Gioachino Rossini chooses Semiramide as the opera subject of the Carnival season 1822-23, the last of his Italian career. The opera - composed on a libretto by Gaetano Rossi - was performed for the first time in Venice, Teatro La Fenice, on February 3rd 1823. The history of this work is characterized right from the first performances by frequent manipulations, cuts and consecutive adjustments because of its monumental structure. This reduction for voice and piano, based on the critical edition of the full score, offers a new point of view of Semiramide through the reconstruction of the main phases of its rich executive history. In addition to the musical texts there are - both in Italian and in English - an historical Introduction (in the first volume) and a Critical Commentary to the musical text (in the second volume). In the three Appendices of the edition are then published the vocal variants recovered from the original parts (some in Rossini's hand), the original version of the conclusion of the Semiramide's Cavatina and a version of the Finale secondo composed by Rossini for the Parisian version of 1825. / Voix Et Piano

Edizione Critica F. Della Seta - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Composed in 1818 on commission from an unknown individual in Lisbon, Adina was left to languish some years until its premiere in 1826, with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score, which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers and repurposed another three from Sigismondo, Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources, including a complete manuscript copy (housed at the British Library in London), various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels), and the first edition of the vocal score published by Ricordi between 1855 and 1859, additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score, with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera, this Coro, the music of which survives in the first vocal score, is included as an Appendix to the edition. / Niveau : Intermédiaire / Répertoire / Chant et Piano

Ed. Tradizionale (Parenti) - Opera Completa. Par ROSSINI GIOACHINO. Opera Completa Per Canto E Pianoforte (Parenti)/ Répertoire / Chant et Piano

Per Mezzozoprano E Pianoforte. Par ROSSINI GIOACHINO. Dall'Opera Il Barbiere Di Siviglia/ Répertoire / Chant et Piano

Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Classique / Rép Classique / Répertoire / Chant et Piano

Great singers whose compositions also won the respect of their contemporaries: Rossini's favorite tenor, Manuel Garci; his daughter, Maria Malibran, the most brilliant diva of her age; and the younger daughter, Pauline Viardot, famous opera singer and voice teacher. All three used profound knowledge of music and of bel canto to create songs in French, Spanish, and Italian.