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Influence and legacy

The popularity of Rossini's melodies led many contemporary virtuosi to create piano transcriptions or fantasies based on them. Examples include Sigismond Thalberg 's fantasy on themes from Moïse, the sets of variations on "Non più mesta" from La Cenerentola by Henri Herz, Frédéric Chopin, Franz Hünten, Anton Diabelli and Friedrich Burgmüller, and Liszt's transcriptions of the William Tell overture (1838) and the Soirées musicales.

The continuing popularity of his comic operas (and the decline in staging his opere serie), the overthrow of the singing and staging styles of his period, and the emerging concept of the composer as a "creative artist" rather than a craftsman, diminished and distorted Rossini's place in music history even though the forms of Italian opera continued up to the period of verismo to be indebted to his innovations. Rossini's status amongst his contemporary Italian composers is indicated by the Messa per Rossini, a project initiated by Verdi within a few days of Rossini's death, which he and a dozen other composers created in collaboration.

If Rossini's principal legacy to Italian opera was in vocal forms and dramatic structure for serious opera, his legacy to French opera was to provide a bridge from opera buffa to the development of opéra comique (and thence, via Jacques Offenbach 's opéras bouffes to the genre of operetta). Opéras comiques showing a debt to Rossini's style include François-Adrien Boieldieu 's La dame blanche (1825) and Daniel Auber 's Fra Diavolo (1830), as well as works by Ferdinand Hérold, Adolphe Adam and Fromental Halévy. Critical of Rossini's style was Hector Berlioz, who wrote of his "melodic cynicism, his contempt for dramatic and good sense, his endless repetition of a single form of cadence, his eternal puerile crescendo and his brutal bass drum".

It was perhaps inevitable that the formidable reputation which Rossini had built in his lifetime would fade thereafter. In 1886, less than twenty years after the composer's death, Bernard Shaw wrote: "The once universal Rossini, whose Semiramide appeared to our greener grandfathers a Ninevesque wonder, came at last to be no longer looked upon as a serious musician." In an 1877 review of Il barbiere, he noted that Adelina Patti sang as an encore in the lesson scene " Home, Sweet Home " but that "the opera proved so intolerably wearisome that some of her audience had already displayed their appreciation of the sentiment of the ballad in the most practical way."

In the early 20th century Rossini received tributes from both Ottorino Respighi, who had orchestrated excerpts from the Péchés de viellesse both in his ballet la boutique fantasque (1918) and in his 1925 suite Rossiniana, and from Benjamin Britten, who adapted music by Rossini for two suites, Soirées musicales (Op. 9) in 1937 and Matinées musicales (Op. 24) in 1941. Richard Osborne singles out the three-volume biography of Rossini by Giuseppe Radiciotti (1927–1929) as an important turning point towards positive appreciation, which may also have been assisted by the trend of neoclassicism in music. A firm re-evaluation of Rossini's significance began only later in the 20th century in the light of study, and the creation of critical editions, of his works. A prime mover in these developments was the "Fondazione G. Rossini" which was created by the city of Pesaro in 1940 using the funds which had been left to the city by the composer. Since 1980 the "Fondazione" has supported the annual Rossini Opera Festival in Pesaro.

In the 21st century, the Rossini repertoire of opera houses around the world remains dominated by Il barbiere, La Cenerentola being the second most popular. Several other operas are regularly produced, including Le comte Ory, La donna del lago, La gazza ladra, Guillaume Tell, L'italiana in Algeri, La scala di seta, Il turco in Italia and Il viaggio a Reims. Other Rossini pieces in the current international repertory, given from time to time, include Adina, Armida, Elisabetta regina d'Inghilterra, Ermione, Mosé in Egitto and Tancredi. The Rossini in Wildbad festival specialises in producing the rarer works. The Operabase performance-listing website records 2,319 performances of 532 productions of Rossini operas in 255 venues across the world in the three years 2017–2019. All of Rossini's operas have been recorded.