- Berlioz, Hector. “Guillaume Tell.” Gazette musicale de Paris1 (1834): 326–
327+.
The perceptive observations of Rossini’s fellow composer are translated in
Strunk. - Bartlet, M. Elizabeth, ed. “Guillaume Tell” di Gioacchino Rossini: Fonti icono-
grafiche.In collaboration with Mauro Bucarelli. Pesaro: Fondazione Rossini, - xxvi, 200p.
Not seen.
L’italiana in Algeri
ASO157 (1994).
Maometto II (Le siège de Corinthe)
The French name was for the Paris revision. ASO81 (1985); ERO,v.11.
Mosé in Egitto (Moïse et Pharaon)
The French name was for the Paris revision. Both versions are in ERO,v.9 and v.15.
- Conati, Marcello. “Between Past and Future: The Dramatic World of Rossini
in Mosé in Egittoand Moïse et Pharaon.” 19thCM4 (1980): 32–47.
The two works are seen as independent of each other. The Italian version
(1818) is more coherent and balanced than the French (1827) and not at all
inferior. But Moïseformed a transition between 18th-century opera seriaand
19th-century melodramma;it was a milestone in Rossini’s career.
Otello
ERO,v.8.
- Klein, John W. “Verdi’s Otelloand Rossini’s.” M&L45 (1964): 130–145.
All praise for Verdi and negation for Rossini. Mostly about characterization,
but Klein also accuses Rossini and his librettist (Francesco Beria di Salsa) of
ignoring Shakespeare. However, Klein seems not to realize that Shakespeare
was not their direct source: they used French and Italian adaptations, which
varied considerably from the original. See next item. - Questa, Cesare, and Renato Raffaelli. “I due finali di Otello.” In Gioachino
Rossini(#1570), 182–203.
Not seen; information from Gallo (see note at head of this Rossini section).
Explains that the libretto was drawn from Shakespearean adaptations by Jean-
François Ducis and Giovanni Carlo Cosenza. Both had light endings, which
Rossini followed for the 1820 revival in Rome.
Ricciardo e Zoriade
ERO,v.10.
Semiramide
ASO184 (1998); ERO,v.13.
302 Opera