Domenico Gaetano Maria Donizetti (, also , , ; 29 November 1797 – 8 April 1848) was an Italian composer, best known for his almost 70 operas.
Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in a state of mental derangement due to neurosyphilis in April 1848. ==Early life and musical education in Bergamo and Bologna== The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter, located just outside the city walls.
Simone Mayr, a German composer of internationally successful operas, had become maestro di cappella at Bergamo's principal church in 1802.
He founded the Lezioni Caritatevoli school in Bergamo in 1805 for the purpose of providing musical training, including classes in literature, beyond what choirboys ordinarily received up until the time that their voices broke.
In 1807, Andrea Donizetti attempted to enroll both his sons, but the elder, Giuseppe (then 18), was considered too old.
Gaetano (then 9) was accepted. While not especially successful as a choirboy during the first three trial months of 1807 (there being some concern about a difetto di gola, a throat defect), Mayr was soon reporting that Gaetano "surpasses all the others in musical progress" and he was able to persuade the authorities that the young boy's talents were worthy of keeping him in the school.
He remained there for nine years, until 1815. However, as Donizetti scholar William Ashbrook notes, in 1809 he was threatened with having to leave because his voice was changing.
In 1810 he applied for and was accepted by the local art school, the Academia Carrara, but it is not known whether he attended classes.
Then, in 1811, Mayr once again intervened.
He remained there for nine years, until 1815. However, as Donizetti scholar William Ashbrook notes, in 1809 he was threatened with having to leave because his voice was changing.
Mit dem Faksimile des Autographs von 1815.
Author John Stewart Allitt describes his 1816 "initial exercises in operatic style", the opera Il pigmalione, as well as his composition of portions of Olympiade and L'ira d'Achille in 1817, as no more than "suggest[ing] the work of a student".
Author John Stewart Allitt describes his 1816 "initial exercises in operatic style", the opera Il pigmalione, as well as his composition of portions of Olympiade and L'ira d'Achille in 1817, as no more than "suggest[ing] the work of a student".
Encouraged by Mayr to return to Bergamo in 1817, he began his "quartet years" as well as composing piano pieces and, most likely, being a performing member of quartets where he would have also heard music of other composers.
Various small opportunities came his way and, at the same time, he made the acquaintance of several of the singers appearing during the 1817/18 Carnival season.
Among them was the soprano Giuseppina Ronzi de Begnis and her husband, the bass Giuseppe de Begnis. A coincidental meeting around April 1818 with an old school friend, Bartolomeo Merelli (who was to go on to a distinguished career), led to an offer to compose the music from a libretto which became Enrico di Borgogna.
Thus Enrico was presented on 14 November 1818, but with little success, the audience appearing to be more interested in the newly re-decorated opera house rather than the performances, which suffered from the last-minute withdrawal of the soprano Adelaide Catalani due to stage fright and the consequent omission of some her music.
He spent the early months of 1819 working on some sacred and instrumental music, but little else came of his efforts until the latter part of the year when he wrote Il falegname di Livonia from a libretto by Gherardo Bevilacqua-Aldobrandini.
Other work included expansion of Le nozze in villa, a project which he had started in mid-1819, but the opera was not presented until the carnival season of 1820/21 in Mantua.
Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 19, he wrote his first one-act opera, the comedy Il Pigmalione, which may never have been performed during his lifetime. An offer in 1822 from Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1844.
However, his first notable success came with an opera seria, Zoraida di Granata, which was presented in 1822 in Rome.
. Bini, Annalisa and Jeremy Commons (1997), Le prime rappresentazioni delle opere di Donizetti nella stampa coeva, Milan: Skira. Black, John (1982), Donizetti's Operas in Naples 1822–1848, London: The Donizetti Society Cassaro, James P.
Donizetti finally returned to Naples by late March. Immediately busy in the spring months of 1823 with a cantata, an opera seria for the San Carlo, and an opera buffa for the Nuovo, Donizetti also had to work on the revised Zoraide for Rome.
There, he staged his 1824 version of L'ajo nell'imbarazzo as well as his new opera Alahor in Granata.
The composer's activities in Naples became limited because 1825 was a Holy Year in Rome and the death of Ferdinand I in Naples caused little or no opera to be produced in either city for a considerable time. However, he did obtain a year-long position for the 1825/26 season at the Teatro Carolino in Palermo, where he became musical director (as well teaching at the Conservatory).
Finally, in May 1827 he announced his engagement to Virginia Vasselli, the then 18-year-old daughter of the Roman family who had befriended him there. The couple were married in July 1828 and immediately settled in a new home in Naples.
Finally, in May 1827 he announced his engagement to Virginia Vasselli, the then 18-year-old daughter of the Roman family who had befriended him there. The couple were married in July 1828 and immediately settled in a new home in Naples.
However, Virginia was to become Donizetti's wife in 1828.
She gave birth to three children, none of whom survived and, within a year of his parents' deaths—on 30 July 1837—she also died from what is believed to be cholera or measles, but Ashbrook speculates that it was connected to what he describes as a "severe syphilitic infection." By nine years, he was the younger brother of Giuseppe Donizetti, who had become, in 1828, Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808–1839).
In addition, he was to be appointed to the position of Director of the Royal Theatres of Naples beginning in 1829, a job that the composer accepted and held until 1838.
They were Elisabetta al castello di Kenilworth, based on Scribe's Leicester and Hugo's Amy Robsart (given in Naples in July 1829 and revised in 1830).
Before 1830, success came primarily with his comic operas, the serious ones failing to attract significant audiences.
In 1830, when Anna Bolena was premiered, Donizetti made a major impact on the Italian and international opera scene and this shifted the balance of success away from primarily comedic operas, although even after that date, his best-known works included comedies such as L'elisir d'amore (1832) and Don Pasquale (1843).
It was their fourth collaboration, and became a success not only in Naples but also in Rome over the 1830/31 season.
Maestro Donizetti has known how to take advantage of them...", thus reaffirming the growing dramatic skills displayed by the young composer. ===1830–1838: International fame=== In 1830, Donizetti scored his most acclaimed and his first international success with Anna Bolena, given at the Teatro Carcano in Milan on 26 December 1830 with Giuditta Pasta in the title role.
Performances were staged "up and down the Italian peninsula" between 1830 and 1834 and then throughout Europe's capitals well into the 1840s, with revivals being presented up to about 1881.
They were Elisabetta al castello di Kenilworth, based on Scribe's Leicester and Hugo's Amy Robsart (given in Naples in July 1829 and revised in 1830).
Two new operas were presented in Milan: Le convenienze ed inconvenienze teatrali (April 1831) and Ugo, conte di Parigi (March 1832).
Two new operas were presented in Milan: Le convenienze ed inconvenienze teatrali (April 1831) and Ugo, conte di Parigi (March 1832).
Rome presented Il furioso all'isola di San Domingo (January 1833) and Torquato Tasso (September 1833).
Otto mesi in due ore (1833) was given in Livorno and Parisina (March 1833) was given in Florence. After the successful staging of Lucrezia Borgia in 1833, his reputation was further consolidated, and Donizetti followed the paths of both Rossini and Bellini by visiting Paris, where his Marin Faliero was given at the Théâtre-Italien in March 1835.
Performances were staged "up and down the Italian peninsula" between 1830 and 1834 and then throughout Europe's capitals well into the 1840s, with revivals being presented up to about 1881.
Significant historical dramas did appear and succeed; they included Lucia di Lammermoor (the first to have a libretto written by Salvadore Cammarano) given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837.
Otto mesi in due ore (1833) was given in Livorno and Parisina (March 1833) was given in Florence. After the successful staging of Lucrezia Borgia in 1833, his reputation was further consolidated, and Donizetti followed the paths of both Rossini and Bellini by visiting Paris, where his Marin Faliero was given at the Théâtre-Italien in March 1835.
However, it suffered by comparison to Bellini's I puritani which appeared at the same time. Donizetti returned from Paris to oversee the staging of Lucia di Lammermoor on 26 September 1835.
Then came Maria Stuarda (Mary Stuart), based on Schiller's play and given at La Scala in December 1835.
From about 1836, he became interested in working in Paris, where he saw much greater freedom to choose subject matter, in addition to receiving larger fees and greater prestige.
He was offered commissions by both La Fenice in Venice—a house he had not visited for about seventeen years and to which he returned to present Belisario on 4 February 1836.
Significant historical dramas did appear and succeed; they included Lucia di Lammermoor (the first to have a libretto written by Salvadore Cammarano) given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837.
It was given at the San Carlo in Naples in October 1837. As Donizetti's fame grew, so did his engagements.
Just as importantly, after the success of his Lucia at the Théâtre-Italien in Paris in December 1837, approaches came from the Paris Opéra.
Also, it appears that he wished to sell his Naples house, but could not bring himself to go through with it, such was the sorrow which remained after his wife's death in 1837. However, on 6 September he was on his way back to Genoa from where he would leave for a three-month planned stay in Paris to be followed by time in Vienna once again.
She gave birth to three children, none of whom survived and, within a year of his parents' deaths—on 30 July 1837—she also died from what is believed to be cholera or measles, but Ashbrook speculates that it was connected to what he describes as a "severe syphilitic infection." By nine years, he was the younger brother of Giuseppe Donizetti, who had become, in 1828, Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808–1839).
Starting in 1838 with an offer from the Paris Opéra for two new works, he spent a considerable part of the following ten years in that city, and set several operas to French texts as well as overseeing staging of his Italian works.
In addition, he was to be appointed to the position of Director of the Royal Theatres of Naples beginning in 1829, a job that the composer accepted and held until 1838.
In addition, he was appointed kapellmeister to the chapel of the royal court, the same post which had been held by Mozart. He left Vienna on 1 July 1842 after the Spring Italian season, travelling to Milan, Bergamo (in order to see the now-aging Mayr, but where the deterioration of his own health became more apparent), and then on to Naples in August, a city he had not visited since 1838.
No sooner was that accomplished than he was back in Paris to adapt the never-performed 1839 libretto L'Ange de Nisida as the French-language La favorite, the premiere of which took place on 2 December 1840.
While preparations were underway, other ideas came to Donizetti and, discovering Cammarano's libretto for Giuseppe Lillo's unsuccessful 1839 Il Conte di Chalais, he turned it into the first two acts of Maria di Rohan within twenty-four hours.
The first opera was a French version of the then-unperformed Poliuto which, in April 1840, was revised to become Les martyrs.
As the 1840s progressed, Donizetti moved regularly between Naples, Rome, Paris, and Vienna, continuing to compose and stage his own operas as well as those of other composers.
Performances were staged "up and down the Italian peninsula" between 1830 and 1834 and then throughout Europe's capitals well into the 1840s, with revivals being presented up to about 1881.
Performed in April 1840, it was his first grand opera in the French tradition and was quite successful.
Before leaving that city in June 1840, he had time to oversee the translation of Lucia di Lammermoor into Lucie de Lammermoor as well as to write La fille du régiment, his first opera written specifically to a French libretto.
This became another success. ===1840–1843: Back and forth between Paris, Milan, Vienna, and Naples=== After leaving Paris in June 1840, Donizetti was to write ten new operas, although not all were performed in his lifetime.
Before arriving in Milan by August 1840, he visited Switzerland and then his hometown of Bergamo, eventually reaching Milan where he was to prepare an Italian version of La fille du régiment.
No sooner was that accomplished than he was back in Paris to adapt the never-performed 1839 libretto L'Ange de Nisida as the French-language La favorite, the premiere of which took place on 2 December 1840.
Then he rushed back to Milan for Christmas, but returned almost immediately and by late February 1841 was preparing a new opera, Rita, ou Deux hommes et une femme.
Unwilling to leave Milan, but encouraged to return to Paris by Michele Accursi (with whom the composer was to be involved in Paris in 1843), he oversaw the December production of Maria Padilla at La Scala, and began writing Linda di Chamounix in preparation for March 1842 travels to Vienna, in which city he had been engaged by the royal court. During this time and prior to leaving for Vienna, he was persuaded to conduct the premiere of Rossini's Stabat Mater in Bologna2 in March 1842.
In addition, he was appointed kapellmeister to the chapel of the royal court, the same post which had been held by Mozart. He left Vienna on 1 July 1842 after the Spring Italian season, travelling to Milan, Bergamo (in order to see the now-aging Mayr, but where the deterioration of his own health became more apparent), and then on to Naples in August, a city he had not visited since 1838.
During the time in Naples, his poor health was again a problem causing him to remain in bed for days at a time. Arriving once again in Paris in late September 1842, he accomplished the revisions to the two Italian operas and he received a suggestion from Jules Janin, the newly appointed director of the Théâtre-Italien, that he might compose a new opera for that house.
Verdi's Nabucco (which Donizetti had seen in Milan at its premiere in March 1842 and with which he had been impressed) was featured as part of that season.
But from around 1843, severe illness began to take hold and to limit his activities.
Unwilling to leave Milan, but encouraged to return to Paris by Michele Accursi (with whom the composer was to be involved in Paris in 1843), he oversaw the December production of Maria Padilla at La Scala, and began writing Linda di Chamounix in preparation for March 1842 travels to Vienna, in which city he had been engaged by the royal court. During this time and prior to leaving for Vienna, he was persuaded to conduct the premiere of Rossini's Stabat Mater in Bologna2 in March 1842.
The result turned out to be the comic opera, Don Pasquale, planned for January 1843.
Another opera with Scribe as librettist was in the works: it was to be Dom Sébastien, roi de Portugal planned for November 1843 in Paris. When Don Pasquale was presented on 3 January, it was an overwhelming success with performances continuing until late March.
Writing in the Journal des débats on 6 January, the critic Étienne-Jean Delécluze proclaimed: ===1843–1845: Paris to Vienna to Italy; final return to Paris=== By 1843, Donizetti was exhibiting symptoms of syphilis and probable bipolar disorder: "the inner man was broken, sad, and incurably sick", states Allitt.
However, Maria di Rohan continued for 33 performances in all, whereas Dom Sébastien remained in the repertory until 1845 with a total of 32 performances. ====1844: In Vienna==== On 30 December 1843, Donizetti was back in Vienna, having delayed leaving until the 20th because of illness.
Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 19, he wrote his first one-act opera, the comedy Il Pigmalione, which may never have been performed during his lifetime. An offer in 1822 from Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1844.
As it turned out, he was able to revive a half-completed work which had been started for Vienna, but only after receiving a rejection to his request to be released from his Naples' obligations did he work on finishing Caterina Cornaro by May for a production in Naples in January 1844, but without the composer being present.
Verdi". ====Summer/Autumn 1844: Travel to and within Italy==== Gaetano's brother Giuseppe, on leave from Constantinople, arrived in Vienna in early June.
He had intended to leave by about 22nd, but Gaetano's bout of illness delayed his departure, and the brothers traveled together to Bergamo on about 12 or 13 July proceeding slowly but arriving around the 21st. William Ashbrook describes the second half of 1844 as a period of "pathetic restlessness".
He delayed his departure for as long as possible, but Mayr died on 2 December shortly after Donizetti had left Bergamo. ====December 1844 – July 1845: Last visit to Vienna==== By 5 December he was in Vienna writing a letter to his friend Guglielmo Cottrau on 6th and again on 12th, stating "I am not well.
However, Maria di Rohan continued for 33 performances in all, whereas Dom Sébastien remained in the repertory until 1845 with a total of 32 performances. ====1844: In Vienna==== On 30 December 1843, Donizetti was back in Vienna, having delayed leaving until the 20th because of illness.
Eventually, it was agreed that his commitment to the Opéra could be postponed until November 1845. While taking care of some of his obligations to the Viennese court, for the remainder of the month he awaited news on the outcome of the 12 January premiere of Caterina Cornaro in Naples.
He delayed his departure for as long as possible, but Mayr died on 2 December shortly after Donizetti had left Bergamo. ====December 1844 – July 1845: Last visit to Vienna==== By 5 December he was in Vienna writing a letter to his friend Guglielmo Cottrau on 6th and again on 12th, stating "I am not well.
As other biographers also note, there is an increasing sense that, during 1845, Donizetti became more and more aware of the real state of his health and the limitations it has begun to impose on his activities.
He left Vienna for the last time on 10 July 1845. ===1845–1848: Return to Paris; declining health; return to Bergamo; death=== By the time he reached Paris, Donizetti had been suffering from malaises, headaches, and nausea for decades, but had never been formally treated.
In early August, he initiated a lawsuit against the Opéra which dragged on until April 1846 and in which he prevailed. The culmination of the crisis in Donizetti's health came in August 1845 when he was diagnosed with cerebro-spinal syphilis and severe mental illness.
Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in a state of mental derangement due to neurosyphilis in April 1848. ==Early life and musical education in Bergamo and Bologna== The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter, located just outside the city walls.
In early August, he initiated a lawsuit against the Opéra which dragged on until April 1846 and in which he prevailed. The culmination of the crisis in Donizetti's health came in August 1845 when he was diagnosed with cerebro-spinal syphilis and severe mental illness.
Ricord, Andrea received their written opinion after an examination on 28 January 1846.
Donizetti no longer is capable of calculating sanely the significance of his decisions". ====Institutionalization==== In February 1846, reluctant to consider going further towards institutionalization, he relied on the further advice of two of the doctors who had examined his uncle in late January.
Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in a state of mental derangement due to neurosyphilis in April 1848. ==Early life and musical education in Bergamo and Bologna== The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter, located just outside the city walls.
Domenico Gaetano Maria Donizetti (, also , , ; 29 November 1797 – 8 April 1848) was an Italian composer, best known for his almost 70 operas.
Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in a state of mental derangement due to neurosyphilis in April 1848. ==Early life and musical education in Bergamo and Bologna== The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter, located just outside the city walls.
This condition continued well into 1848, more or less unchanged until a serious bout of apoplexy occurred on 1 April followed by further decline and the inability to take in food.
However, it was not staged until 1860. Donizetti returned once more to Milan where he stayed with the accommodating Giuseppina Appiano Stringeli with whom he had a pleasant time.
Finally, after the intense night of 7 April, Gaetano Donizetti died on the afternoon of 8 April. Initially Donizetti was buried in the cemetery of Valtesse but in 1875 his body was transferred to Bergamo's Basilica of Santa Maria Maggiore near the grave of his teacher Simon Mayr. ==Personal life== It was during the months which Donizetti spent in Rome for the production of Zoraida that he met the Vasselli family, with Antonio initially becoming a good friend.
Performances were staged "up and down the Italian peninsula" between 1830 and 1834 and then throughout Europe's capitals well into the 1840s, with revivals being presented up to about 1881.
His reputation fluctuated, but since the 1940s and 1950s his work has been increasingly performed.
His reputation fluctuated, but since the 1940s and 1950s his work has been increasingly performed.
Also published as: Io te voglio bene assaje: una famosa canzone napoletana tradizionalmente attribuita a Gaetano Donizetti, La Nuova Rivista Musicale Italiana|italic=unset, 1985, No.
Parker, Roger; William Ashbrook (1994), "Poliuto: the Critical Edition of an 'International Opera'", in booklet accompanying the 1994 recording on Ricordi. Saracino, Egidio (Ed.) (1993), Tutti I libretti di Donizetti, Garzanti Editore. Weatherson, Alexander (February 2013), "Donizetti at Ivry: Notes from a Tragic Coda", Newsletter No.
Parker, Roger; William Ashbrook (1994), "Poliuto: the Critical Edition of an 'International Opera'", in booklet accompanying the 1994 recording on Ricordi. Saracino, Egidio (Ed.) (1993), Tutti I libretti di Donizetti, Garzanti Editore. Weatherson, Alexander (February 2013), "Donizetti at Ivry: Notes from a Tragic Coda", Newsletter No.
All text is taken from Wikipedia. Text is available under the Creative Commons Attribution-ShareAlike License .
Page generated on 2021-08-05