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• Personalities
• Classical
• Classical Era
• Composer

(Bal-das-sa’-ra Ga-loop’-pe) 1706–85 Italian composer Galuppi had great influence on the development of opera buffa. Most of his career was spent in his native Venice, apart from spells in London in the 1740s and St Petersburg in the 1760s. He was maestro di cappella at the famous St Mark’s basilica and worked at the girls’ orphanage-conservatories. His music is largely notable ...

• Personalities
• Classical Era
• Opera

1706–85, Italian Baldassare Galuppi wrote his first opera, La fede nell’incostanza (‘Faith in Inconstancy’, 1722), when he was 16. It failed. Undeterred, Galuppi studied with Antonio Lotti (1667–1740) to improve his technique. Eventually, in 1729, he achieved his first big success, in Venice, with Dorinda. This opened the door to a brilliant career in ...

• Personalities
• Classical Era
• Opera

Trieste, where Ferrarese sang in Mozart’s Così fan tutte in 1797, having created the role in Vienna in 1790. Introduction | Classical Era | Opera Personalities | Baldassare Galuppi | Classical Era | Opera ...

• Personalities
• Classical
• Classical Era
• Composer

a vein of wit very much his own. Recommended Recording: Six Symphonies after Ovid’s Metamorphoses, Cantilena (dir) Adrian Shepherd (Chandos) Introduction | Classical Era | Classical Personalities | Baldassare Galuppi | Classical Era | Classical ...

• Styles & Forms
• Classical
• Classical Era

, oboe, violin, viola and continuo op. 11 (1774) combine melodic charm with formal elegance, and present dialogue between different groups of instruments. The keyboard sonatas of Galuppi are also good examples of the galant style; his use of short, well-balanced, melodic phrases and his simple harmony reflect his experiences as an opera composer. The Classical ...

• Houses & Companies
• Late Baroque
• Opera

, such as the Florentine librettist Antonio Salvi’s Arminio, which was first set by Scarlatti (1703), but it was also set by Caldara (1705), Hasse (1730), Handel (1737) and Galuppi (1747). In fact, all of Handel’s London opera libretti were adapted from Italian sources. Although some were recent revisions of relatively new texts by Metastasio, most were surprisingly ...

• Arts & Culture
• Classical
• Late Romantic

the Great and Catherine the Great in the eighteenth and early nineteenth centuries, music at the Imperial court had been directed by leading Italian opera composers such as Baldassare Galuppi (1706–85), Giovanni Paisiello (1740–1816) and Domenico Cimarosa (1749–1801). Significantly, Glinka’s musical training was European: after studies in Moscow with John Field (1782–1837), he toured Europe and absorbed the Italian ...