The music of Sicily is created by peoples from the isle of Sicily. It was shaped by the island's history, from the island's great presence as part of Magna Grecia 2,500 years ago, through various historical incarnations as a part of the Roman Empire, then as an independent state as the Emirate of Sicily then as an integral part of the Kingdom of Sicily and later the Kingdom of the Two Sicilies, and, finally, as an autonomous region of the modern nation state of Italy.
Naples has played an important and vibrant role over the centuries not just in the music of Italy, but in the general history of western European musical traditions. This influence extends from the early music conservatories in the 16th century through the music of Alessandro Scarlatti during the Baroque period and the comic operas of Pergolesi, Piccinni and, eventually, Rossini and Mozart. The vitality of Neapolitan popular music from the late 19th century has made such songs as'O Sole mio and Funiculì Funiculà a permanent part of our musical consciousness.
The city of Venice in Italy has played an important role in the development of the music of Italy. The Venetian state—i.e. the medieval and Early Modern Maritime Republic of Venice—was often popularly called the "Republic of Music", and an anonymous Frenchman of the 17th century is said to have remarked that "In every home, someone is playing a musical instrument or singing. There is music everywhere."
As one moves away from Naples in almost any direction, there is prominent musical activity to be found. These include, for example, the restoration and use of a number of the so-called "Vesuvian villas" in and near Ercolano, a string of once luxurious villas built in the 18th century and severely damaged by aerial bombardment in World War II. The most prominent of these is the Villa Campolieto, already restored, open and the site of chamber concerts by the Alessandro Scarlatti association.
The Piedmont has played an important role in the development of music, in general, in Italy, due to the presence of medieval monasteries in that area, institutions that were great preservers of manuscripts in the Middle Ages as well as being geographically well located to connect to musical influences from northern Europe. As well, the political dominance of the Royal House of Savoy leading up to its eventual installation as the ruling dynasty of united Italy was important.
The music of Calabria is part of the Italian musical tradition. Like other regions in southern Italy, Calabria for many centuries was an integral part of the kingdom of Naples, and, as with other regions, the musical life tended to be overshadowed by the important activities in the capital city to the north—the conservatories there, the composers, the vast amount of music performed in churches. Yet, modern Calabria has developed a vibrant musical life based on its history and, as well, a dedication to building new musical and theatrical facilities, many of which are of the type termed polivalenti in Italian—that is, multi-purpose.
The Music of Emilia-Romagna has the reputation of being one of the richest in Europe; there are six music conservatories alone in the region, and the sheer number of other musical venues and activities is astounding. The region, as the name implies, combines the traditions of two different, contiguous areas—Emilia and Romagna—and it is perhaps this blend that contributes to the wealth of musical culture.
Besides Milan, the region of Lombardy has 10 other provinces, each named for the largest city and capital of the respective province: Bergamo, Brescia, Como, Cremona, Lecco, Lodi, Mantova, Pavia, Sondrio, and Varese. Musically, they offer:
Martina Franca, or just Martina, is a town and municipality in the province of Taranto, Apulia, Italy. It is the second most populated town of the province after Taranto, and has a population (2016) of 49,086. Since 1975, the town has hosted the annual summer opera festival, the Festival della Valle d'Itria.
Il barbiere di Siviglia, ovvero La precauzione inutile is a comic opera by Giovanni Paisiello to a libretto by Giuseppe Petrosellini, even though his name is not identified on the score's title page.
The Teatro Petruzzelli is the largest theatre of the city of Bari and the fourth Italian theatre by size.
Carmela Remigio is an Italian operatic soprano.
Luca Canonici is an Italian opera singer who has had an active career singing leading tenor roles both in Europe and his native Italy.
Fabio Ceresa is an Italian opera director and librettist.
The following is a timeline of the history of the city of Bari in the Apulia region of Italy.
Nicola De Giosa was an Italian composer and conductor active in Naples. He composed numerous operas, the most successful of which, Don Checco and Napoli di carnevale, were in the Neapolitan opera buffa genre. His other works included sacred music and art songs. His songs were particularly popular, bringing him fame as a salon composer both in Italy and abroad. De Giosa died in Bari, the city of his birth, at the age of 66.
Alvise Casellati is an Italian conductor.
Luigi Capotorti was an Italian composer of both sacred and secular music. He was the maestro di cappella of several Neapolitan churches; the composer of ten operas, five of which premiered at the Teatro San Carlo in Naples; and a teacher of composition and singing whose students included Stefano Pavesi and Saverio Mercadante. Born in Molfetta, he studied violin and composition at the Conservatorio di Sant'Onofrio in Naples and spent his entire career in that city. In his later years, Capotorti retired to San Severo, where he died at the age of 75.
The culture of Apulia, the region that constitutes the extreme southeast of the Italian peninsula, has had, since ancient times, mixed influences from the West and the East, due to its strategic position near the transition zone between these two cultural regions. Its location, on the west coast of the Adriatic and Ionian seas, the natural southern border between Western Europe and the Balkans and Greece, made it a bridge to the East since antiquity, and in the Middle Ages, it was a cultural frontier between the Roman-Germanic West and the Greek-Byzantine East.
