b. 1966 Italian mezzo-soprano Bartoli made her debut at Verona in 1987. Her most celebrated role is Rosina in Rossini’s Il barbiere di Siviglia, which she has sung in Cologne, Catania, Schwetzingen, Zürich and Barcelona. Other parts include Cenerentola (Rossini), Cherubino and Dorabella (Mozart) and Haydn’s Eurydice. She made her Metropolitan Opera debut in 1996 as Despina ...
b. 1966, Italian Achieving fame at an early age with her vocal agility and warm tone, this mezzo-soprano’s studies began in Rome at the Conservatorio di Santa Cecilia. Bartoli is best known as a Baroque, Rossini and Mozart specialist, having collaborated with many of music’s pre-eminent early music ensembles. She remains highly sought after for her compelling ...
With Manon Lescaut, Puccini took his place at the head of the Italian operatic table. Ricordi worked hard to persuade Puccini of the dangers inherent in setting a story that had already received successful treatment by Massenet, but the young composer was not to be swayed. Puccini’s determination proved well-founded, for the opera received an ecstatic reception after ...
A small number of Handel’s dramatic works are known as the ‘magic operas’, including Rinaldo, Teseo (1712), Amadigi (1715), Orlando (1733) and Alcina. These operas feature protagonists who use sorcery to manipulate love, usually for evil ends. Most common among these operas is the prima-donna sorceress figure, who attempts to compel a castrato hero away from his true ...
b. 1933 English mezzo-soprano Baker studied in London, and made her debut in Smetana’s The Secret in Oxford in 1956. She sang Handel roles early in her career, and made a particular impression as Purcell’s Dido, a role she recorded several times. At Covent Garden, where she first appeared as Hermia in Britten’s A Midsummer Night’s Dream ...
1881–1945, Hungarian Widely recognized as one of the twentieth century’s most important composers, Bartók was a complete original in terms of his musical language, creating a national style that merged folk melodies with the asymmetric patterns of Hungarian speech. His vocal lines, often punctuated by a heavy chordal style, are evident in Duke Bluebeard’s Castle, ...
Since Puccini’s death in 1924, opera houses have made little room for living composers. While the core repertory has remained more or less fixed, the need for novelty has necessitated the rediscovery of works long forgotten. This in turn has required singers able to cope with different technical and aesthetic problems; indeed, it is usually the prominence of ...
1913–76 English composer The finest English composer of his generation, Britten reacted against the folksong-derived pastoralism of his elder compatriots, finding inspiration in Purcell and influences as various as Mahler and Stravinsky. The international success of his opera Peter Grimes (1945) brought financial security, but he continued to appear as a pianist, accompanying his partner and outstanding ...
b. 1959 English conductor and pianist Born in England to Italian parents, he studied in the US, working as assistant conductor at the New York City Opera and in Europe (including at Bayreuth). While music director of Norwegian Opera 1990–92 and La Monnaie, Brussels 1992–2002 he made distinguished debuts at Berlin, Vienna and the Met. He was ...
(Ar-i’-go Bo-e’-to) 1842–1918 Italian composer and librettist Boito furnished the librettos for two of Verdi’s greatest Shakespearean masterpieces, Otello (1884–86) and Falstaff (1893). The premiere of his own operatic masterpiece Mefistofele, at La Scala, Milan (1868), was greeted with whistles due to the work’s extreme length (over five hours) and Germanic influences. As a result Boito for a while ...
1913–76, English Lord Edward Benjamin Britten was one of England’s most important composers. Britten was a musical ambassador who, working with a close-knit group of collaborators, helped develop a thriving and vital British opera scene. Indeed, Peter Grimes (1945) heralded a new era for British music and for the post-war performing arts in general. A Musical Start ...
1835–1921, French Camille Saint-Saëns was a child prodigy as both pianist and composer. He began composing when he was six. At 10, he gave his first piano recital, and entered the Paris Conservatory aged 13. At 17, in 1852, Saint-Saëns wrote his prizewinning Ode à Sainte-Cécile (‘Ode to Saint Cecilia’) and at 18, he produced ...
(Fran-chas’-ko Che-la’-a) 1866–1950 Italian composer Although Francesco Cilea is usually classified as one of the verismo (‘realist’) school of music, of his two well-known operas only L’Arlesiana (‘The Woman of Arles’, 1897), based on Alphonse Daudet’s story of obsessive love set in a peasant community in southern France, really answers to that description. His other opera, more famous ...
1685–1759 English composer George Frideric Handel is one of the best known of all Baroque composers. His gift for melody, his instinctive sense of drama and vivid scene-painting, and the extraordinary range of human emotions explored in his vocal compositions make his music instantly accessible. Works such as Messiah (1741), Water Music (1717) and Music for the Royal Fireworks ...
(Ja’-ko’mo Poot-che’-ne) 1858–1924 Italian composer Puccini wrote 12 operas, three of which rank among the most popular in the world: La bohème, Tosca and Madama Butterfly. The composer came from a long line of musicians. His great-great-grandfather, the first Giacomo Puccini (1712–81), was organist and choirmaster at the cathedral of S Martino in the Tuscan town of Lucca. His ...
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