Gioachino Rossini (1792-1868)
.JPG "Gioachino Rossini oil by Tito Marzocchi de Bellucci (1801-1871), B-Bc FEM-920")
If there is one composer who has still been incompletely and incorrectly represented to the public, it is Gioachino Rossini (1792-1868). This image is of a lazy composer who wrote a few pleasant, light operas but who is more associated with the Tournedos Rossini.
The musicological world knows better now and recognizes the great innovations that Rossini made in opera seria. He replaced out-dated 18th century practices with new, early-romantic conventions. His innovations earned a following and continued until the middle of the 19th century.
The library preserves an extensive collection of written and printed opera scores by Rossini. The Rossiniana collection, which was brought to the Conservatory by Edmond Michotte at the end of the 19th century, has already been thoroughly researched and described. You can read about the results on the Il Museo Rossini-page.
In her letter of 29 September 1834, the French soprano Louise Séraphine Saintville-Gay took a clear stance. She clearly chose Italian opera above French. Even though it was a French production, she wanted to be heard and seen in Rossini’s Otello in the roll of Desdemona.
Sir,
When you were so kind to receive me this morning, seeing that you had company, I did not want to interrupt you for too long by entering in the details of the audition that you would like to grant me.
It is indispensible, Sir, before you make any proposals to me, that you know that of which I am capable of doing on stage. Now in the modern repertoire of the French grand operas, there is nothing which would really be my type, that is to say wherein I would be able to show myself not only as a singer but as an actress, as would scenes from "Anna Bolena," "Desdemona," "Fidelio," "Semiramis". That is why many people in Paris, who have witnessed my successes in this genre on the best stages in Italy, have advised me to ask you to hear me in some Italian scene, and I see nothing simpler than the third act of "Otello", since there are only two characters on stage, and Mr. Nourrit, to whom I have already spoken, was kind enough to promise me to take the second part; then, Sir, if you would like to hear me sing something in French, I would ask nothing better than to sing the next day with piano several pieces by French composers.
It is the total absence of "mezzo soprano" singers, that is to say of voices that extend to low register, like those of Madame Pasta and Madame Malibran, which makes me point out to you that the opera has need of a woman of my type which I do not hesitate to say will soon become the most important in grand opera.
After these explanations that I felt necessary to give you, please let me know, Sir, if you would like to hear me Thursday in the third act of Otello, in Italian, so that I can prepare myself for it, with the understanding that I will sing for you in French afterwards.
I am, Sir, your most obedient
Ser. Saintville-Gay
24 Rue du faub. Montmartre [Paris]
29-7bre [18]34
The Italian alto Marietta Alboni (1826-1894) puts it more strongly in her letter to Neri Baraldi (1828-1902). “In the past there was still singing, nowadays people are declaring to accompany the orchestra. I prefer the music of the past, especially that of my unforgettable Maestro Rossini.”
.jpg "Letter from Marietta Albona to Neri Baraldi, B-Bc P-2-01500-(021)")
Alboni's adoration for the composer is also evident from this bronze relief medallion of Rossini in profile with laurel wreath. Inscribed on the base: "Souvenir de centenaire de Rossini, offert par M. Z. Alboni, 1892". The medallion was designed by H. Chevalier and made by the bronze foundry of Thiebaut Frères in Paris.
