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Recitativo Accompagnato
Recitative (, also known by its Italian name "''recitativo''" ()) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic ''recitativo secco'' ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through ''recitativo accompagnato'' (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must per ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vincenzo Galilei
Vincenzo Galilei (born 3 April 1520, Santa Maria a Monte, Italy died 2 July 1591, Florence, Italy) was an Italian lutenist, composer, and music theorist. His children included the astronomer and physicist Galileo Galilei and the lute virtuoso and composer Michelagnolo Galilei. Vincenzo was a figure in the musical life of the late Renaissance and contributed significantly to the musical revolution which demarcates the beginning of the Baroque era. In his study of pitch and string tension, Galilei produced perhaps the first non-linear mathematical description of a natural phenomenon known to history. Some credit him with directing the activity of his son away from pure, abstract mathematics and towards experimentation using mathematical quantitative description of the results, a direction of importance for the history of physics and natural science. Biography He was born in 1520 in Santa Maria a Monte, Pisa, Tuscany and began studying the lute at an early age. His mother was from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Der Freischütz
' ( J. 277, Op. 77 ''The Marksman'' or ''The Freeshooter'') is a German opera with spoken dialogue in three acts by Carl Maria von Weber with a libretto by Friedrich Kind, based on a story by Johann August Apel and Friedrich Laun from their 1810 collection '' Gespensterbuch''. It premiered on 18 June 1821 at the Schauspielhaus Berlin. It is considered the first German Romantic opera. The opera's plot is mainly based on August Apel's tale "Der Freischütz" from the '' Gespensterbuch'' though the hermit, Kaspar and Ännchen are new to Kind's libretto. That Weber's tunes were just German folk music is a common misconception. Its unearthly portrayal of the supernatural in the famous Wolf's Glen scene has been described as "the most expressive rendering of the gruesome that is to be found in a musical score". Performance history The reception of ''Der Freischütz'' surpassed Weber's own hopes and it quickly became an international success, with productions in Vienna the same year ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carl Maria Von Weber
Carl Maria Friedrich Ernst von Weber (18 or 19 November 17865 June 1826) was a German composer, conductor, virtuoso pianist, guitarist, and critic who was one of the first significant composers of the Romantic era. Best known for his operas, he was a crucial figure in the development of German '' Romantische Oper'' (German Romantic opera). Throughout his youth, his father, , relentlessly moved the family between Hamburg, Salzburg, Freiberg, Augsburg and Vienna. Consequently he studied with many teachers – his father, Johann Peter Heuschkel, Michael Haydn, Giovanni Valesi, Johann Nepomuk Kalcher and Georg Joseph Vogler – under whose supervision he composed four operas, none of which survive complete. He had a modest output of non-operatic music, which includes two symphonies; a viola concerto; bassoon concerti; piano pieces such as Konzertstück in F minor and '' Invitation to the Dance''; and many pieces that featured the clarinet, usually written for the virtuoso clar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Cenerentola
' ('' Cinderella, or Goodness Triumphant'') is an operatic ''dramma giocoso'' in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the libretti written by Charles-Guillaume Étienne for the opera ''Cendrillon'' with music by Nicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini for ' with music by Stefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy tale ''Cendrillon'' by Charles Perrault. Rossini's opera was first performed in Rome's Teatro Valle on 25 January 1817. Rossini composed ''La Cenerentola'' when he was 25 years old, following the success of ''The Barber of Seville'' the year before. ''La Cenerentola'', which he completed in a period of three weeks, is considered to have some of his finest writing for solo voice and ensembles. Rossini saved some time by reusing an overture from ''La gazzetta'' and part of an aria from ''The Barber of Seville'' and by enlisting a collaborator, Luca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rossini
Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. Duri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franz Xavier Süssmayr
Franz may refer to: People * Franz (given name) * Franz (surname) Places * Franz (crater), a lunar crater * Franz, Ontario, a railway junction and unorganized town in Canada * Franz Lake, in the state of Washington, United States – see Franz Lake National Wildlife Refuge Businesses * Franz Deuticke, a scientific publishing company based in Vienna, Austria * Franz Family Bakeries, a food processing company in Portland, Oregon * Franz-porcelains, a Taiwanese brand of pottery based in San Francisco Other uses * ''Franz'' (film), a 1971 Belgian film * Franz Lisp, a dialect of the Lisp programming language See also * Frantz (other) * Franzen (other) Franzen or Franzén is a Scandinavian surname. Notable people with the surname include: * Anders Franzén (1918–1993), Swedish underwater archaeologist * Arno Franzen, Brazilian rower *Arvid Franzen (1899–1961), Swedish-American accordionist an ... * Frantzen (other) {{disambiguation ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Clemenza Di Tito
' (''The Clemency of Titus''), K. 621, is an ''opera seria'' in two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after most of ' (''The Magic Flute''), the last of Mozart's principal operas, had already been written. The work premiered on 6 September 1791 at the Estates Theatre in Prague. Background In 1791, the last year of his life, Mozart was already well advanced in writing ' by July when he was asked to compose an ''opera seria''. The commission came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the ser ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mozart
Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture". Born in Salzburg, in the Holy Roman Empire, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Insertion Aria
An insertion aria (' in Italian, also known as suitcase aria, interpolated aria, or trunk aria) is an aria sung in an opera for which it was not composed. It was a practice that began in the seventeenth century and continued actively through the late 19th century and sporadically through the 20th century. The insertion aria could replace an existing aria, or might be added to an opera. All insertions were planned in advance. They might be composed by the same composer of the opera, or might have been written by a different composer, with or without the knowledge of the opera's composer. Most insertions were of arias; infrequently non-operatic songs were inserted. Insertions could consist of arias, duets, ensembles, even entire scenes. Although men and women singers used insertion, women are the ones most remembered for the practice. The years 1800–1840 represent the apex of influence that women singers exerted over the operatic stage, influencing most aspects of opera performanc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
