Giovanni Gaetano Rossi News
Italian composer
- violin
- classical music, opera, liturgical music
- Kingdom of Italy
- composer, conductor, maestro, director
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2024-03-28
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2023-05-17 11:58:00
La cambiale di matrimonio, Royal Academy of Music, 16 May 2023
[…] Brown, made a good case for the piece without (wisely, I think) trying to turn it into something that it is not. Carl Dahlhaus’s far from pejorative claim that there was ‘nothing to understand’ about Rossini’s music, as opposed to Beethoven’s, has come in for a great deal of criticism: much of it seemingly failing to understand the admittedly over-binary opposition Dahlhaus drew. Whatever the truth of that, this farsa comica, to a libretto by Gaetano Rossi, is not the sort of thing one goes to for hidden depths or really for interpretation at all. It is less a case, in that irritating contemporary formulation, of ‘it is what it is’ than, as Dahlhaus pointed out, of being a ‘recipe for a performance’. That is what it received here—and a very good one too. Bright designs and zany, sharply executed antics tend to work well in Rossini’s comedies. Here, an […]
2017-02-13 14:05:03
Death becomes him
[…] a comic opera (La pietra del paragone) and probably lifting a fair amount of other music from his early one acts as well. The first two performances were halted midway, the two stars were sick. Rossini used the ensuing 15 performances to rewrite and fine-tune the opera. Rossini also used revivals to rework sections of the score. The most important of these was at Ferrara only a month after the world premiere. The libretto by Gaetano Rossi was based on Voltaire’s play about a war between the Byzantine Empire and the Saracens in 1006 and the tragic hero, Tancredi, banished and dispossessed as a result of intrigue. He returns in disguise to save the day and reassure his beloved Amenaide—only to believe himself betrayed by a love letter she has addressed to a man she doesn’t name. (Naturally, she has trusted someone to deliver it to him in exile and […]
2016-06-17 15:00:20
Home brew
[…] front of an imposing fireplace which was later decorated with a few “potted palms” to evoke the final act’s garden. It may be difficult to fully judge the score as it had been cut to a roughly two-hour running time. All of the secco recitatives were omitted in favor of spoken dialogue (adapted by Joan Holden) which was delivered with flair by the cast. Anyone familiar with da Ponte’s libretto will discover no surprises in Gaetano Rossi’s version for Portugal which almost slavishly follows the earlier work. In fact, that was the evening’s biggest problem: because Portugal’s opera so closely follows Mozart’s, it was impossible not to be mentally comparing the two—always to Portugal’s detriment. As most of its musical language comes directly out of late-18th century opera buffa, Portugal’s Figaro work was a perfect sequel to Paisiello’s Barbiere. The ensembles bustle with lots of energy but rarely evolve into […]
2013-08-12 06:01:00
This is Verdi´s bicentenary year, and Buenos Aires Lírica had the good idea of reviving "Nabucco", the opera that launched Verdi´s great career. The circumstances that led to this composition are recounted minutely in Claudio Ratier´s welcome programme notes and worth synthesizing here. Verdi came from peasant roots in Busseto, near Parma. His first opera, "Oberto, Conte di San Bonifacio", was premiered at Milan´s La Scala in 1839, when he was 26, with reasonable welcome from the public. The impresario Bartolomeo Merelli offered him a libretto by Gaetano Rossi, "Il proscritto", but Verdi didn´t like it and there was a strange situation: the German composer Otto Nicolai accepted it and gave Verdi a libretto in exchange; it was "Nabucco" (then called "Nabucodonossor") by Temistocle […]
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