1690–1756, Italian The Italian mezzo-soprano castrato Antonio Maria Bernacchi earned fame throughout Europe for his impressive technical virtuosity. Bernacchi performed in operas by most of the important composers of his time, including Handel. In 1716 and 1717, Bernacchi sang at the Haymarket, London, in parts previously sung by women, including Goffredo in Handel’s Rinaldo. However ...
(An-ton’-yo da Ka-ba-thon’) 1510–66 Spanish keyboard composer and player Blind from birth, Cabezón learnt the organ from an early age and became one of the great keyboard players of his day. He began his career as organist to Queen Isabella. After her death he worked for her children, later attaching himself solely to the future king, Philip II. Cabezón’s ...
(An-ton’-yo Chas’-te) c. 1623–69 Italian composer Cesti was a Franciscan monk who studied music in Rome. Employed as a singer at the Florentine and Sienese courts, he then travelled to Venice, where his first opera Orontea (1649) was successfully performed at the Teatro di SS Apostoli. Following an affair with a singer, Cesti moved to Innsbruck, Austria, ...
(An-ton’-yo Kal-da’-ra) 1670–1736 Italian composer Caldara was a Venetian composer whose career was divided almost equally between Italy and Austria. He sang under Giovanni Legrenzi (1626–90) at St Mark’s and in 1699 was appointed maestro di cappella at the Mantuan court. In 1708 he left Mantua for Rome, where his oratorio Il martirio di San Caterina (‘The Martyrdom of St Catherine’) ...
(Pe-a’-tro An-ton’-yo Lo-ka-tel’-le) 1695–1764 Italian composer and violinist Locatelli studied at Bergamo and Rome, where he played for Cardinal Ottoboni. After a short appointment as virtuoso da camera (court virtuoso) at the Mantuan court (1725–27), Locatelli travelled throughout Austria and Germany appearing as a virtuoso – on one occasion with Leclair. He settled in Amsterdam in 1729 where he taught, ...
(An-ton’-yo Ve-val’-de) 1678–1741 Italian composer and violinist Vivaldi was born in Venice. After learning the violin with his father, and possibly other teachers too, he joined the orchestra of St Mark’s. He was ordained in 1703, later acquiring the nickname Il prete rosso (‘the Red Priest’), because of his red hair. Partly because of fragile health and partly perhaps ...
(An-ton’-yo Sal-yâr’-e) 1750–1825 Italian composer Born in north Italy, Salieri went to Vienna when he was 15. He had several early successes and at 24 became court composer and conductor of the opera, and Kapellmeister 14 years later. He visited Italy where, in 1778, he wrote the opera for the opening of La Scala, Milan, and ...
(Kârl Ma-re’-a fun Va’-ber) 1786–1826 German composer Weber was a central figure in the growth of the Romantic movement in Germany, and one of its most important composers. He resuscitated and spread an enthusiasm for German opera, to which his own three-act opera Der Freischütz (‘The Free-shooter’, 1812) contributed. A gifted Kapellmeister and astute critic, he raised standards of ...
(Composer, piano, guitar, 1927–94) Jobim was the best known of the Brazilian composers who made an impact on jazz. His international reputation blossomed due to his songs in the film Black Orpheus (1959) and with João Gilberto he sparked a bossa nova craze, boosted by Stan Getz and Charlie Byrd’s Jazz Samba (1962). He led his own ...
(Composer, arranger, bandleader, b. 1960) Schneider studied several instruments and composition prior to an internship with arranger Gil Evans in New York City in 1985. After further work with Bob Brookmeyer and Mel Lewis, she established a jazz orchestra that performed weekly in Greenwich Village from 1993–98 and recorded three albums. In 2004 she self-produced Concert In ...
1623–69, Italian Musically speaking, Florentine composer Antonio Cesti led a double life. He wrote operas for the Venetian opera houses but also provided music for the courts at Innsbruck and Vienna. Either way, he was involved in basically secular entertainment, despite the fact that he was in holy orders. At age 14, Cesti had joined the ...
‘The Golden Apple’ Premiered: 1668, Vienna Libretto by Francesco Sbarra Prologue Personifications of the Habsburg territories gather in praise of Austria and its emperor, Leopold I. Act I During a banquet in Giove’s palace, Discordia, goddess of strife, throws a golden apple inscribed ‘to the most beautiful’ among the assembled goddesses. Venere, Pallade and Giunone ...
1630–80, Italian Nothing is known of the first 30 years of Antonio Sartorio’s life, except that he was Venetian. He made his first appearance in the historical records in 1661, when the first of his 15 operas, Gl’amori infruttuosi di Pirro (‘Pirro’s Hopeless Love’, 1661) was performed in Venice. In 1664, Sartorio was appointed Kappellmeister at ...
c. 1670–1736, Italian Caldara was probably taught by Giovanni Legrenzi (1626–90) and was a choirboy at St Mark’s in Venice. His earliest operas were composed for Venice, while he was working as a cellist at St Mark’s. He was appointed maestro di cappella at Mantua to the last Gonzaga duke until about 1707, and then worked at Rome ...
1686–1768, Italian Porpora was born and trained in Naples, where he also taught and worked for much of his career. His first opera was Agrippina (1708), and a few years later he composed Arianna e Teseo (1714) using a new libretto by Pariati. Between 1715 and 1721 Porpora worked at the Conservatorio di St Onofrio, where he became ...
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