SEARCH RESULTS FOR: Antonio Salieri
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‘The Danaids’ Composed: 1784 Premiered: 1784, Paris Libretto by François Louis Gand Leblanc Roullet, after Raniero de’ Calzabigi The opera is based on a Greek myth. Under the guise of an act of reconciliation, the daughters of Danaus (the Danaids) have been betrothed to the sons of Danaus’s brother and enemy, Aegyptus, who is now dead. ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

(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 ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1750–1825, Italian When he was 16, Antonio Salieri was the protégé of the Bohemian composer Florian Gassmann (1729–74), who brought him to Vienna in 1766. Gassmann was influential at the imperial court and, as well as teaching Salieri composition, introduced him to some very high-ranking contacts. Salieri’s first surviving opera, written when he was 20, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

(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 ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(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, ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(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’) ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(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, ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(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 ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(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 ...

Source: The Definitive Illustrated Encyclopedia of Jazz & Blues, founding editor Howard Mandel

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 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘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 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

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 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

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 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

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 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1678–1741, Italian Vivaldi’s father was a talented violinist who was employed at St Mark’s in Venice, and it is likely that his father was also involved in managing operas in that city during the late seventeenth century. Although Vivaldi was nominally a Catholic priest by profession, he did not have to say Mass for most of his life ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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