Gaetano Donizetti - Wikipedia, the free encyclopedia. Gaetano Donizetti. Portrait by Giuseppe Rillosi)Domenico Gaetano Maria Donizetti (Italian: . Along with Gioachino Rossini and Vincenzo Bellini, Donizetti was a leading composer of the bel canto opera style during the first half of the nineteenth century. Donizetti was born in Bergamo in Lombardy. However, as Donizetti scholar William Ashbrook notes, in 1809 he was threatened with having to leave because his voice was changing. In 1810 he applied for and was accepted by the local art school, the Academia Carrara, but it. AUDIZIONI 2016 - Programma e passi <pagina principale. I links per scaricare i passi d'orchestra indicati nel programma di ciascuna prova saranno attivati a partire dal 02/08/2016. Donizetti ist eine Weiterleitung auf diesen Artikel. Weitere Bedeutungen sind unter Donizetti (Begriffskl This is a list of musical compositions for violin, cello and orchestra, ordered by surname of composer. Please see the related entries for concerto, cello and cello concerto for discussion of typical forms and topics. Although he did not come from a musical background, at an early age he was taken under the wing of composer Simon Mayr. There he received detailed training in the arts of fugue and counterpoint. Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 1. An offer in 1. 82. Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1. In 1. 83. 0, when Anna Bolena was premiered, Donizetti made a major impact on the Italian and international opera scene and this shifted the balance of success away from primarily comedic operas. AGOSTINI, Mezio (1875-1944): Serenata for Clarinet and String Orchestra (partitura e parti / full score and parts) ( Puccini, Giacomo : E lucevan le stelle (Tosca) Voix Tenor, Piano 1 PDF / 2 MP3 Play-along Arrangeur : Dewagtere, Bernard / Interm Significant historical dramas did appear and became successful; they included Lucia di Lammermoor (the first to have a libretto written by Salvadore Cammarano) given in Naples in 1. Neapolitan operas, Roberto Devereux in 1. From about 1. 83. Paris, where he saw much greater freedom to choose subject matter. From 1. 83. 8 onward, with an offer from the Paris Op. The first opera was a French version of the then- unperformed Poliuto which, in April 1. Les martyrs. Two new operas were also given in Paris at that time. As the 1. 84. 0s progressed, Donizetti moved regularly between Naples, Rome, Paris, and Vienna continuing to compose and stage his own operas as well as those of other composers. But from around 1. Eventually, by early 1. Bergamo, where he died in April 1. Early life and musical education in Bergamo and Bologna. His family was very poor and had no tradition of music, his father Andrea being the caretaker of the town pawnshop. Simone Mayr, a German composer of internationally successful operas, had become maestro di cappella at Bergamo's principal church in 1. He founded the Lezioni Caritatevoli school in Bergamo in 1. In 1. 80. 7, Andrea Donizetti attempted to enroll both his sons, but the elder, Giuseppe (then 1. Gaetano (then 9) was accepted. He remained there for nine years, until 1. In 1. 81. 0 he applied for and was accepted by the local art school, the Academia Carrara, but it is not known whether he attended classes. Then, in 1. 81. 1, Mayr once again intervened. Having written both libretto and music for a . As Ashbrook states, this . In addition, he provided the young musician with letters of recommendation to both the publisher Giovanni Ricordi as well as to the Marchese Francesco Sampieri in Bologna (who would find him suitable lodging) and where, at the Liceo Musicale, he was given the opportunity to study musical structure under the renowned Padre Stanislao Mattei. Author John Stewart Allitt describes his 1. Various small opportunities came his way and, at the same time, he made the acquaintance of several of the singers appearing during the 1. Carnival season. Among them was the soprano Giuseppina Ronzi de Begnis and her husband, the bass Giuseppe de Begnis. Without a commission from any opera house, Donizetti decided to write the music first and then try to find a company to accept it. He was able to do so when Paolo Zancla, the impresario of the Teatro San Luca (an early theatre built in 1. Teatro Goldoni) in Venice accepted it. Thus Enrico was presented on 1. November 1. 81. 8, but with little success, the audience appearing to be more interested in the newly re- decorated opera house rather than the performances, which suffered from the last- minute withdrawal of the soprano Adelaide Catalani due to stage fright and the consequent omission of some her music. Musicologist and Donizetti scholar William Ashbrook provides a quotation from a review in the Nuovo osservatore veneziano of 1. November in which the reviewer notes some of these performance issues which faced the composer, but he adds: . For these the public wanted to salute Signor Donizetti on stage at the end of the opera. However, with no other work forthcoming, the composer once again returned to Bergamo, where a cast of singers made up from the Venice production the month before, presented Enrico di Borgogna in his home town on 2. December. The opera was given first at the Teatro San Samuele in Venice in December. Other work included expansion of Il nozze in villa, a project which he had started in mid- 1. Mantua. Little more is known about it except its lack of success and the fact the score has totally disappeared. From the point of view of Donizetti's evolving style, Ashbrook states that, in order to please the opera- going public in the first quarter of the 1. Rossini whose music . It is unclear as to how this connection came about: whether it had been at Merelli's suggestion or whether, as William Ashbrook speculates, it had been Mayr who had initially been approached by Paterni to write the opera but who, due to advancing age, had recommended his prize pupil. The libretto had been started by August and, between then and 1 October when Donizetti was provided with a letter of introduction from Mayr to Jacopo Ferretti, the Roman poet and librettist who was to later feature in the young composer's career, much of the music had been composed. Opening night was a triumph for Donizetti; as reported in the weekly Notizie del giorno: A new and very happy hope is rising for the Italian musical theatre. The young Maestro Gaetano Donizetti.. Zoraida. Unanimous, sincere, universal was the applause he justly collected from the capacity audience... Soon after 1. 9 February, Donizetti left Rome for Naples, where he was to settle for a large part of life. It appears that he had asked Mayr for a letter of introduction. By late March Donizetti had been offered a contract not only to compose new operas, but also to be responsible for preparing performances of new productions by other composers whose work had been given elsewhere. The premiere had been scheduled for only about three weeks away and, due to the delays and illnesses among the cast members, it did not receive good reviews, although it did receive a respectable 1. Returning north via Rome, Donizetti signed a contract for performances of Zoraida for the Teatro Argentina which included the requirement that the libretto to be revised by Ferretti, given Donizetti's low opinion of the work of the original Neapolitan librettist, Andrea Leone Tottola: he referred to it as . Donizetti finally returned to Naples by late March. Unfortunately however, the music set for the San Carlo premiere of Alfredo il grande on 2 July was described in the Giornali as . However, it was less successful than the original version. The second opera for Rome's Teatro Valle also had a libretto by Ferretti, one which has since been regarded as one of his best. The critical reaction in the Giornali some months later focused on the weaknesses of the semiseria genre itself, although it did describe Donizetti's music for Emilia as . But overall, his experience in Palermo does not appear to have been pleasant, mainly because of the poorly managed theatre, the continual indisposition of singers, or their failure to appear on time. These issues caused a delay until January 1. Alahor, after which he went back in Naples in February, but with no specific commitments until midsummer. Gilardoni shared with the composer a very good sense of what would work on stage. Like Rossini, who had occupied this position before him, Donizetti was free to compose for other opera houses. Finally, in May 1. Virginia Vasselli, the daughter of the Roman family who had befriended him there and who was then 1. Within two months he had written another opera semiseria, Gianni di Calais, from a libretto by Gilardoni. It was their fourth collaboration, and became a success not only in Naples but also in Rome over the 1. Writing about the Naples premiere, the correspondent of the Gazzetta privilegiata di Milano stated: . Maestro Donizetti has known how to take advantage of them.. Also, the acclaimed tenor, Giovanni Battista Rubini, appeared in the role of Percy. With this opera, Donizetti achieved instant fame throughout Europe. Performances were staged . Two new operas were presented in Milan: Le convenienze ed inconvenienze teatrali (April 1. Ugo, conte di Parigi (March 1. Rome presented Il furioso all'isola di San Domingo (January 1. Torquato Tasso (September 1. Otto mesi in due ore (1. Livorno and Parisina (March 1. Florence. After the successful staging of Lucrezia Borgia in 1. Donizetti followed the paths of both Rossini and Bellini by visiting Paris, where his Marin Faliero was given at the Th. However, it suffered by comparison to Bellini's I puritani which appeared at the same time. It was set to a libretto by Salvadore Cammarano, the first of eight for the composer. The opera was based on The Bride of Lammermoor, the novel by Sir Walter Scott. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 1. Many of these historical characters appear in Donizetti's dramas, operas which both preceded and followed Anna Bolena. They were Elisabetta al castello di Kenilworth, based on Scribe's Leicester and Hugo's Amy Robsart (given in Naples in July 1. Then came Maria Stuarda (Mary Stuart), based on Schiller's play and given at La Scala in December 1. It was followed by the third in the . It was given at the San Carlo in Naples in October 1. As Donizetti's fame grew, so did his engagements. He was offered commissions by both La Fenice in Venice. Just as importantly, after the success of his Lucia at the Th. As musicologists. Roger Parker and William Ashbrook have stated, . In Paris, he offered Poliuto to the Op. Performed in April 1. French tradition and was quite successful.
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