It was composer Gioachino Rossini who dubbed Dugléré Le Mozart de la cuisine (The Mozart of the Kitchen).
He began composing in 1822 and in 1825, attended a local performance of Gioachino Rossini's The Barber of Seville (its first in Argentina).
The annual Rossini in Wildbad opera festival, held in July, brings an international audience to the Kurhaus and the Kurtheater to hear belcanto works by Gioachino Rossini and his contemporaries.
So far, the choir performed Gabriel Fauré's Requiem, Gioachino Rossini’s Petite Messe Solennelle, and highlights from classical choral works (including George Frideric Handel, Wolfgang Amadeus Mozart, Giovanni Battista Pergolesi, Andrew Lloyd Webber and others)in addition to Gregorian chants at the historical location of the Citadel.
Sherman's tune is derived from a violin melody from the final section of the overture to the Gioachino Rossini opera Semiramide.
His translations of “The Nun of Monza” by Gioachino Rossini and “The Betrothed” by Alessandro Manzoni were major contributions to the introduction of modern Italian literature to Germany.
The name of the chain was widely used by Italian chainmakers inspired by the operas The Barber of Seville (by Gioachino Rossini) and The Marriage of Figaro (by Wolfgang Amadeus Mozart).
"La danza" (1835) is a patter song by Gioachino Rossini, in Tarantella napoletana time, the eighth song of the collection Les soirées musicales (1830–1835).
La regata veneziana (The Venetian Regatta) is the title of two different compositions by Gioachino Rossini.
About this brass drum in particular is known that the carilloneurs in the past have notated lots of opera melodies with names like Rossini etc.
The prize was funded by a provision in composer Gioachino Rossini's will which took effect in 1878 after the death of his widow.
Extensive sections of the marketplace scene in Act I are danced to various passages from Rossini's opera comique Le Comte Ory (1828), whilst the round dance in the same scene is taken from Paulli's music for Bournonville's ballet, The White Rose.
# "William Tell Overture" (Gioachino Rossini, arranged by Glen Campbell & Dennis McCarthy) - 2:44
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Adelaide di Borgogna, ossia Ottone, re d'Italia (Adelaide of Burgundy, or Otto, King of Italy) is a two-act opera composed by Gioachino Rossini (with contributions by Michele Carafa) to a libretto by Giovanni Schmidt.
In March 1864, at the age of eighteen, he conducted from the harmonium the private premiere of Gioachino Rossini's Petite messe solennelle.
He graduated from the Pontifical Institute of Sacred Music in Rome, from the Music Conservatories of Naples, and from the Rossini Music Conservatory in Pesaro.
By age 17, he had received his diploma from the Rossini Conservatory in Pesaro.
It was after winning the prize and when he became associated with Gioachino Rossini that it is believed he introduced the composer to the romantic poem by Walter Scott, The Lady of the Lake, which became the basis of the romantic opera, La donna del lago.
He joined John Ebers's company at the King's Theatre, Haymarket and in 1823 sang in the first London performances of Gioachino Rossini's operas Ricciardo e Zoraide, La donna del lago and Matilde di Shabran.
Gioachino Rossini's opera La Cenerentola makes this economic basis explicit: Don Magnifico wishes to make his own daughters' dowry larger, to attract a grander match, which is impossible if he must provide a third dowry.
Elisabetta, regina d'Inghilterra, (Elizabeth, Queen of England) is a dramma per musica or opera in two acts by Gioachino Rossini to a libretto by Giovanni Schmidt, from the play Il paggio di Leicester (Leicester's Page) by Carlo Federici, which itself "was derived from a novel The Recess (1785) by Sophia Lee."
After completing his studies with Nadia Boulanger in Paris and Vera Schwarz in Salzburg, Van Kesteren was invited in 1954 to Berlin's Komische Oper to sing Nurreddin in Cornelius's The Barber of Baghdad under the direction of Walter Felsenstein and to sing the title role in the first performance in Germany of Rossini's Le comte Ory under the direction of Carl Ebert at the Stadtische Oper in 1956.
Lombardi studied composition initially with Armando Renzi and Roberto Lupi, later enrolling at the Pesaro Conservatory where he studied with Boris Porena, receiving his diploma in 1970.
Marche Henri IV was a common leitmotif for French royalty in several 19th century works, such as in Gioachino Rossini's opera Il viaggio a Reims (in the finale, when Charles X is crowned) and in the final march in Pyotr Ilyich Tchaikovsky's ballet The Sleeping Beauty.
Matilde di Shabran (full title: Matilde di Shabran, ossia Bellezza e cuor di ferro; English: Matilde of Shabran, or Beauty and Heart of Iron), is a melodramma giocoso in two acts by Gioachino Rossini to a libretto by Jacopo Ferretti after François-Benoît Hoffman’s libretto for Méhul’s Euphrosine (1790, Paris) and J. M. Boutet de Monvel's play Mathilde.
Selections from his recorded output, consisting mainly of operatic arias and duets by Meyerbeer, Halévy, Verdi, Puccini, Wagner, Gounod, Thomas, Boito, Rossini, and Weber, have been issued by Preiser Records (Lebendige Vergangenheit) on two separate CDs (numbers 89042 and 89507).
In 2011, a second grand piano was added and this allowed the inclusion of works for four and eight hands - in the latter case a transcription of Gioachino Rossini's William Tell Overture.
The cartoon, in a plotline reminiscent of Stage Door Cartoon, features Bugs Bunny being chased by Elmer Fudd into the stage door of the Hollywood Bowl, whereupon Bugs tricks Elmer into going onstage, and participating in a break-neck operatic production of their chase punctuated with gags and accompanied by musical arrangements by Carl Stalling, focusing on Rossini's overture to The Barber of Seville.
:— First concert of sacred music: sings selection from Stabat Mater of Rossini, as contralto.
With an invisible little girl as his assistant, Gioachino Rossini overcomes the disastrous opening night of The Barber of Seville to give the world one of its most beloved operas.
"Sombre forêt" (Dark Forest) is a soprano aria from Act 2 of the opera William Tell by Gioachino Rossini, to a French libretto by Etienne de Jouy and Hippolyte Bis.
The Jakarta Symphony performed Mozart's Symphony No. 40 in G minor K. 550, Haydn's Concerto for Flute in D major, and several compositions by Pyotr Ilyich Tchaikovsky, Gioachino Rossini and Johann Strauss II.
He appeared in several concert performances of operas at Carnegie Hall, most notably singing Mitrane in the American Opera Society's performance of Gioachino Rossini's Semiramide with Joan Sutherland and Marilyn Horne.