Operas in General
- Gossett, Philip. “The Operas of Rossini: Problems of Textual Criticism in
Nineteenth-Century Opera.” Ph.D. diss., Princeton U., 1970. 2v. - Gossett, Philip. “Gioachino Rossini and the Conventions of Composition.”
AM42 (1970): 48–58. Reprint, GL,v.8.
Evidence indicates Rossini had very little time between receipt of the libretto
and the premiere (one month for Cenerentola), and no sketches survive from
his Italian period (1818–1822), with only two fragments from Paris. Gossett
concludes that Rossini wrote the final full score directly, probably beginning
with main lines, voices, and bass. One reason he could write so quickly was
that he used the same patterns (conventions), whatever the libretto was about. - Gossett, Philip. “Le sinfonie di Rossini.” Bollettino13 (1979) 7–123.
Text in Italian and English. It is a detailed study of the overtures, with tabular
comparisons of characteristics and 77 examples. The archetypal Rossini over-
ture is defined by melodic, harmonic, and instrumental elements. Essentially it
consists of a slow section, a quick main exposition section, a short modula-
tion, and recapitulation. Both the exposition and recapitulation conclude in
crescendos and cadences. The form changed in terms of structural and dra-
matic features over the composer’s career. Abridged as “The Overtures of
Rossini,” 19thCM3-1 (July 1979): 3–31. - Celletti, Rodolfo. “Origini e sviluppi della coloratura rossiniana.” NRMI 5
(1968): 872–919.
Explains and illustrates the development of all technical devices for the differ-
ent voice types. The composer gradually wrote more of the ornamentation that
singers had been improvising. The so-called reform of florid singing has not
been supported by the practice of singers: “I cantanti hanno gaiamente contin-
uato a interpolare.” The study was also published in Analecta musicologica
(see #2473). - Lippmann, Friedrich. “Per un esegesi dello stile rossiniano.” NRMI2 (1968):
813–856.
A perceptive account of unique elements—especially melodic typology—in
Rossini’s style, with musical examples and good footnote references to earlier
analysis. - Balthazar, Scott. “Rossini and the Development of Mid-Century Lyric Form.”
JAMS41 (1988): 102–125.
Although Bellini has been generally credited with devising the typical aria form
of the mid 19th century, Rossini played a substantial role Indeed, his first
examples preceded Bellini’s by about 10 years. This so-called lyric form is A A'
B A (or C). Each phrase of music sets two lines of text, and full text lines are
not repeated until the coda.
See also #511.
300 Opera