However, the title Bianca e Fernando had to be changed, because Ferdinando was the name of the heir to the throne, and no form of it could be used on a royal stage. February 1828, in Galatopoulos 2002, p. 73, Bellini to Florimo, 10 April 1828, in Galatopoulos 2002, p. 95, Bellini to Raina, in Cambi (ed.) The Adalgisa of Anna Del Serre and the Pollione of Alberico Curioni were mediocre; Bellini feared for how Beatrice would turn out. "[76], About this time he had received an offer to compose for the Teatro di San Carlo in Naples and, in return, had imposed some harsh terms, totally objecting to the English soprano Marianna Lewis, "a donna who is below mediocrity: does not know how to sing, is a sausage on stage ..."[76] He continues by stressing the need for a good tenor were he to come to Naples and, in a separate letter to be forwarded by Florimo, tells Principe di Ruffano, then the superintendent of the royal theatres, that he doubts that Barbaja would even agree to the fee already offered to him by La Scala, a total of 2,400 ducati, when he would want 3,000 ducati from Naples for all the additional expenses which he would incur. [105], In conclusion, Bellini suggests "draw[ing] a veil over everything that happened", stating that he cannot come to Milan at this time but, since he was planning to write the opera for Naples for 1836, he could do so in January [1835: presumably after I puritani]. Pages in this category. [100], Weinstock assumes that it is Locatelli who replied to "A.B. changes began to appear in the management of La Scala. 87–88, Bellini to Vincenzo Ferlito [his uncle], late May/early June 1830, in Weinstock 1971, p. 88, Bellini to his Venetian friend Giovanni Battista Peruchinni, 3 January 1831, in Weinstock 1971, p. 94, Bellini to Pasta, 1 September 1831, in Weinstock 1971, p. 100, Bellini to Florimo, 27(?) [116] In a series of letters to Florimo throughoutthe year, he wrote of Rossini's increasing support, even love: "I hear that he speaks well of me" (4 September 1834); "... if I have Rossini's protection, I'll be situated very well" (4 November); "The most beautiful is that Rossini loves me very, very, very much" (18 November); and "... my very dear Rossini who now loves me as a son" (21 January 1835, following the dress rehearsal). Its success was partly due to the differences between Romani's earlier libretti and this one, as well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation. "The genuine triumph"[6] of I puritani in January 1835 in Paris capped a significant career. After Il pirata, Bellini remained in Milan with the hope of securing another commission. [90] It appears that the couple (along with Giuditta's brother) left for Florence on or around 20 May traveling by private coach and that he attended what he described as "a quite unrecognisable" performance of La sonnumbula at the Teatro della Pergola. that of my usual and original poet, the God of Sloth! "[134], It was clear from Bellini's reaction to Heine's remarks that he did not like Heine. post. That music which he was beginning to use for Ernani was transferred to La Sonnambula is not in doubt, and as Weinstein comments, "he was as ready as most other composers of his era to reuse in a new situation musical passages created for a different, earlier one".[70]. In addition, Bellini was introduced to the librettist Felice Romani, who proposed the subject of the composer’s first project, Il pirata, to which the young man willingly agreed especially when he realised that the story "provided several passionate and dramatic situations.. [and]..that such Romantic characters were then an innovation on the operatic stage. Below are works by V.Bellini that every music lover should explore: Stage Works. Bellini was one of the composers who dominated the so-called bel canto period of early Romantic-era Italian opera. In addition, he was concerned about who would sing the tenor role when he had been unable to obtain Rubini's release from his Naples contract. 196–197, Weinstock 1971, quoting and commenting on what he interprets from the statements by Francesco Pastura contained in, Bellini to Florimo, 2 September 1835, in Weinstock 1971, p. 199, Luigi Montallegri's reports to Severini; reports from other sources, including diaries written by Baron Augusto Aymé d'Aquino of the Two Sicilies' Embassy in Paris, in Weinstock 1971, pp. Born in Catania, at the time part of the Kingdom of Sicily, the eldest[8] of seven children in the family, he became a child prodigy within a highly musical family. This involved a complaint lodged with the governor of Venice who then contacted the governor of Milan, who then had his police contact Romani. Vincenzo Salvatore Carmelo Francesco Bellini (Italian: [vinˈtʃɛntso salvaˈtoːre karˈmɛːlo franˈtʃesko belˈliːni] (listen); 3 November 1801 – 23 September 1835) was an Italian opera composer,[1][2] who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". During the final preparations in 1834 for the staging of Puritani and up to its delay into 1835, Bellini had concluded an agreement with Naples to present three operas there—including the re-writing of parts of the music for Malibran—beginning in the following January. Vincenzo Salvatore Carmelo Francesco Bellini was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Although weather delayed their departure for Naples, they continued to spend an enjoyable time there, but Bellini was anxious to return to Naples before Easter and to be with Giuditta Turina, who had remained in that city. At one of the literary gatherings which Bellini attended earlier in the year, Bellini met the writer Heinrich Heine. [43] However, by 16 June, he had decided on the location to be Milan, and then signed a contract to write a new opera for the Carnival season for a fee of one thousands ducati, compared to 150 ducati for his first opera.[44]. Messa Seconda in sol minore; Norma; Salve Regina Click here to search for this composer on CPDL . With that achievement behind him, it is believed that the young Bellini, who had been away from home for six years, set out for Catania to visit his family. The aspiring librettist laid a complaint against Bellini in a report to Parma's Grand Chamberlain in December 1828 (which was ignored). As other commentators have also noted, some problems were innate to the structure and content of the opera, while others were external to it. Il Pirata was staged with the original cast and again was a triumph: it received 24 consecutive performances between 16 July and 23 August 1829, thus outnumbering Pacini's. Having recovered from his illness by the summer, Bellini went to stay near Lake Como. His fellow student soprano Isabella Colbrani eventually became his wife. [19], Bellini's involvement in Zingarelli's class took place over the 1822/23 school year. In "Two Words for Signor Felice Romani" [but which takes five pages in print], he states that it is not his intention to defend the composer but "only to vent my displeasure given me and all sensitive people by the very sarcastic manner, full of personal rancor and hauteur, with which Signor Romani has undertaken to assail his antagonist. Vincenzo Salvatore Bellini was born on November 2, 1801 in Catania, Sicily, Italy. [137] Initially, Rossini regarded burial in Père Lachaise cemetery as a short-term arrangement, not knowing where the final resting place would turn out to be. As Bellini reports, he had problems with Tosi wanting changes to be made to a cavatina and a stretta in one scene, but he stuck to his own opinion, proving to be correct when he reported the audience's reaction to Florimo: "the public was very happy with the entire opera, particularly with the second act". Born: 3 November 1801 Died: 23 September 1835 Biography: View the Wikipedia article on Vincenzo Bellini.. Bellini studied under composer Niccolo Zingarelli and a vocal teacher Girolamo Crescenti. The strong cast also included Antonio Tamburini, a major bass-baritone of the time. The play's political subject matter would have been known to the group and they would certainly know of the strict censorship then in existence in Austrian-controlled Lombardy. Over a few days, he reported to Carlo Severini of the Théatre-Italien with four notes, the first (on 20 September) stated "no appreciable improvement". With [this letter] receive my gratitude more than ever ..."[48] Others wrote equally enthusiastic reports, with abundant praise being given to the singers as well. 35) Gaetano Donizetti: Fur le nozze a lei funeste (Lucia di Lammermoor) Robert Schumann: Marienwurmchen (op. "[111], In fact, Éduard Robert and Carlo Severini of the Italien had written to the composer, offering a seat in their theatre during his stay in the city and telling him that Grisi, Unger, and Rubini would be singing Pirata in October and Capuleti in November. His grandfather, Vincenzo Tobia Bellini, had studied at the conservatory in Naples and, in Catania from 1767 forward, had been an organist and teacher, as had Vincenzo's father, Rosario. His first composition dates from around that age. [78], After rehearsals began on 5 December, Pasta baulked at singing the Casta diva in act 1, now one of the most famous arias of the nineteenth century. 149–150. Bellini” of Catania. His operas which had been presented in London included Il pirata (with Henriette Méric-Lalande in April 1830) followed by La sonnambula (with Pasta) and La straniera (with Giuditta Grisi). However, for the most part, the singers were applauded, even if the composer received little. Other sources of information come from correspondence saved by other friends and business acquaintances. After hearing the opera, Bellini acquired the score, convinced Conti to introduce him, and [Florimo] reports that Bellini's reaction was that he was "a truly beautiful, big man, and his noble countenance—sweet, but at the same time majestic—arouses affection as well as respect."[17]. Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer.His most famous works are La sonnambula (1831), Norma (1831) and I puritani (1835). However, by one month later, Bellini was writing to Pasta to state that: Another person to whom the young student/composer was introduced was Gaetano Donizetti whose ninth opera—which had been a great success in Rome—was given at the Teatro di San Carlo. The opera received eight performances, followed by some poorly received ones in Florence in 1836, and then it disappeared until 1976. With this opera, Bellini encountered "the first serious setback of a hitherto brilliant career". [61] A local newspaper, I Teatri, reported that "all things considered, this opera by Bellini has aroused as much enthusiasm in Venice as La straniera aroused in Milan from the first evening on".[62]. There is speculation that, when there, Bellini composed a one-act opera, Il fu ed it sara (The Past and the Present) for a private performance (which was supposedly not given until 1832), but little further information—nor any of the music—has been forthcoming. "[92] From Bergamo, he wrote to Romani, excited to tell him that: After the successful production in Bergamo, which was favourably reviewed by the same writer from the Gazzetta privilegiata di Milano who was not enthusiastic about the original Milan production, Bellini spent a few days with Turina, and then, by mid-September, had returned to Milan anxious to meet Romani to decide on the subject for the following February's opera for La Fenice for which a contract had become official. 2, op. [77], Norma was completed by about the end of November. He provided Bellini with precise details of his vocal capabilities which were confirmed by a report which Mercadante also provided. [2] Bellini's biographer Herbert Weinstock regards some of these accounts as no more than myths, not being supported from other, more reliable sources. After leaving Venice on 26 March, before the barrage of letter-writing began, it is known that Bellini spent some time with Mrs. Turina in Milan and, leaving many of his personal possessions with her, appears to have planned to return there by August since he did not give up his rooms in the contrade dei Re Monasteri. In a long, rambling letter of 2,500 words to Florino of 11 March 1834, he expresses his frustrations. Giovanni (no surname provided) to "Uncle Ignazio" ("identified as Ignazio Giuffrida-Moschetti, Catanese friend of Bellini" in Weinstock), 18 January 1832, quoted in Weinstock 1971, pp. The author states that, except for a limited amount of text, nothing had been received by mid-January and the piece continues by describing the legal proceedings taken by Bellini and the various setbacks which occurred even after Romani arrived in Venice. With La sonnambula successfully behind them, Bellini and Romani began to consider the subject of the opera for which they had been contracted by the Crivelli group for a December 1831 premiere at La Scala and which would mark Giuditta Pasta's debut at that house. [31] As has been observed, "no other Italian opera composer of the time showed such an attachment to a single librettist"[32] and although Romani was known to treat composers poorly, he evidently had great respect for Bellini, even acceding to his requests for revisions. He ends by saying that, if he does not hear back from Romani, he will not write to him again. Indeed, according to a letter of 1882 to Nadezhda von Meck (quoted below), the very figure of Bellini had for many years been surrounded by a "poetic aureole" in his mind because he had imagined him to be as "childlike and good-natured" as Mozart. Bellini then had to deal with the issue of piracy in regard to vocal reductions for piano of La sonnambula as published by Casa Ricordi. Verdi to Camille Belaigue, 2 May 1898, Lippmann & McGuire 1998, in Sadie, p. 392, Lippmann & McGuire 1998, in Sadie, pp. His name is listed as an attendee in the Morning Chronicle of 29 April at a performance of Rossini's La cenerentola, along with those of Maria Malibran, Felix Mendelssohn, Nicolo Paganini, as well as Pasta, Rubini, and other visiting Italian singers. Bellini then became preoccupied with staging a revival of his Il pirata during the summer season at the Teatro Canobbiana because La Scala was closed for repairs. When Bellini laid out his terms for writing for Milan, Litta gave him a very favourable response: "I shall earn almost twice as much as if I had composed for Crivelli [then the Venetian impresario]" he noted in a letter to his uncle. The organisation, "Crivelli and Company" which had managed both that house as well as La Fenice, was negotiating with a triumvirate consisting of Count Pompeo Litta and two businessmen, their immediate concern being the engagement of singers and composers for La Scala. There are two settings of the Salve regina (one in A Major for choir and orchestra, the other in F Minor for solo voice and piano), but these are less accomplished and may date from the first year of study after leaving Catania, 1820. "[120] In his letter, he continues by providing a synopsis, indicating that his favourite singers—Giulia Grisi, Rubini, Tamburini, and Lablache—would be available for the principal roles, and that he would begin to write the music by 15 April if he has received the verses. The librettist finally arrived in Venice on 1 January 1833. In the immediate aftermath of I puritani 's success, Bellini was awarded two honours: the first by King Louis-Philippe, naming him as chevalier of the Légion d'honneur; the second by King Ferdinand II in Naples, awarding him the cross of the "Order of Francesco I". [9] By the age of five, he could apparently play "marvelously". 1801–d. [33] For his part, Bellini admired "the sonorous and elegance of the poet's verses"[32]. For the roles of Adalgisa and Pollione, La Scala had engaged Giulia Grisi, the sister of Giuditta, and the well-known tenor Domenico Donzelli, who had made a name for himself with Rossini roles, especially that of Otello. During Bellini's lifetime another sfogato, Maria Malibran, was to become a notable exponent of the role. But, by the end of November, nothing had been achieved in the way of writing either the libretto or the score of Ernani. Vincenzo Salvatore Carmelo Francesco Bellini was one of the most important composers of Italian opera in his time. In addition, it had been agreed that the new opera would be preceded by performances of Norma and that they would open the season. Vincenzo Bellini 1801 - 1835 : List of operas: Adelson e Salvini - 3 acts - Italian . In consultation with Romani as to the subject, it was agreed that it would be based on the novel L'étrangère (Il solitario) of 1825 by Charles-Victor Prévot, vicomte d'Arlincourt, and planned for the premiere on the opening night of the season on 26 December. A contract between the Conservatory and the royal theatres obliged the Conservatory—when it nominated a sufficiently talented student—to require that student to write a cantata or one-act opera to be presented on a gala evening in one of the theatres. The general impression given by reports in the press was that, overall, the music was weak, although some numbers and the trio were liked. Find Vincenzo Bellini composition information on AllMusic. In it, the aggrieved librettist sums up Bellini's tastes in Romantic drama as follows: In writing the libretto for Zaira, Romani expressed his position in relation to Voltaire's tragedy by noting in the preface to the libretto: Bellini was a notorious womanizer as evidenced in his letters to Francesco Florimo. They encouraged the young man to petition the city fathers for a stipend to support his musical studies. But from a personal point of view, Bellini expressed his sadness at not having seen Florimo for so long, and there flowed a succession of invitations, then demands that Florimo come to Paris to visit him,[127] but from February to July, Florimo ignored the offers and finally, in a letter to him, Bellini stated: "I'll no longer ask for reasons, and I'll see you when I see you. "[128] After that, he attempted to persuade his uncle, Vincenzo Ferlito, to visit, but without success. To register your interest please contact collegesales@cambridge.org providing details of the course you are teaching. [87] After a month, Bellini and Florimo left for Palermo where, once again, there was a "royal welcome" and where he made the acquaintance of Filippo Santocanale and his wife. Adelson was first given sometime between mid-January and mid-March 1825,[21] and featured an all-male cast of fellow students. Smart, Mary Ann, "Parlor Games: Italian Music and Italian Politics in the Parisian Salon". Returning within half an hour, the second version left Bellini equally cold—as did a third draft. Bellini to Lanari, 5 January 1830, in Weinstock 1971, p. 83: Weinstock notes that Romani had used "Capellio" as Juliet's last name in the libretto. [14] The young student's first teacher was Giovanni Furno, with whom "he studied exercises in harmony and accompaniment";[15] another, from whom he learned counterpoint, was the composer of over 50 operas, Giacomo Tritto, but whom he found to be "old fashioned and doctrinaire". Bellini failed to appear, instead he sent a note stating that he was too ill. Weinstock reports that the princess sent Doctor Luigi Montallegri to Puteaux. Vincenzo Salvatore Carmelo Francesco Bellini was one of the most important composers of Italian opera in his time. However, it is known that he was back in Naples by the summer or early autumn of 1825 in order to fulfill a contract to write an opera for the San Carlo or one of the other royal theatres, the Teatro Fondo. The year 1831 proved most successful for Bellini as two of his most famous operas, La sonnambula and Norma, were produced. It was with Giuditta Turina that he began an affair in 1828 during the premiere performances of Bianca e Fernando in Genoa. [56], After the poor response in Parma to Zaira, Bellini stayed with Ferdinando and Giuditta Turina's family for a short period in May/June and then returned to Milan by the end of June and discovered that his grandfather, then 85, had died in Catania. Not surprisingly, the audience greeted the opening night on 16 March with little enthusiasm, especially after Romani's plea for "the reader's full indulgence" appeared in the libretto,[98] but at the following two performances there was a large crowd. This included a proposal from the Opéra-Comique for a new opera for them.)[125]. Arriving in Messina along with Florimo on the morning of 27 February, Bellini was greeted by several members of his family including his father. The following 3 pages are in this category, out of 3 total. He immediately proposed a revival and re-working of Bianca e Gernando, this time with the original title Bianca e Fernando, there being no royal by the name of Fernando in the House of Savoy. But by then—with the efforts to build his career and with time and distance between him and Maddalena—his feelings had changed and, using Florimo to communicate to the family, he rejected the offer, expressing the feeling that he would be unable to support her financially. [152] When he wrote to Florimo from Paris the following year, he clearly stated that "I constantly am being threatened from Milan with Giuditta's coming to Paris", at which point he says he'll leave that city if that were to happen. Weinstock 1971. pp. This included excerpts from La sonnambula and Il pirata at the Teatro Communale, now replaced by the Teatro Massimo Bellini which was opened in 1890 and named in Bellini's honour. Because Lanari had written to him on 10 April 1834 regarding an opera for Naples, Bellini tells him that the first act of Puritani is finished and that he expects to complete the opera by September, in order that he may then have time to write for Naples. Vincenzo Bellini (b. Among them were the nine Versetti da cantarsi il Venerdi Santo, eight of which were based on texts by Metastasio. Paris capped a significant career [ 109 ] Additionally, reports in the title for course... Dumas pėre, and then it disappeared until 1976 Heinrich Heine in France… Vincenzo Bellini ) Authorities Wikipedia composer. First music lessons [ 42 ], during July and August, the God of Sloth was dead others Bellini. 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