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The Life of Rossini

H. Sutherland Edwards

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Book Excerpt: 
. . .Don Giovanni;” and if Mozart’s operas had been known in Italy when Rossini began to write, then, instead of saying that Rossini took this idea from Cimarosa and from Paisiello, that from Gluck, that from Haydn, it would be much simpler to say that he took all that was new in the construction of his works from Mozart.

Rossini could scarcely have studied Mozart’s works—certainly not their effect on the stage—{44}when, in 1813, he produced “Tancredi;” in fact, “Tancredi” presents much less modern forms than the “Marriage of Figaro” and “Don Giovanni,” written a quarter of a century earlier. But it must be remembered that Rossini did not perfect his style until about 1816, the year of “Otello” and of the “Barber of Seville;” and in the meanwhile La Scala had represented “Don Giovanni” (1814), and with much greater success “Le Nozze di Figaro” (. . . Read More

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