Gaetano Fraschini
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Gaetano Fraschini
Gaetano Fraschini (16 February 1816 – 23 May 1887) was an Italian tenor. He created many roles in 19th century operas, including five composed by Giuseppe Verdi. His voice was "heroic ... with a baritonal quality, ... yet Verdi and Donizetti appreciated his ability to sing softly and with subtlety."Warrack and West, p. 257. An Italian biographer has pointed out Fraschini's role in extending the longevity of Donizetti's operas, while at the same time accelerating the ascent of Verdi's repertory. He was indeed the most prominent singer who facilitated the transition from Donizetti to Verdi. Fraschini sang over one hundred roles and Verdi placed him at the top of his favorite tenors' list and described him as a "natural Manrico" for his ''Il trovatore''. Fraschini also played a pivotal role in the success of many operas by Pacini and Mercadante.Migliavacca, Giorgio. "Gaetano Fraschini: il tenore della transizione da Donizetti a Verdi" in Moderne Sprachen 44, Vienna 2000, pp.229-3 ...
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Gaetano Fraschini
Gaetano Fraschini (16 February 1816 – 23 May 1887) was an Italian tenor. He created many roles in 19th century operas, including five composed by Giuseppe Verdi. His voice was "heroic ... with a baritonal quality, ... yet Verdi and Donizetti appreciated his ability to sing softly and with subtlety."Warrack and West, p. 257. An Italian biographer has pointed out Fraschini's role in extending the longevity of Donizetti's operas, while at the same time accelerating the ascent of Verdi's repertory. He was indeed the most prominent singer who facilitated the transition from Donizetti to Verdi. Fraschini sang over one hundred roles and Verdi placed him at the top of his favorite tenors' list and described him as a "natural Manrico" for his ''Il trovatore''. Fraschini also played a pivotal role in the success of many operas by Pacini and Mercadante.Migliavacca, Giorgio. "Gaetano Fraschini: il tenore della transizione da Donizetti a Verdi" in Moderne Sprachen 44, Vienna 2000, pp.229-3 ...
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Gabriella Di Vergy
''Gabriella di Vergy'' is an opera seria in two acts by Gaetano Donizetti written in 1826 and revised in 1838, from a libretto by Andrea Leone Tottola, which was based on the tragedy ''Gabrielle de Vergy'' (1777) by Dormont De Belloy. Prior to that, the play was itself inspired by two French medieval legends, '' Le châtelain de Coucy et la dame de Fayel'' and ''Le Roman de la chastelaine de Vergy''. The story had already been the subject of an opera by Michele Carafa (1816) and had previously been used by Johann Simon Mayr (''Raul di Créqui'', Milan, 1809), Francesco Morlacchi (''Raoul de Créqui'', Dresden, 1811), and Carlo Coccia (''Fayel'', Florence, 1817). It was also subsequently used as ''Gabriella di Vergy'' by Saverio Mercadante in 1828. "In its original form the opera was never performed",Ashbrook and Hibberd 2001, p. 227 but parts of the original version were re-used by Donizetti in his other operas '' Otto mesi in due ore'' (Naples, 1827), ''L’esule di Roma'' ( ...
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Naples
Naples (; it, Napoli ; nap, Napule ), from grc, Νεάπολις, Neápolis, lit=new city. is the regional capital of Campania and the third-largest city of Italy, after Rome and Milan, with a population of 909,048 within the city's administrative limits as of 2022. Its province-level municipality is the third-most populous metropolitan city in Italy with a population of 3,115,320 residents, and its metropolitan area stretches beyond the boundaries of the city wall for approximately 20 miles. Founded by Greeks in the first millennium BC, Naples is one of the oldest continuously inhabited urban areas in the world. In the eighth century BC, a colony known as Parthenope ( grc, Παρθενόπη) was established on the Pizzofalcone hill. In the sixth century BC, it was refounded as Neápolis. The city was an important part of Magna Graecia, played a major role in the merging of Greek and Roman society, and was a significant cultural centre under the Romans. Naples served a ...
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Teatro San Carlo
The Real Teatro di San Carlo ("Royal Theatre of Saint Charles"), as originally named by the Bourbon monarchy but today known simply as the Teatro (di) San Carlo, is an opera house in Naples, Italy, connected to the Royal Palace and adjacent to the Piazza del Plebiscito. It is the oldest continuously active venue for opera in the world, having opened in 1737, decades before either Milan's La Scala or Venice's La Fenice."The Theatre and its history"
on the Teatro di San Carlo's official website. (In English). Retrieved 23 December 2013
The opera season runs from late November to July, with the ballet season taking place from December to early June. The house once had a seating capacity of 3,285, but has now been reduced to 1,386 seats. Given its size, structure and antiquity, it was the model for theatres that were ...
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Marino Faliero (opera)
''Marino Faliero'' (or ''Marin Faliero'') is a ''tragedia lirica'', or tragic opera, in three acts by Gaetano Donizetti. Giovanni Emanuele Bidera wrote the Italian libretto, with revisions by , after Casimir Delavigne's play. It is inspired by Lord Byron's drama ''Marino Faliero'' (1820) and based on the life of Marino Faliero (''c.''1285-1355), the Venetian Doge. Rossini, acting as the Théâtre Italien's music director, had commissioned works by the outstanding Italian composers of the day—Donizetti and Vincenzo Bellini. Both wrote operas for that house in Paris, Bellini's contribution being the hugely-successful ''I puritani''. Donizetti's opera, which premiered on 12 March 1835 (a few months after ''I puritani'') was not nearly as much of a success. However, it marked Donizetti's first opera to have its premiere in Paris. Performance history After the Paris première, ''Marino Faliero'' was presented in London at Covent Garden on 14 May 1835Ashbrook and Hibberd 2001, p. ...
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La Scala
La Scala (, , ; abbreviation in Italian of the official name ) is a famous opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the ' (New Royal-Ducal Theatre alla Scala). The premiere performance was Antonio Salieri's ''Europa riconosciuta''. Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala. The theatre is regarded as one of the leading opera and ballet theatres globally. It is home to the La Scala Theatre Chorus, La Scala Theatre Ballet, La Scala Theatre Orchestra, and the Filarmonica della Scala orchestra. The theatre also has an associate school, known as the La Scala Theatre Academy ( it, Accademia Teatro alla Scala, links=no), which offers professional training in music, dance, stagecraft, and stage management. Overview La Scala's season opens on 7 December, Saint Ambrose's Day, the feast day of Milan's patron saint. All performances must end befor ...
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Teatro San Benedetto
The Teatro San Benedetto was a theatre in Venice, particularly prominent in the operatic life of the city in the 18th and early 19th centuries. It saw the premieres of over 140 operas, including Rossini's ''L'italiana in Algeri'', and was the theatre of choice for the presentation of ''opera seria'' until La Fenice was built in 1792. History The small, elegant theatre was first constructed by Michele Grimani on land owned by the Venier family. It was inaugurated on 26 December 1755 with a performance of Gioacchino Cocchi's opera ''Zoe''. In 1766 the ownership of the San Benedetto passed from Grimani to a consortium of patrician families in Venice who had been box holders at the theatre. The original design of the theatre was circular. However it was rebuilt in the traditional horseshoe shape following a fire in 1773. In 1765 Vincenzo Galeotti, who danced here from 1761, became the ballet master of the theatre and staged his first ballet here (at that time besides Galeotty and h ...
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Giuseppina Ronzi De Begnis
Giuseppina Ronzi de Begnis (born Giuseppina Ronzi; Milan 11 January 1800 – died, Florence, 7 June 1853) was an Italian soprano opera singer famous for the roles written for her by the prominent composers of the 1820s and 1830s. Her father, Gaspare, was a prominent ballet dancer and choreographer, and her mother, Antonia, a ballerina. Her brothers Stanislao and Pollione were opera singers. As a singer, she made her debut in Naples at the Teatro dei Fiorentini in 1814 in Giovanni Cordella's ''L'Avaro'', followed by important engagements in Bologna in 1816, also appearing in Genoa, Florence; in 1817 as Giulia ''La Vestale'', and in Bergamo. She married Italian bass Giuseppe de Begnis (1793–1849) when she was only 16. The marriage lasted only a few years and the two separated in 1825. Personality Her figure has been described by her contemporaries, including Donizetti, as fat and voluptuous; a critic of ''Teatri di Milano'' wrote that "Ronzi was nevertheless a very beautiful fig ...
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Norma (opera)
''Norma'' () is a ''tragedia lirica'' or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after the play ''Norma, ou L'infanticide'' (''Norma, or The Infanticide'') by Alexandre Soumet. It was first produced at La Scala in Milan on 26 December 1831. The opera is regarded as a leading example of the bel canto genre, and the soprano prayer "Casta diva" in act 1 is a famous piece. Among the well known singers of Norma of the first half of the 20th century was Rosa Ponselle who played the role in New York and London. Notable exponents of the title role in the post-war period have been Maria Callas, Leyla Gencer, Joan Sutherland, and Montserrat Caballé. Composition history Crivelli and Company were managing both La Scala and La Fenice in Venice, and as a result, in April–May 1830 Bellini was able to negotiate a contract with them for two operas, one at each theatre. The opera for December 1831 at La Scala became ''Norma'', while the one for the 1832 Carnival ...
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Vincenzo Bellini
Vincenzo Salvatore Carmelo Francesco Bellini (; 3 November 1801 – 23 September 1835) was a Sicilian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before'." A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian '' bel canto'' era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much a ...
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Roberto Devereux
''Roberto Devereux'' (or ''Roberto Devereux, ossia Il conte di Essex'' 'Robert Devereux, or the Earl of Essex'' is a ''tragedia lirica'', or tragic opera, by Gaetano Donizetti. Salvadore Cammarano wrote the Italian libretto after François Ancelot's tragedy ''Elisabeth d'Angleterre'' (1829), and based as well on the ''Historie secrete des amours d'Elisabeth et du comte d'Essex'' (1787) by ''Jacques Lescène des Maisons''. Devereux was the subject of at least two other French plays: ''Le Comte d'Essex'' by Thomas Corneille and ''Le Comte d'Essex'' by Gauthier de Costes, seigneur de la Calprenède. The opera is loosely based on the life of Robert Devereux, 2nd Earl of Essex, an influential member of the court of Queen Elizabeth I of England. The plot of ''Roberto Devereux'' was hardly original, mainly derived from Felice Romani's libretto ''Il Conte d'Essex'' of 1833, originally set by Saverio Mercadante. Romani's widow charged Cammarano with plagiarism; the practice of stealing p ...
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Elena Da Feltre
''Elena da Feltre'' is an opera in three acts by 19th-century Italian composer Saverio Mercadante from a libretto by Salvatore Cammarano, well known as librettist of Donizetti's ''Lucia di Lammermoor'' and Verdi's ''Il trovatore''. The premiere took place at the Teatro San Carlo in Naples on 1 January 1839 as part of the Carnival Season. While not successful at the time, the opera was revived at La Scala in 1843 with twenty performances. Mercadante's "revolution" When composing ''Elena da Feltre'' in 1838, Mercadante wrote to Francesco Florimo, laying out his ideas about how opera should be structured, following the "revolution" begun in his previous opera, '' Il giuramento'': :"I have continued the revolution I began in ''Il giuramento'': varied forms, cabalettas banished, crescendos out, vocal lines simplified, fewer repeats, more originality in the cadences, proper regard paid to the drama, orchestration rich but not so as to swamp the voices, no long solos in the ensembles ...
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