Gaetano Donizetti | Mario Donizetti | Donizetti's | ''Gaetano Donizetti |
On them, he is heard to best advantage in operatic arias by Bellini, Rossini, Donizetti and Gluck, but he was also renowned in Europe and the United States for his Rodolfo in Puccini's La boheme, his Riccardo in Verdi's Un ballo in maschera and his Duke of Mantua in Verdi's Rigoletto.
Although primarily associated with Italian-language comic roles, Corbelli’s résumé shows his wide-ranging interests and versatility, including French and German roles (Sulpice in Donizetti's La fille du regiment, Papageno in Mozart’s Die Zauberflöte), Baroque opera (Seneca in Monteverdi’s L'incoronazione di Poppea) and a twentieth-century English-language opera (Nick Shadow in Stravinsky’s The Rake's Progress).
Veleva came to prominence in 2003 after her critically acclaimed debut at the Sofia National Opera in the role of Lucia in Donizetti's Lucia di Lammermoor.
In February 2003 he made his operatic debut as Arturo in Donizetti’s Lucia di Lammermoor at the stage of Rome Opera House (Teatro dell'Opera di Roma) with Maestro Daniel Oren.
He began his career with major roles in Verdi operas such as the Duke in Rigoletto, Foresto in Attila and Radames in Aida, also Lindoro in Rossini's Italiana in Algeri, Fernando in Donizetti's La Favorita and Pollione in Bellini's Norma.
Donizetti - Il duca d'Alba - Giangiacomo Guelfi, Caterina Mancini, Amedeo Berdini, Dario Caselli - Coro e Orchestra della RAI di Roma, Fernando Previtali
In 1981 she made her operatic debut in Florence as Giulietta in Bellini's I Capuleti e i Montecchi and rose to prominence following her successful debut at La Scala in 1982 when at very short notice she replaced Montserrat Caballé in the title role of Donizetti's Anna Bolena.
In addition to some of the standard operatic repertory over the years, a recent concert performances which has drawn attention to the Group has been Donizetti's rarely performed Belisario (written in 1836), which starred Nelly Miricioiu under conductor Richard Bonynge and was given at Queen Elizabeth Hall on 13 February 2011.
making a specialty of lesser-known works by Donizetti and Bellini, appearing in concert performances for the London Opera Society and stage productions by Opera Rara, notably the title role in Torquato Tasso, Corrado in Maria de Rudenz, Ernesto in Il Pirata.
Nearby Fast Castle was a fictional setting for Walter Scott's novel The Bride of Lammermuir, which in turn inspired Donizetti's opera Lucia di Lammermuir.
She also scored triumphant successes in Italy in the great bel canto roles of that era's composers, including Rossini, specifically Armida; in Bellini's Norma and I puritani; and in Donizetti's Lucia di Lammermoor.
She had some difficulty, however, when asked to sing at the Lyric Opera of Chicago, being asked to sing the roles of Rosina and Donizetti's Lucia in the Italian language, because she argued that she had not had sufficient time to re-learn those roles in their original language (throughout Europe at that time operas were largely sung in the tongue of the nation in which they were being performed).
•
In 1931, she sang Norina in Donizetti's Don Pasquale at Bielefeld, where her voice made a great impression and her gifts immediately recognised.
Gabriella di Vergy, an opera seria by Gaetano Donizetti (1826, revised 1838), and an opera by Mercadante (1828), based on the tragedy Gabrielle de Vergy by Dormont De Belloy (1777)
Tucci made only two commercial recordings, Pagliacci in 1959, opposite Mario del Monaco, and Il trovatore in 1964, opposite Franco Corelli, but can be heard in a number of "live" performances, including Cherubini's Medea and Donizetti's Il Furioso al Isola di Santo Domingo.
He sang in other Donizetti operas, too, including Linda di Chamounix, Maria di Rohan, La favorite, Poliuto, and Lucia di Lammermoor.
Puzzi Toso was Elisabetta in the difficult première of Donizetti's Maria Stuarda opposite Maria Malibran and Ignazio Marini at La Scala in December 1835, when the score, notably Elisabetta's part, was severely pruned.
He was committed there through 1837, singing such roles as Alamiro in Donizetti's Belisario, Don Pedro in Giuseppe Persiani's Inês de Castro, Edgardo in Donizaetti's Lucia di Lammermoor, and Lorenzo in Bellini's I Capuleti e i Montecchi He made his debut at La Scala in 1838 as Alphonse in Daniel Auber's La muette de Portici, remaining there through 1839.
He also created the roles of Fernando in the revised version of Bellini's Bianca e Fernando (1828) and Leicester in Donizetti's Il castello di Kenilworth (1829).
Sarah Parker Remond, a medical doctor, anti-slavery activist and lecturer with the American Anti-Slavery Society, had bought a ticket through the mail for the Donizetti opera, Don Pasquale, but, upon arriving, refused to sit in a segregated section for the show.
This opera was the first of Donizetti's excursions into the Tudor period of English history, and it was followed in 1830 by Anna Bolena, (which was based on the life of Ann Boleyn, the second wife of King Henry VIII), then by Maria Stuarda (named for Mary, Queen of Scots) which appeared in different forms in 1834 and 1835.
Donizetti's Il falegname di Livonia was premiered on 26 December 1819 at the opening of the 1819-1820 Carnival season at the Teatro San Samuele in Venice.
After studies with Alberto Mazzucato in Milan Foroni worked as a conductor in France, Belgium and Holland before arriving in Sweden in 1849 to work for Vincenzo Galli's opera company at the Mindre teatern where he gave the Swedish premieres of works by Bellini and Donizetti as well as the young Verdi.
It was the one opera which he regarded as the most suitable for being translated into French and, taking Scribe's advice, Verdi agreed that a French libretto was to be prepared by Alphonse Royer and Gustave Vaëz, who had written the libretto for Donizetti's most successful French opera, La favorite.
During his work at the Theatre Mr. Sargsyan has performed such operas as "Otello", "Il Trovatore" "La Traviata" by G. Verdi, "Polievkt" by G. Donizetti, "Paliaggi" by Leonkavallo, “Anush” by A.Tigranyan, “Arshak the 2nd” by T.Chukhadjian etc.
L'esule di Roma was staged for the first time in the twentieth century on 18 July 1982 at the Queen Elizabeth Hall in London, in a concert performance with Katia Ricciarelli, Bruce Brewer and John-Paul Bogart, on the initiative of the Donizetti Society.
Lucia di Lammermoor, an opera by Gaetano Donizetti based on Scott's book
Lucie de Lammermoor, Donizetti, Conductor: Evelino Pidò, Opéra National de Lyon, CD: EMI 2002, DVD: Bel Air Media 2002
Caniglia participated in the exhumation of a few long forgotten operas such as Donizetti's Poliuto and Verdi's Oberto.
The opera is one of a number of operas by Donizetti which deal with the Tudor period in English history, including Anna Bolena (named for Henry VIII's second wife, Anne Boleyn), Roberto Devereux (named for a putative lover of Queen Elizabeth I of England) and Il castello di Kenilworth.
In 1836 Sacchi was committed to the Teatro Comunale di Bologna where she portrayed Eudora in Donizetti's Belisario and Imelda in Donizetti's Parisina among other roles.
A student of Gaetano Donizetti, he is best known for having completed the score of Donizetti’s unfinished opera Le duc d’Albe for its first public performance in 1882, some forty years after Donizetti’s death.
By 1975 the group had built up a repertoire of 120 works, including the complete Beethoven, Schubert, Cherubini and Bartók quartets, and works by Haydn, Mozart, Brahms, Hugo Wolf, Pfitzner, Verdi, Donizetti, Debussy, Smetana, Kodály, Janáček, Hindemith, Alban Berg, Gian Francesco Malipiero, Witold Lutosławski, Milko Kelemen, Wittinger and Horvath.
The theme of the anthem is supposedly taken from a Donizetti opera, while the elaboration of this theme is truly Debali's merit.
Carscreugh Castle (of Earl of Stair in 1782) was the home of Janet Dalrymple, on whom Sir Walter Scott based his heroine Lucy, the Bride of Lammermoor, (who became Lucia di Lammermoor in Donizetti's opera of the same name.) Janet fell in love with and secretly betrothed to a penniless local man, Archibald Rutherford.
Thomas Moore's Irish Melodies, for instance, were traditional (or "folk") tunes supplied with new lyrics by Moore, and many arias from Italian operas, particularly those of Bellini and Donizetti, became parlour songs, with texts either translated or replaced by new lyrics.
Roles he sang on disc range in diversity from Uriel in Haydn's "Creation" to the painter in Alban Berg's Lulu, and from Pitichinaccio in Offenbach's The Tales of Hoffmann to Sir Harvey in Donizetti's Anna Bolena.
Bader made numerous recordings throughout the 1980s and 1990s, most notably, with the music of Kurt Weill, Ignacy Jan Paderewski, Joseph Joachim and others, including mainstream and the lesser-known 18th and 19th century masses by Mozart, Bruch, Beethoven, Bruckner, Weber, as well as Nicolai, Suppé, and Donizetti.
Of particular note was his performance as Pooh-Bah in the BBC production of Mikado, and his outstanding rendition of the role of Alfonso d'Este in the 1980 Covent Garden production of Donizetti's opera Lucrezia Borgia.
On 8 November 1838, Hugo's Ruy Blas starring Frédérick Lemaître had a triumphant premiere, and the French version of Donizetti's Lucia di Lammermoor was produced there in August 1839.
The Opéra-Comique remained at the theatre for almost eight years, and the premieres of Hérold's Ludovic and Le pré aux clercs, Adam's Le chalet and Le postillon de Lonjumeau, Halévy's L'éclair, Auber's L'ambassadrice and Le domino noir, and Donizetti's La fille du régiment were all given there.
Among his many appearances and performances are the following: Amadeus (for the 2001 DVD edition), soloist in Milan La Scala (where he gave the first performance of the original version with glass harmonica of The Mad Scene from Donizetti's Lucia di Lammermoor) during a recital, and a tour with Tom Waits, Bob Wilson and Marianne Faithfull in The Black Rider (2004–2006).
His recorded output included a famous 78-rpm set of Donizetti's Don Pasquale, made in 1932.
The opera uses the same Italian-language libretto by Bartolomeo Merelli after August von Kotzebue's Der Graf von Burgund that Donizetti used for his Enrico di Borgogna a month earlier, but with different music.
Yevgeny Kolobov was the first opera conductor in Russia to stage Verdi's La forza del destino, Bellini's Il Pirata, Donizetti's Maria Stuarda, Catalani's La Wally, Verdi's I Due Foscari, Mussorgsky's Boris Godunov in the composer's original version and Thomas's Hamlet.
Some of the Verdi roles which he has sung in Frankfurt are Amonasro in Aida, the Count di Luna in Il trovatore, The Duke of Nottinghamin Donizetti's Roberto Devereux, Ezio in Attila, Germont, Guy de Montfort in Les vêpres siciliennes, and Renato in Un ballo in maschera.
La zingara (1822), an opera semiseria in two acts by Gaetano Donizetti