Gianni di Parigi is an 1839 melodramma comico ( opera buffa ) in two acts with music by Gaetano Donizetti to a libretto by Felice Romani, which had previously been set by Francesco Morlacchi in 1818 and by Giovanni Antonio Speranza in 1836.
Melodramma is a 17th-century Italian term for a text to be set as an opera, or the opera itself. In the 19th-century, it was used in a much narrower sense by English writers to discuss developments in the early Italian libretto, e.g., Rigoletto and Un ballo in maschera. Characteristic are the influence of French bourgeois drama, female instead of male protagonists, and the practice of opening the action with a chorus.
Opera buffa is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as commedia in musica, commedia per musica, dramma bernesco, dramma comico, divertimento giocoso.
Domenico Gaetano Maria Donizetti was an Italian composer. Along with Gioachino Rossini and Vincenzo Bellini, Donizetti was a leading composer of the bel canto opera style during the first half of the nineteenth century. Donizetti's close association with the bel canto style was undoubtedly an influence on other composers such as Giuseppe Verdi.
It is derived from Jean de Paris, an 1812 opera by François-Adrien Boïeldieu with a libretto by Claude Godard d'Aucourt de Saint-Just, which had been performed in Naples in 1816.
Claude Godard d'Aucourt called de Saint-Just was a French librettist.
Naples is the regional capital of Campania and the third-largest municipality in Italy after Rome and Milan. In 2017, around 967,069 people lived within the city's administrative limits while its province-level municipality has a population of 3,115,320 residents. Its continuously built-up metropolitan area is the second or third largest metropolitan area in Italy and one of the most densely populated cities in Europe.
According to Charles Osborne, the research of Swedish musicologist Anders Wiklund suggests that Donizetti may have begun composing the music for the opera between 1828 and 1830 for a projected performance in Naples which did not occur. It is established with certainty that Donizetti completed the score in 1831, intending it as a vehicle for the popular tenor Giovanni Battista Rubini, who had created the role of Percy in Donizetti's Anna Bolena on 26 December 1830, and to whom Donizetti presented the completed score in 1831. Apparently Rubini did not seriously promote it with opera managements, but somehow it was acquired by Bartolomeo Merelli, who became impresario of La Scala in 1836 and despite the protests of Donizetti produced it there in 1839.
Charles Thomas Osborne was an Australian journalist, theatre and opera critic, poet and novelist. He was the assistant editor of The London Magazine from 1958 until 1966, literature director of the Arts Council of Great Britain from 1971 until 1986, and chief theatre critic of Daily Telegraph (London) from 1986 to 1991.
Giovanni Battista Rubini was an Italian tenor, as famous in his time as Enrico Caruso in a later day. His ringing and expressive coloratura dexterity in the highest register of his voice, the tenorino, inspired the writing of operatic roles which today are almost impossible to cast. As a singer Rubini was the major early exponent of the Romantic style of the bel canto era of Vincenzo Bellini and Gaetano Donizetti.
Anna Bolena is a tragic opera in two acts composed by Gaetano Donizetti. Felice Romani wrote the Italian libretto after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena and Alessandro Pepoli's Anna Bolena, both recounting the life of Anne Boleyn, the second wife of England's King Henry VIII.
Jeremy Commons, however, points out that Wiklund discovered that in Donizetti's autograph score in the Naples Conservatorio di Musica San Pietro a Majella the overture is clearly dated 1828. Commons notes that the opera's style fits better with florid operas of the 1820s such as Gianni di Calais than with the more romantic 1830s operas such as L'elisir d'amore , and Wiklund suggests that Neapolitan elements in the opera indicate that it was composed in Naples where Donizetti was active in the 1820s. A further score of 1832, with some revisions by the composer (including the omission of the Neapolitan elements), is located in the Casa Ricordi archives in Milan. This may be the score which Donizetti presented to Rubini, who presumably passed it through the hands of Giovanni Ricordi to Merelli.
Jeremy Paul Axford Commons is a New Zealand opera historian, scholar, impresario and librettist. He is an authority on nineteenth-century Italian opera and has published major works on the composers Gaetano Donizetti and Nicola Vaccaj.
The Naples Conservatory of Music is a music school located in Naples, Italy. It is situated in the complex of San Pietro a Majella.
Gianni di Calais is a melodramma semiserio, a "semi-serious" opera in three acts by Gaetano Donizetti (1828), from a libretto by Domenico Gilardoni, based on Jean de Paris by Louis-Charles Caigniez.
The sparkling overture includes a theme which is quite similar to that of Don Profondo's aria Medaglie Incomparabili from Il viaggio a Reims by Rossini.
Il viaggio a Reims, ossia L'albergo del giglio d'oro is an operatic dramma giocoso, originally performed in three acts, by Gioachino Rossini to an Italian libretto by Luigi Balocchi, based in part on Corinne, ou L'Italie by Mme de Staël.
The opera premiered on 10 September 1839 at the Teatro alla Scala in Milan, where it received twelve performances. There were seventeen further performances in 1845 at the Teatro Regio (Turin) and ten in 1846 at the Teatro San Carlo in Naples,but it was not staged subsequently until December 1985 in New York by the Vineyard Opera Shop, in a much reduced arrangement for piano, flute, clarinet and bassoon. It was revived by the Donizetti Festival in Bergamo in 1988 and 1991. A new production in 2010 at the Festival della Valle d'Itria at Martina Franca was revived by Wexford Festival Opera in October 2011.
The Teatro Regio is a prominent opera house and opera company in Turin, Piedmont, Italy. Its season runs from October to June with the presentation of eight or nine operas given from five to twelve performances of each.
The City of New York, usually called either New York City (NYC) or simply New York (NY), is the most populous city in the United States and in the U.S. state of New York. With an estimated 2017 population of 8,622,698 distributed over a land area of about 302.6 square miles (784 km2), New York is also the most densely populated major city in the United States. Located at the southern tip of the state of New York, the city is the center of the New York metropolitan area, the largest metropolitan area in the world by urban landmass and one of the world's most populous megacities, with an estimated 20,320,876 people in its 2017 Metropolitan Statistical Area and 23,876,155 residents in its Combined Statistical Area. A global power city, New York City has been described as the cultural, financial, and media capital of the world, and exerts a significant impact upon commerce, entertainment, research, technology, education, politics, tourism, art, fashion, and sports. The city's fast pace has inspired the term New York minute. Home to the headquarters of the United Nations, New York is an important center for international diplomacy.
Bergamo is a city in the alpine Lombardy region of northern Italy, approximately 40 km (25 mi) northeast of Milan, and about 30 km (19 mi) from Switzerland, the alpine lakes Como and Iseo and 70 km (43 mi) from Garda and Maggiore. The Bergamo Alps begin immediately north of the city.
|Role||Voice type||Premiere Cast, 10 September 1839|
(Conductor: - )
|The Princess of Navarre||soprano||Antonietta Marini-Rainieri|
|Il Gran Siniscalco, her seneschal||bass||Ignazio Marini|
|Gianni di Parigi, the disguised Dauphin of France||tenor||Lorenzo Salvi|
|Pedrigo, an inn-keeper||bass||Agostino Rovere|
|Lorezza, his daughter||mezzo-soprano||Marietta Sacchi|
|Oliviero, Gianni's page||contralto||Felicita Baillou-Hillaret|
|Followers of the Princess and of Gianni, waiters|
Pedrigo, an innkeeper from Provence, is preparing his inn for the arrival of the Princess of Navarre who ordered her lunch and lodging in advance, but before her arrival comes a rich citizen from Paris, Gianni, who pays him as twice as much and gets hold of the place. To everyone's surprise, when the princess arrives she accepts the situation with good humor - and that's because she recognizes Gianni as King Philip de Valois's son. Finally both princess and prince (after taking off his disguise) fall in love and are prepared to get married.
(La Principessa di Navarra,
Il Gran Siniscalco,
Gianni di Parigi, Pedrigo)
Opera House and Orchestra
|1988|| Luciana Serra,|
Italian Radio Symphony Orchestra and Chorus
(Recorded at performances at the Bergamo Festival, 18, 20, 22, 25 September)
|Audio CD: Nuovo Era|
Roberto de Candia,
| Giacomo Sagripanti,|
orchestra and Slovakian Choir of Bratislava
Cat: AB 20025
An autograph of the score is held at the Conservatorio di San Pietro a Majella in Naples. Since neither of the first two productions were supervised by Donizetti, it reflects changes made by other hands, which are evident from the differences in the two librettos and the presence of considerable non-autograph materials in the Naples score.There is also a score in the Ricordi Archives in Milan with significant autograph additions not found in the one in Naples.
Alahor in Granata is an opera in two acts by Gaetano Donizetti to an anonymous Italian libretto after Jean-Pierre Claris de Florian's text Gonzalve de Cordoue, ou Granade reconquise (1793). However, it seems that the original basis of the libretto goes back to one by Felice Romani written for Meyerbeer in 1821, which in turn can be traced back through another iteration to begin with the de Florian version.
Caterina Cornaro ossia La Regina di Cipro is a tragedia lirica, or opera, in a prologue and two acts by Gaetano Donizetti. Giacomo Sacchèro wrote the Italian libretto after Jules-Henri Vernoy de Saint-Georges' libretto for Halévy's La reine de Chypre (1841). It is based on the life of Caterina Cornaro, Queen of Cyprus from 1474 to 1489. It premiered at the Teatro San Carlo, Naples on 12 January 1844.
Ugo, conte di Parigi is a tragedia lirica, or tragic opera, in two acts by Gaetano Donizetti. Felice Romani wrote the Italian libretto after Hippolyte-Louis-Florent Bis's Blanche d'Aquitaine. It premiered on 13 March 1832 at La Scala, Milan.
Zoraida di Granata is a melodramma eroico, in two acts by Gaetano Donizetti. The Italian libretto had been partly prepared Bartolomeo Merelli, based on the French play, Gonzalve de Cordoue ou Grenade Reconquise by Jean-Pierre Claris de Florian (1791), and on a libretto by Luigi Romanelli to an opera by Nicolini called Abenamet e Zoraide.
Marino Faliero is a tragedia lirica, or tragic opera, in three acts by Gaetano Donizetti. Giovanni Emanuele Bidéra wrote the Italian libretto, with revisions by Agostino Ruffini, after Casimir Delavigne's play. It is inspired by Lord Byron's drama Marino Faliero (1820) and based on the life of Marino Faliero (c.1285-1355), the Venetian Doge.
Maria Padilla is a melodramma, or opera, in three acts by Gaetano Donizetti. Gaetano Rossi and the composer wrote the Italian libretto after François Ancelot's play. It premiered on 26 December 1841 at La Scala, Milan. The plot is loosely based on the historical figure María de Padilla, the mistress of Pedro the Cruel, King of Castile.
Gabriella di Vergy is an opera seria in two acts by Gaetano Donizetti written in 1826 and revised in 1838, from a libretto by Andrea Leone Tottola, which was based on the tragedy Gabrielle de Vergy (1777) by Dormont De Belloy. Prior to that, the play was itself inspired by two French medieval legends, Le châtelain de Coucy et la dame de Fayel and Le Roman de la chastelaine de Vergy.
Il castello di Kenilworth is a melodramma serio or tragic opera in three acts by Gaetano Donizetti. Andrea Leone Tottola wrote the Italian libretto after Victor Hugo's play Amy Robsart (1828) and Eugene Scribe's play Leicester, both of which following from Scott's novel Kenilworth (1821). Daniel Auber composed another opera on the same subject, Leicester, ou Le chateau de Kenilworth in 1823.
Antonietta Marini-Rainieri was an Italian operatic soprano active during the first half of the 19th century. She was married to lauded operatic bass Ignazio Marini and often appeared on stage with him. In 1835 she portrayed Giulietta opposite Amalia Schütz Oldosi as Romeo in the Teatro Regio di Parma's first staging of Vincenzo Bellini's I Capuleti e i Montecchi. At La Scala she portrayed roles in the world premieres of Giuseppe Verdi's first two operas: Leonora in Oberto (1839) and the Marchesa del Poggio in Un giorno di regno (1840). She also appeared at that house as the Princess of Navarra in the premiere of Gaetano Donizetti's Gianni di Parigi (1839). In 1843 she sang the title role in the premiere of Giovanni Pacini's Maria, regina d'Inghilterra at the Teatro Carolino in Palermo. She reprised that role in December 1843 at La Scala and at the Teatro Carlo Felice in February 1844.
Adelia, o La figlia dell'arciere is an opera in three acts by Gaetano Donizetti. The Italian libretto was written partly by Felice Romani and by Girolamo Maria Marini, a part-time poet who had achieved notability the previous year with Otto Nicolai's Il templario. The opera premiered at the Teatro Apollo, Rome on 11 February 1841.
Giovanni Tadolini was an Italian composer, conductor and singing instructor, who enjoyed a career that alternated between Bologna and Paris. Tadolini is probably best known for completing six sections of Rossini's 1833 version of the Stabat mater after the latter fell sick. However, he also composed eight operas as well as sinfonias, sonatas, chamber music, and numerous pieces of religious music and art songs.
L'ange de Nisida is an opera semiseria in four acts by Italian composer Gaetano Donizetti, from a libretto by Alphonse Royer and Gustave Vaëz.
Antonio Cagnoni was an Italian composer. Primarily known for his twenty operas, his work is characterized by his use of leitmotifs and moderately dissonant harmonies. In addition to writing music for the stage, he composed a modest amount of sacred music, most notably a Requiem in 1888. He also contributed the third movement, Quid sum miser, to the Messa per Rossini, a collaborative work created by thirteen composers to honor Gioacchino Rossini.
Una follia is a farsa in one act by composer Gaetano Donizetti. The work premiered on 15 December 1818 at the Teatro San Luca in Venice. The opera uses the same Italian-language libretto by Bartolomeo Merelli after August von Kotzebue's Der Graf von Burgund that Donizetti used for his Enrico di Borgogna a month earlier, but with different music. It was given one performance and "never performed again, and its score has never been found."
La romanziera e l'uomo nero is an 1831 one-act farsa with music by Gaetano Donizetti and an Italian libretto by Domenico Gilardoni, possibly based on the 1819 play La donna dei romanzi by Augusto Bon. Other suggested sources include L'homme noir (1820) by Eugene Scribe and Jean-Henri Dupin and Le coiffeur et le perruquier (1824) by Scribe, Édouard-Joseph-Ennemond Mazères and Charles Nombret Saint-Laurent.
Il borgomastro di Saardam is an 1827 melodramma giocoso in two acts by Gaetano Donizetti. The libretto, by Domenico Gilardoni, was based on the 1818 play Le bourgmestre de Sardam, ou Les deux Pierres by Mélesville, Jean-Toussaint Merle and Eugène Cantiran de Boirie. Albert Lortzing's 1837 opera Zar und Zimmermann is ultimately based, via a German translation, on the same French play. The plot concerns a famous episode in the life of Peter the Great, in which he disguised himself under an assumed name as a worker in the shipyards of Saardam, and has certain similarities to Donizetti's earlier 1-act farce Il falegname di Livonia.
Bartolomeo Merelli was an Italian impresario and librettist, best known as the manager of the La Scala Milan opera house between 1829 and 1850, and for his support for the young Giuseppe Verdi.
Fanny Eckerlin (1802–1842) was an Italian mezzo-soprano who also sang contralto roles. During her career she was highly regarded, drawing favorable comparisons to Benedetta Rosmunda Pisaroni, but today she is remembered, if at all, for her association with the early career of Gaetano Donizetti, including creating the title role in his first publicly-performed opera, Enrico di Borgogna.