Rossini and Post-Napoleonic Europe

Warren Roberts

doi:10.1017/9781782046363

This book examines Rossini within the context of his own time, one of Napoleonic domination of Italy, restoration of the Bourbon monarchy in Naples in 1815, and the 1830 Revolution in Paris. Using thetechniques of the historian, and reading librettos as texts, the author analyzes the five operas treated in detail in the book (Il barbiere di Siviglia, Cenerentola, La gazza ladra, Matilde di Shabran, and Il viaggio a Reims) as responses, each in its own way, to the history that the composer experienced. Roberts shows that Rossini made probing commentaries on politics and religion in a time of reaction and revolution, and that the composer was well-informed on post-Napoleonic politics. Rossini's comic writing served very serious purposes, exposing the problems and complications of an age that he observed with striking clarity.

Warren Roberts is Professor Emeritus of History at the University at Albany, SUNY, and has published extensively on eighteenth-century French culture.

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

Acknowledgments
pp vii-viii

Introduction
pp 1-5

1 - Setting the Stage: Opera Buffa and Comedy of Manners in an Age of Democratic Revolution
pp 6-32

2 - Rossini, Mozart, Paisiello, and the Barber of Seville
pp 33-62

3 - Jane Austen, Goya, Rossini, and the Post-Napoleonic Age: La Cenerentola
pp 63-94

4 - Rossini, Beethoven, and Rescue Opera: Fidelio and La gazza ladra
pp 95-123

5 - Rossini, Ferretti, Matilde di Shabran, and the Revolution of 1820–21
pp 124-151

6 - Stendhal and Rossini in Paris: Il viaggio a Reims, Le Comte Ory, and the July Revolution
pp 152-193

Conclusion: Thinking about Rossini
pp 194-204

Notes
pp 205-218

Bibliography
pp 219-228

Index
pp 229-233

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