Search results for " Musicologia"

Francesco Buti, poesia e drammaturgia.

2015

The first part of this essay explains the poetry features for music of abbot Francesco Buti from Narni. The second one contains the modern edition of poems for Li Fiori, a group of polyphonic “villanelle” set to music and published in 1632 by the German nobleman Girolamo Kapsperger. Performed in a private concert in Rome, probably under the patronage of Cardinal Francesco Barberini, this work is the unique example of a music collection of 16th-century Italy entirely devoted to flowers. Buti’s poetry resumed the ancient Greek legends of the jasmine, violet, rose, purple anemone, hyacinth, narcissus and iris aiming at transforming them as means to enhance the catholic ethic. In some cases, e.…

Parenti, Francesco Paolo Maurizio

2014

Biographical entry for the "Dizionario biografico degli italiani". Francesco Paolo Parenti (1764-1821) studied music in Naples; at the age of 26, he moved to Paris where he spent the most part of his life and career. Ho wrote some opéra-comiques for the Parisian stage ("Les portraits", 1790; "L’homme et le malheur", 1793; "Le cri de la patrie", 1793). He also played in the orchestra of the Théâtre de la Société Olympique conducted by Antonio Bartolomeo Bruni at the beginning of the XIX century. Later he was active as a singing teacher (his "Philomelodia ou L’art de chanter" is partially preserved).

The Italian reception of Benda’s «Ariadne auf Naxos» and «Medea»: fascination and compromise

2016

The monodramas “Ariadne auf Naxos” and “Medea” by the Czech composer Jiří Antonín Benda had an interesting and little known circulation in Italy, where they were translated, performed and adapted to local taste. Both the works were performed in Naples, in 1783 and in 1790 respectively, thanks to Norbert Hadrava, an officer in the Austrian army with a great passion for German music. The article demonstrates that Hadrava presented the two pièces on the stage of Teatro de’ Fiorentini with the original music by Benda, obtaining a large success. A manuscript score of “Medea” now in the library of the Conservatorio San Pietro a Majella in Naples is examined, as it is likely connected to the Neapo…

Cuatro pequenos ensayos sobre Richard Strauss

2000

L'articolo descrive alcuni aspetti della biografia di Richard Strauss (dai giovanili contatti con la cerchia di Bayreuth sino alla dimensione tragica delle ultime composizioni) e si sofferma soprattutto sulla genesi, la drammaturgia e i caratteri musicali de "Il Cavaliere della Rosa" (1911).

Costruire la regalità. Feste teatrali e cerimonie con musica a Napoli tra Giuseppe e Gioacchino (1806-1815)

2016

The article examines the occasional genres flourished during the French domination in Naples (1806-1815). The new Napoleonic dinasty needed to obtain public consent, and so adopted old and new strategies of communication. In fact, the study of many different sources (librettos, scores, newspapers) indicates a fascinating coexistence of tradition and innovation. The period taken into consideration still offers many examples of traditional cantatas performed in theatres and aristocratic palaces. Together with these conventional pièces, though, it is possible to observe original and innovative creations, such as choreographic actions, prose comedies with incidental music and, above all, large …

Appunti sui libretti per musica di Gioacchino Pizzi

2017

In recent years historians of the literature, culture and sociality of the academies have shown a renewed interest in Gioacchino Pizzi (Nivildo Amarinzio), who was the Custode of Arcadia from 1772 to 1790. On the other hand, there have been no specific studies of his relations with the world of music. The first part of the article offers a first inventory of Nivildo’s printed libretti, belonging to the genres of encomiastic cantata, sacred composition and dramma per musica. The second part illustrates the ideas on Italian and French theatre expounded by Pizzi in his "Ragionamento sulla tragica e comica poesia" (1772). It also reconstructs his relationship with Pietro Metastasio, and explore…

Giovanni De Gamerra, "Lucio Silla. Lucio Cornelio Silla dittatore".

2013

Da «Nina» a «Belisa»: contagi veneziani (1788-1794)

2008

Giovanni Paisiello's "Nina o sia La pazza per amore" was one of the greates operatic successes of the late Eighteenth Century. The article studies its circulation in the Venetian area, as well as the reactions it produced as documented in theorical writings and newspapers. Moreover, the model of mixed dramaturgy exemplified by "Nina", characterized by the alternation of spoken dialogues and musical numbers, influenced some Italian authors. "Belisa ossia La fedeltà riconosciuta" by Alessandro Pepoli and the German composer Peter von Winter is one of the most interesting results of this experimentation, and can be considered as a sort of new "Nina" for the Venetian stage.

Alterità ed esotismo nella commedia per musica napoletana del Settecento: la «Dardanè» di Cerlone e Paisiello e le sue fonti

2019

Francesco Cerlone and Giovanni Paisiello's comic opera "Dardanè" was performed for the first time in Naples in 1772. Its plot revolves around a peculiar theme from Middle Eastern religious and cultural tradition: the 'triple talak', i.e. the Muslim practice of instant divorce. The article investigates the fortune of this topic in European litterature and theatre. The intertextual itinerary starts from the collection of pseudo-Persian tales "Les milles et un jours" by Pétis de la Croix (Paris 1710-1712); other important steps are two pièces with the same title, "Arlequin hulla", the first one by Lesage and d'Orneval (Paris 1716), and the second one by Biancolelli and Romagnesi (Paris 1728). …

Mozart e Paisiello: a proposito dell’aria «Mentre ti lascio, o figlia» K. 513

2018

The text of Mozart's scena e aria K. 513 comes from Giovanni Paisiello's "La disfatta di Dario" performed for the first time in Rome in 1776. The article reconstructs the whole tradition of the libretto, written by Carlo Diodati Morbili in Naples in 1756 and set to music by various authors till the end of the century. There is a large body of evidence that Paisiello's "Mentre ti lascio, o cara" reached large popularity thanks to the most famous tenors of the time. The dramaturgical context of the aria is examined in detail, and four different versions are compared (Paisiello, Traetta, Mozart, and Frigel). Mozart's setting is demonstrated to be directly inspired by Paisiello's model.