Tancredi

from Wikipedia, the free encyclopedia
Work data
Title: Tancredi
Title page of the libretto, Venice 1813

Title page of the libretto, Venice 1813

Original language: Italian
Music: Gioachino Rossini
Libretto : Gaetano Rossi
Literary source: Voltaire, Tancrède
Premiere: February 6, 1813
Place of premiere: Venice , Teatro La Fenice
Playing time: approx. 2 ½ hours
Place and time of the action: Syracuse in 1005
people
  • Tancredi, an exiled knight ( mezzo-soprano / alto )
  • Amenaìde, his secret lover ( soprano )
  • Argirio, her father ( tenor )
  • Orbazzano, rival Argirios ( bass )
  • Isaura, confidante Amenaìdes (old)
  • Roggiero, Squire Tancredis (soprano)
  • Nobles, knights, squires, people, Saracens ( choir )
  • Warriors, pages, guards, people, court ladies, Saracens (extras)

Tancredi is an opera in two acts by Gioachino Rossini , libretto by Gaetano Rossi , after the tragedy Tancrède of Voltaire . It premiered on February 6, 1813 at the Teatro La Fenice in Venice . For the twenty-year-old Rossini, the success of Tancredi meant advancement into the top tier of opera composers in Europe.

action

The opera is set in the Sicilian city-state of Syracuse in 1005. The city is at war with the Saracen armies under General Solamiro. At the same time, it is torn inside by civil war between the families of the nobles Argirio and Orbazzano. The nobleman Tancredi was expropriated and banished during the civil war and lives as a guest at the court of Byzantium. Tancredi met his daughter Amenaìde during a visit to the Syracuse noble Argirio, and the two have been secretly in love since then. However, there are two other men who are competing for Amenaìde's favor, the Syracusian nobleman Orbazzano, opponent of Argirio in the civil war, and the Saracen general Solamiro.

To end the feud between the warring families, Amenaìde is to be married to Orbazzano. In her need, she asks Tancredi by letter for help. However, the letter is intercepted and everyone believes it is addressed to Solamiro. Amenaìde is sentenced to death for high treason. Although Tancredi is also convinced of her guilt, he competes incognito in a duel with Orbazzano and thus saves her life. He then leaves the country to die in battle.

Rossini wrote two different finals for the opera. In the finale of the premiere in Venice , Tancredi wins the battle and learns from the dying Solamiro that the letter was addressed to him, Tancredi. The couple are happily united.

In the finale for the premiere in Ferrara , Tancredi was fatally wounded in battle and only found out when he was dying in the arms of Amenaìde that the letter was addressed to him.

first act

Gallery in the Palace of Argirio

Scene 1. At the beginning of the opera, Isaura and the knights of the city of Syracuse, besieged by the Saracens, celebrate the end of the civil war (introduction chorus / Isaura: “Pace - onore - fede - amore”). Two squires bring silver cymbals with white sashes. The knights embrace and take off their old blue or red sashes. Isaura ties the white sashes around them as a symbol of the new harmony.

Scene 2. Argirio and Orbazzano enter together. The newly won unity, they hope, will give them new strength in the fight against the siege. Orbazzano warns of betrayal by the exiled Tancredi. Orbazzano's anger has to fear especially, since he is said to have received Tancredi's goods and the hand of Amenaìde as the price for peace.

Scene 3. Amenaìde arrives with her ladies and other squires. After a hopeful chorus of women (“Più dolci, e placide spirano l'aure”), Amenaìde sings about her love for Tancredi, whose return she longs for (Cavatine: “Come dolce all'alma mia”). Argirio informs her of the decision to marry her to Orbazzano. The horrified Amenaìde had only recently secretly sent a letter to Tancredi with the request to return to Syracuse to help her. Since Orbazzano and Argirio want to have the wedding immediately, Amenaìde asks for a day's postponement in order to be able to collect himself and speak to her father.

Scene 4. Isaura regrets the fate of her friend Amenaìde and has bad premonitions.

Lovely garden in Argirios palace overlooking one of the most magnificent parts of it

In the background is the flower-covered bank of a bay, the waves of which wash the palace walls. A boat docks. Roggiero gets out and looks around. Tancredi follows him. Four squires carry his coat of arms, his lance and his shield, which is inscribed with the words "Loyalty" and "Honor". The squires remain in the background.

Scene 5. Tancredi has returned to Syracuse incognito. He is determined to risk his life for Amenaìde and longs to see her again (Cavatine: “Tu che accendi questo core” - “Di tanti palpiti”). Roggiero is supposed to secretly prepare them for his return.

Scene 6. Tancredi orders his squires to put up the shield with his coat of arms, still unknown in Syracuse, on the town square and to announce that an unnamed knight will join the town's fighters. Meanwhile, he is waiting impatiently for Roggiero's return and hides when he sees people coming.

Scene 7. Amenaìde, Argirio and his entourage appear in the garden. Argirio instructs his people to invite the wedding guests to the temple. He refuses a delay on the grounds that the city is threatened with new danger: The Moor Solamiro, who had previously advertised for Amenaìde, has arrived with his army. In addition, Tancredi has already arrived in Messina - if he turns up here as a rebel, certain death awaits him. Orbazzano would meanwhile go into the fight against the Moors, and it was her daughter's duty to support him with her love so that he would return victorious (Accompagnato: “La morte? / Della patria” - Aria: “Pensa che sei mia figlia” ).

Scene 8. After her father's warning, Amenaìde fears that her letter has put Tancredi in danger. Then he emerges from his hiding place and reveals himself. Concerned for his life, she advises him to flee and forget him (duet: “L'aura che intorno spiri”). Tancredi's reference to her love rejects her. Both lament the course of their long-awaited meeting and sadly part.

Scene 9. In the meantime, Roggiero has learned of Amenaìde's planned wedding with Orbazzano and the death sentence against Tancredi, and he laments his fate.

Public square by the city wall, which merges into the courtyard of a magnificent Gothic temple; ancient monuments

Scene 10. The nobles of the city gather to celebrate the wedding of Amenaìde with Orbazzano (chorus: “Amori - scendet”). The warriors and knights move in and praise Orbazzano (chorus: "Alla gloria, al trionfo, agli allori").

Scene 11. Desperate Tancredi, who has heard the last part of the choir, appears to watch the action. Roggiero follows him, concerned for his safety. Since Tancredi cannot be brought to his senses, he finally leads him forcibly into the background of the scene.

Scene 12. Squires initiate the bridal procession. Pages, ladies, noblemen and knights follow, among them Argirio, Amenaìde and Isaura. Tancredi breaks away from Roggiero and steps in front of Argirio. Without giving his name, he offers him his services as a soldier. While Argirio is still waiting for Orbazzano, Tancredi accuses her of infidelity. But when Argirio takes Amenaìdes hand to lead her into the temple, she refuses resolutely. She would sooner die than become Orbazzano's wife, whom she could not love.

Scene 13. Finally Orbazzano appears, who has heard Amenaìdes' words. Now he demands her death. His spies intercepted your letter, and since it has no recipient, Orbazzano assumes that it is intended for the enemy General Solamiro. Argirio reads the letter. In it, Amenaìde calls on her lover to come to Syracuse, to conquer and rule over his enemies. Everyone is shocked. Tancredi, who had doubts about Amenaìde's love before, is also ready to believe in her betrayal (Finale I: “Ciel che lessi! Oh tradimento!”). Only Isaura still stands by her. Everyone complains about the terrible course of the day (Tutti: “Quale infausto orrendo giorno”).

Second act

Gallery in Argirios Castle with a small table and elegant armchairs

Isaura sunk in deep pain; Orbazzano trembling with rage; various groups of troubled and indignant knights.

Scene 1. Orbazzano had made one more attempt to defend Amenaìde, but was turned down by her. Now he is deeply offended. He wants to see that the death penalty is imposed on them.

Scene 2. Argirio is supposed to sign the death sentence for his own daughter. Although he accepts the reasons, he hesitates. After Isaura's interjection (“È tua figlia!” - “She is your daughter”), his true feelings break out (recitative: “Oddio! - Crudel!” - aria with chorus: “Ah! Segnar invano io tento”). Only when Orbazzano reminds him of his duty to the fatherland and the law does he renounce Amenaìde and sign. Argirio and the knights leave the scene.

Scene 3. Isaura accuses Orbazzano of his excessive cruelty and warns him of God's punishment. After he leaves, she prays for peace for her friend's soul (aria: “Tu che i miseri conforti”).

Pasquala Canna: set design second act, second image, Naples 1824 or 1827

jail

Scene 4. In prison, Amenaìde laments her impending unjust death. She hopes that at least Tancredi will find out that she died innocently (scene: "Di mia vita infelice" - Cavatine: "No, che il morir non è").

Scene 5. Orbazzano and Argirio appear with the guards and other knights to pick up Amenaìde for their execution. Although Argirio thinks his daughter is guilty, he at least wants to say goodbye to her. Amenaìde continues to plead her innocence. It could not be a criminal offense that she called her lover to protect the fatherland. Orbazzano, however, regards this as just further evidence of their betrayal. He asks the group if a knight wants to fight him for them.

Scene 7. At this moment, Tancredi in disguise reports to the prison door. In order to save Amenaìde's life, he challenges Orbazzano to a divine judgment through a duel, although he is eaten away by doubts about Amenaìde's fidelity. He doesn't want to give his name until Orbazzano lies in the dust in front of him. Orbazzano accepts the challenge and makes his way to the battlefield.

Scene 8. Tancredi points out to Amenaìde that he did not come to prove her innocence, but to punish her. Argirio embraces him with emotion and asks him in vain to give his name (recitative: "M'abbraccia Argirio"). Both are torn between their love for Amenaìde and the desire for revenge (duet: "Ah se de 'mali miei"). The trumpets call for battle and they both move away.

Scene 9. Amenaìde calls her friend Isaura over. They regret that the hero thinks they are guilty, but are grateful for his intervention.

Scene 10. Argirio couldn't bear to watch the fight and returns to the two women. Amenaìde prays for Tancredi (aria: "Giusto dio che umile adoro"). The choir is already calling out to announce the end of the fight. The knights then report on the victory of the unknown hero. Orbazzano fell. Amenaìde can hardly believe her luck.

Scene 11. After everyone else has left, Isaura wonders at the quick twists and turns of fate.

Great place in Syracuse

Scene 12. To the cheering of the people, the victorious Tancredi is led in in a triumphant carriage (chorus: “Plaudite, o popoli”). He carries Orbazzano's weapons as trophies. The squires bring his own coat of arms, and Roggiero his shield. Despite his victory, Tancredi is desperate. He has therefore decided to leave the country to die far away.

Scene 13. Amenaìde steps in to change Tancredi's mind - but he can no longer trust her. Amenaìde begs him to kill her rather than leave (duet: "Lasciami: - non t'ascolto" - "Ah sì mora, e cessi omai"). Both move away.

Scene 14. Roggiero has decided to follow Tancredi into exile. Isaura assures him that Amenaìde is innocent. Although she has vowed to remain silent, it is now time to reveal the truth.

Scene 15. Roggiero has hope for his friend again (aria: “Torni alfin ridente, e bella”).

Mountain range with canyons and waterfalls that unite to the Arethusa

A forest covers part of the plain; the Etna in the distance; the sun is in the west and is reflected from the sea on the other side. African tents spread out on the mountains. Some caves. During the ritornello, Tancredi can be seen climbing up and down, sighing, and then pausing.

Scene 16. At the sight of the rugged area Tancredi laments his betrayed love (scene: “E dove son! Fra quali orror mi guida” - Cavatine: “Ah! Che scordar non so”). He sits down on a stone at a cave entrance and lets himself go to his thoughts. Meanwhile, on the mountain and in the forest, Saracen soldiers approach the camp to ask Tancredi for help in the fight against their enemy Solamiro (Saracen chorus: “Regna il terror nella città”). Tancredi is relieved to still be able to serve his fatherland in this way.

Scene 17. Argirio is now convinced of Amenaìde's innocence. Together with Isaura and her knights and soldiers, the two went in search of Tancredi and now they meet him. Amenaìde explains to Tancredi that the letter was addressed to him and not to Solamiro, whom she detests. Tancredi is moved, but still doesn't believe her. When a barbaric march can be heard in the distance, Tancredi notices the coat of arms of Solamiro on the approaching Saracens.

Scene 18. Saracens approach with an olive branch and a crown to offer them to Amenaìde on behalf of Solamiros. For Tancredi, this proves Amenaìde's infidelity. After the Saracens have withdrawn, he confirms his decision to fight Solamiro and leaves with Roggiero and some of the knights.

Scene 19. Amenaìde and Argirio are appalled by Tancredi's behavior. Argirio follows him with the other knights to support him in the fight.

Scene 20. Amenaìde and Isaura anxiously await the outcome of the battle.

Scene 21. Tancredi, Argirio, Roggiero and the knights return victorious. Tancredi killed Solamiro, who was able to confirm Amenaìde's innocence with his last words. He asks her forgiveness for his distrust. The lovers are reunited and sing about their new happiness together with Argirio (Finale II: “Tra quei soavi palpiti”).

Finale of the second version

The alternative version starts in scene 16 of the original version after Tancredi's Cavatine. In the new numbering this is scene 14.

Scene 14b. Instead of the Saracens of the original version, the native knights appear in search of Tancredi. They ask him for help in the fight against Solamiros Saracens (choir of knights: "Regna il terror nella città").

Scene 15. Amenaìde and Argirio join them. However, they do not get an opportunity to convince Tancredi of Amenaìde's innocence. He immediately joins the knights to go into battle (aria: “Perché turbar la calma”).

Scene 16. Isaura also arrives with some squires. Argirio follows Tancredi with the other knights, while the squires are supposed to watch over Amenaìde.

Scene 17. Amenaìde and Isaura are concerned about the outcome of the battle.

Scene 18. After the victory over the Saracens, Argirio and the knights bring the fatally wounded Tancredi (chorus: “Muore il forte, il vincitor”). Only now can Argirio explain to him that Amenaìdes' intercepted letter was not addressed to Solamiro but to himself. Tancredi says goodbye to his lover, dying.

layout

Instrumentation

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

  • two flutes / piccolo, two oboes / cor anglais, two clarinets, two bassoons
  • two horns, two trumpets
  • Timpani, "Banda turca"
  • Strings
  • Continuo

Music numbers

The opera contains the following musical numbers:

  • overture

first act

  • No. 1. Introduction (choir, Isaura): "Pace - onore - fede - amore" (scene 1)
  • No. 2. Choir: "Più dolci, e placide spirano l'aure" (scene 3)
    • Cavatine (Amenaìde) "Come dolce all'alma mia" (scene 3)
  • No. 3. Recitative: “Oh patria! dolce e ingrata patria! "(scene 5)
    • Cavatine (Tancredi): "Tu che accendi questo core" - "Di tanti palpiti" (scene 5)
  • No. 4. Recitativo accompagnato (Argirio): “La morte? / Della patria "(scene 7)
    • Aria (Argirio): "Pensa che sei mia figlia" (scene 7)
  • No. 5. Recitative: "Oh qual scegliesti" (scene 8)
    • Duet (Amenaìde, Tancredi): "L'aura che intorno spiri" (scene 8)
  • No. 6. Choir: "Amori - scendet" - "Alla gloria, al trionfo, agli allori" (scene 10)
  • No. 7. Recitativo istanbulale: “Da chi? - perché ... "(scene 13)
    • Finale I: “Ciel che lessi! oh tradimento! "(Scene 13)

Second act

  • No. 8. Recitative: “Oddio! Crudel! "(Scene 2)
    • Aria (Argirio, Isaura, choir): “Ah! segnar invano io tento "(scene 2)
  • No. 9. Aria (Isaura): "Tu che i miseri conforti" (scene 3)
  • No. 10th scene (Amenaìde): "Di mia vita infelice" (scene 4)
    • Cavatine (Amenaìde): "No, che il morir non è" (scene 4)
  • No. 11. Recitative: "M'abbraccia Argirio" (scene 8)
    • Duet (Tancredi, Argirio): "Ah se de 'mali miei" (scene 8)
  • No. 12. Recitative: “Gran dio!” (Scene 10)
    • Aria (Amenaìde): "Giusto dio che umile adoro" (scene 10)
  • No. 13. Choir: "Plaudite, o popoli" (scene 12)
  • No. 14. Recitative: “Fier incontro! E che vuoi? "(Scene 13)
    • Duet (Tancredi, Amenaìde): "Lasciami: - non t'ascolto" - "Ah sì mora, e cessi omai" (scene 13)
  • No. 15. Aria (Roggiero): "Torni alfin ridente, e bella" (scene 15)
  • No. 16 scene (Tancredi): “E dove son! Fra quali orror mi guida "(scene 16)
    • Cavatine (Tancredi): “Ah! che scordar non so "(scene 16)
    • Saracen choir: "Regna il terror nella città" (scene 16)
  • No. 17. Finale II: "Tra quei soavi palpiti" (scene 21)

music

In his first opera seria Tancredi , Rossini succeeded in combining lyrical expression with the necessities of the dramatic plot. The music is characterized by “refined balance and classical simplicity”. Major keys predominate. Rossini only uses C minor for the Amenaìdes prison scene, but her aria is already in major again. The playwright Giuseppe Carpani (1752–1823) described the music of Tancredi with the words "cantilena and always cantilena, beautiful cantilena, new cantilena, magical cantilena, extraordinary cantilena". In addition to the many virtuoso and lyrical solo pieces, the choral scenes, the grand first finale with its dramatic crescendo and the two duets by Tancredi and Amenaìde deserve special mention.

Particularly noteworthy are:

  • Recitative and Cavatine Tancredis (No. 3): “Oh patria! dolce e ingrata patria! ”/“ Tu che accendi questo core ”-“ Di tanti palpiti ”(first act, scene 5) - folk character full of surprising harmonic turns
  • The duet by Amenaìde and Tancredi (in No. 5): “L'aura che intorno spiri” / “Quale per me funesto” (first act, scene 8) - multi-part form: beginning of Amenaìdes - Tancredi's answer (Allegro giusto) - more lyrical Section (Andante) with parallel voices - modulating transition - Cabaletta (Allegro)
  • Argirios' aria (in No. 8): “Ah! segnar invano io tento ”(second act, scene 2) - extensive decorations
  • The Cavatine Amenaìdes (in No. 10): "No, che il morir non è" (second act, scene 4) - according to Charles Osborne "both dignified and moving"
  • The aria Amenaìdes (in No. 12): "Giusto dio che umile adoro" (second act, scene 10) - Charles Osborne marks the cabaletta with the expression "exhilarating lightness of spirit"
  • The duet by Amenaìde and Tancredi (in No. 14): "Lasciami: - non t'ascolto" - "Ah sì mora, e cessi omai" (second act, scene 13) - middle section in the mediante ; According to Charles Osborne, one of the highlights of the opera and an outstanding example of the bel canto style
  • The Cavatine Tancredis (in No. 16): “Ah! che scordar non so "(second act, scene 16) - the introduction contains a" melody from Verdian expanse "
  • Tancredi's dying scene in the second version: chamber music accompaniment and an expressive vocal line. According to the Harenberg opera guide, it is “one of the most effective that Rossini has ever composed”.

Work history

Giuditta Pasta as Tancredi (1822)

Tancredi is Rossini's first opera seria . He was commissioned by the Teatro La Fenice in November 1812 when he was in Venice for the premiere of L'occasione fa il ladro . The theme and librettist for the opera had already been determined at this point. The libretto by Gaetano Rossi was an adaptation of the tragedy Tancrède by Voltaire, which premiered in 1760 . In this model, the hero Tancredi dies on the battlefield and only learns in his last breath that Amenaìde was loyal to him. The statement by some authors that Rossi also used some episodes from Torquato Tasso's Gerusalemme liberata as a template is not tenable, since the historical context of the two works does not match. There are also no similarities in the plot. In order to meet the tastes of the Italian audience - there operas with tragic endings were not particularly popular at the time of the premiere - Rossi created a happy ending, deviating from the original.

Due to the importance of the opera for the Teatro La Fenice , Rossini asked for payment of 600 francs, but according to Alexis Azevedo received only 500 after some negotiations.

Because of his previous work for the Teatro San Moisè ( L'occasione fa il ladro and Il signor Bruschino ), Rossini hardly had time to compose Tancredi. Perhaps that is the reason why he reused that of La pietra del paragone as an overture .

The first performance took place on February 6, 1813 in the Teatro La Fenice. Adelaide Malanotte-Montresor (Tancredi), Elisabetta Manfredini-Guarmani (Amenaìde), Teresa Marchesi (Isaura), Carolina Sivelli (Roggiero), Pietro Todràn (Argirio) and Luciano Bianchi (Orbazzano) sang. According to newspaper reports, both the premiere and the subsequent performance had to be canceled during the second act because the two leading actresses were indisposed. The first full performance came on February 12th. The success wasn't great and Rossini made some changes during the season. There were a total of fifteen performances at the Teatro La Fenice.

In the same year the opera was also performed in Ferrara. For this revival, the writer Luigi Lechi - the lover of the leading actress Adelaide Malanotte - suggested that instead of the weak ending of the original version, the original ending of the drama by Voltaire should be composed. His version was based closely on Voltaire's verse structure. Rossini wrote a new choir for this (the soldiers seeking help are no longer Saracens, but Syracuse), as well as two arias: Tancredi's Rondo “Perché turbar la calma” (scene 15) and “Amenaìde… serbami tua fé” at the end the Opera. This version was well received by the audience. However, some people feared that "the sight of such sad scenes could affect their digestion." Therefore Rossini withdrew the changed finale and used the music for other purposes. The choir “Muore il forte, il vincitor” later appears in Aureliano in Palmira . The score of the Ferrara finale was long thought to be lost. It wasn't rediscovered until the 1970s.

Pauline Viardot-Garcia as Tancredi - Théâtre-Italy - Paris 1840

A third version was first performed on December 18, 1813 at the Teatro Re in Milan. It again has the happy ending of the first version, but also contains Tancredi's Rondo of the second version. There are also three new arias, Roggiero's “Torni d'amor la face” and Argirio's “Se ostinata ancor und cedi” and “Al campo mi chiama”, although it is not clear to what extent they originate from Rossini himself.

The opera quickly spread across Italy. In 1816 there was the first performance outside of Italy in Munich. In translations (German, Polish, Czech, Spanish, French, Hungarian, Swedish, Russian and English) it was also used in other European countries as well as North, Central and South America and established Rossini's international fame. The performance aria by Tancredi “Di tanti palpiti” in particular achieved enormous popularity. It was known as the "rice aria" because, according to legend, Rossini had declared that it took him no longer to compose it than it took to cook rice. Richard Wagner parodied the melody in his Mastersingers of Nuremberg in the “Choir of Tailors”.

Like most bel canto works, the Tancredi also disappeared from the repertoire towards the end of the 19th century. Only in 1952 was there another successful performance at the Festival Maggio Musicale Fiorentino with Giulietta Simionato (Tancredi) and Teresa Stich-Randall (Amenaìde) under the musical direction of Tullio Serafin . Since then there have been a number of other performances in Europe and the USA, the success of which u. a. the mezzo-soprano Marilyn Horne is to be thanked for the title role a. a. sang in Houston (1977), Aix-en-Provence (1981), Venice (1981/83) and Chicago (1989). In 1977 a preliminary critical edition of the score was published. The second version was also played several times. The third version was performed in 1991 at the Rossini Opera Festival Pesaro .

Discography

Tancredi has appeared many times on phonograms. Operadis lists 26 recordings in the period from 1968 to 2007. For this reason, only those recordings that have been particularly recognized in specialist journals are listed below.

literature

Web links

Commons : Tancredi  - collection of images, videos and audio files

Individual evidence

  1. ↑ Tancredi. Notes on the Critical Edition by Philip Gossett , accessed November 13, 2015.
  2. ↑ Tancredi (1813) - Sommario on librettidopera.it , accessed on November 13, 2015.
  3. ↑ Information on the work on CD Naxos 8.660037-38 , accessed on May 17, 2016.
  4. ↑ a b c d e f g Tancredi. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , p. 764 f.
  5. ↑ a b c d e f g h i Richard Osborne: Rossini - life and work. Translated from the English by Grete Wehmeyer. List Verlag, Munich 1988, ISBN 3-471-78305-9 .
  6. ↑ a b c d e f g h i Charles Osborne : The Bel Canto Operas of Rossini, Donizetti, and Bellini. Amadeus Press, Portland, Oregon, 1994, ISBN 978-0-931340-71-0 .
  7. ↑ a b c d e Norbert Miller: Tancredi (1813). In: Piper's Encyclopedia of Musical Theater. Vol. 5. Works. Piccinni - Spontini. Piper, Munich and Zurich 1994, ISBN 3-492-02415-7 .
  8. ↑ a b c d e f g Herbert Weinstock : Rossini - A biography. Translated by Kurt Michaelis. Kunzelmann, Adliswil 1981 (1968), ISBN 3-85662-009-0 .
  9. ^ Discography on Tancredi at Operadis, accessed on November 7, 2016.
  10. ↑ a b Gioachino Rossini. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.