This is a complete list of the operas of the Italian composer Giovanni Pacini (1796–1867).
Giovanni Pacini was an Italian composer, best known for his operas. Pacini was born in Catania, Sicily, the son of the buffo Luigi Pacini, who was to appear in the premieres of many of Giovanni's operas. The family was of Tuscan origin, and just happened to be in Catania when the composer was born.
Title | Genre | Acts | Libretto | Première date | Place, theatre |
---|---|---|---|---|---|
Don Pomponio | opera buffa | composed 1813, but unperformed | |||
Annetta e Lucindo | farsa | 1 act | Francesco Marconi | 17 October 1813 | Milan, Teatro San Radegonda |
La ballerina raggiratrice | opera buffa | Spring 1814 | Florence, Teatro alla Pergola | ||
L'ambizione delusa | opera buffa | 2 acts | Giuseppe Palomba | Easter 1814 | Florence, Teatro alla Pergola |
L'escavazione del tesoro | farsa | 1 act | Francesco Marconi | 18 December 1814 | Pisa |
Gli sponsali de' silfi | commedia | 2 acts | Francesco Marconi | 1814–15 | Milan, Teatro de' Filodrammatici |
Bettina vedova (Il seguito di Ser Marcantonio) | dramma giocoso | 2 acts | Angelo Anelli | Spring 1815 | Venice, Teatro San Moisè |
La Rosina | farsa | 1 act | Giuseppe Palomba | Summer 1815 | Florence, Teatro alla Pergola |
L'ingenua | farsa | 1 act | Francesco Marconi | 4 May 1816 | Venice, Teatro San Benedetto |
Il matrimonio per procura | dramma giocoso | 1 act | Giordano Scannamusa and Angelo Anelli | 2 January 1817 | Milan, Teatro Rè |
Dalla beffa il disinganno, ossia La poetessa (revised as Il carnevale di Milano) | farsa | 1 act | Gasparo Scopabirbe and Angelo Anelli | 1816–1817, revision 23 February 1817 | Milan, Teatro Rè |
Piglia il mondo come viene | dramma giocoso | 2 acts | Angelo Anelli | 28 May 1817 | Milan, Teatro Rè |
Adelaide e Comingio (also as: Isabella e Florange, Il comingio, Comingio pittore) | opera semiseria | 2 acts | Gaetano Rossi | 30 December 1817 | Milan, Teatro Rè |
Atala | opera seria | 3 acts | Antonio Peracchi after Chateaubriand | June 1818 | Padua, Teatro Nuovo |
Gl'illinesi | opera seria | Felice Romani | composed 1818, but unperformed | ||
Il barone di Dolsheim (also as: Federico II re di Prussia, Il barone di Felcheim, La colpa emendata dal valore) | opera semiseria | 2 acts | Felice Romani after Pigault Le Brun | 23 September 1818 | Milan, Teatro alla Scala |
La sposa fedele | opera semiseria | 2 acts | Gaetano Rossi | 14 January 1819 | Venice, Teatro San Benedetto |
Il falegname di Livonia | dramma giocoso | 2 acts | Felice Romani after Alexandre-Vincent Pineux Duval | 12 April 1819 | Milan, Teatro alla Scala |
Vallace, o L'eroe scozzese (also as: Odoardo I re d'Inghilterra) | opera seria | 2 acts | Felice Romani | 14 February 1820 | Milan, Teatro alla Scala |
La sacerdotessa d'Irminsul | eroico | 2 acts | Felice Romani | 11 May 1820 | Trieste, Teatro Grande |
La schiava in Bagdad, ossia Il papucciajo | dramma giocoso | 2 acts | Vincenzo Pezzi | 28 October 1820 | Turin, Teatro Carignano |
La gioventù di Enrico V (also as: La bella tavernara, ossia Le avventure d'una notte) | dramma giocoso | 2 acts | Filippo Tarducci | 26 December 1820 | Rome, Teatro Valle |
Cesare in Egitto | eroico | 2 acts | Jacopo Ferretti | 26 December 1821 | Rome, Teatro Argentina |
La vestale | opera seria | 2 acts | Luigi Romanelli after Victor-Joseph Étienne de Jouy | 6 February 1823 | Milan, Teatro alla Scala |
Temistocle | opera seria | 2 acts | Pietro Anguillesi after Metastasio | 23 August 1823 | Lucca, Teatro del Giglio |
Isabella ed Enrico | opera semiseria | 2 acts | Luigi Romanelli | 12 June 1824 | Milan, Teatro alla Scala |
Alessandro nelle Indie | opera seria | 2 acts | Giovanni Schmidt after Metastasio | 29 September 1824 | Naples, Teatro San Carlo |
Amazilia | opera seria | 1 act | Giovanni Schmidt | 6 July 1825 | Naples, Teatro San Carlo |
L'ultimo giorno di Pompei | opera seria | 2 acts | Andrea Leone Tottola after Edward Bulwer-Lytton | 19 November 1825 | Naples, Teatro San Carlo |
La gelosia corretta | opera semiseria | 3 acts | Luigi Romanelli | 27 March 1826 | Milan, Teatro alla Scala |
Niobe | opera seria | 2 acts | Andrea Leone Tottola | 19 November 1826 | Naples, Teatro San Carlo |
Gli arabi nelle Gallie, ossia Il trionfo della fede (revised 1855 as: L'ultimo dei clodovei) | opera seria | 2 acts | Luigi Romanelli after Charles-Victor Prévost d'Arlincourt | 8 March 1827 | Milan, Teatro alla Scala |
Margherita regina d'Inghilterra (also as: Margherita d'Anjou) | opera seria | 2 acts | Andrea Leone Tottola | 19 November 1827 | Naples, Teatro San Carlo |
I cavalieri di Valenza | tragico | 2 acts | Gaetano Rossi | 11 June 1828 | Milan, Teatro alla Scala |
I crociati a Tolemaide, ossia Malek-Adel (also as: La morte di Malek-Adel) | opera seria | 2 acts | Calisto Bassi | 13 November 1828 | Trieste, Teatro Grande |
Il talismano, ovvero La terza crociata in Palestina | opera storica | 3 acts | Gaetano Barbieri after Walter Scott | 10 June 1829 | Milan, Teatro alla Scala |
I fidanzati, ossia Il contestabile di Chester | romantico | 3 acts | Domenico Gilardoni after Walter Scott | 19 November 1829 | Naples, Teatro San Carlo |
Giovanna d'Arco | opera seria | Introduction and 4 acts | Gaetano Barbieri after Friedrich Schiller | 14 March 1830 | Milan, Teatro alla Scala |
Il corsaro | romantico | 2 acts | Jacopo Ferretti after Byron | 15 January 1831 | Rome, Teatro Apollo |
Il rinnegato portoghese (also as: Gusmano d'AlMayda) | opera seria | Luigi Romanelli | composed 1831, but unperformed | ||
Ivanhoe | opera seria | 2 acts | Gaetano Rossi after Walter Scott | 19 March 1832 | Venice, Teatro La Fenice |
Don Giovanni Tenorio, o Il convitato di pietra | farsa | 2 acts | Giovanni Bertati after Tirso de Molina | 1832 | Viareggio, Casa Belluomini |
Gli elvezi, ovvero Corrado di Tochemburgo | opera seria | 2 acts | Gaetano Rossi | 12 January 1833 | Naples, Teatro San Carlo |
Fernando duca di Valenza | opera seria | 1 act | Paolo Pola | 30 May 1833 | Naples, Teatro San Carlo |
Irene, o L'assedio di Messina | opera seria | 3 acts | Gaetano Rossi | 30 November 1833 | Naples, Teatro San Carlo |
Carlo di Borgogna | romantico | 3 acts | Gaetano Rossi | 21 February 1835 | Venice, Teatro La Fenice |
La foresta d'Hermanstadt | opera buffa | Uncertain | 1839 | Viareggio, private performances | |
Furio Camillo | tragico | 3 acts | Jacopo Ferretti | 26 December 1839 | Rome, Teatro Apollo |
Saffo | tragedia lirica | 3 acts | Salvadore Cammarano after Pietro Beltrame | 29 November 1840 | Naples, Teatro San Carlo |
L'uomo del mistero | opera semiseria | 2 acts | Domenico Andreotti after Walter Scott | 9 November 1841 | Naples, Teatro Nuovo |
Il duca d'Alba (also as: Adolfo di Werbel) | tragedia lirica | 2 acts | Giovanni Peruzzini and Francesco Maria Piave | 26 February 1842 | Venice, Teatro La Fenice |
La fidanzata corsa | tragico | 3 acts | Salvadore Cammarano after Prosper Mérimée | 10 December 1842 | Naples, Teatro San Carlo |
Maria, regina d'Inghilterra | tragedia lirica | 3 acts | Leopoldo Tarantini after Victor Hugo | 11 February 1843 | Palermo, Teatro Carolino |
Medea (revised for Vicenza in 1845) | melodramma tragico | 3 acts | Benedetto Castiglia after Euripides | 28 November 1843 | Palermo, Teatro Carolino |
Luisetta, ossia La cantatrice del molo di Napoli | commedia | 2 acts | Leopoldo Tarantini | 13 December 1843 | Naples, Teatro Nuovo |
L'ebrea | opera seria | 3 acts | Giacomo Sacchero after Eugène Scribe's libretto La juive for Fromental Halévy | 27 February 1844 | Milan, Teatro alla Scala |
Lorenzino de' Medici (revised as: Rolandino di Torresmondo) | tragedia lirica | 2 acts | Francesco Maria Piave after Alexandre Dumas, père | 4 March 1845 | Venice, Teatro La Fenice |
Bondelmonte [1] (later known as Buondelmonte) | tragedia lirica | 3 acts | Salvadore Cammarano after Voltaire | 18 June 1845 | Florence, Teatro alla Pergola |
Stella di Napoli | dramma lirico | 3 acts | Salvadore Cammarano | 11 December 1845 | Naples, Teatro San Carlo |
La regina di Cipro | dramma lirico | 4 acts | Francesco Guidi | 7 February 1846 | Turin, Teatro Regio |
Merope | tragedia lirica | 3 acts | Salvadore Cammarano after Vittorio Alfieri and Voltaire | 25 November 1847 | Naples, Teatro San Carlo |
Ester d'Engaddi | opera seria | 3 acts | Francesco Guidi after Silvio Pellico | 1 February 1848 | Turin, Teatro Regio |
Allan Cameron | opera seria | 4 acts | Francesco Maria Piave | 18 March 1848 | Venice, Teatro La Fenice |
L'orfana svizzera | opera semiseria | Francesco Rubino | 1848 | Naples, Teatro del Fondo | |
Zaffira, o La riconciliazione | opera semiseria | 3 acts | Achille de Lauzières | 15 November 1851 | Naples, Teatro Nuovo |
Malvina di Scozia | tragedia lirica | 3 acts | Salvadore Cammarano after Inès de Castro by Antoine Houdar de la Motte | 27 December 1851 | Naples, Teatro San Carlo |
L'assedio di Leida (also known as Elnava) | opera seria | composed in 1852(?), but unperformed | |||
Rodrigo di Valenza [2] | opera seria | composed for Carnival 1852-1853, but unperformed | |||
Il Cid | opera seria | 3 acts | Achille de Lauzières after Pierre Corneille | 12 March 1853 | Milan, Teatro alla Scala |
Lidia di Brabante [3] | opera seria | 3 acts | Cesare Perrini after Massimo d'Azeglio's Niccolò de' Lapi | 1853 | Palermo, Teatro Carolino |
Romilda di Provenza | opera seria | 3 acts | Gaetano Micci | 8 December 1853 | Naples, Teatro San Carlo |
La donna delle isole | opera seria | 3 acts | Francesco Maria Piave | intended for Carnival 1853-1854, but unperformed | |
La punizione [4] | opera seria | Giuseppe Cencetti and Cesare Perrini | 8 March 1854 | Venice, Teatro La Fenice | |
Margherita Pusterla | opera seria | 2 acts | Domenico Bolognese after Cesare Cantù | 25 February 1856 | Naples, Teatro San Carlo |
I portoghesi nel Brasile | opera seria | Achille de Lauzières | composed 1856, but unperformed? | For Rio de Janeiro, Teatro Italiano | |
Il saltimbanco | dramma lirico | 3 acts | Giuseppe Checchetelli | 24 May 1858 | Rome, Teatro Argentina |
Lidia di Bruxelles [5] | opera seria | 3 acts | Cesare Perrini after Massimo D'Azeglio's Niccolò de' Lapi | 21 October 1858 | Bologna, Teatro Comunale |
Gianni di Nisida | opera seria | 4 acts | Giuseppe Checchetelli | 29 October 1860 | Rome, Teatro Argentina |
Il mulattiere di Toledo | commedia lirico | 5 acts | Giuseppe Cencetti | 25 May 1861 | Rome, Teatro Apollo |
Belfagor | opera semiseria | Prologue and 4 acts | Antonio Lanari after Niccolò Machiavelli | 1 December 1861 | Florence, Teatro alla Pergola |
Carmelita [6] | opera seria | 3 acts | Francesco Maria Piave after Alexandre Dumas, père | composed 1863, but unperformed | |
Don Diego di Mendoza | opera fantastica | 3 acts | Francesco Maria Piave after Alexandre Dumas, père | 12 January 1867 | Venice, Teatro La Fenice |
Berta di Varnol | opera seria | 3 acts | Francesco Maria Piave | 6 April 1867 | Naples, Teatro San Carlo |
Niccolò de' Lapi | melodramma tragico | 3 acts | Cesare Perrini after Massimo D'Azeglio's Niccolò de' Lapi | 29 October 1873 | Florence, Teatro Pagliano |
Giuseppe Farinelli was an Italian composer active at the end of the 18th century and the beginning of the 19th century who excelled in writing opera buffas. Considered the successor and most successful imitator of Domenico Cimarosa, the greatest of his roughly 60 operas include I riti d'Efeso, La contadina bizzarra and Ginevra degli Almieri. More than 2/3 of his operas were produced between 1800-1810 at the height of his popularity. With the arrival of Gioachino Rossini his operas became less desirable with the public, and by 1817 his operas were no longer performed. His other compositions include 3 piano forte sonatas, 3 oratorios, 11 cantatas, 5 masses, 2 Te Deums, a Stabat mater, a Salve regina, a Tantum ergo, numerous motets, and several other sacred works.
Johann(es) Simon Mayr, also known in Italian as Giovanni Simone Mayr or Simone Mayr, was a German composer.
The Real Teatro di San Carlo, its original name under the Bourbon monarchy but known today as simply the Teatro di San Carlo, is an opera house in Naples, Italy. It is located adjacent to the central Piazza del Plebiscito, and connected to the Royal Palace.
Salvadore Cammarano was a prolific Italian librettist and playwright perhaps best known for writing the text of Lucia di Lammermoor (1835) for Gaetano Donizetti.
Filippo Galli was an Italian opera singer who began his career as a tenor in 1801 but went on to become one of the most acclaimed basses of the bel canto era, with a voice known for its wide range, extreme agility, and expressivity, and a remarkable gift for acting.
The Teatro San Moisè was a theatre and opera house in Venice, active from 1620 to 1818. It was in a prominent location near the Palazzo Giustinian and the church of San Moisè at the entrance to the Grand Canal.
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.
Giuseppe Fioravanti was an Italian opera singer active during the first half of the 19th century. Although one of the most important and popular basso buffos of his generation, there is only a relatively small amount of information available about his life. He had a highly fruitful partnership with the Teatro Nuovo in Naples and is best known today for creating roles in the world premieres of numerous operas by Gaetano Donizetti.
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.
Medea is an opera in three acts composed by Giovanni Pacini to a libretto by Benedetto Castiglia. It premiered on 28 November 1843 at the Teatro Carolino in Palermo, conducted by the composer with Geltrude Bortolotti in the title role. The libretto is based on the plays Medea by Euripides and Médée by Pierre Corneille.
The Teatro Santi Giovanni e Paolo was a theatre and opera house in Venice located on the Calle della Testa, and takes its name from the nearby Basilica of Santi Giovanni e Paolo, Venice. Built by the Grimani family in 1638, in its heyday it was considered the most beautiful and comfortable theatre in the city. The theatre played an important role in the development of opera and saw the premieres of several works by Francesco Cavalli, as well as Monteverdi's Il ritorno d'Ulisse in patria and L'incoronazione di Poppea.
Antonio Palomba (20 December 1705 - 1769) was an Italian opera librettist, poet, harpsichordist, and music educator. He also worked as a notary. Born in Naples, he became a teacher of the harpsichord at the Teatro della Pace in 1749. Most of his more than 50 opera libretti were comedic works written for composers of the Neapolitan school. He also wrote some works for performance in Florence, Bologna and abroad. He died in Naples in 1769; one of the victims of a fever epidemic in the city. Many of his libretti were set more than once to music, and composers continued to use his libretti up into the 1830s.
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.
The Teatro Carignano is a theatre in Turin and one of the oldest and most important theatres in Italy. Designed by Benedetto Alfieri, it is located opposite the Palazzo Carignano. Building commenced in 1752 and the theatre was inaugurated the following year with a performance of Baldassare Galuppi's opera, Calamità de' cuori. Much of the theatre was destroyed in a fire in 1786, but it was rebuilt in a few months using Alfieri's original plans. Since then it has undergone several renovations. Although today it is primarily used for performances of plays, in the past it was an important opera house. The theatre is owned by the City of Turin but administered by the theatre company, Teatro Stabile di Torino, and is one of the company's principal performing venues.
Carlo Negrini was an Italian spinto tenor and creator of Gabriele Adorno in Verdi’s opera Simon Boccanegra.
Filippo Coletti was an Italian baritone associated with Giuseppe Verdi. Coletti created two Verdi roles: Gusmano in Alzira and Francesco in I Masnadieri. Verdi revised the role of Germont in La traviata for Coletti, whose interpretation re-defined the role as it is known today. Filippo Coletti was, with Antonio Tamburini (1800–1876) and Giorgio Ronconi (1810–1890), one of the three leading baritones of 19th century Italy, an early model of a 'Verdi baritone'.
L'ultimo giorno di Pompei is an opera in two acts composed by Giovanni Pacini to an Italian libretto by Andrea Leone Tottola. It premiered to great success at the Teatro San Carlo in Naples on 19 November 1825 followed by productions in the major opera houses of Italy, Austria, France, and Portugal. When Pacini's popularity declined in the mid-19th century, the opera was all but forgotten until 1996 when it received its first performance in modern times at the Festival della Valle d'Itria in Martina Franca. L'ultimo giorno di Pompei influenced either directly or indirectly several other 19th-century works, most notably Karl Bryullov's 1833 painting, The Last Day of Pompeii.
Antonietta Fricci was an Austrian-born opera singer known for her performances in leading soprano and mezzo-soprano roles in the opera houses of Europe. She was married to the Italian tenor Pietro Neri-Baraldi from 1863 until his death in 1902.
Sebastiano Biancardi, known by the pseudonym Domenico Lalli, was an Italian poet and librettist. Amongst the many libretti he produced, largely for the opera houses of Venice, were those for Vivaldi's Ottone in villa and Alessandro Scarlatti's Tigrane. A member of the Accademia degli Arcadi, he also wrote under his arcadian name "Ortanio". Lalli was born and raised in Naples as the adopted son of Fulvio Caracciolo but fled the city after being implicated in a bank fraud. After two years wandering about Italy in the company of Emanuele d'Astorga, he settled in Venice in 1710 and worked as the "house poet" of the Grimani family's theatres for the rest of his career. In addition to his stage works, Lalli published several volumes of poetry and a collection of biographies of the kings of Naples. He died in Venice at the age of 62.
The Teatro Novissimo was a theatre in Venice located in the Campo Santi Giovanni e Paolo with its entrance on the Calle de Mendicanti. It was the first theatre built in Venice specifically for the performance of opera. Because it was purpose-built, it had a wider stage than its existing competitors which allowed for the elaborate productions which became the Novissimo's hallmark. The theatre opened in the Carnival season of 1641 with the premiere of Sacrati's opera La finta pazza. After its last production in 1645, the theatre was closed amidst mounting debts and was demolished in 1647.
Notes
Sources
The International Standard Book Number (ISBN) is a numeric commercial book identifier which is intended to be unique. Publishers purchase ISBNs from an affiliate of the International ISBN Agency.