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“For all his claims to be just a propagandist, [Bernard Shaw's] writing has an effect nearer to that of music than most of those who have claimed to be writing "dramas of feeling." His plays are a joy to watch, not because they purport to deal with social and political problems, but because they are such wonderful displays of conspicuous waste; the conversational energy displayed by his characters is so far in excess of what their situation requires that, if it were to be devoted to practical action, it would wreck the world in five minutes. The Mozart of English letters he is not â€� the music of the Marble Statue is beyond him â€� the Rossini, yes. He has all the brio, humor, cruel clarity and virtuosity of that master of opera buffa.”
― W.H. Auden, The Dyer's Hand and Other Essays

“Tous les genres sont bons,
Hors le genre ennuyeux."
(All genres are good,
Except the boring one.”
― Gioacchino Rossini

“The terms that Sforza Cesarini offered Rossini, 400 Roman Scudi, were not ungenerous, though it must have been galling for Rossini to see the Figaro, Luigi Zamboni, getting almost twice as much, and the Almaviva, Manuel Garcia, being offered three times the amount. Of the first-night cast, only the 'altro buffo', Bartolomeo Botticelli, who played Bartolo, and the 'seconda donna', Elisabetta Lowselet, who played Berta, were paid less than the composer.”
― Richard Osborne, Rossini

“On Rossini's 'The Barber of Seville' - "Much has been written about the fiasco of the opera's first night on 20 February 1816, most of it true: the mockery of Rossini's Spanish-style hazel jacket, the rowdy animosity of the Paisiello lobby, the jeering and the catcalls, as one mishap succeeded another. Basilio sang his 'Calumny' aria with a bloodied nose after tripping over a trap door; then during the act 1 finale, a cat wandered onstage, declined to leave, and was forcibly flung into the wings. According to the Rosina, Gertrude Righetti Giorgi, Rossini left the theatre 'as though he had been an indifferent onlooker'... The second performance was a triumph, though Rossini was not there to witness it. He spent the evening pacing his room, imagining the opera's progress scene by scene. He retired early, only to be roused by a glow of torches and uproar in the street. Fearing that a mob was about to set fire to the building, he took refuge in a stable block. Garcia tried to summon him to acknowledge the adulation. 'F***' their bravos!' was Rossini's blunt rejoinder. 'I'm not coming out'.”
― Richard Osborne, Rossini

“On the Overture of the Rossini opera "Il SIgnor Bruschino" - The sound of the second violins striking the backs of their bows against the metal candle holders shortly after the start of the overture was judged 'incomprehensible' by the Giornale. Rossini feared as much. 'Dio ti salvi l'anima' (God save your soul), he wrote on the manuscript at the end of the overture).”
― Richard Osborne

“I am writing like an angel”
― Gioacchino Rossini

“If he had been able to, Barbaja would have put me in charge of the kitchen as well' (Rossini on his impresario”
― Gioacchino Rossini

“The (extremely lavish set) was created by a transparency, a fine gauze, finely painted. According to the theatre accounts, it cost 241 ducats, 91 ducats more than Rossini was paid for the music.”
― Richard Osborne, Rossini

“In 1829 Rossini was at an age which has often proven critical in the lives of musicians, painters and writers. Lapses into silence far more complete than Rossini's, creative failures, suicides, and unanticipated deaths have been common in the middle to late 30s. As Charles Rosen has noted, 'It is the age when the most fluent composer begins to lose the ease of inspiration he once possessed, when even Mozart had to make sketches and to revise'.”
― Richard Osborne, Rossini

“Eh, my dear fellow, order is wealth”
― Gioacchino Rossini

“Wagner thought Rossini unserious; Rossini thought Wagner 'lacked sun'. Wagner also became the butt of a phrase Rossini had used down the years to describe musicians about whom he had certain reservations - "He has some beautiful moments but some bad quarters of an hour!”
― Richard Osborne, Rossini