Giovanni Tadolini Video
compositore italiano
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- Regno d'Italia
- compositore, direttore d'orchestra, insegnante di musica, maestro, docente
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2024-04-29
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Gaetano Donizetti Callas Gobbi Verdi Cammarano Eugenia Tadolini Giorgio Ronconi Battistini Vittorio Gui Carlo Guasco Kärntnertortheater Théâtre Italien 1832 1843 1844 1908 1996 2009
Probably Donizetti's greatest overture, to the culminating opera of his career, the Viennese critics at the 1843 premiere gave particular praise to the Gran Scena e Terzetto Finale III, and to this Sinfonia. We know that Donizetti himself was pointedly proud of it. The 8-bar oboe solo over tremolo strings (measure 25) perfectly expresses the pathos of a doomed secret love affair. There's significant musical DNA from 'Maria di Rohan' in operas such as 'Ballo', 'Forza', and even 'Tosca'. One could easily be forgiven for imagining a performance with Callas, Gobbi and Di Stefano while listening to 'Maria di Rohan' today. Verdi owes something significant to 'Maria di Rohan' as a musical-dramaturgical inspiration for his own work as he started writing his first operas. In the 19th c., it became one of Donizetti's most popular operas in Italy and Europe, holding the stage longer than any other tragic work except for 'Lucrezia Borgia' and 'Lucia di Lammermoor'. 'Maria di Rohan' is a 'melodramma tragico' in three acts by Gaetano Donizetti to a libretto by Salvadore Cammarano after Lockroy and Badon’s 1832 play 'Un duel sous le Cardinal de Richelieu'. The premiere was at Vienna, Kärntnertortheater, 5 June 1843. The original cast included Eugenia Tadolini as Maria and Giorgio Ronconi as the Duca di Chevreuse. For the Paris première of the work, at the Théâtre Italien on 14 November 1843, Donizetti made a number of revisions in the score, adding a cabaletta for Grisi in Act 3 ("Benigno il cielo arridere") and altering the role of Gondì from a tenor to a mezzo-soprano 'en travesti'. When the opera returned to Vienna in spring of 1844, Donizetti kept all the Paris additions, thus proving he viewed Gondì as a contralto role. Donizetti wasn't 'done' with the opera after the Viennese premiere / like many of his operas / and continued adding to and adjusting it, always keeping Gondì a contralto. Besides adding delicious, needed tonal contrast, the contralto role's Act 1 Ballata far better motivates the duel / the plot's turning point / than the terse insult of the original mere stub of a tenor character. Indeed, the Lockroy-Badon Gondì is a major, well-developed character. Battistini inherited the mantle from Giorgio Ronconi for his portrayal of the Duc de Chevreuse: “We performed together Donnizetti’s 'Maria di Rohan' in which it was difficult to say how he excelled—as a singer or as an actor. Those who never saw the savagely violent scene in which he dragged his wife by the hair (just like Golaud with Mélisande, a half century later) toward the 'uscio tremendo', or terrible door, through which her lover was supposed to enter unawares…those who never saw the furious gesture with which he ripped the bandage from the wound with his left hand while reading the letter that confirmed his wife’s betrayal…they cannot imagine the thrill it had on the audience!” / the conductor Vittorio Gui on Battistini in 1908, Turino, Nov 3 performance. ‘Battistini: King of Baritones, Baritone of Kings’, Jacques Chuilon. 2009, Scarecrow Press, p. 265. Thumbnail: Eugenia Tadolini, Giorgio Ronconi, and Carlo Guasco in the premiere. published 5 August 1843 in Vienna by the Wiener Theaterzeitung. #MariadiRohan #Donizetti #overture #Battistini #GiorgioRonconi #opera #1843
Donizetti Cammarano Lillo Beard Jeannin Eugenia Tadolini Giorgio Ronconi Carlo Guasco 1599 1626 1839 1843 1996 2003
This overture is probably the composer's greatest sinfonia, and was much-admired by the Viennese critics at the time of its premiere in 1843. Writing about the event to his brother-in-law and closest confidant Antonio Vasselli / the opera's dedicatee / Donizetti referenced the piece with an especial pride. 'Maria di Rohan' is as much based on the career of the dashing Conte de Chalais as it is on Marie de Rohan, Duchesse de Chevreuse, as fantastical a creature as she was. Cammarano's original libretto was for a failed opera written by Lillo in 1839 and named 'Il Conte di Chalais'. The following is the conclusion to an account of the career of the real historical Chalais---an end more sensational and gruesome than many opera libretti---'L'affaire Chalais': Henri de Talleyrand-Périgord, comte de Chalais, was born in 1599, the youngest of three children, and was a childhood playmate of the future Louis XIII. Despite being the head of the king's wardrobe, he was arrested, aged 27, for his part in a conspiracy. In prison, he gave the following letter to a servant to deliver to Marie de Rohan, Duchesse de Chevreuse: "It is not at this hour that I first recognize the divinity of your beauty but I have now begun to learn that one must serve you as a goddess, since I am not permitted to give you any proof of my love without endangering my life. Please protect it therefore, because it is completely dedicated to you alone, and if you esteem it worthy of being preserved, tell this trusted companion of my misfortune that you will sometimes remember the most loving of men.” Chalais, not well-connected enough to fight the charges against him, was captured in his room at the Castle of Nantes on July 8, 1626, and imprisoned in a dungeon there. Chalais gave himself up to the darkest despair. He let his beard grow; the guards related that he would rage up and down his cell foaming at the mouth, and crying out that he would rather be in hell, and when his keepers reminded him that he belonged to a Christian communion, he exclaimed, "A fig for Christianity! (using a stronger expression) I am not in a state to have my duty shown me!” Henri in despair threatened suicide, cursed religion and uttered impieties, refusing to pray. The King's opinion of him was completely formed. The sentence dealt with the crime of high treason only, condemning Chalais to be beheaded; his head was to be set on a pike over one of Nantes’ rampart gates, and his body quartered and hung on four gibbets erected in the four chief streets of the town. His mother Françoise de Montluc wrote an imploring letter from Nantes to the King on 9 August 1626: "Sire, I beseech you on my knees to grant me my son's life! Do not let the child whom I have bred up with so much tenderness cause the few years left to me to be desolate! I gave him to you when he was eight years old: he is the grandson of the Marshal de Monluc and of President Jeannin..." The King consented only to suppress any torture and the ignominious additions that aggravated the death sentence. When the condemned man learned his fate he was filled with bitter sorrow at the thought that he had denounced Mme. de Chevreuse. He declared that his deposition concerning Marie had been false and that "what he had written had been written out of the extreme fury into which he had been thrown by a false idea he had had, that she had deceived him." He was once more brought before his judges, and renewed his retraction. On August 2, Chalais wrote to the King, "May it please you to remember that I only belonged to the faction for thirteen days. Permit me, Sire, to appeal to your Majesty, with tears in my eyes, and as the most repentant of men, to grant me pardon, out of your extreme goodness." The execution was carried out in Nantes on Wednesday, 19 August 1626 at the Place du Bouffay. Chalais’ many sympathetic supporters had bribed the executioners at Nantes and nearby towns to stay away, and thus perhaps obviate the execution, but the authorities had recourse to the assistance of a poor wretch who had been condemned to be hung, and who knew nothing of the grisly trade. Thirty-six blows were delivered with a Swiss sword purchased on the spot before the head was parted from the trunk, and the headsman had to turn the head round the other way before he could cut it quite off. The unfortunate young man groaned till the twentieth blow, crying out "Jesus, Maria et Regina Cali!" No other conspirators were put to the sword. On the day of Henri's execution the king arose at dawn and hunted furiously all day long. The last descendent of the Talleyrand-Périgord family, Helen Violette de Talleyrand-Périgord, died 7 March 2003, buried at Passy, Paris. #MariadiRohan #Donizetti #overture #Chalais #opera #16260 Thumbnail: Eugenia Tadolini, Giorgio Ronconi, and Carlo Guasco in the premiere. published 5 August 1843 in Vienna by the Wiener Theaterzeitung.
Donizetti Carlo Guasco Giulia Grisi Eugenia Tadolini Mark Elder Virginia Zeani Fernando Previtali 1843
Maria di Rohan's premiere took place on the 5th of june 1843, with Eugenia Tadolini as Maria and Carlo Guasco as Riccardo. 5 months later, on the 14th of November, the revised version was sung in Paris. Among other changes, Donizetti has rearranged this wonderful cabaletta "E tu, se cado esanime" for Giulia Grisi, "Benigno il cielo arridere". So, whch version do you prefer? Jose Bros as Riccardo, count of Chalais, Mark Elder, conductor Virginia Zeani as Maria di Rohan, Fernando Previtali, conductor
Donizetti Giorgio Ronconi Chaliapin Caruso Sills Gobbi Eugenia Tadolini Carlo Guasco 1830 1832 1843 1996
"Sull'uscio tremendo lo sguardo figgiamo" begins the conclusion to Act 3 of Donizetti's opera 'Maria di Rohan'---the 'Gran Scena e Terzetto Finale III'. 'Maria di Rohan', more than any other of his late operas, more than 'Dom Sébastien', is the summative statement and final masterpiece of a Donizetti oeuvre centered on the Romantic tragic melodrama, a work which takes the Italian operatic tradition right to the door of verismo. On Monday, 5 June 1843, Donizetti conducted the premiere of ‘Maria di Rohan’ before Emperor Ferdinand I, Empress Maria Anna of Savoy, and the Austrian Imperial family, who had returned from their country residence expressly to hear the new opera. The opus was hailed by the local press for its dramatic power and focus / the Sinfonia and Finale III especially / with critics considering the piece as evidence of a new and even more distinguished phase of the composer’s career. Giorgio Ronconi’s interpretation of Enrico, Duca di Chevreuse set new aesthetic standards for the performance of Romantic opera. For decades to come engravings and singing treatises would cite his Chevreuse as the touchstone of what to expect of a great singing actor. Ronconi's impersonation became the stuff of legend, such as Chaliapin's Boris, Caruso's Canio, Sills' Elizabeth I, or Gobbi's Scarpia. Yet strangely modern baritones haven't exploited this great vehicle. The third act for Chevreuse, particularly, was considered in the 19th c. the apex of Romantic theatrical effect. Thusly, in this opera we have one of the few remaining Romantic plays of the 1830’s largely intact before the public, as the libretto follows closely the original play of 1832 'Un duel sous le cardinal de Richelieu' by Lockroy and Edmond Badon. The play is an early example of 'littérature Louis XIII', whose thematic concerns were essential to French Romanticism, a school which included Victor Hugo's play 'Marion de Lorme' and Alexandre Dumas' 'Les trois Mousquetaires'. Thumbnail: Eugenia Tadolini, Giorgio Ronconi, and Carlo Guasco in the premiere; published 5 August 1843 in Vienna by the Wiener Theaterzeitung. #MariadiRohan #Donizetti #finale
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