This is a list of the works of the Italian composer Gioachino Rossini (1792–1868).

Igor Fyodorovich Stravinsky (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Born into a musical family in Saint Petersburg, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Soon after, Stravinsky met impresario Sergei Diaghilev, who commissioned him to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure. Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works including Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral. While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and musical form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant, Robert Craft, as well as an earlier autobiography and a series of lectures.

Sumi Jo, OSI (Korean: 조수미; Korean pronunciation: [t͡ɕo sumi]; born 22 November 1962) is a South Korean lyric coloratura soprano known for her Grammy Award-winning interpretations of the bel canto repertoire.

A barcarolle ( BAR-kə-rohl; from French, also barcarole; originally, Italian barcarola or barcaruola, from barca 'boat') is a traditional folk song sung by Venetian gondoliers, or a piece of music composed in that style. In classical music, two of the most famous barcarolles are Jacques Offenbach's "Belle nuit, ô nuit d'amour", from his opera The Tales of Hoffmann; and Frédéric Chopin's Barcarolle in F-sharp major for solo piano.

The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi. It was composed in memory of Alessandro Manzoni, whom Verdi admired, and is therefore also referred to as the Manzoni Requiem. The first performance, at the San Marco church in Milan on 22 May 1874, conducted by the composer, marked the first anniversary of Manzoni's death. It was followed three days later by the same performers at La Scala. Verdi conducted his work at major venues in Europe. Verdi composed the music for the last part of the text, Libera me, first, as his contribution to the Messa per Rossini, which he had begun after Gioachino Rossini had died. Considered too operatic to be performed in a liturgical setting, the Requiem is usually given in concert form; a performance lasts around 90 minutes. Musicologist David Rosen calls it "probably the most frequently performed major choral work composed after Mozart's Requiem".

Michael Spyres (born 1979) is an American operatic tenor. He has a wide vocal range and can also sing baritone roles; he calls himself a "baritenor". He has sung at major international opera houses, including Milan's La Scala, London's Royal Opera, and New York's Metropolitan Opera, and his repertoire includes Handel, Mozart, bel canto, grand opera, and Wagner.

Gioachino Rossini's Petite messe solennelle (Little Solemn Mass) was written in 1863, possibly at the request of Count Alexis Pillet-Will for his wife Louise, to whom it is dedicated. The composer, who had retired from composing operas more than 30 years before, described it as "the last of my péchés de vieillesse" (sins of old age). The extended work is a missa solemnis (solemn Mass), but Rossini ironically labeled it petite (little). He scored it originally for twelve singers, four of them soloists, two pianos and harmonium. The mass was first performed on 14 March 1864 at the couple's new home in Paris. Rossini later produced an orchestral version, including an additional movement, a setting of the hymn "O salutaris hostia" as a soprano aria. This version was not performed during his lifetime because he was unable to obtain permission to have female singers in a church. It was finally performed at the Salle Ventadour in Paris by the company of the Théâtre-Italien on 24 February 1869, three months after his death. While publications began that year, the first critical edition appeared only in 1980, followed by more editions in 1992, the bicentenary of the composer's birth.

This is a list of the works of the Italian composer Gioachino Rossini (1792–1868).

Francesca da Rimini or Francesca da Polenta (died between 1283 and 1286) was an Italian noblewoman of Ravenna, who was murdered by her husband, Giovanni Malatesta, upon his discovery of her affair with his brother, Paolo Malatesta. She was a contemporary of Dante Alighieri, who portrayed her as a character in the Divine Comedy.

Giovanna d'Arco (Joan of Arc) is an operatic dramma lirico with a prologue and three acts by Giuseppe Verdi set to an Italian libretto by Temistocle Solera, who had prepared the libretti for Nabucco and I Lombardi. It is Verdi's seventh opera. The work partly reflects the story of Joan of Arc and appears to be loosely based on the 1801 play Die Jungfrau von Orleans by Friedrich von Schiller. Verdi wrote the music during the autumn and winter of 1844/45 and the opera had its first performance at Teatro alla Scala in Milan on 15 February 1845. This opera is not to be confused with Rossini's cantata of the same name, which was composed in 1832 for contralto and piano, and runs approximately 15 minutes.

Hungarian Romantic composer Franz Liszt (1811–1886) was especially prolific, composing more than 700 works. A virtuoso pianist himself, much of his output is dedicated to solo works for the instrument and is particularly technically demanding. The primary cataloguing system for his compositions was developed by Humphrey Searle; it has been thoroughly revamped by Michael Short and Leslie Howard.

This is a list of the works of the Italian composer Gioachino Rossini (1792–1868).

This is a list of the works of the Italian composer Gioachino Rossini (1792–1868).

This is a list of Private Passions episodes from 2020 to present. It does not include repeated episodes or compilations.

The Messa per Rossini is a Requiem Mass composed to commemorate the first anniversary of Gioachino Rossini's death. It was a collaboration among 13 Italian composers, initiated by Giuseppe Verdi. The composition was intended to be performed on 13 November 1869 in the Basilica of San Petronio, Bologna, where Rossini grew up and spent a large part of his life.

This is a list of the works of the Italian composer Gioachino Rossini (1792–1868).

The history of opera has a relatively short duration within the context of the history of music in general. It appeared in 1597, when the first opera, Dafne, by Jacopo Peri, was created. Since then it has developed parallel to the various musical currents that have followed one another over time up to the present day, generally linked to the current concept of classical music. Opera (from the Latin opera, plural of opus, "work") is a musical genre that combines symphonic music, usually performed by an orchestra, and a written dramatic text—expressed in the form of a libretto—interpreted vocally by singers of different tessitura: tenor, baritone, and bass for the male register, and soprano, mezzo-soprano, and contralto for the female, in addition to the so-called white voices (those of children) or in falsetto (castrato, countertenor). Generally, the musical work contains overtures, interludes and musical accompaniments, while the sung part can be in choir or solo, duet, trio, or various combinations, in different structures such as recitative or aria. There are various genres, such as classical opera, chamber opera, operetta, musical, singspiel, and zarzuela. On the other hand, as in theater, there is dramatic opera (opera seria) and comic opera (opera buffa), as well as a hybrid between the two: the dramma giocoso. As a multidisciplinary art form, opera combines music, drama, dance, scenography, costume, and makeup, relying on collaborative work between the composer, librettist, performers, conductor, and production team. Designed for live audiences, opera has historically reflected prevailing cultural, philosophical, religious, and political ideas. Opera originated with the Florentine Camerata, a group of late 16th-century humanists who sought to revive the musical and dramatic traditions of Ancient Greek theater. This led to early works by Jacopo Peri, including Dafne (1597) and Euridice (1600), and Claudio Monteverdi's L'Orfeo (1607), which helped define the genre by introducing structured arias and instrumental sinfonias. The genre evolved through major musical periods. The Baroque era (17th–mid-18th century) established many operatic conventions and was marked by elaborate vocal and scenic elements, accessible mainly to elites. The Classical period emphasized clarity and balance, with major contributions from Mozart and Beethoven. In the 19th century, Romanticism elevated the status of composers and vocalists, reflecting bourgeois tastes and giving rise to national operatic traditions. Later developments included French impressionism and Italian verismo. The 20th century introduced Modernist approaches and new technologies—radio, phonograph, and television—which expanded opera’s reach, while earlier works remained central to repertory. During the course of history, within opera there have been differences of opinion as to which of its components was more important, the music or the text, or even whether the importance lay in the singing and virtuosity of the performers, a phenomenon that gave rise to bel canto and to the appearance of figures such as the diva or prima donna. From its beginnings until the consolidation of classicism, the text enjoyed greater importance, always linked to the visual spectacle, the lavish decorations and the complex baroque scenographies; Claudio Monteverdi said in this respect: "the word must be decisive, it must direct the harmony, not serve it." However, since the reform carried out by Gluck and the appearance of renowned composers such as Mozart, music as the main component of opera became more and more important. Mozart himself once commented: "poetry must be the obedient servant of music". Other authors, such as Richard Wagner, sought to bring together all the arts in a single creation, which he called "total work of art" (Gesamtkunstwerk).

Maria Carbone (15 June 1908 – 28 December 2002) was an Italian operatic soprano. She created the lead female roles in two of Gian Francesco Malipiero's operas: the title role in Ecuba (11 January 1941) and Cleopatra in Antonio e Cleopatra (4 May 1938).

The history of opera has a relatively short duration within the context of the history of music in general. It appeared in 1597, when the first opera, Dafne, by Jacopo Peri, was created. Since then it has developed parallel to the various musical currents that have followed one another over time up to the present day, generally linked to the current concept of classical music. Opera (from the Latin opera, plural of opus, "work") is a musical genre that combines symphonic music, usually performed by an orchestra, and a written dramatic text—expressed in the form of a libretto—interpreted vocally by singers of different tessitura: tenor, baritone, and bass for the male register, and soprano, mezzo-soprano, and contralto for the female, in addition to the so-called white voices (those of children) or in falsetto (castrato, countertenor). Generally, the musical work contains overtures, interludes and musical accompaniments, while the sung part can be in choir or solo, duet, trio, or various combinations, in different structures such as recitative or aria. There are various genres, such as classical opera, chamber opera, operetta, musical, singspiel, and zarzuela. On the other hand, as in theater, there is dramatic opera (opera seria) and comic opera (opera buffa), as well as a hybrid between the two: the dramma giocoso. As a multidisciplinary art form, opera combines music, drama, dance, scenography, costume, and makeup, relying on collaborative work between the composer, librettist, performers, conductor, and production team. Designed for live audiences, opera has historically reflected prevailing cultural, philosophical, religious, and political ideas. Opera originated with the Florentine Camerata, a group of late 16th-century humanists who sought to revive the musical and dramatic traditions of Ancient Greek theater. This led to early works by Jacopo Peri, including Dafne (1597) and Euridice (1600), and Claudio Monteverdi's L'Orfeo (1607), which helped define the genre by introducing structured arias and instrumental sinfonias. The genre evolved through major musical periods. The Baroque era (17th–mid-18th century) established many operatic conventions and was marked by elaborate vocal and scenic elements, accessible mainly to elites. The Classical period emphasized clarity and balance, with major contributions from Mozart and Beethoven. In the 19th century, Romanticism elevated the status of composers and vocalists, reflecting bourgeois tastes and giving rise to national operatic traditions. Later developments included French impressionism and Italian verismo. The 20th century introduced Modernist approaches and new technologies—radio, phonograph, and television—which expanded opera’s reach, while earlier works remained central to repertory. During the course of history, within opera there have been differences of opinion as to which of its components was more important, the music or the text, or even whether the importance lay in the singing and virtuosity of the performers, a phenomenon that gave rise to bel canto and to the appearance of figures such as the diva or prima donna. From its beginnings until the consolidation of classicism, the text enjoyed greater importance, always linked to the visual spectacle, the lavish decorations and the complex baroque scenographies; Claudio Monteverdi said in this respect: "the word must be decisive, it must direct the harmony, not serve it." However, since the reform carried out by Gluck and the appearance of renowned composers such as Mozart, music as the main component of opera became more and more important. Mozart himself once commented: "poetry must be the obedient servant of music". Other authors, such as Richard Wagner, sought to bring together all the arts in a single creation, which he called "total work of art" (Gesamtkunstwerk).

Hungarian Romantic composer Franz Liszt (1811–1886) was especially prolific, composing more than 700 works. A virtuoso pianist himself, much of his output is dedicated to solo works for the instrument and is particularly technically demanding. The primary cataloguing system for his compositions was developed by Humphrey Searle; it has been thoroughly revamped by Michael Short and Leslie Howard.

Marina Rebeka (born 10 September 1980) is a Latvian soprano, active on both opera and concert stages. Associated with Violetta in Verdi's La traviata, she performs primarily in the 19th-century Italian and French repertoire, most notably works by Gioachino Rossini, in addition to Donna Anna in Mozart's Don Giovanni, another frequent role. Educated in Latvia and Italy, she made her professional debut in 2007. After her international breakthrough in Rossini's Moïse et Pharaon at the Salzburg Festival in 2009, she has been performing leading roles with many opera companies, such as the Vienna State Opera, Metropolitan Opera, and Latvian National Opera. Rebeka has been recording under her own label "Prima Classic" since 2018. She had previously recorded for Warner Classics and BK-Klassik.

This is a list of the works of the Italian composer Gioachino Rossini (1792–1868).

The Messa per Rossini is a Requiem Mass composed to commemorate the first anniversary of Gioachino Rossini's death. It was a collaboration among 13 Italian composers, initiated by Giuseppe Verdi. The composition was intended to be performed on 13 November 1869 in the Basilica of San Petronio, Bologna, where Rossini grew up and spent a large part of his life.

The Messa per Rossini is a Requiem Mass composed to commemorate the first anniversary of Gioachino Rossini's death. It was a collaboration among 13 Italian composers, initiated by Giuseppe Verdi. The composition was intended to be performed on 13 November 1869 in the Basilica of San Petronio, Bologna, where Rossini grew up and spent a large part of his life.

Les soirées musicales is a collection of eight songs and four duets by Rossini published by Eugène-Théodore Troupenas in 1835. Richard Osborne comments that "It is more an 'Album de Musique' than a song cycle." The collection was dedicated to "Madame la Comtesse Julie Samoyloff, née Comtesse de Phalen". i.e. Yulya Samoyloff (1803-1875).

The Sanremo Music Festival 2026 (Italian: Festival di Sanremo 2026), officially the 76th Italian Song Festival (76º Festival della canzone italiana), was the 76th edition of the annual Sanremo Music Festival, a television song contest held in the Teatro Ariston of Sanremo, organised and broadcast by Radiotelevisione italiana (RAI). It was held between 24 and 28 February 2026, and was presented by Carlo Conti – who also served as the artistic director for the competition – and singer Laura Pausini. The festival was won by Sal Da Vinci with "Per sempre sì", earning him the right to represent Italy in the Eurovision Song Contest 2026.

Gioachino Rossini's Petite messe solennelle (Little Solemn Mass) was written in 1863, possibly at the request of Count Alexis Pillet-Will for his wife Louise, to whom it is dedicated. The composer, who had retired from composing operas more than 30 years before, described it as "the last of my péchés de vieillesse" (sins of old age). The extended work is a missa solemnis (solemn Mass), but Rossini ironically labeled it petite (little). He scored it originally for twelve singers, four of them soloists, two pianos and harmonium. The mass was first performed on 14 March 1864 at the couple's new home in Paris. Rossini later produced an orchestral version, including an additional movement, a setting of the hymn "O salutaris hostia" as a soprano aria. This version was not performed during his lifetime because he was unable to obtain permission to have female singers in a church. It was finally performed at the Salle Ventadour in Paris by the company of the Théâtre-Italien on 24 February 1869, three months after his death. While publications began that year, the first critical edition appeared only in 1980, followed by more editions in 1992, the bicentenary of the composer's birth.

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer of the late Classical and early Romantic eras. While he gained most of his fame for his 39 operas, he also wrote many pieces of chamber music , piano, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of twelve and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823, he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Wolfgang Amadeus Mozart, Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Tancredi, Otello and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained; contributory factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. From the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays, regularly attended by musicians and the artistic and fashionable circles of Paris, for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer, and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863).

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer of the late Classical and early Romantic eras. While he gained most of his fame for his 39 operas, he also wrote many pieces of chamber music , piano, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of twelve and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823, he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Wolfgang Amadeus Mozart, Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Tancredi, Otello and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims (later cannibalised for his first opera in French, Le comte Ory), revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained; contributory factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. From the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays, regularly attended by musicians and the artistic and fashionable circles of Paris, for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer, and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863).

Gioachino Rossini's Petite messe solennelle (Little Solemn Mass) was written in 1863, possibly at the request of Count Alexis Pillet-Will for his wife Louise, to whom it is dedicated. The composer, who had retired from composing operas more than 30 years before, described it as "the last of my péchés de vieillesse" (sins of old age). The extended work is a missa solemnis (solemn Mass), but Rossini ironically labeled it petite (little). He scored it originally for twelve singers, four of them soloists, two pianos and harmonium. The mass was first performed on 14 March 1864 at the couple's new home in Paris. Rossini later produced an orchestral version, including an additional movement, a setting of the hymn "O salutaris hostia" as a soprano aria. This version was not performed during his lifetime because he was unable to obtain permission to have female singers in a church. It was finally performed at the Salle Ventadour in Paris by the company of the Théâtre-Italien on 24 February 1869, three months after his death. While publications began that year, the first critical edition appeared only in 1980, followed by more editions in 1992, the bicentenary of the composer's birth.

The following is a partial list of compositions by Michael Finnissy.

The following is a list of published compositions by the composer Giuseppe Verdi (1813–1901). The list includes original creations as well as reworkings of the operas (some of which are translations, for example into French or from French into Italian) or subsequent versions of completed operas.

Many classical and later composers have written compositions in the form of variations on a theme by another composer. This is an incomplete list of such works, sorted by the name of the original composer. The list does not include variations written on composers' own or original themes, or on folk, traditional or anonymous melodies. Many of these works are called simply "Variations on a Theme of/by ...". Other works, which often involve substantial development or transformation of the base material, may have more fanciful titles such as Caprice, Fantasy, Paraphrase, Reminiscences, Rhapsody, etc. These other types of treatments are not listed here unless there is evidence that they include variations on a theme.

Les soirées musicales is a collection of eight songs and four duets by Rossini published by Eugène-Théodore Troupenas in 1835. Richard Osborne comments that "It is more an 'Album de Musique' than a song cycle." The collection was dedicated to "Madame la Comtesse Julie Samoyloff, née Comtesse de Phalen". i.e. Yulya Samoyloff (1803-1875).

Stabat Mater is a work by Gioachino Rossini based on the traditional structure of the Stabat Mater sequence for chorus and soloists. It was composed late in his career after retiring from the composition of opera. He began the work in 1831 but did not complete it until 1841.

The following is a list of published compositions by the composer Giuseppe Verdi (1813–1901). The list includes original creations as well as reworkings of the operas (some of which are translations, for example into French or from French into Italian) or subsequent versions of completed operas.