Synonyms for gastaldon or Related words with gastaldon
Examples of "gastaldon"
""Musica proibita" redirects here. For the song of the same name see Stanislao
was born in Turin on April 8, 1861 to Luigi
and Luigia Grazioli. His father was an engineer from Lerino, a village near Torri di Quartesolo in the Veneto region of Italy. His mother was a Roman noblewoman who had married a wealthy land owner, Count Bernardo Genardini, at the age of 16. She met Luigi
in 1854 when she was 23 and shortly thereafter abandoned her husband and four children to live with him. The family moved from one Italian city to another during Gastaldon's childhood and early youth while his father worked on a series of engineering projects. Part of his childhood was spent in San Vito Chietino in the Abruzzo region, where a street is now named for him and where his younger brother Guglielmo was born in 1864.
studied music with the Turinese composer Antonio Creonti and with Torquato Meliani, an organist at the Florence Cathedral, as well as studying literature at the University of Florence. He began composing songs at the age of 17, sometimes writing the lyrics himself under the pseudonym of "Flick-Flock". Although it is not known for sure why
chose "Flick-Flock", Italian musicologist Maria Scaccetti suggests that it probably derived from the popular ballet, "Flick und Flock" by Peter Ludwig Hertel, which had been performed at La Scala in 1861. Music from the ballet arranged as a military march became the official fanfare of the 12th Regiment of the Bersaglieri corps, which had been based in Turin.
was only 20 when the Florentine firm Venturini published his song "Musica proibita", which made his name as a composer and achieved an enduring popularity. Its success would also provide an entry to the most important salons in Italy, where many of his early songs were first performed. His musical fame preceded him when
did his obligatory year of military service in 1883. He was assigned to be one of the "professors" of the 24th Infantry Regiment band.
After the premiere of "Mala Pasqua!" in 1890,
lived in Orvieto for a time, and then settled in Florence, where he was to spend the rest of his life. There, in addition to composing, he taught singing and worked as a music critic for the Florentine paper "Nuovo Giornale", as well as writing a column "Scattola Armonica" ("Music Box") for the children's periodical "Il giornalino della Domenica". His associates in Florence were a circle of free-thinking artists and literary figures who gathered at the Gambrinus Halle café in the Piazza Vittorio Emanauele (now called the Piazza della Repubblica).
and his friends were out of sympathy with the rise of Italian Fascism in the 1920s, and he became increasingly marginalised. Finding it difficult to make a living solely from his music, in the final years of his life he also worked as an art dealer, buying and selling paintings by his friends in the Gambrinus Halle. He never married and lived alone in his house on Via Montanara. On March 6, 1939,
suffered a heart attack while walking across the Piazza Vittorio Emmauele and died the same day at the age of 77. He is buried in the near Florence.
There have been two other operas based on Verga's story. The first, "Mala Pasqua!" by Stanislao
, was entered in the same competition as Mascagni's. However,
withdrew it when he received an opportunity to have it performed at the Teatro Costanzi, where it premiered on 9 April 1890. In the 1907 Sonzogno competition, Domenico Monleone submitted an opera based on the story, and likewise called "Cavalleria rusticana". The opera was not successful in the competition, but premiered later that year in Amsterdam and went on to a successful tour throughout Europe, ending in Turin. Sonzogno, wishing to protect the lucrative property which Mascagni's version had become, took legal action and successfully had Monleone's opera banned from performance in Italy. Monleone changed the opera ‘beyond recognition’, setting the music to a new libretto. In this form it was presented as "La giostra dei falchi" in 1914.
When his military service ended,
returned to Rome, where his parents were living at the time. Over the next four years he continued composing songs and short pieces of instrumental music and started work on his first opera, "Fatma". However, in 1888, when the music publisher Sonzogno announced a competition for one-act operas,
decided to enter with "Mala Pasqua!", a setting of Giovanni Verga's popular short story (and later play), "Cavalleria rusticana". Another young composer, Pietro Mascagni, entered the same contest with his opera "Cavalleria rusticana", also based on Verga's story.
withdrew his work early in the competition when he received an offer from Sonzogno's rival, Ricordi, to publish it and arrange a premiere at the Teatro Costanzi in Rome. He expanded the opera to three acts, and "Mala Pasqua!" premiered on April 9, 1890 to modest success. Mascagni's opera eventually won the competition and premiered a month later on May 17 at the same theatre. Mascagni's work was an enormous success and completely eclipsed Gastaldon's. Nevertheless, he continued writing operas over the years, producing two one-act operas, "Pater" (1894) and "Stellina" (1905) and a three-act comic opera, "Il Reuccio di Caprilana" (1915). Like "Mala Pasqua!", they premiered to moderate success but dropped almost immediately from the repertoire.
Martino Stanislao Luigi
(April 8, 1861March 6, 1939) was an Italian composer, primarily of salon songs for solo voice and piano. However, he also composed instrumental music, two choral works, and four operas. Today, he is remembered almost exclusively for his 1881 song "Musica proibita" ("Forbidden Music"), still one of the most popular pieces of music in Italy.
also wrote the lyrics for some of his songs, including "Musica proibita", under the pseudonym Flick-Flock. He was born in Turin and after a peripatetic childhood studied music there and in Florence. By 1900, he had settled permanently in Florence, where he died at the age of 77. In his later years he also worked as a voice teacher, music critic, and art dealer.
During his lifetime, the vast majority of Gastaldon's works were published by two firms, Genasio Venturini in Florence (absorbed by Carisch & Jänichen in 1905) and Ricordi in Milan. Although several biographical entries, including that in "Enciclopedia della musica" published by Rizzoli-Ricordi, say that he composed more than 300 songs, Scaccetti suggests that while
was prolific, the actual number may be considerably less than this. The work he is almost exclusively remembered for today is his song "Musica proibita".
Oh Promise Me is a song with music by Reginald De Koven and lyrics by Clement Scott. The song was written in 1887 and first published in 1889 as an art song. De Koven may have based the melody partly on a song composed by Stanislao
, "Musica Proibita". In 1890, De Koven wrote his most successful comic opera, "Robin Hood". After opening night, the contralto playing Alan-a-Dale, Jessie Bartlett Davis, demanded a song to better show off her voice, threatening to walk out of the production. De Koven inserted "Oh Promise Me" into the score for her.
It was founded by Rev. Mother Benigna
, an Italian nun who worked in India from 1928-94. It was opened as a branch of St. Anthony’s Sr. Secondary School, Paharganj, of which she was the foundress. She was awarded ‘the Knight Commander of the Order of the Star of the Italian Solidarity’ by the Italian Government in 1974, for her service in India and ‘the Florentine Lily’ by the Florence Province of Italy for her outstanding humanitarian work and for her ideals of love and service for the emancipation of the girl child.
Giovanni Domenico Bartocci-Fontana, who wrote the libretto for Gastaldon's opera "Mala Pasqua!", also wrote the text for his song "Perché tacete" (Why are you silent?). Other poets whose texts were set by
included Gustavo Adolfo Bécquer, Olindo Guerrini (under the pseudonym Lorenzo Stecchetti), Emilio Praga, Armando Perotti, Annie Vivanti, Fausto Salvatori, and Domenico Milelli (under the pseudonym Conte di Lara). Of all his songs, Gastaldon's favourite was reportedly "Mamma", dedicated to the memory of his mother, with lyrics by the poet and playwright Giovanni Arrighi. It was recorded by Renato Zanelli for the Victor Talking Machine Company in 1921. In a departure from his usual genre of songs for solo voice and piano,
also wrote two choral pieces, "Viva il Re" and "Inno della Dante Alighieri". The patriotic anthem "Viva il Re" (Long Live the King) with text by Giosuè Carducci was published by Ricordi 1915. "Inno della Dante Alighieri" with text by Augusto Franchetti was written as an anthem for the Dante Alighieri Society. It was first performed on September 28, 1902 in the Piazza del Campo in Siena for the XIII Congress of the Società Dante Alighieri and published the following year by the Florentine firm of Bemporad & Figlio.
The enormous success of Stanislao Gastaldon's 1881 salon song, "Musica proibita", and his subsequent compositions in that genre had made him famous throughout Italy. In 1887 at the age of 26, he turned his attention to composing his first opera, "Fatma", an opera-ballet in four acts. However, he set the project aside in 1888 when the music publisher Sonzogno announced a competition for one-act operas, open to all young Italian composers who had not yet had an opera performed on stage. The three winners (selected by a jury of prominent critics and composers) would be staged in Rome at Sonzogno's expense.
decided to enter with an opera based on "Cavalleria rusticana". His librettist, Giovanni Domenico Bartocci-Fontana, a lawyer by training and a poet by inclination, wrote to Verga asking permission to adapt the play. Verga wrote back to him on June 3, 1888 to say that he was happy to give his permission but added that the subject as it was treated in the play did not seem suitable for an opera libretto. Unbeknownst to Verga, another young composer, Pietro Mascagni, entered the same contest at virtually the last minute with his opera "Cavalleria rusticana", also based on the story.
withdrew his work early in the competition when he received an offer from Sonzogno's rival, Ricordi, to publish it and arrange for its premiere at the Teatro Costanzi in Rome. He expanded his original one-act version to two acts, and then three. Bartocci-Fontana's libretto added some elements that were not in Verga's original and expanded on others as well as changing the name of the Santuzza character to Carmela. However the basic plot and setting remained the same. It was given the title "Mala Pasqua!" from the curse which Santuzza placed on Turiddu in the original play: "Mala Pasqua a te!" ("May you have an evil Easter!"). The prominent Romanian soprano Elena Theodorini, who had already sung in the premieres of several new operas in Italy, read the score and agreed to sing the key role of Carmela
Mala Pasqua! (Bad Easter!) is an opera in three acts composed by Stanislao
to a libretto by Giovanni Domenico Bartocci-Fontana. The libretto is based on Giovanni Verga's play, "Cavalleria rusticana" ("Rustic Chivalry") which Verga had adapted from his short story of the same name. "Mala Pasqua!" premiered on 9 April 1890 at the Teatro Costanzi in Rome, six weeks before Pietro Mascagni's opera "Cavalleria rusticana" which was also based on Verga's play. Bartocci-Fontana's libretto adds some elements that were not in Verga's original and expands on others. The name of the Santuzza character was also changed to Carmela, but the basic plot and setting remain the same. Its title refers to the curse which Carmela places on Turiddu, the lover who had spurned her: "Mala Pasqua a te!" ("May you have an evil Easter!"). Following its Rome premiere "Mala Pasqua!" had a few more performances in Perugia and Lisbon, but it was completely eclipsed by the phenomenal success of Mascagni's opera. After the 1891 Lisbon run it was not heard again until 2010 when it was given a semi-staged performance in Agrigento, Sicily.
"Mala Pasqua!" premiered on April 9, 1890 at the Teatro Costanzi in Rome with Elena Theodorini and Giuseppe Russitano as Carmela and Turiddu. The opera ran for a total of four performances. Proceeds of the first three were to go to the patronesses' committee of the "Tiro a Segno Nazionale" (Italy's national association for target shooting) who also financed the production. Amongst the audience at the premiere were the Princess Odescalchi, Lina Crispi (wife of the Prime Minister Francesco Crispi) and several prominent politicians including Paolo Boselli, Federico Seismit-Doda, and Luigi Miceli. Although the critics were dismissive of the work, they did note that it found favour with the opening night audience with loud cheers and requests for
to come before the curtain for an ovation even before the performance was finished. The Catholic journal, "La Civiltà Cattolica", did not review the performance but recorded its outrage at the opera's depiction of a religious procession with a priest carrying the Eucharist during a tale of "sordid affairs and adultery" and called it a "sacrilege and vile insult". According to the journal, the devout Catholics walked out at this point, leaving an audience that consisted largely of "freemasons, riflemen, and an assortment of vulgar people."
Marcello Abbado, Franco Alfano, Davide Anzaghi, Victor Andrini, Marino Baratello, Andrea Basevi, Giorgio Battistelli, Umberto Bombardelli, Cathy Berberian, Luciano Berio, Sonia Bo, Giovanni Bonato, Mauro Bortolotti, Aldo Brizzi, Gilberto Bosco, Valentino Bucchi, Sylvano Bussotti, Curt Cacioppo, Beatrice Campodonico, Mauro Cardi, Alfredo Casella, Pieralberto Cattaneo, Mario Cesa, Ernest Chausson, Fabio Cifariello Ciardi, Giovanni Cima, Aldo Clementi, Alberto Colla, Giorgio Colombo Taccani, Azio Corghi, Luigi Dallapiccola, James Dashow, Fabrizio De Rossi Re, Leonid Desyatnikov, Franco Donatoni, Gaetano Donizetti, Luigi Esposito, Lorenzo Ferrero, Boris Filanovski, David Froom, Sandro Fuga, Stanislao
, Ada Gentile, Giorgio Federico Ghedini, Riccardo Giavina, Giuseppe Giuliano, Domenico Guaccero, Giovanni Guaccero, Adriano Guarnieri, Richard Hermann, Carlo Alessandro Landini, Martin Q. Larsson, Corrinne Lateur, Luca Leone, Antonello Lerda, Paola Livorsi, Luca Lombardi, Bruno Maderna, Gian Francesco Malipiero, Giacomo Manzoni, Giuseppe Martucci, Marco Molteni, Ennio Morricone, Carlo Mosso, Luigi Nono, Franco Oppo, Marcello Panni, Goffredo Petrassi, Riccardo Piacentini, Carlo Pinelli, Piera Pistono, Biagio Putignano, Maurice Ravel, Lodovico Rocca, Gioachino Rossini, Aurelio Samorì, Giacinto Scelsi, Arnold Schönberg, Salvatore Sciarrino, Christopher Shultis, Leone Sinigaglia, Antonio Smareglia, Alessandro Solbiati, Daniela Terranova, Francesco Paolo Tosti, Fabio Vacchi, Giuseppe Verdi, Dmitri Yanov-Yanovsky, Vittorio Zago.
wrote "Ti vorrei rapire" (I want to carry you away), a sequel to "Musica proibita" which is meant to be sung by the young man referred to in the original song. Like "Musica probita", the text was by "Flick-Flock". It had considerable success in its day and was recorded in 1910 by the Italian baritone Taurino Parvis for Columbia Records. A variation on the theme came in 1885 with Gastaldon's "Musica non probita!" (Music not forbidden!) composed to a text by the theatre critic and poet Luigi Bevacqua Lombardo. Two of Gastaldon's other early songs, "Amor non è peccato" (Love is not a sin) and "Fiori di sposa" (Bridal flowers) were set to texts by a poet identified only as "Faustina". The first of these was dedicated to Leonora Genina Mancini, daughter of the Italian statesman Pasquale Stanislao Mancini and the poet Laura Beatrice Mancini. Leonora's younger sister Flora ran a famous musical salon, and both sisters wrote poems that had been set by Gastaldon's contemporaries.
Copyright © 2017