Il viaggio a Reims

Gioachino Rossini

Gioachino Rossini (1792–1868) was the most celebrated Italian composer of his age, a master of both opera buffa and opera seria. Born in Pesaro, he penned nearly forty operas before the age of thirty-seven, including immortal works such as “Il barbiere di Siviglia,” “La Cenerentola,” and “Guillaume Tell.” “Adina, ovvero Il Califfo di Bagdad” (1818), though lesser-known, showcases all the melodic wit, rhythmic verve, and vocal brilliance that made Rossini the darling of Europe.

Rossini’s distinctive style, characterized by elegant melodies, rapid vocal passages, lively rhythms, and inventive orchestration, had a profound influence on nineteenth-century opera. His music combines theatrical energy with remarkable technical precision, allowing singers to display both virtuosity and expressive range. Even today, his operas remain staples of the international repertoire, admired for their wit, brilliance, and enduring freshness.

After retiring from the operatic stage at the height of his fame, he spent his later years in Paris as a revered cultural figure and gourmet.

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Il viaggio a Reims, ossia L’albergo del Giglio d’Oro is a one-act comic opera by Gioachino Rossini, with a libretto by Luigi Balocchi, composed in 1825 for the celebrations marking the coronation of Charles X in Reims. The action takes place at the spa hotel ‘Il Giglio d’Oro’ in Plombières, where distinguished European travellers are gathering before setting off for the ceremony: the fashion-conscious Countess of Folleville (who faints because her wardrobe has been delayed), the Roman poetess Corinna, the Marquise Melibea (a Polish widow), Lord Sidney (an Englishman secretly in love with Corinna), Cavaliere Belfiore, Don Alvaro (a Spaniard), the Count of Libenskof (a Russian), the Baron of Trombonok (a German music lover) and Don Profondo (a lover of antiquities). Amidst chaotic preparations, romantic jealousies, a comic sextet and the sudden lack of horses, Prosdocimo (or the chorus) watches with amusement as the ‘comic drama’ unfolds.

When it becomes clear that no horses are available for the journey to Reims, the disappointment gives way to a grand fourteen-part concertato: it is decided to celebrate in Paris instead, with a banquet at the hotel funded by the savings from the ceremony. There follows a series of reconciliations between the couples (Melibea and Libenskof, Corinna and Belfiore), national anthems improvised by the various guests, and an impromptu performance by Corinna, who draws the name of Charles X from the lottery box and sings his praises. The opera concludes with a choral triumph, dancing, toasts and acclamations for the king, whilst the general merriment celebrates the union of the European peoples under the banner of the restored monarchy.

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