Vincenzo Bellini maintained throughout his life a strong bond with his hometown, where he lived till the age of 16. Some argue that his rejection for rules and rutine resulted somehow from that archaic and provincial world. Born to “seduce and conquest” Bellini indeed broke into the Italian musical lands cape as someone coming from another world. May be that’s part of the reason why he was able unveil and unleash the potential of musical drama, far and beyond the traditional bonds and cliché of the Neapolitan school.
Pergolesi’s Stabat Mater is a sublime piece of sacred chamber music. Originally composed for two castrato voices, strings and basso continuo, is arguably one of the most important works in music history, which influence stretches to Mozart, Haydn and beyond. A sublime summary of the religious and aesthetics of its time. It is also a simple man’s expression of religious sense
A troubled genesis Un Ballo in Maschera is arguably one of most popular opera by Giuseppe Verdi. Yet it had the most troubled genesis. Written for the San Carlo in Naples and never performed there Un Ballo in Maschera was originally composed to be staged in Naples as the last new opera written under the contract between the Teatro San Carlo and Verdi but was never performed there. The major changes imposed by the Bourbon censorship to the composer convinced Verdi to premiere it in Rome instead. Even the Papal censorship in 1859 allowed him more freedom than that of the Bourbons’. Last (missed) opportunity for a Verdi’s “King Lear” Initially, Verdi had suggested to the San Carlo management another subject: King Lear by William Shakespeare, a long-term project that this time seemed to finally have found a right opportunity. But a new problem came up. To stage King Lear 2 or 3 strong soloists were not enough: 5 at least were needed and the San Carlo couldn’t provide them. These circumstances convinced Verdi, after over 15 years, to finally abandon the project of staging a music version of King Lear. Verdi & Shakespeare Verdi was a great admirer of […]
Gluck finally estabilished an indissoluble link between music and words, with music becoming the main element for the success of an opera. As in the striking aria “What shall I do without Euridice?”. It is through to the incomparable beauty and expressiveness of the melody sung by Orpheus that Love is presuaded to bring Euridice back to life.