Gioachino Rossini |

Gioachino rossini

Laakin fiidkii buluuga ahaa waa madoobaa, Waxaa la gaaray waqtigii aan masraxa opera imaan lahaa dhawaan; Waxaa jira Rossini farxad leh, gacaliyaha Yurub - Orpheus. Isaga oo iska indha tiray dhaleeceynta adag Isagu waa isku mid weligiis; weligeed cusub. Wuxuu ku shubaa dhawaaqyo - way karkarinayaan. Way qulqulaan, way gubaan. Sida dhunkashada dhallintayar wax walbaa waxay ku jiraan farxad, iyo ololka jacaylka, iyo sida durdur la wasakheeyey, iyo sida durdurro dahab ah. A. Pushkin

Ka mid ah laxamiistaha Talyaani ee qarnigii XIX ah. Rossini waxa ay degan tahay meel gaar ah. Bilawga dariiqa hal-abuurkiisa waxa ay ku soo beegantay xilli uu fanka talyaaniga oo aan aad u fogayn ka talin jiray Yurub uu bilaabay in uu dhulka lumiyo. Opera-buffa waxa ay ku haftay madadaalada aan maskaxda ku jirin, iyo opera-seria waxa ay u rogmatay hawlqabad fadhiid ah oo aan macno lahayn. Rossini ma aha oo kaliya dib u soo nooleynta iyo dib u habeynta opera talyaaniga, laakiin sidoo kale waxay saameyn weyn ku yeelatay horumarinta dhammaan fanka faneedka Yurub ee qarnigii la soo dhaafay. "Divine Maestro" - waxaa loogu yeeraa laxamiistaha weyn ee Talyaaniga G. Heine, kaas oo ku arkay Rossini "qorraxda Talyaaniga, oo ku luminaya falaadhaha quruxda badan ee adduunka."

Rossini waxa uu ka dhashay qoyska fannaaniinta faneed ee fanka ah iyo heesaa opera-ga gobolka ah. Iyadoo koox safar ah, waalidiintu waxay ku wareegayeen magaalooyin kala duwan oo dalka ah, iyo curiyaha mustaqbalka laga soo bilaabo caruurnimadii horeba wuxuu yaqaanay nolosha iyo caadooyinka ka taliya guryaha opera Talyaani. Dabeecad qallafsan, maskax majaajillo ah, carrab fiiqan ayaa ku wada nool dabeecadda Gioacchino yar oo leh muusiko khiyaano leh, maqal wanaagsan iyo xasuus aan caadi ahayn.

Sanadkii 1806, ka dib dhowr sano oo daraasado aan nidaamsaneyn oo ku saabsan muusikada iyo heesaha, Rossini wuxuu galay Bologna Music Lyceum. Halkaa, curiyaha mustaqbalka wuxuu bartay cello, violin iyo biyaano. Fasalada laxamiistaha kaniisadda caanka ah S. Mattei ee aragtida iyo halabuurka, is-waxbarasho degdeg ah, daraasad xamaasad leh oo ku saabsan muusigga J. Haydn iyo WA Mozart - waxaas oo dhan waxay u oggolaadeen Rossini inuu ka tago lyceum sida muusikiiste dhaqameed oo xirfad u leh. si fiican u curinta.

Horeba bilawgii hore ee xirfadiisa, Rossini wuxuu muujiyay jilbis gaar ah oo loogu talagalay masraxa muusikada. Waxa uu qoray opera ugu horeysay ee Demetrio iyo Polibio da'da 14. Laga soo bilaabo 1810, laxamiistaha ayaa sameeyay dhowr riwaayadood oo noocyo kala duwan ah sanad walba, si tartiib tartiib ah ayuu caan ugu noqday wareegyada opera-ga ballaaran oo uu ku guuleysto marxaladaha tiyaatarada Talyaaniga ugu weyn: Fenice ee Venice. , San Carlo ee Naples, La Scala ee Milan.

Sannadku markuu ahaa 1813-kii wuxuu ahaa isbeddel xagga muusigga curiyaha ah, 2 qaybood ayaa la sameeyay sannadkaas - "Talyaani ee Algiers" (onepa-buffa) iyo "Tancred" (heerarka geesinimada) - waxay go'aamiyeen waddooyinka ugu muhiimsan ee shaqadiisa dheeraadka ah. Guusha shaqooyinka waxaa sababay ma aha oo kaliya muusik aad u wanaagsan, laakiin sidoo kale nuxurka libretto, oo ay ka buuxaan shucuur wadaniyadeed, si ay ula socdaan dhaqdhaqaaqa xoreynta qaranka ee dib u midaynta Talyaaniga, kaas oo soo baxay wakhtigaas. Qaylo-dhaanta dadweynaha ee ay sababtay hawl-wadeennada Rossini, abuurista "Hymn of Independence" ee codsiga waddaniyiinta Bologna, iyo sidoo kale ka qaybqaadashada bannaanbaxyada dagaalyahannada xorriyadda ee Talyaaniga - waxaas oo dhan waxay keeneen booliis qarsoodi ah oo muddo dheer ah. kormeerka, kaas oo loo aasaasay curiyaha. Isagu haba yaraatee isuma uu qaadan in uu yahay qof siyaasadaysan oo waxa uu ku qoray mid ka mid ah warqadihiisa: “Weligay siyaasadda kuma faragelin. Waxaan ahaa fannaan, marna igumay soo dhicin inaan qof kale noqdo, xitaa haddii aan la kulmay ka qaybqaadashada ugu nool waxa ka dhacaya adduunka, gaar ahaana masiirka dalkaygii hooyo.

Ka dib "Talyaani ee Algiers" iyo "Tancred" shaqada Rossini waxay si degdeg ah u socotaa oo 3 sano ka dib waxay gaadhay mid ka mid ah meelaha ugu sarreeya. Bilowgii 1816-kii, bandhiga Barber of Seville ayaa ka dhacay Rome. Waxaa lagu qoray 20 maalmood oo keliya, opera-kani ma ahayn oo kaliya guushii ugu sarraysay ee majaajilada-satiricalka ah ee Rossini, laakiin sidoo kale barta ugu dambaysa ee ku dhawaad ​​qarniga horumarka nooca opera-buifa.

Iyadoo Barber of Seville, laxamiistaha caannimadiisu waxay dhaaftay Talyaaniga. Qaabka quruxda badan ee Rossini waxa uu dib u soo nooleeyay fanka Yurub isagoo leh farxad aad u kacsan, xarrago leh, xamaasad xumbo leh. Rossini ayaa qoray: "My The Timojaraha waxa uu noqonayaa mid guulo badan maalin kasta," ayuu qoray Rossini, "iyo xitaa kuwa ugu firfircoon ee ka soo horjeeda dugsiga cusub wuxuu ku guuleystey inuu nuugo si ay, iyagoo ka soo horjeeda rabitaankooda, ay bilaabaan inay jeclaadaan ninkan xariif ah oo dheeraad ah dheeraad ah." Dabeecada xamaasadda leh iyo muuqaalka sare ee ku wajahan muusiga Rossini ee dadweynaha aristocratic iyo bourgeois sharafta leh waxay gacan ka geysatay soo bixitaanka mucaarad badan oo curiyaha ah. Si kastaba ha ahaatee, ka mid ah caqli-yaqaannada farshaxanimada Yurub waxaa sidoo kale jiray khabiiro dhab ah oo shaqadiisa ah. E. Delacroix, O. Balzac, A. Musset, F. Hegel, L. Beethoven, F. Schubert, M. Glinka waxay ku hoos jireen higgaadda muusigga Rossin. Iyo xitaa KM Weber iyo G. Berlioz, kuwaas oo qabsaday boos muhiim ah oo la xidhiidha Rossini, kama shakiyin maskaxdiisa. "Ka dib dhimashadii Napoleon, waxaa jiray qof kale oo si joogto ah looga hadlo meel kasta: Moscow iyo Naples, London iyo Vienna, Paris iyo Calcutta," Stendhal ayaa wax ka qoray Rossini.

Tartiib tartiib ah curiyaha ayaa luminaya xiisaha onepe-buffa. Si dhakhso ah loogu qoray noocaan, "Cinderella" ma tuso dhagaystayaasha waxyi cusub oo hal abuur leh oo curiyaha ah. opera The Thieving Magpie, oo la sameeyay 1817-kii, ayaa gabi ahaanba dhaaftay xadka nooca majaajilada, isaga oo noqday tusaalaha riwaayadaha dhabta ah ee muusiga ee maalinlaha ah. Tan iyo wakhtigaas, Rossini wuxuu bilaabay inuu fiiro gaar ah u yeesho riwaayadaha geesinimada leh. Othello ka dib, shuqullo taariikheed halyeeyo ah ayaa soo muuqday: Muuse, Marwada Harada, Mohammed II.

Ka dib markii ugu horeysay ee kacaankii Talyaani (1820-21) iyo cadaadiskeeda naxariis darada ah ee ciidamada Australiya, Rossini wuxuu u safray Vienna isagoo wata koox opera Neapolitan ah. Guulihii Viennese waxay sii xoojiyeen caannimada Yurub ee halabuuraha. Ku soo laabashada wakhti gaaban Talyaaniga si loo soo saaro Semiramide (1823), Rossini wuxuu aaday London ka dibna Paris. Waxa uu ku nool yahay halkaas ilaa 1836. Paris, laxamiistaha ayaa madax ka ah Opera House Talyaani, soo jiidashada dhalinyarada ay isku waddan si ay uga shaqeeyaan; dib u habaynta Opera Grand Opera ee Muuse iyo Maxamed II (kan dambe waxa lagu dhigay Paris iyada oo cinwaankeedu yahay Go'doominta Korintos); ayaa qoray, oo ay u xilsaartay Opera Comique, opera-ga quruxda badan ee Le Comte Ory; iyo ugu dambeyntii, Ogosto 1829, wuxuu ku dhejiyaa masraxa Grand Opera ee ugu dambeeyay - opera "William Tell", kaas oo saameyn weyn ku yeeshay horumarinta soo socota ee nooca opera geesinimada Talyaaniga ee shaqada V. Bellini , G. Donizetti iyo G. Verdi.

"William Tell" waxay dhamaystirtay shaqada masraxa muusikada ee Rossini. Aamusnaanta hawl-wadeenka ee maestro-ga aadka u quruxda badan ee raacay, oo lahaa ilaa 40 operas gadaashiisa ah, waxa ay dadkii wakhtigaa la noolaa ugu yeedhi jireen sirta qarniga, oo ay duruuftan ku hareeraysan yihiin dhammaan malo-awaalka. Laxanka laftiisa ayaa markii dambe qoray: “Immisa hore, aniga oo ah nin dhallinyaro ah oo bislaaday, ayaan bilaabay in aan wax curiyo, sidii hore, ka hor intii qof kasta uu saadaaliyay, waan joojiyay qoraalka. Had iyo jeer way dhacdaa nolosha: qof kasta oo hore u bilaaba waa, sida ay qabaan shuruucda dabeecadda, inuu hore u dhammeeyo.

Si kastaba ha noqotee, xitaa ka dib markii ay joojisay qorista operas, Rossini wuxuu sii waday inuu ku sii jiro bartamaha dareenka bulshada muusikada Yurub. Dhammaan Paris waxay dhegeysteen kelmadda muhiimka ah ee curiyaha, shakhsiyadiisa ayaa soo jiidatay fannaaniinta, gabayaaga, iyo fannaaniinta sida magnetka. R. Wagner ayaa la kulmay, C. Saint-Saens wuxuu ku faani jiray xiriirkiisa Rossini, Liszt wuxuu tusay shaqadiisa maestro Talyaani, V. Stasov wuxuu si xamaasad leh uga hadlay la kulanka isaga.

Sannadihii xigay William Tell, Rossini wuxuu abuuray shaqada ruuxiga ah ee quruxda badan ee Stabat mater, Mass-ka Yar ee Solemn Mass iyo Song of the Titans, ururinta asalka ah ee shaqooyinka codka ee loo yaqaan Evenings Musical, iyo wareeg ah qaybo piano ah oo sita cinwaanka ciyaarta dembiyadii hore. Da'da . Laga soo bilaabo 1836 ilaa 1856 Rossini, oo ay ku hareeraysan yihiin ammaan iyo sharaf, wuxuu ku noolaa Talyaaniga. Halkaa waxa uu agaasime ka ahaa Bologna Musical Lyceum waxana uu ku hawlanaa hawlo waxbarid. Kadib ku soo laabtay Paris, wuxuu ku sugnaa halkaas ilaa dhamaadka maalmihiisii.

12 sano ka dib dhimashadii laxamiistaha, dambaskiisa ayaa loo wareejiyay dalkiisa waxaana lagu aasay pantheon ee Kaniisadda Santa Croce ee Florence, oo ku xigta hadhaagii Michelangelo iyo Galileo.

Rossini waxa uu hantidiisa oo dhan dhaxalsiiyey faa’iidada dhaqanka iyo farshaxanka magaalada uu ku dhashay ee Pesaro. Maalmahan, xafladaha opera Rossini ayaa si joogto ah loogu qabtaa halkan, oo ka mid ah kaqeybgalayaasha kuwaas oo mid ka mid ah uu la kulmi karo magacyada fanaaniinta casriga ah ee ugu weyn.

I. Vetlitsyna

• Jidka hal-abuurka ee Rossini →
• Raadinta farshaxanka Rossini ee goobta "opera halis ah" →

Waxa uu ka dhashay qoys fannaaniin ah: Aabihii waxa uu ahaa turumbada, hooyadii waxa ay ahayd heesaa. Wuxuu bartaa inuu ciyaaro qalab muusig oo kala duwan, heeso. Wuxuu wax ka bartaa halabuurka Iskuulka Muusikada ee Bologna oo hoos yimaada jihada Padre Mattei; ma dhammayn koorsada. Laga soo bilaabo 1812 ilaa 1815 wuxuu u shaqeeyay tiyaatarada Venice iyo Milan: "Talyaaniga ee Algiers" wuxuu lahaa guul gaar ah. Amarka impresario Barbaia (Rossini wuxuu guursaday saaxiibtiis, soprano Isabella Colbran), wuxuu abuuray lix iyo toban riwaayad ilaa 1823. Wuxuu u guuray Paris, halkaas oo uu ka noqday agaasimaha Théâtre d'Italien, curiyaha koowaad ee boqorka iyo kormeeraha guud. ee heesaha Faransiiska. Wuxuu macsalaameeyay dhaqdhaqaaqyada muusiga opera ee 1829 ka dib soo saarista "William Tell". Ka dib markii uu kala tagay Colbrand, wuxuu guursaday Olympia Pelissier, wuxuu dib u habeynayaa Bologna Music Lyceum, isagoo joogay Talyaaniga ilaa 1848-kii, markii duufaano siyaasadeed ay mar kale u keeneen Paris: gurigiisa oo ku yaal Passy wuxuu noqonayaa mid ka mid ah xarumaha nolosha farshaxanka.

Midka loo yaqaan "classic last" oo ay dadweynuhu u sacab tumeen inuu yahay boqorka fanka majaajilada ah, ayaa riwaayadihii ugu horreeyay waxay ku muujiyeen nimcada iyo dhalaalka waxyiga laxanka, dabiiciga iyo fudaydka laxanka, oo heesta siisay, taas oo dhaqamadii qarnigii XNUMXaad la wiiqay, daacadnimo iyo dabeecadda aadanaha. Hal-abuuraha, isaga oo iska dhigaya inuu la qabsanayo caadooyinka masraxa ee casriga ah, si kastaba ha ahaatee, wuu ka fallaagoobi karaa iyaga, isaga oo caqabad ku ah, tusaale ahaan, gar-qaadka wanaagsan ee hawl-wadeennada ama dhexdhexaadintiisa.

Hal-abuurka ugu muhiimsan ee Talyaanigu waagaas wuxuu ahaa doorka muhiimka ah ee orkestra, taas oo, Thanks to Rossini, noqday mid nool, guurguura oo dhalaalaya (waxaanu aragnaa qaabka quruxda badan ee kor u kaca, kaas oo dhab ahaantii ku habboon aragti gaar ah). Farxad farxad leh oo loogu talagalay nooc ka mid ah hedonism orkestral waxay ka timaadaa xaqiiqda ah in qalab kasta, oo loo isticmaalo si waafaqsan awooddiisa farsamo, lagu garto heesaha iyo xitaa hadalka. Isla mar ahaantaana, Rossini wuxuu si ammaan ah u sheegi karaa in ereyada ay tahay inay u adeegaan muusikada, oo aan liddi ku ahayn, iyada oo aan laga leexin macnaha qoraalka, laakiin, liddi ku ah, iyada oo loo isticmaalo hab cusub, cusub oo inta badan u wareegaya caadiga ah. Hababka laxanka – halka kooxda orkestra ay si xor ah ula socoto hadalka, iyaga oo abuuraya xamaasad cad iyo nasteexo leh oo fulinaya hawlo muujin ama muuqaal ah.

Garaadka Rossini ayaa isla markiiba isku muujiyay nooca opera seria ee soo saarista Tancredi ee 1813, taas oo u keentay qoraaga guushiisii ​​​​ugu horreysay ee dadweynaha iyada oo ay uga mahadcelinayaan daahfurka laxanka leh ee suugaantooda sare iyo jilicsanaanta, iyo sidoo kale horumarinta qalab aan xadidneyn, taas oo lagu leeyahay. asalkeeda nooca majaajilada ah. Xidhiidhka u dhexeeya labadan nooc ee hawl-wadeenadu runtii aad bay ugu dhow yihiin Rossini oo xataa waxay go'aamiyaan bandhigga la yaabka leh ee noociisa halista ah. Isla 1813, wuxuu sidoo kale soo bandhigay farshaxan-yaqaan, laakiin nooca majaajilada, oo ku jira ruuxii hore ee majaajilada Neapolitan - "Talyaaniga ee Algiers". Tani waa opera qani ku ah dhawaaqyo ka yimid Cimarosa, laakiin sida haddii ay ku nool yihiin tamarta duufaanka ee jilayaasha, gaar ahaan ka muuqda crescendo kama dambaysta ah, oo ah kii ugu horreeyay ee Rossini, kaas oo markaa u isticmaali doona sida aphrodisiac marka la abuurayo xaalado farxad leh ama aan la xakameynin.

Caustic-ka, maskaxda dhulka ee curiyaha wuxuu ka helaa madadaalo madadaalo ah rabitaankiisa caricature iyo xamaasadiisa caafimaadka leh, taas oo aan u oggolaan inuu ku dhaco mid ka mid ah ilaalinta classicism ama darafyada jacaylka.

Waxa uu ku guulaysan doonaa natiijo majaajillo ah oo dhamaystiran Barber of Seville, iyo toban sano ka dib waxa uu iman doonaa xarrago ee Comte Ory. Intaa waxaa dheer, nooca halista ah, Rossini wuxuu ku dhaqaaqi doonaa horumar weyn oo dhanka opera ah oo kaamil ah weligiis iyo qoto dheer: laga bilaabo kala duwanaansho, laakiin qallafsanaan iyo nostalgic "Lady of the Lake" ilaa musiibada "Semiramide", kaas oo soo afjaraya muddada Talyaaniga. Muusikada, oo ay ka buuxaan dhawaaqyo wareer badan iyo ifafaale dahsoon oo ku jira dhadhanka Baroque, ilaa "Go'doominta Korintos" oo ay la socdaan kooxaheeda, sharraxaadda sharafta leh iyo muqadaska muqadas ah ee "Muuse" iyo, ugu dambeyntii, "William Tell".

Haddii ay weli la yaab leh tahay in Rossini uu ku guuleystey guulahan dhanka opera ah labaatan sano oo keliya, waxaa si isku mid ah u muuqda in aamusnaanta soo raacday xilli midho dhal ah oo socotay muddo afartan sano ah, taas oo loo arko mid ka mid ah kiisaska ugu badan ee aan la fahmi karin. taariikhda dhaqanka, - ama by kala go'ay ku dhawaad ​​muujin, istaahila, si kastaba ha ahaatee, of this maskaxda dahsoon, ama caddaynta caajisnimadiisa halyeeyga ah, dabcan, ka badan khayaali ah oo ka badan dhabta ah, siiyey awoodda laxamiistaha ee si ay u shaqeeyaan in uu sano ugu fiican. In yar ayaa ogaaday in uu si sii kordheysa u qabsaday rabitaanka neerfayaasha ee kalinimada, isaga oo ciriiriyay dareenka madadaalo.

Rossini, si kastaba ha ahaatee, ma joojin curinta, inkasta oo uu jaray dhammaan xidhiidhkii uu la lahaa dadwaynaha, isaga oo inta badan la hadlayay koox yar oo marti ah, oo joogta ah fiidkii gurigiisa. Dhiirrigelinta shaqooyinka ruuxiga ah ee ugu dambeeyay iyo qolalka ayaa si tartiib tartiib ah u soo ifbaxay maalmaheenna, taasoo kicinaysa xiisaha ma aha oo kaliya kuwa wax yaqaana: farshaxanno dhab ah ayaa la helay. Qaybta ugu quruxda badan ee dhaxalka Rossini ayaa weli ah operas, kaas oo uu ahaa sharci-dejiyaha mustaqbalka dugsiga Talyaaniga, isaga oo abuuraya tiro badan oo moodooyin ah oo ay adeegsadaan curiyeyaasha dambe.

Si loo muujiyo astaamaha lagu garto hibadaas weyn, daabacaad cusub oo muhiim ah oo ka mid ah howlihiisa ayaa lagu qabtay hindisaha Xarunta Cilmi-baarista Rossini ee Pesaro.

G. Marchesi (waxaa tarjumay E. Greceanii)

Halabuurka Rossini:

riwaayado - Demetrio iyo Polibio (Demetrio e Polibio, 1806, boostada. 1812, tir. "Balle", Rome), Warqad ballan-qaad ah oo guur ah (La cambiale di matrimonio, 1810, tr. "San Moise", Venice), kiis qariib ah (L'equivoco stravagante, 1811, "Teatro del Corso" , Bologna), Khiyaanada Farxada leh (L'inganno felice, 1812, tr "San Moise", Venice), Cyrus ee Baabuloon ( Ciro ee Babilonia, 1812, tr "Municipale", Ferrara), Jaranjarada xariirta (La scala di seta, 1812, tr "San Moise", Venice), Touchstone (La pietra del parugone, 1812, tr "La Scala", Milan) , Fursada samaysa tuug, ama shandado isku dhafan (L'occasione fa il ladro, ossia Il cambio della valigia, 1812, tr San Moise, Venice), Signor Bruschino, ama Wiilka shilka ah (Il signor Bruschino, ossia Il figlio per azzardo, 1813 , ibid.), Tancredi , 1813, tr Fenice, Venice), Talyaani ee Algeria (L'italiana in Algeri, 1813, tr San Benedetto, Venice), Aurelian ee Palmyra (Aureliano in Palmira, 1813, tr "La Scala", Milan), Turki ee Talyaaniga (Il turco ee Italy, 1814, ibid.), Sigismondo (Sigismondo, 1814, tr "Fenice", Venice), Elizabeth, Queen of England (Elisabetta, regina d'Inghilterra, 1815, tr "San" Carlo”, Naples), Torvaldo iyo Doriska (Torvaldo eDorliska, 1815, tr “Balle”, Rome), Almaviva, ama taxaddar aan micne lahayn (Almaviva, ossia L'inutile precauzione; oo loo yaqaan Barber of Seville - Il barbiere di Siviglia, 1816, tr Argentina, Rome), Wargeys, ama Guurka tartanka (La gazzetta, ossia Il matrimonio per concorso, 1816, tr Fiorentini, Naples), Othello, ama Venetian Moor (Otello, ossia Il toro di Venezia, 1816, tr “Del Fondo”, Naples), Cinderella, ama Guusha wanaagga (Cenerentola, ossia La bonta in trionfo, 1817, tr “Balle”, Rome) , tuug Magpie (La gazza ladra, 1817, tr “La Scala”, Milan), Armida (Armida, 1817, tr “San Carlo”, Naples), Adelaide of Burgundy (Adelaide di Borgogna, 1817, t -r “Argentina”, Rome) , Muuse ee Masar (Mosè ee Egitto, 1818, tr “San Carlo”, Naples; Faransiis. Ed. - hoos ciwaanka Muuse iyo Fircoon, ama Gudbinta Badda Cas - Moïse et Pharaon, ou Le passage de la mer rouge, 1827, "King. Akadeemiyada Muusikada iyo Qoob ka ciyaarka, Paris), Adina, ama Caliph Baghdad (Adina, ossia Il califfo di Bagdad, 1818, boostada. 1826, tr “San Carlo”, Lisbon), Ricciardo iyo Zoraida (Ricciardo e Zoraide, 1818, tr “San Carlo”, Naples), Hermione (Ermione, 1819, ibid), Eduardo iyo Christina (Eduardo e Cristina, 1819, tr) San Benedetto, Venice), Lady of the Lake (La donna del lago, 1819, tr San Carlo, Naples), Bianca iyo Faliero, ama Golaha Saddexda (Bianca e Faliero, ossia II consiglio dei tre, 1819, La Scala shopping. mall, Milan), Mohammed II (Maometto II, 1820, San Carlo shopping mall, Naples; Faransiis. Ed. - hoos cinwaanka Go'doominta Korintos - Le siege de Korintos, 1826, "King. qasan (laga soo qaatay qaybo ka mid ah operas Rossini) – Ivanhoe (Ivanhoe, 1826, tr “Odeon”, Paris), Testament (Le testament, 1827, ibid.), Cinderella (1830, tr “Covent Garden”, London), Robert Bruce (1846) , King's Academy of Music and Dance, Paris), Waxaan u soconaa Paris (Andremo a Parigi, 1848, Theatre Italy, Paris), Shil qosol leh (Un curioso accidente, 1859, ibid.); Soloists, hobolada iyo orkestra - Heesta Madax-bannaanida (Inno dell`Indipendenza, 1815, tr "Contavalli", Bologna), cantas – Aurora (1815, ed. 1955, Moscow), Arooska Thetis iyo Peleus (Le nozze di Teti e di Peleo, 1816, Del Fondo shopping mall, Naples), cashuur daacad ah (Il vero omaggio, 1822, Verona) , A omen farxad leh (L'augurio felice, 1822, ibid), Bard (Il Bardo, 1822), Isbahaysiga Quduuska ah (La Santa alleanza, 1822), Cabashada Muses ee ku saabsan dhimashada Lord Byron (Il pianto delie Muse in morte di Lord) Byron. wiil vaillant peuple, 1824, Palace of Industry, Paris), Heesta qaranka (Qasadii qaranka, heesta calanka Ingiriisi, 1848, Birmingham); Orchestra - heeso heeso ah (D-dur, 1808; Es-dur, 1809, oo loo adeegsaday sida dulsaarka farsada Qoraal ballan-qaad ah oo guur ah), Serenade (1829), March Military (Marcia militare, 1853); qalabka iyo orkestra - Kala duwanaanshaha qalabka qasabka ah F-dur (Variazioni a piu strumenti obligati, for clarinet, 2 violin, viol, cello, 1809), Kala duwanaanshaha C-dur (ee clarinet, 1810); loogu talagalay band naxaas ah - fanfare for 4 turumbooyin (1827), 3 march (1837, Fontainebleau), Crown of Italy (La corona d'Italia, fanfare for military orkestra, oo siinaya Victor Emmanuel II, 1868); qalabaynta qolka - Duleyska geesaha (1805), 12 waltz oo loogu talagalay 2 flutes (1827), 6 sonatas ee 2 skr., vlc. iyo k-bass (1804), 5 xadhig. afar-geesood (1806-08), 6 afar-geesood oo loogu talagalay biibiile, clarinet, gees iyo bassoon (1808-09), Mawduuca iyo Kala duwanaanshaha biibiile, buun, gees iyo bassoon (1812); biyaano - Waltz (1823), Congress of Verona (Il congresso di Verona, 4 gacan, 1823), Neptune ee Palace (La reggia di Nettuno, 4 gacmaha, 1823), Soul of Purgatory (L'vme du Purgatoire, 1832); fanaaniinta iyo hobolada - cantata Cabashada Harmony ee ku saabsan dhimashadii Orpheus (Il pianto d'Armonia sulla morte di Orfeo, for tenor, 1808), Death of Dido (La morte di Didone, monologue, 1811, Spanish 1818, tr “San Benedetto” , Venice), cantata (loogu talagalay 3 soloists, 1819, tr "San Carlo", Naples), Partenope iyo Higea (3 soloists, 1819, ibid.), Mahadnaq (La riconoscenza, loogu talagalay 4 soloists, 1821, ibid. isku mid); cod iyo orkester - Bixinta Shepherd ee Cantata (Omaggio pastorale, ee 3 codad, furitaanka furitaanka ee baska Antonio Canova, 1823, Treviso), Song of the Titans (Le chant des Titans, oo loogu talagalay 4 bass oo midaysan, 1859, Isbaanish 1861, Paris); cod iyo biyaano - Cantatas Elie iyo Irene (oo loogu talagalay 2 codad, 1814) iyo Joan of Arc (1832), Habeennada Muusikada (Soirees musicales, 8 ariettes iyo 4 duets, 1835); 3 wok afar (1826-27); Layliga Soprano (Gorgheggi e solfeggi per soprano. 1827 wok albums. iyo instr. gabal iyo gogosha, oo ku midoobay magaca. Dambiyada gabowga (Péchés de vieillesse: Albumka heesaha Talyaaniga - Album per canto italiano, albamka Faransiiska - Album francais, qaybo xaddidan - Kaydka Morceaux, Afar cunto-cunto iyo afar macmacaan - Quatre hors d'oeuvres et quatre mendiants, fp., Album for fp muusiga ruuxiga ah – Qalinjabiyay (oo loogu talagalay 3 cod oo lab ah, 1808), Mass (codka ragga, 1808, Isbaanish ee Ravenna), Laudamus (c. 1808), Qui tollis (c. 1808), Mass Solemn (Messa solenne, wadajir. iyo P. Raimondi, 1819, Isbaanish 1820, Kaniisadda San Fernando, Naples), Cantemus Domino (8 cod oo leh biyaano ama xubin, 1832, Isbaanish 1873), Ave Maria (loogu talagalay 4 cod, 1832, Isbaanish 1873), Quoniam (loogu talagalay bass iyo Orchestra, 1832), Stabat mater (oo loogu talagalay 4 cod, heeso iyo orkestra, 1831-32, daabacaad 2aad esperance, La charite, fanaaniinta haweenka iyo biyaano, 1841), Tantum ergo (oo loogu talagalay kiraystayaasha 42 iyo bass), 1842, Kaniisadda San Francesco dei Minori Conventuali, Bologna) (Petite messe solennelle, loogu talagalay 3 cod, heeso, harmonium iyo biyaano, 1844, Isbaanish 2, ee guriga Count Pilet-Ville, Paris), isku mid ah (soloists, choir iyo orkestra., 1847, Isbaanish 4, "Italian Tiyaatarka”, Paris), Requ iem Melody (Chant de Requiem, ee contralto iyo biyaano, 1857 4); muusiga loogu talagalay bandhigyada masraxa riwaayadaha - Oedipus ee Colon ( ilaa masiibadii Sophocles, 14 lambar oo loogu talagalay soloists, choir iyo orkestra, 1815-16?).