592:, it seemed as if Rossini had not prepared a major ensemble in the first act, a Quintet for Lisetta, Doralice, Alberto, Filippo, and Don Pomponio, that is, for all the principal characters in the opera, whose text was printed in the original libretto of the opera. The piece was absent in all sources known of the opera. It was not in Rossini's autograph manuscript, nor in secondary manuscripts nor in the printed edition of the score that Schonenberger published in Paris in 1855, followed by Ricordi in Milan in 1864. The critical edition accepted the comments made by Marco Mauceri in his brilliant study of the opera, and assumed that Rossini had not composed the Quintet, or at least had not allowed it to be performed. That there was a considerable amount of recitative leading up to the Quintet text, following the Cavatina Lisetta (No. 4), and before the Aria Doralice (No. 5), was a result of the absence of the Quintet. In any event, Rossini did not prepare any recitative in the entire opera, assigning that task, instead, to two associates, but no setting whatsoever had been found for the scenes present in the original printed libretto, leading up to the Quintet (Scenes vi, vii, and viii of the opera, the latter actually continuing with the text of the Quintet).
49:
2206:
1900:
1704:
692:. Singing (and sharing) the major roles were Conservatory students Leroy Y. Davis and Kyle Albertson as on Pomponio. His daughter Lisetta was sung by sopranos Bridget Haile and Soyoung Park and the baritone role of Filippo, the innkeeper, was shared between Jason Ryan and David Lee. The tenors Marco Jordao and James Dornier sang the role of Alberto.
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What the quintet shows, Gossett said, is that even when he plunders his own work, Rossini isn’t mechanically repeating himself. Instead, "he’s paying attention to the details of this particular performance of this piece." With the quintet restored, and a large hole in the opera now closed, Gossett is
629:
these minimal solutions were not widely adopted. In the first performances at the
Rossini Opera Festival , the stage director, Dario Fo, preferred to have the characters declaim the verses of the Quintet . Wildbad festival commissioned Stefano Piana to compose anew the lacking recitative and the
612:
Gossett continues by saying that maybe the reviewer was mistaken "since the Finale I opens with a
Quintet of voices", suggesting, then, that the reviewer had mixed them up. The second issue concerns the misbinding of "the Recitative after the Quintet in Rossini's autograph manuscript of the opera.
503:
The opera tells the story of a pretentious
Neapolitan, Don Pomponio Storione, who travels the world in search of a husband for his daughter, putting ads in the newspapers. He arrives in a city, and after a series of ridiculously inadequate suitors, such as the Quaker MonsĂą Traversen or the waiter at
620:
the critical edition tried to adjust the music and drama while making the smallest number of interventions possible. It suggested that Don
Pomponio could learn the true situation by overhearing several conversations. Scene vi, which the edition considered crucial for the drama, was set to music by
209:
We need to be careful about assuming a mechanical use of self-borrowing by the composer. Like Handel before him, Rossini was not averse to borrowing from himself, when he felt a piece would not be known widely or when he felt that he could introduce new material into it. But
Rossini was always a
674:
does, until we have explicit proof that he omitted the passage when he set the composition to music. Finally, we learn that
Rossini manuscripts can turn up even in unexpected places. We must continue to be on the lookout for musical manuscripts of Rossini, even in collections we thought we knew
655:
But we now know much better, thanks to the identification of the original autograph manuscript of the
Quintet, which was found last year in the Conservatory of Palermo by Dario Lo Cicero, librarian of that collection, and was subsequently identified by myself Unfortunately, only the autograph
543:
Musicologist Philip
Gossett, who oversaw the preparation of the critical edition in 2002 and who, in 2012, identified music found in Palermo as belonging to the opera (in fact, it was the lost act 1 quintet) discussed the preparation for the US premiere performances in an interview in
264:
While
Osborne does not mention a revival in 1828, Philip Gossett's recent work would seem to support its existence. But, as Osborne notes, the opera did not re-appear until a 1960 Italian radio performance and a staging in Vienna by the Vienna Chamber Opera in 1976.
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What can we learn from this experience? First of all, we learn that we should be hesitant about claiming that
Rossini did not write a passage of music, particularly one which serves both a dramaturgical and a musical function, as this Quintet from
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is now musically complete. He noted that since today’s listeners are less troubled by the self-borrowing, "I think that it is an opera that is easy for a viewer to understand and appreciate — much more now than it may have been in the 19th
596:
He continues by noting the absence of music for the Quintet, in spite of the presence of the text in the printed libretto: " was "without the "virgolette" which generally indicate that a passage of text was not set to music by the composer."
253:, where it ran for 21 performances. Osborne would appear to disagree, since he notes that "after a few performances it was withdrawn, the general opinion being that its libretto was clumsy and its music undistinguished."
296:, Dario Lo Cicero, found the manuscript in Pesaro , the stage director, Dario Fo, arranged something else for the spot where the Quintet should have gone." Fo's production for Pesaro was later presented at the
319:
between 6 and 9 April 2013 in Boston, the first time since the 19th century that the opera was given in its complete form. Prior to the performances, Dr. Gossett led two panels at the Conservatory.
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NOTE: as has been pointed out by Philip Gossett in an email to Wiki editor Viva-Verdi, Opera Chic is in error when she states that the 2002 critical edition contained music only discovered in 2011
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552:
A close examination of the music of the quintet opens a window onto Rossini’s creative process. It is in three parts, the first of which seems to have been newly composed for
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Quintet. noted, quite correctly, that Rossini frequently introduced a major ensemble in the middle of the first act of a comic opera, so that the absence of the piece in
228:
notes that "on this occasion, Rossini failed to complete the opera with his usual alacrity" and speculates that it may have been caused by his attraction to the soprano
564:, respectively. Yet in each case the material is reworked and refashioned, so that the results have audible roots in the earlier works yet also sound new and different.
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the hotel, who usually end up beating poor Pomponio, he finally resigns to let his daughter marry her lover, the only suitor he seems to consider inappropriate.
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manuscript of the Quintet itself is found in Palermo: the preceding recitative, essential in a performance of the opera, still exist in no contemporary source.
256:
Following the initial performances there was only one revival of the opera in the 19th century, when it was performed during the 1828 Carnival in Palermo.
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What we learn from the piece itself is that many of the assumptions the editors of the original critical edition and of Mr. Piana turned out to be false.
214:
While the overture was written specifically for this opera, it is probably the best known piece from the work, because, along with other music from
517:
As has been noted, Rossini borrowed melodic fragments from some of his previous works. These include a quintet from largest musical contributor,
148:
of 1763. The opera satirizes the influence of newspapers on people's lives. There is critical disagreement as to its success, although the
1505:
340:
A new production of the opera was presented at the Rossini Opera Festival in Pesaro in August 2015, when the chorus and orchestra of the
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composer, and he would not easily take a passage and employ it without rethinking its function in a new musical and dramatic context.
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152:'s notes for their April 2013 production state that the opera "was an immediate hit, and showed Rossini at his comic best".
48:
2230:
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In an essay originally published in German in the Rossini studies journal, Gossett describes the evolution of the Quintet:
180:
was due for August performances. It would be Rossini's second opera written for Naples and the only comedy he wrote there.
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Gossett continues by noting that he has now revised the critical edition with the new-found discoveries and states:
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170:, that he was obliged to compose a cantata to celebrate a royal wedding, plus supervise a production of his
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Philip Gossett. But no effort was made to prepare a version of the Quintet or its introductory recitatives.
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2209:
1610:
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201:(1815). None of these pieces would have heard by Naples' audiences of the time. However, musicologist
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650:? Certainly, given our knowledge in 2007, Mr. Piana's reconstruction and article made very good sense.
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1997:
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1899:
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is very noticeable. beginning his reconstruction with a passage taken from Rossini's later opera,
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Presented by Cathy Fuller with musical examples from the opera and discussion with Philip Gossett.
2013:
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in Rome, the composer arrived in Naples in February 1816 to discover that fire had destroyed the
162:
20:
1869:
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2005:
1958:
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334:
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292:. Because the quintet "was just identified in the Spring of 2012, after the librarian at the
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As was his wont, Rossini borrowed music from some of his previous works, These included
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646:. Why should not this also have happened with the first section of the Quintet from
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in Pesaro that summer and Pesaro repeated it during the summer of 2005, directed by
1979:
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that Felice Pellegrini was particularly effective in a "Quintet of the first Act"
345:
1972:
1478:", a radio program in the "Arias and Barcarolles" series on WGBH radio, 28 mins.
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19:
This article is about the Rossini opera. For the Italian sports newspaper, see
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1393:
1273:"NEC Opera to Present American Premiere of New Critical Edition of Rossini's
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833:
465:
141:
78:
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in 2005. This production has been recorded on DVD. It was also given by the
2139:
1885:
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of the opera containing the recently found quintet were presented at the
1814:
735:
132:
36:
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Naples San Pietro a Majella Conservatory Chorus, Czech Chamber Soloists.
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Orchestra Giovanile del Festival di Pesaro and the Prague Chamber Chorus
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1838:
1673:
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in Oxfordshire on 12 June 2001, with the first performances of the new
224:. These borrowings may have speeded up the process of composition, but
1931:
1922:
688:
was given its American premiere on 6 April 2013, it was conducted by
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At the time Fabrizio Scipioni and I prepared the critical edition of
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The second and third parts both make use of music from other operas,
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It is found in the second act where it makes no sense whatsoever."
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1626:
829:(Recording of a performance at the Wildbad Rossini Festival, 2007)
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172:
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800:(Video recording of a performance in the Gran Teatro del Liceo)
742:(Recorded in the Teatro Chiabrera di Savona, 14 November 1987)
523:(1814), as well as other pieces, such as a second-act trio from
625:
Next, in discussing performance practice, Gossett states that:
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1402:, Vol. XXX. pp. XXX London: MacMillan Publishers, Inc.
795:
771:(Recorded at the Rossini Opera Festival Pesaro, August 2001)
740:
Orchestra Sinfonica di Piacenza and the Coro Francesco Cilea
424:
535:(1815). All would have been unknown to audiences in Naples.
899:. New England Conservatory. 29 January 2013. Archived from
604:
First, there is a remark in a review of the opera from the
245:
The opera was first performed on 26 September 1816 at the
1430:. Center for Italian Opera Studies: University of Chicago
1085:
Philip Gossett in email to editor Viva-Verdi, 14 May 2013
1030:"Liner notes to Naxos 8.660277-78 (Rossini: La Gazetta)"
280:
which, at that time, did not contain the act 1 quintet.
1444:"Youtube: NEC Presents Rossini's La Gazzetta (Trailer)"
1362:
The Bel Canto Operas of Rossini, Donizetti, and Bellini
1095:
Rossini in Wildbad: Festival background and information
1611:
L'occasione fa il ladro, ossia Il cambio della valigia
232:. It opened a month later than originally scheduled.
1364:, London: Methuen; Portland, Oregon: Amadeus Press.
1318:, Essay in the booklet accompanying the recording of
680:
Premiere performances which included the lost quintet
1862:
Il viaggio a Reims, ossia L'albergo del Giglio d'Oro
1698:
Il barbiere di Siviglia, ossia L'inutile precauzione
1270:
2135:
Conservatorio Statale di Musica "Gioachino Rossini"
1378:, Ithaca, New York: Northeastern University Press.
616:To get around this problem, Gossett suggests that:
1823:Matilde di Shabran, ossia Bellezza e Cuor di Ferro
1027:
2222:
1619:Il signor Bruschino, ossia Il figlio per azzardo
1587:Ciro in Babilonia, ossia La caduta di Baldassare
1097:on rossini-in-wildbad.de Retrieved 5 April 2013
1878:MoĂŻse et Pharaon, ou Le passage de la mer rouge
1751:Adelaide di Borgogna, ossia Ottone, re d'Italia
1259:Zeitschrift der Deutschen Rossini Gesellschaft
965:"Hooking Up Through 19th-Century Social Media"
1807:Bianca e Falliero, ossia Il consiglio dei tre
1711:La gazzetta, ossia Il matrimonio per concorso
1499:
140:. The libretto was by Giuseppe Palomba after
121:La gazzetta, ossia Il matrimonio per concorso
1335:Gossett, Philip; Brauner, Patricia (2001), "
322:The first professional presentations of the
638:. We know, after all, that the overture to
1546:
1506:
1492:
1129:
47:
1727:La Cenerentola, ossia La bontĂ in trionfo
1469:International Music Score Library Project
1132:"Gossett's Critical Edition of Rossini's
1106:
962:
580:The lost Quintet and the critical edition
53:Title page of the libretto, Naples, 1816
1428:"La gazzetta: Critical Edition Details"
1244:, 4 April 2013. Retrieved 7 April 2013
1228:
1226:
1058:
1028:MĂĽller, Reto; (trans.) Stevens, David.
1023:
1021:
988:
924:
922:
920:
918:
127:The Newspaper, or The marriage contest)
2223:
1180:
940:
938:
936:
934:
307:The American premiere of not only the
235:
155:
1513:
1487:
1301:on operadis-opera-discography.org.uk
1100:
984:
982:
958:
956:
954:
952:
950:
311:but the newly found act 1 quintet of
1223:
1054:
1052:
1050:
1018:
928:Osborne, Charles (1994), pp. 61 - 63
915:
1059:Gossett, Philip (5 February 2013).
989:Gossett, Philip (5 February 2013).
963:Ledbetter, Steven (30 March 2013).
931:
13:
1326:Academy of St Martin in the Fields
1123:
1111:. The Boston Musical Intelligencer
1107:Ledbetter, Steven (7 April 2013).
979:
967:. The Boston Musical Intelligencer
947:
404:an innkeeper, in love with Lisetta
330:in Liège in Belgium in June 2014.
276:prepared by Fabrizio Scipioni and
14:
2267:
1767:Adina, ossia Il califfo di Bagdad
1465:La gazzetta (Rossini, Gioacchino)
1420:
1399:The New Grove Dictionary of Opera
1047:
268:The UK premiere was given by the
2205:
2204:
1898:
1719:Otello, ossia Il Moro di Venezia
1702:
1682:Elisabetta, regina d'Inghilterra
774:Audio CD: Rossini Opera Festival
364:Premiere Cast, 26 September 1816
333:The opera was also given at the
1290:
1264:
1247:
1201:
1181:Hugill, Robert (29 June 2014).
1174:
1159:
1150:
1088:
1015:Osborne, Richard (1992), p. 368
1211:. Rossini Opera Festival. 2015
1130:Opera Chic (30 January 2013).
1079:
1009:
885:
513:Borrowings from earlier operas
1:
1183:"Fizzing with fun: Rossini's
1109:"Rossini Rarity Rediscovered"
873:
695:
600:Then he notes other factors:
337:in London in late June 2014.
160:Following the success of his
1347:, New York: Penguin Putnam.
1169:on the Liege Opera's website
7:
2231:Operas by Gioachino Rossini
1345:The New Penguin Opera Guide
1171:Retrieved 24 September 2013
1136:Gets its American Premiere"
642:passed without change into
490:
218:, it was incorporated into
10:
2272:
1388:Osborne, Richard (1998), "
1271:New England Conservatory.
1067:. New England Conservatory
997:. New England Conservatory
814:Marco Cristarella Orestano
715:Opera House and Orchestra
606:Giornale delle Due Sicilie
529:(1812), plus a Largo from
342:Teatro Comunale di Bologna
146:Il matrimonio per concorso
83:Il matrimonio per concorso
18:
2200:
2173:Duetto buffo di due gatti
2158:
2127:
2092:
2073:
2024:
1989:
1950:
1921:
1853:
1649:
1563:La cambiale di matrimonio
1539:
1521:
1374:Osborne, Richard (1990),
897:: Italian Romanic Comedy"
241:19th century performances
88:
74:
66:
58:
46:
35:
30:
2112:(1991 biographical film)
2104:(1942 biographical film)
507:
350:
317:New England Conservatory
150:New England Conservatory
2236:Italian-language operas
2014:Petite messe solennelle
1238:offers operatic firsts"
860:Opéra Royal de Wallonie
845:Enrico Maria Marabelli,
328:Opéra Royal de Wallonie
260:20th century and beyond
163:Il Barbiere di Siviglia
95:; 207 years ago
21:La Gazzetta dello Sport
2145:Rossini Opera Festival
1959:Ecco, ridente in cielo
1603:La pietra del paragone
1571:L'equivoco stravagante
1234:"NEC’s performance of
745:Audio CD: Bongiovanni
526:La pietra del paragone
440:soprano/mezzo-soprano
436:in search of a husband
335:Royal College of Music
286:Rossini Opera Festival
195:(1812), and also from
192:La pietra del paragone
93:24 September 1816
2256:Operas based on plays
2167:La boutique fantasque
2082:The Barber of Seville
1061:"The New Quintet for
991:"The New Quintet for
862:orchestra and chorus
825:Christopher Franklin,
796:Gran Teatro del Liceo
315:was presented by the
298:Gran Teatre del Liceu
284:was presented by the
247:Teatro dei Fiorentini
176:. And the music for
108:Teatro dei Fiorentini
2063:Péchés de vieillesse
1870:Le siège de Corinthe
1658:Aureliano in Palmira
1635:L'italiana in Algeri
1526:List of compositions
1330:Sir Neville Marriner
1189:. Planet Hugill Blog
820:Giulio Mastrototaro,
798:Orchestra and Chorus
767:Maurizio Barbacini,
757:Stefania Bonfadelli,
396:Margherita Chambrend
294:Palermo Conservatory
2179:Matinées musicales
2093:Cultural depictions
2047:La regata veneziana
1775:Ricciardo e Zoraide
1690:Torvaldo e Dorliska
944:Holden, pp. 778–779
822:Rossella Bevacqua.
793:Maurizio Barbacini,
730:Armando Ariostini,
532:Torvaldo e Dorliska
420:a wealthy young man
236:Performance history
198:Torvaldo e Dorliska
156:Composition history
2150:Rossini in Wildbad
2032:Six string sonatas
1791:Eduardo e Cristina
1666:Il turco in Italia
1555:Demetrio e Polibio
1321:Il Turco in Italia
1277:, April 6—9, 2013"
747:Cat: GB 2071/72-2
728:Gabriella Morigi,
708:Storione, Lisetta,
520:Il Turco in Italia
496:Time: 18th century
484:Francesco Sparano
443:Francesca Cardini
413:Felice Pellegrini
344:were conducted by
302:Rossini in Wildbad
186:Il Turco in Italia
2218:
2217:
2185:Messa per Rossini
2128:Named for Rossini
2109:Rossini! Rossini!
2066:(1857–1868)
1966:Largo al factotum
1917:
1916:
1849:
1848:
1799:La donna del lago
1645:
1644:
1515:Gioachino Rossini
1324:(1991), with the
1232:David Weininger,
871:
870:
837:Cat: 8.660277-78
732:Barbara Lavarian
726:Franco Federici,
710:Filipo, Doralice
488:
487:
475:MonsĂą Traversen,
429:Alberigo Curioni
366:(Conductor: - )
138:Gioachino Rossini
117:
116:
41:Gioachino Rossini
2263:
2208:
2207:
2159:Related articles
2074:Film adaptations
1980:Una voce poco fa
1907:Ugo, re d'Italia
1902:
1851:
1850:
1706:
1647:
1646:
1595:La scala di seta
1579:L'inganno felice
1544:
1543:
1508:
1501:
1494:
1485:
1484:
1467:: Scores at the
1461:
1459:
1457:
1439:
1437:
1435:
1358:Osborne, Charles
1303:
1294:
1288:
1287:
1285:
1283:
1268:
1262:
1251:
1245:
1242:The Boston Globe
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865:Audio CD:Dynamic
818:Judith Gauthier,
815:
788:Pietro Spagnoli,
700:
699:
558:La Scala di Seta
546:The Boston Globe
539:The lost Quintet
355:
354:
324:critical edition
309:critical edition
274:critical edition
270:Garsington Opera
230:Isabella Colbran
168:Teatro San Carlo
111:
103:
101:
96:
62:Giuseppe Palomba
51:
28:
27:
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2214:
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2154:
2123:
2117:Rossini's Ghost
2088:
2069:
2020:
1998:Messa di Gloria
1985:
1946:
1913:
1845:
1641:
1535:
1517:
1512:
1455:
1453:
1452:. 26 March 2013
1442:
1433:
1431:
1426:
1423:
1328:, conducted by
1316:Gossett, Philip
1307:
1306:
1295:
1291:
1281:
1279:
1269:
1265:
1252:
1248:
1231:
1224:
1214:
1212:
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1202:
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1190:
1179:
1175:
1164:
1160:
1155:
1151:
1141:
1139:
1138:. operachic.com
1128:
1124:
1114:
1112:
1105:
1101:
1093:
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1084:
1080:
1070:
1068:
1057:
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1038:
1036:
1026:
1019:
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998:
987:
980:
970:
968:
961:
948:
943:
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906:
904:
903:on 25 June 2017
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817:
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804:
803:DVD:- Opus Arte
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790:Marisa Martins
789:
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776:Cat: ROF 10043
775:
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764:Marisa Martins
763:
760:Pietro Spagnoli
758:
756:
746:
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690:Joseph Rescigno
570:confident that
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462:Madama La Rose
379:Carlo Casaccia
365:
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346:Enrique Mazzola
238:
226:Charles Osborne
205:stresses that:
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2059:
2051:
2043:
2039:Edipo a Colono
2035:
2028:
2026:
2022:
2021:
2019:
2018:
2010:
2002:
1993:
1991:
1987:
1986:
1984:
1983:
1976:
1969:
1962:
1954:
1952:
1948:
1947:
1945:
1944:
1936:
1927:
1925:
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1918:
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1911:
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1894:Guillaume Tell
1890:
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1759:Mosè in Egitto
1755:
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1739:
1735:La gazza ladra
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1531:List of operas
1528:
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784:Bruno Praticò,
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636:La Cenerentola
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457:Giovanni Pace
455:
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388:
381:
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372:
368:
367:
362:
359:
352:
349:
278:Philip Gossett
237:
234:
221:La Cenerentola
212:
211:
203:Philip Gossett
157:
154:
115:
114:
105:
92:
90:
86:
85:
76:
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60:
56:
55:
52:
44:
43:
33:
32:
15:
9:
6:
4:
3:
2:
2268:
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2247:
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2203:
2202:
2199:
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2171:
2169:
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2023:
2016:
2015:
2011:
2008:
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1995:
1994:
1992:
1988:
1981:
1977:
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1963:
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1956:
1955:
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1949:
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1415:1-56159-228-5
1412:
1409:
1408:0-333-73432-7
1405:
1401:
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1395:
1394:Stanley Sadie
1391:
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1384:1-55553-088-5
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1034:Naxos Records
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851:Julie Bailly
847:Cinzia Forte,
844:
841:
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835:
834:Naxos Records
831:
824:
812:
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805:Cat: OA 953D
802:
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786:Cinzia Forte,
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466:mezzo-soprano
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371:Don Pomponio
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142:Carlo Goldoni
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38:
34:
29:
26:
22:
16:Rossini opera
2189:
2177:
2165:
2140:Prix Rossini
2115:
2107:
2099:
2081:
2061:
2053:
2045:
2037:
2017:(1864, 1867)
2012:
2009:(1831, 1841)
2006:Stabat mater
2004:
1996:
1990:Sacred music
1973:Sombre forĂŞt
1940:Robert Bruce
1938:
1930:
1910:(unfinished)
1905:
1892:
1886:Le comte Ory
1884:
1876:
1868:
1860:
1837:
1829:
1821:
1813:
1805:
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1625:
1617:
1609:
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1593:
1585:
1577:
1569:
1561:
1553:
1475:
1454:. Retrieved
1447:
1432:. Retrieved
1397:
1389:
1375:
1361:
1344:
1336:
1319:
1309:
1308:
1298:
1292:
1280:. Retrieved
1274:
1266:
1258:
1254:
1249:
1241:
1235:
1213:. Retrieved
1209:"La Gazetta"
1203:
1191:. Retrieved
1184:
1176:
1166:
1161:
1152:
1140:. Retrieved
1133:
1125:
1113:. Retrieved
1102:
1090:
1081:
1069:. Retrieved
1062:
1037:. Retrieved
1011:
999:. Retrieved
992:
969:. Retrieved
905:. Retrieved
901:the original
894:
887:
878:
877:
867:Cat:CDS7742
855:Jan Schultsz
685:
683:
679:
678:
671:
659:
647:
643:
639:
635:
631:
624:
615:
611:
605:
599:
595:
589:
583:
579:
578:
571:
561:
557:
554:La Gazzetta.
553:
545:
542:
538:
537:
530:
524:
518:
516:
512:
511:
502:
499:Place: Paris
476:
470:Maria Manzi
449:
435:
419:
403:
386:his daughter
385:
339:
332:
321:
312:
306:
281:
267:
263:
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255:
244:
240:
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219:
215:
213:
196:
190:
184:
182:
177:
171:
161:
159:
145:
131:
126:
125:
120:
119:
118:
82:
25:
2246:1816 operas
2241:Opera buffa
2120:(1996 film)
2084:(1947 film)
2025:Other works
1854:Later works
1815:Maometto II
1547:Early works
1476:La Gazzetta
1474:"Rossini's
1390:La Gazzetta
1337:La gazzetta
1275:La Gazzetta
1255:La gazzetta
1236:La Gazzetta
1215:15 December
1185:La gazzetta
1167:La gazzetta
1134:La Gazzetta
1063:La gazzetta
993:La gazzetta
895:La Gazzetta
736:Fabio Luisi
686:La gazzetta
672:La gazzetta
648:La gazzetta
640:La gazzetta
632:La gazzetta
590:La gazzetta
572:La Gazzetta
562:Il Barbiere
477:an old roué
361:Voice type
313:La gazzetta
282:La gazzetta
216:La gazzetta
178:La gazzetta
133:opera buffa
37:Opera buffa
31:La gazzetta
2225:Categories
2191:Rossiniana
1839:Semiramide
1674:Sigismondo
1396:, (Ed.),
1370:0931340713
1299:La gazetta
874:References
832:Audio CD:
713:Conductor,
696:Recordings
450:her father
434:Doralice,
304:Festival.
100:1816-09-24
59:Librettist
1923:Pastiches
907:9 January
575:century."
448:Anselmo,
418:Alberto,
402:Filippo,
384:Lisetta,
2210:Category
2055:La Danza
1650:Maturity
1627:Tancredi
1360:(1994),
1282:11 April
1115:10 April
491:Synopsis
409:baritone
290:Dario Fo
189:(1814),
173:Tancredi
144:'s play
110:, Naples
89:Premiere
75:Based on
67:Language
2101:Rossini
1932:Ivanhoé
1897:(1829)
1831:Zelmira
1783:Ermione
1701:(1816)
1456:5 April
1449:YouTube
1434:5 April
1392:", in
1376:Rossini
1343:(ed.),
1310:Sources
1142:5 April
1071:5 April
1039:5 April
1001:6 April
971:5 April
718:Label
391:soprano
98: (
70:Italian
2251:Operas
2058:(1835)
2050:(1835)
2042:(1817)
2034:(1804)
2001:(1820)
1943:(1846)
1935:(1826)
1889:(1828)
1881:(1827)
1873:(1826)
1865:(1825)
1842:(1823)
1834:(1822)
1826:(1821)
1818:(1820)
1810:(1819)
1802:(1819)
1794:(1819)
1786:(1819)
1778:(1818)
1770:(1826)
1762:(1818)
1754:(1817)
1746:(1817)
1743:Armida
1738:(1817)
1730:(1817)
1722:(1816)
1714:(1816)
1693:(1815)
1685:(1815)
1677:(1814)
1669:(1814)
1661:(1813)
1638:(1813)
1630:(1813)
1622:(1813)
1614:(1812)
1606:(1812)
1598:(1812)
1590:(1812)
1582:(1812)
1574:(1811)
1566:(1810)
1558:(1812)
1540:Operas
1413:
1406:
1382:
1368:
1351:
1193:4 July
675:about.
251:Naples
130:is an
1951:Arias
1339:" in
879:Notes
842:2016
810:2007
781:2005
752:2001
723:1987
706:Cast:
703:Year
684:When
508:Music
481:bass
454:bass
425:tenor
358:Role
351:Roles
1458:2013
1436:2013
1411:ISBN
1404:ISBN
1380:ISBN
1366:ISBN
1349:ISBN
1284:2013
1217:2015
1195:2014
1144:2013
1117:2013
1073:2013
1041:2013
1003:2013
973:2013
909:2017
560:and
375:bass
1257:",
249:in
136:by
81:'s
39:by
2227::
1446:.
1240:,
1225:^
1049:^
1032:.
1020:^
981:^
949:^
933:^
917:^
738:,
548::
1982:"
1978:"
1975:"
1971:"
1968:"
1964:"
1961:"
1957:"
1507:e
1500:t
1493:v
1460:.
1438:.
1332:.
1286:.
1253:"
1219:.
1197:.
1187:"
1146:.
1119:.
1075:.
1065:"
1043:.
1005:.
995:"
975:.
911:.
893:"
857:,
816:,
762:,
124:(
102:)
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
