Basilotta gioachino rossini biography
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Later years
His first wife died in 1845, and political disturbances in the Romagna area compelled him to leave Bologna in 1847, the year of his second marriage with Olympe Pélissier, who had sat for Horace Vernet for his picture of Judith and Holofernes. Rossini had been a well-known gourmand and an excellent amateur chef his entire life, but he indulged these two passions fully once he retired from composing, and today there are a number of dishes with the appendage "alla Rossini" to their names that were either created by him or specifically for him.
The fiasco of the opening night is turned into a clamorous success at subsequent performances. But it was his many opere serie that proved to be more influential and historically significant. After living for a time in Florence, he settled in Paris in 1855, where his house was a centre of artistic society. After his studies, he worked in local theatres, composing additional arias for other people’s operas.
At Bologna he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart. Rossini was plagued by illness and marital troubles. He invested it with more emotional warmth than much of his operatic music, and it integrates Baroque solemnity with sublime, uplifting melodies. During the dress rehearsal of the latter (8 November) he gets into an altercation with the choristers, whom he threatens with his stick, and is led off to prison.
1812
During the course of this year five operas see the light of day (six, if we include Demetrio e Polibio, performed in Rome at the Teatro Valle on the 18th May): three one-act comic operas given at the Teatro San Moisè, Venice, L’inganno felice (8th January), La scala di seta (9th May) and L’occasione fa il ladro (24th November).
His payment was to be 200 ducats per month.
In 1887, his remains were moved to the Basilica di Santa Croce di Firenze, in Florence, at the request of the Italian government.
Honors and tributes
Rossini was a foreign associate of the institute, grand officer of the Legion of Honour and recipient of innumerable orders.
Immediately after Rossini's death, Giuseppe Verdi proposed to collaborate with twelve other Italian composers on a "Requiem for Rossini," to be performed on the first anniversary of his death, conducted by Angelo Mariani.
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In 1887 his remains were moved to the church of Santa Croce in Florence, where they now rest. Important from this period are six sonate a quattro, or string sonatas, composed in three days, unusually scored for two violins, cello and double bass. His father, who comes from Lugo di Romagna, has been in Pesaro since the end of 1788, but he does not establish himself there permanently until 1790, following a brief residence in Ferrara.
His mother had died in 1827, and he was anxious to be with his father. He was 76 years old. Often transcribed for string orchestra, these sonatas reveal the young composer's affinity for Haydn and Mozart, already showing signs of operatic tendencies, punctuated by frequent rhythmic changes and dominated by clear, songlike melodies.
In 1805 he appeared at the theatre of the Commune in Ferdinando Paer's Camilla, his only public appearance as a singer.
In Rossini's time the tragic close was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello.
Conditions of stage production in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element should be omitted.
Eventually, in 1812, he got a break with the sixth of his own operas. He returned to Italy in 1836 with his nurse, Olympe Pélissier, and they were married ten years later, after the death of Rossini’s first wife Isabella. The boy had three years of instruction in the playing of the harpsichord from Giuseppe Prinetti, originally from Novara, who played the scale with two fingers only; Prinetti also owned a business selling beer and had a propensity to fall asleep while standing.
Traces of Ferdinando Paer and Giovanni Paisiello were undeniably present in fragments of the music.