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Catalogue Aria
A catalogue aria is a genre of opera aria in which the singer recounts a list of information (people, places, food, dance steps, etc.) that was popular in Italian comic opera in the latter half of the eighteenth and early nineteenth centuries. The traditional devices of the catalogue aria include a solidly neutral opening, a section of rising comic excitement full of rapid patter and an emphatic final cadence, normally closing with an epigram. Common features include asyndeton, anaphora, rhyme schemes, and complete phrases stacked two to a line, typically expressed with joy, anger, excitement or fear, routinely fast declamation of patter in a generally mechanical and often impersonal way. History "Madamina, il catalogo è questo" from Wolfgang Amadeus Mozart's ''Don Giovanni'' is the most famous example, and is often referred to as "the catalogue aria". Leporello notes how many lovers the title character has had in each country he has visited. Pasquale sings two such arias in Jose ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as '' Singspiel'' and '' Opéra comique''. In traditional number opera, singers employ two styles of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Don Giovanni Tenorio
', (English: ''Don Giovanni, or The Stone Guest'') also known as ''Don Giovanni Tenorio'' is a one-act opera (dramma giocoso) by the Italian composer Giuseppe Gazzaniga. The opera was first performed at the Teatro San Moisè, Venice, on 5 February 1787, the same day as opera ''Don Giovanni'' in the same city at the Teatro San Samuele The libretto, by Giovanni Bertati, is based on the legend of Don Juan as told by Tirso de Molina in his play ''The Trickster of Seville and the Stone Guest'' (c. 1630), leading to comparisons with Mozart's ''Don Giovanni'' which had its premiere later in 1787. Mozart's librettist, Lorenzo Da Ponte, certainly knew the earlier opera. Gazzaniga's work is much shorter than Mozart's, and originally formed part of a double-bill with another piece, ''Il capriccio drammatico''. Roles *Don Giovanni (tenor) The role was created by Antonio Baglioni, who sang Don Ottavio in the premiere of Mozart's opera. *Pasquariello, ''Don Giovanni's manservant'' ( bass) * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Domenico Cimarosa
Domenico Cimarosa (; 17 December 1749 – 11 January 1801) was an Italian composer of the Neapolitan school and of the Classical period. He wrote more than eighty operas, the best known of which is ''Il matrimonio segreto'' (1792); most of his operas are comedies. He also wrote instrumental works and church music. Cimarosa was principally based in Naples, but spent some of his career in various other parts of Italy, composing for the opera houses of Rome, Venice, Florence and elsewhere. He was engaged by Catherine II of Russia as her court composer and conductor between 1787 and 1791. In his later years, returning to Naples, he backed the losing side in the struggle to overthrow the monarchy there, and was imprisoned and then exiled. He died in Venice at the age of 51. Life and career Early years Cimarosa was born in Aversa, a town near Naples. His family name was Cimmarosa, which is how he is recorded on his baptismal record. He appears to have been an only child. His fath ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Vendemmia
LA most frequently refers to Los Angeles, the second largest city in the United States. La, LA, or L.A. may also refer to: Arts and entertainment Music * La (musical note), or A, the sixth note * "L.A.", a song by Elliott Smith on ''Figure 8'' (album) * ''L.A.'' (EP), by Teddy Thompson * ''L.A. (Light Album)'', a Beach Boys album * "L.A." (Neil Young song), 1973 * The La's, an English rock band * L.A. Reid, a prominent music producer * Yung L.A., a rapper * Lady A, an American country music trio * "L.A." (Amy Macdonald song), 2007 * "La", a song by Australian-Israeli singer-songwriter Old Man River Other media * l(a, a poem by E. E. Cummings * La (Tarzan), fictional queen of the lost city of Opar (Tarzan) * ''Lá'', later known as Lá Nua, an Irish language newspaper * La7, an Italian television channel * LucasArts, an American video game developer and publisher * Liber Annuus, academic journal Business, organizations, and government agencies * L.A. Screenings, a tel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carlo Goldoni
Carlo is a given name. It is an Italian form of Charles. It can refer to: *Carlo (name) *Monte Carlo *Carlingford, New South Wales, a suburb in north-west Sydney, New South Wales, Australia *A satirical song written by Dafydd Iwan about Prince Charles. *A former member of Dion and the Belmonts best known for his 1964 song, Ring A Ling. *Carlo (submachine gun), an improvised West Bank gun. * Carlo, a fictional character from Animal Crossing: Pocket Camp * It can be confused with Carlos * Carlo means “man” (from Germanic “karal”), “free man” (from Middle Low German “kerle”) and “warrior”, “army” (from Germanic “hari”). See also *Carl (name) *Carle (other) *Carlos (given name) Carlos is a masculine given name, and is the Portuguese and Spanish variant of the English name ''Charles'', from the Germanic ''Carl''. Notable people with the name include: Royalty *Carlos I of Portugal (1863–1908), second to last King of P ... {{disambig Italian ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giuseppe Petrosellini
Giuseppe Petrosellini (29 November 1727 – 1799) was an Italian poet and prolific librettist working primarily in the '' dramma giocoso'' and ''opera buffa'' genres. Petrosellini was born in Corneto, Papal State (now Tarquinia, Lazio) and spent most of life in Rome at the Papal Court where he held the title of "Abate". He was also a member of several ''accademie'' (learned societies), most notably the Accademia degli Arcadi for whom he wrote under the pseudonym "Enisildo Prosindio". Amongst his most well-known libretti is Paisiello's ''Il barbiere di Siviglia''. ''La finta giardiniera'', set by Pasquale Anfossi in 1774 and Wolfgang Amadeus Mozart in 1775, has been ascribed to him, but it is questionable whether it is in his style. He also wrote several libretti for Domenico Cimarosa and Pasquale Anfossi. One of his last works was the libretto for Cimarosa's ''I nemici generosi'' which premiered at the Teatro Valle Teatro may refer to: * Theatre Theatre or theater is a col ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Barber Of Seville (Paisiello)
''Il barbiere di Siviglia, ovvero La precauzione inutile'' (''The Barber of Seville, or The Useless Precaution'') is a comic opera by Giovanni Paisiello to a libretto by Giuseppe Petrosellini, even though his name is not identified on the score's title page. The opera was first performed on at the Imperial Court, Saint Petersburg. It was adapted from the 1775 play ''Le Barbier de Séville'' of Pierre Beaumarchais. The full title for the opera reads: ''Il barbiere di Siviglia, ovvero La Precauzione inutile, dramma giocoso per musica tradotto liberamente dal francese, da rappresentarsi nel Teatro Imperiale del corte, l'anno 1782'', "Paisiello's and Rossini's ''Barbiere di Siviglia''" (April 1939). ''Music & Letters'', 20 (2): pp. 157–167. (Trans: "The Barber of Seville, or The Useless Precaution, comical drama with music freely translated from the French, presented at the Imperial Court Theater, the year 1782"). The story essentially follows the original Beaumarchais play, and i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Paisiello
Giovanni Paisiello (or Paesiello; 9 May 1740 – 5 June 1816) was an Italian composer of the Classical era, and was the most popular opera composer of the late 1700s. His operatic style influenced Mozart and Rossini. Life Paisiello was born in Taranto in the Apulia region and educated by the Jesuits there. He became known for his beautiful singing voice and in 1754 was sent to the Conservatorio di S. Onofrio at Naples, where he studied under Francesco Durante, and eventually became assistant master. For the theatre of the Conservatorio, which he left in 1763, he wrote some intermezzi, one of which attracted so much notice that he was invited to write two operas, ''La Pupilla'' and ''Il Mondo al Rovescio'', for Bologna, and a third, ''Il Marchese di Tidipano'', for Rome. His reputation now firmly established, he settled for some years at Naples, where, despite the popularity of Niccolò Piccinni, Domenico Cimarosa and Pietro Guglielmi, of whose triumphs he was bitterly jealous, h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Recitative
Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic ''recitativo secco'' ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through ''recitativo accompagnato'' (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
