Gioachino (as used by himself) or Gioacchino Antonio Rossini (February 29, … Read Full Bio ↴Gioachino (as used by himself) or Gioacchino Antonio Rossini (February 29, 1792 – November 13, 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best known operatic works include Il barbiere di Siviglia (The Barber of Seville), La Cenerentola, La gazza ladra (The Thieving Magpie) and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart." Until his retirement in 1829, Rossini had been the most popular opera composer in history.
Gioachino Antonio Rossini was born into a family of musicians in Pesaro, a town on the Adriatic coast of Italy. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group.
Rossini's father was sympathetic to the French Revolution and welcomed Napoleon Bonaparte's troops when they arrived in northern Italy. When Austria restored the old regime in 1796, Rossini's father was sent to prison and his mother took him to Bologna, making a living as a leading singer at various theatres of the Romagna region. Her husband would ultimately join her in Bologna. During this time, Rossini was frequently left in the care of his aging grandmother, who had difficulty supervising the boy.
He remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang. The boy had three years of instruction in the playing of the harpsichord from Giuseppe Prinetti, originally from Novara, who played the scale with two fingers only; Prinetti also owned a business selling beer and had a propensity to fall asleep while standing. These qualities made him a subject for ridicule in the eyes of the young Rossini.
He was eventually taken from Prinetti and apprenticed to a blacksmith. In Angelo Tesei, he found a congenial music master, and learned to sight-read, play accompaniments on the piano and sing well enough to take solo parts in the church when he was ten years of age. Important from this period are six sonate a quattro, or string sonatas, composed in three days, unusually scored for two violins, cello and double bass. The original scores were found in the Library of Congress in Washington DC after World War II, dated from 1804 when the composer was twelve. Often transcribed for string orchestra, these sonatas reveal the young composer's affinity for Haydn and Mozart, already showing signs of operatic tendencies, punctuated by frequent rhythmic changes and dominated by clear, songlike melodies.
In 1805 he appeared at the theatre of the Commune in Ferdinando Paer's Camilla, his only public appearance as a singer. He was also a capable horn player, treading in the footsteps of his father. Around this time, he composed individual numbers to a libretto by Vincenza Mombelli called Demetrio e Polibio, which was handed to the boy in pieces. Though it was Rossini's first opera, written when he was thirteen or fourteen, the work was not staged until the composer was twenty years old, premiering as his sixth official opera.
In 1806 Rossini became a cello student under Cavedagni at the Conservatorio di Bologna. The following year he was admitted to the counterpoint class of Padre Stanislao Mattei (1750–1825). He learned to play the cello with ease, but the pedantic severity of Mattei's views on counterpoint only served to drive the young composer's views toward a freer school of composition. His insight into orchestral resources is generally ascribed not to the strict compositional rules that he learned from Mattei, but to knowledge gained independently while scoring the quartets and symphonies of Haydn and Mozart. At Bologna, he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart.
Through the friendly interposition of the Marquis Cavalli, his first opera, La cambiale di matrimonio (The Marriage Contract), was produced at Venice when he was a youth of 18 years. But two years before this he had already received the prize at the Conservatorio of Bologna for his cantata Il pianto d'Armonia sulla morte d’Orfeo. Between 1810 and 1813 at Bologna, Rome, Venice and Milan, Rossini produced operas of varying success, most notably La pietra del paragone and Il Signor Bruschino, with its brilliant and unique overture. In 1813, Tancredi and L'Italiana in Algeri were even bigger successes, and catapulted the 20-year-old composer to international fame.
The libretto for Tancredi was an arrangement by Gaetano Rossi of Voltaire's tragedy Tancrède. Traces of Ferdinando Paer and Giovanni Paisiello were undeniably present in fragments of the music. But any critical feeling on the part of the public was drowned by appreciation of such melodies as "Di tanti palpiti... Mi rivedrai, ti rivedrò", which became so popular that the Italians would sing it in crowds at the law courts until called upon by the judge to desist.
By his 21st birthday Rossini had established himself as the idol of the Italian opera public. He continued to write operas for Venice and Milan during the next few years, but their reception was tame and in some cases unsatisfactory after the success of Tancredi. In 1815 he retired to his home in Bologna, where Domenico Barbaia, the impresario of the Naples theatre, contracted an agreement that made him musical director of the Teatro San Carlo and the Teatro Del Fondo at Naples. He would compose one opera a year for each. His payment was to be 200 ducats per month; he was also to receive a share from the gambling tables set in the theatre's "ridotto", amounting to about 1000 ducats per annum. This was an extraordinarily lucrative arrangement for any professional musician at that time.
He visited the Naples conservatory, and, although less than four years senior to Mercadante, he said to the Director Niccolò Zingarelli, "My compliments Maestro - your young pupil Mercadante begins where we finish."
Some older composers in Naples, notably Zingarelli and Paisiello, were inclined to intrigue against the success of the youthful composer, but all hostility was rendered futile by the enthusiasm that greeted the court performance of his Elisabetta, regina d'Inghilterra, in which Isabella Colbran, who subsequently became the composer's wife, took a leading part. The libretto of this opera by Giovanni Schmidt was in many of its incidents an anticipation of those presented to the world a few years later in Sir Walter Scott's Kenilworth. The opera was the first in which Rossini wrote out the ornaments of the airs instead of leaving them to the fancy of the singers, and also the first in which the recitativo secco was replaced by a recitative accompanied by a string quartet.
Rossini's most famous opera was produced on February 20, 1816, at the Teatro Argentina in Rome. The libretto, a version of Pierre Beaumarchais' stage play Le Barbier de Séville, was newly written by Cesare Sterbini and not the same as that already used by Giovanni Paisiello in his own Barbiere, an opera which had enjoyed European popularity for more than a quarter of a century. Much is made of how quickly Rossini's opera was written, scholarship generally agreeing upon two or three weeks. Later in life, Rossini claimed to have written the opera in only twelve days. It was a colossal failure when it premiered as Almaviva; Paisiello's admirers were extremely indignant, sabotaging the production by whistling and shouting during the entire first act. However, not long after the second performance, the opera became so successful that the fame of Paisiello's opera was transferred to Rossini's, to which the title The Barber of Seville passed as an inalienable heritage.
Later in 1822, a 30-year-old Rossini succeeded in meeting Ludwig van Beethoven, who was then aged 51, deaf, cantankerous and in failing health. Communicating in writing, Beethoven noted: “Ah, Rossini. So you’re the composer of The Barber of Seville. I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature.”[
Between 1815 and 1823 Rossini produced 20 operas. Of these Otello formed the climax to his reform of serious opera, and offers a suggestive contrast with the treatment of the same subject at a similar point of artistic development by the composer Giuseppe Verdi. In Rossini's time the tragic close was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello.
Conditions of stage production in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element should be omitted. The opera La Cenerentola was as successful as Barbiere. The absence of a similar precaution in construction of his Mosè in Egitto led to disaster in the scene depicting the passage of the Israelites through the Red Sea, when the defects in stage contrivance always raised a laugh, so that the composer was at length compelled to introduce the chorus "Dal tuo stellato soglio" to divert attention from the dividing waves.
In 1822, four years after the production of this work, Rossini married the renowned opera singer Isabella Colbran. In the same year, he moved from Italy to Vienna where his operas were the rage of the audiences. He directed his Cenerentola in Vienna, where Zelmira was also performed. After this he returned to Bologna, but an invitation from Prince Metternich to come to Verona and "assist in the general re-establishment of harmony" was too tempting to refuse, and he arrived at the Congress in time for its opening on October 20, 1822. Here he made friends with Chateaubriand and Dorothea Lieven.
In 1823, at the suggestion of the manager of the King's Theatre, London, he came to England, being much fêted on his way through Paris. In England he was given a generous welcome, which included an introduction to King George IV and the receipt of £7000 after a residence of five months. The next year he became musical director of the Théâtre des Italiens in Paris at a salary of £800 per annum. Rossini’s popularity in Paris was so great that Charles X gave him a contract to write five new operas a year, and at the expiration of the contract he was to receive a generous pension for life.
During his Paris years, between 1824 and 1829, Rossini created the comic opera Le Comte Ory and Guillaume Tell (William Tell). The production of his Guillaume Tell in 1829 brought his career as a writer of opera to a close. He was thirty-eight years old and had already composed thirty-eight operas. Guillaume Tell was a political epic adapted from Schiller’s play (1804) about the thirteenth century Swiss patriot who rallied his country against the Austrians. The libretto was by Étienne Jouy and Hippolyte Bis, but their version was revised by Armand Marrast. The music is remarkable for its freedom from the conventions discovered and utilized by Rossini in his earlier works, and marks a transitional stage in the history of opera, the overture serving as a model for romantic overtures throughout the 19th century. Though an excellent opera, it is rarely heard uncut today, as the original score runs more than four hours in performance. The overture is one of the most famous and frequently recorded works in the classical repertoire.
In 1829 he returned to Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return to Paris on a new agreement were temporarily upset by the abdication of Charles X and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, did return, however, to Paris in November of that year.
Six movements of his Stabat Mater were written in 1832 by Rossini himself and the other six by Giovanni Tadolini, a good musician who was asked by Rossini to complete the work. However, Rossini composed the rest of the score in 1841. The success of the work bears comparison with his achievements in opera, but his comparative silence during the period from 1832 to his death in 1868 makes his biography appear almost like the narrative of two lives—the life of swift triumph and the long life of seclusion, of which biographers give us pictures in stories of the composer's cynical wit, his speculations in fish culture, his mask of humility and indifference.
His first wife died in 1845, and on August 16, 1846, he married Olympe Pélissier, who had sat for Vernet for his picture of Judith and Holofernes. Political disturbances compelled Rossini to leave Bologna in 1848. After living for a time in Florence, he settled in Paris in 1855, where his house was a centre of artistic society. Rossini had been a well-known gourmand and an excellent amateur chef his entire life, but he indulged these two passions fully once he retired from composing, and today there are a number of dishes with the appendage "alla Rossini" to their names that were either created by him or specifically for him. Probably the most famous of these is Tournedos Rossini, still served by many restaurants today.
In the meantime, after years of various physical and mental illnesses, he had slowly returned to music, composing obscure little trifles intended for private performance. These Péchés de vieillesse ("Sins of Old Age") are grouped into 14 volumes, mostly for solo piano, occasionally for voice and various chamber ensembles. Often whimsical, these pieces display Rossini’s natural ease of composition and gift for melody, showing obvious influences of Beethoven and Chopin, with many flashes of the composer’s long buried desire for serious, academic composition. He died at his country house at Passy on Friday, November 13, 1868. He was 76 years old. He was buried in Père Lachaise cemetery in Paris, France. In 1887, his remains were moved to the Basilica di Santa Croce di Firenze, in Florence, at the request of the Italian government.
Rossini was a foreign associate of the institute, grand officer of the Legion of Honour and recipient of innumerable orders.
Immediately after Rossini's death, Giuseppe Verdi proposed to collaborate with twelve other Italian composers on a "Requiem for Rossini," to be performed on the first anniversary of his death, conducted by Angelo Mariani. The music was written, but the performance was abandoned shortly before its scheduled premiere. Verdi re-used the Libera me, Domine he had written for the Rossini Requiem in his 1872 Requiem for Manzoni. In 1989 the conductor Helmuth Rilling recorded the original "Requiem for Rossini" in its world premiere.
In his compositions, Rossini plagiarized freely from himself, a common practice among deadline-pressed opera composers of the time. Few of his operas are without such admixtures, frankly introduced in the form of arias or overtures. For example, in Il Barbiere there is an aria for the Count (often omitted) 'Cessa di più resistere', which Rossini used (with minor changes) in the cantata Le Nozze di Teti e di Peleo and in La Cenerentola (the cabaletta for Angelina's Rondo is almost unchanged). Moreover, four of his best known overtures, namely those of (La cambiale di matrimonio, Tancredi, La Cenerentola and The Barber of Seville), share operas apart from those with which they are most famously associated.
A characteristic mannerism in Rossini's orchestral scoring is a long, steady building of sound over an ostinato figure, creating "tempests in teapots by beginning in a whisper and rising to a flashing, glittering storm", earned him the nickname of "Signor Crescendo".
A few of Rossini's operas remained popular throughout his lifetime and continuously since his demise; others were resurrected from semi-obscurity in the last half of the 20th century, during the so-called "bel canto revival." According to Herbert Weinstock's 1968 biography (see below), the composer's estate was valued at 2.5 million francs upon his death in 1868, the equivalent of about 1.4 million US dollars.
Gioachino Antonio Rossini was born into a family of musicians in Pesaro, a town on the Adriatic coast of Italy. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group.
Rossini's father was sympathetic to the French Revolution and welcomed Napoleon Bonaparte's troops when they arrived in northern Italy. When Austria restored the old regime in 1796, Rossini's father was sent to prison and his mother took him to Bologna, making a living as a leading singer at various theatres of the Romagna region. Her husband would ultimately join her in Bologna. During this time, Rossini was frequently left in the care of his aging grandmother, who had difficulty supervising the boy.
He remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang. The boy had three years of instruction in the playing of the harpsichord from Giuseppe Prinetti, originally from Novara, who played the scale with two fingers only; Prinetti also owned a business selling beer and had a propensity to fall asleep while standing. These qualities made him a subject for ridicule in the eyes of the young Rossini.
He was eventually taken from Prinetti and apprenticed to a blacksmith. In Angelo Tesei, he found a congenial music master, and learned to sight-read, play accompaniments on the piano and sing well enough to take solo parts in the church when he was ten years of age. Important from this period are six sonate a quattro, or string sonatas, composed in three days, unusually scored for two violins, cello and double bass. The original scores were found in the Library of Congress in Washington DC after World War II, dated from 1804 when the composer was twelve. Often transcribed for string orchestra, these sonatas reveal the young composer's affinity for Haydn and Mozart, already showing signs of operatic tendencies, punctuated by frequent rhythmic changes and dominated by clear, songlike melodies.
In 1805 he appeared at the theatre of the Commune in Ferdinando Paer's Camilla, his only public appearance as a singer. He was also a capable horn player, treading in the footsteps of his father. Around this time, he composed individual numbers to a libretto by Vincenza Mombelli called Demetrio e Polibio, which was handed to the boy in pieces. Though it was Rossini's first opera, written when he was thirteen or fourteen, the work was not staged until the composer was twenty years old, premiering as his sixth official opera.
In 1806 Rossini became a cello student under Cavedagni at the Conservatorio di Bologna. The following year he was admitted to the counterpoint class of Padre Stanislao Mattei (1750–1825). He learned to play the cello with ease, but the pedantic severity of Mattei's views on counterpoint only served to drive the young composer's views toward a freer school of composition. His insight into orchestral resources is generally ascribed not to the strict compositional rules that he learned from Mattei, but to knowledge gained independently while scoring the quartets and symphonies of Haydn and Mozart. At Bologna, he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart.
Through the friendly interposition of the Marquis Cavalli, his first opera, La cambiale di matrimonio (The Marriage Contract), was produced at Venice when he was a youth of 18 years. But two years before this he had already received the prize at the Conservatorio of Bologna for his cantata Il pianto d'Armonia sulla morte d’Orfeo. Between 1810 and 1813 at Bologna, Rome, Venice and Milan, Rossini produced operas of varying success, most notably La pietra del paragone and Il Signor Bruschino, with its brilliant and unique overture. In 1813, Tancredi and L'Italiana in Algeri were even bigger successes, and catapulted the 20-year-old composer to international fame.
The libretto for Tancredi was an arrangement by Gaetano Rossi of Voltaire's tragedy Tancrède. Traces of Ferdinando Paer and Giovanni Paisiello were undeniably present in fragments of the music. But any critical feeling on the part of the public was drowned by appreciation of such melodies as "Di tanti palpiti... Mi rivedrai, ti rivedrò", which became so popular that the Italians would sing it in crowds at the law courts until called upon by the judge to desist.
By his 21st birthday Rossini had established himself as the idol of the Italian opera public. He continued to write operas for Venice and Milan during the next few years, but their reception was tame and in some cases unsatisfactory after the success of Tancredi. In 1815 he retired to his home in Bologna, where Domenico Barbaia, the impresario of the Naples theatre, contracted an agreement that made him musical director of the Teatro San Carlo and the Teatro Del Fondo at Naples. He would compose one opera a year for each. His payment was to be 200 ducats per month; he was also to receive a share from the gambling tables set in the theatre's "ridotto", amounting to about 1000 ducats per annum. This was an extraordinarily lucrative arrangement for any professional musician at that time.
He visited the Naples conservatory, and, although less than four years senior to Mercadante, he said to the Director Niccolò Zingarelli, "My compliments Maestro - your young pupil Mercadante begins where we finish."
Some older composers in Naples, notably Zingarelli and Paisiello, were inclined to intrigue against the success of the youthful composer, but all hostility was rendered futile by the enthusiasm that greeted the court performance of his Elisabetta, regina d'Inghilterra, in which Isabella Colbran, who subsequently became the composer's wife, took a leading part. The libretto of this opera by Giovanni Schmidt was in many of its incidents an anticipation of those presented to the world a few years later in Sir Walter Scott's Kenilworth. The opera was the first in which Rossini wrote out the ornaments of the airs instead of leaving them to the fancy of the singers, and also the first in which the recitativo secco was replaced by a recitative accompanied by a string quartet.
Rossini's most famous opera was produced on February 20, 1816, at the Teatro Argentina in Rome. The libretto, a version of Pierre Beaumarchais' stage play Le Barbier de Séville, was newly written by Cesare Sterbini and not the same as that already used by Giovanni Paisiello in his own Barbiere, an opera which had enjoyed European popularity for more than a quarter of a century. Much is made of how quickly Rossini's opera was written, scholarship generally agreeing upon two or three weeks. Later in life, Rossini claimed to have written the opera in only twelve days. It was a colossal failure when it premiered as Almaviva; Paisiello's admirers were extremely indignant, sabotaging the production by whistling and shouting during the entire first act. However, not long after the second performance, the opera became so successful that the fame of Paisiello's opera was transferred to Rossini's, to which the title The Barber of Seville passed as an inalienable heritage.
Later in 1822, a 30-year-old Rossini succeeded in meeting Ludwig van Beethoven, who was then aged 51, deaf, cantankerous and in failing health. Communicating in writing, Beethoven noted: “Ah, Rossini. So you’re the composer of The Barber of Seville. I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature.”[
Between 1815 and 1823 Rossini produced 20 operas. Of these Otello formed the climax to his reform of serious opera, and offers a suggestive contrast with the treatment of the same subject at a similar point of artistic development by the composer Giuseppe Verdi. In Rossini's time the tragic close was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello.
Conditions of stage production in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element should be omitted. The opera La Cenerentola was as successful as Barbiere. The absence of a similar precaution in construction of his Mosè in Egitto led to disaster in the scene depicting the passage of the Israelites through the Red Sea, when the defects in stage contrivance always raised a laugh, so that the composer was at length compelled to introduce the chorus "Dal tuo stellato soglio" to divert attention from the dividing waves.
In 1822, four years after the production of this work, Rossini married the renowned opera singer Isabella Colbran. In the same year, he moved from Italy to Vienna where his operas were the rage of the audiences. He directed his Cenerentola in Vienna, where Zelmira was also performed. After this he returned to Bologna, but an invitation from Prince Metternich to come to Verona and "assist in the general re-establishment of harmony" was too tempting to refuse, and he arrived at the Congress in time for its opening on October 20, 1822. Here he made friends with Chateaubriand and Dorothea Lieven.
In 1823, at the suggestion of the manager of the King's Theatre, London, he came to England, being much fêted on his way through Paris. In England he was given a generous welcome, which included an introduction to King George IV and the receipt of £7000 after a residence of five months. The next year he became musical director of the Théâtre des Italiens in Paris at a salary of £800 per annum. Rossini’s popularity in Paris was so great that Charles X gave him a contract to write five new operas a year, and at the expiration of the contract he was to receive a generous pension for life.
During his Paris years, between 1824 and 1829, Rossini created the comic opera Le Comte Ory and Guillaume Tell (William Tell). The production of his Guillaume Tell in 1829 brought his career as a writer of opera to a close. He was thirty-eight years old and had already composed thirty-eight operas. Guillaume Tell was a political epic adapted from Schiller’s play (1804) about the thirteenth century Swiss patriot who rallied his country against the Austrians. The libretto was by Étienne Jouy and Hippolyte Bis, but their version was revised by Armand Marrast. The music is remarkable for its freedom from the conventions discovered and utilized by Rossini in his earlier works, and marks a transitional stage in the history of opera, the overture serving as a model for romantic overtures throughout the 19th century. Though an excellent opera, it is rarely heard uncut today, as the original score runs more than four hours in performance. The overture is one of the most famous and frequently recorded works in the classical repertoire.
In 1829 he returned to Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return to Paris on a new agreement were temporarily upset by the abdication of Charles X and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, did return, however, to Paris in November of that year.
Six movements of his Stabat Mater were written in 1832 by Rossini himself and the other six by Giovanni Tadolini, a good musician who was asked by Rossini to complete the work. However, Rossini composed the rest of the score in 1841. The success of the work bears comparison with his achievements in opera, but his comparative silence during the period from 1832 to his death in 1868 makes his biography appear almost like the narrative of two lives—the life of swift triumph and the long life of seclusion, of which biographers give us pictures in stories of the composer's cynical wit, his speculations in fish culture, his mask of humility and indifference.
His first wife died in 1845, and on August 16, 1846, he married Olympe Pélissier, who had sat for Vernet for his picture of Judith and Holofernes. Political disturbances compelled Rossini to leave Bologna in 1848. After living for a time in Florence, he settled in Paris in 1855, where his house was a centre of artistic society. Rossini had been a well-known gourmand and an excellent amateur chef his entire life, but he indulged these two passions fully once he retired from composing, and today there are a number of dishes with the appendage "alla Rossini" to their names that were either created by him or specifically for him. Probably the most famous of these is Tournedos Rossini, still served by many restaurants today.
In the meantime, after years of various physical and mental illnesses, he had slowly returned to music, composing obscure little trifles intended for private performance. These Péchés de vieillesse ("Sins of Old Age") are grouped into 14 volumes, mostly for solo piano, occasionally for voice and various chamber ensembles. Often whimsical, these pieces display Rossini’s natural ease of composition and gift for melody, showing obvious influences of Beethoven and Chopin, with many flashes of the composer’s long buried desire for serious, academic composition. He died at his country house at Passy on Friday, November 13, 1868. He was 76 years old. He was buried in Père Lachaise cemetery in Paris, France. In 1887, his remains were moved to the Basilica di Santa Croce di Firenze, in Florence, at the request of the Italian government.
Rossini was a foreign associate of the institute, grand officer of the Legion of Honour and recipient of innumerable orders.
Immediately after Rossini's death, Giuseppe Verdi proposed to collaborate with twelve other Italian composers on a "Requiem for Rossini," to be performed on the first anniversary of his death, conducted by Angelo Mariani. The music was written, but the performance was abandoned shortly before its scheduled premiere. Verdi re-used the Libera me, Domine he had written for the Rossini Requiem in his 1872 Requiem for Manzoni. In 1989 the conductor Helmuth Rilling recorded the original "Requiem for Rossini" in its world premiere.
In his compositions, Rossini plagiarized freely from himself, a common practice among deadline-pressed opera composers of the time. Few of his operas are without such admixtures, frankly introduced in the form of arias or overtures. For example, in Il Barbiere there is an aria for the Count (often omitted) 'Cessa di più resistere', which Rossini used (with minor changes) in the cantata Le Nozze di Teti e di Peleo and in La Cenerentola (the cabaletta for Angelina's Rondo is almost unchanged). Moreover, four of his best known overtures, namely those of (La cambiale di matrimonio, Tancredi, La Cenerentola and The Barber of Seville), share operas apart from those with which they are most famously associated.
A characteristic mannerism in Rossini's orchestral scoring is a long, steady building of sound over an ostinato figure, creating "tempests in teapots by beginning in a whisper and rising to a flashing, glittering storm", earned him the nickname of "Signor Crescendo".
A few of Rossini's operas remained popular throughout his lifetime and continuously since his demise; others were resurrected from semi-obscurity in the last half of the 20th century, during the so-called "bel canto revival." According to Herbert Weinstock's 1968 biography (see below), the composer's estate was valued at 2.5 million francs upon his death in 1868, the equivalent of about 1.4 million US dollars.
Cinderella
Gioacchino Rossini Lyrics
We have lyrics for 'Cinderella' by these artists:
(Dj SASA Remix) Tattoo Colour นาฬิกาบอกหัวใจเต็มที เปิดใจให้จองห้องหัวใจทั้งสี่ เต้นรำอย่า…
01 Suede What do you desire Okay okay okay (bitch) Uh ooh ooh Dör för…
A-Why Sé que no puedes dormir, eh Cinderella (yo soy Nietzsche y…
A.P.P.L.E. Ey ey (We be poppin Xan in preschool) (Shawty why don't you…
ACE COLLECTION ガラスの靴を落とした君と 奈落の底に落ちてく僕と あの時の君の瞳に吸い込まれて抜け出せなくなって どんどん深いところに落…
Aleesia Look up in the sky See the sun Feel the heat If only…
Alexandra Joner I’m Cinderella, I’m Cinderella Like a fairytale with a prin…
Ali Kiba 2fois (owa! uh! uh! uh! uh! uh! uh! uh! yahe!…
Alice No.10 She's a bougie lil bitch Lil shawty to thick (My lil…
America I was out last night having a ball And comin'…
Andrew Allen There's a place that we ought to go to be…
Anything With Yusef CINDERELLA Cinderella, do you like designer Cinderella, sa…
Aqualung I'm on a roll Everything I touch turns to shh... It's taking…
Ayax y Prok Sé que no puedes dormir, eh Cinderella (yo soy Nietzsche y…
Azan Aiwa, aiwa Brr Die Hälfte sitzt im Knast, die Hälfte zählt …
B.A.D. Cinderella staring through my window I'll enjoy the day unti…
Bankrupt Once you've met Cinderella Tell her you wanna take her…
Ben-G Sorry my bad I swear it's usually business The Motorola been…
Betty 夢にまでも 出てくるの ハンサム過ぎる未来のダンナ様 ミッキー・ロークリチャード・ギア それともション・ローン アラン・…
Bibbidi-Bobbidi-Boo Salagadoola mechicka boola bibbidi bobbidi boo Put 'em toget…
Big Ax-D Cinderella staring through my window I'll enjoy the day unti…
Black Cats تو سرزمین قصه ها خبر دادن فرشته ها آهای اهای ای آدما آدما…
Bluebell Is this love? Would I understand it to be? I′ve only…
Bob Sinclar She said he name was Cinderella Come under her umbrella With…
Bonnie Bianco & Pierre Cosso Stay [Duett with Pierre Cosso] You are my life you are…
Boudewijn de Groot De nacht is eindeloos lang, de weg is een grot met groene…
Britney Spears I used to be your girlfriend and I know I…
Brotherhood of Man Fire, burning bright Ashes, turning white Work, day and nigh…
Buck Owens So you found your Prince Charming was just a dream There…
Camila Cabello Bibbidi-bobbiidi boo It seems the floor's getting colder Sin…
Charlie Fleur May gusto ka bang aminin Pagtapat mo ngayon sa'kin Na t…
Cheetah Girls When I was just a little girl my mama used…
ChemyNoSurfea La vida alegrías plantará Cosechémoslas juntos tú y yo En t…
Chika Yeah Clock strike ten, hunnid twenty minutes 'til the party…
Chris Brown Ft. D-Pryde I can’t look at you I would love you honestly If you…
Christen Agartha Hay por doquier alegría en la vida Junto a ti la…
Cidergirl 些細なよろこびたちを育てていきませんか あなたの顔が少し寂しそうで ジョークのひとつでも言えたらなあ 溢れる気持ちに…
Cinderella When I was just a little girl My Mama used to…
Cinderella - Music of Disney's Cinderella シンデレラ宣言! 近頃のあたしはさ だいぶフレキシブル 流行りものも 君の趣味も全部取り入れて 明後日のあたしはさ も…
CNBLUE (Somebody help me) (Somebody help me yea yea) (Somebody help…
Coffey Anderson I was raised in a small town, only stars I′ve seen…
Color Code Welcome to the special secret party time 見たことないような未来図を この先は …
Colton Avery You are golden Sun ray's dance across your face He was hopin…
CONVOLK Everybody hates me Running from my problems See them always…
Cracker INTRO & BREAK: E-D-C#m-A7 E-D-C#m-A7 E I left my Cinder-…
Curtis Chapman Steven She spins and she sways To whatever song plays Without a car…
Cyril Kamer El 50 Cent europeo nigga, ah Si no lo veo no…
D Cinderella staring through my window I'll enjoy the day unti…
D.J. Future Sie macht mir Filme von Abends bis Morgens ja Instagram und…
D.J. Hotnail / D.J. Crissy Mmm mmm mmm Mmm mmm mmm So this love Mmm mmm mmm So this…
D.J. Mash Up Sie macht mir Filme von Abends bis Morgens ja Instagram und…
Daddy Shaq kathal endra solle ennaku bayam illai kathal tharum valiyeh …
Dan Davidson You are my Cinderella, My love forever I want to get togethe…
Daniel A dream is a wish your heart makes When you're fast…
Danny McGaw Something in the way Cant put my finger on it Like every…
Dansbandskungen Jag tänkte att nu är det dags att resa bôrt. En…
Darien Fields Known someone that could level you with her eyes Feeling lik…
DARKoO Cinderella The way you moving I been calling you my bella I…
Daughtry Dressed in red, you're scooping litter from the cats I thoug…
DECO*27 だっだっだ だいじょばない ちょっと蛹になって出直すわわわ 愛とか恋とか全部くだらない がっかりするだけ ダメを知るだ…
DECO*27 Rockwell feat. Hatsune Miku 私の恋を悲劇のジュリエットにしないで ここから連れ出して そんな気分よ パパとママにおやすみなさい せいぜい いい夢を…
Delaction feat. Chika Yeah Clock strike ten, hunnid twenty minutes 'til the party…
Destiny Marko No soy Cinderella Pero soy una princesa Mi castillo es en su…
Diana Vickers Some people wake up, scared of living their dream, they'll…
Disney (Cinderella) I'm not your little princess anymore Are you feeling this n…
Div ...And you may have a bulletproof smile, but you are…
Dolly Shahine طول الايام عايشه فى احلام اه من الاحلام رومانسيه مش عايزه…
Don Toliver & Toro Y Moi It's a love letter It's some things that I do but…
Dr. Sikiru Ayinde Barrister If it’s a minute ‘til midnight And your bestie’s tryin’ to…
Drafi Deutscher And His Magics Cinderella Baby, Mädchen aus dem Märchenland Cinderella Baby…
EJAAZ I thought I loved you But now were just falling apart Like…
Elaiza I take one step forward One step back If the shoe don't…
Eminem & Timbaland Yeah You know, technically I'm not even really supposed to b…
Enumclaw She's a Cinderella, looking for her shoes I can't be the…
Eric Donaldson You say nobody loves you You say nobody cares You say nobo…
esther & ari ofarim You're the lady, you're the lady that I love I'm the…
Exo 멈춰버린 너와 나의 시계추 시선 너머 화려해진 city view 거짓처럼 너를 재촉하는…
Ezio Cinderella was on the last train That stops at every station…
Falz & Simi He say baby wetin be your name I no go perambulate…
Fantømex What if I just take this umbrella Open up and say…
Fazura Kau buatku tertanya Dikali pertama Bertentangan mata Ku sel…
Firefall Last December I met a girl She took a likin' to…
Forró Maior Ah, se você ficasse comigo Ah, se você fosse meu amigo Eu…
Four Fours That’s my Cinderella, that’s my number 1, official, she dese…
Freddie Lewis Coffee on her morning breath with cigarettes and Cinderella …
Future Sip red, sing to the devil (Pluto) Sip red, sing to…
G. Nine Cinderella staring through my window I'll enjoy the day unti…
Gela Noah why you do that shit She wanna hang out with…
Geoffrey Williams Silver lady in the night with a passion burning bright Sh…
Glenn Miller Stay in my arms, Cinderella, While the clock is striking…
Glenn Miller & His Orchestra Stay in my arms, Cinderella, While the clock is striking…
Gokou Kuyt I'm a cinderella boy? いや、死んだ目のboy You are cinderella girl でも…
Hanako Oku 青い雲を見た帰り道 想い打ち明けたあの日から あたしの幸せの場所は あなたの隣りになった お互いの名前の呼び方も 手の繋…
Helen Trevillion Another day painted Monochrome and aching Another battle r…
Hiltonium Joys in life are precious little things So why don't we…
Holger Czukay & U-She Girl I want you to be my Cinderella 왜 넌 이렇게 타오르는…
Hoover Clouds, herbs, and art Rotating love through time Tears af…
Hooverphonic Clouds, herbs and art Rotating love through time Tears after…
Hot and Bothered You got me jumpin' right out of my skin You keep…
I5 (Here we go, check it out) When I was just a…
ICEKIID (Dub) Fortæl mig, er du ride or die? (Cinderella) For jeg g…
Ilene Woods Mmm mmm mmm Mmm mmm mmm So this love Mmm mmm mmm So this…
Ilene Woods & Mice Chorus - Cinderella シンデレラ宣言! 近頃のあたしはさ だいぶフレキシブル 流行りものも 君の趣味も全部取り入れて 明後日のあたしはさ も…
Ilene Woods/Mike Douglas Mmm mmm mmm Mmm mmm mmm So this love Mmm mmm mmm So this…
Instupendo I don’t know you very well You’re still stuck in your…
Irrwisch She plays a fascinating game A new horizon lies before Know…
Jack Ross Here is a tale to make your cresh fleep. It'll give…
Jake Banfield I said we're not all the same I said we're not…
Jan Smit Ich sah dich an der strasse stehn Du hattest wunderschöne…
Janee I like to dress up like a princess But I'm waiting…
Janessa Make me your Queen... Tonight I will be yours, On this kizom…
Jantje Smit Ich sah dich an der strasse stehn Du hattest wunderschöne…
Jasper Sawyer Girl something is bothering you Still you look beautiful ton…
Jeanette You fallen in love is what i hear them say.…
Jimmy & The Mirrors When she walks down the street she always stands tall. She…
Jon Cypher Ten minutes ago I saw you You looked up as…
Joseph Lagarnia Parang kahapon lang nang tayo'y nagkatagpo Sa isang sayawan …
Julie Andrews Jon Cypher Ten minutes ago I saw you You looked up as…
Kari Rueslåtten She is just passing through Last year and the year before Sh…
Kari Rueslatten She is just passing through Last year and the year before …
Kemdilo Gold Top down , with Cinderella Gold chain, she's from ctlanta…
Khontkar Tenin tenime e Değmiyosa geçmez zaman aye Seni düşündükçe İç…
Kidi Ooh Lord have mercy Mayorkun baby o ah ahh ahn Prr bang…
Kids 雪の舞う駅は寂しくて ポケットで手を暖めあう 君は時計を見るたびに 哀しい色濃くして 綺麗になる 不思議さ バイトして…
Kidz Bop When I was just a little girl My mama used to…
Kithsiri Jayasekara කැමීලියා මල් සුවඳට සඳ කෙමි මත පා තිය තිය කැමීලියා මල් සුවඳට …
Kizaru Ра-ра, ту-ту-ту-ту Все мои мысли об оружии, как будто…
KnowGC [Intro] Say you got a man, well I'm better Yeah, I'm better …
Krista Siegfrids She holds a fire inside, They can`t put out, Many will try, …
Laddi Chahal Khad ke Kade Gal Na Karda Khad ke kade Gal Na…
Langhorne Slim Cinderella Yes my handsome fella? Are you my girl? You …
Laroz Cinderella is running through the night Smoking a cigarette …
Limi That Panamera dripping right Wrapped in the color of the nig…
Lionel Richie As I was walking down a Path in the woods one…
Lionel Richie/Commodores As I was walking down a Path in the woods one…
Lucía Parreño Azicala y a la moda Cinderella con pistola Fina y elegante O…
Ludmila Senchina Хоть поверьте, хоть проверьте, Но вчера приснилось мне, Буд-…
M. Finnkrieg Na na na na na na (yes, yes, go) Na na…
M.A.N.D.Y. Sé que no puedes dormir, eh Cinderella (yo soy Nietzsche y…
Mac Miller Uh, sign Oh no, no, no, no, no, no, no, no,…
Macexface Fuck that cinderella Ima make that bitch surrenda Ima enda i…
Mando Diao I didn't feel the old umbrella I was was feeling my…
Manian & Ryan T. Vs. Super G. & Kevin Dee! VERS 1 : Ada cinderela cari spatu kaca Dia cantik jelita tap…
Manian Feat. Maury Once upon a time There was a girl I used to…
Marianna Kara Ρίχνεις μια ματιά σε μένα Στολισμένη μέσα στη πένα Δεν θα θέ…
Marina & the Kats Su carita de novela …
Martinelli As the day now comes to the ending And the neon…
Mason Gold Cinderella Oh hail bloody Crimson from your nose is drippi…
Mass Anthem She spins and she sways To whatever song plays Without a car…
Matt Cooper Cinderella girl tell me where your from This ain't your cast…
Miss Papaya Na-na-na-na-na (oh-e-oh) Na-na-na-na-na (oh-e-oh) Na-na-na…
Mohamed El Kammah إنت سندريلا إنت مولتوبيلا شكولة فانيلة، شكولة فانيلة أيلا…
MohBad Cindarella I’ve seen alot but you are better Olomi dakun kam…
moumoon My clothes came apart at the seams, And turned into a…
mr. anderson Non tutte le donne che mettevi la scarpa diventavano Ceneren…
NaakMusiQ Ishis'impela lengane ishis'impela Ishis'impela lengane ishis…
NAS & DJ Semi Yeah yeah yeah ih ih ih Love Conquers Everything This is for…
Nathalie Mac Oh, I bring the fire All other desire I am my…
Nathan James CHORES: Be my tragedy Sweet like cavities One night fantas…
Natti Natasha feat. Chika Yeah Clock strike ten, hunnid twenty minutes 'til the party…
Neuza feat. Mika Mendes Ca ten dia sen pensa na, cada momento e tudo cusa…
Nicola Roberts English rose This is how the story goes Been asleep Prick…
Northstar Many hours ago took off my coat and faced a…
Notche Dadadadada Yeah Dadadadadada You don't know me But you will …
O.G. Kikz Cinderella staring through my window I'll enjoy the day unti…
Off by One I'm getting sick of this This fighting's killing me There wa…
olu maintain Mr olu maintain ooooollleeeee... 2 Baba dey here. E bami WA …
Ossh I been livin 20 years for other that was a mistake 시간은…
Papaya Na-na-na-na-na (oh-e-oh) Na-na-na-na-na (oh-e-oh) Na-na-na…
Parvati It's a little girl fantasy: "Will you marry me, complete m…
Paul Anka Cinderella cinderella, pretty pretty pretty cinderella It's …
Paul anka / sammy david jr. Cinderella cinderella, pretty pretty pretty cinderella It's…
Paul J. Smith and Oliver Wallace Mmm mmm mmm Mmm mmm mmm So this love Mmm mmm mmm So this…
People In General Your smile breaks me Eyes bright hair is crazy Baby i'm in…
Phillip Rushton She lives & dreams. Of a Superpower Lover. Lives & dreams. O…
Pietro Lombardi Ich hab' noch nie sowas Schönes wie dich gesehen, Bella Scha…
Play When I was just a little girl My momma used to…
Proto-J Sie macht mir Filme von Abends bis Morgens ja Instagram und…
Radja Ada sebuah kisah Tentang dara jelita Hidup slalu penuh De…
Reflected I have never seen your face and I don't…
Regina Spektor May I do the un-troduction, Cinderella-Shoe, shoe-Cinderel…
Remi Wolf I can be yellow, I can be orange by the…
Remi Young Mhm you move like Cinderella Oh my baby baby bella my…
Rickman Manrick Yeah It's your boy rickman manrick nga buli jjo Anti asitama…
Rihanna and Chris Brown [Jay-Z] (Uh huh, uh huh) Remix (Uh huh, uh huh) Yea Rihanna,…
Rihanna feat Jay-Z & Chris Brown Dice que no quiere pero lo disfruta Se come la banana…
Rihanna Ft Chris Brown & Jay Z [Jay-Z] (Uh huh, uh huh) Remix (Uh huh, uh huh) Yea Rihanna,…
Rihanna ft Jay-Z & Chris Brown Dice que no quiere pero lo disfruta Se come la banana…
Rihanna Ft. Jay Z & Chris Brown [Jay-Z] (Uh huh, uh huh) Remix (Uh huh, uh huh) Yea Rihanna,…
Rihanna ft. Jay-Z & Chris Brown Dice que no quiere pero lo disfruta Se come la banana…
RV Headie One Little bro lost a boot, Cinderella Lifestyle’s like a movie,…
S.B.S. (Spicy Bits of Scandal) Be stand at bay 完璧なStyle I got to the many look…
Sajjad Ali Hey hey Kissi aur ki dulhan na ban jaana Hey cinderella (o…
Sami Ich hass' es, ich hass' es, ich hass' es Ich hass'…
SCARLET DORN (Oh Cinderella) (Oh Cinderella) You let them print the myth …
Sean Frayne My filter's still broken Wish I had never spoken Distilled h…
Seo In-Young Saw you walk in felt your presence I hate love but…
Seori Here we go again 지겨운 fairy tale fail 웃기지 않니? 해피 엔딩 행복한…
Shakaya I'm not your little princess anymore Are you feeling this no…
Shius Cinderella, she's waiting on a fairy to come Ball gowns, wed…
Show off Freaks Es ist Nacht ich bin auf gewacht Und hab dieses Gefühl Ist…
Sinclair Bob She said her name was Cinderella From under her umbrella wit…
Snakeskin Hey my lady - Would you care For another dimension? All y…
Sonics (the) Hey Hey Hey Hey Hey everybody I'm out looking for a…
Sonya And I just fell in love with you today And all…
Soultans Silver lady in the night With a passion burning bright She w…
Stagecrew ‘Di ba pwedeng magtagal Habol ang oras Nagmamadali Parang s…
Stefan Varga It´s dark outside Not a single star shines bright There´s ju…
Stellar 나도 모를 내가 되어 있었어 그게 또 익숙해졌지 거울 속에 비친 내가…
Stephanie Stearns I'm not your little princess anymore Are you feeling this n…
Steve Moakler [Verse:] Please …
Steven Curtis Chapman She spins and she sways to whatever song plays Without a…
Stiff Dylans I saw you falling with your head in the sky I…
Surf Gang (Surf Gang, bitch) (EvilGiane) (Surf Gang, bitch) Skrrt, skr…
Sweetbox Cinderella are you really that happy? Cinderella are you rea…
Tata Young When I was just a little girl My momma used to…
Tattoo Colour นาฬิกาบอกหัวใจเต็มที เปิดใจให้จองห้องหัวใจทั้งสี่ เต้นรำอย่า…
The Cheetah Girls When I was just a little girl my mama used…
The Four Preps Gotta cute little girl and I call her Cinderella I'm so…
The Fuzztones Hey Hey Hey Hey Hey everybody I'm out looking for a…
The Glenn Miller Orchestra Stay in my arms, Cinderella, While the clock is striking…
The Knocks feat. Magic Man Come take my temperature, I think I'm burning up But I…
The Magnetics You know what I really really want and I really…
The Push Stars My father spent his days working on the outside Breaking his…
The Small Calamities Take those flowers from your hair, this is Oakland I was…
The Sonics If I could give you anything I would give you a…
The Veras É que cê já viu que não dá pra mim…
Thomas Strack Du entschuldige mal Ich sah dich an der Straße stehen Du hat…
tomoo シンデレラじゃないから ガラスの靴は落としていけないよ でも12時の坂道 人混みを縫って駅まで下ってく woo 終電な…
Tony Booth Cinderella Cinderella won't you let me take you home with…
Tony Malone Cinderella's gone and lost her shoe She didn't know just wha…
Travis Scott & Future Sip red, sing to the devil (Pluto) Sip red, sing to…
Tricker Se sembró la semilla de este amor Y contigo sé que…
Trisha Paytas Oh yeah oh yeah All you little bitches with class They sipp…
tsubakiya shijyusou 壊さないから 教えてよ あなたが見た その夢を はぐれそうで 怖いだけよ 今は離さないで 切れた糸は また結んだ ただ…
Tymee Yeah I'm ready to shout out my life Leggo Tymee 이건 날이면 날마다 오…
U-KISS Girl I want you to be my Cinderella 왜 넌 이렇게 타오르는…
U-KISS (유키스 ) Drinking and driving Thinking and writing I've been Writing …
V.A / : : SEGMENTO - www.segmento.blogspot.com (Here we go, check it out) When I was just a…
Various Artists kathal endra solle ennaku bayam illai kathal tharum valiyeh …
Verna Felton & James MacDonald Salagadoola mechicka boola bibbidi-bobbidi-boo Put 'em tog…
Vince Gill Say you're sorry You still care She came by my place again C…
vivid undress ガラスに映った ぼやけている私 曇ってく目の前を見透かせないのは 狭い部屋とヌルい温度差のせい 手を伸ばしたって触れたっ…
Voctave A dream is a wish your heart makes When you're fast…
VV Pampi Game over Kristályok voltak a szemeidben Látod, hogy mi van …
WeNS Heard I love you, you love me In nursery rhymes It don't…
Will Toa I need a young Cinderella Baby let's get together Girl I g…
Xiphea "No you will never go to the feast! Are you mad?…
Yumi Yumi ガラスに浮かんだ街の灯に 溶けてついてゆきたい ため息ついてドアが閉まる 何も云わなくていい 力を下さい 距離に負けぬよ…
Yung Naik Chica de Suecia, estilo wetcam Saco de Suiza, no, no pago…
yung ouzo Neden olduk ki aşık? (Neden olduk ki aşık?) Bir gün yanında …
СÌðÌð²¼À¼ÄÝBritney Spears I used to be your girlfriend and I know I…
イロクイ。 24時に逃げ出して『魔法が解けちゃうの』なんてさ 夢見がちで野心家で図太いんですね 噂のバカ息子が 花嫁探しをしてるんだ…
小甜甜布兰妮Britney Spears I used to be your girlfriend and I know I…
林俊傑 It doesn't impress her cos she's seen all the lies Independe…
올 댓 좋았잖아 그땐 더 보고 싶어 막차가 떠나도 좋았잖아 행복했잖아, 아무리 잠이 와도 밤새 전화도…
Steven Curtis Chapman She spins and she sways To whatever song plays Without a car…
We have lyrics for these tracks by Gioacchino Rossini:
Largo al Factotum Lalalalero, lalalala! Lalalalero, lalalala! Largo al fact…
Una Voce Poco Fa Una voce poco fa Qui nel cor mi risuonò Il mio cor…
Une voce poco fa Una voce poco fa Qui nel cor mi risuonò Il mio cor…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Louise Gogel
00:07:44 Curtain opens on ACT ONE The two sisters and Cenerentola
00:12:34 The ‘beggar man’ (tutor) asks for alms
00:19:00 The sisters wake their father
00:25:37 The tutor and prince/‘groom’ at house with Cenerentola
00:36:27 The ‘groom’ announces to the father the ‘prince’s’ arrival
00:57:26 The tutor invites Cenerentola to attend the dance
01:05:10 The two sisters at the Prince’s place
01:08:28 Don Magnifico in the wine cellars
01:13:24 The two sisters, the ‘prince’, and the ‘groom’ in the garden maze
01:18:26 Enter Cenerentola
01:28:01 The Feast
01:32:40 - ACT TWO Cenerentola with the two sisters
01:39:54 The ‘prince’, the tutor, Cenerentola and the ‘groom’
01:45:10 The prince and his entourage prepare to search for the mysterious lady
01:49:17 The valet in the garden maze with the father and two sisters
01:56:46 Cenerentola, the sisters and the father back at their house
02:00:53 The valet and prince arrive at the house.
02:17:45 The prince , valet, and Cenerentola leave the house
02:18:03 The tutor gives the sisters and father a choice
02:20:27 The sisters and father go to the Prince’s place humbled
02:22:08 The marriage and forgiveness
Thank you so much for this wonderful opera
David Barneby
This is an astounding beautiful production with all star cast . I have met Claudio Desderi and am enormously impressed with his singing and comedy acting , brilliant . To me this was a most beautiful and faultless performance , thrilling from beginning to end .
Der Steiger
Diese großartige Aufführung ist nicht zu toppen, Die Solisten ,Chor ,Orchester eine wunderbare Inzernierung.
onita sanders
Absolutely love this production. The more I see it the more I am simply amazed at the people behind the scene that brought this talent before us. In particular Jean-Pierre Ponnelle whose stunning direction is just outstanding. He wisely understood the medium, TV which just makes it live for me.
ali saniee nia moghaddam
Thanks for uploading this beautiful gem. You can not find better version of (La Cenerentola) than this one. Everything in this production just best!!!!!!!!The Cast are best for their roles and orchestra of Teatro alla Scala led by Abbado accompanies this unique cast. This performance is even better and much warmer than Abbado's 1971 featuring Alva and Berganza specially the difference in orchestras sound is quite obvious. You can not find more vivid Dandini and Don Ramiro than Desderi and Araiza!!!!! Everything at its highest quality here !
giuliano mariani
La migliore cenerentola di tutte. Irraggiungibile.👍
KASH10043
The production is fantastic and the entire cast is perfection. The moment that Dandini (Claudio Desderi) stepped on stage, I never stopped smiling after that!
Armando Alva
L´opera arricchisce l'anima alleggerisce le sofferenze e ci riporta in vita. Bellissima questa Cenerentola. Tutti bravissimi!!
Antonio Costanza
Condivido confermo anch'io con lei
Fred Sharp
Quite superb bel canto singing by the whole cast - from beginning to end. This the best La Cenerentola recorded. I have heard nothing to touch it as a total performance. Many, many thanks for uploading it.
Ferdia Riordan
Utterly charming and astonishing performances all round. Best Cenorentala by a long shot. Thanks to all.