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La gazza ladra

opera semiseria by Gioacchino Rossini

Manuscripts, fine bindings, an engraving plate and preserved performance ephemera
Arts and lettersInterpretive dossier study · Crown Archives visual atlas
Record originEnglish Wikipedia
Text licenseCC BY-SA 4.0
Source revisionSep 16, 2026
Entity authorityQ472318
Source-derived summary

La gazza ladra (Italian pronunciation: [la ˈɡaddza ˈlaːdra], The Thieving Magpie) is a opera semiseria in two acts by Gioachino Rossini, with a libretto by Giovanni Gherardini based on La pie voleuse by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez.

The Thieving Magpie's overture uses snare drums to evoke the image of the opera's main subject: a devilishly clever, thieving magpie.

Rossini wrote quickly, and La gazza ladra was no exception. A 19th-century biography quotes him as saying that the conductor of the premiere performance locked him in a room at the top of La Scala the day before the premiere with orders to complete the opera's still unfinished overture. He was under the guard of four stagehands whose job it was to toss each completed page out the window to the copyist below.

Performance history

The first performance of The Thieving Magpie was on 31 May 1817, at La Scala, Milan. In 1818, Rossini revised the opera for subsequent productions in Pesaro; and then in 1819 for the Teatro del Fondo, in Naples; in 1820 for the Teatro di San Carlo, in Naples; and in 1866 he revised the music for performance in Paris. The 1866 revision included embellishments and variations written specifically for Giuseppina Vitali, who was singing the role of Ninetta. He revised the role again in 1867 with embellishments and cadenzas for Adelina Patti.

The first performance of The Thieving Magpie in England was at the King's Theatre, London, on 10 March 1821.

Editorial summary

This brief starts where responsible research should: with the source description of “La gazza ladra” as opera semiseria by Gioacchino Rossini. Everything that follows is an evidence route, not borrowed authority.

Editorial reviewBest approached as a cultural-object dossier: authorship and date matter, but circulation and reception often explain the wider significance. The current lead gives the account dated anchors—1817, 1818, 1819, 1820—that can be checked directly. The authority record carries competing date values—1817, 1819, 1820—which should remain separate until their references and qualifiers are resolved. The account is most persuasive where gazza, ladra and opera can be independently traced.
Editorial analysis

Why this record matters

The subject matters to the arts & letters register because the source frames it as opera semiseria by Gioacchino Rossini. Its deeper value depends on whether names, dates, institutions and citations support that framing.

Evidence profile

Object files, edition statements, performance records and contemporary criticism preserve different stages of the work’s history. The source revision retrieved here is dated Sep 16, 2026. The linked authority identifier is Q472318. VIAF identifies the subject as 176607489. The Library of Congress control number is n82013173. 2 of 5 selected statements include explicit references; 0 carry qualifiers and 0 use preferred rank. The first chronological checks are 1817, 1818, 1819 and 1820.

Critical limits

Titles can refer to several editions, objects or performances, making precise identification essential before interpretation. The source lead contains qualifying language; that uncertainty should survive quotation, summary and reuse. Authority statements aid reconciliation but still require their own references, qualifiers and ranks to be checked.

How to read it

Separate the work, its editions or performances, and its later reception. Catalogue records, publication histories and object files often preserve different parts of that story.

Best used for
  • Identifying works and editions
  • Tracing reception history
  • Finding collection records
Verify next

The original object or edition, catalogue raisonné, performance record, rights file and holding institution.

Three-step research path

  1. Establish the record: confirm the title “La gazza ladra”, its source revision and the description used here.
  2. Expand the search: follow La gazza ladra primary sources, La gazza ladra archive and gazza research across catalogues and specialist indexes.
  3. Test the account: compare the strongest cited source with the responsible institution’s current record and note any disagreement.

Questions for further research

  1. Which source most directly establishes the central claim about “La gazza ladra”?
  2. How did later circulation or interpretation alter the work’s reception?
  3. Which edition, object, performance or recording is being described?
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Source & attribution

This entry incorporates text from La gazza ladra” on English Wikipedia. Contributors are listed in the page history. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License. Selected authority identifiers and statements are retrieved from Wikidata under CC0; their references and qualifiers remain part of the verification path.