 |
Vidéo :
![]()
![]()
| Composer : | Bellini, Vincenzo (1801 - 1835) | ||||
| Instrumentation : | Piano solo | ||||
| Style : | Classical | ||||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 05 Apr 2021 Vincenzo Salvatore Carmelo Francesco Bellini (1801 -- 1835) was an Italian opera composer. He was one of the most important composers of Italian opera in his time. He was born in 1801 in Catanina, Sicily, to a family already steeped in music; his father and grandfather were both career musicians. He began composing before receiving any formal music education. Bellini developed a reputation for fine craftsmanship, particularly in the way he forged an intricate relationship between the music and the libretto. To perform one of his operas, singers required extremely agile voices. His abilities and talent earned him the admiration of other composers, including Berlioz, Chopin, and even Wagner, and his flowing, exquisitely sculpted vocal lines represent the epitome of the bel canto ideal. Bellini entered the Royal College of Music of San Sebastiano, now the Naples Conservatory, in 1819. Although he started off in elementary classes, he progressed rapidly and was granted free tuition by 1820. He soon developed into a teacher, becoming a primo maestrino in 1824. Bellini's first opera, Adelson e Salvini, was chosen to be performed by the conservatory's students. After the initial performance in February 1825, it was performed repeatedly throughout the year. This particular work was never performed outside of the conservatory, but it did serve as a source of material for at least five other operas Bellini composed. Shortly thereafter, Domenico Barbaja of the San Carlo Opera offered Bellini his first commission for an opera, which resulted in Bianca e Gernando (1826). That first commission was followed by a second from Barbaja, Il pirata (1827), and led to a long-term collaboration between Bellini and librettist Felice Romani. The premiere of Il pirata on October 27, 1827, at La Scala, Milan, established Bellini as an internationally acclaimed opera composer. As Bellini gained experience and recognition, he settled into a working method that stressed quality instead of quantity. He composed fewer operas, for which he commanded higher prices. He was not, however, immune to the pressures of production. His opera Zaira (1829), written with Romani for the inauguration of the Teatro Ducale at Parma, was hurriedly completed; the opera was a notable failure and was never produced again. He rebounded, though, with I Capuleti e i Montecchi (based on Shakespeare's Romeo and Juliet) in 1830. Bellini spent the summer of 1833 in London directing performances of his operas. He then moved to Paris, where he composed and produced his last opera, I puritani, which premiered on January 24, 1835. The libretto for this particular opera was written by the exiled Italian poet Count Carlo Pepoli. Unlike Bellini's previous two operas, I puritani was enthusiastically received. At the height of his career and only 33 years old, Bellini died of a chronic intestinal ailment on September 23, 1835, in a small town near near Paris. While today there are some questions about the song "Vaga luna, che inargenti" (Beautiful Silver Moon) attribution to Bellini (the song was not published until 1935 in the Tre ariette collection), this song is still generally credited to him and is at the very least consistent with his style of simple, gradually unfolding melodies and (in his songs) minimal or no ornamentation. While it creates incredible demands on the singer, the song calls for breath control and subtlety rather than for display of agility and range. The lines, typical of Bellini, are lingering and gradually developing, over an accompaniment that leaves the singer to provide most of the dynamic shaping and shading. The structure is strophic, which also creates interpretive challenges; the singer must build upon but not completely repeat the mood and emotions of the first verse while interpreting the second. The small, mostly stepwise intervals also call for subtle shadings of intonation and dynamics. The piano introduction sets the pensive, faintly melancholy mood with its rocking arpeggios, over which the melodic theme is played high in the treble. After this one iteration of the melody, the accompaniment takes the melodic lead only in the bridge between verses, in which it repeats the introduction. Each verse ends with a heavily repetitive section which, while reminiscent in structure of the ending of an operatic cabaletta, only marginally increases speed and intensity, so the tone of the song remains dreamy and amorous. Source: AllMusic (https://www.allmusic.com/artist/vincenzo-bellini-mn000 0646795/biography). Although originally created for Voice and Piano, I created this arrangement of "Vaga luna, che inargenti" (Beautiful Silver Moon) from 15 Songs for Solo Piano. Sheet central : | Vaga luna che inargenti (2 sheet music) | | |||
 |
 |
 |
 |
© 2000 - 2024
Home - New realises - Composers
Legal notice - Full version