Synonyms for torvaldo or Related words with torvaldo
Examples of "torvaldo"
e Dorliska" (1815). All would have been unknown to audiences in Naples.
e Dorliska (
and Dorliska) is an operatic dramma semiserio in two acts by Gioachino Rossini to an Italian libretto by Cesare Sterbini, based on "Les amours du chevalier de Faublas" by the revolutionary Jean-Baptiste Louvet de Couvrai, whose work was the source of the "Lodoïska" libretto set by Luigi Cherubini (1791), and "Lodoiska" set by Stephen Storace (1794), and Simon Mayr (1796).
e Dorliska" is a rescue opera with an eventual happy ending. The inclusion of buffo roles is the reason for its designation as a 'semiserio' work, similar to Rossini's "La gazza ladra".
Donzelli made his debut in his home town, in 1808, as a second tenor in an opera by Johann Simon Mayr. He soon moved to Naples and performed many roles there, including that of Cinna in a revival of Gaspare Spontini's "La Vestale". He became well known in 1815 when Rossini wrote for him the role of
e Dorliska", and when, the following year, he made his first appearance at the "Teatro alla Scala" as the protagonist of Ferdinando Paër's "Achille".
Verger was committed to La Scala from 1824–1826, giving lauded performances there in such Rossini roles as Argirio in "Tancredi",
e Dorliska", Rodrigo in "La donna del lago", and Idreno in "Semiramide". Other roles he portrayed at that house included Carlo in Giovanni Pacini's "Il barone di Dolsheim", Zepiro in Peter von Winter's "Maometto II", Duca di Lavarenne in Giacomo Meyerbeer's "Margherita di Anjou", Capellio in Nicola Vaccai's "Giulietta e Romeo", and a role in Ferdinando Paër's "Camilla". He also participated in the world premieres of Giuseppe Nicolini's "Aspasia ed Argide" (1824, Diamante), Carlo Evasio Soliva's "Elena e Malvina" (1824, Enrico), and Michele Carafa's "Il Sonnambulo" (1824, Ruggiero).
The opera tells the story of the love between the Knight
and his wife Dorliska, which is opposed by the terrible and violent Duke of Ordow, who is in love with Dorliska. In order to take her for himself, the Duke tries to kill
and, after their fight, leaves him for dead. Making her way to the Duke's castle but not knowing that it is his home, Dorliska is held prisoner, comforted only by Carlotta and her brother Giorgio, the keeper of the castle. After escaping an ambush,
enters the castle in disguise, but his identity is inadvertently revealed by Dorliska. The Duke then sentences him to death. Carlotta, Giorgio, and their friends conspire against the Duke to free the couple. Carlotta manages to steal the keys to Torvaldo's prison cell, and Dorliska embraces him again. However, the couple is discovered by the Duke, but before he can kill them, he is interrupted by the crowd entering the castle. The rebellious people capture the Duke and he is led away to prison and to his death.
and Dorliska are freed.
In addition to recordings with his home ensemble of Italian baroque works, De Marchi has recorded Rossini's "
e Dorliska" and "La pietra del paragone" (The Touchstone) with the Czech Chamber Soloists, Brno and conducted Mozart's "La clemenza di Tito" in Prague.
While the rescue opera was primarily a French genre, the two best-known operas in the genre are not French. Ludwig van Beethoven's "Fidelio" is by far the most famous example today, and was also influenced by the German "Singspiel". A work which is similar to "Fidelio" is Rossini's "
e Dorliska" of 1815.
As was his wont, Rossini borrowed music from some of his previous works, These included "Il Turco in Italia" (1814), "La pietra del paragone" (1812), and also from "
e Dorliska" (1815). None of these pieces would have heard by Naples' audiences of the time. However, musicologist Philip Gossett stresses that:
Rossini went back to his home in Bologna, where in June 1846 he was again visited by Pillet, who was accompanied by librettist Gustave Vaëz, and Louis Niedermeyer. The result (which also involved Vaëz's regular collaborator Alphonse Royer as co-librettist) was "Robert Bruce", an elaborate pasticcio, based on music not only from "La donna del lago" and "Zelmira", but also from "Bianca e Falliero", "
e Dorliska", "Armida", "Mosè in Egitto", and "Maometto II". Niedermeyer apparently wrote the necessary recitatives.
Dynamic has recorded on DVD several live opera performances at La Fenice — "Il crociato in Egitto", "Le roi de Lahore", "Maometto secondo", "Thaïs", "Pia de' Tolomei", "Didone", "Death in Venice", "Les pêcheurs de perles", and Baldassare Galuppi's rarely performed "L'Olimpiade". For the Rossini Opera Festival in Pesaro, they have recorded on DVD "L'equivoco stravagante", "Ermione", "La gazza ladra", "
e Dorliska", "Bianca e Falliero", "L'italiana in Algeri", and on CD "La cambiale di matrimonio" and "Il turco in Italia". Dynamic's other recordings include:
and Dorliska" was first performed at the Teatro Valle, Rome, on 26 December 1815. It remained in the repertory and appeared in several Italian cities including Venice for the next twenty five years, though it was never a great critical success. While there were no productions staged in London nor New York, it was staged in ten European cities in the ten years after its Rome premiere.
Possessing a deep knowledge of classical and contemporary culture, philosophy, linguistics, he was fluent in Greek, Latin, Italian, French and German. He is best known as the librettist for two operas by Gioachino Rossini: "
e Dorliska" (1815) and "The Barber of Seville" (1816). An official in the Pontifical Administration, he also set poetry to music as an amateur. He wrote the libretto to the opera "Il Contraccambio" to the music of Giacomo Cordella in 1819, and the opera "Isaura and Ricciardo" to the music of Francesco Basili in 1820.
Throughout the early 19th century, the Valle was regularly staging "opera buffa" and "opera semiseria" as well as prose comedies and, increasingly after 1830, serious melodramas. A number of operas during this time were premiered at the Valle, including Rossini’s "Demetrio e Polibio" (1812), "
e Dorliska" (1815), and "La Cenerentola" (1817); Mercadante’s "Il geloso ravveduto" (1820); Donizetti’s "L'ajo nell'imbarazzo" (1824), "Olivo e Pasquale" (1827), "Il furioso all’isola di San Domingo" (1833), and "Torquato Tasso" (1833); Pacini’s "La gioventù di Enrico V" (1820); and Luigi Ricci’s "L’orfana di Ginevra" (1829), "Il sonnambulo" (1829), and "Chi dura vince" (1834), as well as many lesser known works from local composers.
The second possible solution involved the baritonal tenor, but this did not suit the Belcanto-style taste of coeval composers, who shared the traditional dislike for this vocal timbre, as it was considered vulgar at the time. The companies' choices were, as always, limited to the singers available to the various theatres, so this second solution was resorted to when there was no alternative. Rossini, for instance, had recourse to a baritenor as a lover in "Elisabetta, regina d'Inghilterra", at a time when his company included two major singers of that type, and also for "
e Dorliska" and "Armida", where, beside the amatory protagonist, "Rinaldo", created by the very prince of Rossini baritenors, Andrea Nozzari, there appear additionally five or six baritonal tenors in secondary roles.
Ivanhoé is an 1826 pastiche opera in three acts with music by Gioachino Rossini to a French-language libretto by Émile Deschamps and Gabriel-Gustave de Wailly, after Walter Scott's novel of the same name. The music was adapted, with the composer's permission, by the music-publisher Antonio Pacini from Rossini's operas, namely "Semiramide", "La Cenerentola", "La gazza ladra", and "Tancredi" in order to introduce his music to Paris. An examination of the score shows that Pacini also used music from "Bianca e Faliero", "Armida", "Maometto II", "Aureliano in Palmira", "Sigismondo", "
e Dorliska", "Mosè in Egitto" and an amount of newly composed music including fanfares and the gallop that was later to become famous from its inclusion in "Guglielmo Tell". The work was premiered on 15 September 1826, at the Odéon Theatre.
In 1818, Madame Catalani's "privilège", or royal permission to perform, was revoked, and the theatre shut down. It was then decided to hand over administration of the theatre, now known as the Théâtre Royal Italien, to the Academie Royale de Musique (as the Paris Opéra was known at that time), while maintaining the autonomy of each establishment. Paër again served as director from 1819 to 1824 and 1826 to 1827. From 1819 to 1825 the company performed at the Salle Louvois, which only accommodated 1100 spectators. Several Paris premieres of Rossini operas were given there: "Il barbiere di Siviglia" (26 October 1819), "
e Dorliska" (21 November 1820), "Otello" (5 June 1821), and "Tancredi" (23 April 1822). His operas were so popular, that some of his Paris premieres were given at the larger Salle Le Peletier, including "La gazza ladra" (18 September 1821), "Elisabetta, regina d'Inghilterra" (10 March 1822), "Mosè in Egitto" (20 October 1822), and "La donna del lago" (7 September 1824, produced under Rossini's supervision).
In 1836 Scalese made his debut at La Scala in Milan as Gottofredo in Pietro Antonio Coppola's "La festa della rosa". He performed regularly at that house over the next five years. In 1836-1837 he portrayed Don Paparo in Luigi Felice Rossi's "Gli avventurieri", Prosdocimo Ficcanaso in Ferdinando Orlandi's "La dama soldato", and Taddeo in Gioachino Rossini's "L'italiana in Algeri" in Milan. In 1838 he was heard at La Scala as Giorgio in Rossini's "
e Dorliska", Marchese in Coppola's "Il Postiglione di Longjumeau", and Tom in Federico Ricci's "La prigione di Edimburgo". In 1840 he portrayed Barone di Kelbar in the world premiere of Giuseppe Verdi's "Un giorno di regno", Cedrico in Otto Nicolai's "Il templario", Sergeant Sulpice in the Italian premiere of Donizetti's "La fille du régiment", and the title role in Alessandro Speranza's "I due Figaro" in Milan. In 1841 he sang the roles of Dr Dulcamara in Gaetano Donizetti's "L'elisir d'amore" and Ghiringhello in the world premiere of Placido Mandanici's "Il buontempone di Porta Ticinese" at La Scala. After an 8 year absence from the house, he returned to Milan in 1849 to perform the role of the Marquis de Boisfleury in Donizetti's "Linda di Chamounix". He returned to La Scala again in 1854-1855 to sing Basilio in Rossini's "The Barber of Seville", a role with which he was closely associated.
Galli was born in Rome, the younger brother of Filippo Galli, an even more famous bass. Vincenzo was sometimes referred to as "il Galli minore" (the minor Galli). He made his stage debut at the Teatro Argentina in Rome in 1819 as Eugaro in Giuseppe Nicolini's " Giulio Cesare nelle Gallie" and his La Scala debut in 1824 as Giorgio in Rossini's "
e Dorliska" with his brother Filippo as the Duke of Ordow. Galli was very active in Italian opera houses, primarily at La Scala, throughout the 1820s and 30s when he sang in numerous world and Italian premieres. He sang in Lisbon in the 1842/43 season at the Theatro de São Carlos, primarily in Donizetti operas, and then returned to Milan for the 1844/45 season at the Teatro della Canobbiana where he sang in several Rossini and Donizetti operas. In the 1840s he also formed his own travelling opera company which Jacopo Foroni joined as the conductor in 1848. While the company was in residence at Stockholm's Mindre Theatre, it premiered Foroni's opera "Cristina, regina di Svezia".
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