Rossini's Opera "cinderella" Play With The Main Aria Study

Gioachino Antonio Rossini (1792-1868), one of the greatest Italian composers, was an outstanding representative of the Late Romanticism in Music. His diversified opera, the carrier of his creation, are considered as apotheoses in this field. Many of his opera are still on stage and loved by people all over the world. This thesis will mainly discuss La Cenerentola, one of Gioachino's classic comedies produced during Napoli time from some primary singing passages and performances in this opera.The paper will be divided into four chapters.The first chapter will be devoted to an introduction of Rossini's life, which demonstrates his contribution to Italian's opera and reveals the composition background of La Cenerentola.The second chapter will analysis the dramaturgy of this opera from two perspectives. The first part will mainly analysis the plot. The dramaturgy will be discussed from a macro perspective and an illustration of the relationship between music creation and the plot will be given in the second part.The third chapter is divided into two parts. In this chapter, the author will analysis the aria, Non Piu Mesto, by the view of music creation and singing skills. The aim of the first part is to discuss the impact of melody on characters. Vocality is the basic, yet the ultimate composition in Italian opera. It is crucial for the opera representation. As to the vocality melody part, Gioachino had the ability to outline the basic figures and images of his characters by simple descriptions. Each character can be identified via a passage of music or motives. The second part is about the composition and singing of the aria. Gioachino was talented in the aria composition. In his opera, the Barpque fioritura, sang by singers allodially, was written in the score, which is a significant change both in opera and vocality history. Back to Barpque times, singers did not sing according to the original score written by the composer. To show their singing abilities, they usually added fioritura or grace notes in the melody. Sometimes these elements were overused and fioritura became a simply show-off skill. Gioachino, however, put all the fioritura in his score. This had not only satisfied the singers who wanted to show their abilities, but had also combined the music and the plot. In La Cenerentola, all the main characters were specifically assigned to sing fioritura. Therefore, attention should be paid on the use of the breath, tone and the singing skills.In the fourth chapter, the composition and singing of the reiteration will be discussed. The famous Rossini fast singing passage (the Quartette in Scene 1 and the Sestet in Scene 2) will be studied by the perspectives of the practice of singing and performance in this part. This article is also devoted to help La Cenerantola, the classic Italian opera, be performed on Chinese opera stages.The third and fourth chapter will also discuss the outstanding features, the singing skill to his fioritura and the fast passage, and the distinctive music composition of La Cenerantola according to the author's personal singing and performance experiences, the communications with opera experts domestic and abroad and the latest references about this opera.