Gioachino Rossini 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
Gioachino Rossini History of Western Music", "Rossini's fame surpassed that of any previous composer, and so, for a long time, did the popularity of his works. Audiences took to his music as if to an intoxicating drug—or, to put it more decorously, to champagne, with which Rossini's bubbly music was constantly compared." Rossini took existing operatic genres and forms and perfected them in his own style. Through his own work, as well as through that of his followers and imitators, Rossini's style dominated Italian opera throughout the first half of the 19th century. In his compositions, Rossini plagiarized freely from himself, a