Ignazio Marini (28 November 1811 – 29 April 1873) was a celebrated Italian operatic bass. He sang in the world premieres of several operas by Gaetano Donizetti, Saverio Mercadante, and Giuseppe Verdi and appeared as a guest artist in major opera houses throughout Europe and in New York City, Mexico City and Cairo.
A bass ( BAYSS) is a type of classical male singing voice and has the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4). Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the basso cantante (singing bass), basso buffo ("funny" bass), or the dramatic basso profondo (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German fach system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can overlap. Rare is the performer who embodies a single fach without also touching repertoire from another category.
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.
Giuseppe Saverio Raffaele Mercadante was an Italian composer, particularly of operas. While Mercadante may not have retained the international celebrity of Gaetano Donizetti or Gioachino Rossini beyond his own lifetime, he composed as prolific a number of works as either; and his development of operatic structures, melodic styles and orchestration contributed significantly to the foundations upon which Giuseppe Verdi built his dramatic technique.
Ignazio Marini was born in Tagliuno near Bergamo and made his stage debut in Brescia in 1832. In 1834 he became a principal singer at La Scala where he sang for the next thirteen years and created, amongst other roles, Guido in Donizetti's Gemma di Vergy (1834), Talbot in Donizetti's Maria Stuarda (1835), Enrico Gray in Vaccai's Giovanna Gray , and the title role in Verdi's Oberto (1839). He also created the title role in Verdi's Attila in its 1846 premiere at La Fenice.
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.
Brescia is a city and comune in the region of Lombardy in northern Italy. It is situated at the foot of the Alps, a few kilometres from the lakes Garda and Iseo. With a population of more than 200,000, it is the second largest city in the region and the fourth of northwest Italy. The urban area of Brescia extends beyond the administrative city limits and has a population of 672,822, while over 1.5 million people live in its metropolitan area. The city is the administrative capital of the Province of Brescia, one of the largest in Italy, with over 1,200,000 inhabitants.
La Scala is an opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the Nuovo Regio Ducale Teatro alla Scala. The premiere performance was Antonio Salieri's Europa riconosciuta.
Marini died in Milan in 1873 at the age of 61. His wife and frequent stage partner was the soprano Antonietta Marini-Rainieri.
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.
Dano Raffanti is an Italian tenor, particularly associated with the Italian baroque and bel canto repertory.
Carlo Baucardé or Boucardé (1825–1883) was an Italian operatic tenor who sang leading roles throughout Italy, as well as in London, Madrid, Paris, and New York. He is most remembered today for creating the role of Manrico in Verdi's opera Il trovatore and the title role in Donizetti's Poliuto.
Raffaele Mirate was a celebrated Italian operatic tenor who had an active career from the 1830s through the 1860s. Known for his intelligent phrasing and bright and powerful vocal timbre, he was regarded as an outstanding interpreter of the tenor roles in the early and middle period operas of Giuseppe Verdi. He notably created the role of the Duke of Mantua in the world premiere of Verdi's Rigoletto in 1851. He was also a highly regarded interpreter of bel canto roles, excelling in the operas of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini.
Carlo Guasco was a celebrated Italian operatic tenor who sang in Italian and other European opera houses from 1837 to 1853. Although he sang in many world premieres, he is most remembered today for having created the leading tenor roles in Verdi's I Lombardi alla prima crociata, Ernani, and Attila.
Gaetano Fraschini was an Italian tenor. He created many roles in 19th century operas, including five composed by Giuseppe Verdi. His voice was "heroic ... with a baritonal quality, ... yet Verdi and Donizetti appreciated his ability to sing softly and with subtlety." An Italian biographer has pointed out Fraschini's role in extending the longevity of Donizetti's operas, while at the same time accelerating the ascent of Verdi's repertory. He was indeed the most prominent singer who facilitated the transition from Donizetti to Verdi. Fraschini sang over one hundred roles and Verdi placed him at the top of his favorite tenors' list and described him as a "natural Manrico" for his Il trovatore. Fraschini also played a pivotal role in the success of many operas by Pacini and Mercadante.
Gottardo Aldighieri was an Italian operatic baritone who had a major opera career in Italy from 1858 to 1885. He possessed a powerful and beautiful voice and appeared on the stages of most of Italy's great opera houses. He sang a broad repertoire which encompassed works by Italian, French, and German composers. His vocal range was wide, which enabled him to tackle some tenor roles during his career, although he mostly stayed within the baritone repertory. The composer Luigi Arditi devoted his famous waltz song, Il bacio, to him. He was married to the soprano Maria Spezia-Aldighieri, who also had an important opera career in Italy. He is the great grandfather of singer George Aaron.
Marietta Sacchi was an Italian operatic soprano who had an active career during the 1820s and 1830s. She mainly performed in comprimario and soubrette roles, and appeared at most of Italy's major opera houses and at His Majesty's Theatre in London. She notably created roles in the world premieres of operas by Vincenzo Bellini, Gaetano Donizetti, Simon Mayr, Giovanni Pacini, Luigi Ricci, and Giuseppe Verdi. She also excelled in parts from the operas of Gioachino Rossini.
Raffaele Scalese (1800–1884) was an Italian operatic bass who specialized in the opera buffa repertoire. He was active in Italy's major opera houses from the mid-1820s up into the 1860s. He also appeared internationally in opera houses in Austria, Portugal, and France. The last years of his career were spent performing in Paris in the late 1860s where he remained after his retirement from the stage.
Nicolas-Prosper Dérivis was a French operatic bass. He possessed a rich deep voice that had a great carrying power. While he could easily assail heavy dramatic roles, he was also capable of executing difficult coloratura passages and performing more lyrical parts. Along with Nicolas Levasseur, he was one of the greatest French basses of his generation.
Erminia Frezzolini was an Italian operatic soprano. She excelled in the coloratura soprano repertoire, drawing particular acclaim in the bel canto operas of Gaetano Donizetti and Vincenzo Bellini. She was married to tenor Antonio Poggi from 1841-1846.
Antonio Selva was an Italian operatic bass who had an active international career from the 1840s through the 1870s. He was particularly associated with the works of Giuseppe Verdi.
Giacomo Roppa was an Italian operatic tenor who was active career in Italy's most important opera houses from the 1830s through the 1850s. He also made appearances at the Liceu in Spain. He is best remembered for creating the role of Jacopo Foscari in the world premiere of Giuseppe Verdi's I due Foscari in 1844.
Marianna Barbieri-Nini was an Italian operatic soprano who had an active career in Italy's major opera houses from 1840 through 1856. She also made appearances at the Liceu in Barcelona, the Teatro Real in Madrid, Her Majesty's Theatre in London, and at theatres in Paris. She possessed a powerful voice with coloratura facility and was known for her highly dramatic singing and acting. She was especially admired in the title roles of Gaetano Donizetti's Anna Bolena and Gioachino Rossini's Semiramide. She was also successful in the operas of Giuseppe Verdi, notably creating roles in the world premieres of three of his works.
Adelaide Borghi-Mamo was an Italian operatic mezzo-soprano who had an active international career from the 1840s through the 1880s. She was married to tenor Michele Mamo and their daughter, soprano Erminia Borghi-Mamo, also had a successful singing career.
Antonio Poggi was an Italian operatic tenor who had an active international career from 1827–1848. He is best remembered for creating roles in the world premieres of operas by Gaetano Donizetti and Giuseppe Verdi. He was married to soprano Erminia Frezzolini from 1841–1846.
Lodovico Graziani was an Italian operatic tenor. According to John Warrack and Ewan West, writing in The Oxford Dictionary of Opera: "His voice was clear and vibrant, but he lacked dramatic gifts." He is now mainly remembered for having created the role of Alfredo Germont in the world premiere of Giuseppe Verdi's La traviata in 1853.
Marc Bonnehée was a French opera singer who sang leading baritone roles at the Paris Opera (1853–1864) and at the Opéra de Toulouse.
Vincenzo Negrini was an Italian bass-baritone opera singer. Born in Cesena, he sang leading bass and baritone roles in Italy's major opera houses and created several roles in early 19th-century operas, most notably Oroveso in Bellini's Norma and Folco in Donizetti's Ugo, conte di Parigi. Severe heart disease caused him to retire from the stage in June 1840. He died in Milan two months later at the age of 35.
Vincenzo Galli was an Italian opera singer and impresario. Considered an outstanding basso buffo singer, he created many roles on Italian stages, including ones in two of Donizetti's operas: Ivano in Otto mesi in due ore and Cesare Salzapariglia in Le convenienze ed inconvenienze teatrali. Luigi Ricci composed the role of Michelotto in his opera Chiara di Rosembergh specifically for Galli's voice.
Francesco Regli (1802–1866) was an Italian writer best known today for his extensive biographical dictionary which chronicled the lives and careers of prominent figures in the performing arts in Italy from 1800 to 1860. Described as a "polygraph", Regli was also a poet, novelist, librettist, orator, theatre critic, and journalist. He was the founder and managing editor of several prominent journals of the time, including Il Pirata and Strenna Teatrale Europea.