Le siège de Corinthe (see Maometto II)
Il signor Bruschino
- Radiciotti, Giuseppe. “Il signor Bruschinoed il Tancredidi G. Rossini.” RMI
27 (1920): 231–266.
Genesis for both operas and program notes with musical examples. For Tan-
credithere is a detailed performance history, 1813–1862.
Tancredi
- Gossett, Philip. “The Tragic Finale of Tancredi.” Bollettino10 (1976): 9–172.
Text in English and Italian. The finale was introduced for the revival in Fer-
rara, 1813. Its music had disappeared but was found (in manuscript) in a pri-
vate collection. Gossett analyzes it, with extended musical examples. This
article was also published separately by the Fondazione Rossini, Pesaro, 1977.
Il turco in Italia
ASO169 (1996).
- Mila, Massimo. “Il turco in Italia,manifesto di dolce vita.” NRMI2–5 (Sep-
tember–October 1968): 857–1,071.
A protracted program note, with discussion of the production history and crit-
ical reception of the work over the years. Good footnoting identifies all the
earlier literature on the opera.
See also Radiciotti (#1592).
Il viaggio a Reims
ASO140 (1991).
- Johnson, Janet. “A Lost Rossini Opera Recovered: Il viaggio a Reims.” Bollet-
tino17 (1983): 5–112.
Text in English and Italian. A reconstruction of nine numbers of the score,
using five sources. Rossini borrowed much of the music from Le Comte Ory.
Musical examples and commentary, performance history.
Zelmira
ERO,v.12.
Jean-Jacques Rousseau (1712–1778)
The philosopher was also a musical theorist and the composer of Le devin du village
(1752), a successful intermède,which has a critical edition in FO,v.50.
- Arnheim, Amalie. “Le devin du villagevon Jean-Jacques Rousseau und die
Parodie Les amours de Bastien et Bastienne.” SIMG4 (1902–1903): 686–727.
The opera is a pastorale, in form and content. Genesis, technical analysis with
25 pages of musical examples, reception, and place in history of French music.
Rousseau was at the center of the Querelle(see #2257ff.). His views on music and art
are well explicated in:
Jean-Jacques Rousseau 303