In 1609 be published 'Lessons for Consort: Made by sundry excellent Authors, and set to sixe severall instruments; Namely, the Treble Lute, Treble Violl, Base Violl, Bandora, Citterne, and the Flute.' On Jan. 4, 1610, a patent was granted to him and others appointing them Masters of the Children of the Queen's Revels, under which they carried on dramatic performances at the theatre in Whitefriars. In March, 1612, Rossetor's company was joined by 'The Lady Elizabeth's Servants,' but the union lasted for a year only. In 1616 a privy seal for a patent for the erection of a theatre in Blackfriars was granted to Rossetor, Philip Kingman, Robert Jones and Ralph Reeve, but the Lord Mayor and Aldermen compelled them to surrender it. [See Jones, Robert, vol. ii. p. 39b.]
ROSSI, Francesco, born at Bari about 1645, canon there 1680; author of 4 operas—'Il Sejano moderno' (Venice, 1680); 'La Pena degli Occhi' (Ib., 1688); 'La Carilda' (Ib., 1688); 'Mitrane' (Ib., 1689). Also of Psalms and a Requiem, à 5, printed 1688; and an oratorio 'La Caduta dei Gigante,' (MS.) The fine and well-known scena 'Ah! rendimi' is from Mitrane, and gives a high idea of Rossi's power.
ROSSI, Lauro, an Italian composer, who, like Raimondi, although the author of numerous operas, and famous from end to end of Italy, is hardly so much as known by name on this side the Alps. He was born[1] at Macerata, near Ancona, February 20, 1812, and was taught music at the Conservatorio of Naples under Crescentini, Furno, and Zingarelli. He began to write at once, and at 18 had his first two operas ' Le Contesse Villane ' and ' La Villana Contessa' performed at the Fenice and Nuovo Theatres of Naples respectively. Other pieces followed; one of them, 'Costanza ed Oringaldo,' being written expressly for the San Carlo at the request of Barbaja. On the recommendation of Donizetti, Rossi was engaged for the Teatro Valle at Rome, and there he remained for 1832 and 1833, and composed 4 operas and an oratorio. In 1834 he moved to Milan, and brought out 'La Casa disabitata' (or 'I falsi Monetari'), which, though but moderately successful at the Scala, was afterwards considered his chef d'œuvre, and spoken of as 'Rossi's Barbiere di Siviglia.' It pleased Malibran so much that she induced Barbaja to bespeak another opera from Rossi for the San Carlo, in which she should appear. The opera was composed, and was named 'Amelia'; but owing to her caprice was a failure. She insisted on having a pas de deux inserted for her and Mathis. The theatre was crowded to the ceiling to see the great singer dance; but her dancing did not please the public, and the piece was damned. This disappointment, though somewhat alleviated by the success of his 'Leocadia' (1834) seems to have disgusted Rossi with Italy, he accepted an engagement from Mexico, left Europe Oct. 15, 1835, and arrived at Vera Cruz the 6th of the following January. From Mexico he went to the Havannah, New Orleans, and Madras; married in 1841, and returned to Europe, landing at Cadiz, Feb. 3, 1843. He began again at once to compose—'Cellini a Parigi' (Turin 1845), etc., but with very varying success. In 1846 he reappeared at the Scala at Milan with 'Azema di Granata,' 'Il Borgomastro di Schiedam,' and three or four other operas in following years. His great success however appears to have been made with 'Il Domino nero,' at one of the Milanese Theatres [App. p.775 "the Teatro della Canobbiana, September 1849"]. In 1850 he was called to be Director of the Conservatorio at Milan. For this institution he published a 'Guida di armonia pratica orale' (Ricordi 1858), and between 1850 and 1859 composed a great many operas, and detached pieces for voices and for instruments. After the death of Mercadante in 1870, Rossi succeeded him as head of the Conservatorio at Naples. This office he is said to have resigned in 1878. Lists of his works are given by Florimo (Cenni Storici, p. 948–962) and Pougin. They comprise 29 operas, a grand mass, and a dozen miscellaneous compositions, including six fugues for strings, 2 sets of vocal exercises, and the Guide to Harmony already mentioned. His best works are 'Cellini a Parigi,' 'I falsi Monetari,' and 'Il Domino nero.' One of his operas, 'La Figlia di Figaro,' is said to have been produced at the Kärnthnerthor Theatre, Vienna, April 17, 1846; and another, 'Biorn,' was announced for performance at the Queen's Theatre, London, Jan. 17, 1877—English version [App. p.776 "libretto"] by Frank Marshall; but no notice of either performance can be found. [App. p.776 "Add date of death, May 5, 1885."]
ROSSI, Luigi, was a contemporary of Carissimi's, born at Naples towards the end of the 16th century, and found at Rome about 1620. His works known at present are chiefly cantatas, for one or more voices with clavier accompaniments, often of great length and in many movements. Thirty-five of these are to be found in the British Museum (Harl. MSS. 1265, 1273, 1501, 1863), and not less than 112 in the Library of Christ Church, Oxford. They are said to be beautiful music, quite equal to that of Scarlatti. The Magliabecchi Library at Florence contains a scene extracted from a 'spiritual opera' of his, 'Giuseppe figlio di Giacobbe'; and the library of the Sacred Harmonic Society of London contains 'Il Palazzo incantato, overo, La Guerriere amante' (MS.), an opera by Giulio Ruspigliosi, music by Rossi, performed at Rome 1642. Gevaert, in 'Les Gloires d'Italie,' gives two cantatas for a single voice.
ROSSI-SCOTTI, Giovanni Battista, Conte di, was born Dec. 27, 1836, at Perugia, where he still resides. He is an amateur of taste and knowledge, who will be long remembered for the biography of his fellow-townsman, Morlacchi—'Della vita e delle opere del Cav. Francesco Morlacchi … Memorie istoriche precedute dalla biografia e bibliografia musicale Perugina' (Perugia; Bartelli, 1861)—a copy of which is
- ↑ His parents' names were Vincenzo and Santa Monticelli, so that 'Rossi' would seem to be a sobriquet.
