Gioachino Rossini L'inganno felice Video
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2024-04-15
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Rossini Stanislao Mattei Haydn Mozart Paisiello Cherubini Spontini Meyerbeer Croce Scala Fenice Théâtre Italien Liceo 1807 1810 1813 1814 1815 1816 1817 1821 1823 1824 1826 1827 1828 1829 1832 1836 1841 1853 1863 1864 1887 1888
Gioacchino parents, who were both musicians, allowed him to take singing lessons for Angelo Tessi in Bologna. In 1807 he began the composition studies of Stanislao Mattei. He stopped them when the teacher said he could not be enough to compose operas. He studied Haydn and Mozart quartets and symphonies and debuted with the 1810 Venice opera house La cambiale di matrimonio. In the following years he wrote several operas, including the Opera House in Milan, La pietra del mate gone, where he first used the crescendo, he later became renowned for. Then came operas Demetrio e Polibio of Rome and L'inganno felice, Signor Bruschini and Tancredi for the opera in Venice. With Tancredi, written 1813, he was recognized as the major Italian opera composer then living. This point was confirmed by L'italiana in Algeri (Venice, 1813), Il turco in Italia (Milan, 1814) and Elisabetta (Naples, 1815). In Elisabetta he presented a novelty by printing ariornas trim instead to let the singers decide for themselves what it would be sung, which was considerable opposition in the beginning. Then he replaced seccorecitativet with a recitative, accompanied by a string quartet. In Rome in 1816 reached Rossini high point in the comic opera by Almaviva (Il Barbiere di Seviglia), who have played in opera houses around the world and includes all the Italian opera buffa best properties. At the beginning of this opera was booed because of the Roman fondness for Paisiello opera on the same topic, but already the second time it became a success. From 1815 to 1821, he was under impresarion Barbajas leadership composer for the Royal Opera San Carlo in Naples. At the same time he composed operas for other operas, including La Scala in Milan (La Gazza Ladra, 1817), wrote cantatas and other works. His last opera for the Italians became Semiramide (La Fenice, Venice 1823), which form basis is at once a return to a time before the stylistic experiment stations for Naples (Tancredi), the outlook in complexity (Guillaume Tell). Many felt that his work in Naples was too high (eg Armida, Maometto II, Ermione), and his masterpiece was forever "Tancredi". There was criticizing harmonies, coloratura and an orchestration that was seen as "Germanic". He moved to Paris in 1824, after a brief stay in London when he was five-month earn 7 000 pounds. Rossini became the director of the Théâtre italien in which the scenic cantata "In viaggio a Reims" was set up to honor King's 1825th After being "Inspecteur général du chant en France" with an income of 20 000 francs per year, he was able to freely engage in composition. He revised old now works as Le siège de Corinth (1826) and Moïse (1827) and wrote Le Comte Ory (1828) and, finally, Guillaume Tell (1829), his masterpiece of the French "Grand-Opera" tradition. Before he had even his countrymen Cherubini and Spontini composed for the Paris Opera. Tell Auber, together with the silent link between Spontini and Meyerbeer. However, he lost his seat as Inspector General in June, the revolution and got barely save a pension of 6 000 francs. Between 1836 and 1853 he lived in Italy but was forced to move frequently because of the politically unstable situation in the country. He liked better after he moved back to Paris, where he lived as a celebrated man until his death. His remains were moved in 1887 to Florence (where he had since been buried in the Basilica di Santa Croce di Firenze) and 1864 erected his statue in Pesaro. In the same city in 1888 opened a "Liceo Musicale Rossini", which was made possible by a donation from Rossini himself at 3 million lire. The bulk of his fortune he bequeathed to a home for aging musicians in Paris. Throughout the latter half of his life, said Rossini - except some minor things - only two larger sacred works: the famous Stabat Mater (1832, in extended form 1841) which was more opera than religious terms, and Petite messe sun elle (1863).
Veneziano Poli Galuppi Salieri Barbiere Rossini Britten Puccini Donizetti Lehár Gershwin Fink Torelli Scala Teatro Fenice 1979 1984
Bepi Morassi @ Settimane Musicali al Teatro Olimpico per la regia de «Il Signor Bruschino» Regista. Veneziano, allievo di Giovanni Poli, dopo gli studi di teatro e musica ed il perfezionamento con importanti esponenti della ricerca teatrale, debutta nel 1979 come regista di prosa e nel 1984 di lirica. Particolarmente interessato al teatro, musicale e non, del Sei-Settecento, debutta come regista d’opera con Il caffè di campagna di Galuppi, Prima la musica, poi le parole di Salieri e Der Schauspieldirektor mozartiano, cui fanno seguito fortunate edizioni del Barbiere di Siviglia di Rossini, Noye’s Fludde di Britten, La bohème, Tosca e Manon Lescaut di Puccini, Il campanello e L’elisir d’amore di Donizetti, nonché gli allestimenti della prima assoluta di Lego di Nicola Campogrande, Die lustige Witwe di Lehár e, al São Carlos di Lisbona, Lady, Be Good! di Gershwin. Come regista di prosa, ha firmato Uno di quelli che fanno i re di Welles-Fink con Giancarlo e Mattia Sbragia, Svevo a Venezia di Puppa con Alberto Lionello, La finta ammalata e Le morbinose di Goldoni, Turandot e Il corvo di Gozzi, I mariti di Torelli. Ha inoltre allestito alcuni inediti assoluti del Seicento e, al Teatro Olimpico di Vicenza, L’alfabeto dei villani da Ruzante. Impegnato in molti teatri italiani, lavora frequentemente all’estero partecipando a prestigiosi festival internazionali. Tra gli ultimi impegni la regia dell’inedito donizettiano Pietro il Grande al Festival della Valle d’Itria e quelle dell’Elisir d’amore, del Barbiere di Siviglia, dell’Inganno felice, della Sonnambula e della Scala di seta alla Fenice di Venezia. Di grande risalto l’ultima edizione de Il signor Bruschino sempre al Teatro la Fenice.
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