- The formative years (1792-1810)
- Venice and Milan (1810-14)
- Arrival in Naples
- Rome and Il barbiere di Siviglia (1816)
- Naples, Rome, and Milan (1816-17)
- Mosè in Egitto and return to Pesaro (1818)
- 1819-21
- Vienna, Verona, Venice (1822-3)
- Paris and London (1823-4)
- Paris (1824-9)
- Retirement from operatic composition
- Bologna, Paris, Madrid (1829-35)
- Paris, the Rhineland, and return to Italy (1835-46)
- Times of Barricades and Assassinations: Bologna, Florence, and departure from Italy (1847-55)
- Return to Paris
- Saturday soirées and a new Mass
- Last years (1865-8)
- Entr’acte: some problems of approach to the works
- The early operas
- Demetrio e Polibio
- La cambiale di matrimonio
- L’equivoco stravagante
- L’inganno felice
- Ciro in Babilonia
- La scala di seta
- La pietra del paragone
- L’occasione fa il ladro
- Il Signor Bruschino
- Overtures
- Tancredi: heroic comedy and the forming of a method
- L’italiana in Algeri: formal mastery in the comic style
- Milan and Venice (1813-14)
- Aureliano in Palmira
- Il turco in Italia
- Sigismondo
- Arrival in Naples (1815-16)
- Elisabetta, regina d’Inghilterra
- La gazetta
- Otello
- Il barbiere di Siviglia and the transformation of a tradition
- La Cenerentola: an essay in comic pathos
- La gazza ladra and the semiseria style
- Armida and the new romanticism
- Mosè in Egitto (1818-19) and Moïse et Pharaon (1827)
- Ermione and other operas
- Adelaide di Borgogna
- Adina
- Ricciardo e Zoraide
- Ermione
- Eduardo e Cristina
- Rossini and Scott: La donna del lago
- Final operas in Italy
- Bianca e Falliero
- Matilde di Shabran
- Zelmira
- Semiramide
- Maometto II (1820) and Le siège de Corinthe (1826)
- Il viaggio a Reims (1825) and Le Comte Ory (1828)
- Guillaume Tell
- Sacred Music
- Messa di Gloria
- Stabat mater
- Petite messe solonnelle
- Vocal and piano music
- Early songs
- Giovanna d’Arco
- Les soirées musicales
- Péchés de vieillesse
Topics covered by this book
- Moïse et Pharaon (drama) • p208 • Chapter 29: Mosè in Egitto (1818-19) and Moïse et Pharaon (1827)
- Armida (drama) • p202 • Chapter 28: Armida and the new romanticism
- La Cenerentola (drama) • p192 • Chapter 26: La Cenerentola: an essay in comic pathos
- L’italiana in Algeri (drama) • p159 • Chapter 22: L'italiana in Algeri: formal mastery in the comic style
- Tancredi (drama) • p152 • Chapter 21: Tancredi: heroic comedy and the forming of a method
- Mosè in Egitto (drama) • p40 • Chapter 6: Mosè in Egitto and return to Pesaro (1818)
- Mosè in Egitto (drama) • p208 • Chapter 29: Mosè in Egitto (1818-19) and Moïse et Pharaon (1827)
- La donna del lago (drama) • p223 • Chapter 31: Rossini and Scott: La donna del lago
- Il barbiere di Siviglia (drama) • p28 • Chapter 4: Rome and Il barbiere di Siviglia (1816)
- Il barbiere di Siviglia (drama) • p184 • Chapter 25: Il barbiere di Siviglia and the transformation of a tradition
- Guillaume Tell (drama) • p35 • Chapter 250
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