This week, a post was going around Facebook about the Worst Composer Hair in History. I’m glad someone finally called out Berlioz on the hideous mop he wore on his head.

Also mentioned in the post was Rossini‘s epic comb-over. Naturally, I immediately started hearing the overture to The Italian in Algiers in my head as I inspected his unsuccessful attempt to cover his shiny bald head. Fortunately for him, he also had an epic knack for writing melodies that are exciting, lyric, and most importantly, memorable – an honor which arguably makes him the most-borrowed-from-composer of Looney Tunes.

No BBQ here. Just a really stupid joke.

All the Bach children were musical, and probably not by choice. Most musicians agree that Carl Philipp Emanuel Bach was the best composer among them. After all, when Mozart said “Bach is the father, and we are his children,” he was not referring to J.S., but C.P.E.

C.P.E.’s music is a perfect midpoint between the Baroque and Classical musical eras, combining the ornateness and richness of the baroque with the transparency and grace of the classic. This isn’t the heavy, confusing sound of his father’s late compositions, nor is it the mindless, simple noodling of Scarlatti.

At least, so says Rosina, the heroine from Rossini‘s opera, The Barber of Seville.

In Rosina’s well loved solo, she presents herself as coy and sweet, but wickedly clever. She sings “A thousand tricks I play until I have my way; be on your guard.” Then, working with her lover, she proceeds to make an idiot out of a cruel, elderly suitor. Don’t let the gorgeous bel canto singing fool you – and definitely don’t play games with this woman!