Synonyms for ipermestra or Related words with ipermestra

abbandonata              olimpiade              ossia              imeneo              farnace              antigono              artaserse              ovvero              montecchi              spontini              bellerofonte              clori              tragico              accademici              filosofo              affetti              demofoonte              issipile              ifigenia              capuleti              burlato              componimento              jommelli              semiramide              nascita              inganno              broschi              racconto              andromaca              inedite              fetonte              antichi              stamperia              vespri              gastaldon              giuochi              cilea              teatrale              madrigale              traduzione              tirsi              ottavia              temistocle              drammatico              ildegonda              armonici              tragedia              paesaggi              psiche              balletti             



Examples of "ipermestra"
Ipermestra in the anonymous "Ipermestra" (Parma, 1767)
Act III, scene 2 - Aria of Ipermestra, "Và, più non dirmi infida"
Act I, scene 9 - Aria of Ipermestra, "Se pietà da voi non trovo"
Act II, scene 3 - Aria of Ipermestra, "Se il mio duol, se i mali miei"
Act II, scene 10 - Accompanied recitative for Ipermestra and Linceo, "Ferma, oimè,"
Act II, scene 10 - Duet of Ipermestra and Linceo, "Ah, se di te mi privi"
Act I, scene 3 - Aria of Ipermestra, "Ah, non parlar d'amore"
Ipermestra ("Hypermnestra") is an opera by the composer Christoph Willibald Gluck. It takes the form of an opera seria in three acts. The Italian-language libretto is by Pietro Metastasio. The opera premiered on 21 November 1744 at the Teatro San Giovanni Grisostomo in Venice. "Ipermestra" is the first of Gluck's operas to survive complete.
Giacomelli was born in Piacenza. In 1724 he was named to the post of "Kapellmeister" to the duke of Parma. Beginning with the first performance of his opera "Ipermestra", in 1724, he became one of the most popular opera composers of his era. Between 1724 and 1740 he composed 19 operas. His best known opera is "Cesare in Egitto" of 1735. He also wrote a deal of sacred music, including eight psalm settings for tenor and bass, and some concertos with continuo. In 1738 Giacomelli again became "Kapellmeister", this time at the Basilica della Santa Casa in Loreto; he died in Loreto in 1740.
He was born in Milan. The earliest record of Brivio was in a court document indicating his postition as a violinist at the Royal Palace of Milan in 1720. He soon after to become the music director at the Royal Palace's theatre where he remained until October 13, 1732. He later returned to the theater in c.1738 and remained active there through 1742. At the Teatro Ducale his first known opera, "Ipermestra", premiered on 6 December 1727. While in Milan he also ran an influential school of singing. Two of his notable pupils were sopranos Giulia Frasi and Caterina Visconti.
Nevertheless, Gluck composed an opera for each of the next four Carnivals at Milan, with renowned castrato Giovanni Carestini appearing in many of the performances, so the reaction to "Artaserse" is unlikely to have been completely unfavourable. He also wrote operas for other cities of Northern Italy in between Carnival seasons, including Turin and Venice, where his "Ipermestra" was given during November 1744 at the Teatro San Giovanni Crisostomo. Nearly all of his operas in this period were, like "Artaserse", set to Metastasio's texts, despite the poet's dislike for his style of composition.
In the early summer of 1730, Metastasio settled at Vienna in an apartment in the so-called 'Michaelerhaus'. This date marks a new period in his artistic activity. Between the years 1730 and 1740 his finest dramas, "Adriano in Siria", "Demetrio", "Issipile", "Demofoonte", "Olimpiade", "Clemenza di Tito", "Achille in Sciro", "Temistocle" and "Attilio Regolo", were produced for the imperial theatre. Some of them had to be composed for special occasions, with almost incredible rapidity: "Achille" in eighteen days, "Ipermestra" in nine. Poet, composer, musical copyist and singer did their work together in frantic haste. Metastasio understood the technique of his peculiar art in its minutest details. The experience gained at Naples and Rome, quickened by the excitement of his new career at Vienna, enabled him almost instinctively, and as it were by inspiration, to hit the exact mark aimed at in the opera.
In 1750 he abandoned Mingotti's group for another company established by a former member of the Mingotti troupe, Giovanni Battista Locatelli. The main effect of this was that Gluck returned to Prague on a more consistent basis. For the Prague Carnival of 1750 Gluck composed a new opera, "Ezio" (again set to one of Metastasio's works, with the manuscript located at the Lobkowicz Palace). His "Ipermestra" was also performed in the same year. The other major event of Gluck's stay in Prague was, on 15 September 1750, his marriage to Maria Anna Bergin, aged 18 years old, the daughter of a rich but long-dead Viennese merchant. Gluck seems to have spent most of 1751 commuting between Prague and Vienna.
Her operatic career began with performances at Parma and Bologna in 1716. By 1718 she was "virtuosa di camera" for the Prince of Parma at Venice. The following year she was at Dresden, singing for Antonio Lotti alongside Senesino and Margherita Durastanti. By 1721 she was back in Italy for the Florentine Carnival, and for the next 26 years travelled Europe, with performances in Madrid and possibly Frankfurt. Italy, however, was the nation where she spent most of her time, dividing the years between its various cities. Her career peaked in the late 1730s and 1740s, when she sang alongside such singers as Caffarelli; in 1744 she took the title role in Gluck's "Ipermestra" and did the same in 1748 in his "Semiramide riconosciuta", set to a libretto by Metastasio. This performance persuaded Metastasio of her merits, although previously he had been unenthusiastic, calling her a "grandissima nullità".
With "Demofoonte" in 1752, as Perez began his lengthy residence in Lisbon, the monumental idiom declined and a sentimental style gained increasing prominence, with a resultant clarity of texture, greater symmetry of phrase, frequent rhythmic motives and emphasis on the pathetic. Formal modifications include the frequent absence of ritornellos, truncated "da capo" arias, between five and nine accompanied recitatives and several small ensembles. Perez’s operas of the 1750s frequently display an orchestral mastery superior to that of the contemporary Italian opera school, incorporating features that during the 1740s he could only use in his church music. The strings are in three to five parts, the wind are often used for solo passages, and there is less doubling of the vocal parts and an increase in concertante passages. Among the better examples of this later manner are "Olimpiade", "Demofoonte", "Ipermestra" and "Alessandro nell’Indie" (1755 version).
Lampugnani left London during June 1744 after several very successful seasons. Lord Middlesex, then producing operas at the Haymarket Theatre, was faced with the task of bringing from the continent a comparable talent. Gluck came to London during the autumn of 1745. On January 7, 1746, La Caduta dei giganti with the libretto by the Abbate Francesco Vanneschi, was performed. It was in reality a pasticcio (made up of pieces from various operas) with arias borrowed from the composer's earlier operas, Tigrane, Ipermestra, and Sofonisba. The opera was repeated no more than five times, a clear case of failure. During March his Artamene was performed with arias from Demoföonte, Tigrane and Sofonisba, the libretto having been written by Bartolomeo Vitturi for Tommaso Albinoni (Venice, 1740) and arranged by Francesco Vanneschi for London. This opera was even less successful than the first.
In 1777, he travelled to Naples, where he composed for the Teatro di San Carlo. During this period, he worked with choreographer Charles le Picq to compose four "ballets d’action": "La Griselda" (1779, derived from the libretto by Apostolo Zeno), "I ratti sabini" (1780), "La bella Arsene" (1781), and "Tamas Kouli-Kan" (1781, an interpretation of Vittorio Amedeo Cigna-Santi's libretto). He also worked with Zeno on an opera seria, "Andromaca", in 1780. In addition, he composed two "mezzocarattere" ballets, "La sposa persiana" (1778) and "Il barbiere di Siviglia" (1781, based on the play by Pierre Beaumarchais). In Naples, he also worked with court librettist Luigi Serio on the composition of opere serie, producing "Ifigenia" (1779) and "Ipermestra" (1780).