The absence of a similar precaution in construction of his Mosè in Egitto led to disaster in the scene depicting the passage of the Israelites through the Red Sea, when the defects in stage contrivance always raised a laugh, so that the composer was at length compelled to introduce the chorus " Dal tuo stellato soglio " to divert attention from the dividing waves.

* Gioacchino Rossini – Mosè in Egitto

She created the leading female role in Elisabetta, regina d ' Inghilterra ( 1815 ), Otello ( 1816 ), Armida ( 1817 ), Mosè in Egitto ( 1818 ), Maometto II ( 1820 ), and five other Rossini operas up to and including his final contribution to the genre, Semiramide, which was also written with Colbran in the major role.

These were Elisabetta, regina d ' Inghilterra ( 1815 ), La gazzetta, Otello, ossia il Moro di Venezia ( 1816 ), Armida ( 1817 ), Mosè in Egitto, Ricciardo e Zoraide ( 1818 ), Ermione, Bianca e Falliero, Eduardo e Cristina, La donna del lago ( 1819 ), Maometto II ( 1820 ), and Zelmira ( 1822 ).

John Ebers, a bookseller, took over the management of the theatre in 1821, and seven more London premieres of Rossini operas ( La gazza ladra, Il turco in Italia, Mosè in Egitto, Otello, La donna del lago, Matilde di Shabran and Ricciardo e Zoraide ) took place there in the following three years.

* Rossini-Armida ( Armida ), Mosè in Egitto ( Sinaide )

She also participated in the recording of operatic works rarely heard in this era, including: Rossini's Mosè in Egitto, Wagner's Die Feen, Tomaso Albinoni's Il nascimento dell ' Aurora, Bizet's La jolie fille de Perth, Adolphe Adam's Le postillon de Lonjumeau, Fromental Halévy's La Juive, and Daniel Auber's La muette de Portici.

Though her voice soon began to show signs of strain, Colbran continued to have a fertile career, creating the roles of Armida ( Armida ), Elcia ( Mosè in Egitto ), Zoraide ( Ricciardo e Zoraide ), Ermione ( Ermione ), Elena ( La donna del lago ), Anna ( Maometto II ), and Zelmira ( Zelmira ), all written by Rossini for Naples.

The following example from the Mosè fantasy, apparently written after 1836, is typical of Thalberg's style of playing.

In a review in the Revue et gazette musicale, the finale of Thalberg's Mosè fantasy is described as follows

* Mosè by Don Lorenzo Perosi – Milan, November 16, 1901

:' His bravura pieces, fantasies on melodies from Rossini's Mosè and La donna del lago, on motifs from Bellini's Norma and on Russian folk-songs, became extraordinarily popular through his own, brilliant execution ; however, they treat their subjects always in one and the same way, [...] to let the tones of a melody be played in the medium octave of the keyboard now by the thumb of the right, now of the left hand, while the rest of the fingers are executing arpeggios filling the whole range of the keyboard '.

But Thalberg had at his concert in the Paris Conservatoire on March 12, 1837, played for the first time played his Mosè fantasy.

Excerpt from Thalberg's Mosè fantasy illustrating the " three-hand " effect.

* D. Maggiorotti Testamento di Mosè in ed.

Giulio Cesare in Egitto ( Julius Caesar in Egypt, HWV 17 ), commonly known simply as Giulio Cesare, is an Italian opera in three acts written for the Royal Academy of Music by George Frideric Handel in 1724.

Another example is the recording of Giacomo Meyerbeer's Opera Il crociato in Egitto together with the Male Soprano Michael Maniaci at La Fenice in Venice.

Tolomeo, re d ' Egitto ( Ptolemy, King of Egypt ; HWV 25 ) is an opera in three acts by George Frideric Handel to an Italian text by Nicola Francesco Haym, adapted from Carlo Sigismondo Capece's Tolomeo et Alessandro.

Berenice ( HWV 38 ) is an opera in three acts by George Frideric Handel to an Italian libretto, written in Italy in 1709 and originally entitled Berenice, regina d ' Egitto ( Berenice, Queen of Egypt ), by Antonio Salvi.

An unpopular attempt at " improving " Giacomo Meyerbeer's opera, Il crociato in Egitto, by interpolated music of his own, compelled Balfe to throw up his engagement at the theatre La Fenice in Venice.

His 1824 opera Il crociato in Egitto was the first to bring him Europe-wide reputation, but it was Robert le diable ( 1831 ) which raised his status to great celebrity.

Act 3 scene 2 of Robert ( the ' Ballet of the Nuns ') at the Paris Opéra ( Salle Le Peletier ), 1832 The name Giacomo Meyerbeer first became known internationally with his opera Il crociato in Egitto — premiered in Venice in 1824 and produced in London and Paris in 1825 ; incidentally it was the last opera ever written to feature a castrato, and to require keyboard accompaniment for recitatives.

Another important forerunner was Il crociato in Egitto by Meyerbeer, who eventually became the acknowledged king of the grand opera genre.

All but the last two of these had libretti by Gaetano Rossi whom Beer continued to support until the end if his life, although not commissioning any further libretti from him after Il crociato in Egitto ( 1824 ).

* Cesare in Egitto ( Rome, 1751 ) – libretto by Giacomo Francesco Bussani

* Learco in Adrasto re d ' Egitto by Angelo Tarchi ( Milan, 1792 )

** Giulio Cesare in Egitto, conducted by René Jacobs, staged by Christof Loy

* Armida al campo d ' Egitto by Antonio Vivaldi ( Venice, 1718 )

* Sesostri, re d ' Egitto ( dramma per musica, libretto by Zeno, 1738, Holleschau )

* Il crociato in Egitto by Giacomo Meyerbeer ( 2007 )-Video Live recording on DVD-Dynamic

* Armida al campo d ' Egitto ( 1718 ) by Vivaldi

The first signs of Meyerbeer breaking with the Italian traditions in which he had trained are in Il crociato in Egitto.

The results of the expedition was a publication entitled Monumenti dell ' Egitto e della Nubia.

* Klaus Parlasca: Ritratti di mummie, Repertorio d ' arte dell ' Egitto greco-romano Vol.

In 1961 he published the mystery Il giorno della civetta ( The Day of the Owl ), one of his most famous novels, and in 1963, the historical novel Il consiglio d ' Egitto ( The Council of Egypt ), set in 18th-century Palermo.

He made his London debut in 1825 in Il crociato in Egitto.

After her initial success with Opera Rara, she appeared in many recordings with them, notably: Donizetti's Ugo, conte di Parigi and Emilia di Liverpool, Meyerbeer's Il crociato in Egitto, and Johann Simon Mayr's Medea in Corinto.

* Ippolito Rosellini, Monumenti dell ' Egitto e della Nubia begins publication.

" from Giulio Cesare in Egitto.

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