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Article

Winton Dean

Bernacchi, Antonio Maria ( b Bologna , June 23, 1685 ; d Bologna , March 1, 1756 ). Italian alto castrato . He was a pupil of Pistocchi and G.A. Ricieri, and studied counterpoint with G.A. Bernabei at Munich. He made his Italian operatic début at Genoa in 1703 and appeared in Vienna in 1709 and Venice in 1709–10 , 1717–19 , 1721–4 , 1731–2 and 1735 , singing in at least 22 operas there. During the same period he sang in many other Italian cities including Novara ( 1711 ), Bologna ( 1710 , 1712–13 , 1722 , 1727 , 1731 ), Florence (

Article

Dennis Libby and Paul Corneilson

Panzacchi [ Pansacchi ], Domenico ( b Bologna , c 1730 ; d Bologna , 1805 ). Italian tenor . He is said to have been a pupil of Antonio Maria Bernacchi and sang in opera seria from 1746 . In Vienna in 1748–9 he first worked with Anton Raaff, who was to overshadow him in parts of his later career. In 1751–7 he was at Madrid (Raaff arriving at a higher salary in 1755 ) and from 1760 until his pensioning in 1782 he was in the service of the Munich court (which Raaff joined after 1778 ), with occasional operatic engagements

Article

John Rosselli

Naples with Leonardo Leo, then at Bologna with Antonio Bernacchi and (for counterpoint and composition) G.B. Martini (with whom he remained in touch, helping him in 1778 to arrange a Bologna performance of Gluck’s Alceste ). He sang in Italy and Germany from about 1730 , never, it seems, as more than a second-rank singer, though no doubt a musicianly one (he became a member of the Accademia Filarmonica in Bologna). He also made a name as a singing teacher, and in 1757 was called to Vienna to teach the Empress Maria Theresa’s daughters; there he remained for the

Article

Bajazet  

Harris S. Saunders

as a handmaiden, intervenes. A grateful Tamerlane consents to marry Irene, and, moved by Bajazet’s suicide, pardons Asteria and allows her to marry Andronicus. In the Reggio Emilia version of 1719 the role of Bajazet was taken by Francesco Borosini, Tamerlane by Antonio Bernacchi, Asteria by Maria Anna Bulgarelli and Irene by Faustina Bordoni; all but Borosini had sung in Tamerlano in 1711 . The 1719 revisions present Bajazet’s suicide in an extensive final scene in which Bajazet virtually dies before the audience’s eyes; his leading tenor role is exceptional

Article

Sven Hansell

operas to direct from the first, he is listed as the maestro di cappella and first harpsichordist for the entire 1720 , 1738 , 1739 and 1743 seasons. His opera scores are lost but their quality is suggested by the renown of his singers: Faustina Bordoni, Francesca Cuzzoni, Antonio Bernacchi and others. The large size of his orchestra – 30 players in 1720 , including many wind instrumentalists – implies rich orchestrations. Works Operas First performed in Milan, Regio Ducal, unless otherwise stated; all lost Ambleto [Act 1] (3

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In 1675 he was the subject of a sonnet, Ai numi dell'Adria , published in Ferrara. Although Pistocchi’s operatic career ended about 1705 , he continued to sing for several years at functions in various Bolognese churches. He was famous as a singing teacher, and Antonio Bernacchi, A.P. Fabri, Antonio Pasi, Gaetano Berenstadt and G.B. Martini were among his pupils. In 1708 and 1710 he served as principe of the Accademia Filarmonica, of which he had been a member since 1687 . In 1709 he took holy orders and in 1714 was named honorary chaplain to the Elector

Article

Winton Dean

1730 . He apparently gave Handel a cold reception when they met in Italy, but in August 1730 he was re-engaged by Handel and Heidegger for the second Academy, this time at a salary of 1400 guineas, and arrived in October as a replacement for Bernacchi. According to Lord Harcourt, continental judges thought Bernacchi the finer singer and were puzzled by Senesino’s English reputation. In the next three years he sang in four new Handel operas and many revivals, and in the first two London seasons of oratorio ( 1732–3 ), playing Ahasuerus in Esther (in English)

Article

Anthony Hicks

libretto for his first season free from directorial rule, together with the serious Lotario , signalled an intention to explore a wider range of operatic taste than the Academy had been prepared to accommodate. The original cast consisted of Anna Maria Strada del Pò (Partenope), the castrato Antonio Maria Bernacchi (Arsace), Francesca Bertolli (Armindo), Annibale Pio Fabri (Emilio), Antonia Margherita Merighi (Rosmira) and Johann Gottfried Riemschneider (Ormonte). The initial run of seven performances suggests only moderate public success, but Handel revived the

Article

Modena  

Elvidio Surian

revised by Alessandra Chiarelli

born in Modena. They include the composer-instrumentalists Giulio Segni, Bellerofonte Castaldi, and Renzo Silvestri; the composers Antonio and Vincenzo Sighicelli, Romolo Ferrari, Ettore Orlandi, Primo and Loris Silvestri, and Giovanni Valentini; the instrumentalists Giuseppe and Ludovico Colombi, and the Sighicelli and Andreoli families; the singersMarzio Erculei,Francesco Antonio Pistocchi, Anna and Rosa d’Ambreville, Antonio Bernacchi, and Luigia Boccabadati; and the music historiansCatelani, Alessandro Gandini, G. Ferrari Moreni, L.F. Valdrighi, Alessandro Giuseppe

Article

John Rosselli

general – or, on moral grounds, to their singing of women’s parts – rather than to their appearance as heroes or lovers. Serious opera in the first two-thirds or so of the 18th century was dominated by a succession of famous castratos, of whom Nicolo Grimaldi (‘Nicolini’), Antonio Maria Bernacchi, Francesco Bernardi (‘Senesino’), Carlo Broschi (‘Farinelli’), Giovanni Carestini, Gaetano Majorano (‘Caffarelli’) and Gaetano Guadagni are only the best known. Such artists could command engagements in one European capital after another at unprecedented fees – in Turin the

Article

Hanns-Bertold Dietz

among them the Annunziata, where he had been appointed maestro di cappella in 1726 . During his last years he relinquished most of his obligations to Manna. His last dated composition in autograph is a Quoniam tu solus of 1760 for tenor and strings. Through the singer A.M. Bernacchi of Bologna, Feo established contact in 1749 with Padre Martini, to whose collection he contributed a portrait of himself: it shows a wistful, aging Feo, with the theoretical treatises of Zarlino, Fux and Scorpione at his side. 2. Works. When Feo embarked on his career

Article

Milan  

Mariangela Donà

Gaetano Carisch Carulli Castiglione, Giovanni Antonio da Curci Fonotipia Lomazzo, Filippo Lucca, Francesco Moscheni, Francesco Ricordi Sonzogno Suvini Zerboni Tini Valdarfer, Christoph Vigoni Zarotto, Antonio Sammartini, Giovanni Battista, §1: Life Berio, Luciano, §1: 1925 to 1971 Maderna, Bruno, §1: Life Antoniazzi Bisiach Grancino, Giovanni Landolfi, Carlo Ferdinando Mantegazza Pedrazzini, Giuseppe Testore Rossi, Annibale dei Rossi, Ferrante dei Weerbeke, Gaspar van, §1: Life Anciuti, Joannes Maria

Article

next seven years in addition to his own compositions. For the ensuing season Handel had little choice but to re-engage Senesino, Bernacchi having proved a poor substitute. He opened with a revival of Scipione ( 3 November 1730 ). Poro ( 2 February 1731 ) was the only new opera and was well received. Handel strengthened his company for the following season with two newcomers to London, the tenor Pinacci and the excellent bass Antonio Montagnana, but his first new opera, Ezio (Handel’s last on a Metastasio text), was taken off after only five performances. Sosarme

Article

p., c 1833; London, 1834, enlarged 2/1840, ed., with commentary, E. Battaglia, 1990) [numerous Vaccai methods, 1865 onwards] G. Malagoli : Metodo breve, facile e sicuro per apprendere bene il canto (Bologna, 1834) H. F. Mannstein : Das System der grossen Gesangsschule des Bernacchi von Bologna dargestellt (Leipzig, 1834, 2/1848) T. Williams : A Treatise on Singing (London, 1834) J. Addison : Singing, Practically Treated in a Series of Instructions (London, 1836) H. Wainewright : Critical Remarks on the Art of Singing (London, 1836) G. L. B. Wilhem