 20,000 francs ($4,000). He lost these in the Revolution of 1830, but afterwards on going to law received a pension of 6,000 francs. At the Gr. Opéra he prod. with succ. revisions in French of earlier Italian succs. 1829 he gave there his greatly succ. masterpiece “Guglielmo Tell.” At the age of 37, having prod. under his direction Meyer beer’s first opera and having heard ‘“‘Les Huguenots,” R. foreswore opera and never wrote again anything more dramatic than his famous “Stabat Mater’ (1832), not performed till 1842; “ Petite me e solennelle,” with orch.; a cantata for the Exposition of 1867; and pf.-pcs. with burlesque names. He retired to Bologna and Florence, returning to Paris in 1855. m. operas, Peli ier. 16 cantatas, 1847 he c. arias, “Gorgheggi e solfeggt per soprano per rendere la voce agile,” “Chant des Titans” for 4 ba es with orch.; “Tantum ergo” for 2 male voices with orch.; “Quoniam’ for solo ba with orch.; “O salutaris’ for solo quartet. etc. Biog. by Stendhal (1823), Azevedo (1865), H. S. Edwards (London, 1869), (1875), Struth (Leipzig), Dr. A. Kohut (Leipzig, 1892). Other memoirs by Carpani, d’Ortigue, Bettoni, Blaze de Bury, Escudier, Mire court, Montazio, Pougin, Silvestri, Sittard, Thrane, Checchi, Gandolfi, Dauriae, Corradi, Istel, Curzon, and Francis Toye (1934). (See article, page 517.) Ro ler, F. A. Vide ROSETTI, F. A. Rost (rést), (1) Nicolas, pastor at Kosmenz, Altenburg; composer, 1583 —1614. (2) Fr. Wm. Ehrenfried, Bautzen, 1768—Leipzig, 1835; writer.