Semiramide

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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Semiramide is a tragic opera in two acts by Gioachino Rossini, with a libretto by Gaetano Rossi, first performed in Venice in 1823. The story centres on Semiramide, Queen of Babylon, who conspires with Prince Assur to murder her husband, King Nino. Mystery looms over the murder: the young commander Arsace, sent from Scythia, wins the queen’s love and provokes the fury of Assur, who demands the crown as a reward for the crime. But Arsace is unaware of his true origins; the high priest Oroe, keeper of the secret, reveals that he is in fact Ninias, son of Nino, who was secretly saved. Whilst Semiramide publicly chooses him as her husband and successor to the throne, the shadow of the murdered king appears from the tomb, heralding vengeance and dark omens.

In the second act, the tragedy hurtles towards catastrophe. Arsace, having learnt the truth, descends into the depths of Nino’s tomb, determined to exact his revenge. There, too, are Assur, tormented by remorse and madness, and Semiramide, who has come either to protect her beloved or to beg for forgiveness. In the darkness of the tomb, Arsace strikes Assur, but the blow also strikes Semiramide, who had interposed herself or was simply standing in the darkness. The dying queen recognises Arsace as her long-lost son and breathes her last in the arms of the dismayed people. Assur is led to his execution, and Arsace, freed from the burden of involuntary matricide, is proclaimed King of Babylon, whilst the chorus celebrates the end of the ancient sin and the triumph of divine justice.

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