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RossiniHis Life and Works$
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Richard Osborne

Print publication date: 2007

Print ISBN-13: 9780195181296

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195181296.001.0001

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Armida and the New Romanticism

Armida and the New Romanticism

Chapter:
(p.256) Chapter Thirty Armida and the New Romanticism
Source:
Rossini
Author(s):

Richard Osborne

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195181296.003.0030

By the autumn of l817, Naples had a new Teatro San Carlo, rebuilt and re-equipped after the fire, and a resident composer rather different from the one who had given it Elisabetta, regina d’Inghilterra and Otello. Stylistically speaking, the 25-year-old Gioachino Rossini was beginning to put on weight. This added girth and power, much in evidence in La gazza ladra and to some extent consolidated in Armida, can be attributed in part to the natural processes of maturation, though by this stage in Rossini’s career one has to reckon with other influences too. In Europe, Romanticism was taking on ever headier and more outré forms; in Naples the predilections of Isabella Colbran and Domenico Barbaja were becoming increasingly important. Colbran’s style and technique were drawing on Rossini’s newly enriched writing for the coloratura voice. In Armida, Rossini’s music loses some of its innocence.

Keywords:   Naples, Teatro San Carlo, Gioachino Rossini, Armida, Romanticism, Isabella Colbran, Domenico Barbaja

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