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Gli Orazi E I Curiazi
''Gli Orazi e i Curiazi'' (''The Horatii and the Curiatii'') is an opera in three acts ('' azione tragica'') composed by Domenico Cimarosa to a libretto by Antonio Simeone Sografi, based on Pierre Corneille's tragedy ''Horace''. History The opera was first staged on 26 December 1796 at the Teatro La Fenice in Venice. The première was so unsuccessful that Cimarosa, disappointed, decided to leave the town immediately. The run of the following performances, however, turned into a big success, as would happen twenty years later with Rossini’s ''The Barber of Seville''. At least 49 performances were held throughout the season and the opera was later staged in the major European theatres, including Teatro La Scala in Milan and Napoleon’s imperial court in Paris. In Europe during the 18th century Italian operas did not normally endure very long in theatres, hardly ever getting through one season. ''Gli Orazi e i Curiazi'', however, kept running for several decades, even after the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera Seria
''Opera seria'' (; plural: ''opere serie''; usually called ''dramma per musica'' or ''melodramma serio'') is an Italian musical term which refers to the noble and "serious" style of Italian opera that predominated in Europe from the 1710s to about 1770. The term itself was rarely used at the time and only attained common usage once ''opera seria'' was becoming unfashionable and beginning to be viewed as something of a historical genre. The popular rival to ''opera seria'' was ''opera buffa,'' the 'comic' opera that took its cue from the improvisatory commedia dell'arte. Italian ''opera seria'' (invariably to Italian libretti) was produced not only in Italy but almost throughout Europe, and beyond (see Opera in Latin America, Opera in Cuba e. g.). Among the main centres in Europe were the court operas based in Warsaw (since 1628), Munich (founded in 1653), London (established in 1662), Vienna (firmly established 1709; first operatic representation: ''Il pomo d'oro'', 1668), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paris
Paris () is the capital and most populous city of France, with an estimated population of 2,165,423 residents in 2019 in an area of more than 105 km² (41 sq mi), making it the 30th most densely populated city in the world in 2020. Since the 17th century, Paris has been one of the world's major centres of finance, diplomacy, commerce, fashion, gastronomy, and science. For its leading role in the arts and sciences, as well as its very early system of street lighting, in the 19th century it became known as "the City of Light". Like London, prior to the Second World War, it was also sometimes called the capital of the world. The City of Paris is the centre of the Île-de-France region, or Paris Region, with an estimated population of 12,262,544 in 2019, or about 19% of the population of France, making the region France's primate city. The Paris Region had a GDP of €739 billion ($743 billion) in 2019, which is the highest in Europe. According to the Economist Intelli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dramma Per Musica
Dramma per musica (Italian, literally: ''drama for music'', plural: ''drammi per musica'') is a libretto. The term was used by dramatists in Italy and elsewhere between the mid-17th and mid-19th centuries. In modern times the same meaning of ''drama for music'' was conveyed through the Italian Greek-rooted word ''melodramma'' (from μέλος = song or music + δρᾶμα = scenic action). ''Dramma per musica'' never meant "drama ''through'' music", let alone music drama. A ''dramma per musica'' was thus originally (in Italy in the 17th century) a verse drama specifically written for the purpose of being set to music, in other words a libretto for an opera, usually a serious opera (a libretto meant for opera buffa, i.e. comic opera, would have been called a ''dramma giocoso''). By extension, the term came to be used also for the opera or operas which were composed to the libretto, and a variation, ''dramma in musica'', which emphasised the musical element, was sometimes preferre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anna Caterina Antonacci
Anna Caterina Antonacci (born 5 April 1961) is an Italian soprano known for roles in the bel canto and Baroque repertories. She performed as a mezzo-soprano for several years, particularly performing the Rossini canon. Career Antonacci studied in Bologna and made her debut as Rosina in 1986 at Arezzo. In 1994, she made her Royal Opera debut as Elcia in ''Mosè in Egitto''. She appeared there again in 2006 with Jonas Kaufman. She was profiled at length by ''The New York Times'' in March 2012. In 2013, she appeared in ''La voix humaine'' at the Opéra-Comique. Repertory * Bellini: Adalgisa (''Norma''), Romeo (''I Capuleti e i Montecchi'') * Berlioz: Cassandre ('' Les Troyens''), Marguerite (''La damnation de Faust''), Cléopâtre ('' La mort de Cléopâtre'') *Bizet: Carmen ('' Carmen'') * Cherubini: Medea (''Medea'') * Cimarosa:Orazia ('' Gli Orazi ed i Curiazi'') *Donizetti: Elisabetta (''Maria Stuarda'') *Gluck: Alceste ('' Alceste''), Armide ('' Armide''), Iphigén ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gianna Rolandi
Gianna Rolandi (August 16, 1952 – June 20, 2021)Bordello, Enzo (June 20, 2021)"Gianna Rolandi 1952–2021" '' Parterre Box''. was an American soprano. She was based at the New York City Opera (NYCO) and enjoyed a 20-year national and international career in coloratura soprano roles. She retired from performing in 1994 and served as director of and principal instructor at the Lyric Opera of Chicago's opera studio until 2013."Lyric Opera's Gianna Rolandi Retires As Director of Ryan Opera Center After 2012/13 Season" ''Showbiz Chicago''. September 27, 2012. Early life Gianna Rolandi was born in New Yor ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alan Curtis (harpsichordist)
Alan Curtis (November 17, 1934July 15, 2015) was an American harpsichordist, musicologist, and conductor of baroque opera. Born in Mason, Michigan, Curtis graduated from studies at the University of Illinois, and received his PhD in 1960 with a dissertation on the keyboard music of Sweelinck. He then relocated to Amsterdam to work with Gustav Leonhardt, with whom he subsequently recorded a number of Bach's concerti for harpsichord. In the 1960s and 1970s, he made a number of recordings of solo harpsichord music including albums dedicated to the keyboard music of Rameau and the works of Johann Sebastian Bach, such as his recording of the ''Goldberg Variations'' made on a 1728 Christian Zell harpsichord. Following an academic career divided between UC Berkeley and Europe, Curtis devoted his time to performing dramatic music from Monteverdi to Mozart. As a student in the 1950s, he was the first modern harpsichordist to examine problems surrounding Louis Couperin's unmeasured pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Teatro Dell'Opera Di Roma
The Teatro dell'Opera di Roma (Rome Opera House) is an opera house in Rome, Italy. Originally opened in November 1880 as the 2,212 seat ''Costanzi Theatre'', it has undergone several changes of name as well modifications and improvements. The present house seats 1,600. Original Teatro Costanzi: 1880 to 1926 The Teatro dell'Opera was originally known as the ''Teatro Costanzi'' after the contractor who built it, (1819–1898). It was financed by Costanzi, who commissioned the Milanese architect Achille Sfondrini (1836–1900), a specialist in the building and renovation of theatres. The opera house was built in eighteen months, on the site where the house of Heliogabalus stood in ancient times, and was inaugurated on 27 November 1880 with a performance of ''Semiramide'' by Gioachino Rossini. Designing the theatre, Sfondrini paid particular attention to the acoustics, conceiving the interior structure as a "resonance chamber", as is evident from the horseshoe shape in particular. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Daniela Dessì
Daniela Dessì (14 May 1957 – 20 August 2016) was an Italian operatic soprano. Life and career Born in Genoa, Italy, Dessì completed her studies at the Arrigo Boito Conservatory in Parma and the Accademia Musicale Chigiana in Siena. She made her operatic debut on 7 December 1978 at Sanremo Casino's theatre as Serpina in ''La serva padrona'' by Pergolesi during the season of Savona's Teatro dell'Opera Giocosa. In 1980, she distinguished herself as a finalist at the Maria Callas International Competition organized by Italy's RAI TV. Her international career took her to a variety of opera theatres, singing under the direction of conductors such as Riccardo Muti, Claudio Abbado, and the Metropolitan Opera's James Levine. Dessì's 2008–2009 season began with ''Tosca'' in Florence, where she performed an encore of "Vissi d'arte", the first encore at Teatro Comunale di Firenze since Renata Tebaldi's "Amami Alfredo" in 1956. She later performed at the Verdi Theatre in Trieste, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
Insertion Aria
An insertion aria (' in Italian, also known as suitcase aria, interpolated aria, or trunk aria) is an aria sung in an opera for which it was not composed. It was a practice that began in the seventeenth century and continued actively through the late 19th century and sporadically through the 20th century. The insertion aria could replace an existing aria, or might be added to an opera. All insertions were planned in advance. They might be composed by the same composer of the opera, or might have been written by a different composer, with or without the knowledge of the opera's composer. Most insertions were of arias; infrequently non-operatic songs were inserted. Insertions could consist of arias, duets, ensembles, even entire scenes. Although men and women singers used insertion, women are the ones most remembered for the practice. The years 1800–1840 represent the apex of influence that women singers exerted over the operatic stage, influencing most aspects of opera performanc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Girolamo Crescentini
Girolamo Crescentini (Urbania, 2 February 1762 – Naples 24 April 1846) was a noted Italian soprano castrato, singing teacher, and composer. Biography He studied in Bologna with the noted teacher Lorenzo Gibelli and made his debut in 1783, quite advanced in years as a castrato. After an unlucky stay in London in 1785, where he did not win much approbation, on his getting back to Italy, he took part in Naples, very successfully, to a revival of Guglielmi’s opera '' Enea e Lavinia'', together with the already famous tenor Giacomo Davide, who shared Crescentini’s artistic inclinations. Thenceforwards, his career made more and more headway, reaching the apex in the nineties, and specially in 1796, when he created two roles which would remain in repertoire for some decades and then famous until present times, in either case by his quasi-pupil Giuseppina Grassini’s side. For him, indeed, Nicola Zingarelli wrote the part of ''Romeo'' in his opera ''Giulietta e Romeo'', st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Castrato
A castrato (Italian, plural: ''castrati'') is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity. Castration before puberty (or in its early stages) prevents the larynx from being transformed by the normal physiological events of puberty. As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way. Prepubescent castration for this purpose diminished greatly in the late 18th century. Methods of castration used to terminate on the onset of puberty varied. Methods involved using opium to medically induce a coma, then submerging the boy into an ice or milk bath where the procedure of either severing the vas deferens (similar to a vasectomy), twisting the testicles until they atrophied, or comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
