1.
Composer
–
A composer is a person who creates or writes music, which can be vocal music, instrumental music or music which combines both instruments and voices. The core meaning of the term refers to individuals who have contributed to the tradition of Western classical music through creation of works expressed in written musical notation, many composers are also skilled performers, either as singers, instrumentalists, and/or conductors. Examples of composers who are well known for their ability as performers include J. S. Bach, Mozart. In many popular genres, such as rock and country. For a singer or instrumental performer, the process of deciding how to perform music that has previously composed and notated is termed interpretation. Different performers interpretations of the work of music can vary widely, in terms of the tempos that are chosen. Composers and songwriters who present their own music are interpreting, just as much as those who perform the music of others, although a musical composition often has a single author, this is not always the case. A piece of music can also be composed with words, images, or, in the 20th and 21st century, a culture eventually developed whereby faithfulness to the composers written intention came to be highly valued. This musical culture is almost certainly related to the esteem in which the leading classical composers are often held by performers. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In Classical music, the composer typically orchestrates her own compositions, in some cases, a pop songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The level of distinction between composers and other musicians varies, which issues such as copyright and the deference given to individual interpretations of a particular piece of music. In the development of European classical music, the function of composing music initially did not have greater importance than that of performing it. The preservation of individual compositions did not receive attention and musicians generally had no qualms about modifying compositions for performance. In as much as the role of the composer in western art music has seen continued solidification, for instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred. The term composer is often used to refer to composers of music, such as those found in classical, jazz or other forms of art. In popular and folk music, the composer is usually called a songwriter and this is distinct from a 19th-century conception of instrumental composition, where the work was represented solely by a musical score to be interpreted by performers
Composer
–
French composer
Louis-Nicolas Clérambault composing at the keyboard
2.
Opera
–
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
Opera
–
The performers from the Atlanta Opera sing the finale of
Lucia di Lammermoor. The
opera orchestra is visible in the lowered area in front of the stage.
Opera
–
The
Palais Garnier of the
Paris Opéra, one of the world's most famous
opera houses.
Opera
–
Claudio Monteverdi
Opera
–
George Frideric Handel, 1733
3.
Teresina Brambilla
–
Teresina Brambilla was an Italian soprano who sang in the major opera houses of Europe in a career spanning 25 years. She was particularly noted for her interpretations of the roles in operas by Amilcare Ponchielli whom she married in 1874. Brambilla was born in Cassano dAdda to a musical family and her five aunts were all opera singers, three of whom had prominent careers. According to some accounts, she was trained in singing by Marietta and Teresa and she made her debut as Adalgisa in Norma in 1863 with the Italian opera company in Odessa where both Giuseppina and Teresa had sung to great success. In Italy she performed primarily in the theatres of Milan, Ancona, Turin, on 5 December 1872 she sang the role of Lucia Mondella in the premiere of Amilcare Ponchiellis major revision of his early opera I promessi sposi. The performance inaugurated Milans Teatro Dal Verme and proved to be Ponchiellis first major success, Brambilla sang in the Rome premieres of Lohengrin and Poliuto and was also known for her interpretations of the Verdi heroines, Leonora and Aida. In the carnival season of 1875, she had sung the role in Aida to great success at the Teatro Carlo Felice in Genoa, conducted by Verdi himself. After Ponchiellis death in 1886, she continued to perform until 1889 when she retired from the stage and she later returned to Italy where she taught at the Pesaro Conservatory until 1911. Brambilla died in Vercelli at the age of 76 and she and Ponchielli had three children, two sons and a daughter. Their son Annibale was a critic and minor composer. It was performed at the Teatro Riccardi in Bergamo on 13 September 1875, the day the ashes of Gaetano Donizetti and Simone Mayr were transferred to the citys Basilica of Santa Maria Maggiore
Teresina Brambilla
–
Portrait of Brambilla by Ernesto Fontana
4.
Cremona
–
Cremona listen is a city and comune in northern Italy, situated in Lombardy, on the left bank of the Po River in the middle of the Pianura Padana. It is the capital of the province of Cremona and the seat of the local city, Cremona is first mentioned in history as a settlement of the Cenomani, a Gallic tribe that arrived in the Po valley around 400 BC. However, the name Cremona most likely back to earlier settlers and puzzled the ancients. In 218 BC the Romans established on that spot their first military outpost north of the Po river, Cremona and nearby Placentia, were founded in the same year, as bases for penetration into what became the Roman Province of Gallia Cisalpina. Cremona quickly grew into one of the largest towns in northern Italy, as it was on the road connecting Genoa to Aquileia. The famous poet Virgil, who went to school in Cremona, had to forfeit his ancestral farm, when the Lombards invaded much of Italy in the second half of the 6th century AD, Cremona remained a Byzantine stronghold as part of the Exarchate of Ravenna. The city expanded towards the north-west, with the creation of a great trenched camp outside the walls, in 603, it was conquered by the Lombard king Agilulf and again destroyed. Its territory was divided between the two duchies of Brescia and Bergamo, however, in 615 queen Theodelinda, a devout Roman Catholic intent on converting her people, had Cremona rebuilt and re-installed a bishop there. Control of the city fell increasingly to its bishop, who became a Holy Roman Empire vassal after Charlemagnes conquest of Italy, in this way, Cremona increased its power and its prosperity steadily and some of its bishops had important roles between the 10th and 11th centuries. Bishop Liutprand of Cremona was a member of the Imperial court under the Saxony dynasty and its economy was boosted by the creation of a river port out of the former Byzantine fortress. However, the two bishops Lambert and Ubaldo created discord with the citys people, Emperor Conrad II settled the quarrel by entering in Cremona in 1037 together with the young Pope Benedict IX. Under Henry IV, Cremona refused to pay the oppressive taxes requested by the Empire, according to a legend, the great gonfaloniere Giovanni Baldesio of Cremona faced the emperor himself in a duel. As Henry was knocked from his horse, the city was saved the annual payment of the 3 kg golden ball, which, for that year, was instead given to Berta, Giovannis girlfriend, as her dowry. The first historical news about a free Cremona is from 1093, as it entered into an alliance led by Mathilde of Canossa, together with Lodi, Milan. The conflict ended with the defeat of Henry IV and his famous humiliation of Canossa to Pope Urban II in 1098, Cremona gained the Insula Fulcheria, the area around the nearby city of Crema, as its territory. After that time, the new commune warred against nearby cities to enlarge its territory, in 1107 Cremona conquered Tortona, but four years later its army was defeated near Bressanoro. As in many northern Italian cities, the people were divided into two opposing parties, the Guelphs, who were stronger in the new city, and the Ghibellines, the parties were so irreconcilable that the former built a second Communal Palace, the still existing Palazzo Cittanova. When Frederick Barbarossa descended into Italy to assert his authority, Cremona sided with him in order to gain his support against Crema, the subsequent victory and its loyal imperial stance earned Cremona the right to create a mint for its own coinage in 1154
Cremona
–
Panorama of Cremona View of Cremona
Cremona
–
City coat of arms of Cremona on the town hall
Cremona
–
The Cathedral and the Baptistery of Cremona
Cremona
–
Statue of
Stradivari in Stradivari Square
5.
Kingdom of Lombardy-Venetia
–
The Kingdom of Lombardy–Venetia, commonly called the Lombardo-Venetian Kingdom, was a constituent land of the Austrian Empire. It was finally dissolved in 1866 when its territory fell to the Kingdom of Italy. The Austrian emperor was represented day-to-day by viceroys appointed by the Imperial Court in Vienna and resident in Milan, the Kingdom of Lombardy–Venetia was first ruled by Emperor Francis I from 1815 to his death in 1835. His son Ferdinand I ruled from 1835 to 1848, in Milan on 6 September 1838 he became the last king to be crowned with the Iron Crown of Lombardy. The crown was subsequently brought to Vienna after the loss of Lombardy in 1859, though the local administration was Italian in language and staff, the Austrian authorities had to cope with the Italian unification movement. After a popular revolution on 22 March 1848, known as the Five Days of Milan, the Austrians fled from Milan, the next day, Venice also rose against the Austrian rule, forming the Governo Provvisorio di Venezia. The Austrian forces under Field Marshal Joseph Radetzky, after defeating the Sardinian troops at the Battle of Custoza, entered Milan and Venice, Emperor Franz Joseph I of Austria ruled over the Kingdom for the rest of its existence. The office of Viceroy was abolished and replaced by a Governor-General, administratively the Kingdom of Lombardy–Venetia comprised two independent governments in its two parts, which officially were declared separate crown lands in 1851. Each part was subdivided in several provinces, roughly corresponding with the départements of the Napoleonic Kingdom of Italy. Lombardy included the provinces of Milan, Como, Bergamo, Brescia, Pavia, Cremona, Mantova, Lodi-Crema, Venetia included the provinces of Venice, Verona, Padova, Vicenza, Treviso, Rovigo, Belluno, and Udine. According to the Ethnographic map of Karl von Czoernig-Czernhausen, issued by the k. u. k
Kingdom of Lombardy-Venetia
–
An Austrian
herald 's
tabard (Wappenrock) with the
coat of arms of Lombardy-Venetia (1834) - Weltliche Schatzkammer in
Vienna
Kingdom of Lombardy-Venetia
–
Flag
Kingdom of Lombardy-Venetia
–
Political map of Lombardy and Venetia
Kingdom of Lombardy-Venetia
–
Etnographic map of the Austrian Empire (1855) by Karl Freiherrn von Czoernig
6.
Conservatoire
–
A music school is an educational institution specialized in the study, training and research of music. Such an institution can also be known as a school of music, music academy, music faculty, college of music, music department, Music instruction can be provided within the compulsory general education system, or within specialized childrens music schools such as the Purcell School. Elementary-school children can access music instruction also in after-school institutions such as music academies or music schools, in Venezuela El Sistema of youth orchestras provides free after-school instrumental instruction through music schools called núcleos. In other parts of Europe, the equivalents of higher school of music or university of music may be used, although music and music education may have been in existence for thousands of years, the earliest history is speculative. Even when history starts to be recorded, music is mentioned more frequently than music education. Within the biblical tradition, Hebrew litany was accompanied with music, but the Torah or Pentateuch was silent on the practice and instruction of music in the early life of Israel. ”This has led some scholars to believe that the prophet Samuel was the patriarch of a school which taught not only prophets and holy men. The schola cantorum in Rome may be the first recorded school in history. The school consisted of monks, secular clergy, and boys, wells Cathedral School, England founded as a Cathedral School in 909 a. d. to educate choristers, continues today to educate choristers and teaches instrumentalists. However the school appears to have been refounded at least once, Saint Martial school, 10th to 12th century, was an important school of composition at the Abbey of Saint Martial, Limoges. It is known for the composition of tropes, sequences, in this respect, it was an important precursor to the Notre Dame School. It was the Notre Dame school which was the earliest repertory of polyphonic music to gain international prestige, the school was a group of composers and singers working under the patronage of the great Cathedral of Notre-Dame in Paris. First records on Escolania de Montserrat, boys choir linked to a school, back to 1307. The Accademia Nazionale di Santa Cecilia is one of the oldest musical institutions in the world, the term conservatory has its origin in 16th-century Renaissance Italy, where orphanages were attached to hospitals. The orphans were given an education there, and the term gradually applied to music schools. These hospitals-conservatories were among the first secular institutions equipped for training in music. By the 18th century, Italian conservatories were already playing a role in the training of artists. In the city of Naples, a conservatorio was strictly a secular place for teaching and learning specializing in music education. The second half of the 19th century saw the network expanding to the Americas, Rio de Janeiro, Boston, Baltimore and Chicago, Havana, and Buenos Aires
Conservatoire
–
Graduates of the
Rimsky-Korsakov Saint Petersburg Conservatory include
Peter Ilyich Tchaikovsky,
Sergey Prokofiev,
Dmitri Shostakovich, and
George Balanchine.
Conservatoire
–
Based around the Notre Dame Cathedral, the
Notre Dame School was an important centre of polyphonic music.
Conservatoire
–
Musikgymnasium Schloss Belvedere is a specialist music school in Germany
Conservatoire
–
300 children attend the
Royal College of Music 's Junior Department
7.
Symphony
–
A symphony is an extended musical composition in Western classical music, most often written by composers for orchestra. Symphonies are scored for string, brass, woodwind, and percussion instruments which altogether number about 30–100 musicians, Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the music for their instrument. A small number of symphonies also contain vocal parts, the word symphony is derived from the Greek word συμφωνία, meaning agreement or concord of sound, concert of vocal or instrumental music, from σύμφωνος, harmonious. The word referred to a variety of different things, before ultimately settling on its current meaning designating a musical form. In late Greek and medieval theory, the word was used for consonance, as opposed to διαφωνία, in the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously. Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, in late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. In German, Symphonie was a term for spinets and virginals from the late 16th century to the 18th century. 16, published in 1607, Lodovico Grossi da Viadanas Sinfonie musicali,18, published in 1610, and Heinrich Schützs Symphoniae sacrae, op. 6, and Symphoniarum sacrarum secunda pars, op,10, published in 1629 and 1647, respectively. Except for Viadanas collection, which contained purely instrumental and secular music, the opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements, fast, slow, fast and dance-like. It is this form that is considered as the direct forerunner of the orchestral symphony. The terms overture, symphony and sinfonia were widely regarded as interchangeable for much of the 18th century, when composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. A performance of the piece might be done with a basso continuo group as small as a single cello, during the 18th century, the symphony was cultivated with extraordinary intensity. It played a role in areas of public life, including church services. Since the normal size of the orchestra at the time was quite small, laRue, Bonds, Walsh, and Wilson trace the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts, first violin, second violin, viola, occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible, the first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together
Symphony
–
Symphonies are extended compositions written for
orchestra. Pictured here is a performance of the 8th Symphony of
Gustav Mahler in the Kölner Philharmonie. The orchestra is the Wuppertaler Sinfonieorchester, conducted by Heinz-Walter Florin.
8.
Alessandro Manzoni
–
Alessandro Francesco Tommaso Manzoni was an Italian poet and novelist. He is famous for the novel The Betrothed, generally ranked among the masterpieces of world literature, the novel is also a symbol of the Italian Risorgimento, both for its patriotic message and because it was a fundamental milestone in the development of the modern, unified Italian language. Manzoni was born in Milan, Italy, on 7 March 1785, pietro, his father, aged about fifty, belonged to an old family of Lecco, originally feudal lords of Barzio, in the Valsassina. The poets maternal grandfather, Cesare Beccaria, was an author and philosopher. The young Alessandro spent his first two years of life in cascina Costa in Galbiate and he was wet-nursed by Caterina Panzeri, in 1792 his parents broke their marriage and his mother began a relationship with the highbrow Carlo Imbonati, moving to England and later to Paris. For this reason, their son was brought up in religious institutes. Manzoni was a developer, and at the various colleges he attended he was considered a dunce. At fifteen, however, he developed a passion for poetry, there too he imbibed the anti-Catholic creed of Voltairianism. In 1808, Manzoni married Henriette Blondel, daughter of a Genevese banker and she came from a Calvinist family, but in 1810 she became a Roman Catholic. Her conversion profoundly influenced her husband and that same year he experienced a religious crisis which led him from Jansenism to an austere form of Catholicism. Manzonis marriage proved a most happy one, and he led for many years a retired domestic life, in 1818 he had to sell his paternal inheritance, as his money had been lost to a dishonest agent. His characteristic generosity was shown at this time in his dealings with his peasants and he not only cancelled on the spot the record of all sums owed to him, but bade them keep for themselves the whole of the coming maize harvest. In 1819, Manzoni published his first tragedy, Il Conte di Carmagnola and it was severely criticized in a Quarterly Review article to which Goethe replied in its defence, one genius, as Count de Gubernatis remarks, having divined the other. The death of Napoleon in 1821 inspired Manzonis powerful stanzas Il Cinque maggio, round the episode of the Innominato, historically identified with Bernardino Visconti, the first manuscript of the novel The Betrothed began to grow into shape, and was completed in September 1823. The work was published, after being deeply reshaped by the author and revised by friends in 1825–1827, at the rate of a volume a year and it is generally agreed to be his greatest work, and the paradigm of modern Italian language. In 1822, Manzoni published his tragedy, Adelchi, turning on the overthrow by Charlemagne of the Lombard domination in Italy. With these works Manzonis literary career was practically closed and he also wrote a small treatise on the Italian language. The death of Manzonis wife in 1833 was preceded and followed by those of several of his children, and of his mother
Alessandro Manzoni
–
Portrait of Alessandro Manzoni, by
Francesco Hayez (
Pinacoteca di Brera,
Milan, 1841)
Alessandro Manzoni
–
The Betrothed:
1842 's definitive edition
Alessandro Manzoni
–
Manzoni's grave at the
Cimitero Monumentale in Milan, Italy, in 2015
Alessandro Manzoni
–
Manzoni's funeral procession in Milan
9.
The Betrothed (Manzoni novel)
–
The Betrothed is an Italian historical novel by Alessandro Manzoni, first published in 1827, in three volumes. It has been called the most famous and widely read novel in the Italian language. Set in northern Italy in 1628, during the years of direct Spanish rule, it is seen as a veiled attack on the Austrian Empire. It is also noted for the description of the plague that struck Milan around 1630. I promessi sposi was made into an opera of the name by Amilcare Ponchielli in 1856. There have been many versions of I promessi sposi, including I promessi sposi, The Betrothed The Betrothed. In May 2015, at a general audience at St. Peters Square. Manzoni hatched the basis for his novel in 1821 when he read a 1627 Italian edict that specified penalties for any priest who refused to perform a marriage when requested to do so, more material for his story came from Giuseppe Ripamontis Milanese Chronicles. The first version, Fermo e Lucia, was written between April 1821 and September 1823 and he then heavily revised it, finishing in August 1825, it was published on 15 June 1827, after two years of corrections and proof-checking. Manzonis chosen title, Gli sposi promessi, was changed for the sake of euphony shortly before its final commitment to printing, in the early 19th century, there was still some controversy as to what form the standard literary language of Italy should take. Manzoni was firmly in favour of the dialect of Florence and, after washing his vocabulary on the banks of the Arno, Renzo and Lucia, a couple in an unnamed Lombard village near Lake Como, are planning to wed on 8 November 1628. The parish priest, Don Abbondio, is walking home on the eve of the wedding when he is accosted by two bravoes who warn him not to perform the marriage, because the local baron has forbidden it. When he presents himself for the ceremony, Renzo is amazed to hear that the marriage is to be postponed. An argument ensues and Renzo succeeds in extracting from the priest the name of Don Rodrigo and it turns out that Don Rodrigo has his eye on Lucia and that he had a bet about her with his cousin Count Attilio. Lucias mother, Agnese, advises Renzo to ask the advice of Dr. Azzeccagarbugli, Dr. Lucia sends a message to Fra Cristoforo, a respected Capuchin friar at the monastery of Pescarenico, asking him to come as soon as he can. When Don Rodrigo is taken aside by the friar, he explodes with anger at his presumption and sends him away, meanwhile, Lorenzo comes up with a plan. In those days, it was possible for two people to marry by declaring themselves married before a priest and in the presence of two amenable witnesses, Renzo runs to his friend Tonio and offers him 25 lire if he agrees to help. When Fra Cristoforo returns with the bad news, they decide to put their plan into action, the next morning, Lucia and Agnese are visited by beggars, Don Rodrigos men in disguise
The Betrothed (Manzoni novel)
–
Title page of the edition of 1842
The Betrothed (Manzoni novel)
–
A view of the
Lake Como, chapter 1, engraving by
Francesco Gonin (1808-1889).
The Betrothed (Manzoni novel)
–
Fra Cristoforo and Don Rodrigo
The Betrothed (Manzoni novel)
–
The nun of
Monza
10.
Piacenza
–
Piacenza listen is a city and comune in the Emilia-Romagna region of northern Italy. It is the capital of the province of Piacenza, modern forms of the name descend from Latin Placentia. The etymology is long-standing, tracing an origin from the Latin verb placēre, in French, and occasionally in English, it is called Plaisance. The name means a pleasant abode, or as James Boswell reported some of the etymologists of his time to have translated it and this was a name of good omen. Piacenza is located at a crossroads at the intersection of Route E35/A1 between Bologna and Milan, and Route E70/A21 between Brescia and Tortona. Piacenza is also at the confluence of the Trebbia, draining the northern Apennine Mountains, Piacenza also hosts two universities, Università Cattolica del Sacro Cuore and Polytechnic University of Milan. Before then, says Polybius, These plains were anciently inhabited by Etruscans before the Gauls took the entire Po Valley from them, Piacenza and Cremona were founded as Roman military colonies in May 218 BC. The Romans had planned to them after the successful conclusion of the latest war with the Gauls ending in 219 BC. In the spring of 218 BC, after declaring war on Carthage, the reaction of the regions Gauls was swift, they drove the colonists off the lands. Taking refuge in Mutina, the latter sent for military assistance, a small force under Lucius Manlius was prevented from reaching the area. The Senate then sent two legions under Gaius Atelius, collecting Manlius and the colonists, they descended on Piacenza and Cremona and successfully placed castra there of 480 square metres to support the building of the city. Piacenza must have been walled immediately, as the walls were in place when the Battle of the Trebia was fought around the city in December. There is no evidence either textual or archaeological of a settlement at that exact location, however. Piacenza was the 53rd colony to be placed by Rome since its foundation and it was the first among the Gauls of the Po valley. It had to be supplied by boat after the Battle of Trebbia, in 209 BC, Hasdrubal Barca crossed the Alps and laid siege to the city, but he was unable to take it and withdrew. In 200 BC, the Gauls sacked and burned it, selling the population into slavery, subsequently, the victorious Romans restored the city and managed to recover 2000 citizens. In 198 BC, a force of Gauls and Ligurians plundered the whole region. As the people had never recovered from being sold into slavery, in 190 BC they complained to Senate of underpopulation, the construction of the Via Aemilia in the 180s made the city easily accessible from the Adriatic ports, which improved trade and the prospects for timely defense
Piacenza
–
Francesco Mochi 's 1615 equestrian statue of
Ranuccio II Farnese in the city’s main square, Piazza dei cavalli.
Piacenza
–
Two gold Doppie (1626) depicting
Odoardo Farnese (obv) and Placentia floret ("Piacenza flourishes")(rev).
Piacenza
–
The French Pass the River Po at Piacenza, by Giuseppe Pietro Bagetti, 1803.
Piacenza
–
Piacenza railway bridge over Po river in a 19th-century image.
11.
Euphonium
–
The euphonium is a large, conical-bore, baritone-voiced brass instrument that derives its name from the Ancient Greek word εὔφωνος euphōnos, meaning well-sounding or sweet-voiced. The euphonium is an instrument, nearly all current models are piston valved. The euphonium is an instrument known for its distinctive tone color. A person who plays the euphonium is sometimes called a euphoniumist, euphophonist, or a euphonist, while British players often colloquially refer to themselves as euphists, similarly, the instrument itself is often referred to as eupho or euph. The euphonium is part of the family of brass instruments and it is sometimes confused with the baritone horn. The two instruments are easily interchangeable to the player, with modification of breath and embouchure. The cylindrical baritone offers a brighter sound and the conical euphonium offers a mellower sound, several late 19th century music catalogs sold a euphonium-like instrument called the B♭ bass. In these catalog drawings, the B♭ Bass had thicker tubing than the baritone, along the same lines, drum and bugle corps introduced the Bass-baritone, and distinguished it from the baritone. The thicker tubing of the three-valve B♭ bass allowed for production of strong false-tones, ferdinand Sommers original name for the instrument was the euphonion. It is sometimes called the tenor tuba in B♭, although this can refer to other varieties of tuba. Names in other languages, as included in scores, can be ambiguous as well and they include French basse, saxhorn basse, and tuba basse, German Baryton, Tenorbass, and Tenorbasshorn, Italian baritono, bombardino, eufonio, and flicorno basso. The most common German name, Baryton, may also have caused the American use of the term baritone for the instrument with the influx of German musicians to the United States in the nineteenth century. As a baritone-voiced brass instrument, the euphonium traces its ancestry to the ophicleide, the search for a satisfactory foundational wind instrument that could support masses of sound above it took some time. With the invention of the valve system c. 1818, the construction of instruments with an even sound. While Saxs family of saxhorns were invented at about the same time, the euphonium, like the tenor trombone, is pitched in concert B♭. For a valved brass instrument like the euphonium, this means that when no valves are in use the instrument will produce partials of the B♭ harmonic series. It is generally orchestrated as an instrument like the trombone
Euphonium
–
Euphonium
Euphonium
–
The
serpent, the oldest ancestor of all low brass instruments
Euphonium
–
A euphonium (L) and tuba (R), the two lowest conical-bore instruments
Euphonium
–
King marching euphonium
12.
Italian unification
–
The process began in 1815 with the Congress of Vienna and was completed in 1871 when Rome became the capital of the Kingdom of Italy. The memory of the Risorgimento is central to both Italian politics and Italian historiography, for short period is one of the most contested. Italian nationalism was based among intellectuals and political activists, often operating from exile, after the fall of the Western Roman Empire, the Roman province of Italy remained united under the Ostrogothic Kingdom and later disputed between the Kingdom of the Lombards and the Byzantine Empire. Following conquest by the Frankish Empire, the title of King of Italy merged with the office of Holy Roman Emperor. However, the emperor was a foreigner who had little concern for the governance of Italy as a state, as a result. This situation persisted through the Renaissance but began to deteriorate with the rise of modern nation-states in the modern period. Italy, including the Papal States, then became the site of proxy wars between the powers, notably the Holy Roman Empire, Spain and France. Harbingers of national unity appeared in the treaty of the Italic League, in 1454, leading Renaissance Italian writers Dante Alighieri, Petrarch, Boccaccio, Niccolò Machiavelli and Francesco Guicciardini expressed opposition to foreign domination. Petrarch stated that the ancient valour in Italian hearts is not yet dead in Italia Mia, Niccolò Machiavelli later quoted four verses from Italia Mia in The Prince, which looked forward to a political leader who would unite Italy to free her from the barbarians. I am an Italian, he explained, the French Republic spread republican principles, and the institutions of republican governments promoted citizenship over the rule of the Bourbons and Habsburgs and other dynasties. The reaction against any outside control challenged Napoleons choice of rulers, as Napoleons reign began to fail, the rulers he had installed tried to keep their thrones further feeding nationalistic sentiments. After Napoleon fell, the Congress of Vienna restored the pre-Napoleonic patchwork of independent governments, vincenzo Gioberti, a Piedmontese priest, had suggested a confederation of Italian states under leadership of the Pope in his 1842 book, Of the Moral and Civil Primacy of the Italians. Pope Pius IX at first appeared interested but he turned reactionary, Giuseppe Mazzini and Carlo Cattaneo wanted the unification of Italy under a federal republic. That proved too extreme for most nationalists, the middle position was proposed by Cesare Balbo as a confederation of separate Italian states led by Piedmont. One of the most influential revolutionary groups was the Carbonari, a political discussion group formed in Southern Italy early in the 19th century. After 1815, Freemasonry in Italy was repressed and discredited due to its French connections, a void was left that the Carbonari filled with a movement that closely resembled Freemasonry but with a commitment to Italian nationalism and no association with Napoleon and his government. The response came from middle class professionals and business men and some intellectuals, the Carbonari disowned Napoleon but nevertheless were inspired by the principles of the French Revolution regarding liberty, equality and fraternity. They developed their own rituals, and were strongly anticlerical, the Carbonari movement spread across Italy
Italian unification
–
Five Days of Milan, 18–22 March 1848
Italian unification
–
Dante Alighieri
Italian unification
–
Niccolò Machiavelli
Italian unification
–
Guglielmo Pepe
13.
La Scala
–
La Scala is an opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was known as the Nuovo Regio Ducale Teatro alla Scala. The premiere performance was Antonio Salieris Europa riconosciuta, most of Italys greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala during the past 200 years. The theatre is regarded as one of the opera and ballet theatres in the world and is home to the La Scala Theatre Chorus, La Scala Theatre Ballet. The theatre also has a school, known as the La Scala Theatre Academy. La Scalas season traditionally opens on 7 December, Saint Ambroses Day, all performances must end before midnight, and long operas start earlier in the evening when necessary. La Scala also hosts the Accademia dArti e Mestieri dello Spettacolo and its goal is to train a new generation of young musicians, technical staff, and dancers. A fire destroyed the theatre, the Teatro Regio Ducale, on 25 February 1776. The neoclassical architect Giuseppe Piermarini produced a design but it was rejected by Count Firmian. A second plan was accepted in 1776 by Empress Maria Theresa, the new theatre was built on the former location of the church of Santa Maria alla Scala, from which the theatre gets its name. The church was deconsecrated and demolished, and over a period of two years the theatre was completed by Pietro Marliani, Pietro Nosetti and Antonio and Giuseppe Fe. The theatre had a total of 3,000 or so seats organized into 678 pit-stalls and its stage is one of the largest in Italy. Building expenses were covered by the sale of palchi, which were decorated by their owners. La Scala soon became the preeminent meeting place for noble and wealthy Milanese people, in the tradition of the times, the platea had no chairs and spectators watched the shows standing up. The orchestra was in sight, as the golfo mistico had not yet been built. Above the boxes, La Scala has a gallery—called the loggione—where the less wealthy can watch the performances, the gallery is typically crowded with the most critical opera aficionados, known as the loggionisti, who can be ecstatic or merciless towards singers perceived successes or failures. As with most of the theatres at that time, La Scala was also a casino, conditions in the auditorium, too, could be frustrating for the opera lover, as Mary Shelley discovered in September 1840, At the Opera they were giving Otto Nicolais Templario. La Scala was originally illuminated with 84 oil lamps mounted on the palcoscenico, to prevent the risks of fire, several rooms were filled with hundreds of water buckets
La Scala
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Exterior of La Scala in 1976
La Scala
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The Teatro alla Scala in Milan, by night
La Scala
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A nineteenth-century depiction of the Teatro alla Scala
La Scala
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Interior of the opera house in 1900
14.
I Lituani
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It premiered at La Scala in Milan on 7 March 1874. Casa Ricordi commissioned Ponchielli to write the opera, and the idea to use Konrad Wallenrod came from Salvatore Farina, the opera was extremely well received when it opened, and a second, final version with additional material was performed again a year later also to good reviews. After a three-night run in 1903 at La Scala, where the casting was particularly poorly reviewed, since then, it has been revived in Chicago, Toronto, Cremona, Vilnius and Trakai. The dates in the table headings are the nights of La Scala performances. Aldona, his wife who has entered a convent, searches for her love Walter, from the battlements of a castle in Lithuania, Albano, an aged bard, moans that his country is being destroyed by the Teutons. Aldona, a Lithuanian princess, wonders about her brother, Arnoldo, and Walter, her husband, Arnoldo and Walter return and announce a heinous betrayal by Vitoldo, one of their leaders, which has led to the defeat of the Lithuanian army. Walter tells his wife about his plan to defeat the Teutonic Knights, ten years later, in the cathedral square of Marienburg, the Teutonic Knights celebrate the new Grand Master of the Teutonic Order, Corrado Wallenrod, who is actually Walter. Vitoldo is furious, because he believes he should be Grand Master, ten Lithuanian prisoners in chains are brought to be sacrificed in Corrados honour at the celebration, Arnoldo is one of them. Corrado unexpectedly frees them, and afterwards Arnoldo realizes that Corrado is actually Walter, Arnoldo runs into his sister, Aldona, who has come to Marienburg after entering a convent, hoping to find Walter. Albano, Arnoldo, and Aldona set out to find Walter in the castle, in a large hall of the castle where the celebration is being held, Corrado invites everyone to dance and sing. Arnoldo and Aldona, disguised as bards, sing about the sad fate of Lithuania, the Teutonic Knights object, and Corrado hurls himself towards Arnoldo, while Aldona tries to separate them. Corrado orders the knights to sheath their swords, and Albano tries to convince Corrado not to give his identity away. Vitoldo recognizes Aldona, but Corrado orders the judgement against Aldona, Aldona comes out of the ruins of a cloister, where a battle between the Lithuanians and Teutonic Knights is taking place nearby. She meets Walter, and hopes for a future of love. Later, back in the castle, Albano tells Walter that a court has sentenced Walter to death. Rather than falling into hands, Walter drinks poison and exults in the victory of the Lithuanians. Aldona arrives, and Walter dies in her arms, the Willi, divine spirits of Lithuania, arrive to welcome the glorious warriors soul. Balkan Records released a 14 June 1981 recording of a performance in Lithuanian with the Lithuanian Opera Company of Chicago Orchestra
I Lituani
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Poster from the opera's 19th century production
I Lituani
–
Composer Amilcare Ponchielli
I Lituani
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Ponchielli's signature on the score of I Lituani
15.
Saint Petersburg
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Saint Petersburg is Russias second-largest city after Moscow, with five million inhabitants in 2012, and an important Russian port on the Baltic Sea. It is politically incorporated as a federal subject, situated on the Neva River, at the head of the Gulf of Finland on the Baltic Sea, it was founded by Tsar Peter the Great on May 271703. In 1914, the name was changed from Saint Petersburg to Petrograd, in 1924 to Leningrad, between 1713 and 1728 and 1732–1918, Saint Petersburg was the capital of imperial Russia. In 1918, the government bodies moved to Moscow. Saint Petersburg is one of the cities of Russia, as well as its cultural capital. The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site, Saint Petersburg is home to The Hermitage, one of the largest art museums in the world. A large number of consulates, international corporations, banks. Swedish colonists built Nyenskans, a fortress, at the mouth of the Neva River in 1611, in a then called Ingermanland. A small town called Nyen grew up around it, Peter the Great was interested in seafaring and maritime affairs, and he intended to have Russia gain a seaport in order to be able to trade with other maritime nations. He needed a better seaport than Arkhangelsk, which was on the White Sea to the north, on May 1703121703, during the Great Northern War, Peter the Great captured Nyenskans, and soon replaced the fortress. On May 271703, closer to the estuary 5 km inland from the gulf), on Zayachy Island, he laid down the Peter and Paul Fortress, which became the first brick and stone building of the new city. The city was built by conscripted peasants from all over Russia, tens of thousands of serfs died building the city. Later, the city became the centre of the Saint Petersburg Governorate, Peter moved the capital from Moscow to Saint Petersburg in 1712,9 years before the Treaty of Nystad of 1721 ended the war, he referred to Saint Petersburg as the capital as early as 1704. During its first few years, the city developed around Trinity Square on the bank of the Neva, near the Peter. However, Saint Petersburg soon started to be built out according to a plan, by 1716 the Swiss Italian Domenico Trezzini had elaborated a project whereby the city centre would be located on Vasilyevsky Island and shaped by a rectangular grid of canals. The project was not completed, but is evident in the layout of the streets, in 1716, Peter the Great appointed French Jean-Baptiste Alexandre Le Blond as the chief architect of Saint Petersburg. In 1724 the Academy of Sciences, University and Academic Gymnasium were established in Saint Petersburg by Peter the Great, in 1725, Peter died at the age of fifty-two. His endeavours to modernize Russia had met opposition from the Russian nobility—resulting in several attempts on his life
Saint Petersburg
–
Top left to bottom right:
Peter and Paul Fortress on
Zayachy Island,
Smolny Cathedral,
Moyka river with the
General Staff Building,
Trinity Cathedral,
Bronze Horseman on
Senate Square, and the
Winter Palace.
Saint Petersburg
–
The
Bronze Horseman, monument to Peter the Great
Saint Petersburg
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Palace Square backed by the General Staff arch and building, as the main square of the Russian Empire it was the setting of many events of historic significance
Saint Petersburg
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Map of Saint Petersburg, 1903
16.
La Gioconda (opera)
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La Gioconda is an opera in four acts by Amilcare Ponchielli set to an Italian libretto by Arrigo Boito, based on Angelo, Tyrant of Padua, a play in prose by Victor Hugo, dating from 1835. First performed in 1876, La Gioconda was a success for Ponchielli. It is also an example of the Italian genre of Grande opera. Ponchielli revised the work several times, the version that is played today was first given in 1880, there are several complete recordings of the opera, and it is regularly performed, especially in Italy. It is one of only a few operas that features a role for each of the six major voice types. La Gioconda was first performed at the Teatro alla Scala, Milan and it was especially successful in its third and final version first seen at the same theatre on 28 March 1880. The opera had its American premiere at the Metropolitan Opera on 20 December 1883, the operas title translates as The Happy Woman, but is usually given in English as The Ballad Singer. However, as this fails to convey the irony inherent in the original, each act of La Gioconda has a title. The villain Barnaba tries to seduce Gioconda, but she prefers death, when his amorous advances are firmly rejected, he exacts his revenge by denouncing the old lady as a witch whose evil powers influenced the outcome of the gondola race. It is only the intervention of a sea captain that keeps the angry mob at bay. Calm is restored at the approach of Alvise Badoero, a member of the Venetian Inquisition, Laura places La Cieca under her personal protection, and in gratitude the old woman presents her with her most treasured possession, a rosary. The sharp-eyed Barnaba notices furtive behaviour between Laura and the sea captain indicating a secret relationship, recalling that Laura was engaged to the now banished nobleman Enzo Grimaldo before her forced marriage to Alvise, Barnaba realises that the sea captain is Enzo in disguise. Barnaba confronts Enzo, who admits his purpose in returning to Venice is to take Laura, Barnaba knows that Gioconda is also infatuated with Enzo and he sees an opportunity to improve his chances with her by assisting Enzo with his plan of elopement. When Enzo has gone, Barnaba dictates a letter to Alvise revealing his wifes infidelity and he is unaware that he has been overheard by Gioconda. The deck of Enzos ship Enzo waits for Barnaba to row Laura out from the city to his vessel and their joyful reunion is overshadowed by Lauras fears as she does not trust Barnaba. Gradually Enzo is able to reassure her, and he leaves her on deck while he goes to prepare for their departure, La Gioconda has been following Laura with the intention of exacting revenge from her rival. Alvise and his men are also in hot pursuit. She hurries Laura into her boat so that she can evade her pursuers, Enzo returns to the deck to find that Laura has fled leaving Gioconda triumphant
La Gioconda (opera)
–
Operas by
Amilcare Ponchielli
La Gioconda (opera)
–
Cover of the original 1876 libretto
17.
Arrigo Boito
–
Along with Emilio Praga, and his own brother Camillo Boito he is regarded as one of the prominent representatives of the Scapigliatura artistic movement. His older brother, Camillo Boito, was an Italian architect and engineer, in 1866 he fought under Giuseppe Garibaldi in the Seven Weeks War in which the Kingdom of Italy and Prussia fought against Austria, after which Venice was ceded to Italy. Between 1887 and 1894, he had an affair with celebrated actress Eleonora Duse and their relationship was carried out in a highly clandestine manner, presumably because of Boitos many aristocratic friends and acquaintances. The two remained on good terms until his death, towards the end of his musical career, Boito succeeded Giovanni Bottesini as director of the Parma Conservatory after the latters death in 1889 and held the post until 1897. He received the degree of doctor of music from the University of Cambridge in 1893, and when he died in Milan. A memorial concert was given in his honor at La Scala in 1948, the orchestra was conducted by Arturo Toscanini. Recorded in very primitive sound, the concert has been issued on CD. Boito wrote very little music, but completed the opera, Ero e Leandro, and left incomplete a further opera, Nerone, which he had been working at, on and off, between 1877 and 1915. Excluding its last act, for which Boito left only a few sketches, Nerone was finished after his death by Arturo Toscanini and Vincenzo Tommasini and he also left a Symphony in A minor in manuscript. Mefistofele His only finished opera, Mefistofele, based on Goethes Faust, was given its first performance on 5 March 1868, at La Scala, Milan. The premiere, which he conducted himself, was received, provoking riots and duels over its supposed Wagnerism. Boitos revised and drastically cut version also changed Faust from a baritone to a tenor, Mefistofele is the only work of his performed with any regularity today, and Enrico Caruso included its two tenor arias in his first recording session. The Prologue to the opera, set in Heaven, is a favorite concert excerpt, librettos Boitos literary powers never dried up. As well as writing the libretti for his own operas, he wrote them for other composers, as Tobia Gorrio he provided the libretto for Amilcare Ponchiellis La Gioconda. The revised Boccanegra premiered to acclaim in 1881. With that, their friendship and respect blossomed. After their years of association, when Verdi died in 1901. The years given are those of the premieres, Boito also provided the text to Verdis cantata Inno delle Nazioni which was first given on 24 May 1862 at Her Majestys Theatre, London
Arrigo Boito
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Arrigo Boito at age 42
Arrigo Boito
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Boito at age 37
18.
Victor Hugo
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Victor Marie Hugo was a French poet, novelist, and dramatist of the Romantic movement. He is considered one of the greatest and best-known French writers, outside France, his best-known works are the novels Les Misérables,1862, and The Hunchback of Notre-Dame,1831. In France, Hugo is known primarily for his collections, such as Les Contemplations. He produced more than 4,000 drawings and also campaigned for causes such as the abolition of capital punishment. He is buried in the Panthéon in Paris and his legacy has been honoured in many ways, including his portrait being placed on French currency. Victor Hugo was the son of Joseph Léopold Sigisbert Hugo and Sophie Trébuchet, his brothers were Abel Joseph Hugo. He was born in 1802 in Besançon in the region of Franche-Comté. On 19 November 1821, Léopold Hugo wrote to his son that he had conceived on one of the highest peaks in the Vosges Mountains. This elevated origin, he went on, seems to have had effects on you so that your muse is now continually sublime, Hugos childhood was a period of national political turmoil. Napoleon was proclaimed Emperor of the French two years after Hugos birth, and the Bourbon Monarchy was restored before his 13th birthday, since Hugos father was an officer, the family moved frequently and Hugo learned much from these travels. On a childhood trip to Naples, Hugo saw the vast Alpine passes and the snowy peaks, the magnificently blue Mediterranean. Though he was five years old at the time, he remembered the six-month-long trip vividly. They stayed in Naples for a few months and then headed back to Paris, at the beginning of her marriage, Hugos mother Sophie followed her husband to posts in Italy and Spain. Thereafter she dominated Hugos education and upbringing, as a result, Hugos early work in poetry and fiction reflect her passionate devotion to both King and Faith. It was only later, during the leading up to Frances 1848 Revolution. Young Victor fell in love and, against his mothers wishes, because of his close relationship with his mother, Hugo waited until after her death to marry Adèle in 1822. Adèle and Victor Hugo had their first child, Léopold, in 1823, on 28 August 1824, the couples second child, Léopoldine was born, followed by Charles on 4 November 1826, François-Victor on 28 October 1828, and Adèle on 24 August 1830. Hugos eldest and favourite daughter, Léopoldine, died aged 19 in 1843, on 4 September, she drowned in the Seine at Villequier, pulled down by her heavy skirts when a boat overturned
Victor Hugo
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Woodburytype of Victor Hugo by
Étienne Carjat, 1876.
Victor Hugo
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Illustration by
Luc-Olivier Merson for
Notre-Dame de Paris (1881), showing the recently restored
galerie des chimères.
Victor Hugo
–
Victor Hugo in 1853
Victor Hugo
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Portrait of "
Cosette " by
Émile Bayard, from the original edition of
Les Misérables (1862)
19.
Saverio Mercadante
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Giuseppe Saverio Raffaele Mercadante was an Italian composer, particularly of operas. Mercadante was born in Altamura, near Bari in Apulia, his date of birth has not been recorded. Mercadante studied flute, violin and composition at the conservatory in Naples, the opera composer Gioachino Rossini said to the conservatory Director, Niccolo Zingarelli, My compliments Maestro – your young pupil Mercadante begins where we finish. The encouragement of Rossini led him to compose for the opera and his next three operas are more or less forgotten, but an abridged recording of Maria Stuarda, Regina di Scozia was issued by Opera Rara in 2006. His next opera Elisa e Claudio was a success, and had occasional revivals in the 20th century. He worked for a time in Vienna, in Madrid, in Cadiz, and in Lisbon, while there, he had the opportunity to hear operas by Meyerbeer and Halévy, which imparted a strong influence on him, especially the latters La Juive. This influence took the form of stress on the dramatic side. The beginnings of the reform movement, of which Mercadante was part, arose from the publication of a manifesto by Giuseppe Mazzini which he wrote in 1836. In the period after 1831 he composed some of his most important works and these included Il giuramento which was premiered at La Scala in November 1837. One striking and innovative characteristic of this opera has been noted, by doing this, Mercadante sounded what was to be the death knell of the age of bel canto. Some of Mercadantes later works, especially Orazi e Curiazi, were quite successful. Many performances of his operas were given throughout the 19th century, from 1863 he was almost totally blind. Not all the concertos are for string orchestra, the Concerto in E minor, is, however, for flute and strings. Notes Sources Bryan, Karen M. Mercadantes Experiment in Form, The cabalettas of Elena da Feltre, Donizetti Society Journal Number 6, London. 13, No.3 Gianturco, Elio, Review of Saverio Mercadante, nella gloria e nella luce, in Notes, Music Library Association, Second Series, Vol.7, No. ISBN 0-333-73432-7 ISBN 1-56159-228-5 Summa, Matteo, Bravo Mercadante, Fasano Walker, Frank, Mercadante and Verdi, Music & Letters, Vol.33,4, pp. com List of performances of operas by Saverio Mercadante on Operabase
Saverio Mercadante
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Saverio Mercadante in a portrait by Andrea Cefaly (Museo di San Martino,
Naples)
Saverio Mercadante
–
Composer Saverio Mercadante
Saverio Mercadante
–
Mercadante in middle age
20.
Il giuramento
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Il giuramento is an opera in three acts by the Italian composer Saverio Mercadante. The libretto, by Gaetano Rossi, is based on Victor Hugos play Angelo, the opera was first performed at La Scala, Milan on 11 March 1837 and was quickly taken up by other theatres throughout Italy. Mercadante uses the not as a pale accompaniment to dramatic action. 19th century After the mid-19th century the opera dropped in popularity, 20th century and beyond Occasional performances have been given in modern times, beginning with revivals in the 1950s. The opera was presented at the Festival dei Due Mondi in Spoleto in June 1970 with Thomas Schippers conducting, german conductor Gerd Albrecht gave a concert performance in Berlin in 1974 and three further performances in 1979, one of which was recorded. It was also given at the Festival della Valle dItria in Martina Franca, Italy in the summer of 1984, conducted by Bruno Campanella, there were four staged performances given by the Angers-Nantes Opéra in France in November 1993, conducted by Giuliano Carella. It was also performed at the Wexford Festival Opera in December 2002 under Paolo Arrivabeni, the Washington Concert Opera in the US capital presented a concert version in May 2009 with Antony Walker conducting. Setting, Syracuse Time, 14th century Bianca has been married against her will to Count Manfredo, Elaisa, a young woman in search of the daughter of her benefactor, and Viscardo arrive in the city. The disgraced courtier Brunoro discovers that Viscardo is the knight loved by Bianca and he tells Elaisa in order to make her jealous but she finds out that Bianca was the very woman she had been looking for. The count suspects Bianca of infidelity and locks her in the family tomb, but Elaisa, who is loved by the count, manages to substitute a strong narcotic for the poison. Viscardo believes that Elaisa is responsible for Biancas death and stabs her just as Bianca wakes from her deep sleep, notes Sources Rose, Michael, “Mercandante, Saverio in Stanley Sadie, The New Grove Dictionary of Opera, Vol. Three, pp. 334—339. ISBN 0-333-73432-7 ISBN 1-56159-228-5 Rose, Michael, in Holden, Amanda, the New Penguin Opera Guide, New York, Penguin Putnam, Inc. ISBN 0-14-029312-4 Del Teatro Amadeus Online
Il giuramento
–
Saverio Mercadante
21.
I Mori di Valenza
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I Mori di Valenza is an opera in four acts composed by Amilcare Ponchielli to a libretto by Antonio Ghislanzoni. Ponchielli began composing the work in 1874, but at the time of his death in 1886, the opera was later revised by Ponchiellis son Annibale and the orchestration and fourth act were completed by Arturo Cadore. It premiered on 17 March 1914 at the Théâtre du Casino in Monaco, the story is set in Valencia in the early 17th century when Philip III decreed the expulsion of the Moriscos from Spain. Ghislanzonis libretto was based on Piquillo Alliaga, a novel by Eugène Scribe, although warmly received by the audiences in Monaco, Milan and Cremona, I Mori di Valenza has never been revived. However, a recording of the opera was made in Cremona in 2007
I Mori di Valenza
–
Gabriel Puig Roda's depiction of the
expulsion of the Moriscos from Spain, the historical setting of the opera
22.
Monumental Cemetery of Milan
–
The Cimitero Monumentale is one of the two largest cemeteries in Milan, Italy, the other one being the Cimitero Maggiore. It is noted for the abundance of artistic tombs and monuments, designed by the architect Carlo Maciachini, it was planned to consolidate a number of small cemeteries that used to be scattered around the city into a single location. The Civico Mausoleo Palanti designed by the architect Mario Palanti is a built for meritorious Milanesi. The cemetery has a section for those who do not belong to the Catholic religion. Near the entrance there is a permanent exhibition of prints, photographs and it includes two battery-operated electric hearses built in the 1920s. The section, planned by Carlo Maciachini, was opened in 1872 as a substitute for the Jewish cemeteries of Porta Tenaglia and it is located east of the catholic cemetery and has a separate entrance. The area is the result of an enlarging of 1913 which added a zone in the southern and eastern direction, the central building was originally the entrance to the cemetery. The numbering of the tombs is repeated because the cemetery is subdivided into 6 fields, there are also three common fields one of which for children, with burials between 1873 and 1894, with small gravestones with name, surname and date of death in the ground. The monuments, built between 1866 and our days, are located along the walkways, there are also family shrines, two of which planned by Maciachini, columbariums and ossuaries on the northern and western walls and burials in the central building. The burials are 1778, some of which are in memory of people killed by the nazis in concentration camps or in the lake Maggiore, there are many monuments of artistic value built by important architects and sculptors, described in the guide book by Giovanna Ginex and Ornella Selvafolta. The central building was enriched in May 2015 with artistic windows representing the 12 Israel tribes by artist Diego Pennacchio Ardemagni, signals located throughout the cemetery point visitors to several of the most remarkable tombs and monuments. C. Certosa di Bologna, the site of the monumental cemetery Monumental Cemetery of Staglieno
Monumental Cemetery of Milan
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The Famedio (the main memorial chapel of the cemetery)
Monumental Cemetery of Milan
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Alessandro Manzoni 's tomb
Monumental Cemetery of Milan
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Alessandro Manzoni 's tomb inside the Famedio.
Monumental Cemetery of Milan
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Carlo Cattaneo 's tomb.
23.
Giacomo Puccini
–
Giacomo Antonio Domenico Michele Secondo Maria Puccini was an Italian opera composer who has been called the greatest composer of Italian opera after Verdi. Puccinis early work was rooted in traditional late-19th-century romantic Italian opera, later, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents. Puccinis most renowned works are La bohème, Tosca, and Madama Butterfly, Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine children of Michele Puccini and Albina Magi, the Puccini family was established in Lucca as a local musical dynasty by Puccinis great-great grandfather – also named Giacomo. This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca and he was succeeded in this position by his son, Antonio Puccini, and then by Antonios son Domenico, and Domenicos son Michele. Each of these men studied music at Bologna, and some additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello, each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera, Puccinis father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem. However, when Michele Puccini died in 1864, his son Giacomo was only six years old, as a child, he nevertheless participated in the musical life of the Cattedrale di San Martino, as a member of the boys choir and later as a substitute organist. Puccini was given an education at the seminary of San Michele in Lucca. One of Puccinis uncles, Fortunato Magi, supervised his musical education, Puccini got a diploma from the Pacini School of Music in Lucca in 1880, having studied there with his uncle Fortunato, and later with Carlo Angeloni, who had also instructed Alfredo Catalani. Puccini studied at the conservatory for three years, sharing a room with Pietro Mascagni, in 1880, at the age of 21, Puccini composed his Mass, which marks the culmination of his familys long association with church music in his native Lucca. Puccini wrote a piece called the Capriccio sinfonica as a thesis composition for the Milan Conservatory. Puccinis teachers Ponchielli and Bazzini were impressed by the work, and it was performed at a student concert at the conservatory on 14 July 1883, conducted by Franco Faccio. Puccinis work was reviewed in the Milanese publication Perseveranza. After the premiere of the Capriccio sinfonica, Ponchielli and Puccini discussed the possibility that Puccinis next work might be an opera, Ponchielli invited Puccini to stay at his villa, where Puccini was introduced to another young man named Fernando Fontana. Puccini and Fontana agreed to collaborate on an opera, for which Fontana would provide the libretto, the work, Le Villi, was entered into a competition sponsored by the Sozogno music publishing company in 1883. Although it did not win, Le Villi was later staged at the Teatro Dal Verme, G. Ricordi & Co. music publishers assisted with the premier by printing the libretto without charge
Giacomo Puccini
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Giacomo Puccini
Giacomo Puccini
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Puccini's birthplace, seen in 1984
Giacomo Puccini
–
Original poster for Puccini's
Tosca
Giacomo Puccini
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Puccini photographed in 1908
24.
Pietro Mascagni
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Pietro Antonio Stefano Mascagni was an Italian composer most noted for his operas. His 1890 masterpiece Cavalleria Rusticana caused one of the greatest sensations in opera history, Mascagni said that at one point, Iris was performed in Italy more often than Cavalleria. Mascagni wrote fifteen operas, an operetta, several orchestral and vocal works, as well as songs and he enjoyed immense success during his lifetime, both as a composer and conductor of his own and other peoples music. Mascagni was born in Livorno, Tuscany, the son of Domenico. His father owned and operated a bakery, giovanni Targioni-Tozzetti was born the same year in the same city and became Mascagnis lifelong friend and collaborator. In 1876, at the age of 13, Mascagni began musical studies with Alfredo Soffredini, the older man had just completed his musical studies in Milan. Also a native of Livorno, Soffredini was a composer, teacher, the youth started composing rapidly, and between 1879 and 1880, he composed several works, Sinfonia in do minore, Prima sinfonia in fa maggiore, Elegia, Kyrie, Gloria and Ave Maria. The premiere of Mascagnis first cantata, In Filanda, took place at the Istituto Cherubini on 9 February 1881, performed at a musical contest in Milan, the cantata won the first prize. In the same year Mascagni met the musicians Arrigo Boito and Amilcare Ponchielli in Milan, in 1882, he composed his Cantata alla gioia from a text by Gustav Schiller, followed by La stella di Garibaldi for voice and piano, and La tua stella. On 6 May Mascagni left Livorno for Milan and he passed the admission examination of the Milan Conservatory on 12 October. In Milan, Mascagni met the noted composer Giacomo Puccini, on 9 January 1883, Mascagnis sister, Maria, died. The cantata In Filanda became Pinotta, and was proposed for the musical contest of the Conservatorio, in 1884, he composed Ballata for tenor and piano, Mama non mama, scherzo for soprano and piano, Messagio damore, and Alla luna. In 1885, Mascagni composed Il Re a Napoli in Cremona and he left Milan without completing his studies. That year, he began touring as a conductor in the companies of Vittorio Forlì, Alfonso and Ciro Scognamiglio, and, in Genova. Mascagni met the impresario Luigi Maresca in 1886 and started working with him and that December, Mascagni arrived in Cerignola with Marescas company. He was accompanied by Argenide Marcellina Carbognani, his future wife, helped by the mayor Giuseppe Cannone, Mascagni soon left the company of Maresca, not without problems. He was appointed as the master of music and singing of the new philharmonia of Cerignola, in February 1888, he began work on the Messa di Gloria. In July, Casa Sonzogno announced in the Teatro Illustrato its second competition for a one-act opera, the following year, Mascagni completed his composition of Cavalleria rusticana on 27 May and sent the manuscript to Milan
Pietro Mascagni
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Pietro Mascagni in 1903
Pietro Mascagni
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Original Amica poster (1905)
Pietro Mascagni
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Mascagni caricatured by WH for
Vanity Fair, 1912
Pietro Mascagni
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Plaque dedicated to Mascagni in Rome
25.
Umberto Giordano
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Umberto Menotti Maria Giordano was an Italian composer, mainly of operas. He was born in Foggia in Apulia, southern Italy, and his first opera, Marina, was written for a competition promoted by the music publishers Casa Sonzogno for the best one-act opera, remembered today because it marked the beginning of Italian verismo. The winner was Mascagnis Cavalleria rusticana, the result was Mala Vita, a gritty verismo opera about a labourer who vows to reform a prostitute if he is cured of his tuberculosis. This work caused something of a scandal when performed at the Teatro Argentina, Rome and it played successfully in Vienna, Prague and Berlin and was re-written as Il Voto a few years later, in an attempt to raise interest in the work again. Giordano then moved to Milan and returned to verismo with his work, Andrea Chénier. Fedora, based on Victorien Sardous play, featured a young tenor named Enrico Caruso. It was also a success and is performed today. His later works are less known, but occasionally revived and in the case of La cena delle beffe recognised by musicologists. He died in Milan at the age of 81, the most important theater in his home town of Foggia has been dedicated to Umberto Giordano. A square in Foggia is also named him and contains several statues representing his most famous works. Marina Mala Vita Regina Diaz Andrea Chénier Fedora Il Voto Siberia Marcella Mese mariano Madame Sans-Gêne Giove a Pompei La cena delle beffe Il re La festa del Nilo
Umberto Giordano
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Umberto Giordano (1896) portrayed by
Gaetano Esposito
26.
Bergamo Cathedral
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Bergamo Cathedral is a Roman Catholic cathedral in Bergamo, Italy, dedicated to Saint Alexander of Bergamo, patron saint of the city. It is the seat of the Bishop of Bergamo, Bishop Giovanni Barozzi commissioned the re-building of the cathedral of St. Vincent in the mid-15th century, for the plans of which Filarete claimed credit. In 1561 the Venetians demolished the cathedral of St. Alexander for reasons of military expediency, at the beginning of the 17th century Bishop Giovanni Emo unified the canons of the two old cathedrals. In 1689, the structure was refurbished to designs by Carlo Fontana, another major renovation was undertaken in the 19th century, culminating in the completion of the Neo-classical west front in 1889. The cathedral has a Latin cross ground plan with a single nave, the first side-chapel to the right contains a St. Benedict and Saints by Andrea Previtali, and the first side-chapel to the left, the Madonna and child with saints by Giovan Battista Moroni. In the apse is a Martyrdom of Bishop Saint John of Bergamo by Giovanni Battista Tiepolo, the main altar was designed by Filippo Juvarra. The choir area has wooden panels by Johann Karl Sanz. Nearby stands the octagonal baptistery, constructed in 1340 by Giovanni da Campione for the Basilica of Santa Maria Maggiore, during major building works in 1650 the baptistery was dismantled, but was saved, and in 1856 reassembled in the canons courtyard. It was moved to its present site in 1889, inside are bas-reliefs of episodes of the Life of Christ, a statue of John the Baptist and a font of 1340 by Giovanni da Campione. Round the upper level runs a colonnade, and over it stand eight 14th-century statues representing the Virtues, Bergamo Cathedral official website Bergamo Cathedral official website, virtual tour Cathedral interior Brief description Description
Bergamo Cathedral
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Bergamo Cathedral, Neo-classical west front
Bergamo Cathedral
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Baptistery
27.
Romanza
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Romanza is the first compilation album by Italian singer Andrea Bocelli, released internationally in 1997. Although a compilation, Romanza is considered Bocellis breakthrough album and remains his most commercially successful to date, topping charts all across Europe and Latin America. With over 20 million copies worldwide, it is the best-selling Italian album of all time. The album is a compilation of Bocellis two previous pop albums, Il Mare Calmo della Sera, released in 1994, and Bocelli, being Bocellis first album released in the United States and Canada, the album and Bocelli himself, were heavily promoted. This included Bocelli being featured in Hotel Bellagios commercials in North America, in 1997, Bocelli won 3 major awards in Germany. All 3 ceremonies were broadcast live in Germany, the album was also supported in Germany, by a series of concerts, including 22 open-air concerts in the country, as well as an indoor concert in Oberhausen. In the United Kingdom, Bocelli held a concert with Sarah Brightman, at the Royal Albert Hall, in London, back in Italy, on September 27, Bocelli sang again before the Pope at the International Eucharistic Congress, in Bologna. On October 19, he sang at the TeleFood benefit concert held in Vatican City, on December 15 and 20,1997, Bocelli held a concert in Palais Omnisports de Paris-Bercy, in Paris, France, and a concert in Seefeld, Austria. A music video for each of three versions was released in those countries. In addition, a video of the Portuguese version of the song, sang with Brazilian singer Sandy, was also released in Brazil and Portugal. It also received platinum status in the United States with 4. To date, the album remains Bocellis most commercially successful, and is considered his breakthrough album, a Night in Tuscany, Bocellis first PBS Great Performances special, filmed in 1997, was designed to promote the album. The DVD of the program was Internationally released November 10,1998. be
Romanza
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Romanza
28.
Walt Disney
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Walter Elias Walt Disney was an American entrepreneur, animator, voice actor and film producer. A pioneer of the American animation industry, he introduced several developments in the production of cartoons, as a film producer, Disney holds the record for most Academy Awards earned by an individual, having won 22 Oscars from 59 nominations. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors, several of his films are included in the National Film Registry by the Library of Congress. Born in Chicago in 1901, Disney developed an early interest in drawing and he took art classes as a boy and got a job as a commercial illustrator at the age of 18. He moved to California in the early 1920s and set up the Disney Brothers Studio with his brother Roy, with Ub Iwerks, Walt developed the character Mickey Mouse in 1928, his first highly popular success, he also provided the voice for his creation in the early years. As the studio grew, Disney became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons, the results, seen in features such as Snow White and the Seven Dwarfs, Fantasia, Pinocchio, Dumbo and Bambi, furthered the development of animated film. New animated and live-action films followed after World War II, including the critically successful Cinderella and Mary Poppins, in the 1950s, Disney expanded into the amusement park industry, and in 1955 he opened Disneyland. In 1965, he began development of theme park, Disney World, the heart of which was to be a new type of city. Disney was a smoker throughout his life, and died of lung cancer in December 1966 before either the park or the EPCOT project were completed. Disney was a shy, self-deprecating and insecure man in private and he had high standards and high expectations of those with whom he worked. Although there have been accusations that he was racist or anti-semitic and his reputation changed in the years after his death, from a purveyor of homely patriotic values to a representative of American imperialism. Nevertheless, Disney is considered an icon, particularly in the United States. Walt Disney was born on December 5,1901, at 1249 Tripp Avenue and he was the fourth son of Elias Disney—born in the Province of Canada, to Irish parents—and Flora, an American of German and English descent. Aside from Disney, Elias and Calls sons were Herbert, Raymond and Roy, in 1906, when Disney was four, the family moved to a farm in Marceline, Missouri, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a neighborhood doctor. Elias was a subscriber to the Appeal to Reason newspaper, Disney also began to develop an ability to work with watercolors and crayons. He lived near the Atchison, Topeka and Santa Fe Railway line and he and his younger sister Ruth started school at the same time at the Park School in Marceline in late 1909. In 1911, the Disneys moved to Kansas City, Missouri, before long, he was spending more time at the Pfeiffers house than at home
Walt Disney
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Disney in 1946
Walt Disney
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Walt's parents, Elias and Flora (Call) Disney
Walt Disney
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10-year-old Walt Disney (center right) at a gathering of Kansas City newsboys in 1912.
Walt Disney
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Disney as an
ambulance driver immediately after World War I
29.
Fantasia (1940 film)
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Fantasia is a 1940 American animated film produced by Walt Disney and released by Walt Disney Productions. With story direction by Joe Grant and Dick Huemer, and production supervision by Ben Sharpsteen, the film consists of eight animated segments set to pieces of classical music conducted by Leopold Stokowski, seven of which are performed by the Philadelphia Orchestra. Music critic and composer Deems Taylor acts as the films Master of Ceremonies, as production costs grew higher than what it could earn, Disney decided to include the short in a feature-length film with other segments set to classical pieces. Fantasia was first released in theatrical roadshow engagements held in thirteen U. S. cities from November 13,1940, the film was subsequently reissued multiple times with its original footage and audio being deleted, modified, or restored in each version. As of 2012, Fantasia has grossed $76.4 million in revenue and is the 22nd highest-grossing film of all time in the U. S. when adjusted for inflation. Fantasia, as a franchise, has grown to include games, Disneyland attractions, a live concert. Fantasia opens with live action scenes of members of an orchestra gathering against a background and tuning their instruments in half-light. Master of ceremonies Deems Taylor enters the stage and introduces the program, Toccata and Fugue in D Minor by Johann Sebastian Bach. Live-action shots of the orchestra illuminated in blue and gold, backed by superimposed shadows, animated lines, shapes and cloud formations reflect the sound and rhythms of the music. Nutcracker Suite by Pyotr Ilyich Tchaikovsky, selections from the ballet suite underscore scenes depicting the changing of the seasons from summer to autumn to winter. The Sorcerers Apprentice by Paul Dukas, based on Goethes 1797 poem Der Zauberlehrling. Mickey Mouse, the apprentice of the sorcerer Yen Sid, attempts some of his masters magic tricks. Rite of Spring by Igor Stravinsky, a visual history of the Earths beginnings is depicted to selected sections of the ballet score. The sequence progresses from the formation to the first living creatures, followed by the reign. Intermission/Meet the Soundtrack, The orchestra musicians depart and the Fantasia title card is revealed, after the intermission there is a brief jam session of jazz music led by a clarinettist as the orchestra members return. Then a humorously stylized demonstration of how sound is rendered on film is shown, an animated sound track character, initially a straight white line, changes into different shapes and colors based on the sounds played. The Pastoral Symphony by Ludwig van Beethoven, a mythical Greco-Roman world of colorful centaurs and centaurettes, cupids, fauns and other figures from classical mythology is portrayed to Beethovens music. A gathering for a festival to honor Bacchus, the god of wine, is interrupted by Zeus, Dance of the Hours by Amilcare Ponchielli
Fantasia (1940 film)
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Theatrical release poster
Fantasia (1940 film)
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Leopold Stokowski conducted the film's score.
Fantasia (1940 film)
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Deems Taylor was the film's
Master of Ceremonies, who introduced each segment in live action interstitial scenes.
Fantasia (1940 film)
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Disney acting out a scene in The Sorcerer's Apprentice for Taylor and Stokowski.
30.
Allan Sherman
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Allan Sherman was an American comedy writer and television producer who became famous as a song parodist in the early 1960s. His first album, My Son, the Folk Singer, became the record album up to that time. His biggest hit single was Hello Muddah, Hello Fadduh, a novelty in which a boy describes his summer camp experiences to the tune of Ponchiellis Dance of the Hours. He is not to be confused with the songwriter Al Sherman who, coincidentally, Sherman was born in Chicago to Jewish American parents Percy Copelon and Rose Sherman. Percy was a mechanic and race car driver who, like his son, suffered from obesity. Shermans parents divorced when he was in school, and Allan adopted his mothers maiden name. Due to his parents moving to new residences, Allan attended over a dozen public schools in Chicago, New York, Los Angeles. Sherman devised a show he intended to call I Know a Secret. Television producer Mark Goodson used Shermans idea and turned it into Ive Got a Secret, rather than paying him for the concept, Mark Goodson-Bill Todman Productions made Sherman the shows producer. Sherman was reported to be warm and kindhearted to all who worked for him, however, differences occurred between Sherman and anyone who was in a position to try to restrain his creativity. As producer of Ive Got a Secret, which was broadcast live and he once released 100 rabbits onstage as an Easter surprise for the Madison Square Boys Club, whose members were seated in the studio. The boys were invited to come up onstage to collect their prize, although the resultant melee made a good story, it did not necessarily make for good TV. The relationship between Goodson, Todman and Sherman became strained when he proposed that Tony Curtis teach the panel how to play some games he had played as a growing up in New York City. However, Curtis had never played any of the games that Sherman had brought the props for. The props for Shermans concept failed and the spot, which aired June 11,1958, was a disaster and Sherman was removed as producer. Despite this, Goodson and Todman invited Sherman back several times as a guest on their shows in years after he achieved celebrity status following the release of his albums. Sherman also produced a short-lived 1954 game show, Whats Going On. which was technologically ambitious, in 1961, he produced a daytime game show for Al Singer Productions called Your Surprise Package, which aired on CBS with host George Fenneman. The single sold poorly and when Sherman wrote his autobiography, he did not make reference to it, later, he found that the song parodies he performed to amuse his friends and family were taking on a life of their own
Allan Sherman
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Sherman as a sheriff on
The Loner, 1965.
