Giuseppina Ronzi de Begnis News
Italian opera singer (1800-1853)
- coloratura soprano
- United Kingdom
- opera singer
Last update
2024-03-27
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The Boston Musical Intelligencer
2024-02-08 18:08:24
Dance Music of the Germania Musical Society
A free concert resulting from the research of this writer along with the efforts of the Harvard Musical Association Library Committee takes place on March 3rd at 3:00, at St. John’s Church, 27 Devens Street, in Charlestown. Just show up (entry is free). Leave a comment below if you have questions. Winsome duo-pianists Chi-Wei Lo and Xiaopei Xu, collectively known as Psychopomp Ensemble (guide of souls), who have been reinventing the recital, once brilliantly interpolated the Beatles’ “Imagine” into the Gottschalk’s “The Union” HERE at 52:40; they will preside in an acoustically warm sanctuary on a restored 1870 Chickering concert grand. A light reception will follow. The Germania Musical Society deserves to emerge from the cocoon of writings by musicological specialists and reclaim the interest of a larger public. Twenty-four virtuosi, most from Josef Gungl’s orchestra, left Germany after the revolutions of 1848-1849, with utopian and transcendental expectations for a musical […]
2017-01-27 17:55:05
Gold rush
By the early 19th century the story of Robert Devereux, Second Earl of Essex, and his liaison with Elizabeth I had already been the subject of a number of theatrical diversions including an opera by Saverio Mercadante. When Gaetano Donizetti decided to set it for the Teatro San Carlo in Naples for the season of 1837 his dramatist Salvadore Cammarano borrowed so liberally from the former’s libretto by Felice Romani (who had conveniently passed on) that his widow threatened a plagiarism suit. Donizetti fashioned the title role to the formidable gifts of Giuseppina Ronzi de Begnis who had created his Maria Stuarda and was considered the greatest Norma of her day second only to Giuditta Pasta. Mme. Ronzi de Begnis seems to have been a bit Zwischenfach in an age that didn’t put hard and fast labels on female voices. She excelled not only as Rossini’s Semiramide and Mozart’s Donna […]
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CNY Café Momus
2013-01-23 04:16:35
Jan. 19 Met simulcast: Maria Stuarda
[…] And that’s it. The opera is little more than a conventional love triangle with a royal overlay and an execution. The tenor Leicester dithers between women and is a most unsympathetic wimp. Elizabeth is played as a lumbering, unlovely, troubled monarch with a great wardrobe. All the sympathy goes to Mary, which makes sense when one considers that Donizetti wrote the piece as a vehicle for a favorite singer, Giuseppina Ronzi De Begnis (according to the New Grove). She never got to sing it because censors objected to the plot. That’s a problem with “vehicle” operas: they may show off an artist, as this one showcases DiDonato, but there is little else for the audience. Verdi might have made something of this story, as he did with another opera about a tenor in love with a queen: Don Carlos. […]
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