Difference between revisions of "Vincenzo Bellini" - New World Encyclopedia
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Bellini died in [[Puteaux]], near [[Paris]] of acute inflammation of the intestine, and was buried in the cemetery of [[Père Lachaise]], Paris; his remains were removed to the cathedral of Catania in 1876. The Museo Belliniano, Catania, preserves memorabilia and scores. | Bellini died in [[Puteaux]], near [[Paris]] of acute inflammation of the intestine, and was buried in the cemetery of [[Père Lachaise]], Paris; his remains were removed to the cathedral of Catania in 1876. The Museo Belliniano, Catania, preserves memorabilia and scores. | ||
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| + | == Bel Canto == | ||
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| + | Never clearly defined, Bel Canto does not simply mean 'beautiful singing.' It can be described as the particular art of voice production by which the distinctive timbres of the classical Italian school of singing can be achieved. With the development of Bel Canto, singers aquired a unique ability as to develop as outstanding soloists. The unusual timbres and limpid production that they acquired, together with their ''messa di voce'' and coloratura, made their singing of operatic arias famous outside Italy. | ||
| + | The tuition of Bel Canto was not based on any explicit theoretical method. It's teachers, the maestri, were themselves expert performers. They instructed their pupils in the same way that they themselves had learned, by trial and error, until their pupils were able to achieve the right vocal quality. Because of this and because they did not make their art explicit, the maestri were suspected of using their teaching method to protect a professional secret. | ||
| + | The voice, is a unique instrument. From the earliest times it has been the vehicle to express human feelings - joy, sorrow, love and fear, as well as reactions to external stimuli - astonishment, horror, dislike and hatred. This capacity of the voice was to serve as the model in designing the various wind and string instruments that make up the modern orchestra. However, instruments made by hand or in the factory have never been able to achieve the same flexibility and instrumental performers have striven after this in vain. | ||
==Works== | ==Works== | ||
Revision as of 00:23, 10 August 2007
Vincenzo Salvatore Carmelo Francesco Bellini (November 3, 1801 – September 23, 1835) was a Sicilian opera composer. Known for his flowing melodic lines, Bellini was the quintessential composer of Bel canto opera.
Life
Born in Catania, Sicily, Bellini was a child prodigy from a highly musical family and legend has it he could sing an air of Valentino Fioravanti at eighteen months, began studying music theory at two, the piano at three, and by the age of five could, apparently, play well. His first composition is said to have dated from his sixth year. Regardless of the veracity of these claims, it is certain that Bellini grew up in a musical household and that a career as a musician was never in doubt.
Having learned from his grandfather, Bellini left provincial Catania in June 1819 to study at the conservatory in Naples, with a stipend from the municipal government of Catania. By 1822 he was in the class of the director Nicolò Zingarelli, studying the masters of the Neapolitan school and the orchestral works of Haydn and Mozart. It was the custom at the Conservatory to introduce a promising student to the public with a dramatic work: the result was Bellini's first opera Adelson e Salvini an opera semiseria that was presented at the Conservatory's theater. Bianca e Gernando met with some success at the Teatro San Carlo, leading to an offer from the impresario Barbaia for an opera at La Scala. Il pirata was a resounding immediate success and began Bellini's faithful and fruitful collaboration with the librettist and poet Felice Romani, and cemented his friendship with his favored tenor Giovanni Battista Rubini, who had sung in Bianca e Gernando.
Bellini spent the next years, 1827–33 in Milan, where all doors were open to him. Supported solely by his opera commissions, for La straniera (1828) was even more successful than Il pirata, sparking controversy in the press for its new style and its restless harmonic shifts into remote keys, he showed the taste for social life and the dandyism that Heinrich Heine emphasized in his literary portrait of Bellini (Florentinische Nächte, 1837). Opening a new theater in Parma, his Zaira (1829) was a failure at the Teatro Ducale, but Venice welcomed I Capuleti e i Montecchi, which was based on the same Italian sources as Shakespeare's Romeo and Juliet.
The next five years were triumphant, with major successes with his greatest works, La sonnambula, Norma and I puritani, cut short by Bellini's premature death.
Bellini died in Puteaux, near Paris of acute inflammation of the intestine, and was buried in the cemetery of Père Lachaise, Paris; his remains were removed to the cathedral of Catania in 1876. The Museo Belliniano, Catania, preserves memorabilia and scores.
Bel Canto
Never clearly defined, Bel Canto does not simply mean 'beautiful singing.' It can be described as the particular art of voice production by which the distinctive timbres of the classical Italian school of singing can be achieved. With the development of Bel Canto, singers aquired a unique ability as to develop as outstanding soloists. The unusual timbres and limpid production that they acquired, together with their messa di voce and coloratura, made their singing of operatic arias famous outside Italy. The tuition of Bel Canto was not based on any explicit theoretical method. It's teachers, the maestri, were themselves expert performers. They instructed their pupils in the same way that they themselves had learned, by trial and error, until their pupils were able to achieve the right vocal quality. Because of this and because they did not make their art explicit, the maestri were suspected of using their teaching method to protect a professional secret. The voice, is a unique instrument. From the earliest times it has been the vehicle to express human feelings - joy, sorrow, love and fear, as well as reactions to external stimuli - astonishment, horror, dislike and hatred. This capacity of the voice was to serve as the model in designing the various wind and string instruments that make up the modern orchestra. However, instruments made by hand or in the factory have never been able to achieve the same flexibility and instrumental performers have striven after this in vain.
Works
Operas
- Adelson e Salvini (12? February 1825 Teatro del Conservatorio di San Sebastiano, Naples)
- Bianca e Gernando (30 May 1826, Teatro San Carlo, Naples)
- Il pirata (27 October 1827, Teatro alla Scala, Milan)
- Bianca e Fernando (7 April 1828, Teatro Carlo Felice, Genoa) [rev of Bianca e Gernando]
- La straniera (14 Feb 1829, Teatro alla Scala, Milan)
- Zaira (16 May 1829, Teatro Ducale, Parma)
- I Capuleti e i Montecchi (11 March 1830, Teatro La Fenice, Venice)
- La sonnambula (6 March 1831, Teatro Carcano, Milan)
- Norma (26 December 1831, Teatro alla Scala, Milan)
- Beatrice di Tenda (16 March 1833, Teatro La Fenice, Venice)
- I puritani (24 January 1835, Théâtre Italien, Paris)
Other important Bel Canto opera composers
External links
- Profile of Bellini
- Biography of Bellini
- Bellini cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
- Free scores by Vincenzo Bellini in the Werner Icking Music Archive
- Teatro Massimo Bellini, Catania
Credits
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