Skip to main content

Gioachino Rossini – Life Milestones

Exterior view of La Scala opera house in Milan
Exterior of La Scala in Milan, where several of Rossini’s operas were performed.

Gioachino Rossini emerged as one of the most dazzling figures of early 19th-century opera. Gifted with extraordinary melodic fluency and theatrical instinct, he conquered Italy’s major stages before the age of forty. Yet at the height of his fame, he made the unexpected decision to withdraw from operatic composition. His career unfolds as a story of meteoric success, artistic wit, and a late creative retreat that remains one of music history’s most intriguing turns.

1792

Born on February 29 in Pesaro, Italy, into a family of musicians — an environment that shaped his early artistic development.

1804

Composes the Six String Sonatas, a youthful work already revealing his melodic gift.

1806

Enrolls at the Bologna Music School and writes his first opera, Demetrio e Polibio, marking the beginning of his theatrical path.

1810

Produces successful comic operas such as The Marriage Contract and The Strange Misunderstanding, establishing his reputation in Italy.

1813

The premiere of Tancredi at La Fenice in Venice brings his first major serious triumph and international recognition.

1815

Moves to Naples, begins composing The Barber of Seville, and meets the soprano Isabella Colbran, who would become central to both his artistic and personal life.

1822

Marries Isabella Colbran and leaves Italy for Paris and England, expanding his fame across Europe.

1824

Settles permanently in Paris, assuming important musical responsibilities within French operatic life.

1829

Completes William Tell and unexpectedly decides to stop writing operas, despite being at the height of his creative powers.

1837

Begins living with Olympe Pélissier while struggling with serious health problems.

1846

Marries Olympe Pélissier, who remains his companion for the rest of his life.

1857

Starts composing the Péchés de vieillesse (“Sins of Old Age”), intimate and often humorous works reflecting his later years.

1868

Dies on November 13 in Paris and is buried at Père Lachaise Cemetery, leaving a legacy that reshaped Italian opera.

_____________________________________________

  • Rossini frequently reused musical material from earlier works — a common practice of his time. When a collected edition of his music appeared, he reportedly felt uneasy at how easily listeners could trace recurring ideas.
  • The famous aria Di tanti palpiti from Tancredi was nicknamed the “Rice Aria,” as legend claimed he composed it in the time it takes to cook rice.
_____________________________________________


Comments

Popular posts from this blog

Robert Schumann - Träumerei (from Kinderszenen, Op. 15 No. 7)

The Woodman’s Child by Arthur Hughes reflects the dreamy and introspective atmosphere of Schumann’s Träumerei from Scenes from Childhood . For Robert Schumann , music was almost always a deeply personal expression of introspection, emotion, and poetic reflection—qualities that firmly establish him as one of the most significant composers of the Romantic era. The piano was Schumann’s first great love, and his works for the instrument have proved remarkably enduring over time. Schumann composed Kinderszenen ( Scenes from Childhood ), his best-known piano cycle, in 1838. It consists of thirteen “peculiarly small pieces,” as the composer himself described them, each bearing a title that evokes a distinct childhood impression or memory. Although all thirteen pieces share a sense of intimacy and charm, “Träumerei” ( Dreaming ) stands out as the most beloved and universally recognized. The piece is frequently included in solo piano anthologies and is often chosen by virtuoso perform...

Johann Strauss II - Tritsch-Tratsch-Polka, Op. 214 in A major

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

Carl Maria von Weber - Clarinet Concerto No.2 in E-flat major, Op.74

The graceful and lyrical atmosphere of the countryside, so vividly evoked in many orchestral works by Carl Maria von Weber , reflects the composer’s poetic sensitivity throughout his short life.   Just as Wolfgang Amadeus Mozart and Johannes Brahms wrote landmark works for the clarinet inspired by exceptional performers, Carl Maria von Weber found his own muse in the artistry of Heinrich Joseph Baermann , principal clarinetist of the Munich Court Orchestra. In 1811, Maximilian I of Bavaria commissioned Weber to compose two clarinet concertos specifically for Baermann, who would premiere them in Munich. Following the first performances, Weber recorded in his diary the “tumultuous applause” provoked by Baermann’s divine playing—testimony to the immediate impact of both the music and its interpreter. The Clarinet Concerto No. 2 adheres broadly to the Classical concerto form, though Weber introduces distinctive Romantic traits. Notably, the work contains no extended written cad...