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Emanuele Senici (Editor) - The Cambridge Companion to Rossini

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The Cambridge Companion to Rossini
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Emanuele Senici Editor
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Cambridge University Press
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2004
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This 2004 Companion is a collection of specially commissioned essays on one of the most influential opera composers in the repertoire. The volume is divided into four parts, each exploring an important element of Rossinis life, his world, and his works: biography and reception; words and music; representative operas; and performance. Within these sections accessible chapters, written by a team of specialists, examine Rossinis life and career; the reception of his music in the nineteenth century and today; the librettos and their authors; the dramaturgy of the operas; and Rossinis non-operatic works. Additional chapters centre on key individual operas chosen for their historical importance or position in the present repertoire, and include Tancredi, Il barbiere di Siviglia, Semiramide, and Guillaume Tell. The last section, Performance, focuses on the history of Rossinis operas from the viewpoint of singing and staging, as well as the influence of editorial work on contemporary performance practice.

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The Cambridge Companion to Rossini

The Cambridge Companion to Rossini is a collection of specially commissioned essays on one of the most influential opera composers in the repertoire. The volume is divided into four parts, each exploring an important element of Rossinis life, his world and his works: biography and reception; words and music; representative operas; and performance. Within these sections accessible chapters, written by a team of specialists, examine Rossinis life and career; the reception of his music in the nineteenth century and today; the librettos and their authors; the dramaturgy of the operas; and Rossinis non-operatic works. Additional chapters centre on key individual operas chosen for their historical importance or position in the present repertoire, and include Tancredi, Il barbiere di Siviglia, Semiramide and Guillaume Tell . The last section, Performance, focuses on the history of Rossinis operas from the viewpoint of singing and staging, as well as the influence of editorial work on contemporary performance practice.

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to Rossini

Edited by

Emanuele Senici

University of Oxford

CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi, Tokyo, Mexico City

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521001953

Cambridge University Press 2004

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2004

A catalogue record for this publication is available from the British Library

Library of Congress Cataloguing in Publication Data

The Cambridge companion to Rossini / edited by Emanuele Senici.

p. cm. (Cambridge companions to music)

Includes bibliographical references and index.

Contents: Biography and reception Words and music Representative operas Performance.

ISBN 0 521 80736 0 (hardback) ISBN 0 521 00195 1 (paperback)

1. Rossini, Gioacchino, 17921868 Criticism and interpretation. I. Senici, Emanuele. II. Series.

ML410.R8C17 2003

782.1092 dc21

[B] 2003048560

ISBN 978-0-521-80736-4 Hardback

ISBN 978-0-521-00195-3 Paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Information regarding prices, travel timetables, and other factual information given in this work is correct at the time of first printing but Cambridge University Press does not guarantee the accuracy of such information thereafter.

Contents

Emanuele Senici

Richard Osborne

Benjamin Walton

Charles S. Brauner

Paolo Fabbri

Philip Gossett

Marco Beghelli

Damien Colas

Richard Osborne

Heather Hadlock

Janet Johnson

Cormac Newark

Leonella Grasso Caprioli

Mercedes Viale Ferrero

Patricia B. Brauner

Illustrations

Between pp. 215 and 216

Contributors

Marco Beghelli is Professor of Music History at the Conservatorio Rossini, Pesaro. He has collaborated with the Deutsche Rossini Gesellschaft and the Fondazione Rossini, editing Lequivoco stravagante (with Stefano Piana) and the cantata Omaggio umiliato a Sua Maest . He is also co-editor of Tutti i libretti di Rossini (Milan, ).

Charles S. Brauner is Professor of Music History and Chair of the Department of Theory, History and Composition of Roosevelt University. He is co-editor of Rossinis Armida (Pesaro, 1997) and author/editor of Armida , volume VI of the series I libretti di Rossini (Pesaro, 2000), and has published articles on nineteenth-century opera and Lieder and on Monteverdi.

Patricia B. Brauner is Coordinator of the Center for Italian Opera Studies at the University of Chicago and a member of the Editorial Committee of the Fondazione Rossini. Among her articles on Rossini is La primaria importanza delle fonti secondarie in Gioachino Rossini, 17921992. Il testo e la scena (Pesaro, ). She is editor of the critical edition of the cantatas La riconoscenza / Il vero omaggio , and co-editor of Ermione and Armida .

Damien Colas is chercheur at the Centre National de la Recherche Scientifique, attached to the Institut de Recherches sur le Patrimoine Musical en France, Paris. His research interests focus on exchanges between France and Italy in the realm of opera, specifically the evolution of melodic writing and of the opera orchestra in the nineteenth century, and the transformation of the aesthetics of Classicism from the seventeenth to the nineteenth century.

Paolo Fabbri is Professor of Music History at the University of Ferrara, director of the Fondazione Donizetti, Bergamo, and president of the edizione nazionale of Donizettis operas. He has been a member of the editorial committee of the Rossini critical edition and deputy director of the Fondazione Rossini, and has published several books and articles on Italian madrigal and opera. He is the author of Rossini nelle raccolte Piancastelli di Forl (Lucca, ), Rossinis Sinfonie giovanili (Pesaro, 1998) and the volume on Litaliana in Algeri in the series I libretti di Rossini (Pesaro, 1997, with Maria Chiara Bertieri).

Philip Gossett is the Robert W. Reneker Distinguished Service Professor at the University of Chicago and the general editor of both the Edizione critica delle opere di Gioachino Rossini and The Works of Giuseppe Verdi . His reconstruction (with Ilaria Narici) of Gustavo III , the original version of Verdis Un ballo in maschera , was performed for the first time in Gothenburg, Sweden, in September 2002.

Leonella Grasso Caprioli is Research Fellow in the Department of Music and Art History, University of Padua. Her research interests are in musical lexicography and the history of Italian singing. The historical dictionary CANTO. Lessico italiano del canto , edited by her under the general editorship of Sergio Durante, is forthcoming on cd-rom from Olms Verlag.

Heather Hadlock is Assistant Professor of Music at Stanford University. She is the author of Mad Loves: Women and Music in Offenbachs Les Contes dHoffmann (Princeton, 2000) and is currently at work on a book on female cross-dressing in nineteenth-century opera. She is reviews editor of the Cambridge Opera Journal .

Janet Johnson is Associate Professor of Music at the University of Southern California. Her three-volume reconstruction of Rossinis Il viaggio a Reims appeared in 2000 as part of the Edizione critica delle opere di Gioachino Rossini . Her work on Rossini, Donizetti and the Parisian Thtre Italien has appeared in numerous European books and journals, and she is a contributor to both The Cambridge Companion to Berlioz (The Musical Environment in France) and the revised New Grove Dictionary of Music and Musicians (Stendhal).

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