La gazzetta

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Opera dates
Title: The newspaper
Original title: La gazzetta
Title page of the libretto, Naples 1816

Title page of the libretto, Naples 1816

Shape: Opera in two acts
Original language: Italian
Music: Gioachino Rossini
Libretto : Giuseppe Palomba
Literary source: Carlo Goldoni , Gaetano Rossi
Premiere: September 26, 1816
Place of premiere: Teatro dei Fiorentini, Naples
Playing time: about 2 hours
Place and time of the action: Paris
people
  • Don Pomponio Storione, fanatical and enterprising man, father of Lisetta ( Bass - Buffo )
  • Lisetta, sly and simple-minded girl, mistress Filippos ( soprano )
  • Filippo, landlord, clever and strange youth, lover of Lisetta (bass)
  • Doralice, Traveler ( mezzo-soprano )
  • Anselmo, Doralice's father (bass)
  • Alberto, a young man from a good family, travels to find a woman he likes ( tenor )
  • Madama La Rose, Traveler ( mezzo-soprano )
  • Monsù trusses (bass)
  • Servants, servants, neighbors, people ( choir )

La gazzetta is an opera in two acts (original name: "dramma per musica") by Gioachino Rossini (music). The libretto by Giuseppe Palomba is based on Gaetano Rossi's libretto Avviso al pubblico, which was set to music by Giuseppe Mosca in 1814 and is based on the 1763 comedy Il matrimonio per concorso by Carlo Goldoni . The premiere took place on September 26, 1816 in the Teatro dei Fiorentini in Naples.

action

Don Pomponio places a marriage announcement for his daughter Lisetta in an attempt to find the perfect son-in-law. Filippo, the host of the inn, where the applicants are supposed to introduce themselves, loves this. Also present there are the traveler Anselmo and his daughter Doralice. Another traveler, Alberto, wants to see the advertised girl and instead falls in love with Doralice, which her father promises to Monsù Traversen. The self-important Madama La Rose pushes the plot further. A series of turbulent mix-ups and dress-up games ensue until the couples run away at a masquerade ball to get married. The fathers have no choice but to come to terms with it.

first act

Lovely garden; on one side there are shady paths, statues, fountains and beverage shops

Scene 1. A group of travelers enjoy life in the surrounding cafés, including Madama La Rose and Monsù Traversen (introduction: “Chi cerca il piacere”). Young Alberto joins them. Traversen notices a newsboy and calls him over. Everyone is mad about the news in it. La Rose asks Alberto whether he has been successful in his search for a suitable woman. Alberto says no. Neither in Italy nor in Germany, in Holland or anywhere else in the world, has he found a perfect face. A young man comes in with the newspaper and they start reading.

Scene 2. The elegantly dressed Don Pomponio appears with two lackeys. He complains in the Neapolitan dialect to his servant about the difficulties in finding a husband for his daughter Lisetta (Cavatine: "Co sta grazia, e sta portata"). He had already looked in vain among the French, Russians, Spanish, Italians and elsewhere, and also placed an advertisement in the newspaper. Meanwhile, La Rose spots this ad in the newspaper. Alberto reads aloud: A rich, extravagant former businessman has arrived and is looking for a husband for his daughter. Applicants should come to the “Aquila” for the competition. The ad makes the group laugh. The eavesdropping Pomponio is glad not to have been recognized. However, Alberto shows understanding. Traversen wants to find out more and asks the newsboy about the advertiser. This points to Pomponio. La Rose and Traversen tease him until Alberto puts an end to the scene (quartet: “Mio signore / Patrò mio”).

Elegant hall in Filippo's tavern

Scene 3. The innkeeper Filippo knows that Pomponio's search will be in vain because his daughter has already sworn her love for him. Anselmo comes and books two rooms for himself and his daughter Doralice. After the two have retired to their rooms, Filippo continues to think about his future. Lisetta's father would certainly not agree to leave her to an innkeeper.

Scene 4. Lisetta comes in elegantly dressed and sings the praises of love, fashion and pleasure (aria: “Presto, dico”). She has Filippo confirm her good taste.

Scene 5. Alberto appears first for the interview. He looks around and sees that Lisetta matches the description in the ad. Filippo, however, denies this and claims he is her husband. He leaves with Lisetta.

Scene 6. Doralice has now visited her room and returns satisfied. Alberto believes she is the advertised girl and speaks to her about it. Doralice is initially surprised. But since the description fits her and her father, she bursts into tears in horror at his act. Alberto tries in vain to calm her down and declares that he has already fallen in love with her. Doralice leaves, pointing out that the decision lies with her father.

Scene 7. Alberto has been surprised by his feelings. He was actually just looking for some fun, but now he's seriously in love. When Pomponio enters the room, he asks for his daughter's hand. Pomponio now asks critically what Alberto has to show. But he doesn't like the name "Alberto". His own name "Pomponio Storione" has a completely different effect. Pomponio comes from Pompa, which is also included in Pompilio, Pompeo and Pompeiano. Alberto points out that “Storione” (sturgeon) is the name of a fish. Pomponio replies that, on the contrary, it is derived from “storia” (history). Only when Alberto explains his own surname “de Filippi”, which comes from Philip of Macedonia , the father of Alexander the Great , Pomponio is impressed and is ready to talk to his daughter. Alberto replies that he has already done this and that she agrees. He withdraws into one of the rooms.

Scene 8. Lisetta returns, followed by Filippo and Doralice, who overhear the following conversation. Pomponio tells Lisetta that he has just married her. Filippo is horrified. Lisetta explains to her father that under no circumstances does she want to be married through newspaper advertisements and competitions, but that she wants to choose her husband herself. Nevertheless, her father describes the applicant to her, a certain "Felippo". After this confusion of names, Lisetta and the listening Filippo are calmed down. Lisetta happily declares her consent to the marriage and asks to see Filippo. When he emerges, however, Pomponio refers to Alberto who has just entered. This one, Lisetta, Filippo and Doralice are surprised. Pomponio explains that Alberto's surname comes from Philip of Macedonia and that is why he called him that (quintet: "Già nel capo un giramento"). Doralice is outraged that Alberto wants to marry someone else after he had just promised her his love. Alberto points out to Pomponio that his daughter is already married to Filippo, and Lisetta and Filippo affirm that they only want to love and marry each other. Pomponio is outraged. In the following tutti everyone compares their head to a blacksmith's shop where hammer blows are booming from all sides. They go.

Scene 9. Madama La Rose enters the dining room. She wants to watch the competition and enjoy herself. Travers also wants to come. In the meantime Doralice has also returned. Since she still has feelings for Alberto, she wants to find out if he actually cheated on her. Nor does she understand why Filippo wants her to pretend to be his wife. La Rose tells Doralice about the strange traveler Don Pomponio, who lives here. He appears with his servants and complains to them about the behavior of his daughter and the others - which La Rose and Doralice overhear with amusement. He decides to disinherit Lisetta and send his servant to the printer to place a new ad. This time he wants to find a wife for himself. The text of this ad is peppered with lewd confusion of words. This is how he calls the Gauls “galline” (“chickens”), from which he would like to choose “la più grassa” (“the fattest”). Now La Rose and Doralice emerge. Pomponio asks them if they are married. When La Rose confirms this, Pomponio turns to Doralice and, despite his fifty years, courted her. Doralice flatters him at first, but then explains that her heart no longer belongs to her and that she therefore unfortunately has to refuse his advertising. If she could explain her feelings, she would be sorry. But she hopes that heaven will make her happy one day (aria: "Ah, se spiegar potessi").

Scene 10. While Filippo encourages his employees to clean up the rooms, Pomponio tries in vain to start a conversation with him. Finally Filippo turns to him and calls him a donkey because he actually believed that Lisetta was his fiancée. However, he only specified this because Lisetta wanted to take revenge for the newspaper ad. In reality he is married to La Rose. La Rose, who overheard the conversation, confirms this. Filippo explains the reason for the cleaning work. A rich Quaker from Cape Breton is on his way to Holland to open a department store there. He was currently in Paris, where he had read the newspaper advertisement about the superhuman Lisetta, and was now expected here. Filippo and La Rose leave.

Scene 11. Lisetta comes in to discuss the Quaker's proposal with her father. She envisions her future as his wife in Holland. Pomponio points out that her lover Filippo is already married anyway. Lisetta is outraged by Filippo's alleged betrayal. Her father can only appease her by promising to let her do whatever she wants (duet: “Pe da 'gusto a la signora”).

Scene 12. La Rose, Traversen, Doralice, Anselmo and Alberto talk about the planned Quaker prank. Only Anselmo is concerned about any serious consequences. You go again.

Scene 13. Lisetta, Pomponio, and Filippo, grotesquely disguised as a Quaker, enter, followed by other supposed Quakers. Filippo greets Pomponio in broken Italian with a Dutch accent (Finale I: “Bondì te pater”). Pomponio initially replies in the same way, but then confirms that Filippo is Italian and does not understand Dutch. So the conversation continues in Italian. Filippo tells how enthusiastic he is about Lisetta's beauty. Pomponio listens, flattered, until Lisetta suddenly accuses the guest of being a cheat. Doralice, Anselmo, La Rose and Traversen appear, and the act ends in general confusion. Alberto still doesn't know which of the girls is Pomponio's daughter. Doralice still has feelings for him. Lisetta doesn't know what to think of Filippo - maybe he's innocent after all. Filippo has a guilty conscience and wants to appease her. At the same time he is angry with Pomponio. Everyone wishes this villain and crook to drop dead.

Second act

Room in the same inn

Scene 1. La Rose is still happy about the successful prank (aria: "Semper in amore"). Traversen has new plans and asks Anselmo for the hand of his daughter Doralice. This and La Rose happily agree. Doralice, however, is less enthusiastic. Traversen takes Doralice's hand and they all leave.

Scene 2. Alberto has watched Traversen hand in hand with Doralice and feels betrayed. He loves her even though he knows by now that she is not the girl in the newspaper ad. Traversen returns and tells him that Anselmo has agreed to marry Doralice. He is now on the way to the notary. Discouraged, Alberto Filippo wants to ask for advice. Both go.

Scene 3. Filippo is desperate because he could no longer speak to Lisetta to clear up the misunderstanding. He fears that she is about to leave with her father. Lisetta appears. She's still upset, angry at his explanations, and claims she never loved him. Only when Filippo sadly says goodbye to her, Lisetta can no longer suppress her feelings and confesses her love to him (duet: "In bosco ombroso e folto"). The two make up and happily leave the room.

Scene 4. Alberto complains about his unhappy love for Doralice (recitative and aria: “Chi creder mai poteva”).

Scene 5. Filippo hopes that Lisetta won't be taken from him again. Alberto accuses him of his lies. But he can be appeased when Filippo tells him that Doralice had told him about her love for him (Alberto) and that he wanted to make sure that they can get married soon. But because Pomponio had decided to leave today, he challenged him to a duel in the garden. He wants Alberto Pomponio to challenge too, so that the others have enough time to dress up. Alberto could state that the reason for the demand was that Pomponio had promised him his daughter's hand and then withdrew it again. Filippo himself had accused Pomponio that the rich Quaker had left the inn because of him. Alberto hopes for a good outcome.

Garden with a country house

Scene 6. Pomponio enters the garden, accompanied by a servant carrying his sword. He doesn't really know why he got involved in the duel in the first place. Although he is clearly trembling with fear, he asserts to his servant that he is not afraid. Filippo appears, ready to duel. He accuses Pomponio of having driven the Quakers away through his behavior, which led to a loss of income. Filippo draws his sword and urges a fight.

Scene 7. Alberto interrupts them. Pomponio fearfully asserts that he is a warrior of peace and not war - but no one listens to him. Alberto demands to be the first to fight with Pomponio, because he had first promised him his daughter and then refused her. Since Filippo insists on the same right, they decide to fight each other first (trio: "Primmo fra voi coll'armi"). They argue for a while - anxiously watched by Pomponio - and finally agree to forego the fight if Pomponio admits, a lazy man ("un poltrone"), a bestial person ("un uom bestiale"), a ridiculous traveler ( "Un viaggiator ridicolo"), a stupid newspaper jester ("un sciocco gazzettante") and being idiotic in every way ("sconnessa in ogni cosa"). Pomponio unreservedly agrees with everything.

room

Scene 8. Doralice explains Filippo's latest plan to Lisetta (scene and aria: “Fatemi signorina, capir meglio”): The two are supposed to appear in identical Turkish robes for the celebration, while Alberto wants to come as an African nobleman. Then they want to flee together to get married. La Rose arrives and reports that the plan threatens to fail because Pomponio already wants to leave.

Scene 9. Pomponio enters to pick up Lisetta. The horses are already harnessed and it is to go to Arabia Petraea . Lisetta has never heard of this place. She refuses, thus provoking her father's anger. Finally, on advice from La Rose, she fainted. Doralice and La Rose complain loudly and call for water and vinegar. After a while, Lisetta comes to. She claims to have been to Paradise and greeted by heroes there. Romulus gave her a flower, and Aeneas gave her coffee. Then they would have recognized her as the Lisetta from the newspaper and pityed her as the unhappy daughter of a crazy father. Now she has woken up with horror. Supported by La Rose and Doralice, she begs Pomponio to give in, but he sticks to his decision. Everyone goes.

Scene 10. Filippo has everything ready for the prank. Pomponio comes and complains that Turks and Christians should now live here together. Filippo replies that he could not turn away such a great man as Abdallid Falzul Carababà without risking his life. He came to Paris to look for dancers for a masked ball. Pomponio could disguise his daughter as a Turkish girl in order to let her take part in the ball. (At this point Filippo has long since fled with her.) He also already has a suitable dress in stock. Then there is a chance that the African will fall in love with Lisetta and marry her. He is from Ethiopia, therefore not a Mohammedan, and has great goods all over Abyssinia. The Emperor of China, the Shah of Persia, the Caliph of Egypt and the Mughal of Chile are also expected at the ball, as well as the greatest bearded heroes from Libya, Alzul Balà from Morocco, Alì from Baldugerì, Micazirà from Guinea and the Bei from Tripoli . The newspaper reported about the whole ceremony (aria: “Quando la fama altera”).

Sparsely lit hall for the ball

Scene 11. The masked choir sings about Amor (choir: “Amor la danza mova”). One after the other, Lisetta, Alberto, Doralice and Filippo appear disguised as Turks. Because Lisetta and Doralice, as well as Alberto and Filippo, wear identical robes, the couples initially have difficulties finding each other, but eventually they succeed. Now Pomponio comes in a ridiculous costume. He too cannot recognize his daughter and causes a great mess on his search (quintet: “Oh vedite ch'accidente!”). While the choir tries to bring the fool to reason, the two couples leave the hall.

Last scene. Anselmo is looking for his daughter, Traversen for his bride, and Pomponio is still looking for Lisetta. La Rose appears and informs them that the daughters are now married and are on their way with their husbands to ask their forgiveness. So it happens, and the fathers grant the desired forgiveness (Finale II: “Caro padre, perdonate”). The festival can go on and everyone wants to remember the newspaper every day.

layout

Instrumentation

The orchestral line-up for the opera includes the following instruments:

  • Two flutes / a piccolo, two oboes, two clarinets, a bassoon
  • Two horns, two trumpets, one trombone
  • Strings
  • Continuo

Music numbers

The opera contains the following musical numbers:

  • Sinfonia

first act

  • No. 1. Introduction (choir, Alberto, La Rose, trusses): "Chi cerca il piacere" (scene 1)
  • No. 2. Cavatine (Pomponio): "Co sta grazia, e sta portata" (scene 2)
  • No. 3. Quartet (Traversen, Pomponio, La Rose, Alberto): "Mio signore / Patrò mio" (scene 2)
  • No. 4. Aria (Lisetta): "Presto, dico" (scene 4)
  • No. 5. Quintet (Lisetta, Doralice, Alberto, Filippo, Pomponio): "Già nel capo un giramento" (scene 8)
  • No. 6. Aria (Doralice): "Ah, se spiegar potessi" (scene 9)
  • No. 7. Duet (Pomponio, Lisetta): "Pe da 'gusto a la signora" (scene 11)
  • No. 8. Finale I: "Bondì te pater" (scene 13)

Second act

  • No. 9. Aria (La Rose): "Semper in amore" (scene 1)
  • No. 10. Duet (Filippo, Lisetta): "In bosco ombroso e folto" (scene 3)
  • No. 11. Recitative and aria (Alberto): "Chi creder mai poteva" (scene 4)
  • No. 12. Trio (Alberto, Filippo, Pomponio): "Primmo fra voi coll'armi" (scene 7)
  • No. 13th scene and aria (Lisetta, Doralice): "Fatemi signorina, capir meglio" (scene 8)
  • No. 14. Aria (Filippo): "Quando la fama altera" (scene 10)
  • No. 15. Choir: "Amor la danza mova" (scene 11)
  • No. 16. Quintet (Alberto, Doralice, Filippo, Lisetta, Pomponio): "Oh vedite ch'accidente!" (Scene 11)
  • No. 17. Finale II: "Caro padre, perdonate" (scene 12)

According to librettidopera.it, the following are particularly worth mentioning :

  • Alberto's aria in the introduction (No. 1): “Ho girato il mondo intero” (first act, scene 1)
  • The duet (No. 7) by Pomponio and Lisetta: "Pe da 'gusto a la signora" (first act, scene 11)
  • The trio (No. 12) by Pomponio, Alberto and Filippo: "Primmo fra voi coll'armi" (second act, scene 7)
  • The quintet (No. 16): "Oh vedite ch'accidente!" (Second act, scene 11)

Work history

Gioachino Rossini composed mainly serious operas for Naples, most of which were performed at the Teatro San Carlo . The first original composition for this theater was Elisabetta regina d'Inghilterra , which was performed there on October 4, 1815. After its success, Rossini received further commissions for the following season, including the one for a comic opera to be performed at the Teatro dei Fiorentini at Easter 1816. However, the composition was delayed. Rossini did not return from Rome until the beginning of March and had to insert a wedding cantata (Le nozze di Teti e di Peleo) . According to a letter to his mother, he started composing in June. Further delays resulted from the preparation of a performance of Tancredi at the Teatro del Fondo . Presumably he was still working on the orchestration after rehearsals for La gazzetta . The manuscript of the score also shows that Rossini proceeded with great care.

The Teatro dei Fiorentini was considered the birthplace of the special Neapolitan form of the opera buffa. Here Rossini had already performed L'italiana in Algeri and L'inganno felice in the autumn of 1815 . The audience therefore had particularly high expectations of the work. The libretto by Giuseppe Palomba , which contains a buffo role in the Neapolitan dialect, and the popular local buffo Carlo Casaccia (called "Casaccielo"), who sang this role, were helpful. In addition, Rossini adopted some tried and tested movements from his earlier operas La pietra del paragone and Il turco in Italia , which had not yet been performed in Naples.

The template for Palomba's libretto was the libretto Avviso al pubblico by Gaetano Rossi , set to music by Giuseppe Mosca in 1814 , which in turn is based on the comedy Il matrimonio per concorso by Carlo Goldoni , published in 1763 . Strangely enough, the new opera was called “ dramma per musica ”, although it is an opera buffa . The occasional statement that Palomba's text was revised by Andrea Leone Tottola has proven to be incorrect. Other composers also took Goldoni's piece as the basis of their operas. As early as 1776 Niccolò Jommelli's Il matrimonio per concorso was performed on a libretto by Gaetano Martinelli . In 1813 Giuseppe Farinelli's opera Il matrimonio per concorso was given in Venice , the libretto of which was by Giuseppe Fopa . At that time Rossini was composing his L'italiana in Algeri there .

At the premiere on September 26, 1816 at the Teatro dei Fiorentini in Naples, the basses Carlo Casaccia (Don Pomponio), Felice Pellegrini (Filippo), Giovanni Pace (Anselmo) and Francesco Sparano (Monsù Traversen), the soprano Margherita Chabrand (Lisetta) , the mezzo-sopranos Francesca Cardini (Doralice) and Maria Manzi (Madama La Rose) and the tenor Alberigo Curioni (Alberto). The premiere in Naples was a great success with the audience. There are 21 repetitions detectable. The opera was also viewed critically by the press. In the Giornale delle due Sicilie, for example, the libretto was described as vulgar and the music partially correspondingly weak, while the singers were praised. Later Rossini biographers adopted this judgment and assessed La gazzetta as a failure. For the carnival season of 1828 the opera was performed in the Teatro Carolino in Palermo.

The trio of the duel scene (No. 12) comes from La pietra del paragone. The text of both versions is almost identical - apart from the fact that Pomponio's Neapolitan dialect made some adjustments necessary. Rossini took over three pieces from Il turco in Italia : the masked ball quintet, the duet Fiorilla-Geronio and the alternative aria Fiorillas (as No. 4). Other elements come from La cambiale di matrimonio , L'equivoco stravagante , La scala di seta and Torvaldo e Dorliska .

Rossini's original compositions are the duet Filippo / Lisetta (No. 10) and their great arias in the second act. The recitatives and the two sorbetto arias of Doralice and Madama La Rose, on the other hand, were composed by an anonymous collaborator.

Rossini later also used the overture for La Cenerentola . It may have been originally intended for Il barbiere di Siviglia . Rossini used the melody of Alberto's aria from No. 11 (“Ma voce tenera”) in a total of seven operas.

Scenes six to eight of the first act contained in the printed libretto from 1816 are missing in the score manuscript and in contemporary copies. The quintet in it bears some resemblance to the sextet of La Cenerentola , which was composed later, and the stretta of the first finale in Il barbiere di Siviglia . Since it was explicitly mentioned in a review, it can be assumed that Rossini actually composed these scenes and that they were removed from the score for unknown reasons. They have since been reconstructed. Philip Gossett created the sixth scene for the critical edition of the Fondazione Rossini . Stefano Piana reconstructed scenes seven and eight for the Deutsche Rossini Society. He composed the recitatives anew and used suitable sections from La Cenerentola , La scala di seta and Il barbiere di Siviglia for the quintet . The reconstruction was performed in 2007 at Rossini in Wildbad and then published on CD. In 2011 the original quintet was found in Palermo, where the opera was performed in 1828. The full original version was performed again for the first time in April 2013 by the New England Conservatory in Boston.

Recordings

  • September 27, 1960 (live, concert performance from Naples, heavily abridged): Franco Caracciolo (conductor), Orchestra A. Scarlatti della RAI di Napoli, Coro del Teatro San Carlo di Napoli. Italo Tajo (Don Pomponio), Angelica Tuccari (Lisetta), Mario Borriello (Filippo), Gianna Galli (Doralice), Leonardo Monreale (Anselmo), Agostino Lazzari (Alberto), Bianca-Maria Casoni (Madama La Rose), Carlo Cava ( Monsù trusses). Memories CD: HR 4458/59, VOCE LP: VOCE-12 (2) mon, Fonit Cetra LP: LAR 17.
  • January 1977 (heavily abridged): Bruno Rigacci (conductor), orchestra and choir of the Radiotelevisione della Svizzera Italiana Lugano. Mario Chiappi (Don Pomponio), Eva Csapó (Lisetta), Giancarlo Ceccarini (Filippo), Benedetta Pecchioli (Doralice), Giovanni Faverio (Anselmo), Giuseppe Baratti (Alberto), Marissa Brumbry (Madama La Rose), Gino Orlandini (Monsù Traversen ). Nuova Era 1172 (2 CD).
  • November 14, 1987 (live from Savona): Fabio Luisi (conductor), Orchestra Sinfonica di Piacenza, Coro F. Cilea di Reggio Calabria. Franco Federici (Don Pomponio), Gabriella Morigi (Lisetta), Armando Ariostini (Filippo), Barbara Lavarian (Doralice), Giuseppe de Matteis (Anselmo), Paolo Barbacini (Alberto), Adriana Cicogna (Madama La Rose), Giacomo Colafelice (Monsù Trusses). Bongiovanni CD: 2071 / 72-2.
  • 1995 (live from Putbus ): Wilhelm Keitel (conductor), Minsk Orchestra, Chamber Chorus Motet et Madrigal Poznan. Ezio Maria Tirsi (Don Pomponio), Teresa Verdera (Lisetta), Gianpiero Ruggeri (Filippo), Mojka Vedernjak (Doralice), Kasimierz Sergiel (Anselmo), Patrizio Saudelli (Alberto), Angelika Kirchhof (Madama La Rose), Christian Tschelebiew (Monsù Trusses). DS CD: DS 1053-2.
  • August 11, 2001 (video, live from the Rossini Opera Festival Pesaro , secco recitatives shortened, choir No. 15 without repetition): Maurizio Barbacini (conductor), Dario Fo (staging), Orchestra Giovanile del Festival, Prague Chamber Chorus. Bruno Praticò (Don Pomponio), Stefania Bonfadelli (Lisetta), Pietro Spagnoli (Filippo), Marisa Martins (Doralice), Christoforos Stamboglis (Anselmo), Antonio Siragusa (Alberto), Laura Polverelli (Madama La Rose), Gianpiero Ruggeri (Monsù Traversen ). Rossini Opera Festival 11043 (2 CD), Premiere Opera DVD 5944 (1 DVD).
  • July 2005 (video, live from Barcelona): Maurizio Barbacini (conductor), Dario Fo (production), Orquestra Simfónica del Gran Teatro del Liceu, Intermezzo Choir. Bruno Praticò (Don Pomponio), Cinzia Forte (Lisetta), Pietro Spagnoli (Filippo), Marisa Martins (Doralice), Marc Canturri (Anselmo), Charles Workman (Alberto), Agata Bienkowska (Madama La Rose), Simón Orfila (Monsù Traversen ). Opus Arte OA 0953D (2 DVD).
  • August 9, 2005 (live from the Rossini Opera Festival Pesaro ): Antonello Allemandi (conductor), Orquesta Sinfonica de Galicia, Prague Chamber Chorus. Bruno Praticò (Don Pomponio), Cinzia Forte (Lisetta), Lorenzo Regazzo (Filippo), Francesca Provvisionato (Doralice), Andrea Porta (Anselmo), José Manuel Zapata (Alberto), Manuela Custer (Madama La Rose), Paolo Bordogna (Monsù Trusses).
  • July 2007 (live from the Rossini Festival in Wildbad , reconstruction of the original version): Christopher Franklin (conductor), Czech Chamber Soloists Prague, Coro del Conservatorio San Pietro a Majella Napoli. Marco Cristarella Orestano (Don Pomponio), Judith Gauthier (Lisetta), Giulio Mastrototaro (Filippo), Rossella Bevacqua (Doralice), Vincenzo Bruzzaniti (Anselmo), Michael Spyres (Alberto), Maria Soulis (Madama La Rose), Filippo Polinelli (Monsù Trusses). Naxos CD i. V.
  • 2015 (video; live from the Rossini Opera Festival Pesaro ): Enrique Mazzola (conductor), orchestra and choir of the Teatro Comunale di Bologna . Nicola Alaimo (Don Pomponio), Hasmik Torosyan (Lisetta), Vito Priante (Filippo), Raffaella Lupinacci (Doralice), Dario Shikhmiri (Anselmo), Maxim Mironow (Alberto), Josè Maria Lo Monaco (Madama La Rose), Andrea Vincenzo Bonsignore (Monsù Traversen), Ernesto Lama (Tommasino). Unitel Classica A 000 50033.

Web links

Commons : La gazzetta  - collection of images, videos and audio files

Individual evidence

  1. ↑ La gazzetta. Notes on the Critical Edition by Philip Gossett and Fabrizio Scipioni , accessed November 9, 2015.
  2. ↑ La gazzetta (1816) on librettidopera.it , accessed November 7, 2015.
  3. ↑ a b c d e f g h Reto Müller : Text accompanying the CD Naxos 8.660277-78
  4. ↑ a b c d e Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9
  5. ^ A b Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0
  6. ^ A b La gazzetta (Gioachino Rossini) in the Corago information system of the University of Bologna . Retrieved October 29, 2015.
  7. ↑ a b c d e f g h i Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
  8. ↑ Steven Ledbetter: Rossini Rarity Rediscovered: Updated. Article from April 7, 2013 on classical-scene.com , accessed on November 9, 2015.
  9. ↑ Information on the DVD from 2015 at unitel.de, accessed on December 1, 2018.