# Rossini: "Barbiere di Siviglia" e "Aureliano in Palmira"



## enzotib (Nov 16, 2014)

Hi,

I have listened to the Overtures of these two Operas by Gioachino Rossini, on Youtube, but they are _identical_! How so?

Thanks to those who take the time to explain.

-- enzotib


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## MAuer (Feb 6, 2011)

Some composers "recycled" portions of music from their less-successful operas in their later works, or even "borrowed" bits from other composers' operas.

Here's Count Almaviva's aria from the final act of _Il Barbiere di Siviglia_, "_Cessa di più resistere_:"






And Angelina's aria from the final act of Rossini's _La Cenerentola_, "_Non più mesta_:"


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## schigolch (Jun 26, 2011)

Well, you are in for another surprise then if you listen to the overture of "Elisabetta, regina d´Inghilterra"... 

Yes, this was pretty normal in Rossini, that recycled his music often.

He even wrote some complete "pasticcio" like this _Ivanhoe_, where you can find music from several operas like Semiramide, La Cenerentola, Armida, Maometto II, Tancredi,...


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## enzotib (Nov 16, 2014)

Thanks for your answers. As a confirmation I found this on wikipedia:



> In his compositions, Rossini plagiarized freely from himself, a common practice among deadline-pressed opera composers of the time. Few of his operas are without such admixtures, frankly introduced in the form of arias or overtures. For example, in Il Barbiere there is an aria for the Count (often omitted) "Cessa di più resistere", which Rossini used (with minor changes) in the cantata Le Nozze di Teti e di Peleo and in La Cenerentola (the cabaletta for Angelina's rondo is almost unchanged). Moreover, four of his best known overtures (La cambiale di matrimonio, Tancredi, La Cenerentola and The Barber of Seville) share operas apart from those with which they are most famously associated.


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