ECU Libraries Catalog

Life of Rossini / by Stendhal ; translated and annotated by Richard N. Coe.

Author/creator Stendhal, 1783-1842
Format Book and Print
EditionNew and revised edition.
Publication InfoSeattle : University of Washington Press, 1972, ©1970.
Descriptionxxiii, 566 pages : facsimiles ; 21 cm.
Subject(s)
Uniform titleVie de Rossini. English
Series Washington paperbacks ; WP-61
Contents Cimarosa -- Of certain differences between German and Italian music. Anecdote concerning Torquato Tasso, in 1816 ; Imagination paralysed by memory ; Physical environment essential to the enjoyment of music: size of theatres; desirable situation of the body; adequate ventilation ; Bright light fatal to the effect of music -- History of the interregnum between the departure of Cimarosa and the coming of Rossini. General survey of the works and genius of Mayer ; The duets from Ariodante and from La Rosa Bianca, Mayer's masterpieces ; Paer and his principal compositions -- Mozart in Italy. A certain nobleman makes a wager concerning Mozart and introduces him to Italy ; Brief comment on Mozart's style ; Stylistic differences between Mozart, Cimarosa and Rossini -- Mozart's style -- Early years. Civilization born on the shores of the Mediterranean ; Condition of the peoples of that region in our present time ; Love and pleasure preferred to war ; Misfortunes of Italy in consequence of this preference ; France and England compared in relation to the arts ; Musical tendencies of Rossini's parents -- Tancredi, Rossini's first opera seria. The opening chorus of Tancredi pastoral rather than martial in conception ; La Malanotte turns down an aria that Rossini had composed for Tancred's entry ; He therefore substitutes the aria: di tanti palpiti ; The role of harmony in music compared with the role of description in Walter Scott's novels ; Martial duet: Ah! Se de' mali miei -- L'Italiana in Alegri. How to treat the libretto of an opera at the first performance ; Characteristic features of the music of l'Italiana ; Curious generosity evinced by the audience of the Theatre Louvois -- La Pietra del Paragone. The famous aria: Eco pietosa suppressed in Paris by persons who hoped to keep Rossini's genius concealed from French dilettanti ; La Pietra del Paragone concludes with a grand aria for the prima donna, like l'Italiana and la Cenerentola -- Conscription and envy. M. Berton and le Miroir ; Rossini guilty of "syntactical errors" and accused of stylistic impurity; unpardonable vices, according to M. Berton -- The impresario and his theatre. Rossini's retort to a certain pedantic Monsignore ; Remarks on a comedy by Sografi concerning the vanity of the average opera-singer ; La prima sera (first performance) -- Of the wars between harmony and melody. The sweet succulence of a peach is finally not preferred to the harshness of more adult tastes ; Chronological list of the major representatives of the Italian school -- Of the invasion by the blunt-minded, and of the ideology of music. Careless scoring by Rossini indicated by a + ; The composer who complicates his accompaniments restricts the freedom of the singer ; Rossini's accompaniments are dangerous, not so much for their quality as for their quantity ; The orchestra of the Theatre Louvois ; The indication piano considered as a sign of weakness -- Aureliano in Palmira. A superb duet: se tu m'ami, o mia regina ; Demetrio E Polibio, Rossini's first opera (spring, 1809) ; Opening of the new theatre at Como -- Il Turco in Italia -- Rossini in Naples. Rossini signs a scrittura with Signor Barbaja ; Concerning a certain Neapolitan prima donna and the influence of her voice upon Rossini's subsequent work -- Elisabetta, Regina D'Inghilterra -- Elisabetta, Regina D'Inghilterra (continued). An Italian Ode to the Death of Napoleon, to be compared with Lord Byron's ode on the same topic, and with Lamartine's Meditations ; Rossini's style criticized by the older generation of Neapolitan dilettanti, who had been contemporaries of Cimarosa and Paesiello -- The ten operas of Rossini's "Neapolitan" period -- Torvaldo e Dorliska -- Il Barbiere di Siviglia. Cimarosa made no use of discords in il Matrimonio segreto, in spite of the popularity which Mozart's major operas had already won ; Rossini's adventures in Rome -- Of the public in general, considered in relation to art. Solitude in church-singing ; Origins of "taste" in operatic music ; Of the provinces, considered in relation to art -- Otello. Analysis of jealousy as a valid source of dramatic emotion ; Curious observation by the abbe Girard (1746), concerning married women, who are permitted to be flirtations, but forbidden to be passionate ; The librettist of Otello fails to develop the dramatic situations which are inherent in so noble a theme ; Mr Kean, the greatest tragic actor of our age ; His fame not universal, because no major popular author, such as Madame de Stael, has yet sung his praises as he deserves -- Otello (continued). Which is the finest number in this opera? ; The music set to the line: Impia, ti maledico, is better suited to some different words, such as: Out of my sight! I do no longer love thee! ; The Willow song ; Dramatic representation of the death of Desdemona in certain Italian theatres ; Story of the death of Stradella -- La Cenerentola. Music incapable of portraying rapid dialogue ; Melody incapable of half-finished sketches ; Delightful duet between the Prince and his valet ; Paccini ; Laughter banished from the soil of France ; The "national ideal" in music, and its relation to climatic conditions ; Three oepras by Rossini which include a "grand aria" for the prima donna -- Velluti. Comparison between Velluti and M. Martin -- La Gazza Ladra. Immense popularity of this opera ; Overture ; Musical analysis -- La gazza Ladra (continued). The orchestra of the Theatre Louvois ; The majority of Rossini's tempi radically altered by the conductor of this orchestra -- The quality of admiration in France, or an essay concerning Grand opera. Political and moral transformation of the state of France between 1765 and 1823 ; Napoleon Bonaparte, the complete master of truth ; Epigram by Tortoni -- Of the two enthusiasts -- Mose in egitto. Musical analysis ; Overwhelming effect of the prayer: Dal tuo stellate sogli ; Comparison of Rossini with Goethe -- Concerning the revolution which Rossini has brought about in the Art of Singing. Napoleon compared with Sulla ; Anecdote concerning Canova and the Savage -- Some general considerations: the history of Rossini's development, examined in relation to Developments in the Art of Singing -- Revolution. Rossini's system ; Rossini as an accomplished singer ; Rossini's "second manner" -- Of a certain talent which will be out of date by 1840 -- Is Rossini more inclined to repeat himself than other composers? Some technical details ; Aesthetic failings of the Louvois audiences ; Their failure to develop sound standards of musical taste -- Some details concerning the Revolution inaugurated by Rossini. Paganini, the greatest of Italian violinists -- Excuses. Originality in the performer obliterated by Rossini -- Concerning the various qualities of the human voice -- Madame Pasta. Anecdote which reveals the spiritual qualities of this remarkable artist ; Letter written by Napoleon, depicting the true greatness of passionate love -- La Donna del Lago. Rossini's wild sense of humour -- Concerning eight minor operas by Rossini. Adelaide di Borgogna ; Armida ; Ricciardo e Zoraide ; Ermione ; Maometto secondo ; Matilde di Shabran ; Zelmira ; Semiramide -- Bianca e Faliero -- Odoardo e Cristina. Project to draw up a list of all passages in Rossini's operas which are genuinely distinctive in character, and of all passages based upon an identical musical idea, indicating the number (duet, trio, etc.) in which this idea appears to best advantage -- Concerning Rossini's style -- Concerning Rossini's attitude towards certain composers among his contemporaries; and concerning his personal character -- Anecdotes -- Chronological table of the works of Gioacchino Rossini, born in Pesaro on the 29th of February, 1792 -- The utopia of the Theatre Italien in Paris. Approximate balance-sheet of this institution ; Budget of the Italian opera house in London ; Project for converting the Opera Bouffe to a system of lessee-management, under the aegis of a watch-committee ; Some notes on the subject provided by an ex-administrator ; Comparison between the achievements of Italian and French décor-artists ; Comparison between their respective fees ; Details of working of the administrative committees of the opera houses in Turin, Florence, London and Milan ; Project for the introduction of bel canto into the curriculum of the Conservatoire ; Pellegrini or Zuchelli to be nominated Professor; four wealthy peers of the realm to form a board of directors ; Proposal to include two performances per month of Italian opera in the repertoire of the Grand Opera ; Project to offer Rossini a two-year contract in Paris ; List of other artist who should be offered contracts -- Of the material circumstances which affect the life of the theatre in Italy. Notification concerning the availability of a magnificent site for an opera house in Paris, to be built on similar lines to that which already exists in Moscow ; Concerning the cartello theatres and their classification ; Project for legislation obliging the French National Theatres to put on new and original plays at stated intervals ; Décor -- Concerning the San-Carlo Theatre, and the present moral climate of Naples, the home of music -- Of the peoples of Northern Europe, considered as musicians. Germans ; English ; Scots -- An apology for those faults which my friends are apt to call my extravagances, my enthusiasms, my contradictions, my non-sequiturs, my etc. -- Appendix I. Some notes concerning the life and works of Mozart.
Abstract Rossini's success in Italy in the early 1820s was certainly not echoed in France, where he was regarded as "an ill-bred parvenu, whose cheap popularity was an insult to a great musical tradition." The author was the first of his contemporaries to recognize the genius of this important Italian composer. Besides being a fascinating and penetrating account of the Italian composer's most creative years, and of contemporary musical events and opinions, this work is one of the finest items in the Stendhalian literary canon. Details of Rossini's early life are followed by penetrating discussions of the operas, libretti, personalities of the period and Rossini's own character.
General noteTranslation of Vie de Rossini.
Bibliography noteIncludes bibliographical references (pages 482-485) and index.
LCCN 72184157
ISBN0295951893

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Music Closed Stacks - Ask at Circulation Desk ML410.R8 B513 1972 ✔ Available Place Hold