Gioacchino Rossini citáty

Gioacchino Antonio Rossini bol taliansky hudobný skladateľ, ktorý sa preslávil svojimi operami. Hudbu študoval na lýceu v Bologni, a mal len 18 rokov, keď mu uviedli v Benátkach jeho prvú jednoaktovú operu La cambiale di matrimonio. Preslávil sa však až operou Tancredi, uvedenou v roku 1813, ktorá mu priniesla slávu aj v Miláne, Ríme či Neapole. Neskôr sa usadil v Paríži, kde sa stal riaditeľom Théâtre Italien a snažil sa o popularizáciu talianskej opery a o podporu mladých skladateľov .

Bol obdivovateľom viedenského hudobného klasicizmu a diela Mozarta a Haydna silne ovplyvnili jeho opernú tvorbu. Na začiatku svojej kariéry komponoval hlavne komické opery , neskôr komponoval aj vážne opery, ktorej typickým príkladom je opera Wiliam Tell . Spolu skomponoval asi 40 opier, z ktorých najznámejšou sa stala komická opera Barbier zo Sevilly . Okrem opier komponoval aj napr. symfónie, kantáty alebo rôzne komorné skladby. V jeho operách sa uplatňoval spevácky štýl bel canto. Wikipedia  

✵ 29. február 1792 – 13. november 1868   •   Ďalšie mená Gioachino A. Rossini, Gioacchino Antonio Rossini
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Gioacchino Rossini: Citáty v angličtine

“Simple melody and variety in rhythm.”

Melodia semplice e varietà nel ritmo.
His motto for Italian music, formulated in a letter to Filippo Filippi, August 26, 1868; Luca Somigli Legitimizing the Artist (2003) p. 103.
Often misquoted as "Simple melody – clear rhythm!"

“Music is a kind of harmonious language.”

Zanolini, Biografia di Gioachino Rossini (1875)

“I take him [Beethoven] twice a week, Haydn four times, and Mozart every day. You will tell me that Beethoven is a Colossus who often gives you a dig in the ribs, whilst Mozart is always adorable; it is that the latter had the chance of going very young to Italy, at a time when they still sang well.”

Je le prends deux fois par semaine, Haydn quatre fois et Mozart tous les jours. Vous me direz, Beethoven est un colosse, qui vous donne souvent des coups de poing dans les côtes, tandisque Mozart est toujours adorable. C'est que lui a eu la chance d'aller très jeune en Italie à un époque, où l'on chantait encore bien.
Alfred Christlieb Kalischer Beethoven und seine Zeitgenossen (1908) p. 83. Translation from Charlotte Moscheles (trans. A. D. Coleridge) Life of Moscheles (1873) vol. 2, p. 275.

“Give me the laundress' bill and I will set to music even that.”

Datemi il conto della lavandaia e vi metterò in musica anche quello.
Indro Montanelli L'Italia giacobina e carbonara, Rizzoli, Milano 1972, p. 612.

“This little composition, which is, alas, the last mortal sin of my old age.”

Cette petite composition qui est, hélas, le dernier péché mortel de ma vieillesse.
Introductory note to the Petite Messe Solennelle. Translation from Justin Wintle (ed.) Makers of Nineteenth Century Culture (2002) vol. 2, p. 527.

“Monsieur Wagner has good moments, but awful quarters of an hour!”

Monsieur Wagner a de beaux moments, mais de mauvais quart d'heures.
Letter to Emile Naumann, April 1867, quoted in E Naumann Italienische Tondichter (1883) vol. 4, p. 5. Translation from The Riverside Dictionary of Biography (2005) p. 689.

“Dear God, here it is finished, this poor little Mass. Is this sacred music which I have written or music of the devil? I was born for opera buffa, as you well know. A little science, a little heart, that's all. Be blessed, then, and admit me to Paradise.”

Bon Dieu; la voilà terminée, cette pauvre petite messe. Est-ce bien de la musique sacrée que je viens de faire, ou bien de la sacré musique ? J'étais né pour l'opera buffa, tu le sais bien! Peu de science, un peu de coeur, tout est là. Sois donc béni et accorde-moi le Paradis.
Epigraph to his Petite Messe Solennelle (1863). Translation from Emanuele Senici (ed.) The Cambridge Companion to Rossini (2004) p. 23.

“Wait until the evening before opening night. Nothing primes inspiration more than necessity, whether it be the presence of a copyist waiting for your work or the prodding of an impresario tearing his hair. In my time, all the impresarios in Italy were bald at thirty.”

Aspettate fino alla sera prima del giorno fissato per la rappresentazione. Nessuna cosa eccita più l'estro come la necessità, la presenza d'un copista, che aspetta il vostro lavoro e la ressa d'un impresario in angustie, che si strappa a ciocche i capelli. A tempo mio in Italia tutti gli impresari erano calvi a trent'anni.
From an undated letter, published in Luigi Rognoni Gioacchino Rossini (1968) p. 337. Translation from Josiah Fisk and Jeff Nichols (eds.) Composers on Music (1997) p. 67.
On the right time to write an overture.