"Magnifico in ""La Cenerentola"" in Rome in 1955 and Bartolo in ""Barber"" in Venice in 1956. He again sang Don Magnifico, this time in English, for Sadler's Wells Opera in 1960. In 1961, ""The Times"" wrote of his Bartolo, ""as magnificent a character study as ever, excellently sung and never for a moment over-played."" He performed at the Bregenz Festivals in 1964 and 1965. From 1965 onwards he appeared regularly with Scottish Opera, for whom his roles included Leporello in ""Don Giovanni"", Pistol in ""Falstaff"" to the Falstaff of Geraint Evans, and the Duke of Plaza Toro in ""The Gondoliers""."
"Paolo Gavanelli Paolo Gavanelli (born 1959) is an Italian operatic baritone, born in Monselice in the Province of Padua. He studied law before turning to singing. He made his debut as Leporello in ""Don Giovanni"" in 1985 at the Teatro Donizetti in Bergamo. He is particularly known in the latter part of his career for his interpretations of Verdian baritone roles, and he has sung in the major opera houses of Europe and North America, including La Scala, the Paris Opera House, Covent Garden in London and the Metropolitan Opera in New York. 2008 Grammy Awards Nomination in the category"
"""Best Opera Recording"" for ""La traviata"" Paolo Gavanelli Paolo Gavanelli (born 1959) is an Italian operatic baritone, born in Monselice in the Province of Padua. He studied law before turning to singing. He made his debut as Leporello in ""Don Giovanni"" in 1985 at the Teatro Donizetti in Bergamo. He is particularly known in the latter part of his career for his interpretations of Verdian baritone roles, and he has sung in the major opera houses of Europe and North America, including La Scala, the Paris Opera House, Covent Garden in London and the Metropolitan Opera in New York. 2008"
"Luigi Lablache Luigi Lablache (6 December 179423 January 1858) was an Italian opera singer of French and Irish heritage. He was most noted for his comic performances, possessing a powerful and agile bass voice, a wide range, and adroit acting skills: Leporello in ""Don Giovanni"" was one of his signature roles. Luigi Lablache was born in Naples, the son of Nicolas Lablache, a merchant from Marseille, France, by an Irish lady. He was educated from 1806 at the Conservatorio della Pietà de' Turchini in Naples, where Gentili taught him the elements of music, and Valesi instructed him in singing, while"
"Chamounix"", Raimondo Bidebent, Ramfis, Samuel in Verdi's ""Un ballo in maschera"", Simone in Puccini's ""Gianni Schicchi"", Sparafucile, Talpa in Puccini's ""Il tabarro"", and Varlaam in Mussorgsky's ""Boris Godunov"". His final performance at the Met was as Leporello to Paolo Silveri's Don Giovanni on December 5, 1950. Lazzari appeared annually at the Salzburg Festival from 1934 to 1939; portraying such roles as Bartolo in ""The Barber of Seville"", Leporello in ""Don Giovanni"", and Pistola in ""Falstaff"". He made his debut at the Royal Opera House in London in 1939 as Leporello in ""Don Giovanni"". In 1943 he sang the role of"
"of Berg's ""Wozzeck"". In 1940, he joined the Teatro alla Scala in Milan, where he sang regularly until 1956. He appeared with the Maggio Musicale Fiorentino in 1942, as Leporello in ""Don Giovanni"", a role he would sing numerous times during his career. In 1961, the bass performed in the world premiere of Luigi Nono's ""Intolleranza 1960"", in Venice. The war over, his career quickly took an international turn, with debuts in Paris, London, Edinburgh and Buenos Aires. In 1946, he made his debut at the Chicago Opera Company, and 1948 saw his debut at both the San Francisco Opera"
"Giovanni's chambers"" Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: ""O quanto un sì bel giubilo"" from Vicente Martín y Soler's ""Una cosa rara"" (1786), ""Come un agnello"" from Giuseppe Sarti's ""Fra i due litiganti il terzo gode"" (1782) and finally, ""Non più andrai"" from Mozart's own ""The Marriage of Figaro"" (1786). Leporello complains that he is sick and tired of hearing Mozart's aria everywhere all the time. (Finale ""Già la mensa preparata"" – ""Already the table is prepared"")."
"He and his librettist, Ghislanzoni, had originally wanted to call the opera ""Masaniello"", after Eugène de Mirecourt's novel on which it is based. However, Auber's 1828, ""La muette de portici"" set in the same historical period, was already known in Italy by that name. Instead, Ghislanzoni made Salvator Rosa (a secondary character in de Mirecourt's novel) the chief protagonist. The central love affair between Isabella and Masaniello in the novel became one between Salvator Rosa and Isabella in the opera. Like many fictional works based on the life of Salvator Rosa, de Mirecourt's novel derived from an 1824 biography of"
"true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: ""Ah pietà signori miei"" – ""Ah, have mercy, my lords""). Don Ottavio is now convinced that Don Giovanni is the one who murdered Donna Anna's father (the deceased Commendatore). He swears vengeance (""Il mio tesoro"" – ""My treasure"" – though in the Vienna version this was cut). In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: ""Per queste tue manine"" –"
"as Berta, Manuel Jr. as Figaro, and Maria as Rosina; Pauline was still very young at this time. Da Ponte particularly insisted on the company billing ""Don Giovanni"", of whose libretto he was the author, and Mozart's opera was given its first American unabridged performance on 23 May 1826 in the presence of its librettist, with García singing the title role, la Briones as Donna Elvira, Maria as Zerlina, and Manuel Jr. as Leporello. They also performed in Mexico, and García recounted in his memoirs that while on the road between Mexico and Vera Cruz, he was robbed of all"
"decent, in my position, to slate a young composer [Niedermeyer] who has for a long time been in the same situation vis-à-vis the theatre as I am. But I must warn you not to believe a word I say."" The opera was revised to suit Gilbert Duprez when he took over the title role from Nourrit in 1837, and successfully revived in a three-act form in 1840. It is now almost totally forgotten. The opera takes place in Venice and Rome, about 1660. In Act I, in Venice, Stradella shields Léonor who is pursued by the Duke of Pesaro. They"
"for Opera Colorado and Melisso from ""Alcina"", have been distinguished, but regarding his attitude to singing more Baroque opera and, specifically, in response to a question as to whether he might do some Cavalli or some Vivaldi in addition, he stated: In a different vein, he sang Caliban in the baroque pasticcio ""The Enchanted Island"" at the Met in 2011 and he returned there in April/May 2014 for performances in ""La Cenerentola"". He returned to the Met in 2015 as Leporello in the company's production of ""Don Giovanni"". In concert performances, Pisaroni has sung Zebul in Händel's ""Jephtha"" with the"
"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"
"and tragic parts. His chief rôles were Leporello (his greatest part), Geronimo the Podestà in ""La gazza ladra"", Dandini in ""La Prova d' un' Opera Seria"", Henry VIII in ""Anna Bolena"" the Doge in ""Marino Faliero"", and Oroveso in ""Norma"". He created the title role in Donizetti's ""Don Pasquale"" in 1843. Towards the close of his career he played two new characters of quite different types with great success, Shakespeare's Caliban and Gritzenko, the Kalmuck, in Scribe's and Meyerbeer's ""L'étoile du nord"". At the funeral of Beethoven in 1827 he was one of the thirty-two torchbearers who surrounded the coffin,"
"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"
"praise their kindness; In brunettes, their faithfulness; In the white-haired, their sweetness. In winter he likes fat ones. In summer he likes thin ones. He calls the tall ones majestic. The little ones are always charming. He seduces the old ones For the pleasure of adding to the list. His greatest favourite Is the young beginner. It doesn't matter if she's rich, Ugly or beautiful; If she wears a skirt, You know what he does.</poem> The aria's two halves reverse the usual order of cavatina followed by cabaletta: in the first, a quick Allegro in 4/4, Leporello has a patter"
"actually began, but the most commonly cited moment is the second act duet ""Amour sacré de la patrie"". One contemporary account describes what happened in the theater during the duet: The opera is loosely based on the historical uprising of Masaniello against Spanish rule in Naples in 1647. The character of Fenella, the opera's eponymous heroine, was borrowed from Walter Scott's ""Peveril of the Peak"", which features a deaf and dumb dwarf of the same name. ""The square before a chapel"" We witness the wedding of Alfonso, son of the Viceroy of Naples, with the Spanish Princess Elvira. Alfonso, who"
"""L'elisir d'amore"", and the title role of Donizetti’s ""Don Pasquale"". He has frequently showed his versatility by singing two roles from the same opera: Figaro and the Count in Mozart’s ""Le nozze di Figaro"", Leporello and the title role in Mozart’s ""Don Giovanni"", Guglielmo and Don Alfonso in Mozart’s ""Così fan tutte"", and Dandini and Don Magnifico in Rossini’s ""La Cenerentola"", among others. At the Royal Opera House, as of March 2012, Corbelli had taken part in 87 performances since his debut in 1988 (as Taddeo in ""L'Italiana in Algeri""). Corbelli's roles at the Royal Opera House have included Don"
"2005 as Escamillo in ""Carmen"", in 2006 in the title role in ""Don Giovanni"" for the Met's Japan Tour, in 2007 as Figaro in ""Le nozze di Figaro"" and in 2008 in the title role in ""Don Giovanni"". Since his debut at the Royal Opera House in September 2003 as Leporello in ""Don Giovanni"", Schrott has sung Figaro in ""Le nozze di Figaro"", and the title role in ""Don Giovanni"" with the company. He sang the role of Escamillo (7 December 2009) in the production of ""Carmen"" conducted by Daniel Barenboim, with Jonas Kaufmann as Don Josè and Anita Rachvelishvili"
"example: a murder is seen onstage and an extended finale is used in both acts, a practice more typical of opera buffa. Musically, the opera is quite challenging, requiring four principal singers capable of spanning wide tessituras, sustaining long phrases, and making dextrous leaps. For example, the roles of Europa and Semele go up to a high F sharp above high C a few times. The opera was first performed for the inauguration of La Scala on 3 August 1778. The opera was not performed again until 7 December 2004 for the re-opening of La Scala, after the theater had"
"appearances at both the Vancouver Opera and Pittsburgh Opera as Don Basilio in Rossini's ""The Barber of Seville"" in 2003; and performances as Raimondo in Donizetti's ""Lucia di Lammermoor"" both at the Palm Beach Opera and at the Teatro dell'Opera di Roma in 2003. Bilgili made his Metropolitan Opera debut on 7 May 2004, when he sang Leporello without either a ""full-stage or orchestra rehearsal"" in the final performance of ""Don Giovanni"" that season. When he took his solo bow at the end of the performance, the audience roared in appreciation. Between 2005 and 2006 he added several new roles"
"were enchanted with Giuseppina, but Giuseppe was equally praised. ""The Times"" critic, Thomas M. Alsager, described his voice as ""barytone, not powerful, but extremely pure and flexible"". That same first London season, he sang in the London premiere of Rossini's ""Matilde di Shabran"". The de Begnises returned the following season in ""Il Turco in Italia"" and during the same year Giuseppe sang Fernando in ""La gazza ladra"". On 10 September 1823 he sang in Rossini's ""Otello"". Still in London in 1824, he appeared as Leporello in ""Don Giovanni"" receiving good reviews; this role remained in his repertory and he sang"
"Buenos Aires and New York City. La Scala, Milan, where he made his debut in 1926, would become his main artistic home, but American audiences did get to hear him from 1929 until 1933, when he sang at the Metropolitan Opera. His roles at the Met included Oroveso, Raimondo, Ferrando, Fiesco, Padre Guardiano and Alvise. A performance of Don Giovanni with Pasero singing Leporello and Ezio Pinza singing the Don was broadcast in 1932. Unfortunately, no recording exists of this performance. Pasero notably sang the role The Miller in the world premiere of Umberto Giordano's ""Il re"" on 12 January"
"and abandoned. Later, Giovanni happens upon the preparations for a peasant wedding and tries to seduce the bride-to-be Zerlina (mezzo-soprano Teresa Berganza), but his ambition is frustrated by Donna Elvira. Donna Anna soon realizes that Giovanni killed her father, and she pursues the seducer along with her fiance Don Ottavio (tenor Kenneth Riegel). Ever ready to attempt a seduction, Giovanni woos Elvira's maid. As part of his plans, he switches clothes with his servant Leporello (bass-baritone José van Dam), who rapidly finds himself in trouble with people who mistake him for his master. Leporello flees and eventually meets Giovanni at"
"either of these composers, although he was undoubtedly influenced by their compositions. His earliest known work was a sacred drama, ""L'infedelta abbattuta"", performed by his fellow-students in 1712. In 1714 he produced, at the court theatre, an opera, ""Pisistrato"", which was much admired. He held various posts at the royal chapel, and continued to write for the stage, besides teaching at the conservatory. After adding comic scenes to Francesco Gasparini's ""Bajazette"" in 1722 for performance at Naples, he composed comic operas in Neapolitan such as ""La'mpeca scoperta"" in 1723, and ""L'Alidoro"" in 1740. His most famous comic opera was ""Amor"
"in ""Faust"", Oroveso in ""Norma"", Sarastro in ""The Magic Flute"", Seneca in ""L'Incoronazione di Poppea"", and Simone in ""Gianni Schicchi"". In 2003 he made his debut at the Vienna Volksoper as Leperello in ""Don Giovanni"". He appeared in the original production of William Bolcom's ""A Wedding"" at the Lyric Opera of Chicago in January 2005. He has also appeared as a guest artist with the Bern Theatre, the Canadian Opera Company, the Houston Grand Opera, the Indianapolis Opera, the Los Angeles Opera, the Michigan Opera Theatre, the Opera Company of Philadelphia, Opera Omaha, Opera Pacific, the Opera Theatre of Saint"
"as Raimondo in ""Lucia di Lammermoor"" and Sparafucile in ""Rigoletto"". However, on the advice of La Scala's principal conductor, Arturo Toscanini, he decided to specialise in comic roles. He thus went on to make an indelible impression as Leporello in ""Don Giovanni"", Dulcamara in ""L'elisir d'amore"", the title character in ""Don Pasquale"", Varlaam in ""Boris Godunov"", the title character in ""Falstaff"" and the name part in ""Gianni Schicchi"". Baccaloni also sang supporting roles such as Benoît in ""La bohème"" and the Sacristan in ""Tosca"". He created several operatic roles, too, including that of L'uomo di legge (the Lawyer) in Umberto"
"title role in the same performances. John Pringle (baritone) John Pringle AM (born 17 October 1938) is a retired Australian operatic baritone. He sang leading and supporting roles with Opera Australia and its predecessors for 41 years (1967–2008), and with some overseas companies. He was strongly associated with roles by Mozart, such as Figaro and Count Almaviva in ""The Marriage of Figaro""; the title role and Leporello in ""Don Giovanni""; Guglielmo and Don Alfonso in ""Così fan tutte""; and Papageno in ""The Magic Flute"". John Pringle started his adult life as a pharmacist for five years, with a degree from"
"Nicola Porpora Nicola (Antonio) Porpora (or Niccolò Porpora) (17 August 16863 March 1768) was an Italian composer and teacher of singing of the Baroque era, whose most famous singing student was the castrato Farinelli. Other students included composers Matteo Capranica and Joseph Haydn. Porpora was born in Naples. He graduated from the music conservatory Poveri di Gesù Cristo of his native city, where the civic opera scene was dominated by Alessandro Scarlatti. Porpora's first opera, ""Agrippina,"" was successfully performed at the Neapolitan court in 1708. His second, ""Berenice"", was performed at Rome. In a long career, he followed these up"
"celebrated for his conversational wit. He was well-read in Latin and Italian literature, wrote poetry and spoke French, German and English. Besides some four dozen operas, there are oratorios, solo cantatas with keyboard accompaniment, motets and vocal serenades. Among his larger works, his 1720 opera ""Orlando"", one mass, his Venetian Vespers, and the opera ""Arianna in Nasso"" (1733 according to HOASM) have been recorded. Nicola Porpora Nicola (Antonio) Porpora (or Niccolò Porpora) (17 August 16863 March 1768) was an Italian composer and teacher of singing of the Baroque era, whose most famous singing student was the castrato Farinelli. Other students"
"Galatea"" and ""Deborah"", all contained leading roles for the celebrated Italian castrato Senesino, a star of Handel's operas and a great draw for London audiences since 1720, but he was not comfortable singing in English and although all three works were popular with audiences, his pronunciation of the English texts drew some comment and ridicule. ""Orlando"", an Italian opera with a starring role by Handel for Senesino, was originally scheduled to premiere on 23 January 1733 but an announcement was placed in the London press that the opening had been postponed until the 27th, ""the principal performers being indisposed"". The"
"an opera. A modern reviewer described ""La rondine"" as ""a continuous fabric of lilting waltz tunes, catchy pop-styled melodies, and nostalgic love music,"" while characterizing the plot as recycling characters and incidents from works like 'La traviata' and 'Die Fledermaus'. In 1918, ""Il trittico"" premiered in New York. This work is composed of three one-act operas, each concerning the concealment of a death: a horrific episode (""Il tabarro"") in the style of the Parisian Grand Guignol, a sentimental tragedy (""Suor Angelica""), and a comedy (""Gianni Schicchi""). Of the three, ""Gianni Schicchi"", containing the popular aria ""O mio babbino caro"", has"
"composed by Gaetano Donizetti, Giovanni Pacini, Saverio Mercadante, Nicola Vaccai, and Pietro Antonio Coppola which took place at La Scala on 17 March 1837. Marietta Brambilla Marietta Brambilla (6 June 1807 – 6 November 1875) was an Italian contralto who sang leading roles in the opera houses of Europe from 1827 until her retirement from the stage in 1848. She is best known today for having created the roles of Maffio Orsini in Donizetti's ""Lucrezia Borgia"" and Pierotto in his ""Linda di Chamounix"", but she also created several other roles in lesser-known works. She was the elder sister of the"