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<title>Top Tracks by Gaetano Donizetti on Rhapsody Online</title><link>http://www.rhapsody.com/goto?rcid=art.63181&amp;rws=%2Fgaetano-donizetti%2Ftop-tracks.rss</link><description>(born: Bergamo, 29 Nov 1797; died: there, 8 April 1848).&lt;br /&gt;
Italian composer. He was of humble origins but received help and a solid musical education (1806-14) from Mayr, producing apprentice operas and many sacred and instrumental works before establishing himself at Naples with La zingara (1822). Here regular conducting and a succession of new works (two to five operas a year) marked the real start of his career. With the international triumph of Anna Bolena (1830, Milan) he freed himself from Naples; the further successes of Lelisir damore and Lucrezia Borgia (1832, 1833, Milan), Marino Faliero (1835, Paris) and the archetype of Italian Romantic opera, Lucia di Lammermoor (1835, Naples), secured his pre-eminence. Some theatrical failures, however, as well as trouble with the censors and disappointment over losing the directorship of the Naples Conservatory to Mercadante, caused him to leave for Paris, where besides successful French versions of his earlier works he brought out in 1840 La fille du rÃÂÃÂ©giment and La favorite. His conducting of Rossini's Stabat mater (1842, Bologna) and enthusiasm in Vienna for Linda di Chamounix (1842) led to his appointment as Kapellmeister to the Austrian court. Declining health began to affect his work from this time, but in Don Pasquale (1843, Paris) he produced a comic masterpiece, and in the powerful Maria di Rohan (1843, Vienna), Dom SÃÂÃÂ©bastien, roi di Portugal (1843, Paris) and Caterina Cornaro (1844, Naples) some of his finest serious music. &lt;br /&gt;
Donizetti's reputation rests on his operas: in comedy his position has never been challenged but in the tragic genre, though his work sums up a whole epoch, no single opera can be considered an unqualified masterpiece. His works survive through the grace and spontaneity of their melodies, their formal poise, their effortless dramatic pace, their fiery climaxes and above all the romantic vitality underlying their artifice. Like Bellini, Donizetti epitomized the Italian Romantic spirit of the 1830s. Having imitated Rossini's formal, florid style for ten years (1818-28) he gradually shed heavily embellished male-voice parts, conceiving melodies lyrically and allowing the drama to determine ensemble structures. From 1839 his style was further enriched by fuller orchestration and subtler, more varied harmony. If he contributed nothing so distinctive to the post-Rossinian tradition as Bellini's 'heavenly' melody, he still showed a more fluent technique and a wider-ranging invention, from the brilliant to the expressive and sentimental. He was particularly responsive to the individual qualities of his singers, including Persiani (Lucia), Pasta and Ronzi de Begnis (Anna Bolena, Maria Stuarda, Roberto Devereux), the baritone Giorgio Ronconi and the tenors Fraschini and Moriani (Lelisir damore, Lucia). Although his practical facility and readiness to adapt scores themselves constructed of 'spare-part' set forms once brought criticism, since 1950 revivals and reassessment as well as a fuller understanding of the theatrical practices of his day have restored Donizetti to critical and popular favour.
- Henry B.</description><category>Opera</category><language>en</language><ttl>720</ttl><pubDate>Wed, 30 Dec 2009 03:32:42 -0800</pubDate><image>
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<title>Top Tracks by Gaetano Donizetti on Rhapsody Online</title>
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<description>(born: Bergamo, 29 Nov 1797; died: there, 8 April 1848).&lt;br /&gt;
Italian composer. He was of humble origins but received help and a solid musical education (1806-14) from Mayr, producing apprentice operas and many sacred and instrumental works before establishing himself at Naples with La zingara (1822). Here regular conducting and a succession of new works (two to five operas a year) marked the real start of his career. With the international triumph of Anna Bolena (1830, Milan) he freed himself from Naples; the further successes of Lelisir damore and Lucrezia Borgia (1832, 1833, Milan), Marino Faliero (1835, Paris) and the archetype of Italian Romantic opera, Lucia di Lammermoor (1835, Naples), secured his pre-eminence. Some theatrical failures, however, as well as trouble with the censors and disappointment over losing the directorship of the Naples Conservatory to Mercadante, caused him to leave for Paris, where besides successful French versions of his earlier works he brought out in 1840 La fille du rÃÂÃÂ©giment and La favorite. His conducting of Rossini's Stabat mater (1842, Bologna) and enthusiasm in Vienna for Linda di Chamounix (1842) led to his appointment as Kapellmeister to the Austrian court. Declining health began to affect his work from this time, but in Don Pasquale (1843, Paris) he produced a comic masterpiece, and in the powerful Maria di Rohan (1843, Vienna), Dom SÃÂÃÂ©bastien, roi di Portugal (1843, Paris) and Caterina Cornaro (1844, Naples) some of his finest serious music. &lt;br /&gt;
Donizetti's reputation rests on his operas: in comedy his position has never been challenged but in the tragic genre, though his work sums up a whole epoch, no single opera can be considered an unqualified masterpiece. His works survive through the grace and spontaneity of their melodies, their formal poise, their effortless dramatic pace, their fiery climaxes and above all the romantic vitality underlying their artifice. Like Bellini, Donizetti epitomized the Italian Romantic spirit of the 1830s. Having imitated Rossini's formal, florid style for ten years (1818-28) he gradually shed heavily embellished male-voice parts, conceiving melodies lyrically and allowing the drama to determine ensemble structures. From 1839 his style was further enriched by fuller orchestration and subtler, more varied harmony. If he contributed nothing so distinctive to the post-Rossinian tradition as Bellini's 'heavenly' melody, he still showed a more fluent technique and a wider-ranging invention, from the brilliant to the expressive and sentimental. He was particularly responsive to the individual qualities of his singers, including Persiani (Lucia), Pasta and Ronzi de Begnis (Anna Bolena, Maria Stuarda, Roberto Devereux), the baritone Giorgio Ronconi and the tenors Fraschini and Moriani (Lelisir damore, Lucia). Although his practical facility and readiness to adapt scores themselves constructed of 'spare-part' set forms once brought criticism, since 1950 revivals and reassessment as well as a fuller understanding of the theatrical practices of his day have restored Donizetti to critical and popular favour.
- Henry B.</description>
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<title>Ave Maria - Gaetano Donizetti</title>
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<pubDate>Thu, 13 Mar 1997 00:00:00 -0800</pubDate>
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<title>Lucia Di Lammermoor: Quando Rapito in estasio - Gaetano Donizetti</title>
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<pubDate>Tue, 1 Jan 1991 00:00:00 -0800</pubDate>
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<title>Lucia di Lammermoor: Act 3: Oh, giusto cielo! . . . Il dolce suono mi colpi di sua voce! - Gaetano Donizetti/The Metropolitan Opera</title>
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<pubDate>Sat, 29 Jan 1994 00:00:00 -0800</pubDate>
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<description><![CDATA[Lucia di Lammermoor: Act 3: Oh, giusto cielo! . . . Il dolce suono mi colpi di sua voce! - Gaetano Donizetti/The Metropolitan Opera]]></description>
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<title>L'Elisir d'amore: Act I: Caro elisir! Sei moi! - Gaetano Donizetti/The Metropolitan Opera</title>
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<pubDate>Sat, 16 Mar 1968 00:00:00 -0800</pubDate>
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<title>Donizetti: La fille du regiment: Overture - Gaetano Donizetti</title>
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<pubDate>Tue, 9 Jan 2001 00:00:00 -0800</pubDate>
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<title>Act I: Cavatina - Benedette queste carte... Della crudele Isotta - Gaetano Donizetti</title>
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<pubDate>Wed, 12 Apr 2000 00:00:00 -0700</pubDate>
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<title>Don Pasquale Sinfonia - Donizetti - Gaetano Donizetti</title>
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<pubDate>Fri, 16 Jan 2009 00:00:00 -0800</pubDate>
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<title>Act I: Terzetto - Tran tran tran... In guerra ed in amore - Gaetano Donizetti</title>
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<pubDate>Wed, 12 Apr 2000 00:00:00 -0700</pubDate>
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<source url="http://www.rhapsody.com/goto?rcid=art.63181&amp;rws=%2Fgaetano-donizetti%2Ftop-tracks.rss">Top Tracks by Gaetano Donizetti on Rhapsody Online</source>
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<source url="http://www.rhapsody.com/goto?rcid=art.63181&amp;rws=%2Fgaetano-donizetti%2Ftop-tracks.rss">Top Tracks by Gaetano Donizetti on Rhapsody Online</source>
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<source url="http://www.rhapsody.com/goto?rcid=art.63181&amp;rws=%2Fgaetano-donizetti%2Ftop-tracks.rss">Top Tracks by Gaetano Donizetti on Rhapsody Online</source>
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<title>La Fille du Régiment: Act 1: Pour mon âme, quel destin! - Gaetano Donizetti/The Metropolitan Opera</title>
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