La otra ópera

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Prima esecuzione assoluta: Milano, Teatro Lirico, 4, 6, 7, 10, 11, 12, 13 aprile 1975. Stagione d'opera e balletto del teatro alla Scala 1974/1975. De la reacción del público no tengo ni idea.

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

James Cook (*1969) He was born in Wales. Cook composed three major symphonies in his twenties and after a brief spell studying composition at Oxford in 1994 turned to the writing of sacred vocal and choral music. In 2000 he began to concentrate on organ music and competed a cycle of nine organ symphonies. Looking to expand his horizons further he turned to opera in 2010; his first, Dorothy, was premiered in London in 2015. Since then he has produced several more including a cycle of four on Biblical themes.

Prestomusic

Jane the Quene, ópera (version for voice and piano) (2014). Gentle Mr. Aylmer.

Abishag, ópera (version for voice and piano) (2019). Delicate Harlot!.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Edmund Nick (1891-1974) He was born in Reichenberg. The son of a merchant, Nick studied law from 1910 to 1915 in Vienna and Graz. At the same time, he studied music at the Vienna Music Academy and at the Conservatorium Dresden. He received his doctorate in law (Dr. jur.) from the University Graz in 1918. Nick moved to Breslau in 1919, working as concert accompanist, piano teacher and critic. He became Kapellmeister of the theatre in Breslau in 1921 and Head of the Music Department of Radio Silesia in 1924. It was here that he first met Erich Kästner; Nick wrote the music to a radio play by Kästner which became very successful. This was the beginning of a lifelong friendship. When he was dismissed in 1933, he moved to Berlin, where he was Head of Music at the Theater des Volkes from 1936 to 1940. In 1945 he moved to Munich, starting as a critic at the Neue Zeitung. He then became Musical Director of the cabaret Die Schaubude where he continued his collaboration with Erich Kästner; eventually, he set more than 60 of Kästner's works to music. In 1947 he became for two years chief conductor of the Bavarian State Operetta. He was made Professor in 1949 at the Hochschule für Musik und Theater München; from 1952 to 1956 he was head of the music department of the Westdeutscher Rundfunk in Cologne. He then worked as a music critic for the paper Die Welt, and since 1962 for the Süddeutsche Zeitung. He wrote piano works, chamber music, film scores, and music for theatre and radio plays; he is mostly known for his musical comedies and operettas.

Wikipedia

Leben in dieser Zeit, radio-ópera (1929). Das Liebeslied mit Damenchor.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Emilio de' Cavalieri (c. 1550-1602) He was born in Rome of an aristocratic and musical family. He was the son of Tommaso de' Cavalieri (c. 1509–1587), a close friend of Michelangelo. He probably received his early training there, and was working as an organist and music director in the period from 1578 to 1584. He spent much of his time in Rome as an organiser of Lenten oratorios. While in Rome he became associated with Cardinal Ferdinando de' Medici. In 1587, Ferdinando de' Medici succeeded his brother as Grand Duke of Tuscany, and in 1588 he brought Cavalieri to Florence as an overseer of artists, craftsmen and musicians. Cavalieri was master of ceremonies for the extremely opulent intermedi that the Medici family required for events such as weddings. Count Giovanni de' Bardi, the founder and patron of the Florentine Camerata, also collaborated on these productions. In May 1589, the festivities for the marriage of Grand Duke Ferdinando to Christina of Lorraine included a performance of Girolamo Bargagli's La pellegrina, with six especially elaborate intermedi. The 1st number of the final intermedio was initially a piece by Bardi but was replaced in the actual intermedio by Cavalieri's virtuosic number based on the Aria del Gran Duca which became popular all over Europe and occurs in many arrangements and variations such as that made by Peter Philips in Antwerp.

Cavalieri may have gotten some of his ideas for monody directly from Bardi, since Cavalieri was not a member of the Camerata during its period of activity a few years earlier. He may have developed his rivalry with Giulio Caccini, another extremely important and influential early monodist during this period. In the 1590s, while still in Florence, Cavalieri produced several pastorales (a semi-dramatic predecessor to opera, set in the country, with shepherds and shepherdesses as common characters). In addition to his musical activities, he was employed as a diplomat during this time, assisting in papal politics, including buying the votes of key cardinals for the elections of popes Innocent IX and Clement VIII who were expected to favour the Medici. During the 1590s he made frequent diplomatic trips to Rome, remaining active in the musical life there, and was connected with the Congregation of the Oratory of St Philip Neri. He premiered his famous Rappresentatione di Anima, et di Corpo... in February 1600. According to Roman records the piece was produced twice that year at the Oratorio de Filippini adjacent to Santa Maria in Vallicella, and was witnessed by thirty-five cardinals. In 1600 Cavalieri produced Euridice, one of the first operas, by Jacopo Peri (libretto by Ottavio Rinuccini); this was part of an elaborate set of festivities for the wedding of Henry IV of France and Maria de' Medici. Unfortunately for Cavalieri, he was not given control of the main event, the production of Il rapimento di Cefalo—his rival Giulio Caccini took over from him—and he left Florence in anger, never to return.

Wikipedia

Rappresentatione di Anima, et di Corpo, opera sacra (1600). Scena quarta (Piacer con due compagni, Corpo, Anima).

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Franz Xaver Süssmayr (1766-1803) He was born in Schwanenstadt, Upper Austria. Süssmayr studied music as a boy with his father, a teacher and choirmaster in Schwanenstadt. In 1779 he moved to the monastery school at Kremsmünster and later studied philosophy and law at the Ritterakademie there. While a student he participated in services at the cathedral as a singer, violinist and organist, and took composition lessons from local teachers. Beginning in or around 1785 he composed several operas that were performed in the monastery theatre. In the late 1780s he moved to Vienna, where he taught music privately and performed in the Hofkapelle. He began occasional studies in composition with Mozart in 1790 or 1791, subsequently working for him as a copyist, almost certainly assisting him in composing the secco recitative for La clemenza di Tito and completing the Requiem at Constanze Mozart's request. After Mozart's death he studied with Salieri. Several of Süssmayr's first operatic projects in Vienna were undertaken for Schikaneder's Theater auf der Wieden; then, in 1792, he became harpsichordist and acting Kapellmeister for the Nationaltheater. Two years later, in May 1794, he was made Kapellmeister of the Viennese court's newly re-established National-Singspiel in the Kärntnertortheater. In 1798 Süssmayr applied to succeed Pierre Duttilou as court composer in Vienna but was not offered the post; he served as Kapellmeister of the National-Singspiel until his death, composing a series of German works for the national stage. He also wrote cantatas (for performance in Vienna and Kremsmünster) and other sacred and instrumental works. Like many late 18th-century German composers, Süssmayr worked in a variety of operatic genres. He wrote a handful of Italian operas, both serious and comic, for theatres in Vienna and Prague. His German works range from modest Singspiele for Kremsmünster in the early north German vein to extravagant heroic-comic operas produced in Vienna. He gained fame as the composer of Der Spiegel von Arkadien (1794), commissioned by the librettist Schikaneder. Written in the tradition of Die Zauberflöte, it features lyrical arias, folklike songs, lengthy finales and the musical depiction of ambitious scenic effects. In his Eipeldauer Briefe (1794), the writer Joseph Richter observed soon after the première that pieces from the opera were often sung and played in cafés and taverns around Vienna. Schikaneder and Süssmayr even filed an official protest against several Viennese music shops that were selling copies of the opera's most popular numbers without their permission.

Grove

Der Spiegel von Arkadien, ópera heroico-cómica en dos actos (1794). Juno wird stets um dich schweben.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Ellen Reid (*1983) She is originally from Oak Ridge, Tennessee but living and working in New York City and Los Angeles. Reid is the first composer to have been commissioned by all of Los Angeles's four major classical music institutions: Los Angeles Opera at REDCAT, Los Angeles Philharmonic, L.A. Master Chorale and L.A. Chamber Orchestra. She is the only female composer to ever have been performed by all four and the first composer to have world premieres by all four. In addition to classical music, Reid also writes music for films, TV, and art installations. Her first feature film score was for the 2014 drama-mystery The Midnight Swim. She also contributed original music to the soundtrack of the 2016 mystery film Buster's Mal Heart. Both films were written and directed by Sarah Adina Smith. Reid and Missy Mazzoli co-founded Luna Composition Lab, a mentorship program for young self-identified female, non-binary, and gender non-conforming composers. Her first opera, Prism, about a sexual assault survivor's psychological struggles, premiered in L.A. in November 2018 and was awarded the 2019 Pulitzer Prize for Music. The New York Philharmonic conducted by Jaap van Zweden performed the world premiere of her work When the World as You've Known It Doesn't Exist on February 20, 2020. Reid graduated from Columbia College of Columbia University in 2005. She earned her MFA at CalArts; her teachers include Anne LeBaron, David Rosenboom, and George Lewis.

Wikipedia

Prism, ópera en tres actos (2018). Lost in the Blue.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Poul Rovsing Olsen (1922-1982) Olsen was born in Copenhagen. He studied with Knud Jeppesen at the Copenhagen Conservatory (1943-1946) and with Nadia Boulanger and Olivier Messiaen in Paris (1948-1949), then worked in Copenhagen as a music critic. His early works showed the influences of Bela Bartók, Igor Stravinsky and Carl Nielsen, joined in the 1950s by 12-note serialism, but from the 1960s his music began to reflect his work as a musical ethnologist (A L′inconnu for voice and 13 instruments, 1962): he did fieldwork in Greenland and the Persian Gulf and taught at the universities of Lund (1967-1969) and Copenhagen (from 1969). His output includes opera, orchestral and chamber music, piano pieces and songs.

Wikipedia

Belisa, ópera en cuatro escenas (1966). Fragmento.

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ALL · **Registrado:** 30 May 2011 13:33 **Mensajes:** 33

¿Conocéis la ópera CHOPIN del compositor GIACOMO OREFICE?

Orefice nació en Vicenza en 1865 y falleció en Milán en 1922.
Estudió composición con Mancinelli y piano con Busi en el Liceo Musical de Bolonia.
Al principio se consagró al piano, pero a partir de finales de la década de 1890 se dedicó cada vez más al teatro.
Compuso doce óperas, con influencia principalmente del verismo.

No obstante, Chopin, su ópera más famosa, pero no considerada su mejor obra, fue un caso aparte, en esencia una contribución kitsch a los últimos vestigios de la bohemia romántica de finales del siglo XIX y a la scapigliatura italiana.

Ópera en cuatro actos con libreto de Angiolo Orvietto, se estrenó en el Teatro Lírico de Milán en noviembre de 1901.
Compuesta con numerosas citas de las obras del compositor polaco, despertó cierto interés a pesar de las controvertidas opiniones de los críticos. Se repuso posteriormente con éxito en Varsovia en 1904 y en París en 1905.

En Chopin se hace un relato tremendamente inexacto de la vida del compositor, pero contiene buena parte de su música: nocturnos, mazurcas, el berceuse, una barcarola, la Fantasía sobre aires polacos opus 13, y un largo etcétera.

El primer acto se sitúa en Polonia, una noche de Navidad, con Chopin (tenor) enamorado de Stella (soprano), la primera mujer que despierta su pasión. Más tarde, en París (segundo acto), Elio (barítono), amigo de Chopin, cuenta a un grupo de escolares la gloria pasada de Polonia, lo que despierta tanto el espíritu de Chopin que corre a su casa y crea un nocturno. El compositor consigue seducir a la profesora, Flora (mezzosoprano). En el tercer acto, ambientado en Mallorca, Chopin y Stella (en lugar de George Sand) se reúnen acompañados de su hija Grazia (papel mudo), pero la pequeña muere tras haberse expuesto a una tormenta, con los lamentos de los padres y los mallorquines. De vuelta en París, (acto cuarto) Chopin, sabiendo que su fin está cerca, no desea morir solo. Stella llega oportunamente de Polonia y Chopin muere en sus brazos.

Orefice es un melodista fácil, pero su orquestación de la música para piano de Chopin es un tanto tosca.
El momento más elocuente de la partitura es el finale del acto en Mallorca.

Se puede encontrar una grabación de esta ópera en You Tube. un registro en vivo en Río de Janeiro, en septiembre de 1949, con sonido bastante aceptable, con Ferruccio Tagliavini y Pia Tassinari en los papeles principales.

Chopin, de Orefice, en You Tube

El libreto, en edición digital, con el texto en su original italiano y la traducción al español en paralelo, está disponible en:

Libreto de Chopin, de Orefice

Que lo disfrutéis.

ALL · **Registrado:** 30 May 2011 13:33 **Mensajes:** 33

Vamos con otro compositor poco conocido y otra de sus óperas que recientemente ha publicado Opera Discovery; MAREMMA

PASQUALE DI CAGNO.
Nació en Bari el 27 de enero de 1888. Niño prodigio, a los cuatro años ya tocaba la guitarra, y el piano a los seis. Posteriormente estudia violín, armonía y composición. En 1911 ganó un concurso por una canción con acompañamiento orquestal Amor'a mme. Se trasladó a Milán en 1912 para emprender una actividad como director de orquesta y frecuentar La Scala y conocer a Toscanini, con quien tuvo una intensa colaboración. Igualmente atrajo la atención de compositores como Mascagni y Puccini.

Su primera ópera, Frida, fue bien recibida en el Teatro Petruzzelli de Bari en 1924 con buen éxito de público y crítica, y en el Teatro di San Carlo de Nápoles en 1932. Toscanini quiso producirla en La Scala, pero por aquel entonces se vio obligado a abandonar Italia.

Le siguieron las óperas Passiflora, en un acto, sobre libreto de O. Nigro, y Ondina, en tres actos. Ésta última Di Cagno la consideraba su obra maestra, pero nunca llegó a representarla.

En 1933 compone Maremma, que es presentada a un concurso en La Scala, pero no obtuvo la consideración del jurado y su estreno fue póstumo: la RAI la transmitió por primera vez en 1966, y luego, en 1968, tuvo lugar la primera puesta en escena en Bari.

En años sucesivos, su producción así como su actividad de director de orquesta, disminuyeron gradualmente hasta que abandonó el mundo musical.
En el curso de la Segunda Guerra Mundial, el archivo de la casa editora Sanzogno, propietaria de las obras de di Cagno, fue destruida y se perdieron la mayor parte de sus composiciones.
Di Cagno murió en Milán el 27 de octubre de 1965.

Maremma en Opera Discovery Records

Y el libreto, en edición digital, en italiano y traducido al español en paralelo, se encuentra en libretosdeopera.es

Libreto de Maremma

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Georg Melchior Hoffmann (c. 1679-1715) He was born sometime around 1679 (or 1685 according to some sources) in Bärenstein (now part of Altenberg), Saxony, Germany. His first musical service was as a choirboy in Dresden, under the tutelage of Johann Christoph Schmidt. In 1702 he moved to Leipzig to study law. Simultaneously he joined Georg Philipp Telemann at the Collegium Musicum in Leipzig and acted as the organization's copyist. Hoffmann succeeded Telemann as director of the Collegium Musicum in 1705, a position that did not end until Hoffman's death ten years later. In this position he became an educator, and his students included Gottfried Heinrich Stölzel. He was noted for expanding the orchestra at the Collegium to more than 40 musicians. Other responsibilities included being the organist at the Neukirche, and director of the Leipzig civic opera, for which he composed several works. He is known to have journeyed to England sometime around the years 1709-1710. In 1713 he began to suffer from the malady which would eventually prove fatal. He accepted a position as the organist at the Liebfrauenkirche at Halle in the spring of 1714, but resigned July 12 of that year having never served in that capacity. He married Margaretha Elisabeth Philipp on 9 September 1714. He succumbed to illness, in otherwise prosperous circumstances, on 6 October 1715.

Wikipedia

Balacin or Die asiatische Banise, ópera (1712). Aria: Schöne Mädgen bringen Schwäger.

Chaumigrim or Die asiatische Banise II, ópera (1712). Aria: Wenn die Mütter erst erfahren.

Echo und Narzissus, ópera (1712). Aria: Ach, komm und eile.

Ismenie und Montaldo, ópera (1713). Aria: Verlass mich nicht, mein liebstes Leben.

Rhea Sylvia, ópera (1714). Aria: Ich will euch küssen, liebste Wangen.

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ALL · **Registrado:** 30 May 2011 13:33 **Mensajes:** 33

Italo Montemezzi (1875-1952)
Es un compositor conocido, pero su fama se cimenta en una sola de sus óperas: L'amore dei tre re, estrenada en 1913.
Antes había escrito Giovanni Gallurese, un melodrama histórico estrenado en 1905, y Héllèra, con libreto de Luigi Illica basado en Adolphe de Benjamin Constant.

Durante los años de guerra escribió La nave, con un libreto que es una adaptación de Tito Ricordi de una de las obras menos exitosas de Gabriele D'Annunzio.
Se estrenó en 1918 coincidiendo con el final de la guerra, y quizás las belicosas ideas expresadas en el texto hicieron que fuera poco aceptada en los años de posguerra.
Muchos críticos señalaron que el texto de D'Annunzio -verborreico y retórico e impregnado de sensualidad, sadismo e ideología imperialista simbolizada por el crecimiento de la potencia marítima de Venecia- no era material adecuado para ofrecer una secuencia de acontecimientos musicales ni para identificar la psicología de los personajes.
Musicalmente, hay trazas de la influencia de Richard Strauss. Con el frenético texto del poeta, y especialmente con el histérico y lascivo personaje central de Basiliola, que busca venganza a través de la seducción, Montemezzi tiene la oportunidad de crear un personaje que recuerda a Salomé y Electra. Igualmente pueden encontrarse ecos de Expresionismo en los frecuentes pasajes parlando para el coro y en la animada escritura vocal.

En 1931 escribió La notte di Zoraima, sobre una seductora vengadora, que es sólo una pálida sombra de Basiliola dentro de una trama obvia y un lenguaje musical retrospectivo.
Y, en 1943, compuso L'incantesimo, con libreto de Sem Benelli sobre un tema medieval.

Desde Giovanni Gallurese en adelante, el estilo de Montemezzi se orienta hacia la integración de una línea vocal típicamente italianizante en una textura orquestal hábil y densamente escrita, por lo que puede considerarse que continúa la tendencia, representada sobre todo por Catalani y Franchetti, hasta la absorción en la tradición italiana de ciertos elementos wagnerianos. El uso de referencias temáticas sencillas, consistentes principalmente en figuras rítmicas en ostinato, es característico de su estilo.

En cuanto a ejemplo musical, me referiré no a su ópera conocida, de la que hay varias grabaciones discográficas, sino a La Nave, que se puede obtener libremente en You Tube, en un registro completo efectuado en el Teatro Grattacielo de Nueva York el 31 de octubre de 2012.

Italo Montemezzi - La nave - Enlace en You Tube

Y para quien sea de su interés, el libreto, en edición digital, del original en italiano y traducción al español en paralelo, está disponible en:

libretosdeopera.es - Montemezzi - La Nave

Nota: también están disponibles los libretos de Giovanni Gallurese, L'amore dei tre re y La notte di Zoraima.

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Carlo Galante (*1959) He was born in Trento. He lives and works in Milan where he teaches composition at the Conservatorio Giuseppe Verdi. He writes works for the theatre and composes symphonic and chamber music performed in Italy and abroad in prestigious venues such as the Teatro alla Scala, the Fondazione Santa Cecilia in Rome, the Fondazione Teatro san Carlo in Naples, the RAI in Rome and Naples, the Orchestra dei Pomeriggi musicali in Milan. His compositions are performed and recorded by leading interpreters in the international panorama of contemporary classical music.

Corradino, ópera en dos actos (1991). Sei fedele, ho capito, lo so.

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ALL · **Registrado:** 30 May 2011 13:33 **Mensajes:** 33

En esta ocasión presentamos a una compositora francesa.

LOUISE BERTIN (1805-1877)
Único compositor que colaboró directamente con Victor Hugo en una ópera, y también el primer compositor francés en escribir una ópera basada en el Faust de Goethe.

Victor Hugo y Louise Bertin se hicieron amigos a finales de la década de 1820 y finalmente acordaron colaborar en una ópera. Cuando Hugo escribió la novela Notre-Dame de Paris, bosquejó un escenario de ópera sobre el mismo tema, que fue aceptado por la Opéra a finales de 1830 o principios de 1831. Conocida finalmente como La Esmeralda, la ópera sufrió una ruidosa recepción en 1836; el público estaba repleto de claqueurs, especialmente a favor y en contra del Journal des débats, el poderoso periódico dirigido por el padre de Bertin, Louis-François Bertin l'ainé. Armand, el hermano de Louise, formaba parte de la comisión gubernamental que supervisaba la administración de la Ópera.
En la séptima función se produjo una revuelta que impidió la continuación de la representación. No obstante, la ópera sobrevivió durante tres años en una reducción en un acto.
Bertin no compuso más óperas después de 1836, pero continuó escribiendo música y poesía.

En su corta carrera operística escribió cuatro óperas:
Guy Mannering (3 actos) 1825.
Le loup-garou (1 acto) 1827
Fausto ( ópera semiseria en 4 actos) 1831
La Esmeralda (en 4 actos) 1837

Bertin fue una de las primeras en intentar un estilo musical verdaderamente romántico a la altura de su temática, uniendo un lenguaje armónico alemán influenciado por Mozart y Weber.
En sus opéras-comiques, mostró la influencia de Rossini; en sus óperas serias, puede verse la influencia italiana en algunas de las grandes formas, pero éstas también las trató con una libertad guiada por la situación dramática.
Su música es más fuerte cuando expresa tristeza, angustia, rabia y lo sobrenatural.
Su originalidad reside en su placer por lo inesperado: su sentido aventurero de la armonía, los giros repentinos de su melodía. Sin embargo, nunca hay gratuidades, sino siempre motivaciones dramáticas o textuales.
Utiliza hábilmente la orquesta para crear el marco emocional, o para describir o comentar la acción.
Especialmente interesante es el amplio uso de motivos melódicos, armónicos y rítmicos recurrentes en La esmeralda.

Las cuatro óperas de Bertin constituyen un logro notable, y sólo podemos especular sobre cuál podría haber sido su contribución si no se hubiera retirado prematuramente.

Existe una grabación de La Esmeralda, publicada en 2008 con dirección de Lawrence Foster.
Se puede descargar gratuitamente en You Tube en el siguiente enlace:

Louise Bertin - La Esmeralda - You Tube

Y para quien le interese el libreto de Victor Hugo, con traducción al español en paralelo, está en:

libretosdeopera.es - La Esmeralda, de Louise Bertin

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Voldemar Rosenberg, better known by his stage name Wal-Berg (1910-1994) He was born in Istanbul. Rosenberg studied piano at the Berlin Conservatory and then attended the Paris Conservatory, where he studied harmony, composition, and conducting under Samuel Rousseau, Noel Gallon, Henri Rabaud, Philippe Gaubert, and Pierre Monteux. From 1932 to 1936, he orchestrated for Polydor Records recordings, and composed songs performed by Marlene Dietrich (Moi je m'ennuie, Assez, Embrasse-moi). In the 1930s he was involved with the recordings of stars of the era such as Jean Sablon, Josephine Baker, Charles Trenet, Leo Marjane, and Damia. He also wrote film music, e.g. for the film Katia (with Danielle Darrieux). During World War II, he was in Monte Carlo, where he conducted symphonic jazz concerts, whose programs included George Gershwin and Cole Porter alongside Maurice Ravel and Claude Debussy. He also worked with ORTF on a series of radio broadcasts, in which he conducted orchestras backing soloists such as Yehudi Menuhin and Andres Segovia. In the 1950s, he toured widely in Europe as a conductor with Victoria de Los Angeles and Segovia, and worked in France with Janine Micheau, Mathé Altéry, Roger Bourdin, Stéphane Grappelli, and at the Opéra de Lille with Mado Robin and Christian Ferras. He composed more than 300 pieces for symphony orchestra and scored about forty films.

Wikipedia

Casanova, opereta (1955). Mon Dieu, j'ai tout à coup une idée formidable.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 2904

Antonio Lotti (1667-1740) He was born in Venice, although his father Matteo was Kapellmeister at Hanover at the time.[1] Oral tradition says that in 1682, Lotti began studying with Lodovico Fuga and Giovanni Legrenzi, both of whom were employed at St Mark's Basilica, Venice's principal church, although there is no documentary evidence. Lotti made his career at St Mark's, first as an alto singer (from 1689), then as assistant to the second organist, then as second organist (from 1692), then (from 1704) as first organist, and finally (from 1736) as maestro di cappella, a position he held until his death. Because of the paucity of solid scholarship until recent decades, older reference books cite a good deal of misinformation regarding Lotti’s biography. Cicogna’s 1834 Delle inscrizioni Veneziane and Francesco Caffi’s 1854 Storia della Musica relied on oral tradition more than a century old to name works that Lotti supposedly composed for the Ospedale degl’ Incurabili. Later studies built upon that assertion to name Lotti as one of the supposed maestri of the Incurabili. The 2001 New Grove Dictionary of Music and Musicians went a step further to try to extrapolate when Lotti’s period of employment at the Incurabili would supposedly have been, building on a house of cards.

However, recent studies establish that there is no documentary evidence whatsoever of any such employment ever taking place. The most current and most comprehensive studies by Caroline Giron-Panel and Pier Gillio establish conclusively that Lotti was not formally employed by the Incurabili, and that there is no evidence of his having composed any music for that institution, even on informal terms. According to one nineteenth-century biographer, Lotti was a notable teacher, with Domenico Alberti, Benedetto Marcello, Giovanni Battista Pescetti, Baldassare Galuppi, Giuseppe Saratelli and Jan Dismas Zelenka among his pupils. He was married to the noted soprano Santa Stella. What is indeed well-documented is Lotti’s employment at various other Venetian institutions, including the Scuola dello Spirito Santo, one of the scuole piccole. The governing body of the scuola, the Provveditori di Comun, contracted Antonio Lotti in 1695 to provide music at the scuola for the annual feast of Pentecost and the two days after for total of at least eight years. More significantly, he redistributed the balance between singers and instrumentalists in a way that reflects a change of musical texture and style in the sacred music performed there.

In 1717 he was given leave to go to Dresden. There is one more venue for which Lotti is known to have composed sacred music, namely, the Dresden court of Friedrich Augustus I, Elector of Saxony where Lotti was in residence from 1717 to 1719. While in Venice, the king had engaged Lotti specifically to compose for the Italian opera troupe that he had assembled. But the Electorate seems to have gone to lengths to keep the visiting Italians away from the resident chapel musicians, particularly from Kapellmeister Johann Christoph Schmidt. “The king also authorized some appointments only under the condition “that this not disturb anything among the orchestra.” The electoral prince was even forced, when the Italians were already in Dresden, to declare outright in a letter to the Count [Christian Heinrich von Watzdorf, minister of domestic affairs] that he would take [the Italians] into his special protection and protect them against any ill will… “about which, the King has declared that His Majesty will afford them every possible protection, whatever it takes, that [Court Chapel master Johann Christoph Schmidt] should have no business with them.”

In Dresden he also composed operas, including Giove in Argo, Teofane and Li quattro elementi (all with librettos by Antonio Maria Lucchini). Other works written in Venice include Giustino; Trionfo dell'Innocenza; the first act of Tirsi, Achille Placato, Teuzzone, Ama più che non si crede, Il comando inteso e tradito, Sidonio, Isaccio tiranno, La forze de sangue, Il Tradimento traditore di sé stesso, L'Infedeltà punita, Poresenna, Irene Augusta, Polidoro, Foca superbo, Alessandro Severo, Il Vincitore Generossi and Odii del Sangue delusi. He returned to his job at San Marco in Venice in 1719 and remained there until his death in 1740.

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Il vincitor generoso, dramma per musica en tres actos (1709). Aria: Eterni Dei.

Polidoro, tragedia per musica en cinco actos (1715). Aria: Bella non piangere.

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Ascanio, ovvero Gli odi delusi dal sangue, dramma per musica en tres actos (1718). Aria: L’incauto che non teme.

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Teofane, dramma per musica en tres actos (1719). Aria: Del minacciar del vento.

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Aria: Lascia che nel suo viso.

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