SEARCH RESULTS FOR: Porpora
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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

soprano Strada is known to have sung in Vivaldi’s La verità in cimento (‘The Truth Tested’, 1720) in Venice in 1721. Between 1724 and 1726 she sang for Vinci, Porpora and Leo at Naples, where she also married the theatre manager Aurelio del Pò. She arrived in London in 1729, where she was Handel’s prima donna in all ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1705–82, Italian Carlo Broschi, known as ‘Farinelli’, studied with Porpora, and made his stage debut as a castrato in Naples when he was only 15 years old. By 1723, he was taking lead roles in his teacher’s operas. Farinelli was remarkably successful across Europe, and in 1734 he reunited with Porpora to work in London for ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

in Hamburg. By default this makes Telemann an innovative pioneer of German opera, although his musical style was essentially Italianate, and he also adapted operas by Handel, Porpora and Campra for the Hamburg stage. Introduction | Late Baroque | Opera Personalities | Leonardo Vinci | Late Baroque | Opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Il prigionier superbo (‘The Haughty Prisoner’, 1733). Introduction | Late Baroque | Opera Major Operas | La serva padrona by Giovanni Battista Pergolesi | Late Baroque Personalities | Nicola Antonio Porpora | Late Baroque | Opera The Voice | The Castrati | Early & Middle Baroque | Opera The Voice | The Training of the Castrati | Late Baroque | Opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

, and 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 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

, he found himself living in the attic of the same house as the famous poet Pietro Metastasio (1698–1782), who introduced him to the old Italian opera composer Nicola Antonio Porpora (1686–1768). Through Porpora, Haydn claimed to have learnt ‘the true fundamentals of composition’; and certainly the works he wrote after about 1754 show a new italianate fluency and sophistication. ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1694–1744, Italian Leo was born near Brindisi, studied music in Naples at the Conservatorio San Maria della Pietà dei Turchini, and spent most of the rest of his life in the city. He held various organist and church music positions, and his first opera, Il pisistrato (1714), was staged before he was 20 years old. In ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Nicolini sang in the cathedral and royal chapel as a soprano, but soon became associated with operas by Scarlatti. He also sang for Bononcini, Lotti, Leo, Porpora and Vinci. Nicolini visited London in 1708, and received great acclaim for performances of Scarlatti’s Pirro e Demetrio (1708). With the theatre manager Owen Swiney, Nicolini made Italian ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

La partenope were his most popular libretti, and were set many times during the early eighteenth century. Stampiglia’s final work was the serenata Imeneo, set to music by Porpora in 1723. His lively and witty examinations of courtly love inspired Handel to great artistic heights in his settings of Il partenope, Serse and Imeneo, although none of ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

closed at the start of Lent each year. Native composers such as Gasparini, Vivaldi and Pollarolo dominated Venetian opera until the Neapolitan school, including Leo, Vinci and Porpora, became popular from the late 1720s. Theatres such as San Giovanni Grisostomo seated only a few hundred people, and those who sat in the stalls could not always ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The traditions and styles of opera from Venice and Naples dominated operatic life in Rome, although for a short time public opera performances were forbidden in the papal city. The influence of Italian opera stretched much further, and companies were established outside Italy – most notably the Dresden opera house at the court of the Elector of Saxony, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

During the early eighteenth century a few composers enjoyed regular close collaboration with a favourite librettist, such as Fux with Pariati, or both Vinci and Porpora with the young Metastasio. However, such examples were rare, and instead it was common for a popular libretto created for one major Italian opera centre to be adapted for the needs ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

the morning, and attending to religious and strict secular learning with equal fervour throughout the entire day. Teachers at the Neapolitan schools included Francesco Durante, Francesco Provenzale, Porpora, Leo and Scarlatti, several of whom had been educated in the same system. Music lessons with the most famous masters were only given a few times each week ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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