Gioacchino Rossini: biography, interesting facts, videos, creativity

Gioacchino Rossini

The maestro of nineteenth-century opera art was recognized by the public during his lifetime: each new musical creation was perceived as the perfect embodiment of melody in the context of complex dramatic and "light-weight" comedic plots. Gioacchino Rossini applauded the aristocracy, outstanding art figures sought his friendship, the monarchs personally invited him to secular receptions and showed favor. In his life there was a place of love and hate, creativity and melancholic crisis, enthusiasm and apathy, virtues and vices. As the shadows create volume, so the irreconcilable internal contradictions helped Rossini to create music that became significant for many generations of adherents of classicism.

A brief biography of Gioacchino Rossini and many interesting facts about the composer can be found on our page.

Short biography of Rossini

Gioacchino Rossini was born on February 29, 1792 in the small port town of Pesaro. It was this picturesque place on the Adriatic Sea that became a haven for wandering musicians, which were the parents of the future composer. Giuseppe Rossini played the horn in the orchestra, his wife performing vocals, having a pure soprano by nature. Anna Gvidarini (nee) could not get a proper musical education, only the innate ability to learn arias by ear helped her to hold the position of singer of a provincial theater.

From the biography of Rossini, we learn that when Gioacchino was seven years old, his father was imprisoned as a political prisoner: in a hectic time of change, when Napoleon invaded the territory of Italy, Giuseppe showed himself as an ardent revolutionary and supporter of the opposition. He supported the French commander, so when Austria regained its rights in Northern Italy, the rebel and the rebel were behind bars, and his family moved to Bologna.

Having been freed in 1800, Giuseppe returned to his wife and son. At this time, Anna actively, as far as possible, tried to develop the already formed vocal talent of her child. The boy was trained compositionstook lessons solfeggio have religious mentors. In the period 1800-1808, the student’s first successes in the creation of works for choir and quartet manifest themselves.

At the age of 18, Rossini wrote his first opera, The Marriage Bills. The comic sketch was written in a short time, the author worked in Venice at the invitation of a married couple, friends of his parents. Upon his return with Bologna, Gioacchino already dared to hope for new orders: his debut was a huge success and marked the appearance of a new name on the stage of the Italian opera house. Expectations were justified: Rossini receives proposals and begins to write works with unprecedented ease and speed, which fully meets the needs of a greedy to the new premier public.

The staging of the opera The Barber of Seville, held in Rome in 1816, turned into a real triumph. The composer spent 3 weeks to create a work that glorified him for centuries and bestowed the title of "Italian Mozart". The composer himself later stated that it took him 13 days to write the score. It was a provocative experience: the author used the work of Pierre de Beaumarchais as a literary basis, but the plot of the first part of the Figaro trilogy was already used to write the opera Giovanni Paisiello. Despite the fact that the production took place back in 1782, they remembered and highly appreciated this opera in musical circles. The premiere of the interpretation of the Rossini pen was marked by scandal, and only the second performance ended with a standing ovation.

One year later, Rossini clearly realized that he wanted to create in a more serious genre than buff. He was attracted to a greater degree heroic and mythological orientation, historical subjects, as well as literary paintings, embodying the true tragedy or drama. The result of creative experiments were outstanding operas "Othello", "Moses in Egypt", "Mahomet II". In 1820, the composer arrived in Vienna and presented the Austrian Bohemian a new opera “Zelmira”. She is greeted with delight and favor.

Leaving Vienna after a two-year stay, Rossini goes to the French capital, then to London. The widespread recognition and success gives him a sense of creative satisfaction and the ability to write music according to inspiration, and not in accordance with the rigid time frame designated by the impresario. Slightly more than six months Gioacchino Rossini spent in the British capital. He left Misty Albion in the summer of 1824, came to France to go from there to Bologna. However, a very commercially advantageous proposal received from an official at the royal court forced him to stay in Paris until 1836. During this period, Rossini created the landmark William Tell work in his work. This opera brought the composer the Order of the Legion of Honor, an award from the French King Charles X. However, this was not the main symbol of recognition. Opera marked a kind of revolution in opera art, which consists in creating the distinction between images and characters with the help of musical expressive means. Rossini managed to "depict" the heroes of the opera through musical parties, and not just created an orchestral accompaniment to the existing libretto.

Ironically, Rossini’s greatest achievement on the opera stage (“William Tell” has a complex structure and does not comply with previously recognized canons) marked the beginning of a period of depression. The cause of the protracted phase of the creative crisis could be the categorical rejection of the changes taking place in the world and art. Rossini positioned himself a man far from politics. It was difficult for him to accept that some plots embodied in classical works might not “reach” the audience due to restrictions imposed by police supervision. On the other hand, in art there were also quite a few changes comparable to the revolution: classicism gradually gave way to romanticism, which for Rossini meant the need to change the style and adapt to the spirit of the times. For nearly 20 years, the composer lived in his native Italy, engaged in teaching activities. He remained true to himself and his personal worldview, he continued to improve in a clear and familiar classical direction.

In 1855, Rossini returned to Paris. In the French capital, he was extremely popular, was a welcome guest at social events. The "brilliant" of the Italian opera deservedly rested on its laurels, only from time to time becoming the conductor. In the fall of 1868, Gioacchino Rossini died from a protracted illness associated with bowel disease. On the last journey, geniuses were performed with honors: the orchestra performed landmark episodes from famous works, corresponding in mood to the mourning event. The composer was buried within the boundaries of the Pere Lachaise necropolis. Only in 1887, the ashes were transported to Florence. According to the will of the master, his enormous fortune went to his hometown of Pesaro, so that the funds would later be used to develop musical education institutions and support young talents.

Personal life of Gioacchino Rossini

Up to about 23 years old, Rossini preferred his fleeting passions to a serious novel. He had many mistresses, most of whom were capable vocalists. One such affair even saved the life of the composer. In 1812, the territory of northern Italy was subject to the authority of Napoleon. The French emperor, preparing for a campaign in Russia, declared total demobilization. Rossini was subject to appeal, and only the intercession of his mistress saved the composer from inevitable death on the battlefields of the Russian, where a total of about 90 thousand Italians died. Maria Markolini, who had an influence on the younger brother of the ambitious leader of the French army, turned out to be a good fairy.

Biography of Rossini says that in 1815, Rossini met a woman who later became his lawful wife. The chosen one was Isabella Kolbran, who at the time of her acquaintance with the opera genius was in connection with the entrepreneur who collaborated with the opera house in Naples. The love triangle did not last long. Gioacchino and Isabella were married in 1822. Family life was initially in harmony. Seeking his lover to shine on stage, Gioacchino focuses entirely on writing operas, where the main female vocal parts are intended sopranos. Isabella took the lead role in the production of "Elizabeth, Queen of England", appeared in the image of Desdemona in an opera written in Shakespeare's tragedy, tried on the role of the nymph in "Virgin Lake", was involved in the first roles in the operas of Armida and Semiramide.

Difficulties began when the singer began to rapidly lose her voice. Having fallen into a prolonged depression, the talented diva tried to struggle with the loss of the possibility of professional realization in destructive ways. A woman addicted to drinking and gambling, finding solace in imaginary oblivion and harmful passions. The marriage broke up.

In 1837, the maestro announced his separation from Isabella. Olympia Pélissier became his new life partner, Rossini had already met with her for 15 years, but did not advertise this connection. A woman with a hazy, doubtful past was a true friend of the composer, and in 1846 she married him. In Olympia society, the composer gained the necessary comfort, moral support, support. This woman actively struggled with bouts of depressive, depressive state of her husband and sought in all ways to return him to active creative activity. It was on her urgent recommendation that Rossini moved to Paris from Italy in the mid-50s.

The move marked a new page in life, it was not marked by the creation of new operas, however, the composer found the strength to find the inspiration for writing the cycle of elegant plays. Works for piano "Four appetizers and four desserts" from the compilation with the deceptively gloomy name "Sins of old age" became the musical embodiment of the author's two passions at once: to tasty food and classical light music in a non-strict format. Olympia was with her husband until his last days. Rossini died in her arms in 1868

Interesting facts about Gioacchino Rossini

• In early 1816, the leadership of the Roman theater Argentina commissioned the composer to create a new opera, the premiere was to be timed to the opening of the annual carnival. Rossini submitted for approval a variety of libretto options, but all of them were rejected for political reasons. The deadline was tight, in a hurry Rossini decided to start work on the plot of the comedy "The Barber of Seville, or Vain Precaution." Knowing that the opera for the comedy already exists, the composer turned to its author Giovanni Paisiello for permission to use the theme in a similar genre. An elderly Italian favorably allowed the young talent to work on the play, being sure that Rossini was waiting for an inevitable failure. Arrogant expectations were not met.
• PremiereBarber of seville"gave rise to a scandal. In the first rows in the audience hall ardent fans of Paisiello were housed. From the very beginning they were going to thwart the production, in the course of the action they laughed loudly, shouted, and in the end they released the cat on the stage. Rossini was shocked. to the hotel, where he locked himself in his room and did not let anyone into the apartment.

• The second production of "The Barber of Seville" crowned with triumph. The audience applauded and demanded the author to the stage. However, Rossini, offended and offended, did not appear in front of the audience, despite requests, persuasion and impresario of the impresario.
• In 1817, Rossini, who had already established himself as a master of opera-buff, in his work marked the desire to write more complex dramatic works. The Thieving Magpie was a factual confirmation. The opera, created to order, had to be ready for the term indicated in the contract. However, Rossini pulled the writing of the score to the last; then the impatient, exhausted by the wires, locked the composer in the study and put a guard at the entrance. The author has found freedom only, having completely finished work. Rossini hated the need to meet the deadline with all his heart, but he recognized that it was she who provokes the inspired spirit.

• According to the biography of Rossini, in 1819 the composer brought his opera "Thieving Magpie"in the native town of Pesaro. During the stage action, several people from the audience perpetrated a scandal, they behaved defiantly, shouted, whistled, threatened with weapons. Rossini was so frightened that he left the theater in no time, with the onset of twilight left the city and never presented again in a small homeland, their creations. The reason for this “sabotage” turned out to be the capricious ex-wife of King George IV, whose power extended over Ireland, Hanover and the United Kingdom. The insignificant person at that time firmly settled in Italy, she repeatedly invited R ssini visit your salon, but he refused, feeling extreme dislike for narcissistic ignorant lady. Breaking the staging of Rossini in Pesaro was the idea offended Princess, which paid generous fringe scandal organization.
• In 1822, the sign meeting of the Italian creator with the German composer Ludwig van Beethoven took place. Rossini at that time turned 30, his counterpart - 51. Beethoven at that time had already suffered hearing loss, but sad circumstance did not affect his knowledge of the world of musical art and his ability to compose. The German pianist insistently recommended Rossini not to write anything except comic operas, for everything else would invariably see violence against his nature. Wherein Beethoven highly appreciated The Barber of Seville and noted: this work will not leave the stage as long as the Italian opera exists as a phenomenon.
• The meeting with Beethoven in the Austrian capital impressed Rossini to the depths of his soul and aroused a whole range of diverse emotions. Firstly, the Italian was unpleasantly surprised: the genius composer looks completely untidy and lives in modest conditions bordering on outright poverty. Secondly, Dzhoakkino strongly touched the words that he a priori can not create serious music, due to lack of education, not allowing to display the depth of the true human drama. Rossini did not show any insults and disappointments in the conversation, but he remembered the words and tried in every way to prove to himself and the entire musical community the opposite, constantly encroaching on historical and mythological subjects that were complex in drama.

• The composer's sensitive and overly suspicious temper was manifested in various situations throughout his life. He intuitively denied and did not accept technical progress, the demonstration of which plunged the composer into a state of stupor, shock, severe shock. Such a reaction arose when Rossini was forced to cover the distance between the continent and the British Isles by water. The composer reached England on a steamer, and on arrival he spent a week in bed, referring to the strongest indisposition: the sea cruise frightened the maestro so much. Rossini left London with the firm intention to never return there, despite the high fees, appreciation and gratitude of the public, which included representatives of the royal dynasty. Traveling by train, undertaken in the 40s, also had unpleasant consequences for the composer’s vulnerable psyche.
• Stepping over the threshold of the 40th anniversary, Rossini plunged into the abyss of a viscous, protracted depression. He continued to work, but did not return to the operatic genre. His health deteriorated, numerous ills seriously overshadowed his existence and did not allow him to lead his usual way of life. Rossini suffered from insomnia, while complaining of apathy and drowsiness. He was plagued by headaches and periodically worsening diseases associated with intestinal upset. At some point, the composer retired altogether, only occasionally sat at the piano, preferring to play in subdued light. The spouse repeatedly noted: being alone, he cried.

• In 1860, Rossini hosted Wagner, the composer, whose work the Italian considered pathetic and not devoid of semantic and structural flaws. The dialogue between the two musicians took place in very major colors, both did not skimp on the flattering expressions. However, Rossini was partly cunning, in conversations with close friends, he noticed that every interesting, from the point of view of musical arrangement, episode in Wagner’s works is preceded by an hour of overtly bad music. Once Rossini admitted that Wagner's scores are best performed from the bottom up, and not in the original order.

Creativity Rossini

"Итальянский Моцарт" создал 32 камерных произведения, 14 альбомов вокальных и инструментальных пьес, в отношении духовной музыки наибольшую популярность обрела "Маленькая торжественная месса" и "Stabat Mater". Однако известность и признание настигли композитора в качестве автора опер.

Gioacchino Rossini wrote 39 operas, 27 of them were created in the fruitful period from 1812 to 1819. The ease, the predominance of song motifs characterize works created in the comic genre. The musical design of the images, thoughtful structure, dynamism in the reflection of the actions describe the operas of dramatic and heroic orientation relative to the plot. The personal approach of the author to the work was obviously closely related to the changing temper of the public. Rossini felt that he had to respond to the unspoken preferences of the listeners, who by the middle of the XIX century had become noticeably more loyal to the libretto in the style of romanticism, the classic so beloved by the Italian gradually relegated to the secondary plan.

A distinctive feature of the work of Rossini, in addition to the phenomenal speed of work, is the tendency to borrow. The author often transferred melodies from overtures and other parts of the opera from one work to another, masterfully fitting them into the general context so that they remained recognizable, but acquired a completely original “reading”. Excerpts from the overture to the opera The Touchstone turned out to be in the opera Tancred, and the introduction to Aurelianus in Palmyra has a completion, descending from the final part of the overture of The Barber of Seville. Rossini explained such a circumstance by the fact that he tried to save the best fragments from his re-use, which were initially included in the unsuccessful, in his opinion, scores.

Rossini is called the master of overtures. He created unique musical masterpieces in a clear, always “working” formula: a slow start, simple memorable motifs, an increase in dynamics, turning into a bright climax through an expressive crescendo. In this regard, the refusal to strictly follow the sonata structure in favor of the freedom to use means of expressiveness developed into a win-win strategy, describing a kind of maestro handwriting.

Rossini tirelessly expanded the boundaries of his own talent, not wanting to remain hostage to one genre. His main rival was time: it inexorably rushed forward, generating new trends and talents that matched them. Difficult to perceive progress, Rossini could not reconcile his genius with the dynamic and changing world. The retreat became his "sink", and he himself turned into a pearl, a rare, unique, dazzling luster that did not fade over the years.

Rossini's music at the cinema

Biography of Gioacchino Rossini formed the basis of several films. In 1942, director Mario Bonnar presented the film "Rossini", where the main role went to Lamberto Picasso. The events cover the most intense period of the composer’s life, connected with the move to Naples and acquaintance with the performer Kolbran, who was destined to become his first wife.

In 1991, Mario Monicelli made the film "Rossini! Rossini!", Where the image of the maestro embodied Sergio Castellitto. The musical drama displays the composer in his old years, the story unfolds in the format of the master's memoirs of a distant childhood, stormy youth and fruitful work. In 1996, David Devine's Ghost Rossini tape was released.

The opera "The Barber of Seville" was filmed in 1947, 1954, 1959, 1972, 1988 and 2011. Rossini's music is played in contemporary Russian TV shows "Kitchen", "Interns", "Zaitsev +1", as well as in the French comedy "The Bear and the Doll" (1970) about a modest provincial musician and his fateful encounter with a capricious beauty.

German poet Heinrich Heine called Gioacchino Rossini "the sun of Italy", noting the exceptional role that went to the brilliant composer in the development of the country's operatic art. Outside of his native state, Rossini was perceived as a very mysterious person and a talented author of comic and heroic operas, the distinguishing feature of which is the incredible melody of vocal and instrumental parts. His music does not lose relevance. Over time, a creative legacy, like a good wine, of which the maestro was a true connoisseur, acquires an "endurance" that allows you to better feel the greatness of the genius creator.