(Nik’-ko-lo Zho-me’-le) 1714–74 Italian composer Among the many opera composers of this period hailing from Naples, Jommelli was the greatest. His first comic opera was given in the city in 1737. It was in Rome that his first serious opera was performed, in 1740, and he then moved first to Bologna and after that to Venice, occupied as ...
1714–74, Italian Jommelli scored successes with his first operas, L’errore amoroso (‘The Loving Mistake’, 1737) and Ricimero (1740) and Astianatte (1741), and before long these and other operas had won him recognition as an eminent composer. Jommelli’s services were eagerly sought and he wrote operas for Rome, where he was appointed maestro di cappella at St Peter’s in ...
Vienna, although a third, Paride ed Elena (1770), was not. Gluck’s Reform of Opera Gluck was not the only reformer of opera. A number of Italians, notably Jommelli and Traetta, had worked along similar lines, but Gluck, although his purely musical gifts were circumscribed, was the greatest and the most influential. He described the ...
1740–1821, Italian The Italian soprano castrato Gasparo Pacchierotti made his debut in Venice in 1766 in Achille in Sciro by Gassmann. He had joined the Teatro San Giovanni Grisostomo the previous year and after another six years he moved to the Teatro San Carlo in Naples. Pacchierotti made his first appearance at the King’s Theatre, London in 1778, ...
of music and several theoretical works, and conducted a lively correspondence on musical matters with composers and others (some 6,000 letters survive); J. C. Bach, Grétry, Jommelli and Mozart are among those who had lessons with him. He was revered as the ultimate arbiter on matters musical. Burney wrote that, ‘upon so short an acquaintance, ...
in the galant style. Recommended Recording: English 18th-Century Keyboard Concertos, Paul Nicholson, Parley of Instruments (dir) Peter Holman (Hyperion) Introduction | Classical Era | Classical Personalities | Niccolò Jommelli | Classical Era | Classical ...
simplified versions so that amateur singers could perform them. An added purpose was to encourage German singers to improve their standards. Introduction | Classical Era | Opera Personalities | Niccolò Jommelli | Classical Era | Opera Techniques | Bel Canto | Early & Middle Baroque | Opera Techniques | Singspiel | Classical Era | Opera ...
the roles assigned to the wind instruments – often used for sustaining and giving harmonic support – are distinct from those of the strings. Influenced by Italian composers, especially Jommelli, and by the virtuosity of his orchestra, he developed a new, dynamic style of orchestral composition. Stamitz’s sons, Carl (1745–1801) and Anton (1750–c. 1800), were also ...
not confine himself to the Munich court, but wrote for other noble patrons, including Fetonte (1768) for the Duke of Württemberg. This, too, was set by Jommelli, who used it to write one of his most inventive scores. Verazi and Jommelli frequently worked as a team and between them created several dramatic French-style operas for the ...
well as in Scandinavia and Russia) by serious Italian opera, or opera seria. It was even occasionally performed in Paris, despite nationalist resistance. Composers such as Hasse, Jommelli and Traetta generally set librettos by Metastasio, and brought to opera the new and graceful melodic style of the galant. Their operas consisted almost entirely of highly decorated arias ...
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