Main article: Music in Russia in the XVIII century
Biography
1767: Opera "Chinese Idol" premieres in Naples
In the spring of 1767, Paisiello's musical comedy Chinese Idol was presented at the New Teatro Nuovo. The libretto was written by Giovanni Baptiste Lorenzi (1719-1807).
The production was a huge success, the premiere was attended by the Neapolitan king Ferdinand IV. Later, at the carnival in Venice, the scene of the procession of the "Chinese idol" surrounded by priests was presented.
1776
Appointment as Chief Bandmaster of Catherine II
In 1776, Count Semyon Romanovich Vorontsov was being treated in Italy, who met the composer Giovanni Paiziyello and persuaded him to leave for Russia. The letter of Catherine II to Grimm bluntly says: "It was Count Vorontsov who praised him, so I wished to hear him; however, in music I am no longer advanced than before... "[1].
July 28, 1776 from Naples with his young wife Cecilia Pallini, the composer went to St. Petersburg, where he arrived in early September.
Paisiello's contract included a clause "that Paisiello has an advantage over his colleagues, bandmasters: this is the provision of an apartment for him for four months a year in Tsarskoye Selo" [2]. There was also a clause in the contract... " commission of the musical education of Grand Duchess Maria Fedorovna, "the wife of the heir to Pavel Petrovich.
First performance in Tsarskoye Selo
November 24, 1776 Paisiello first arrives in Tsarskoye Selo. Here's how this day's episode is described in the Chamber-Fourier magazine:
"At noon, at half past 6 o'clock, Her Imperial Majesty and His Imperial Highness deigned to go to the Picture Hall, where the concert began, with ordinary Italian music with singers, at which the newly visiting bandmaster played the newly composed cantata on wind music" [3].
That evening, when the empress entered the Picture Hall, Giovanni Paiziyello showed her his frozen hands, as the invited musicians waited for the start of the concert in a cold vestibule. The empress asks to bring the maestro a fur clutch decorated with six large diamonds, asking to hold her hands in it to warm [4]
Collections of cantatas [5] have been preserved[6] by Paisiello, performed at court, giving the opportunity to judge what court chamber music was at that time. Cantata performed that evening in Tsarskoye Selo - Cantata a tre Voci com Cori (Cantata for three voices with a choir) performed by two sopranos, a tenor, a choir and an orchestra. Compositionally, cantatas and serenades are either one-part or two-part. Each part includes from four to six numbers - recitatives. Choirs are usually heard at the beginning of the cantata and in conclusion.
The first soprano, Caterina Bonafini (1750-1800), was a decoration of the court scene and highly regarded by the bandmaster. The second soprano, Martha Crolevna. Traetta and Paisiello admired her voice. Tenor, Antonio Amati (? - after 1802) served in the Italian troupe from 1758, held the first roles in large operas and court concerts.
The speech in Tsarskoye Selo was attended by the Parisian correspondent of Empress M. Grimm, who called Paisiello "Vesuvius." In his letters, Grimm will ask Catherine II to send him all the scores, "which he writes and will also write" Vesuvius "Paisiello...."
1777
New opera "Nitteta" staged in St. Petersburg
In 1777, Paisiello made his debut in St. Petersburg with the new opera Nitteta. Work on it began in the fall of 1776. The premiere took place on January 17, 1777 in the presence of the empress. On January 20, a second time was staged: "In the continuation of the opera in the second action, Her Imperial Majesty deigned to sit down to play cards in the same box with Prince A.M. Golitsyn and Chamberlain A.Yu. Naledinsky." The third time the opera "Nitteta" was staged on January 24: "Upon arrival before the start of the music of Her Imperial Majesty" deigned to sit down to play cards in the same box.... " Catherine II did not like and did not understand the serious music of the opera series.
The production of "Nitteta" was a huge event in terms of the scale of the performance. 144 people participated in it, including 6 soloists, 32 singers, 24 ballet dancers, 60 extras soldiers, 22 regimental musicians. The main part was performed by Katerina Bonafini. She received diamonds from the empress, and the rest of the participants in the performance received cash gifts.
Opera "Lucinda and Armidor"
In the summer of 1777, Paisiello lives in Tsarskoye Selo, where he works on a new opera. From a letter from Catherine II to M. Grimm: "Paisiello's opera will be given only in September, and for a minute he walks here and says that he is crazy about my garden, good from day to day; they arrange a road to big Caprice, which seems to me magnificent, but still in the imagination, because only two rows of lawn have not yet been planted and laid on it. "
The opera referred to in the letter is called "Lucinda and Armidor." The premiere took place in St. Petersburg on October 24, 1777 in the presence of the empress and she liked it. In a letter to Grimm, Catherine II wrote: "Paisiella's opera was a lovely thing, I was the ear for this opera, despite the natural insensitivity of my eardrum for music. A musician arrived who is very strange, the music itself, which he wrote, makes me laugh. "
Concerts in Tsarskoye Selo
At this time, the bandmaster also directs concerts "the same as in St. Petersburg with singers and musicians." Concerts were usually held in the Chinese Hall with Italian instrumental and vocal music. The manuscript department of the State Public Library named after M.E. Saltykov-Shchedrin contains copies of two collections of "divertissements" by D. Paisiello, written by him in Russia from 1776 to 1783. The first collection consists of four issues (concerts) of a pastoral nature, which were performed under the direction of the bandmaster in Tsarskoye Selo. Each concert has its own name:
- La Diana (Diana)
- Il mezzo giorno (Noon)
- Il tramontar del sole
- L'andare a letto.
The second collection is small pieces (twelve of them) for the wind ensemble and belong to the type of so-called "table" music, which was usually accompanied by meals in the presence of the empress. It consists of an ensemble (septet) usually of two flutes, two clarinets, two horns and a bassoon.
Teaching music maids of honor E. Senyavina and A. Levshina
On September 2, 1777, in the White Portrait Room of the Catherine Palace in Tsarskoye Selo, a concert was held "with the singing of maids of honor E.A. Senyavina and A.P. Levshina in Italian on clavecins." Giovanni Paiziyello taught the empress's maid of honor not only Italian singing and playing the harpsichord, but also composing [7] the [8]. The bandmaster accompanied the singers, his students on the harpsichord.
1778
New opera "Achilles on Sciros"
January 26, 1778 Catherine II in the opera house in St. Petersburg attended the performance of the new opera by D. Paisiello "Achilles on Sciros."
Serenade "Surprise of the Gods" for Potemkin
On February 15, 1778, Paisiello serenaded the Surprise of the Gods at the request of Grigory Potemkin. In the hall was "presented the Alimpian Mountain, on which the Italians sang arias" [9].
Concerts in Tsarskoye Selo
In the summer of 1778, D. Paisiello lives in Tsarskoye Selo and is still organizing concerts. On May 3, a concert "with ordinary music" was held in the Admiralty building. Catherine II, Imperial Highnesses, Duchess of Courland, Cavaliers and Ladies-in-Waiting were in attendance.
From Empress M. Grimm's letter: "Paisiello will tell you what role he plays in the concert, which he sometimes arranges and upsets in his own way, how he comes to ask that he be played, what he likes...."
1779
Production of "Imaginary Philosophers" in the Small Hermitage and Tsarskoye Selo
February 3, 1779 the first performance of D. Paisiello's opera "Imaginary Philosophers" based on the libretto by Giovanni Bertati (1735-1815) "Visionaries" took place. Here is how Empress M. Grimma described this opera after watching:
"Paisiello yesterday treated me at my theater in the Hermitage to a comic opera in my taste, composed at three weeks and hilarious until it is impossible... there is an aria in which the cough is set to music... a scene that no living soul can stand without laughter. "
The second production of "Imaginary Philosophers" took place on July 29, 1779 "in the newly built opera house" in Tsarskoye Selo in the presence of Catherine IIKFJ [10]. After the presentation, the empress opt repeats, "that she laughed until she fell over the same aria and another, which began with the words:
Salve tu, domine: Argatiphontidas Tibi saluten Mittir per me...
I wash this aria so well that at a masquerade on July 22, I approached Paisiello, singing his aria to him, which he did not fail to show off to his acquaintances. "
On the theme from Paisiello's opera Imaginary Philosophers, Mozart wrote variations for the clavier, which he himself performed in a concert on March 23, 1783.
Production of the opera "Demetrio" at the Chinese Theater of Tsarskoye Selo
On April 19, 1779, the empress in Tsarskoye Selo personally writes a note to I.P. Elagin: "Ivan Perfilievich, the opera Dimitriya, which was made by bandmaster Paisiello with everything, order to be given at the local theater after six weeks, and when the decoration of this theater is over; and another opera can be prepared by the mentioned bandmaster gradually by his time. "
"Local Theater" is the Chinese Theater, which in the summer of 1779 opened in Tsarskoye Selo on the territory of the upper garden. The opera series "Demetrio" in three acts on the libretto of Metastasio, was staged by D. Paisiello in 1770 in Modena. In 1779, in Tsarskoye Selo, the composer revised this opera, and now it is recorded in the list of operas staged by him in Russia as "Demetrio, an opera series reduced to two actions with other music" ("Dmitry Artaxerks").
There is another evidence that the opera Demetrio was rewritten. The Neapolitan king Ferdinand IV repeatedly reminded Vice-Chancellor Ivan Andreevich Osterman through the plenipotentiary ambassador to Naples A.K. Razumovsky of the desire to have all the works of Paisiello that he would compose in Russia. The Archive of Foreign Policy of the Russian Empire preserved a list of operas rewritten by the court copyist Gasparo Pori by order of the composer for the Neapolitan king. Under the seventh number is "Opera Demetrio in due atti."
On June 13, the opera Demetrio, translated into Russian by I.A. Mitrevsky, was presented at the Chinese Theater on the occasion of the birthday of Grand Duke Konstantin Pavlovich. The empress was present, and Their Imperial Majesty, in the middle front bed, Grand Duke Alexander Pavlovich.
Actors:
- Cleonisa, Queen of Syria - Ms. Bonafina
- Alceste, the lover of Cleonisa, who is then recognized by Dimitri as king of Syria - G. Kopanuchi
- Fenicius, nobleman, guardian of Alceste - G. Babini
- Olint, nobleman, son Fenitsiev and rival Alceste - G. Porry
- Baraeva, Cleonisa's confidante and Olint's mistress - Ms. Senkovskaia
- Mitran, the leader of the royal bodyguards, a friend of Finicia - G. Amati.
The opera Demetrio was staged again in Tsarskoye Selo on June 16, the performance was attended by Count Semyon Romanovich Vorontsov, who was in friendly correspondence with the composer.
Opera "Chinese Idol" in Tsarskoye Selo
On August 15, 1779, a program in French and Russian "Chinese Idol. Burlesque drama in music is presented in the new Zarsco Selo. "
- Music by Mr. Paisiello
- Ballets staged by Mr. Kantsiani
- Music of Mr. Canobio's ballets
- Sets by Mr Bigarri
- Mr. Brigonzi's Invention Machines
- Mr. Gennaro's costumes.
On August 19, the empress with her retinue and heir deigned "to follow to the Opera House (Chinese Theater) and watch the newly composed Italian opera presented, called the" Idol of China "with ballets" [11].
On August 25, the production of the opera was repeated in the same hall in the presence of the empress and heir to the throne.
In the following 1780, the opera was again staged at the Chinese Theater in the presence of Their Imperial Highnesses. Before the end of the opera, Count Falkenstein (Austrian Emperor Joseph II) arrived at the theater, as reported not only by the CPF, but also by a note in the Belgian Political Newspaper, published in the province of Luxembourg.
Teaching maid of honor Sinyavina and dedicating her a concert for chembalo and a collection of canzonettes
On August 20. 22 and 23, 1779, in the "Picture Room" of the Tsar's Village, Empress Ekaterina II deigned to play cards. "In continuation of this, Mrs. Maid of Honor Katerina Alekseevna Sinyavina and bandmaster Paisielli played clavicords and sang." Ekaterina Sinyavina in the 1770s was not only a singer and harpsichordist, but also the author of several instrumental works. She was a student of Paisiello and he highly appreciated her performing abilities as a harpsichordist and dedicated to her the "Concert for Chembalo" (harpsichord). The title page contains the surname Sinyavina, it can be assumed that it was composed until 1781, when she became Countess [12] of the [13].
Another work by D. Paisiello dedicated to Sinyavina has been preserved. This is a collection of canzonettes composed for a vocal duet with piano accompaniment to poems by Pietro Metastasio. A copy of the work was sent by the composer to the Neapolitan queen Maria Carolina.
On August 23, the empress writes in a letter to M. Grimm: "I am very glad that Quarengi will come with her wife, this will decorate the society of Madame Paisiello, who walks almost always alone in my garden, I would like her to have a companion" [14]. This suggests that the bandmaster, as in previous years, lives in the summer in Tsarskoye Selo.
Production of the opera buff "The Ridiculed Bridegroom" in Tsarskoye Selo
In 1779, D. Paisiello began cooperation with the librettist Giovanni Batista Casti (1724-1803), who arrived in St. Petersburg with the Austrian minister. The composer wrote on one of Casti's libretto opera-buffa La Sposo burlato ("The Ridiculed Bridegroom"), performed in 1779 at the Tsarskoye Selo [15]. The opera has another name - "Grumpy Husband" [16]. In the same year, the text of the opera was printed in Russian at the printing house of the Academy of Sciences.
1780
On April 24, 1780, Catherine II decided to hold performances in Tsarskoye Selo every Monday.
On May 9, the empress leaves Tsarskoye Selo for Mogilev to meet with the Austrian emperor Joseph II. On May 25, 1780, the new intermezzo Paisiello "Pretending to Be in Love" (La Finta amante) [17].
1781
Letter with claims to Catherine II
Five years after his arrival in St. Petersburg, in a personal letter to Catherine II of February 7, 1781, the composer dared to recall promises that he had been given at the conclusion of the contract: "It has been about four or five years since Your Majesty deigned to offer me, through Prince Potemkin, to do at my expense the staging of Italian opera-buffa performances for the public, assigning me a reward of 8 thousand rubles a year and a theater room for this business, pledging to pay separately in the indicated theater a box intended exclusively for Your Majesty. Having received these proposals from his grace Prince Potemkin, I immediately presented to the prince my considerations in writing to provide them for consideration to Your Majesty, but to this day I have no conclusion on them. "[18].
Creation of the opera "Maid-mistress" to the name of Alexander Pavlovich in Tsarskoye Selo
In September 1781, Empress Catherine II celebrated in Tsarskoye Selo the name of her beloved grandson, Grand Duke Alexander Pavlovich (future Alexander I). For this event, Paisiello prepared the opera "Maid-mistress." The heroine of the opera is Serpin's handmaid. With cunning, dexterity and charm, she wins the heart of her clumsy lord Uberto, an aristocrat who can only submit and surrender.
1788: Opera "Love with Obstacles, or the Mill"
In 1788, Paisiello wrote the buffa opera 'L'amor contrastato, o sia La molinarella' "Love with Obstacles, or the Mill," in three acts on the libretto by Giuseppe Palomba.
Plot:
Baron Calloandro, who was about to marry Baroness Eugenia, and Judge Rospolon fall in love with the charming miller Rakelin. They are uncomfortable to reveal their feelings to the millers themselves, and they entrust this to the notary Pistofolo. But he does not like it, since he himself is in love with Rakelina. The miller does not know how to get rid of annoying cavaliers. In addition, she is pursued by a jealous baroness who suspects the baron of infidelity. After comic dressing and buffoon scenes, Rakelina gives her hand to Pistofolo, who, out of love for the beauty, is ready to become a miller. The Baroness forgives her frivolous fiancé and the opera ends with preparations for two weddings.
List of Paisiello works
Operas
| Titolo | Genre | Atti | Librettist | Premiere | City and Theater | Notes |
|---|---|---|---|---|---|---|
| 3 | goldoniCarlo Goldoni | 1764-01-2121 gennaio 1764 | Парма, Teatro Regio Ducale | |||
| 3 | nelliJ. A. Nelli | Modena, Teatro Rangoni | ||||
| 3 | palombaGiuseppe Palomba | 1764-05-1212 maggio 1764 | Болонья, Teatro Marsigli-Rossi | |||
| 3 | mililottiPasquale Mililotti | 1764-06-2424 giugno 1764 | Болонья, Teatro Marsigli-Rossi | |||
| 3 | bianchiAntonio Bianchi | 1765-01-01inizio gennaio 1765 | Венеция, Teatro San Moisè | |||
| 3 | apalombaAntonio Palomba | 1765-01-2626 gennaio 1765 | Модена, Teatro Rangoni | Revisione di La donna di tutti i caratteri, di Pietro Alessandro Guglielmi (1762) | ||
| 3 | martinelliGaetano Martinelli | 1766-02-00carnevale 1766 | Венеция, Teatro San Moisè | |||
| 2 | 1766-02-00febbraio 1766 | Рим, Teatro Valle | Da Il marchese villano di Pietro Chiari | |||
| La vedova di bel genio | commedia per musica | Mililotti | 1766-04-00Vesna 1766 | Naples, Teatro Nuovo | ||
| 3 | lorenziGiovanni Battista Lorenzi | 1767-01-00inverno 1767 | Неаполь, Teatro Nuovo | |||
| 33 | mililottiPasquale Mililotti | 1767-02-00carnevale 1767 | Неаполь, Teatro dei Fiorentini | Revisione: La serva fatta padrona, Napoli, Teatro dei Fiorentini, estate 1769 | ||
| 3 | lorenziGiovanni Battista Lorenzi | 1767-04-00primavera 1767 | Неаполь, Teatro Nuovo | |||
| 3 | zenoApostolo Zeno | 1767-06-3030 giugno 1767 | Неаполь, Teatro San Carlo | |||
| 3 | trabuccoAndrea Trabucco | 1768-01-2020 gennaio 1768 | Неаполь, Teatro San Carlo | |||
| 2 | bassoGiovanni Battista Basso Bassi | 1768-05-2525 maggio 1768 (forse 31 maggio) | Неаполь, Teatro San Carlo | |||
| 3 | lorenziGiovanni Battista Lorenzi | 1768-07-00estate 1768 | Неаполь, Teatro Nuovo | |||
| 3 | lorenziGiovanni Battista Lorenzi | 1768-10-00autunno 1768 | Неаполь, Teatro dei Fiorentini | |||
| L'osteria di Marechiaro | commedia per musica | Cerlone | 1769-02-00Carnaval 1769 | Naples, Teatro dei Fiorentini | ||
| Don Chisciotte della Mancia (Дон Кихот Ламанчский) | commenta per musica | Battista Lorenzi | 1769-07-00estate 1769 | Naples, Teatro dei Fiorentini | Miguel de Cervantes | |
| 3 | mililottiPasquale Mililotti | 1769-01-00inverno 1769 | Неаполь, Teatro Nuovo | |||
| 3 | cerloneFrancesco Cerlone | 1770-07-00estate 1770 | Неаполь, Teatro Nuovo | |||
| Le trame per amore | commedia per musica | Cerlone | 1770-10-077 October 1770 | Naples, Teatro Nuovo | ||
| 3 | durandiJacopo Durandi | 1771-01-1616 gennaio 1771 | Torino, Teatro Regio | |||
| Demetrio | drama per musica | Metastasio | 1771-02-00Carnaval 1771 | Modena, Teatro di Corte | Prima versione | |
| 3 | mililottiPasquale Mililotti | 1771-04-00primavera 1771 | Неаполь, Teatro Nuovo | |||
| 3 | cerloneFrancesco Cerlone | 1771-07-00estate 1771 | Неаполь, Teatro Nuovo | |||
| 3 | metastasioPietro Metastasio | 1771-12-2626 dicembre 1771 | Модена, Teatro di Corte | Da Le Cid di Pierre Corneille e Xerxès di Prosper Jolyot de Crébillon | ||
| 3 | cigna-santi | 1772-01-00gennaio 1772 | Рим, Teatro delle Dame | Vittorio Amedeo Cigna-Santi | ||
| La Semiramide in villa | intermezzo | 2 | 1772 Rome| |, Teatro Capranica | |||
| La Dardané | commedia per musica | Cerlone | 1772-04-00weights 1772 | Naples, Teatro Nuovo | ||
| Gli amanti comici | commedia per musica | Battista Lorenzi | 1772-10-00Aspen 1772 | Naples, Teatro Nuovo | Revisione: Don Anchise Campanone , Venice, Teatro San Samuel, autumn 1773 | |
| 3 | livigniFilippo Livigni | 1773-02-00carnevale 1773 | Венеция, Teatro San Moisè | Revisione: La semplice fortunata, Napoli, Teatro Nuovo, estate 1773 | ||
| 3 | de gamerraGiovanni De Gamerra | 1773-01-3030 gennaio 1773 | Милан, Teatro Regio Ducale | |||
| 3 | lorenziGiovanni Battista Lorenzi | 1773-04-00primavera 1773 | Napoli, Teatro Nuovo | Da The Drummer di Joseph Addison Revisione: Il tamburo notturno, Venezia, Teatro San Moisè, Осень 1773 | ||
| 3 | metastasioPietro Metastasio | 1773-12-2626 dicembre 1773 | Modena, Teatro di Corte | |||
| 3 | cigna-santiVittorio Amedeo Cigna-Santi | 1774-02-00Карнавал 1774 | Милан, Teatro Regio Ducale | |||
| Il duello | commedia per musica | Battista Lorenzi | 1774-04-00Vesna 1774 | Naples, Teatro Nuovo | Revisione: Il duello comico, Tsarskoye Selo 1782 Revisione: Le duel comique (libretto di (P.-L. Moline), Parigi, Comédie-Italienne, 16 October 1776 | |
| 3 | 1774-09-00settembre 1774 | Napoli, Teatro Nuovo | Da Il mondo della luna di Carlo Goldoni | |||
| La frascatana | drama giocoso | Livigni | 1774-10-00autunno 1774 | Venice, Teatro San Samuele | Revisione: L'infante de Zamora, (libretto di N. E. Framery) Strasbourg 1779 and Versailles 1781 | |
| 1 | lorenziGiovanni Battista Lorenzi | 1774-12-044 декабря 1774 | Неаполь, Palazzo Reale | |||
| 3 | metastasioPietro Metastasio | 1775-01-033 gennaio 1775 | Венеция, Teatro San Benedetto | |||
| 3 | 1775-02-00carnevale 1775 | Венеция, Teatro San Samuele | ||||
| 3 | cerloneFrancesco Cerlone | 1775-04-00primavera 1775 | Неаполь, Teatro Nuovo | |||
| Il Socrate immaginario | commedia per musica | Battista Lorenzi e Galiani | 1775-10-00Oktyabr 1775 | Naples, Teatro Nuovo | ||
| 3 | pizziGiuseppe Giovacchino Pizzi e Giovan Gualberto Bottarelli | 1775-10-00autunno 1775 | Firenze, Teatro della Pergola | Da Le Cid di Pierre Corneille | ||
| 2 | petroselliniGiuseppe Petrosellini | 1776-01-033 gennaio 1776 | Рим, Teatro Valle | Revisione: Les deux contesses, (libretto di N. E. Framery) Strasburgo e Versailles 1781 | ||
| 3 | ducaDuca di S. Angelo Morbilli | 1776-02-00carnevale 1776 | Рим, Teatro Argentina | |||
| Dal finto il vero | commedia per musica | Zini | 1776-04-00Vesna 1776 | Naples, Teatro Nuovo | ||
| 3 | metastasioPietro Metastasio | 1777-01-2828 gennaio 1777 | , Palazzo Imperiale | St. Petersburg | ||
| 2 | coltelliniMarco Coltellini | 1777-10-2424 ottobre 1777 | , Palazzo Imperiale | St. Petersburg | ||
| 3 | metastasioPietro Metastasio | 1778-02-066 febbraio 1778 | St. Petersburg | |||
| 2 | casti | 1778-07-2424 luglio 1778 | , Palazzo Imperiale | Pasticcio comprendente musiche di altri compositoriGiovanni Battista Casti St. Petersburg | ||
| I filosofi immaginari (Gli astrologi immaginari) | drama giocoso | Bertati | 1779-02-1414 febbraio 1779 [[St. Petersburg | St. Petersburg]], Hermitage Theatre | Col titolo Le philosophe imaginaire , (libretto di P. U. Du Boisson): Parigari, Théâtre des Tuileries, 1780 Cole titolo Visigari, 1793: | |
| Demetrio | drama per musica | Metastasio | 1779-06-2424 giugno 1779 [[St. Petersburg | St. Petersburg]], Tsarskoye Selo | Seconda versione | |
| 1 | chiariPietro Chiari | 1779-11-011º novembre 1779 | , Kamennij Ostrov | Col titolo Le marquis Tulipano, (libretto di C. J. A. Gourbillon): Parigi, Théâtre de Monsieur, 28 gennaio 1789 St. Petersburg | ||
| La finta amante | opera buffa | Battista Casti (attribuzione dubbia)| giugno 1780 | Little Russia (Mogilev ) | |||
| Alcide al bivio | festa teatrale | Metastasio | 1780-12-066 dicembre 1780 [[St. Petersburg | Petersburg]], Hermitage | ||
| Служанка-госпожа (La serva padrona) | intermezzo | Antonio Federico | 1781-09-1010 settembre 1781 [[Tsarskoye Selo | Tsarskoye]] Selo | ||
| Il barbiere di Siviglia, ovvero La precauzione inutile | drama giocoso | Petrosellini | 1782-09-2626 settembre 1782 | San Pietroburgo, Teatro dell'Ermitage | Da Seville Barber Beaumarché . Col titolo Le barbier de Séville, (libretto di N. E. Framery): Версаль, 14 settembre 1784 Col titolo Le barbier de Séville, (libretto di P.-L. Moline): Parigi, 1787 | |
| Il mondo della luna | festa teatrale comica | 1 | ottobre 1783 [[St. Petersburg | Petersburg]], Kamenny island | Da Carlo Goldoni | |
| 2 | castiGiovanni Battista Casti | 1784-08-2323 agosto 1784 | Вена, Burgtheater | Da di Voltaire. Candide Col titolo Le roi Théodore à Venise, (libretto di P. U. Du Boisson): , 28 ottobre 1786 Col titolo Le roi Théodore à Venise, (libretto di P.-L. Fontainebleau Opéra Moline): Parigi, , 11 settembre 1787 | ||
| 3 | metastasioPietro Metastasio | 1785-01-1212 gennaio 1785 | Napoli, Teatro San Carlo | con Giacomo David | ||
| 2 | 1785-02-00carnevale 1785 | Roma, Teatro Valle | ||||
| 2 | palombaGiuseppe Palomba | 1785-10-00autunno 1785 | Napoli, Teatro dei Fiorentini | Da Giovanni Battista Casti | ||
| 3 | metastasioPietro Metastasio | 1786-01-2020 gennaio 1786 | Napoli, Teatro San Carlo | Revisione: Napoli, Teatro San Carlo, 30 maggio 1793 | ||
| 2 | palombaGiuseppe Palomba | 1786-04-00primavera 1786 | Napoli, Teatro dei Fiorentini | Da Amiti e Ontario, o i selvaggi di Col titolo Gli schiavi per amore: , King's Theatre, 24 aprile 1787 Col titolo Le bon maître, ou L'esclave par amour, (libretto di Gourbillon e P. G. Parisau): Parigi, Théâtre de Monsieur, marzo 1790 Ranieri de' Calzabigi London | ||
| 3 | de gamerraGiovanni De Gamerra | 1787-01-1212 gennaio 1787 | Napoli, Teatro San Carlo | |||
| 1 | sernicolaCarlo Sernicola | 1787-09-088 settembre 1787 | Неаполь, Teatro San Carlo | |||
| 3 | lorenziGiovanni Battista Lorenzi | 1787-10-00autunno 1787 | Napoli, Teatro dei Fiorentini | Da Il Filippo di Gennaro Antonio Federico. Col titolo La scuffiara raggiratrice: Firenze, 1788 Col titolo La scuffiara amante, o sia Il maestro de scuola napolitano: Рим, 1788 Col titolo La cuffiara: Monza, 1789 | ||
| 3 | salvioniLuigi Bernardo Salvioni | 1788-01-011º gennaio 1788 | Napoli, Teatro San Carlo | Da Ippolito e Aricia di Carlo Innocenzo Frugoni | ||
L'amor contrastato (La molinara) | commedia per musica | 3 | palombaGiuseppe Palomba | 1788-10-00autunno 1788 | Неаполь, Teatro dei Fiorentini | |
| 3 | metastasioPietro Metastasio | 1789-02-055 febbraio 1789 | Неаполь, Teatro San Carlo | con Giacomo David | ||
| Nina, o sia La pazza per amore| | 1 | carpaniGiuseppe Carpani | 1789-06-2525 giugno 1789 | , Belvedere di San Leucio del Palazzo Reale | Da Nina ou La folle par amour di Benoît-Joseph Marsollier des Vivetières. Caserta Con aggiunte di Giovanni Battista Lorenzi Revisione: Неаполь, Teatro dei Fiorentini, 1790 | |
| 2 | palombaGiuseppe Palomba | 1789-11-2121 novembre 1789 | Неаполь, Teatro del Fondo | |||
| 3 | lorenziGiovanni Battista Lorenzi | 1790-04-00primavera o inizio estate 1790 | Неаполь, Teatro dei Fiorentini | |||
| 2 | sertorGaetano Sertor | 1790-05-3030 maggio 1790 | Неаполь, Teatro San Carlo | |||
| 3 | metastasioPietro Metastasio | 1791-06-1313 giugno 1791 | Padova, Teatro Nuovo | |||
| 2 | tonioliGiuseppe Tonioli | 1791-06-1616 giugno 1791 | Londra, Pantheon Theatre | Da Giovanni Bertati Revisione: Il fanatico in berlina (3 atti), Неаполь, Teatro dei Fiorentini, carnevale 1792 | ||
| 3 | pepoli Alessandro Ercole Pepoli | 1792-05-1616 maggio 1792 | Венеция, Teatro La Fenice | |||
Elfrida (Adelvolto) | tragedia per musica | 2 | calzabigiRanieri de' Calzabigi | 1792-11-044 novembre 1792 | Неаполь, Teatro San Carlo | Da Elfirda di William Mason |
| 3 | calzabigiRanieri de' Calzabigi | 1794-01-1212 gennaio 1794 | Неаполь, Teatro San Carlo | |||
| 2 | metastasioPietro Metastasio | 1794-11-044 novembre 1794 | Неаполь, Teatro San Carlo | |||
| 1 | massariF. | 1797-06-2525 giugno 1797 | Foggia, Palazzo Dogana | |||
| dramma per musica | 2 | lorenziGiovanni Battista Lorenzi | 1797-11-1818 novembre 1797 | Неаполь, Teatro San Carlo | Da e da di Jean Racine Antonio Salvi Andromaque | |
| 2 | palombaGiuseppe Palomba | 1798-01-00inverno 1798 | Неаполь, Teatro del Fondo | |||
| 2 | metastasioPietro Metastasio | 1799-07-033 luglio 1799 | Лиссабон, Theatro de São Carlos | |||
| Il nuovo maestro di cappella| | 1 | 1801-07-1010 luglio 1801 | , Opéra Comique | Paris | ||
| 3 | guillardPierre-Nicolas-François Guillard | 1803-03-2929 marzo 1803 | Parigi, Opéra (Théâtre des Arts) | Da Revisione: Proserpina (libretto di G. Sanseverino) Philippe Quinault | ||
| nicoliniAntonio Nicolini (attribuzione dubbia) | 1807-03-1919 marzo 1807 | Napoli, Teatro San Carlo | Epilogo per Elisa di Simone Mayr | |||
| 1 | monti | 1808-03-1919 marzo 1808 | Неаполь, Teatro San Carlo | Vincenzo Monti |
Notes
- ↑ SIRIO No. 23. S.135
- ↑ SIRIO No. 23. S.119
- ↑ KFJ for 1776. Nov. 24
- ↑ themFlorimo F. Cenno Storico sulla Scuola Musigale di Napoli Vol.I/- Napoli, 1869- S.316.
- ↑ of the RNB OR
- ↑ . f 775 Tit.4069, 4272. A collection of katas and cantatas on linear notes of the 18th century
- ↑ the music of Pryanishnikov M.P. From
- ↑ history of the Vorontsov musical collection. Music in the life of E.A. Senyavina, married to Vorontsova. - S.174
- ↑ KFJ for 1778 on February 15
- ↑ for 1779 on July 29
- ↑ KFJ for 1779 on August 19
- ↑ M.P. VorontsovaPryashnikov "From the History of Russian Musical Culture
- ↑ 18th Century." M., 2010 - S.74
- ↑ SIRIO No. 23 - S.158
- ↑ Theater of Kruntyaeva T. Italian comic opera of the 18th century - L., 1981. - S.91
- ↑ Musical Petersburg of the 18th century. - Spb., 1998. - Prince. 2. - S.325
- ↑ by Kruntyaev T. Italian comic opera of the 18th century - L., 1981. - S.91
- ↑ Letters from foreign musicians," L. Muzyka, 1967 p. 28
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