#Rossini A.

[libriaco]

Enimma

Un enimma di Angelo Rossini (Galeno)

Sono grosso e rotondo appena nato, ma sono pure fragil per natura, e se a me stesso fossi abbandonato in breve toccherei grave iattura. A scongiurar però maligno fato altri mi veste con assidua cura, e di reggermi in piedi alfin m'è dato, cosa che mi negò madre natura. Più tardi m'empio il ventre, e alfin, diviso dal patrio suolo, in altri lidi porto de' toschi colli il genïal sorriso. Se v'è taluno mai cui non riesca di svelare l'enimma, o malaccorto, mi prenda qual blasone e non gl'incresca!

(oɔsɐıɟ lI)

Dedicato a MEC che prima o poi riuscirà ad andare a Montefiascone.

Angelo Rossini (Galeno), Manuale dell’enigmofilo [1895]. Seconda ediz., Roma, Tip. Naz. di G. Bertero e C., 1905

[Si vede, sì, che Galeno è l'anagramma di Angelo?]

Il libro del Rossini, su Archive, ha un ex libris dell’ing. Cesare Premazzi*:

E quindi? E quindi a domani, per una coincidenza.

(*) L'ing. Cesare Premazzi (1899-1980), mantovano, era un collezionista librario. La sua biblioteca, di circa 8000 volumi, costituisce un fondo a suo nome nella Biblioteca Teresiana di Mantova.  "Il fondo comprende una parte antica e una moderna. La prima si compone di 317 libri di cui 25 edizioni del XVI secolo, fra le quali 12 edizioni mantovane e 7 del XVII secolo: il volume più antico è stato pubblicato a Milano nel 1505 dal tipografo e umanista Alessandro Minuziano"... [Da: ArchivioDeiPossessori]

[manwholovescabins]

he’s gay he’s working to take down capitalists and he loves barber of seville. i know all i need to know.

[gelphiegifs]

If there is one thing Brazilian gelphie is going to do is give each other a little kiss

Bonus: an almost kiss.

[auspexsims]

[issela-santina]

Rossini really said medieval history yuri and got ignored for centuries huh

[schweizercomics]

Hey, friends! Opera fella Alek Shrader is launching his kickstarter for the HOUSE OF BARTOLO (a classic horror movie aesthetic production of Rossini's BARBER OF SEVILLE) set that I got to design and do the art for; it's a 2 foot/60 cm-wide model of Bartolo's gothic villa, at roughly the 28mm (1/56) scale common to gaming.

You can follow the kickstarter campaign (no obligation) so that you'll be notified when it launches in mid-June.

The set comes with figures of the entire cast (each leaning into a classic horror movie type (Abrogio is a Frankenstein, the notary is an invisible man, Berta is a creepy nurse, Almaviva is a dracula but his disguises are a headless horseman, an opera phantom, that kind of thing, Figaro is a wolfman, etc).

It was a real joy to help make and I'll talk about it more at length in the coming weeks, but I'm told that Kickstarter campaigns tend to have better legs if folks are following them ahead of time, so I wanted to help Alek out by spreading the word. If you know anyone who might be keen on this sort of thing, I hope you'll steer them towards it!

[derring-do]

Opera Streams: Mid-Late November 2024

15th: Rameau's Platée from Garsington Opera. Featuring Samuel Boden, Robert Murray, and Henry Waddington. Free!

15th: Rossini's Il Turco in Italia from Teatro Galli Rimini. Featuring Nahuel di Pierro, Elena Galitskaya, and Francisco Brito. Free!

17th: Verdi's Giovanna d'Arco from Malmö Opera. Featuring Ania Jeruc, Bror Magnus Tødenes, and Fredrik Zetterström. Rental.

17th: Handel's Theodora from Teatro Real. Featuring Julia Bullock, Joyce DiDonato, and Iestyn Davies. Subscription.

19th: Bizet's Carmen from San Francisco Opera. Featuring Eve-Maud Hubeaux, Jonathan Tetelman, Christian Van Horn, and Louise Alder. Rental (according to their website that is, but last time they just... didn't charge me).

22nd: Stravinsky's The Rake's Progress from Den Norske Opera & Ballett. Featuring Thomas Atkins, Mari Eriksmoen, and Aleksander Nohr. Free!

30th: Verdi's La Forza del Destino from Gran Teatre del Liceu. Featuring Anna Pirozzi, Brian Jagde, Artur Rucinski, and John Relyea. Free!

UPDATE: The Donizetti Festival is streaming all of this year's opera productions via subscription and/or rental on their platform for an indefinite period.

22nd: Don Pasquale

23rd: Roberto Devereux

29th: Zoraida di Granata

Plus: all of the Met's Puccini recordings, video and audio, are FREE through the end of the month!

[the-scarlet-witch-22]

actually writing for the first time in weeks... conductor!agatha is home <3

(actually working on a standalone one shot set after chaconne but before lark, introducing Agatha's insane cello playing ex wife)

[holly-days]

by John Rossini

[opera-shitpost]

Also belated, but here are the promised tumblr text posts ft. the three of Le Comte Ory!

[feliscatussohn]

Romantic Composers and their resemblance to popular Chinese dishes

For Chinese speakers: original Chinese ver. under the cut

[clouds-of-wings]

I just realized that the "La calunnia..." aria from the Barber of Seville is actually totally irrelevant to the plot. Basilio has his big conniving villain speech and explains his plan only for Bartolo to immediately shoot the idea down and spend the rest of the opera trying to shoo Almaviva away like an annoying mosquito instead. Which means the aria is there purely because Rossini and Sterbini wanted it to be there. Whether it is because they were proud of their cool analysis of how slander works or because an opera is just only half as good if you don't have a villainous bass with a big dramatic aria where he explains how evil he is. I support it either way of course. In this time where film villains just aren't what they used to be, we need evil basses to fill that void more than ever.

[sgiandubh]

Sunday sounds: this is how it's done

This is for that stupid coo, the Sad Mythomaniac, who literally sees me everywhere. And especially where I am not and never have been.

Don Basilio's aria of Rossini's Barber of Seville is, perhaps, the best operatic description of calumny ever to have been written. It pictures perfectly how the most absurd libel can worm its way around unsuspecting minds. And how, most of all, as Beaumarchais famously once said, 'il en restera toujours quelque chose' (something will always remain).

And nobody, really nobody on this planet sang it better than Ruggero Raimondi. Here, in a very rare recording with Claudio Abbado, in Versailles' Théâtre de la Reine (1980):

[auspexsims]

[illustratus]

Maria Malibran as Desdemona in Rossini's Otello by Henri Decaisne