- of Jean-Baptiste Lully's
Armide (in Cendrillon's monologue),
through Rossinian vocalises and
archaic orchestrations to
ballet movements on a par with...
-
characteristic of
Italian opera." Both
writers point out the
typical Rossinian touch of
avoiding an "expected"
cadence in the aria by a
sudden shift...
- the
Paris Opera between 1819 and 1836 and the
creator of
several major Rossinian baritone roles,
including Guillaume Tell.
Dabadie sang in Italy, too,...
- Tenorio [es] (1822) is a
peculiar reworking of Mozart's
opera to
adapt it to
Rossinian fashion. It
comprises new
music by
Carnicer on a new text (e.g. the first...
-
giving the year as 1819 (see Braunschweig, Yael (2013), "Schopenhauer and
Rossinian Universiality: On the
Italianate in Schopenhauer's
Metaphysics of Music"...
-
Domenico Donzelli.
Italian musicologist Rodolfo Celletti proposed that the
Rossinian baritenor was
nothing new to opera.
According to Celletti, the
tenor voices...
- 1822 to 1824
Gentili sang at the
court opera in Dresden,
primarily in
Rossinian roles. On his
return to Italy, his
appearances became less frequent. His...
-
Literature portal World portal Braunschweig, Yael (2013), "Schopenhauer and
Rossinian Universiality: On the
Italianate in Schopenhauer's
Metaphysics of Music"...
- Mercadante,
composers he
described as
merely "vines
twisted around the
great Rossinian trunk,
without its
vitality and majesty" and
lacking Rossini's spontaneous...
- of
Seville and Otello.
Meyerbeer wrote a
series of
Italian operas on
Rossinian models,
including Romilda e
Costanza (Padua, 1817),
Semiramide riconosciuta...
