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Cambridge University Press 978-0-521-81634-2 - Mozart on the Stage John A. Rice Index More information index Adamberger, Valentin, 65, 98, 100, 216, 222 Beaumarchais, Caron de, Afferri, Giuseppe, 12 Le Mariage de Figaro, 66 Affligio, Giuseppe, 56–57, 59 Tarare, 19 Aguiari, Lucrezia, 114–115 Bedini, Domenico, 121, 155, 229 Albizzi, Luca Casimiro degli, 50 Benedetti, Pietro, 45, 95 Alessandri, Felice, Il vecchio geloso, 206 benefit performances, 5–6, 233 Anderson, Emily, 244 Benucci, Francesco, 85, 118, 148, Anfossi, Pasquale, 209–212 La finta giardiniera, 33, 218 Berlin, 230–231, 235 Zenobia in Palmira, 126 Bernasconi, Antonia, 117 applause, 5, 213–214, 220–221, 236–237 Bertati, Giovanni, Aprile, Giuseppe, 52, 239 Il convitato di pietra, 53, 121 Ascanio in Alba, 1, 19, 25, 30, 51, 75, 161 Il capriccio drammatico, 53, 122 composition, 99, 100 Bertolazzi, Lorenzo, 15 plot, 35, 36 Bertoni, Ferdinando, 243, 247 reception, 5, 143 Bettinelli, Saverio, 195 sets, 175 Binder, Baron, 69 Attwood, Thomas, 250 Bittner, Norbert, 187–190 audience, Boccherini, Giovanni Gastone, 60, 97, 98, in Milan, 198–199, 204 179 in Naples, 202–203 contract, 73 in Prague, 165 Le donne letterate, 60, 73, 75–76 at rehearsals, 146 Salieri’s relations with, 60, 75–76 in Rome, 201–202 Bondini, Caterina, 156 in Vienna, 165, 204–212 Bonno, Giuseppe, 58 Auersperg, Countess Maria Josepha, 207, Borghi, Giovanni Battista, 46 225 Borgini, Giuseppe, 245 autograph scores, 104–112 Brandenburg, Daniel, 249 Braun, Peter von, 40 Bach, Johann Christian, Bretzner, Christoph Friedrich, Belmont und Adriano in Siria, 6 Constanze, 65, 81, 85 “Non so d’onde viene,” 130 Burgtheater, 5, 56, 161, 162, 166, 168, backdrops, 174 178 Backhaus, Wilhelm, 233 auditorium, 164, 165 Baglioni, Antonio, 40, 119–128, 131 backstage area, 173 Nuovi esercizi per il canto, 123–126 boxes, 167 Baranius, Henriette, 231 destruction, 163 Barbieri, Giovan Domenico, 162, 164 division of parterre, 165 Barrington, Daines, 6–7 as “Nationaltheater,” 61 Barta, Joseph, Il mercato di Malmantile, orchestra, 142–143 219 scenery, 176 Bassi, Luigi, 156, 188, 190 stage, 174 Bastien und Bastienne, 19, 22, 161, 239 Burney, Charles, 7, 142, 197, 204 plot, 35, 36 Bussani, Francesco, 209, 211 270 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81634-2 - Mozart on the Stage John A. Rice Index More information Index 271 cabals, 143–144, 213 rehearsals, 137 Calvesi, Vincenzo, 118, 209, 211 “S’altro che lagrime,” 181 Calzabigi, Ranieri de’, 60 “Se all’impero, amici dei,” 127–128, 181 Cannabich family, 102, 145 scenery, 180–183, 186 Carattoli, Francesco, 57 “Serbate o dei custodi,” 186 Carcani, Giuseppe, Tigrane, 28–29 simple recitative, 96 Caribaldi, Gioacchino, 57, 119 Clive, Margaret, 6 Carlotti, Marchese, 14 Coltellini, Celeste, 118, 211 Carl Theodor, elector of Bavaria, 146 Consoli, Tommaso, 52–53, 131 Carnival contracts for operatic composers, 40, 44, balls, 23–27 46–50 Italy, 11–13, 20 copyists, 104–107, 235–236 masks, 23, 29 Corneilson, Paul, 232 Milan, 29, 199 Cos`ı fan tutte, 19, 41, 89, 120, 161 Munich, 4, 27, 53, 54 “Ah guarda sorella,” 108, 111 and opera, 22–31 “Ah lo veggio,” 151 operatic season, 43, 199 “Al fato dan legge,” 106, 108 Venice, 23, 24 “Alla bella Despinetta,” 106–108 Vienna, 3 autograph, 94, 104–112 Carpaccio, Antonio, 120 as Carnival opera, 30 Caselli, Vincenzo, 15 composition, 101 Casetti, Salvatore, 15 cuts, 151 Castiglione, Federico, 146 “Di scrivermi ogni giorno,” 106 Cavalieri, Caterina, 65, 98, 176, 177, 210 finale of act 1, 151 Ceccarelli, Francesco, 116 finale of act 2, 93, 151 Charri`ere, Isabelle de, 39 “Fra gli amplessi in pochi istanti,” Cherubini, Luigi, 11 110–111 Chiesa, Melchior, 200 Mozart’s fee, 68 “Ch’io mi scordi di te”/“Non temer amato “Non siate ritrosi,” 151 bene,” K. 505, 130 overture, 151 Cicognani, Giuseppe, 15 performing score, 151 Cigna-Santi, Vittorio Amadeo, Mitridate, 51, “Per piet`a, ben mio, perdona,” 105, 52 155 Cimarosa, Domenico, 39, 46, 202 playbill, 158 Gianina e Bernardone, 207 plot, 35–37 Il matrimonio segreto, 68 reception, 219 Le trame deluse, 207 rehearsals, 101, 118, 140, 144 La vergine del sole, 126 scenery, 179–180 clavichord, 92, 98 “Secondate aurette amiche,” 105 Clavier, 92, 98, 138, 141, 145, 214 “Sento, o Dio, che questo piede,” 108 Clement XIII, pope, 51 . sketches, 93 La clemenza di Tito, 19, 24, 30, 44, 155, 161, “Soave sia il vento,” 108 214 “Tutti accusan le donne,” 105 “Ah perdona al primo affetto,” 229 “Un’ aura amorosa,” 106 “Che del ciel, che degli dei,” 237 Cremona, 14, 15 “Come ti piace imponi,” 82 Crescentini, Girolamo, 41 commission, 40, 42, 46 Cuvilli´es, François, 27, 162 composition, 92, 101, 207 Cuvilli´es Theater, Munich, 26, 53, 55, 161, “Deh per questo istante solo,” 155, 181 162, 165, 170 first performance, 218 auditorium, 28, 164, 165, 172 “Non piu` di fiori,” 181, 229, 236–237 boxes, 28, 167 overture, 103 orchestra, 143 “Parto, ma tu, ben mio,” 229 parterre, 165 plot, 35–37 reassembly, 163 reception, 228–229 stage, 27, 173, 174 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81634-2 - Mozart on the Stage John A. Rice Index More information 272 Index Dal Prato, Vincenzo, 116, 119, 155 “Frisch zum Kampfe,” 231 Dal Re, Marc’Antonio, 25, 28–29 keyboard-vocal score, 233–234 Danzi Lebrun, Fransziska, 13 libretto, 81–85 Da Ponte, Lorenzo, 66–67, 73–74, 85–86, Mozart’s fee, 68 88–90, 148–150, 227 origins, 63–66 Il burbero di buon core, 66 “Marsch, marsch, marsch!” 216 Cos`ı fan tutte, 89 overture, 102–103 Don Giovanni, 89, 186–189 “O wie ¨angstlich, o wie feurig,” 100 Il finto cieco, 66, 219 plot, 35, 36 Le nozze di Figaro, 66–67, 89 reception, 213, 219, 221–222 Il ricco d’un giorno, 66, 88 scenery, 179–180, 232 as stage director, 137 “Solche hergelauf’ne Laffen,” 100 Dauer, Johann Ernst, 65, 216 “Wer ein Liebchen hat gefunden,” 82 De Amicis, Anna, 52, 95, 99, 115, 129, 130, Eszterh´aza, 91 213, 218, 236 Eybler, Joseph, 101 D’Ettore, Guglielmo, 44, 45, 52, 95 De Gamerra, Giovanni, Lucio Silla, 51, 78, 79, Fabris Afferri, Elena, 13 181–185 fees for operatic composers, 47–49, 57, Dell’Agata, Michele, 243 67–69, 233 De Rogati, Francesco Saverio, 52 Fel, Marie, 10 Diede, Louise von, 206–207 Ferdinand, archduke, 25, 47, 51, 197, 217 Don Giovanni, 19, 23, 30, 41, 53, 142, 147, 156, Ferrarese, Adriana, ii, 101, 155, 210 161, 214 Ferrari, Giacomo, 40, 202–203, 230 “Batti, batti bel Masetto,” 89 finale, 74, 98, 101, 105, 106 commission, 40, 234 La finta giardiniera, 19, 21, 30, 75, 161, 218 delayed production, 30, 153–154 commission, 40 finale of act 1, 92 delayed production, 152–153 finale of act 2, 147, 187 first performance, 220, 254 first performance, 156, 214, 216–217 introduzione, 34 “Il mio tesoro intanto,” 123 origins, 54–56 “L`a ci darem la mano,” 89 plot, 31, 33–36 Mozart’s fees, 68, 233, 234 reception, 76, 144, 220 “Non mi dir, bell’ idol mio,” 187 rehearsal, 152–153 overture, 103–104 La finta semplice, 19, 20, 56–59, 143 plot, 35–37 contract, 57 reception, 219, 227–228 fee promised, 57, 68 rehearsals, 137, 147, 156 origins, 114 scenery, 179, 186–190 rehearsal, 57, 144–145 sketches, 92 Firmian, Carl Joseph, 9, 46–48, 197 dramma per musica, 20 Firmian, Franz Lactantius, 46, 47 Durante, Sergio, 96, 180–181 Fischer, Ludwig, 65, 83, 100, 216, 222 Duschek, Josepha, 130, 143 Fischietti, Domenico, 21 Gli orti esperidi, 243 Edge, Dexter, 151 Florence, Teatro di Via della Pergola, 245 Elizabeth Wilhelmina, archduchess, 206, 211, forestage, 173 227 Frank, Joseph, 21 encores, 216, 220–221, 223, 237 Franz II (I), archduke, emperor, 137, 211 ensembles, 137–139 Frederick the Great, 196 Die Entf¨uhrung aus dem Serail, 19, 21, 30, 41, 142, Frye, Northrop, 34 161, 198, 216, 230–231, 235–236 Funck, Valerian, 27, 170 arrangements for wind instruments, 233–234 Gabrielli, Caterina, 44 autograph, 104 Galliari, Bernardino, 175 composition, 92, 98, 100 Galliari, Fabrizio, 175, 184–186, 256 cuts, 104 Galuppi, Baldassare, 94 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-81634-2 - Mozart on the Stage John A. Rice Index More information Index 273 Gasparini, Quirino, Mitridate, 52, 175 Holzbauer, Iganz, G¨unther von Schwarzburg, 13, Gassmann, Florian, 40, 56, 60 22 Gatti, Luigi, L’olimpiade, 82 Hunter, Mary, 34 Gayl (theatrical painter), 189 Gazzaniga, Giuseppe, Idomeneo, re di Creta, 14, 19, 22, 75, 143, 236 L’amore costante, 122–123 “Andro` ramingo e solo,” 138 Don Giovanni, ossia Il convitato di pietra, 53, as Carnival opera, 30 121–123 commission, 40 Il finto cieco, 62, 66, 219 composition, 116 Gellert, Christian Furchtegott,¨ 76 cuts, 76–77, 81, 150 Gerl, Barbara, 191, 192 libretto, 76–81 Gerl, Franz, 128, 154, 191, 192 overture, 102 Giardini, Felice, Il re pastore, 6 plot, 35, 36 Gluck, Christoph, 11, 22, 58, 60, 62 rehearsals, 117–118, 138–140, 145–147, Alceste, 208 155 Iphig´enie en Aulide, 69 “Se il padre perdei,” 83 Orfeo ed Euridice, 4 “Torna la pace al core,” 80, 150 Gnecco, Francesco, La prova di un’opera seria, illumination, theatrical, 30, 42 136 improvisation and embellishment, vocal, Goldoni, Carlo, 154–155, 231 La finta semplice, 57 introduzione, 34, 97 Le pescatrici, 40, 110 Jacquin, Gottfried von, 153 Il servitore di due padroni, 69 Jadot, Nicolas, 162 Goudar, Ange, 195 J´elyotte, Pierre, 10 Graun, Carl Heinrich, Rodelinda, 196 Jommelli, Niccolo,` 52, 91–92, 119, 235, 242 Greppi, Antonio, 48 Joseph II, emperor, 5, 41, 47, 57, 59, 61–62, Gr´etry, Andr´e, 22 139, 144–145, 197–198, 206, 235 Grimm, Melchior, 11 as commissioner of operas, 40, 62–64
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    ANTONIO SALIERI 18. 8. 1750 – 7. 5. 1825 „Promluvím za všechny pr ůměrné na sv ětě, já jsem jejich šampión, jejich svatý patron.“ Nezapomenutelná scéna na konci Formanova filmu Amadeus ! V ěta, kterou říká „génius pr ůměrnosti“, Antonio Salieri, protihrá č Wolfganga Amadea Mozarta, shrnuje um ělecké poselství filmu, konfrontaci geniality a pr ůměrnosti. Byl Salieri zamindrákovaný intrikán, který trp ěl božským nadáním svého vrstevníka a který byl k jeho zni čení schopen použít všechny dostupné prost ředky a neštítil se ani vraždy? Jaký byl ve skute čnosti jeho život a p ředevším jeho tvorba? Hudební skladatel, dirigent a pedagog Antonio Salieri se narodil 18. srpna 1750 v italském Legnanu u Verony jako osmé dít ě v rodin ě obchodníka. Základy hudebního vzd ělání získal u svého o t řináct let staršího bratra Francesca, který jej vyu čoval h ře na housle, cembalo i zp ěvu, pozd ěji bral lekce klavíru u dómského varhaníka. V 15 letech osi řel. Do opatrovnictví jej p řijala významná a bohatá rodina v Benátkách a poskytla mu velkou podporu v dalším hudebním vzd ělání. Studoval zp ěv a harmonii u G. Pescettiho. Při návšt ěvě Benátek v roce 1766 rozpoznal jeho slibný talent víde ňský skladatel Florian Leopold Gassmann a odvedl šestnáctiletého Salieriho do Vídn ě. Postaral se o jeho další vzd ělávání a uvedl jej do spole čnosti. Salieri poznal významného operního reformátora Ch. W. Glucka, který se stal jeho mecenášem a p řítelem. První Salieriho opera Le donne letterate (Vzd ělané dámy, 1770) se do čkala nadšeného p řijetí. Po smrti Gassmanna v roce 1774 získal Salieri ve 24 letech titul dvorního skladatele a zárove ň byl jmenován kapelníkem italské opery ve Vídni.
  • Musical Memoirs; Comprising an Account of the General State Of

    Musical Memoirs; Comprising an Account of the General State Of

    PARKE (W. -T.). 40 Years principal Oboist, T.Roy. Cov. Gar., Musical Memoirs comprising an Accouut of the G-neral State of Music in England from the first commemoration of Handel in 1784 to 1830 interspersed with numerous Anec- dotes, Musical, Histrionic, etc., 2 vols, cr. 8vo'( 1830 typ.r 5~0 /W<# Ua • rJjb MUSICAL MEMOIRS. VOL. I. Digitized by the Internet Archive in 2011 with funding from National Library of Scotland http://www.archive.org/details/musicalmemoirsv100park X MUSICAL MEMOIRS; COMPRISING AN ACCOUNT OF THE GENERAL STATE OF MUSIC IN ENGLAND, FROM THE FIRST COMMEMORATION OF HANDEL, IN 1784, TO THE YEAR 1830. INTERSPERSED WITH NUMEROUS ANECDOTES, MUSICAL, HISTRIONIC, &c. BY W. T. PARKE, FORTY YEARS PRINCIPAL OBOIST TO THE THEATRE ROYAL COVENT GARDEN. IN TWO VOLUMES. VOL. I. LONDON: HENRY COLBURN AND RICHARD BENTLEY, NEW BURLINGTON STREET. 1830. PRINTED IiY A. J. VAIPY, KliD HON COURT, FLEET STREET. PREFACE. "When Music, heavenly maid! was young" the ancients celebrated her with all that fervour and felicity of expression for which they have been so universally and so justly famed; and the moderns, no less ambitious, though more feeble, have offered her all homage, notwithstanding the hoydenish tricks and caprices she has of late dis- played, to the deep regret of all her rational ad- mirers. For my own part, never having tasted of the Pierian spring, and therefore possessing only the cacoethes scribendi, (the zeal without the learning,) I must content myself with observing, in my own plain manner, that in writing an Ac- count of the General State of Music in England — VI PREFACE.
  • Luigi Boccherini Dictionary of Persons, Places and Terms

    Luigi Boccherini Dictionary of Persons, Places and Terms

    LUIGI BOCCHERINI DICTIONARY OF PERSONS , PLACES AND TERMS by JAIME TORTELLA TO READERS: This book will be periodically updated with new research outcome and data, and amended of any error detected. If you want to collaborate towards this task, please contact the author or the Asociación Luigi Boccherini: [email protected] [email protected] ------- The Spanish version of this book has been published in traditional paperback as: Luigi Boccherini. Diccionario de Términos, Lugares y Personas, Asociación Luigi Boccherini, Madrid, 2008 and is distributed worldwide by Marcial Pons: [email protected] CONTENTS Pages FOREWORD by Begoña Lolo ............................................................................. 4 PREAMBLE ....................................................................................................... 7 ACRONYMS OF ARCHIVING INSTITUTIONS ............................................... 13 ABBREVIATIONS ............................................................................................. 14 BRIEF BIOGRAPHICAL ACCOUNT ABOUT LUIGI BOCCHERINI .............. 16 DICTIONARY (A TO Z) ................................................................................... 19 BIBLIOGRAPHY ............................................................................................. 448 DISCOGRAPHY (COMPACT DISC) ................................................................ 460 FOREWORD Luigi Boccherini. Dictionary of Persons, Places and Terms is a work encompassing the difficult equilibrium and even proportion
  • GIUSEPPE NAVIGLIO Biograpy Born in Bari, He Studied Vocal Technique

    GIUSEPPE NAVIGLIO Biograpy Born in Bari, He Studied Vocal Technique

    GIUSEPPE NAVIGLIO Biograpy Born in Bari, he studied vocal technique with tenor Gino Lorusso Toma, Rina Filippini Del Monaco and Paride Venturi. He obtained a Master Degree in Letters with honors at the Bari University.After his operatic debut as Don Bartolo (Il Barbiere di Siviglia, 1992) and Tobia Mill (La cambiale di matrimonio), he was engaged as a soloist at the BonnOpera in Germany, where he sang in international productions such important operas as Gianni Schicchi, La Fanciulla del West, Tosca, Werther, Salome, Les Contes d’Hoffmann, Carmen, Il Barbiere di Siviglia, Léhar’s Fraschita, Sorozàbar’s Black, el Payaso, Blacher’s Habemeajaja. Since 1996 he regularly collaborates with the baroque music ensemble La Cappella della Pietà dei Turchini, directed by Antonio Florio in Naples, singing in the principal theatres, concert halls and festivals of the world (Vienna, Konzerthaus; Buenos Aires, Teatro Colon; Madrid, Zarzuela; Barcelona, Palau de la Musica; Paris, Théâtre des Champs Elysées, Rome, Teatro Olimpico and Accademia Filarmonica, Neaples, Teatro di San Carlo; Ferrara, Teatro Comunale; Genoa, Teatro Carlo Felice; Ravello Festival; Ravenna Festival etc.). He also made 17 recordings with international labels, obtaining such important musical press recognitions as Timbre de Platine, Diapason d’Or, etc. Among his principal operatic productions with La Cappella della Pietà dei Turchini: Provenzale’s La Stellidaura Vendicante and La Colomba Ferita, Latilla’s La Finta Cameriera, Vinci’s Li Zite‘n galera, Erighetta e Don Chilone and Partenope, Paisiello’s Pulcinella Vendicato nel ritorno a Marechiaro, , Boerio’s Il Disperato Innocente, Pergolesi’s La Serva Padrona, Jommelli’s Don Trastullo, Guglielmi’s La Pastorella Nobile., Cavalli’s Statira, Principessa di Persia, Purcell’s Dido and Eneas and The Fairy Queen.