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the Danaids are seen in the underworld, with the Furies promising them eternal torment; Danaus is chained to a rock and a vulture attacks his entrails. Personalities | Antonio Salieri | Classical Era | Opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

(An-ton’-yo Sal-yâr’-e) 1750–1825 Italian composer Born in north Italy, Salieri went to Vienna when he was 15. He had several early successes and at 24 became court composer and conductor of the opera, and Kapellmeister 14 years later. He visited Italy where, in 1778, he wrote the opera for the opening of La Scala, Milan, and ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1750–1825, Italian When he was 16, Antonio Salieri was the protégé of the Bohemian composer Florian Gassmann (1729–74), who brought him to Vienna in 1766. Gassmann was influential at the imperial court and, as well as teaching Salieri composition, introduced him to some very high-ranking contacts. Salieri’s first surviving opera, written when he was 20, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

musicians, though it was frowned upon by the more highbrow classical mandolinists. The Neopolitan mandolin’s success is reflected in its frequent appearances in art music. Giovanni Paisiello (1740–1816), Antonio Salieri (1750–1825) and, most famously in Don Giovanni (1787), Wolfgang Amadeus Mozart (1756–91) all used it in operas; Ludwig van Beethoven (1770–1827) and Johann Nepomuk Hummel (1778–1837) composed solo works ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

‘The Marriage of Figaro’ The librettist Lorenzo Da Ponte wrote that Le nozze di Figaro offered ‘a new kind of spectacle … to a public of such assured taste and refined understanding’, and it would be fair to say that after Figaro’s premiere on 1 May 1786, opera buffa was never quite the same again. There were precedents, of ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1785, in London, she sang in Demetrio by Luigi Cherubini (1760–1842). Da Ponte, her mentor, wrote libretti for operas by Vicente Martín y Soler (1754–1806) and Salieri in which she took part. However, Mozart was not particularly impressed when she sang Susanna in a Vienna revival of Le nozze di Figaro in 1789: she failed to ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

he abandoned plans for a journey to London and Paris and instead decided to ready himself for retirement. Although Gluck had heard and admired operas by Mozart, he regarded Salieri as his heir in the world of opera. He died in 1787. Recommended Recording: Orfeo ed Euridice, Stuttgart Chamber Choir, Tafelmusik (cond) Frieder Bernius (Sony) Sounds Familiar Orfeo ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

was receiving instruction in organ and music theory from Michael Holzer, choirmaster of the local Lichtental parish church. It was probably Holzer who introduced Franz to the venerable Antonio Salieri (1750–1825), famous as Mozart’s rival. On Salieri’s recommendation the boy competed for a position as chorister in the Imperial Court Chapel and a place at the Stadtkonvikt, a boarding ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

instrumentalists were able to depict natural events – storm, rain, wind – when they were part of the plot. Introduction | Classical Era | Opera Personalities | Antonio Salieri | Classical Era | Opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

(Yo’-han Ne’-po-mook Hoom’-mel) 1778–1837 Austrian composer and pianist A child prodigy, Hummel studied with Mozart soon after moving to Vienna at the age of eight, and later studied with Albrechtsberger and Salieri. From 1804 to 1811 he was Konzertmeister to Prince Esterházy, composing for the chapel (most of his sacred works date from this period), and was later Kapellmeister ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1760–1801, Austrian Katharina Cavalieri, the Austrian soprano, was both the student and the mistress of the court composer Antonio Salieri. In 1775, when she was 15, she made her debut in Vienna in the role of Sandrina in La finta giardiniera by Pasquale Anfossi (1727–97). Her voice was expressive and ‘full’, and she possessed a first-class ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Ponte produced an impressive adaptation of Iphigénie en Tauride (1783) by Nicolas-François Guillard (1752–1814). Il rico d’un giorno (‘A Rich Man for a Day’, 1784), which Da Ponte wrote for Salieri, was his first original libretto. Da Ponte was soon in demand in Vienna and of his total of 46 libretti, his most famous, written for Mozart, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

elements helped establish an international style. Recommended Recording: La pescatrice, soloists, Orchestra Sinfonica di Sassari (cond) Carlo Rizzi (Bongiovanni) Introduction | Classical Era | Classical Personalities | Antonio Salieri | Classical Era | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1785–1838, Austrian This Austrian soprano studied in Vienna with Antonio Salieri. In 1803, she made her debut in Vienna as Juno in Der Spiegel von Arkadien (‘The Mirror of Arcadia’, 1794) by Franz Xaver Süssmayr (1766–1803), a one-time pupil of Mozart. In 1805 Milder-Hauptmann created the role of Leonore in Beethoven’s Fidelio. She was, however, dissatisfied with ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

a librettist, Beaumarchais was best known for the five-act opera Tarare (1787), produced in Paris. Gluck turned it down, and it was subsequently set to music by Antonio Salieri (1750–1825). Introduction | Classical Era | Opera Personalities | Georg Benda | Classical Era | Opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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