The Count di Luna, and his brother Manrico, vie for the love of Leonora in which Verdi opera, first performed in 1853?
"Alexandru Agache Alexandru Agache (born 16 August 1955) is a Romanian operatic baritone who has had an active international career since 1979. Possessing a powerful and flexible voice, he has drawn particular acclaim in the operas of Giuseppe Verdi. Born in Cluj, Agache was trained at the Cluj Conservatory. He made his professional opera debut in 1979 at the Cluj-Napoca Romanian National Opera as Silvano in Giuseppe Verdi's ""Un ballo in maschera"". He was active at that house throughout the 1980s, singing roles like the Count di Luna in Verdi's ""Il trovatore"", Germont in Verdi's ""La traviata"", Iago in Verdi's"
"as fictitious as Manrico, as is the story's conceit that the former Count of Luna had not one but two sons. Notes Cited sources Other sources Il trovatore The premiere took place at the Teatro Apollo in Rome on 19 January 1853, where it ""began a victorious march throughout the operatic world,"" a success due to Verdi's work over the previous three years. It began with his January 1850 approach to Cammarano with the idea of ""Il trovatore"". There followed, slowly and with interruptions, the preparation of the libretto, first by Cammarano until his death in mid-1852 and then with"
"to solve the problem, which was accomplished by incorporating elements of Milan's La Scala opera house. The ""Nuovo"" became a mixture of La Fenice on the inside and La Scala on the exterior. Several name changes have occurred during the theatre's lifetime, the first in 1821 when it became the ""Teatro Grande"" and it was under this name that the theatre was the site of two Verdi opera premieres: ""Il corsaro"" in 1848 (featuring the soprano Giuseppina Strepponi, who Verdi married in 1859, in the leading role) and ""Stiffelio"", a production which Verdi supervised - not without controversy - in"
"Milan to continue his musical training, first with the tenor Corrado Miraglia, and after Miraglia's death later that year with the baritone Sebastiano Ronconi. D'Andrade made his operatic debut on 23 December 1882 at the Teatro Principe Amedeo in Sanremo as Amonasro in Verdi's ""Aida"". Over the next four years he sang in the opera houses of Portugal, Spain and Italy, including the Teatro Costanzi in Rome, where he sang Count de Luna in Verdi's ""Il trovatore"" and Severo in the theatre's first performance of Donizetti's ""Poliuto"". Both he and his brother were engaged as singers at the Théâtre Privé"
"dies in agony in Manrico's arms she confesses that she prefers to die with him than to marry another (Trio: ""Prima che d'altri vivere"" / ""Rather than live as another's""). The count has heard Leonora's last words and orders Manrico's execution. Azucena awakes and tries to stop di Luna. Once Manrico is dead, she cries: ""Egli era tuo fratello! Sei vendicata, o madre."" / ""He was your brother ... You are avenged, oh mother!"" Today, most opera scholars recognize the expressive musical qualities of Verdi's writing. However, musicologist Roger Parker notes that ""the extreme formalism of the musical language has"
"""Tutto Verdi"" series; and the Teatro Regio di Parma gave it in October 2007 as part of their on-going ""Festival Verdi"". In 2010 the Berliner Operngruppe under Felix Krieger presented the work in a concert performance in Berlin. In its celebration of the Verdi bicentennial, it was staged by La Scala in April/May 2013. Before the action takes place, a battle has been fought between Oberto, Count of San Boniface, and the Salinguerra, led by Ezzelino da Romano. Oberto has lost and has retreated to Mantua. Meanwhile, his daughter Leonora has been seduced and abandoned by Riccardo, Count of Salinguerra,"
"died in San Polo d'Enza at the age of 64. Giovanni Guicciardi Giovanni Guicciardi (12 January 1819 – 4 October 1883) was an Italian opera singer who sang leading baritone roles in the opera houses of Italy and Portugal. He is most remembered today for having created the role of Count di Luna in Verdi's ""Il trovatore"", although he created several other leading roles in operas by lesser known Italian composers. He accumulated a considerable fortune during the course of his career. After his retirement from the stage, he taught without payment in music schools in his native city, Reggio"
"of the same name at the Théâtre Lyrique while Caroline appeared in leading roles in operas by Bellini, Meyerbeer and Verdi at the Paris Opera. Verdi saw her in his opera ""Les vêpres siciliennes"" in Paris and chose her to create the leading role of Leonora in his opera ""La Forza del Destino"" in St.Petersburg. The premiere was scheduled for 1861, but when Verdi arrived in Russia to supervise the rehearsals, Barbot was ill. Rather than accept a substitute in the leading role of Leonora, Verdi returned to Italy and came back to Russia the following season where the opera"
"on to sing Manrico for the Paris premiere of the opera on 23 December 1854 at the Théâtre-Italien. The following month, he again appeared at the Théâtre-Italien in the title role of Pacini's now forgotten opera, ""L'ultimo dei Clodovei"". Despite his great popularity in Italy, Baucardé failed to impress one British observer, Frances Minto Elliot. Writing under the pseudonym ""Florentia"", she described his 1854 Rome performance in ""Lucrezia Borgia"" thus: Baucardé was married to a prominent, but notoriously temperamental soprano, Augusta Albertini (1827–1898) and often sang with her. When she was proposed for the role of Mina in the 1857"
"new masterpiece from this true wizard of modern harmonies"". When back at Sant'Agata in late January 1853 Verdi was reminded that his contract called for him to be in Venice within a week or two and for the premiere to be held on the ""first Saturday in March 1853"". However, it soon became clear that a modern-dress staging of the new opera was impossible—the requirement was that it should be set in the 17th century ""in the era of Richelieu""—and reports from the opening of the season confirmed the limitations of the chosen soprano, the 38-year-old Fanny Salvini-Donatelli for taking"
"Leonora (opera) Leonora, ossia L’amore coniugale (""Leonora or Conjugal Love"") is an opera (specifically a ""dramma semiserio"") in two acts by the Italian composer Ferdinando Paer. The libretto, by Giovanni Schmidt, is based on ""Léonore ou L’Amour conjugal"" (1794) by Jean-Nicolas Bouilly, which was also the source of Beethoven's ""Fidelio"". Beethoven himself owned a score of Paer's opera and it is believed to have had some influence on his work. ""Leonora"" was first performed at the Kleines Kurfürstliches Theater, Dresden on 3 October 1804 with the composer's wife singing the title role. Leonora disguises herself as a man in order"
"first major Italian triumph since the 1847 premiere of ""Macbeth"" in Florence. It initially had a run of 13 performances and was revived in Venice the following year, and again in 1854. Despite a rather disastrous production in Bergamo shortly after its initial run at La Fenice, the opera soon entered the repertory of Italian theatres. By 1852, it had premiered in all the major cities of Italy, although sometimes under different titles due to the vagaries of censorship (e.g. as ""Viscardello"", ""Lionello"", and ""Clara de Perth""). From 1852, it also began to be performed in major cities worldwide, reaching"
"Zanni, Moschino"" etc.) are introduced into this 'serious' context. The use of the term ""comedia musicale"" in the printed score might go back to Dante's ""Divine Comedy"" (completed 1320), merely addressing a happy ending story. The opera was first performed at the Palazzo Barberini, Rome on 12 February 1637. The surviving score is a revised version dating from 1639. The impoverished Egisto is in love with the young widow Alvida. She rejects his advances unless he destroys the things dearest to him: a tower he has inherited and his favourite falcon. He does so and Alvida is so impressed by"
"Genoa, Naples, Palermo, and at the Verona Arena. Outside Italy, he appeared at many houses throughout Europe and in the United States. In 1955 he made his first appearance at the Teatro Nacional Sao Carlos in Lisbon as Alfio. In 1956 he made his American debut at the San Francisco Opera as Count di Luna in Verdi's ""Il trovatore"". He sang several more roles with that house that season including Amonasro in Verdi's ""Aida"", Gianciotto in Zandonai's ""Francesca da Rimini"", Sharpless in Puccini's ""Madama Butterfly"", and Scarpia in Puccini's ""Tosca"". In 1957 he made his first appearance with the Vienna"
"Giovanni Guicciardi Giovanni Guicciardi (12 January 1819 – 4 October 1883) was an Italian opera singer who sang leading baritone roles in the opera houses of Italy and Portugal. He is most remembered today for having created the role of Count di Luna in Verdi's ""Il trovatore"", although he created several other leading roles in operas by lesser known Italian composers. He accumulated a considerable fortune during the course of his career. After his retirement from the stage, he taught without payment in music schools in his native city, Reggio Emilia, and presided over a charity for orphaned musicians. He"
"of ""Leonore"", the 1805 original three-act version of the two-act opera ""Fidelio"". This is a discography of ""Leonore"", the 1806 version of the two-act opera ""Fidelio"". Fidelio discography This is a partial discography of ""Fidelio"", a Singspiel in two acts by Ludwig van Beethoven. Beethoven had originally written a three-act version of the opera called ""Leonore"", first performed in 1805 and then re-staged with revisions in 1806. Despite the name change, the heroine is the title character in both cases. Leonore disguises herself as a boy, Fidelio, in order to find out what has happened to her husband, Florestan, who"
"between the two men in 1833 and 1834, with Bellini in Paris and Romani in Milan. They never met again. 19th century ""Beatrice di Tenda"" received its first performance at the Teatro La Fenice in Venice on 16 March 1833 with Giuditta Pasta in the title role. The following year, it was staged at the Teatro Carolino in Palermo on 1 March with Marietta Alboni, Giovanni Basadonna, and Ignazio Marini in the major roles. There, it was well received. Bellini was pleased. However, Venice's ""fiasco"" was relative because the opera was staged again at La Fenice in 1838, 1843, 1844"
"largely in the expansion of the role of Leonora. For Verdi, the three years were filled with operatic activity because work on this opera did not proceed while the composer wrote and premiered ""Rigoletto"" in Venice in March 1851 and also while his personal affairs limited his activities. Then, in May 1851, an additional commission was offered by the Venice company after ""Rigoletto""'s success there. Another commission came from Paris while he was visiting that city from late 1851 and into March 1852. Therefore, even before the libretto for ""Il trovatore"" was ever completed, before the music was written, and"
"he sang di Luna again at the Salzburg Festival with Anna Netrebko as Leonora, Marie-Nicole Lemieux as Azucena and Francesco Meli as Manrico. He first sang the title role of Verdi's ""Nabucco"" at Covent Garden in March–April 2013 and has since reprised it in St. Petersburg, Beijing, Verona, and Vienna. In 2015, he made his debut in the title role of Verdi's Macbeth in Berlin, as well as Don Carlo in ""Ernani"" in New York and the title role of ""Gianni Schicchi"" in Los Angeles. On 13 June 2018, Plácido Domingo performed at the 2018 FIFA World Cup opening gala"
"Milanese singer, songwriter, actor and playwright who had frequently performed at the Teatro Lirico from the early 1960s until its closure in 1998. The renovated theatre will also house the archives of the Fondazione Giorgio Gaber. Opera Ballet Further Reading Teatro Lirico (Milan) The Teatro Lirico (known until 1894 as the Teatro alla Canobbiana) is a theatre in Milan, Italy. In the 19th and early 20th centuries it was particularly notable for opera performances, including the world premieres of Donizetti's ""L'elisir d'amore"" and Giordano's ""Fedora"". The theatre, located on Via Rastrelli, closed in 1998. However, a restoration project was begun"
"of their pleas, the composer refused. As Budden notes, it came to be Venice ""that made an honest woman of Violetta"" when Verdi allowed a performance at the Teatro San Benedetto. Some revisions took place between 1853 and May 1854, mostly affecting acts 2 and 3, but the opera was given again on 6 May 1854 and was a great success, largely due to Maria Spezia-Aldighieri's portrayal of Violetta. ""Then [referring to the La Fenice performances] it was a fiasco; now it has created a furore. Draw your own conclusions!"" reported Piave (who had overseen the production in Verdi's absence)."
"was performed thirty times during the initial season in Milan and was performed throughout Italy and elsewhere to some extent before largely disappearing into obscurity after 1846. It was revived at the Rossini Opera Festival in Pesaro in 1986 with Katia Ricciarelli, Marilyn Horne, and Chris Merritt. The opera is considered very difficult to sing due to the intensity of its coloratura writing. ""Bianca e Falliero"" is a tale of emotional excess and bitter strife within war-threatened Venice. Falliero, the hero, comes home after defeating the enemies of Venice only to find his beloved Bianca promised to a rival and"
"Il trionfo dell'onore Il trionfo dell'onore (""The Triumph of Honour"") is an operatic 'commedia' in three acts by the Italian composer Alessandro Scarlatti, with a libretto by . It was first performed at the Teatro dei Fiorentini, Naples on 26 November 1718. It is Scarlatti's only known comic opera. Ricardo Albenori, a dissolute young man, and his friend, the soldier Rodimarte Bombarda, arrive in Pisa, having escaped from Lucca where they had run into trouble with the law. In Lucca, Riccardo had also seduced Leonora Dorini before rejecting her in favour of Doralice Rossetti. Leonora has followed him and takes"
"Lucca."" Piave relented, and he moved ahead on ""Macbeth"" 's libretto. But, by the end of the year, when Lucca and the British impresario, Benjamin Lumley were raising the issue of the London contract, Verdi replied that he found ""Il corsaro"" ""dull (""freddo"") and theatrically ineffective"". Thus, ""I masnadieri"" became the opera for London, and Verdi (and his long-time assistant and student, Emanuele Muzio) traveled to that city at the end of May 1847 for the premiere performance which was held on 22 July 1847, after which the composer returned to Paris – where he remained for two years –"
"Milan. The La Scala impresario, Bartolomeo Merelli, agreed to put on ""Oberto"" (as the reworked opera was now called, with a libretto rewritten by Temistocle Solera) in November 1839. It achieved a respectable 13 additional performances, following which Merelli offered Verdi a contract for three more works. While Verdi was working on his second opera ""Un giorno di regno"", Margherita died of encephalitis at the age of 26. Verdi adored his wife and children and was devastated by their deaths. ""Un giorno"", a comedy, was premiered only a few months later. It was a flop and only given the one"
"Germont. Graziani had not been well — one performance was cancelled because of his indisposition. Later in his career, in other Verdi roles, Graziani was more successful. Graziani returned to the Théâtre-Italien for the 1854–1855 season to sing Manrico in Verdi's ""Il trovatore"", with the contralto Adelaide Borghi-Mamo as Azucena. Verdi, who was in Paris at the time working on the Opéra's production of ""Les vêpres siciliennes"", was somehow persuaded by the Italien's director Calzado to not only sanction the production, but to help supervise, without a fee. The performances, which introduced the opera to Paris beginning on 23 December"
"to 1847 he was in demand in Vienna, where he appeared at the Kärntnertortheater. Here he created the role of Antonio in Donizetti's ""Linda di Chamounix"" as well as appearing in other works by the same composer. In 1844 he sang the role of Don Carlo in ""Ernani"" at Padua, his initial Verdi opera, and later appeared as the Doge in Verdi's ""I due Foscari"". In 1847, in Florence, he was the first Macbeth in Verdi's opera of that name. Then, in 1851 at La Fenice, Venice, he created Verdi's Rigoletto, and in 1853, at the same house, he became"
"RAI in 1951 (to commemorate the 50th anniversary of Verdi's death), such as ""Giovanna d'Arco"", ""La battaglia di Legnano"", and ""Aroldo"". Later roles included most of the great Verdi baritone roles, particularly the title character in ""Rigoletto"", The Count of Luna in ""Il trovatore"", Giorgio Germont in ""La traviata"", Marquis of Posa in ""Don Carlos"", Amonasro in ""Aida"". Panerai has more than 150 operas in his repertory, although he is best known for comic roles: Ford in ""Falstaff"" (his signature role), Gianni Schicchi, Figaro in ""Nozze di Figaro"", Leporello in ""Don Giovanni"", and both Guglielmo and Alfonso in ""Così fan"
"Caterina Mancini Caterina Mancini (10 November 1924 - 21 January 2011) was an Italian dramatic coloratura soprano, primarily active in Italy in the 1950s. Mancini was born at Genzano di Roma. She made her debut in 1948, as Giselda in ""I Lombardi"", in Florence. In 1950, she appeared in Bologna and Venice, in ""Norma"", and made her debut at La Scala in Milan, in ""Lucrezia Borgia"", in 1951. The same year, she sang in many Verdi operas on radio broadcast (RAI) to commemorate 50th anniversary of Verdi's death. Many of these broadcasts have been released by the record company Cetra,"
"of love in this exchange: Gremio and Tranio literally bid for Bianca. As Baptista says, ""'Tis deeds must win the prize, and he of both/That can assure my daughter greatest dower/Shall have my Bianca's love"" (2.1.344–346). The first opera based on the play was Ferdinando Bertoni's opera buffa ""Il duca di Atene"" (1780), with libretto by Carlo Francesco Badini. Frederic Reynolds' ""Catherine and Petruchio"" (1828) is an adaptation of Garrick, with an overture taken from Gioachino Rossini, songs derived from numerous Shakespeare plays and sonnets, and music by John Braham and Thomas Simpson Cooke. Starring Fanny Ayton and James William"
"sooner had the opera house been rebuilt than a legal dispute broke out between the company managing it and the owners, the Venier family. The issue was decided in favor of the Veniers. At the beginning of the 19th century, La Fenice acquired a European reputation. Rossini mounted two major productions there: ""Tancredi"" in 1813 and ""Semiramide"" in 1823. Two of Bellini's operas were given their premieres there: ""I Capuleti e i Montecchi"" in March 1830 and ""Beatrice di Tenda"" in March 1833. Donizetti, fresh from his triumphs at La Scala in Milan and at the Teatro di San Carlo"
"1847 with a performance of Giuseppe Verdi's ""Ernani"" with Adelino Vietti in the title role. Sefton and his company were not re-engaged by Fry, and the opera management of the house went to Cesare Lietti for the second season. During his tenure the opera house presented the United States premiere of Verdi's ""Nabucco"" on April 4, 1848. Lietti was also replaced after one season, and the Astor's third and longest lasting opera manager, Max Maretzek, was hired for the third season which commenced in November 1848. The following year Maretzek founded his own opera company, the Max Maretzek Italian Opera"
"almost forgotten. Caterina Mancini Caterina Mancini (10 November 1924 - 21 January 2011) was an Italian dramatic coloratura soprano, primarily active in Italy in the 1950s. Mancini was born at Genzano di Roma. She made her debut in 1948, as Giselda in ""I Lombardi"", in Florence. In 1950, she appeared in Bologna and Venice, in ""Norma"", and made her debut at La Scala in Milan, in ""Lucrezia Borgia"", in 1951. The same year, she sang in many Verdi operas on radio broadcast (RAI) to commemorate 50th anniversary of Verdi's death. Many of these broadcasts have been released by the record"