Rinaldo di Capua (ca. 1705–ca. 1780)
- Gallico, Claudio. “Rinaldo da Capua, ‘Zingara’ o ‘Bohémienne.’” In Muraro
(#2576), v.1, 425–436.
Discusses various versions of La zingara(1753), which grew from two inter-
mezzi of 1751. Sorts out three scores with the name La bohémienneand gives
tabular comparisons of them with La zingara.[Rinaldo di Capua is the form
of the composer’s name given in most sources. It is also seen as Rinaldo da
Capua.]
Luigi Rossi (1597–1653)
- Ghislanzoni, Alberto. Luigi Rossi.Milan: Bocca, 1954. 321p. ML410 .R832
G42.
A scholarly life story, with footnotes and documents. Useful thematic cata-
logue of 388 works, including individual arias. Some musical examples but lit-
tle actual discussion of the music. No bibliography or index.
See also Murata (#446) for a discussion of the opera Il palazzo incantato.
Michelangelo Rossi (ca. 1600–1656)
See Murata (#446) for a discussion of the opera Erminia sul Giordano.
Gioachino Antonio Rossini (1792–1868)
The name is also spelled Gioacchino. The considerable literature on Rossini lacks a
bibliographic guide. One of the Garland Composer Resource Manuals, by Denise
Gallo, is in preparation. Some of the entries below were derived from her draft mater-
ial.
Editions
- Rossini, Gioachino. Edizione critica delle opere di Gioachino Rossini. Ed.
Fondazione Rossini, Pesaro. Milan: Ricordi, 1979–. M3 .R67.
In progress. Sezione 1: Opere teatraliis projected for 42 volumes. For each
opera there is a score and critical commentary by the editor, consisting of an
inventory of sources and a measure-by-measure description with musical
examples. Without extensive notes, bibliography, or index. Full contents are in
the Bollettino37 (1997).
Conferences
1570.Gioachino Rossini, 1792–1992: Il testo e la scena. Convegno Internazionale di
Studi, Pesaro, 25–28 giugno 1992. Ed. Paolo Fabbri. Pesaro: Fondazione
Rossini, 1994. xvi, 701p. No ISBN. ML410 .R8 G57.
Consists of 31 papers from the conference. They deal with Rossini’s epoch, the
contemporary stage, text and libretto, and Rossini in Paris. These are of partic-
ular interest: Charles S. Brauner, “‘No, no, Ninetta’: Observations on Rossini
and the Eighteenth-Century Vocabulary of opera buffa”; Marco Beghelli, “La
retorica del melodramma: Rossini, Chiave di volta”; Sieghart Döhring,
“Rossini nel giudizio del mondo tedesco”; Emilio Sala, “All ricerca della Pie298 Opera