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Article

Winton Dean

create Ferdinand in Smith’s The Tempest ( 1756 ). She sang in oratorios under Handel at Covent Garden in 1756 , appearing in Athalia , Israel in Egypt , Deborah , Judas Maccabaeus (Israelite Man), Jephtha (Storgè) and Messiah . She sang the title role in Traetta’s Didone abbandonata at Venice in 1757 , and in the next three years sang in Vicenza, Mantua, Pavia, Prague and Mannheim. Back in London for the 1761–2 season, she appeared in five operas and was described as musician to Duke Clemens of Bavaria. She may have been singing as late as 1771 .

Article

Winton Dean

King’s Theatre in 1757 . She made her début there in the pasticcio Demetrio, re di Siria and remained a member of the company, first as seconda donna and eventually as ‘serious woman’ (Burney), until 1761 . She appeared in about 20 operas, including six by Cocchi, Perez’s Farnace and Didone abbandonata , and Galuppi’s Attalo , Il mondo della luna and Il filosofo di campagna , sometimes in male parts. During her stay in London she appeared in Handel’s Samson and Messiah at Covent Garden, possibly in 1759 . In July 1759 she sang in a cantata by Cocchi at

Article

Winton Dean

Handel considered him ‘a rising genius’. The next season, Conti appeared in Handel’s new operas Arminio (as Sigismond), Giustino (Anastasius) and Berenice (Alessandro) and in several revivals. Conti sang in Rome in 1738 and 1741 , at Padua in 1739 in Lampugnani’s Didone abbandonata , and in 1742 in Florence, where he made a great impression but was taken seriously ill. He may have gone to Lisbon in 1743 . He sang at the S Carlo, Naples, in 1746 in Duni’s Catone in Utica and Jommelli’s Eumene . In 1747 the theatre engaged both Conti and his rival

Article

Winton Dean

revivals. He also sang in Handel’s oratorio Esther (with several new arias) and probably in Il trionfo del tempo , and was to have taken part in a revival of Deborah which was cancelled. Conti sang in Rome in 1738 , 1741–3 and later, at Padua in 1739 in Lampugnani’s Didone abbandonata , and in 1742 in Florence, where he made a great impression but was taken seriously ill. He may have gone to Lisbon in 1743 . He sang at the S Carlo, Naples, in 1746 in Duni’s Catone in Utica and Jommelli’s Eumene . In 1747 the theatre engaged both Conti and his rival

Article

Mauricio Dottori and Paul J. Jackson

Maria I (one of his pupils) made him a Knight of the Order of Christ; and when he died she ordered his funeral to be conducted with pomp at court expense. Perez composed more than 45 dramatic works between 1733 and 1777 , about half of which were operas written between 1744 and 1755 , the period during which he concentrated almost exclusively on the genre. Excerpts from Arminio , La Didone abbandonata , Ezio , Il Farnace , Solimano and Vologeso were published in London by John Walsh, and many works exist in manuscript. In the opere serie written before

Article

Don Neville

Siroe première with Marianna Benti-Bulgarelli (‘La Romanina’) and Nicolini, the two leading singers from Didone abbandonata ( 1724 ), heading the cast. Although Siroe achieved over 35 settings, however, it was never to gain the popularity of the earlier opera. Handel, in 1728 , introduced London audiences to their first Metastasian opera with a Siroe setting, and in 1740 Majorano Caffarelli and Giovanni Manzuoli sang in a setting that established Perez in Naples as an opera composer. For Conforto, Siroe ( 1752 ) was one of the operas that secured him a position

Article

Marita P. McClymonds and Anne Schnoebelen

occupying entire scenes; and the march provides genuine programmatic ‘battle’ music. Works Operas Siroe, re di Persia (os, 3, P. Metastasio), Fano, Fortuna, July 1746 Issipile (os, 3, Metastasio), Macerata, Comunale, carn. 1748 Didone abbandonata (os, 3, Metastasio), Bologna, Formagliari, 26 Dec 1752 Demofoonte (os, 3, Metastasio), Parma, Ducale, carn. 1754 Achille in Sciro (os, 3, Metastasio), Piacenza, Ducale, 1754 L’astuzie amorose (ob), Piacenza, Ducale, 1754 La clemenza di

Article

G.M. Sborgi, 1836 Didone abbandonata Sarri, 1724 Albinoni, 1725 Porpora, 1725 Vinci, 1726 Schiassi, 1735 Brivio, 1739 Duni, 1739 Lampugnani, 1739 Galuppi, 1740 Bernasconi, 1741 Rinaldo di Capua, 1741 Hasse, 1742 Scalabrini, 1744 Adolfati, 1747 Jommelli, 1747 Bertoni, 1748 Chiarini, 1748 Terradellas, 1750 Fiorillo, 1751 Manna, 1751 Perez, 1751 Bonno, comp. 1752 (?unperf

Article

Marita P. McClymonds, Paul Cauthen, Wolfgang Hochstein and Mauricio Dottori

composer, David Perez, to write a Miserere as a demonstration of their capabilities. Backed by Cardinal Albani and Passionei, Jommelli was then elected maestro coadiutore of S Pietro with a decree issued on 20 April. The decree asserted that he must be in Rome for the beginning of the Holy Jubilee Year of 1750 and follow indispensably the year-round service in the basilica. Meanwhile, equally important to his career was a commission Albani secured for him from Vienna in 1749 . Here he composed Achille in Sciro and a second version of Didone abbandonata . Metastasio

Article

Julie Woodward

o (L’amazone corsara, xiii), B. Pasquini (Idalma, xi), Perez (Solimano, xlv), Pergolesi (L’olimpiade, xxxiv), Perti (Rosaura, lxvii), N. Piccinni (Catone in Utica, l; Cecchina [La buona figliuola], lxxx), C. F. Pollarolo (Gli inganni felici, xvi), Porpora (Semiramide riconosciuta, xxx), Porsile (Spartaco, xxviii), Provenzale (Lo schiavo di sua moglie, vii), Rinaldo di Capua (Vologeso, xxxviii), Luigi Rossi (Il palazzo incantato, ii), Sacchini (L’eroe cinese, xc), Sarro (Arsace, xxii), Sarti (Didone abbandonata, lxxxiv), A. Sartorio (Adelaide, viii), A. Scarlatti (Telemaco