Robert Bruce (opera)
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| Title: | Robert Bruce |
Title page of the libretto, Paris 1847 |
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| Shape: | Opera in three acts |
| Original language: | French |
| Music: | Gioachino Rossini , compiled by Louis Niedermeyer |
| Libretto : | Gustave Vaëz and Alphonse Royer |
| Literary source: | Walter Scott : The History of Scotland |
| Premiere: | December 30, 1846 |
| Place of premiere: | Paris Opera |
| Place and time of the action: | Scotland in the Stirling area , 1314 |
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Robert Bruce is an opera - pastiche in three acts , the Louis Niedermeyer with permission of the composer of music of Gioachino Rossini compiled. It was originally conceived as the French version of La donna del lago . The libretto by Gustave Vaëz and Alphonse Royer is based on Walter Scott's The History of Scotland. The world premiere took place on December 30, 1846 at the Opéra in Paris.
action
The opera is about the fighting between the Scottish King Robert Bruce and the English King Édouard II in 1314. At the beginning, the Scots rally after a lost battle. The Lord Douglas-Le-Noir swears allegiance to Bruce and invites him and the soldiers to his castle, where they are to rest for a few days. Douglas' daughter Marie has a love affair with the English officer Arthur. Bruce narrowly escapes the approaching English soldiers by disguising himself as a simple mountain dweller.
In the second act, King Bruce is in Douglas' castle. It is taken by the English. Out of love for Marie, Arthur prepares an escape route for her and her father Douglas. Since Douglas has already left the castle, Marie takes this opportunity to save the king, who puts on Douglas' coat. Arthur discovers the attempt to escape, but lets Bruce escape, although his subordinate Morton sees through the situation. The arrival of the Scottish warriors saves the situation for the time being.
In the third act, the Scots plan a surprise attack on Stirling Castle, where the English are celebrating a party. There Morton first reports on Arthur's betrayal. He is arrested and is to be executed. The Scots invade and overwhelm the English. Édouard must recognize the independence of Scotland.
«Les combats livrés aux rois d'Angleterre Édouard Ier et Édouard II par Robert Bruce et par le bon lord James de Douglas surnommé le Noir, les chevaleresques exploits de ces deux amis, leurs romanesques aventures, ces ruses de guerre qu'ils pratiquaient si bien, ces embuscades, ces travestissements à l'aide desquels, souvent au milieu d'une fête, ils surprenaient les châteaux occupés par leurs ennemis, forment l'une des pages les plus pittoresques de la chronique écossaise.
Tout le monde a lu dans Walter Scott le récit naïf et coloré de ces hardis coups de main, qui eurent pour but et pour résultat la délivrance d'un pays opprimé et la reconnaissance de sa nationalité. Tantôt le roi Robert est chassé à la piste comme une bête sauvage, dans les abrupts sentiers des Highlands, par des chiens dressés à cet effet; tantôt, pour laisser à ses soldats épuisés quelques minutes d'un repos nécessaire, seul, sous le rempart de son épaisse armure, il intercepte le gué d'une rivière du Galloway à deux cents archers anglais. Ici c'est Douglas-le-Noir qui empile dans la citerne du manoir de ses pères les cadavres de toute garnison qui ose occuper cette enceinte vénérée. Fertile en moyens, et sous divers déguisements, il reprend sans cesse aux Anglais ce fameux Châteaux périlleux que ses ennemis, dans leur terreur, appelaient le garde-manger de Douglas. Les châteaux de Linlitgow, de Perth, d'Édimbourg, de Roxburg, ce dernier, pendant que ses possesseurs passagers se livraient aux excès du carnaval, sont forcés de la sorte.
L'argument du présent libretto est un simple episode de cette mémorable was. »
“The battles which the Kings of England Edward I and Edward II were fought by Robert Bruce and the good Lord James Douglas, nicknamed the Black, the chivalrous deeds of these two friends, their romantic adventures, these war ploys that they do so well carried out, these ambushes, these disguises, with the help of which they took the castles occupied by their enemies, often during a festival, constitute one of the most picturesque pages of Scottish history.
Everyone has read in Walter Scott the naive and colorful story of these daring attacks, which aimed and achieved the liberation of an oppressed country and the recognition of its nationality. Sometimes King Robert is hunted in the steep paths of the Highlands like a wild animal on the track, with dogs trained for this purpose; sometimes he crossed the ford of a river in Galloway in front of two hundred English archers to give his exhausted soldiers the necessary rest for a few minutes, alone under the protection of his thick armor. Here it is the Black Douglas who, in the cistern of his fathers house, piles up the corpses of the entire garrison that dares to occupy this venerable area. Ingeniously in the means and in various disguises, he repeatedly takes from the English this famous dangerous lock, which his enemies in their horror call the pantry of Douglas. The castles of Linlitgow, Perth, Edinburgh, and Roxburgh are thus defeated, the latter while its owners surrender temporarily to the excesses of the Carnival.
The plot of this libretto is a simple episode of this memorable war. "
first act
Picturesque area. Rock. A lake. A thatched hut. In the distance in the background Douglas Castle
Scene 1. It's daybreak. The defeated Scottish soldiers and Highlanders anxiously await the arrival of their King Robert Bruce. This eventually appears on an elevated path in the rocks. The Scots cheer him (introduction: "Robert! Robert! - mille angoisses mortelles"). Bruce gives them hope.
Scene 2. Lord Douglas swears allegiance to Bruce. He has sent a message to his daughter Marie to prepare her for the arrival of the soldiers who want to rest there for a few days (recitative and chorus: “À ma fille, je l'espère”). Horn sound announces the approach of the English under King Édouard. Bruce and Douglas seek refuge in Dickson's cabin. The others spread out between the rocks or try to reach the other shore of the lake.
Scene 3. A group of English knights with officers Arthur and Morton approaches. They fear that Robert Bruce may have survived the battle. Morton leaves with the knights.
Scene 4. At the sight of the castle Arthur sings about his impossible love for Marie, the daughter of his enemy Douglas (barcarole: “Marie! À ce doux nom”). A boat appears on the lake. It brings Marie and Nelly, Dickson's daughter. After a wink from Marie, Nelly enters the hut.
Scene 5. Marie looks melancholy at the calm lake and thinks of her past happy days.
Scene 6. The lovers Marie and Arthur meet. Both initially fear that each other's feelings may have changed, but quickly assure themselves that the opposite is true (recitative, duet and chorus: “Est-ce moi qui fait naître”). The bells of the nearby chapel invite you to pray on Valentine's Day and remind the two of them that Marie's father could come at any moment. He is the greatest obstacle to their love.
Scene 7. Douglas and Bruce, disguised as a Highlander, step out of the hut. Bruce is initially frightened when he notices the Englishman Arthur. Douglas reassures him that he is not recognized. He informs Arthur that although he was previously welcome as his son-in-law, nothing can come of it now, because Marie will soon marry another man. Bruce, Douglas and Marie get into the boat and row away. Arthur drifts away in despair. Nelly steps out of the hut and looks after the disappearing boat. A happy ritornello can be heard. Nelly returns to her father in the hut.
Scene 8. Young people from the mountain village come to celebrate Valentine's Day with Nelly (aria and chorus: “Ce sont les clans de la montagne”). Although she worries Marie's suffering, Nelly starts a song in whose refrain the others join in (couplets and chorus: "Alerte, fillette"). Two dances follow ( pas de cinq and ecossaise ).
Scene 9. The happy mood changes when King Édouard and Arthur arrive with the hunting party. Édouard explains that there is no need to stop because he loves to have fun (march, scene and cavatine: “Pourquoi cesser vos jeux”). He invites the knights to a party at Stirling Castle . Dickson is confident that Scotland's time is yet to come.
Scene 10. Morton interrupts the get-together with the news that Douglas was seen here that morning (Finale I: "Sire! Douglas le noir"). Édouard asks the Scots present whether that is true. He becomes enraged, offers gold for his extradition, and threatens death to anyone who tries to protect him.
Second act
A room in Douglas Castle. On a table are a coat and a helmet with an oak branch
Scene 1. After King Bruce falls asleep, Douglas comes out of a side room and approaches his sad daughter Marie (scene: “Le roi sommeille”). He apologizes to her for his decision, but cannot possibly give her to someone who is fighting for the King of England (aria: “Que ton âme, si noble”). He reminds her of his honor as a soldier, hugs her and leaves the room to go to his troops.
Scene 2. Marie understands her father's attitude (Cavatine: “Oh! Noble père! Oui, de l'honneur c'est le langage”). Still, she cannot give up her love for Arthur.
Scene 3. Nelly hurries into the room and reports that the English are about to lock the castle in (recitative: “Les Anglais! Ils cernent le château”). Her father has already reached the other side of the lake. However, it is already too late for their own escape as the English soldiers invade the castle under the leadership of Arthur.
Scene 4. Arthur tells Marie that she can escape the castle with her father. A boat is already waiting on the bank. He'll close his eyes and lie to Morton.
Scene 5. Marie decides to take the opportunity to save King Bruce. She gives him her father's coat so that he can escape from the castle with her undetected (duet: "Loyale famille! Sois fier de ta fille"). But before they can set off, Arthur appears.
Scene 6. Arthur confronts Marie. In the meantime he has learned that her father has long since left. So who does she want to save? He suspects it is a lover. Marie cannot betray her king, but does not want to be accused of infidelity either. She is desperate and refuses to answer (trio: "Sort funestre! Mon Dieu! J'appelle les dangers"). Before the situation escalates completely, the king wants to reveal himself. Marie, however, pulls a dagger from Arthur's belt and throws herself in front of Bruce to protect him. Arthur is now convinced that he has a rival in front of him. Nevertheless, out of love for Marie, he would be willing to spare him. A word from her would be enough. In fact, Marie asks him to spare the stranger. Arthur regards this as an admission of her infidelity. He curses her and vows never to see her again. Bruce can no longer look at their desperation. He reveals himself to Arthur - ready to take on his fate (scene and chorus: "Restez. - Qu'allez-vous faire?").
Scene 7. Morton comes in with English soldiers. He recognizes the situation immediately and wants to arrest Bruce. Arthur, however, orders him to be let go. Morton accuses Arthur of treason and refuses to obey. Arthur draws his sword to protect Bruce. Bruce also draws the sword. Before the fight starts, trumpet fanfares can be heard in the distance: Douglas approaches with his men. Morton and the English swear Arthur will answer to the king. Then they withdraw.
Scene 8. Douglas and the Scottish Warriors enter. Bruce tells him that he owes his life to Arthur. Douglas asks him to join them. Then he would also receive his daughter's hand. But Arthur refuses. He does not want to betray his King Édouard and is ready to face fate. Bruce hands him an oak branch from his helmet. The Scots will recognize him in the upcoming fight and spare him (Finale II: “La guerre sans trêve”). Arthur says goodbye and leaves. Douglas tells Bruce that the Scottish clans are ready to die for their king. He has an army.
An area near Douglas Castle
Scenes 9. The soldiers and highlanders armed with axes and lances have spread out among the rocks. They carry coats of arms with the colors and weapons of the respective clans. A white-clad group of warrior bards, armed with chain mail and axes in their belts and adorned with oak branches and verbenas , approaches with golden harps in their hands. They encourage the warriors to win in battle and to protect their families from the swords of the English. Bruce, the soldiers and their wives join the warlike chants.
Third act
A narrow and dark canyon dominated by Stirling Castle, built on a steep rock. It's night
Scene 1. Bruce looks forward to the fight with confidence. Scotland will finally be free again and its children murdered by the English will be avenged (Cavatine: "Oui, demain l'Écossais, libre, essayant ses pleurs").
Scene 2. Douglas and Dickson arrive with a group of gypsies and jugglers. Douglas shows Bruce a hidden path under the rocks (scene and chorus: “Cette route souterraine”). Dickson wants to mingle with the jugglers invited into the castle in order to get in unnoticed. An oak tree that Dickson will set on fire at midnight will serve as a signal for the attack. Dickson and the Gypsies move away.
Scene 3. Bruce, Douglas, Knights, Highlanders and Scottish soldiers prepare for battle.
A ballroom in Stirling Castle
Scene 4. King Édouard and his knights drink and celebrate (chorus: “Buvons, buvons, il faut saisir, amis, les heures du plaisir”). The jugglers dance ( pas de trois and pas de deux ). With them Dickson was let into the castle.
Scene 5. After another dance (danced chorus: “Jeune fille de la montagne”) Morton interrupts the celebration to inform the king that the Scots have taken up arms. Édouard does not want to let the pleasure spoil. Tomorrow is enough time to defeat them. Morton goes on to say that Robert Bruce almost fell into his hands. When Édouard asks the reason for his escape, Arthur steps forward and accuses himself. Édouard disarms him, breaks his sword and hands him over to the executioner. As the guards approach, Marie makes her way through the crowd with a cry of horror. Nelly accompanies them.
Scene 6. Marie accuses herself of complicity with Arthur because she wants to die with him (sextet and chorus: “Puisqu'un destin barbare à jamais nous sépare”). Arthur tries to convince the king that only he should be punished. Nelly begs Édouard for leniency. Nevertheless, Édouard orders the two to be executed immediately. As the guards approach Arthur to lead him away, trumpets herald the appearance of Bruce and his Scots. Convinced of the Scots' victory, Marie sues Édouard (Finale III: “Arrète et pour ta vie tremble à ton tour, bourreau”).
The background of the stage opens to reveal the fortress walls lit by a fire
Scene 7. The besiegers climb the battlements of the fortress. Morton brings the king a sword; the knights seek their weapons; the women run around excitedly. The gate is broken open. Bruce and Douglas enter, swords drawn, followed by the bards and Scottish knights with their banners. Soldiers and highlanders with torches occupy the walls. Marie falls into her father's arms. Bruce proclaims the victory of the Scots who demand the death of the butcher Édouard. Arthur throws himself between the soldiers and the king. He holds out the oak branch that Bruce has given them. Bruce urges Édouard to recognize his royal power and the independence of Scotland. Everyone praises Robert Bruce.
layout
In addition to the used parts of La donna del lago , the pasticcio Robert Bruce also contains music from Armida , Zelmira , Bianca e Falliero , Torvaldo e Dorliska , Moïse et Pharaon and Maometto II . Through the adaptation of Niedermeyer's and the idiomatic shift from Italian to French, the individual numbers were given a different tonal character in timbre and harmony than in the original. A saxophone also played here for the first time in the orchestra of the Opéra .
Music numbers
The opera contains the following musical numbers:
- overture
first act
- No. 1. Introduction (Bruce, Douglas, choir): “Robert! Robert! - mille angoisses mortelles "(scene 1)
- No. 2. Recitative and chorus (Bruce, Douglas, choir): “À ma fille, je l'espère” (scene 2)
- No. 3. Barcarole (Marie, Arthur): “Marie! à ce doux nom "(scene 4)
- No. 4. Recitative, duet and choir (Marie, Arthur, Bruce, Douglas, choir): "Est-ce moi qui fait naître" (scene 6)
- No. 5. Aria and chorus (Nelly, Dickson, choir): "Ce sont les clans de la montagne" (scene 8)
- No. 6. Couplets and choir (Nelly, choir): "Alerte, fillette" (scene 8)
- I er Air de danse. Pas de cinq
- II e Air de danse. Ecossaise
- No. 7. March, scene and cavatine (Édouard): "Pourquoi cesser vos jeux" (scene 9)
- No. 8. Finale (Nelly, Arthur, Édouard, Morton, Dickson, choir): “Sire! Douglas le noir "(Scene 10)
Second act
- No. 9. Intermediate act and scene (Douglas): "Le roi sommeille" (scene 1)
- No. 10. Aria (Douglas): "Que ton âme, si noble" (scene 1)
- No. 11th scene and Cavatine (Marie): “Oh! noble père! oui, de l'honneur c'est le langage "-" Ô saint amour "(scene 2)
- Recitative (Nelly, Marie, Arthur, Bruce): “Les Anglais! Ils cernent le château "(scene 3)
- No. 12. Duet (Marie, Bruce): “Loyale famille! sois fier de ta fille "(scene 5)
- Recitative (Marie, Arthur): "On m'a dit vrai" (scene 6)
- No. 13. Trio (Marie, Arthur, Bruce): “Sort funestre! mon Dieu! j'appelle les dangers "(scene 6)
- No. 14. Scene and choir (Marie, Arthur, Bruce, Douglas, Morton, choir): “Restez. - Qu'allez-vous faire? "(Scene 6)
- No. 15. Finale (Nelly, Marie, Arthur, Bruce, Douglas, choir): "La guerre sans trêve" (scene 8)
Third act
- No. 16. Cavatine (Bruce): "Oui, demain l'Écossais, libre, essayant ses pleurs" (scene 1)
- No. 17. Scene and choir (Douglas, Bruce, Dickson, choir): "Cette route souterraine" (scene 2)
- No. 18. Choir (Eduard, choir): "Buvons, buvons, il faut saisir, amis, les heures du plaisir" (scene 4)
- III e Air de danse. Pas de Trois
- IV e Air de danse. Pas de deux
- No. 19. Danced choir (choir): "Jeune fille de la montagne" (scene 5)
- No. 20. Sextet and choir (Nelly, Marie, Arthur, Édouard, Dickson, Morton, choir): "Puisqu'un destin barbare à jamais nous sépare" (scene 6)
- No. 21. Finale (Nelly, Marie, Arthur, Édouard, Bruce, Douglas, Dickson, choir): "Arrète et pour ta vie tremble à ton tour, bourreau" (scene 6)
Acquisitions
The three parts of the overture were taken from various operas by Rossini. The Allegro animato is based on the introduction to Zelmira, the Andante maestoso from Armida's Sinfonia , and the Allegro vivace from La donna del lago.
Bruce's bass introduction at the beginning of act 1 (No. 1) is an arrangement of a tenor cavatina from Zelmira. This is followed by larger parts from La donna del lago, including Marie's Cavatine “Calme et pensive plage” (No. 3), which is based freely on “O mattutini albori”, the following duet (No. 4) and Édouard's aria “La gloire est belle ”(No. 7). The old parts were taken from Armida , and the first finale (No. 8) is again from Zelmira.
The aria of Douglas in the second act (No. 10) comes from Torvaldo e Dorliska (there “Dunque invano i perigli e la morte”). Marie's aria “O saint amour!” (No. 11) is a new version of “O quante lagrime” from La donna del lago. The duet Marie / Bruce (No. 12) is an arrangement of “Soave conforto” from Zelmira, from which the following trio (No. 13) also comes.
Bruce's romance "Anges sur moi penché" at the beginning of the third act (No. 16) comes from Zelmira (there the Cavatine Polidoros "Ah! Già trascorse il dì"). The sextet (No. 20) is based on the quartet from Bianca e Falliero, and the finale is an excerpt from the finale of La donna del lago. The dance melodies were taken from Moïse et Pharaon .
Work history
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Léon Pillet , the director of the Paris Opéra , sought a new opera from Rossini in the mid-1840s. The reason was problems with the other composers working for him: Donizetti had collapsed before completing his Le duc d'Albe and was sent to a madhouse. Meyerbeer refused to entrust his already completed opera Le prophète to the mezzo-soprano Rosine Stoltz , Verdi was fully booked and Halévy had no further great success after La Juive in 1835. Rossini also refused to compose another opera. However, he said that La donna del lago was well suited for Paris and had not yet been performed satisfactorily there. In mid-1846, Pillet visited Rossini in Bologna together with the librettist Gustave Vaëz and the composer and arranger Louis Niedermeyer to conclude the negotiations. Pillet was soon leaving. For Vaëz and Niedermeyer, the work turned out to be unusually lengthy. Vaëz got support from Alphonse Royer , and it was decided to make a pasticcio from this work and parts of other operas by Rossini instead of a simple translation of Donna del lago . When selecting the pieces, they were presumably advised by Rossini, who, however, had no part in the realization and extensive revision of his music. On July 15, before they left for Paris, Rossini sent Niedermeyer and Vaëz a letter to Pillet in which he expressed his satisfaction with the work and asked Pillet not to change anything.
The premiere was initially planned for mid-December 1846 and was then postponed to December 23. This date is mentioned in the printed libretto. Due to an illness of the leading actress Rosine Stoltz, there was a further delay, so that the premiere could only take place on December 30th. Apart from Rosine Stoltz (Marie), Marie Nau (Nelly), M. Moisson (Page), Paul Barroilhet (Robert Bruce), Louis Paulin (Édouard II), Raffaele Anconi (Douglas-le-Noir), Geremia Bettini (Arthur), M. Rommy (Morton) and M. Bessin (Dickson). The opera was received mixed by the audience. Several singers were not in their best shape. A group of spectators tried to suppress the infestation of another group for Rosine Stoltz - which they got angry about and cursed from the stage. "Le mot de Cambronne " should also have fallen.
Rossini did not earn any money on the "new" opera. Niedermeyer, on the other hand, received 500 francs for each performance. Robert Bruce was played 30 times and re-recorded in the summer of 1848. The critics had a heated argument about this work. Charles-Edmond Duponchel , in particular , who had ambitions to lead the Opéra, attacked the potpourri defended by Pillet. Louis Desnoyers wrote a 136-page book about the disputes. He thought the opera was neither a new work nor a patchwork, but an adaptation or “completion” of La donna del lago. The Revue et Gazette musicale , strongly opposed to Rossini, condemned him, the editors and Pillet for their "desecration". In the Journal des débats, Hector Berlioz accused Rossini of “a lack of respect for the artistic details, which are what create real expressiveness and faithful reproduction”. The pianist Stephen Heller wrote a letter to the London newspaper The Musical World, in which he described Rossini as a "great seducer in music" and gave him "soft cavatins [...] passions [...] hypocritical expression [...] lack of taste [...]" banal and vulgar ideas ”. Rossini's wife, Olympe Pélissier, responded with an indignant letter to Pillet, in which she called Heller a “modern Midas ”. Rossini himself was insensitive to the attacks.
The scandals surrounding the performance ultimately led to Pillet having to give up his post and the reputation of the singer Rosine Stoltz was ruined. In the report of the Allgemeine Zeitung Munich it was stated, for example:
“After several postponements, the long-awaited first performance of the Rossini opera“ Robert Bruce ”at the Académie Royale finally took place on December 30th. This first performance could easily be the last. Mad. Stoltz, namely, the first singer in whose shackles the director of the opera has been so caught up for a number of years that he is the laughter of the city, and who has used her rule over him in this way for her benefit and to ruin the opera that this institute, despite a subsidy of 4 to 600,000 francs, is very close to going bankrupt, Madame Stoltz, who always managed to thwart the commitment of every somewhat talented singer and to oust the operas in which she did not have to sing from the repertory - Madame On the occasion of this first performance, Stolz finally experienced the public's disfavor in such a sensitive way, and through her behavior at that critical moment so completely spoiled it for the public that a recurrence would only attract her to new and vicious words. As for Robert Bruce himself, there is not one note new to this so-called “new opera”, it is a mere piecing together of different pieces from two years ago and now, thank God, forgotten operas by Rossini, Zelmire and Dona del Lago. The only thing new is the text that has been put under this patchwork. The execution on the part of the singing staff was one of the worst I have ever heard in great opera and quite worthy of the boring text of the hackneyed music. And for such a work 80,000 francs have been spent for the decorations and costumes! "
Nevertheless, Robert Bruce was played in Brussels in October 1847 and in The Hague in November. The piano reduction was included - certainly with Rossini's approval - in the Nuova compiuta edizione di tutte le opere teatrali published in the middle of the 18th century .
It was only performed again recently in Martina Franca in 2002. In this context, a critical edition has been prepared. A recording of the performance has been released on CD.
Recordings
- July 2002 (live from Martina Franca): Paolo Arrivabeni (conductor), Orchestra Internazionale d'Italia, Bratislava Sluk Chamber Chorus. Nicolas Rivenq (Robert Bruce), Davide Cicchetti (Édouard II.), Massimiliano Chiarolla (Douglas-Le-Noir), Simon Edwards (Arthur), Ramaz Chikhradze (Morton), Pietro Naviglio (Dickson and Barde), Iano Tamar (Marie) , Inga Balabanova (Nelly), Tiziana Portoghese (Page). Dynamic CDS 421 / 1-2 (2 CD).
Web links
- Robert Bruce : Sheet music and audio files in the International Music Score Library Project
- Libretto (French), Paris 1847. Digitized at Google Books
- Libretto (Italian), Milan 1847. Digital copy from the Biblioteca Nazionale Braidense
- Libretto (French and Italian) as full text. In: Tutti i libretti delle opere di Gioachino Rossini in the Internet Archive , pp. 3071–3220
- Robert Bruce (Gioachino Rossini) in the Corago information system of the University of Bologna
- Discography of Robert Bruce at Operadis
Individual evidence
- ↑ a b c d e f g h i j k l m n Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0 .
- ↑ a b c d Giancarlo Landini, Eva Pleus (transl.): Contribution to the CD supplement. Dynamic CDS 421 / 1-2, p. 18.
- ↑ Robert Bruce. Piano reduction at IMSLP.
- ^ A b Richard Osborne: Rossini Robert Bruce. CD review on gramophone , accessed May 1, 2016.
- ^ William Ashbrook: Robert Bruce (review). In: The Opera Quarterly. Volume 20, Number 2, Spring 2004, pp. 330-331 ( online ).
- ^ Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9 .
- ^ A b Philip Gossett : Divas and Scholars. Performing Italian Opera. University of Chicago Press, Chicago and London 2006, ISBN 978-0-226-30482-3 .
- ↑ Allgemeine Zeitung, Munich, January 2, 1847 ( digitized version )
- ↑ Arrigo Quattrocchi: The logic of self-plagiarism. In: Marco Beghelli: Rossini's "Eduardo e Cristina". Contributions to the first performance of the century. Leipziger Universitätsverlag, 1997, ISBN 3-931922-71-5 , p. 71.
- ↑ Sergio Segalini: Foreword to the CD supplement. Dynamic CDS 421 / 1-2, p. 8.
- ^ Gioacchino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
Demetrio e Polibio (before 1810) | La cambiale di matrimonio (1810) | L'equivoco stravagante (1811) | L'inganno felice (1812) | Ciro in Babilonia (1812) | La scala di seta (1812) | La pietra del paragone (1812) | L'occasione fa il ladro (1812) | Il signor Bruschino (1813) | Tancredi (1813) | L'italiana in Algeri (1813) | Aureliano in Palmira (1813) | Il turco in Italia (1814) | Sigismondo (1814) | Elisabetta regina d'Inghilterra (1815) | Torvaldo e Dorliska (1815) | Il barbiere di Siviglia (1816) | La gazzetta (1816) | Otello (1816) | La Cenerentola (1817) | La gazza ladra (1817) | Armida (1817) | Adelaide di Borgogna (1817) | Mosè in Egitto (1818) | Adina (1826) | Ricciardo e Zoraide (1818) | Ermione (1819) | Eduardo e Cristina (1819) | La donna del lago (1819) | Bianca e Falliero (1819) | Maometto II (1820) | Matilde di Shabran (1821) | Zelmira (1822) | Semiramide (1823) | Ugo re d'Italia (1824) | Il viaggio a Reims (1825) | Le siège de Corinthe (1826) | Ivanhoé (Pasticcio, 1826) | Moïse et Pharaon (1827) | Le comte Ory (1828) | Guillaume Tell (1829) | Robert Bruce (Pasticcio, 1846)