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(Yo’-han A’-dolf Has’-se) 1699–1783 German composer and tenor Born just outside Hamburg, Hasse became the leading Italian opera composer of his time. He began his career as a tenor, went to Italy for training (under Alessandro Scarlatti, 1660–1725, and others), and had operas given in Naples; he married Faustina Bordoni (1700–81), a famous soprano who had sung for ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1699–1783, German At the age of 22, Johann Adolf Hasse had his first opera, Antioco (1721), produced before being sent to Italy to study under Alessandro Scarlatti (1660–1725). In Naples, Hasse’s ‘dialect comedies’ Sesostrate (1726) and La sorella amante (‘The Loving Sister’, 1729) made him something of a local celebrity. Hasse’s Artaserse (1730), staged in Venice, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

fresh, expressive music. Recommended Recording: Le jugement de Midas (excerpts), soloists, La Petite Bande (cond) Gustav Leonhardt (Ricercar) Introduction | Classical Era | Classical Personalities | Johann Adolf Hasse | Classical Era | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

b. 1949 English soprano Kirkby was known early in her career primarily as a member of the early music group the Consort of Musicke and as a recitalist with the lutenist Anthony Rooley. She has subsequently performed music from all eras up to the time of Mozart and beyond. Her many recordings include Purcell’s Dido and Aeneas, Handel’s Orlando, ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

‘Rival Queens’ operas. The legendary enmity between Faustina and Cuzzoni culminated in 1727 when they came to blows on stage in a performance of Bononcini’s Astianatte. Faustina married the composer Hasse in 1730 – the librettist Pietro Metastasio (1698–1782) described them as ‘truly an exquisite couple’. Faustina appeared in many of her husband’s opera seria composed for Dresden, and eventually ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

only the intervention of the king could prevent the academy from dismissing her after the notorious on-stage brawl with Faustina. She returned to Italy and performed in several operas by Hasse, before joining the ‘Opera of the Nobility’ in 1734. In the late 1730s she sang for Leo and Caldara, but afterwards her career faded and she died in ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

by studying with Gioacchino Gizziello (1714–61) in Lisbon and with the English actor David Garrick (1717–79) in London. After returning to mainland Europe in 1757 Guidagni sang in operas by Hasse and Traetta, and created the title roles in Gluck’s Orfeo ed Euridice and Telemaco. In later years, Guadagni performed in Munich and Potsdam before retiring to Padua in ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

sang alongside his teacher in his Roman debut of Alessandro Scarlatti’s La Griselda (1721). He spent most of the 1720s singing in operas by Leonardo Vinci (c. 1696–1730), Porpora and Hasse at Rome, Naples and Venice. Initially a soprano, when he arrived in London in 1733 his voice had settled as a mezzo-soprano. During two seasons Handel created impressive ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1728–1804, German The German composer and writer Johann Adam Hiller was a keen admirer of Hasse. Although already an established songwriter, Hiller wanted to move into more operatic mode, with Hasse’s style as his yardstick. Hiller joined forces with the librettist Daniel Schiebeler (1741–71) and together they produced a romantic comedy-opera Lisuart und Dariolette (‘Lisart and Darioletta’, 1766). ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

of Neapolitan comic opera. He was promoted to organist of the vice-regal chapel at Naples in 1725, but it was only after the death of Vinci and departure of Hasse from Naples that Leo became a leading opera composer. In addition to Naples, Leo provided operas for Turin, Milan and Bologna, and acquired a reputation as an ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

c. 1696–1730, Italian Vinci studied at the Conservatorio dei Poveri di Gesù Cristo in Naples between 1708 and 1718, and afterwards made his operatic debut with Lo cecato fauzo (‘The False Blind Man’, 1719). He proceeded to dominate operatic life in Naples, and his Li zite ’ngalera (‘The Lovers on the Galley’, 1722) is the earliest extant comic ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

and 1721 Porpora worked at the Conservatorio di St Onofrio, where he became a widely respected singing teacher. His pupils included Farinelli and Caffarelli, and he also taught Hasse composition. Porpora was one of Metastasio’s first musical collaborators, resulting in Angelica (1720), and his operas were performed in Vienna and Rome. In 1726 he moved to Venice, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

but set new patterns for libretti during the 50 years he spent in Vienna. Invited to the imperial court in 1729, Metastasio created a sensation the following year when Hasse used Metastasio’s libretto for his opera seria Artaserse (1730). This introduced a new elegance into opera, which increased the prominence of solo singers. Metastasio became a particular favourite of ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

was giving way by the middle of the eighteenth century to agreeable, elegant and affecting melody. The writer J. A. Scheibe said: ‘Who can listen to a symphony by Hasse or Graun without pleasure and benefit ?’ – as opposed, he meant, to the learned complexities of Bachian counterpoint. Enlightenment Operas Increasingly, the vernacular forms of opera ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

in Saxony. Its capital, Dresden, had boasted a superb musical establishment, attracting performers and composers from neighbouring states and featuring talents such as those of Johann Adolf Hasse (1699–1783) and Jan Dismas Zelenka (1679–1745). However, mounting financial problems resulting from Saxony’s involvement in the war affected the range and quality of Dresden’s musical life during this period. ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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