Both his parents were musicians, his father a horn player, his
mother
a singer; he learned the horn and singing and as a boy and sang in
at least
one opera in Bologna, where the family lived. He studied there and
began
his operatic career when, at 18, he wrote a one-act comedy for
Venice.
Further commissions followed, from Bologna, Ferrara, Venice again
and Milan,
where "La pietra del paragone" was a success at La Scala in 1812.
This
was one of seven operas written in 16 months, all but one of them
comic.
This level of activity continued in the ensuing years. His
first
operas to win international acclaim come from 1813,
written for different Venetian theatres: the
serious "Tancredi" and the farcically comic "L'italiana in
Algeri",
the one showing a fusion of lyrical expression and dramatic
needs, with
its crystalline melodies, arresting harmonic inflections and
colourful
orchestral writing, the other moving easily between the
sentimental, the
patriotic, the absurd and the sheer lunatic. Two operas
for Milan
were less successful. But in 1815 Rossini went to Naples as
musical and
artistic director of the Teatro San Carlo, which led to a
concentration
on serious opera. But he was allowed to compose for other
theatres, and
from this time date two of his supreme comedies, written for Rome,
"Il
barbiere di Siviglia" and "La Cenerentola". The former,
with its
elegant
melodies, its exhilarating rhythms and its superb ensemble
writing, has
claims to be considered the greatest of all Italian comic operas,
eternally fresh in its wit and its inventiveness. It dates from 1816;
initially it was a failure, but it quickly became the most loved
of his
comic works, admired alike by Beethoven
and Verdi. The next year saw
"La Cenerentola",
a charmingly sentimental tale in which the heroine moves from a
touching
folksy ditty as the scullery maid to brilliant coloratura apt to a
royal
maiden.
Rossini's most important operas in the period that followed were
for
Naples. The third act of his "Otello"
(1816),
with its strong unitary structure, marks his maturity as a musical
dramatist.
The
Neapolitan operas, even though much dependant on solo singing of
a highly
florid kind (to the extent that numbers could be, and have been,
interchanged),
show an enormous expansion of musical means, with more and
longer ensembles
and the chorus an active participant; the accompanied recitative
is more
dramatic and the orchestra is given greater prominence.
Rossini
also abandoned traditional overtures, probably in order to involve
his
audiences in the drama from the outset. In Naples the leading
soprano was
Isabella Colbran, mistress of the impresario, Barbaia. She
transferred
her allegiance to Rossini, who in 1822 married her; they were not
long
happy together.
Among the masterpieces from this period are "Maometto II" (1820) and, written for Venice at the end of his time in Naples, "Semiramide" (1823). Barbaia gave a Viennese season in 1822; Rossini and his wife returned to Bologna, then in 1823 left for London and Paris where he took on the directorship of the Théâtre-Italien, composing for that theatre and the Opéra. Some of his Paris works are adaptations ("Le siège de Corinthe" and "Moïse et Pharaon"); the opéra comique "Le Comte Ory" is part-new, "Guillaume Tell" wholly. This last, widely regarded as his "chef d'oeuvre", and very long, is a rich tapestry of his most inspired music, with elaborate orchestration, many ensembles, spectacular ballets and processions in the French tradition, opulent orchestral writing and showing a new harmonic boldness.
And then, silence. At 37, he retired from opera composition. He left Paris in 1837 to live in Italy, but suffered prolonged and painful illness there (mainly in Bologna, where he advised at the Liceo Musicale, and in Florence). Isabella died in 1845 and the next year he married Olympe Pélissier, with whom he had lived for 15 years and who tended him through his ill-health. He composed hardly at all during this period (the "Stabat mater" belongs to his Paris years); but he went back to Paris in 1855, and his health and humour returned, with his urge to compose, and he wrote a quantity of pieces for piano and voices, with wit and refinement that he called "Péchés de vieillesse" ('Sins of Old Age') including the graceful and economical "Petite messe solennelle" (1863). He died, universally honoured, in 1868.