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and upkeep in
Bergamo, he was forced by the Paris Prefect of Police to have his uncle undergo another examination by other physicians appointed by the Prefect. Their conclusion was the opposite of that of the previous doctors: "we are of the opinion that the trip should be forbidden formally as offering very real dangers and being far from allowing hope of any useful result." With that, the Prefect informed Andrea that Donizetti could not be moved from Ivry. Andrea saw little use in remaining in Paris. He sought a final opinion from the three doctors practicing at the clinic, and on 30 August, they provided a lengthy report outlining step-by-step the complete physical condition of their declining patient, concluding that the rigours of travelâthe jolting of the carriage, for exampleâcould bring on new symptoms or complications impossible to treat on such a journey. Andrea left for Bergamo on 7 (or 8) September 1846, taking with him a partial score of
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Lannoy recommended that
Gaetano be moved to Paris where he could be taken care of by the same doctors. Giuseppe agreed and sent Andrea back to Paris, which he reached on 23 April. Visiting his uncle the following day, he found himself recognized. He was able to go on to convince the Paris Prefect, by threats of family action and general public concern, that the composer should be moved to an apartment in Paris. This took place on 23 June and, while there, he was able to take rides in his carriage and appeared to be much more aware of his surroundings. However, he was held under virtual house arrest by the police for several more months, although able to be visited by friends and even by Verdi while he was in Paris. Finallyâon 16 Augustâin Constantinople, Giuseppe filed a formal complaint with the Austrian ambassador (given that the composer was an Austrian citizen).
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he was due by 12 February to fulfill his contract. Following behind in another coach was Dr. Ricord. After three hours they arrived at the Maison
Esquirol in Ivry-sur-Seine, a suburb of Paris, where an explanation involving an accident was concocted to explain the need to spend the night at a "comfortable inn". Within a few daysârealizing that he was being confinedâDonizetti wrote urgent letters seeking help from friends, but they were never delivered. However, evidence provided from friends who visited Donizetti over the following months, states that he was being treated very well, the facility having a reputation for the care given to its patients. Various aggressive treatments were tried, and were described as having their "successes, however fleeting".
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myself forced to go to spend some months resting in
Bergamo." At the same time, he rejected offers to compose, one offer coming from London and requiring an opera four months away; the objection of having limited time was given. Other appeals came from Paris, one directly from Vatel, the new impresario of the Théùtre-Italien, who traveled to Vienna to see the composer. 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. Other letters into April and May reveal much of the same, and the fact that he did not attend the opening performance of Verdi's
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1672:: "the inner man was broken, sad, and incurably sick", states Allitt. Ashbrook observes that the preoccupation with work which obsessed Donizetti in the last months of 1842 and throughout 1843 "suggests that he recognised what was wrong with him and that he wanted to compose as much as he could while he was still able". But after the success in Paris, he continued working and left once again for Vienna, arriving there by mid-January 1843.
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mid-January that, while it ultimately might be better for the composer's health for him to be in Italy, it was not advisable for him to travel until the spring. Consulting two additional doctors as well as Dr. Ricord, Andrea received their written opinion after an examination on 28 January 1846. In summary, it stated that the doctors "believe that M. Donizetti no longer is capable of calculating sanely the significance of his decisions".
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Andrea then consulted three lawyers and sent detailed reports to his father in
Constantinople. Finally, action taken by Count Sturmer of the Austrian Embassy in Turkey caused action to be taken from Vienna which, via the Embassy in Paris, sent a formal complaint to the French government. Within a few days, Donizetti was given permission to leave and he set out from Paris on what was to be a seventeen-day trip to Bergamo.
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3351:, p. 37: Weinstock further asks the question as to why Donizetti spread "his energy and talent so thinly over so many compositions and continued to set librettos by Tottola and Giovanni Schmidt while conscious of their abysmal quality." Essentially, his answer is that the composer needed the money for his various commitments to his family, which included a younger brother and his parents.
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708:), the premiere of which took place on 4 February 1824 and "was greeted with wild enthusiasm it was with this opera that Donizetti had his first really lasting success". Allitt notes that with a good libretto to hand, "Donizetti never failed its dramatic content" and he adds that "Donizetti had a far better sense of what would succeed on the stage than his librettists".
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Royal
Theatres of Naples beginning in 1829, a job that the composer accepted and held until 1838. Like Rossini, who had occupied this position before him, Donizetti was free to compose for other opera houses. 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.
180:, continuing to compose and stage his own operas as well as those of other composers. From around 1843, severe illness began to limit his activities. 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 April 1848 in a state of mental derangement due to
2234:, Antonio Vasselli reported that there was no sign of recognition at all. 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. Finally, after the intense night of 7 April, Gaetano Donizetti died on the afternoon of 8 April.
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218:) 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.
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singers' difficulty in finding the right tone in the absence of the maestro, plus the heavily censored libretto. Primarily, however, the opera's failure appears to have been due to the maestro's absence, because he was unable to be present to oversee and control the staging, normally one of
Donizetti's strengths.
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on 6 February 1845 (which he had conducted for three performances of the total of 162 given over the following years until 1884), he grumbles about the reactions of the
Parisian audiences and continues with a brief report on his health which, he says, "if it is no better and this continues, I'll find
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Shortly thereafter, he wrote to
Antonio Vasselli outlining his plans for that year, concluding with the somewhat ominous: "All of this with a new illness contracted in Paris, which has still not passed and for which I am awaiting your prescription." But, in the body of the letter, he lays out what he
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After these minor compositions under the commission of Paolo Zancla, Donizetti retreated to
Bergamo once again to examine how he could make his career move along. From the point of view of Donizetti's evolving style, Ashbrook states that, in order to please the opera-going public in the first quarter
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By the end of May, Andrea had decided that his uncle would be better off in the Italian climate, and three outside physicians were called in for their opinions. Their report concluded with the advice that he leave for Italy without delay. But, as Andrea began to make plans for his uncle's journey to
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Therefore, Andrea agreed to allow his uncle to be taken to a facility which has been described as "resemb that of a health spa.... with a central hospital more-or-less in the guise of a country house" and Donizetti left Paris by coach with Andrea, believing that they were travelling to Vienna, where
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described the relationship between the two forms of opera and concluded that "in two classesâtragic and comicâvery close together...the former wins incomparably over the latter". This appears to have solidified Donizetti's reputation as a composer of successful serious opera, although other comedies
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Donizetti found himself increasingly chafing against the censorship limitations in Italy (and especially in Naples). From about 1836, he became interested in working in Paris, where he saw greater freedom to choose subject matter, in addition to receiving larger fees and greater prestige. From 1838,
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Donizetti met the Vasselli family, with Antonio initially becoming a good friend. Antonio's sister Virginia was at that point 13. She became Donizetti's wife in 1828. She gave birth to three children, none of whom survived and, within a year of his parents' deathsâon 30 July 1837âshe also died from
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In Paris, the police insisted on a further medical examination. Six doctors were called in and, of the six, only four approved of the travel. Then the police sent in their own doctor (who opposed the move), posted gendarmes outside the apartment, and forbade the daily carriage rides. Now desperate,
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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. I am in the hands of a doctor." While there were periods of relative calm, his health continued to fail him periodically and then there were relapses into depression, as
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in the title role. Also, the acclaimed tenor Giovanni Battista Rubini appeared in the role of Percy. With this opera, Donizetti achieved instant fame throughout Europe. Performances were staged "up and down the Italian peninsula" between 1830 and 1834 and then throughout Europe's capitals well into
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Based on the report of the accompanying doctor, Donizetti did not appear to have suffered from the journey. He was settled comfortably in a large chair, speaking very rarely or only in occasional monosyllables, and mostly remaining detached from everyone around him. However, when Giovannina Basoni
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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. A contract with the San Carlo
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in March 1842. Friendsâincluding his brother-in-law, Antonio Vasselli (known as TotĂČ)âcontinually attempted to persuade him to take up an academic position in Bologna rather than the Vienna court engagement, if for no other reason that it would give the composer a base from which to work and teach
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After extending his time in Bologna for as long as he could, Donizetti was forced to return to Bergamo since no other prospects appeared. 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.
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in 1817, as no more than "suggest 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. In addition, he
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In late December, early January 1847, visits from a friend from Vienna who lived in ParisâBaron Eduard von Lannoyâresulted in a letter from Lannoy to Giuseppe Donizetti in Constantinople outlining what he saw as a better solution: rather than have friends travel the five hours to see his brother,
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William Ashbrook describes the second half of 1844 as a period of "pathetic restlessness". He continues: "Donizetti went to Bergamo, Lovere on Lake Iseo , back to Bergamo, to Milan , to Genoa , to Naples , to Rome , back to Naples , to Genoa and on to Milan again " before reaching Bergamo on 23
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On 30 December 1843, Donizetti was back in Vienna, having delayed leaving until the 20th because of illness. Ashbrook comments on how he was viewed in that city, with "friends notic an alarming change in his physical condition", and with his ability to concentrate and simply to remaining standing
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However, by early February, he is already writing via an intermediary to Vincenzo Flauto, then the impresario at the San Carlo in Naples, in an attempt to break his agreement to compose for that house in July. He was increasingly becoming aware of the limitations which his poor health is imposing
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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. Having written both libretto and
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leaving Donizetti as "the sole reigning genius of Italian opera". Not only were conditions ripe for Donizetti to achieve greater fame as a composer, but there was also an interest across the continent of Europe in the history and culture of Scotland. The perceived romance of its violent wars and
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in 1827 and continuing until 1833. Gilardoni shared with the composer a very good sense of what would work on stage. Next, the Naples impresario Barbaja engaged him to write twelve new operas during the following three years. In addition, he was to be appointed to the position of Director of the
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Donizetti returned once more to Milan where he stayed with the accommodating Giuseppina Appiano Stringeli with whom he had a pleasant time. 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
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in Rome, and by 17 June had received a contract to compose another opera from a libretto being prepared by Merelli. It is unclear as to how this connection came about: whether it had been at Merelli's suggestion or whether, as William Ashbrook speculates, it had been Mayr who had initially been
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As his condition worsened, the composer's brother Giuseppe dispatched his son Andrea to Paris from Constantinople. Arriving there on 25 December, Andrea lodged at the HĂŽtel Manchester with his uncle, but immediately consulted Dr. Ricord on his uncle's condition. Ricord recorded his opinion in
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in Naples. By the 31st (or 1 February), he learned the truth: it had been a failure. What was worse were the rumours that it was not in fact Donizetti's work, although a report from Guido Zavadini suggested that it was probably a combination of elements which caused the failure, including the
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However, in spite of all this, Mayr not only persuaded Gaetano's parents to allow him to continue studies, but also secured funding from the Congregazione di CaritĂ in Bergamo for two years of scholarships. In addition, he provided the young musician with letters of recommendation to both the
632:, but he was over-committed and unable to deliver anything until 3 October. The premiere had been scheduled for only about three weeks away and, due to the delays and illnesses among the cast members, it did not receive good reviews, although it did receive a respectable 12 performances.
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of 17 November in which the reviewer notes some of these performance issues which faced the composer, but he adds: "one cannot but recognize a regular handling and expressive quality in his style. For these the public wanted to salute Signor Donizetti on stage at the end of the opera."
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critic who reviewed the work on 1 Julyârecognize an important aspect of Donizetti's burgeoning musical style: "his concern with the dramatic essence of opera rather than the mechanical working out of musical formulas was, even at this early stage, was already present and active".
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Soon after 19 February, Donizetti left Rome for Naples, where he was to settle for a large part of his life. It appears that he had asked Mayr for a letter of introduction, but his fame had preceded him for, on 28th, the announcement of the summer season at the Teatro Nuovo in the
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The following two years were somewhat precarious for the young Donizetti: the 16-year-old created quite a reputation for what he did doâwhich is regularly to fail to attend classesâand also for what he did instead, which was to make something of a spectacle of himself in the town.
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for his uncle to be able to stay in their palace. The accompanying party of four consisted of Andrea, the composer's younger brother Francesco who had come specially from Bergamo for this purpose, Dr. Rendu, and nurse-custodian Antoine Pourcelot. They traveled by train to
1801:, which he describes as a massive enterprise: "what a staggering spectacle.....I am terribly wearied by this enormous opera in five acts which carries bags full of music for singing and dancing." It is his longest opera as well as the one on which he spent the most time.
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to be staged instead that autumn, he looked forward to the arrival of his brother from Turkey in May and to the prospect of their traveling to Italy together that summer. Eventually, it was agreed that his commitment to the Opéra could be postponed until November 1845.
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beginning with an offer from the Paris Opéra for two new works, he spent much of the following 10 years in that city, and set several operas to French texts as well as overseeing staging of his Italian works. The first opera was a French version of the then-unperformed
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who enrolled him with a full scholarship in a school which he had set up. There he received detailed musical training. Mayr was instrumental in obtaining a place for Donizetti at the Bologna Academy, where, at the age of 19, he wrote his first one-act opera, the comedy
770:. But overall, his experience in Palermo does not appear to have been pleasant, mainly because of the poorly managed theatre, the continual indisposition of singers, or their failure to appear on time. These issues caused a delay until January 1827 for the premiere of
2021:) Donizetti is the victim of a mental disease that brings disorder into his actions and his decisions; that it is to be desired in the interest of his preservation and his treatment that he be isolated in an establishment devoted to cerebral and intellectual maladies.
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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.
695:, which was performed at the Teatro Argentina on 7 January 1824. However, this version was less successful than the original. The second opera for Rome's Teatro Valle also had a libretto by Ferretti, one which has since been regarded as one of his best. It was the
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The twenty-four-year-old composer arrived in Rome on 21 October, but plans for staging the opera were plagued with a major problem: the tenor cast in the major role died a few days before the opening night on 28 January 1822 and the role had to be re-written for a
239:, 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.
251:, as the final concert of the academic year, Mayr cast five young students, among them his young pupil Donizetti as "the little composer". As Ashbrook states, this "was nothing less than Mayr's argument that Donizetti be allowed to continue his musical studies".
651:: he referred to it as "a great barking". In addition to the revision, he committed to write another new opera for the Rome's Teatro Valle which would also be set to a libretto written by Ferretti. Donizetti finally returned to Naples by late March.
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stated: "The situations that the libretto offers are truly ingenious and do honour to the poet, Gilardoni. Maestro Donizetti has known how to take advantage of them...", thus reaffirming the growing dramatic skills displayed by the young composer.
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1995:(a specialist in syphilis), recommended that, along with various remedies, he abandon work altogether and both agreed that the Italian climate would be better for his health. But letters to friends reveal two things: that he continued to work on
570:. By late March Donizetti had been offered a contract not only to compose new operas, but also to be responsible for preparing performances of new productions by other composers whose work had been given elsewhere. On 12 May the first new opera,
1927:, 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.
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Ah, by Bacchus, with this aria / I'll have universal applause. / They'll say to me, "Bravo, Maestro! / I, with a sufficiently modest air, / Will go around with my head bent... / I'll have eulogies in the newspaper / I know how to make myself
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was first performed, Donizetti made a major impact on the Italian and international opera scene shifting the balance of success away from primarily comedic operas, although even after that date, his best-known works included comedies such as
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of the Opéra for a new work for the coming year, he found nothing to be suitable and immediately wrote to Pillet proposing that another composer take his place. While waiting to see if he could be relieved from writing a large-scale work if
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Arrangements had been made well ahead of time as to where Donizetti would live when he arrived in Bergamo. In fact, on his second visit to Paris, when it appeared that his uncle would return to Italy, Andrea had an agreement from the noble
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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
208:, located just outside the city walls. His family was very poor and had no tradition of music, his father Andrea being the caretaker of the town pawnshop. Simone Mayr, a German composer of internationally successful operas, had become
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have stated, "negotiations with Charles Duponchel, the director of the Opéra, took on a positive note for the first time" and "the road to Paris lay open for him", the first Italian to obtain a commission to write a real grand opera.
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After the death of Bellini, Donizetti was the most significant composer of Italian opera until Verdi. His reputation fluctuated, but since the 1940s and 1950s his work has been increasingly performed. His best known operas today are
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was given on 5 June. In reporting the reaction to this opera in a teasing letter to Antonio Vasselli in Rome, he tried to build suspense, stating that "With the utmost sorrow, I must announce to you that last evening I have given my
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upon him. 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
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The performance also included a waltz which Donizetti played and for which he received credit in the libretto. In singing this piece, all five young men were given opportunities to show off their musical knowledge and talent.
2230:(who eventually became Baroness Scotti) played and sang arias from the composer's operas, he did appear to pay some attention. On the other hand, when the tenor Rubini visited and, together with Giovannina, sang music from
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as "pretty". 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.
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of the 19th century, it was necessary to cater to their tastes, to make a major impression at the first performance (otherwise there would be no others), and to emulate the preferred musical style of the day, that of
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2332:, and some orchestral pieces. Altogether, he composed about 75 operas, 16 symphonies, 19 string quartets, 193 songs, 45 duets, 3 oratorios, 28 cantatas, instrumental concertos, sonatas, and other chamber pieces.
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as well as to the Marchese Francesco Sampieri in Bologna (who would find him suitable lodging) and where, at the Liceo Musicale, he was given the opportunity to study musical structure under the renowned Padre
1735:(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. However, his main preoccupation was to complete the orchestration of
840:, from a libretto by Gilardoni. It was their fourth collaboration, and became a success not only in Naples but also in Rome over the 1830/31 season. Writing about the Naples premiere, the correspondent of the
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which was presented a month later. However, with no other work forthcoming, the composer once again returned to Bergamo, where a cast of singers made up from the Venice production the month before, presented
2295:(1808â1839). The youngest of the three brothers was Francesco whose life was spent entirely in Bergamo, except for a brief visit to Paris during his brother's decline. He survived him by only eight months.
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on the following evening, 14 November. Both were successful, although author Herbert Weinstock states that "the older opera was an immediate, unquestioned success with both audience and critics". However,
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has had a more clamorous success. Four or five numbers repeated, callings-out of the singers, callings-out of the Maestroâin sum, one of those ovations.....which in Paris are reserved for the truly great.
528:), a large part of whose glory might be called ours, he having modeled his style on that of the great luminaries of the musical art sprung up among us. was accepted with the most flattering applause.
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in his home town on 26 December. 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
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remained unresolved. 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.
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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. They stated:
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by May for a production in Naples in January 1844, but without the composer being present. When it did appear, it was not very successful. As far as the work for the OpĂ©ra-Comique was concernedâ
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Writer John Stewart Allitt observes that, by 1827/28, three important elements in Donizetti's professional and personal life came together: Firstly, he met and began to work with the librettist
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Remaining in Bergamo until October 1821, the composer busied himself with a variety of instrumental and choral pieces, but during that year, he had been in negotiation with Giovanni Paterni,
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Returning to Paris as quickly as possible, Donizetti left Vienna around 11 July 1843 in his newly purchased carriage and arrived on about 20th, immediately getting down to work on finishing
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November, where his found his old friend Mayr to be very ill. He delayed his departure for as long as possible, but Mayr died on 2 December, shortly after Donizetti had left Bergamo.
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by the Teatro Argentina which included the requirement that the libretto to be revised by Ferretti, given Donizetti's low opinion of the work of the original Neapolitan librettist,
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By the end of May, no decision as what to do or where to go had been made, butâfinallyâhe decided on Paris where he would claim a forfeit from the OpĂ©ra for the non-production of
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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. Two doctors, including Dr.
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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
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the 1840s, with revivals being presented up to about 1881. London was the first European capital to see the work; it was given at the King's Theatre on 8 July 1831.
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A new and very happy hope is rising for the Italian musical theatre. The young Maestro Gaetano Donizetti...has launched himself strongly in his truly serious opera,
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In Bologna, he would justify the faith which Mayr had placed in him. Author John Stewart Allitt describes his 1816 "initial exercises in operatic style", the opera
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Donizetti, a prolific composer, is best known for his operatic works, but he also wrote music in a number of other forms, including some church music, a number of
482:, his ninth work. The libretto had been started by August and, between then and 1 October, when Donizetti was provided with a letter of introduction from Mayr to
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In reply to the chiding which comes from the other four characters in the piece after the "little composer" 's boasts, in the drama the "composer" responds with:
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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
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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
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from where he would leave for a three-month planned stay in Paris to be followed by time in Vienna once again. He wrote that he would work on translations of
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1971:, his unfulfilled second commission from 1840 which, although still unfinished, had a completed libretto. He left Vienna for the last time on 10 July 1845.
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it was to be calledâit appears that he was able to break his contract with that house, although he had already composed and orchestrated seven numbers.
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and "God knows what else I'll do". During the time in Naples, his poor health was again a problem causing him to remain in bed for days at a time.
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In October 1838, Donizetti moved to Paris vowing never to have dealings with the San Carlo again after the King of Naples banned the production of
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feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences, and Scott made use of these stereotypes in his novel.
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Arriving once again in Paris in late September 1842, he accomplished the revisions to the two Italian operas and he received a suggestion from
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Writing to unnamed Paris friends on 7 February, even after the very positive reaction received at the premiere of a specially-prepared
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2218:, and came down into Italy arriving in Bergamo on the evening of 6 October, where they were welcomed by friends as well as the mayor.
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1609:, planned for January 1843. While preparations were underway, other ideas came to Donizetti and, discovering Cammarano's libretto for
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to oversee the production of the opera, which was given on 30 May with Donizetti conducting. The result was a very warm letter from
1259:, which features the relationship between Elizabeth and the Earl of Essex. It was given at the San Carlo in Naples in October 1837.
4504:
Keller, Marcello Sorce (1984), "Io te voglio bene assaje: a Famous Neapolitan Song Traditionally Attributed to Gaetano Donizetti",
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Arriving in Vienna in the Spring of 1842 with a letter of recommendation from Rossini, Donizetti became involved in rehearsals for
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in the French tradition and was quite successful. Before leaving that city in June 1840, he had time to oversee the translation of
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and the libretto retains much of Scott's basic intrigue, as well as very substantial changes in terms of characters and events.
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The couple were married in July 1828 and immediately settled in a new home in Naples. Within two months he had written another
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486:, the Roman poet and librettist who was later to feature in the young composer's career, much of the music had been composed.
176:. Two new operas were also given in Paris at that time. Throughout the 1840s Donizetti moved between Naples, Rome, Paris, and
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While not especially successful as a choirboy during the first three trial months of 1807 (there being some concern about a
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entrusting the production to his care; it concluded: "With the most profound esteem, your most devoted servant, G. Verdi."
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that autumn for its performance in Paris on 16 December, and that he revealed a lot about the progression of his illness.
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was presented on 3 January, it was an overwhelming success with performances continuing until late March. Writing in the
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and not be continually exhausting himself with travel between cities. But in a letter to Vasselli, he adamantly refused.
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in January 1844. In all, 51 of Donizetti's operas were presented in Naples. Before 1830, success came primarily with his
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1530:âmet for the first time, with Rossini declaring that Donizetti was "the only maestro in Italy capable of conducting my
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For Donizetti, the result was a further commission and, using another of Merelli's librettos, this became the one-act,
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appeared at a time when several factors were moving Donizetti's reputation as a composer of opera to greater heights:
422:, a project which he had started in mid-1819, but the opera was not presented until the carnival season of 1820/21 in
1253:'s play and given at La Scala in December 1835. It was followed by the third in the "Three Donizetti Queens" series,
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approached by Paterni to write the opera but who, due to advancing age, had recommended his prize pupil. This new
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In October and for the remainder of the year, he was back in Rome, where he spent time adding five new pieces to
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358:(who was to go on to a distinguished career), led to an offer to compose the music from a libretto which became
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opera style during the first half of the nineteenth century and a probable influence on other composers such as
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Scarsa MercĂš Saranno. Duett fĂŒr Alt und Tenor mit Klavierbegleitung . Mit dem Faksimile des Autographs von 1815
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1768:. All their talent was not enough to save me from "a sea of â applause....Everything went well. Everything."
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In regard to which operatic form Donizetti was to have the greater success, when the semi-seria work of 1828,
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1213:. Many of these historical characters appear in Donizetti's dramas, operas which both preceded and followed
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4511:"Io te voglio bene assaje: una famosa canzone napoletana tradizionalmente attribuita a Gaetano Donizetti",
4292:: the Critical Edition of an 'International Opera'", in booklet accompanying the 1994 recording on Ricordi.
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426:. Little is known about it except its lack of success and the fact that the score has totally disappeared.
51:(29 November 1797 â 8 April 1848) was an Italian composer, best known for his almost 70 operas. Along with
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L'Istituto Musicale Gaetano Donizetti. La Cappella Musicale di Santa Maria Maggiore. Il Museo Donizettiano
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4567:, Milan, with the collaboration and contribution of Fondazione Donizetti, Bergamo" online at ricordi.com.
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During this time and prior to leaving for Vienna, he was persuaded to conduct the premiere of Rossini's
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The piece was performed on 13 September 1811 and included the composer character stating the following:
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Donizetti and the World of Opera in Italy, Paris and Vienna in the First Half of the Nineteenth Century
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1455:. No sooner was that accomplished than he was back in Paris to adapt the never-performed 1839 libretto
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due to stage fright and the consequent omission of some her music. Musicologist and Donizetti scholar
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at Bergamo's principal church in 1802. He founded the Lezioni Caritatevoli school in Bergamo (now the
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Keller, Marcello Sorce (1978), "Gaetano Donizetti: un bergamasco compositore di canzoni napoletane",
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774:, after which he went back in Naples in February, but with no specific commitments until midsummer.
376:(an early theatre built in 1629, which later became the Teatro Goldoni) in Venice accepted it. Thus
109:, the serious ones failing to attract significant audiences. His first notable success came with an
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in Veniceâa house he had not visited for about seventeen years and to which he returned to present
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506:. Unanimous, sincere, universal was the applause he justly collected from the capacity audience....
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4487:, papers from a symposium in various languages. Primo Ottocento, available from Edition Praesens.
1541:, which was given its premiere in May and which was a huge success. In addition, he was appointed
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That summer was to see the successful presentations at the Teatro Nuovo of the adapted version of
730:, which was given only seven performances in July 1824 at the Nuovo. The critical reaction in the
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within twenty-four hours. Another opera with Scribe as librettist was in the works: it was to be
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on the grounds that such a sacred subject was inappropriate for the stage. In Paris, he offered
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It ran for 28 consecutive evenings, followed by 20 more in July, receiving high praise in the
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in 1833, his reputation was further consolidated, and Donizetti followed the paths of both
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1992:
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1393:, his first opera written specifically to a French libretto. This became another success.
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expressed in a letter: "I am half-destroyed, it's a miracle that I'm still on my feet."
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Donizetti's obligations in Vienna included overseeing the annual Italian season at the
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to the Opéra and it was set to a new and expanded four-act French-language libretto by
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532:
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4342:
Weatherson, Alexander (February 2013). "Donizetti at Ivry: Notes from a Tragic Coda".
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will be aiming to accomplish in 1843: in Vienna, a French drama; in Naples, a planned
1526:, Rossini attended the third performance, and the two menâeach former students of the
877:
In 1830, Donizetti scored his most acclaimed and his first international success with
414:
from a libretto by Gherardo Bevilacqua-Aldobrandini. The opera was given first at the
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Report from Drs. Calmeil, Ricord, and Moreau to Andrea Donizetti, 30 August 1846, in
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As Donizetti's fame grew, so did his engagements. He was offered commissions by both
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followed, the first production of a Verdi opera in Vienna. The season also included
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At the same time, continental audiences of that time seemed to be fascinated by the
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I have a vast mind, swift talent, ready fantasyâand I'm a thunderbolt at composing.
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1687:, and actually given on 13 November.) Finally, he adds "and first I am remounting
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With his commissions, the years from 1830 to 1835 saw a huge outpouring of work;
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688:, given in September at the Teatro del Fondo, received only three performances.
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in 1837. Up to that point, all of his operas had been set to Italian libretti.
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The second new work, which appeared six weeks later on 29 June, was a one-act
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whose music "was the public's yardstick when they were assessing new scores".
399:
369:
74:
4150:
Donizetti â In the Light of Romanticism and the Teaching of Johann Simon Mayr
1962:
on 3 April, finally seeing it only at its fourth performance, confirms that.
666:
for Rome. Unfortunately however, the music set for the San Carlo premiere of
154:) given in Naples in 1835, and one of the most successful Neapolitan operas,
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1142:, and it was to become his most famous opera, one of the high points of the
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and other royal houses in the city such as the smaller Teatro Nuovo and the
559:
520:
stated that it would include a Donizetti opera, describing the composer as:
464:
61:
3937:
Drs. Calmeil, Mitivié, and Ricord to Andrea Donizetti, 28 January 1846, in
2058:
1900:
635:
4334:
1884:. Donizetti had made a promise to Giacomo Pedroni of the publishing house
1197:
of 16th century English history, revolving as it does around the lives of
643:
Returning north via Rome, Donizetti signed a contract for performances of
6217:
4900:
3647:, p. 184: A letter from a Doctor Galli which describes his condition
2368:
2238:
2211:
1665:
1250:
524:
a young pupil of one of the most valued Maestros of the century, Mayer (
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2277:
2273:
2120: in this section. Unsourced material may be challenged and removed.
1731:
1545:
to the chapel of the royal court, the same post which had been held by
1503:
1357:
441:
166:
70:
6405:
3124:
Lines from Mayr's libretto, as spoken by Donizetti in 1811, quoted in
1975:
1845â1848: return to Paris; declining health; return to Bergamo; death
1825:
remained in the repertory until 1845 with a total of 32 performances.
920:
s success and is deemed to be one of the masterpieces of 19th-century
4820:
4418:
Le prime rappresentazioni delle opere di Donizetti nella stampa coeva
3668:
Donizetti to Antonio Dolci (a Bergamo friend), 15 September 1842, in
2901:
2207:
1880:
1490:
795:
423:
177:
96:
4627:
4155:
1146:
tradition, the opera reaching a stature similar to that achieved by
354:
A coincidental meeting around April 1818 with an old school friend,
4549:
1338:, performed by Atelier Vocal des Herbiers with guitar accompaniment
5137:
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2191:
2057:
2024:
1978:
1938:
1907:
1899:
1775:
1712:
1570:
1557:
1509:
1448:
1397:
1840â1843: back and forth between Paris, Milan, Vienna, and Naples
1272:
on 4 February 1836. Just as importantly, after the success of his
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1039:
862:
854:
745:
634:
539:
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454:
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253:
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191:
27:
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3950:
Drs. Calmeil and Ricord to Andrea Donizetti, 31 January 1846, in
2073:
taken on 3 August 1847: Donizetti with his nephew Andrea in Paris
1603:
who had been hired. The result turned out to be the comic opera,
654:
Immediately busy in the spring months of 1823 with a cantata, an
144:(1843). Significant historical dramas did succeed; they included
6187:
883:, given at the Teatro Carcano in Milan on 26 December 1830 with
716:
Back in Naples, he embarked upon his first venture into English
122:
5383:
4631:
1068:
in March 1835. However, it suffered by comparison to Bellini's
3523:
is based on an actual incident that took place in 1669 in the
2287:, who had become, in 1828, Instructor General of the Imperial
2089:
1239:(given in Naples in July 1829 and revised in 1830). Then came
1132:, the first of eight for the composer. The opera was based on
617:
Late July 1822 to February 1824: assignments in Milan and Rome
2062:
Baron Eduard von Lannoy, Lithography by Josef Kriehuber, 1837
738:
genre itself, although it did describe Donizetti's music for
4467:"Anna Bolena" and the Artistic Maturity of Gaetano Donizetti
2421:
Concertino in C minor for flute and chamber orchestra (1819)
1983:
Andrea Donizetti, nephew of composer Gaetano Donizetti, 1847
1591:
and tailored to the talents of some major singers including
1306:
1079:
931:
2820:
2814:
2793:
2767:
2761:
2726:
2720:
576:, was given at the Nuovo "with hot enthusiasm", as scholar
84:, which may never have been performed during his lifetime.
4508:, vol. XLV, no. 3â4, pp. 251â264. Also published as:
4452:, Bergamo: Istituto Italiano d'Arti Grafiche. (In Italian)
4434:, Bergamo: Istituto Italiano d'Arti Grafiche. (In Italian)
2705:
1660:
1843â1845: Paris to Vienna to Italy; final return to Paris
200:
The youngest of three sons, Donizetti was born in 1797 in
4589:
Libretti: source for a large number of Donizetti's operas
2802:
2749:
2711:
2267:
During the months he spent in Rome for the production of
985:
Then came a rapid series of operas from Naples including
662:
for the Nuovo, Donizetti also had to work on the revised
4571:
List of Donizetti operas compiled by Stanford University
4561:"The Critical Edition of the Operas of Gaetano Donizetti
2050:, and a variety of personal effects, including jewelry.
1493:, in which city he had been engaged by the royal court.
1122:
Donizetti returned from Paris to oversee the staging of
1003:(January 1832). Two new operas were presented in Milan:
418:
in Venice in December. Other work included expansion of
4264:
The Bel Canto Operas of Rossini, Donizetti, and Bellini
2225:
Portrait of Gaetano Donizetti by Giuseppe Rillosi, 1848
1864:
The Italian season in Vienna, which included Bellini's
680:". It received only one performance, while his two-act
459:
Jacopo Ferretti, Italian librettist and poet, 1784â1852
188:
Early life and musical education in Bergamo and Bologna
3880:, p. 191; further details of specific dates from
1878:, also included the first production there of Verdi's
1447:
and then his hometown of Bergamo, eventually reaching
6382:
4457:
From Mozart to Mario: Reminiscences of Half a Century
2811:
2796:
2787:
2758:
2717:
2708:
2699:
820:, who wrote eleven librettos for him, beginning with
2817:
2805:
2790:
2764:
2752:
2723:
2702:
2520:
No. 3 in C minor: 2nd movement, Adagio ma non troppo
2471:
Larghetto and Allegro for Violin and Harp in G minor
1280:
in Paris in December 1837, approaches came from the
628:, Donizetti entered into a contract with librettist
6281:
6226:
6160:
6139:
5426:
5333:
5316:
4674:
3622:, p. 177: Donizetti to Vasselli, 25 July 1841.
2808:
2755:
2714:
734:some months later focused on the weaknesses of the
608:. Ashbrook's commentsâwhich reinforce those of the
4380:Gaetano Donizetti â Pensiero, musica, opere scelte
4055:, Ch. XI: September 1846 â April 1848, pp. 256â271
3928:, Ch. X: August 1845 â September 1846, pp. 233â255
2241:but in 1875 his body was transferred to Bergamo's
2237:Initially Donizetti was buried in the cemetery of
1556:However, on 6 September he was on his way back to
1128:on 26 September 1835. It was set to a libretto by
809:, which contained some florid music for the tenor
3506:, Performance history, pp. 325â328. Confirmed in
4550:Donizetti Society (London) for further research.
4520:Minden, Pieter (ed.); Gaetano Donizetti (1999),
4299:"Donizetti and the music of mental derangement:
2834:[doËmeËnikoÉĄaeËtaËnomaËriËadonidËdzetti]
1783:, seat of the Académie royale de Musique or the
73:in Lombardy. At an early age he was taken up by
19:"Donizetti" redirects here. For other uses, see
3060:
2015:
1935:December 1844 â July 1845: last visit to Vienna
1649:
676:as "...one could not recognize the composer of
522:
500:
273:
264:
6486:Conservatorio Giovanni Battista Martini alumni
4524:. TĂŒbingen : NoĂ»s-Verlag. 18 pp., fol.;
3559:
3543:
3541:
3072:
2493:Quintet for Guitar and Strings no 2 in C major
2465:Andante sostenuto for Oboe and Harp in F minor
2257:Virginia Vasselli, wife of Gaetano Donizetti,
1896:Summer/Autumn 1844: travel to and within Italy
1821:continued for 33 performances in all, whereas
1664:By 1843, Donizetti was exhibiting symptoms of
1451:where he was to prepare an Italian version of
1300:1838â1840: Donizetti abandons Naples for Paris
5395:
4643:
4577:"About the Composer: Gaetano Maria Donizetti"
4509:
4367:. Bergamo: Istituto italiano d'arti grafiche.
4307:, and the composer's neurobiological illness"
3680:
3678:
3032:
3030:
2474:Largo/Moderato for Cello and Piano in G minor
2427:Concertino for Flute and Orchestra in D major
2424:Concertino for Flute and Orchestra in C major
2418:Concertino for English Horn in G major (1816)
2283:By nine years, he was the younger brother of
1804:With rehearsals in progress at the Opéra for
1691:which is creating a furor in the provinces".
913:, a comedy produced in 1832, came soon after
8:
3763:
3761:
3531:Scotland. The real family involved were the
2499:Trio for Flute, Bassoon and Piano in F major
2388:Larghetto, tema e variazioni in E flat major
1375:. Performed in April 1840, it was his first
304:, as well as his composition of portions of
170:which, in April 1840, was revised to become
3751:Donizetti to Vasselli, 30 January 1843, in
3467:
3465:
3463:
813:; but it only received three performances.
6476:Academic staff of the Palermo Conservatory
5402:
5388:
5380:
4650:
4636:
4628:
4459:vols. 1 & 2., London, Richard Bentley.
4416:Bini, Annalisa and Jeremy Commons (1997),
4184:Ashbrook, William; Hibberd, Sarah (2001).
4007:Report of three doctors, 10 July 1846, in
3982:
3970:
3909:
3907:
3905:
3892:
3890:
3747:
3745:
3295:
3293:
3268:
3266:
3217:
3215:
3148:
3146:
2433:Concertino for Violin and Cello in D minor
2245:near the grave of his teacher Simon Mayr.
1904:Antonio Dolci, Bergamo friend of Donizetti
1617:, he turned it into the first two acts of
389:provides a quotation from a review in the
4598:International Music Score Library Project
4324:
4169:. Cambridge: Cambridge University Press.
4152:. Shaftesbury, Dorset, UK: Element Books.
4131:
4119:
4052:
4048:
4046:
4033:
4021:
4008:
3995:
3951:
3938:
3925:
3913:
3896:
3881:
3865:
3852:
3828:
3816:
3792:
3780:
3752:
3732:
3730:
3709:
3696:
3684:
3669:
3656:
3644:
3619:
3547:
3503:
3491:
3482:
3480:
3430:
3348:
3324:
3312:
3284:
3272:
3245:
3206:
3181:
3125:
3097:
3084:
3006:
2436:Concerto for Violin and Cello in D minor
2180:Learn how and when to remove this message
1514:Gaetano Donizetti, from a lithography by
1489:in preparation for March 1842 travels to
1473:. However, it was not staged until 1860.
1058:and Bellini by visiting Paris, where his
150:(the first to have a libretto written by
4965:Le convenienze ed inconvenienze teatrali
4861:Le convenienze ed inconvenienze teatrali
4297:Peschel, E; Peschel, R (MayâJune 1992).
4218:"Donizetti e il grand-opéra: il caso di
4093:"Donizetti Society Donizetti Works Page"
4064:
4037:
3877:
3840:
3804:
3779:Donizetti to Mayr, 2 September 1843, in
3767:
3736:
3571:
3454:
3418:
3397:
3395:
3393:
3372:
3360:
3336:
3299:
3233:
3221:
3194:
3152:
3137:
3109:
2441:Concerto for 2 Clarinets "Maria Padilla"
2334:
2065:
2054:Attempts to move Donizetti back to Paris
1400:
1185:had died shortly before the premiere of
1006:Le convenienze ed inconvenienze teatrali
758:). There, he staged his 1824 version of
6389:
4622:University of California, Santa Barbara
4425:Gaetano Donizetti â A Guide to Research
4365:Donizetti: Vita â Musiche â Epistolario
3507:
3384:
3258:
3165:
3163:
3161:
3120:
3118:
3017:
3015:
2994:
2857:
2686:
2496:Study for Clarinet no 1 in B flat major
2415:Concertino for Clarinet in B flat major
1522:When Donizetti went to Bologna for the
536:Domenico Barbaja in Naples in the 1820s
4209:Donizetti's Operas in Naples 1822â1848
3966:
3964:
3962:
3960:
3721:
3632:
3607:
3595:
3471:
3442:
3401:
3169:
3096:Mayr to the school administrators, in
2982:
2391:Sinfonia Concertante in D major (1817)
1583:, the newly appointed director of the
1345:
1112:
975:
4614:Gaetano Donizetti cylinder recordings
3048:
3036:
3021:
2832:
2483:Sonata for Flute and Piano in C major
7:
4917:Elisabetta al castello di Kenilworth
4312:Yale Journal of Biology and Medicine
4242:from the original on 9 October 2022.
2490:Sinfonia for Winds in G minor (1817)
2118:adding citations to reliable sources
1837:Having entered into a contract with
1651:No opera composed expressly for the
1630:planned for November 1843 in Paris.
1220:Elisabetta al castello di Kenilworth
1037:(March 1833) was given in Florence.
895:, was given in Rome very soon after
518:Giornale del Regno delle Due Sicilie
6471:19th-century Italian male musicians
6261:Tchaikovsky and the Belyayev circle
5021:Il furioso all'isola di San Domingo
4266:. Portland, Oregon: Amadeus Press.
3583:
2477:Nocturnes (4) for Winds and Strings
2468:Introduction for Strings in D major
2340:List of operas by Gaetano Donizetti
1018:Il furioso all'isola di San Domingo
196:Donizetti as a schoolboy in Bergamo
59:, he was a leading composer of the
4513:La Nuova Rivista Musicale Italiana
621:On 3 August for what would become
16:Italian opera composer (1797â1848)
14:
4448:Donati-Petténi, Giuliano (1930),
4437:Donati-Petténi, Giuliano (1930),
4430:Donati-Petténi, Giuliano (1928),
4399:The New Grove Dictionary of Opera
4382:, Milano: Edizione Villadiseriane
4346:(118). London: Donizetti Society.
4107:"Composers Inspired by Donizetti"
4040:provide different departure days.
2665:Waltz in C major "The Invitation"
1470:Rita, ou Deux hommes et une femme
1074:which appeared at the same time.
121:, which was presented in 1822 in
33:Portrait of Gaetano Donizetti by
6516:Italian string quartet composers
6466:19th-century classical composers
6428:
6416:
6404:
6392:
6366:
6357:
6356:
5364:
5363:
5113:
4604:Free scores by Gaetano Donizetti
4594:Free scores by Gaetano Donizetti
4517:, 1985, no. 4, pp. 642â653.
4211:. London: The Donizetti Society.
2783:
2745:
2695:
2243:Basilica of Santa Maria Maggiore
2094:
1346:Problems playing this file? See
1322:
1113:Problems playing this file? See
1098:
1048:After the successful staging of
1031:(1833) was given in Livorno and
976:Problems playing this file? See
947:
249:Il piccolo compositore di musica
49:Domenico Gaetano Maria Donizetti
39:
4579:on the Manitoba Opera's website
4535:Saracino, Egidio (ed.) (1993),
4427:, New York: Garland Publishing.
4402:, Volume 1. London: Macmillan.
4392:(1998), "Gaetano Donizetti" in
2105:needs additional citations for
1483:at La Scala, and began writing
901:Gazzetta privilegiata di Milano
843:Gazzetta privilegiata di Milano
807:Queen Maria of the Two Sicilies
672:on 2 July was described in the
247:music for a "pasticcio-farsa",
216:Conservatorio Gaetano Donizetti
4765:Chiara e Serafina, o Il pirata
4552:Online at donizettisociety.com
4450:L'arte della musica in Bergamo
2931:Merriam-Webster.com Dictionary
2430:Concertino for Oboe in F major
2385:Allegro for Strings in C major
2017:We....certify that M. Gaetan (
1719:Imperial and Royal Court Opera
1044:Librettist Salvadore Cammarano
967:Victor Talking Machine Company
904:were to appear quite quickly.
787:and, a month later, a one-act
430:1822â1830: Rome, Naples, Milan
242:However, as Donizetti scholar
1:
4718:I piccioli virtuosi ambulanti
4537:Tutti I libretti di Donizetti
4501:, vol. III, pp. 100â107.
4378:Allitt, John Stewart (2003),
4254:(CD booklet). Sony Classical.
4148:Allitt, John Stewart (1991).
2594:Adagio and Allegro in G major
2291:Music at the court of Sultan
2258:
1943:Guglielmo Cottrau (1797â1847)
1788:
1164:
1015:(March 1832). Rome presented
851:1830â1838: international fame
712:1824â1830: Palermo and Naples
545:
322:1818â1822: early compositions
226:
6511:People with bipolar disorder
6501:Italian male opera composers
5138:Betly, o La capanna svizzera
4608:Choral Public Domain Library
4192:. New York: Penguin Putnam.
2323:
1912:Gaetano Donizetti's brother
1729:which began in May. Verdi's
554:News of this work impressed
6481:Bergamo Conservatory alumni
6304:Gothic Revival architecture
4981:La romanziera e l'uomo nero
4618:UCSB Cylinder Audio Archive
4483:Kantner, Leopold M. (ed.),
4190:The New Penguin Opera Guide
3994:Report of 12 June 1846, in
3061:Ashbrook & Hibberd 2001
2529:No. 5 in E minor: Larghetto
2196:Donizetti's tomb in Bergamo
994:La romanziera e l'uomo nero
391:Nuovo osservatore veneziano
327:Among them was the soprano
317:Career as an opera composer
6537:
6496:Italian Romantic composers
6245:Neue Zeitschrift fĂŒr Musik
5420:List of Romantic composers
4877:L'eremitaggio di Liverpool
4423:Cassaro, James P. (2000),
3560:Parker & Ashbrook 1994
3073:Peschel & Peschel 1992
2871:Collins English Dictionary
2572:No. 18 in E minor: Allegro
2400:Sinfonia in D major (1818)
658:for the San Carlo, and an
331:and her husband, the bass
329:Giuseppina Ronzi de Begnis
313:began seeking employment.
21:Donizetti (disambiguation)
18:
6336:
5417:
5359:
4885:Alina, regina di Golconda
4853:Il borgomastro di Saardam
4665:
4510:
4358:. New York: Random House.
2964:. Oxford University Press
2639:Sinfonia No. 2 in D major
2636:Sinfonia No. 2 in C major
2633:Sinfonia No. 1 in D major
2630:Sinfonia No. 1 in C major
2588:
2517:String Quartet in D major
2511:
2480:Sonata for Flute and Harp
2459:
2409:
2379:
2346:
2337:
2044:, the completed score of
1643:on 6 January, the critic
1407:Donizetti and His Friends
1181:had recently retired and
764:as well as his new opera
511:Donizetti moves to Naples
6266:Tchaikovsky and The Five
4585:on Arizona Opera website
4363:Zavadini, Guido (1948).
4167:Donizetti and His Operas
2324:Donizetti's compositions
2086:Final journey to Bergamo
1209:, as well as the doomed
869:(posthumous portrait by
811:Giovanni Battista Rubini
750:Giovanni Battista Rubini
639:Librettist Felice Romani
595:some sixty years later.
591:, an event recounted by
451:Donizetti as a young man
350:Bartolomeo Merelli, 1840
258:Donizetti as a schoolboy
91:, the impresario of the
69:. Donizetti was born in
6491:Italian opera composers
4725:Il falegname di Livonia
4471:Oxford University Press
4443:Fratelli Treves Editori
3864:Verdi to Donizetti, in
2908:Oxford University Press
2364:Messa di Gloria e Credo
2272:what is believed to be
1477:December production of
1461:as the French-language
1318:Le beau vingt-et-uniĂšme
1135:The Bride of Lammermoor
411:Il falegname di Livonia
6506:Musicians from Bergamo
6289:Common practice period
5351:Donizetti's birthplace
5069:Rosmonda d'Inghilterra
4941:Imelda de' Lambertazzi
4248:Mackerras, Sir Charles
4081:English National Opera
3311:Florimo's account, in
2609:Larghetto in A minor "
2606:Grand Waltz in A major
2538:No. 8 in B flat major
2264:
2226:
2197:
2074:
2063:
2030:
2023:
1984:
1944:
1916:
1905:
1834:often being impaired.
1794:
1727:Theater am KĂ€rntnertor
1722:
1657:
1645:Ătienne-Jean DelĂ©cluze
1576:
1519:
1440:
1311:
1170:
1084:
1045:
936:
874:
860:
751:
640:
551:
537:
530:
508:
460:
452:
351:
343:
277:
269:
259:
232:
197:
87:An offer in 1822 from
45:
5061:Il diluvio universale
4933:Il diluvio universale
4573:on opera.stanford.edu
4559:, (general editors),
4455:Engel, Louis (1886),
3488:Gazzetta privilegiata
2904:UK English Dictionary
2656:Variations in G major
2653:Variations in E major
2619:Pastorale in E major
2512:Quartets for strings
2256:
2224:
2195:
2069:
2061:
2028:
1982:
1942:
1911:
1903:
1779:
1756:The Barber of Seville
1716:
1613:'s unsuccessful 1839
1574:
1534:as I would have it".
1513:
1420:, Gaetano Donizetti,
1404:
1310:
1201:(and his six wives),
1162:
1083:
1043:
943:"Una furtiva lagrima"
935:
866:
858:
749:
706:The Tutor Embarrassed
638:
544:Teatro di San Carlo,
543:
535:
458:
450:
349:
341:
257:
224:
195:
31:
6326:Romantic nationalism
6272:War of the Romantics
5234:La fille du régiment
5029:Otto mesi in due ore
4997:Ugo, conte di Parigi
4925:I pazzi per progetto
4845:Otto mesi in due ore
4789:L'ajo nell'imbarazzo
4781:Il fortunato inganno
4207:Black, John (1982).
4077:"Gaetano Donizetti "
3708:Délécluze quoted in
3519:The plot of Scott's
2958:"Donizetti, Gaetano"
2897:"Donizetti, Gaetano"
2676:Notes and references
2616:Larghetto in C major
2310:La fille du régiment
2114:improve this article
2009:Institutionalization
1528:Bologna Conservatory
1453:La fille du régiment
1390:La fille du régiment
1387:as well as to write
1335:La fille du régiment
1211:Mary, Queen of Scots
1029:Otto mesi in due ore
1012:Ugo, conte di Parigi
823:Otto mesi in due ore
805:for the birthday of
779:L'ajo nell'imbarazzo
761:L'ajo nell'imbarazzo
756:Palermo Conservatory
701:L'ajo nell'imbarazzo
686:Il fortunato inganno
649:Andrea Leone Tottola
225:Johann Simone Mayr,
6521:Composers for piano
6321:Musical nationalism
6239:Musical nationalism
5194:Lucie de Lammermoor
5146:L'assedio di Calais
5109:Lucia di Lammermoor
5013:Sancia di Castiglia
4797:Emilia di Liverpool
4583:Donizetti biography
4539:, Garzanti Editore.
4388:(with John Black);
4305:Lucia di Lammermoor
4252:Lucia di Lammermoor
4233:University of Pavia
3795:, pp. 206â207.
2627:Sinfonia in A major
2611:Una furtiva lagrima
2403:Sinfonia in D minor
2397:Sinfonia in C major
2394:Sinfonia in A major
2306:Lucia di Lammermoor
2232:Lucia di Lammermoor
2129:"Gaetano Donizetti"
2029:Dr. Philippe Ricord
1615:Il Conte di Chalais
1575:Delécluze by Ingres
1385:Lucie de Lammermoor
1381:Lucia di Lammermoor
1130:Salvadore Cammarano
1125:Lucia di Lammermoor
1093:Lucia di Lammermoor
1021:(January 1833) and
727:Emilia di Liverpool
476:became Donizetti's
342:The young Donizetti
211:maestro di cappella
152:Salvadore Cammarano
147:Lucia di Lammermoor
93:Teatro di San Carlo
6234:Indianist movement
6152:Romantic orchestra
5341:Donizetti Monument
5317:Other compositions
5274:Linda di Chamounix
4829:Gabriella di Vergy
4757:La lettera anonima
4741:Zoraida di Granata
4703:Enrico di Borgogna
4499:Studi Donizettiani
4352:Weinstock, Herbert
4216:Girardi, Michele.
4024:, pp. 254â255
3916:, pp. 228â229
3884:, pp. 221â224
3770:, pp. 178â179
3739:, pp. 177â178
3510:, pp. 194â197
2962:Grove Music Online
2956:; Budden, Julian.
2645:Sonata in F major
2600:Allegro in F minor
2597:Allegro in C major
2299:Critical reception
2285:Giuseppe Donizetti
2265:
2227:
2198:
2075:
2064:
2031:
1985:
1945:
1919:Gaetano's brother
1917:
1906:
1872:Linda di Chamounix
1795:
1743:Linda di Chamounix
1723:
1640:Journal des débats
1577:
1566:Linda di Chamounix
1539:Linda di Chamounix
1520:
1486:Linda di Chamounix
1441:
1439:, in Bergamo, 1840
1312:
1171:
1085:
1046:
1027:(September 1833).
937:
899:had appeared, the
875:
861:
818:Domenico Gilardoni
752:
641:
605:La lettera anonima
552:
538:
496:Notizie del giorno
479:Zoraida di Granata
461:
453:
416:Teatro San Samuele
406:Enrico di Borgogna
361:Enrico di Borgogna
356:Bartolomeo Merelli
352:
344:
333:Giuseppe de Begnis
260:
233:
198:
118:Zoraida di Granata
46:
35:Francesco Coghetti
6451:Gaetano Donizetti
6380:
6379:
6251:New German School
5846:Felix Mendelssohn
5841:Fanny Mendelssohn
5377:
5376:
4973:Francesca di Foix
4909:Il giovedĂŹ grasso
4805:Alahor in Granata
4773:Alfredo il grande
4733:Le nozze in villa
4659:Gaetano Donizetti
4555:Dotto, Gabriele;
4530:978-3-924249-25-0
4493:978-3-7069-0006-5
4485:Donizetti in Wien
4479:978-0-19-313205-4
4408:978-0-333-73432-2
4386:Ashbrook, William
4273:978-0-931340-71-0
4199:978-0-14-029312-8
4176:978-0-521-27663-4
4163:Ashbrook, William
3985:, pp. 12â14.
3457:, pp. 38â39.
3445:, pp. 28â29.
3433:, pp. 43â44.
3287:, pp. 28â29.
3248:, pp. 24â25.
3236:, pp. 20â21.
2934:. Merriam-Webster
2737:
2673:
2672:
2650:Sonata in G major
2642:Sonata in C major
2624:Presto in F minor
2569:No. 18 in E minor
2564:No 17 in D major
2561:No. 16 in B minor
2558:No. 15 in F major
2555:No. 14 in D major
2552:No. 13 in A major
2549:No. 12 in C major
2546:No. 11 in C major
2380:Orchestral works
2355:Grande Offertorio
2190:
2189:
2182:
2164:
1844:Giacomo Meyerbeer
1781:Salle Le Peletier
1685:, Roi de Portugal
1628:, roi de Portugal
1597:Antonio Tamburini
1435:, and the artist
1327:
1207:Queen Elizabeth I
1205:("Bloody Mary"),
1203:Mary I of England
1179:Gioachino Rossini
1103:
1064:was given at the
1009:(April 1831) and
997:(June 1831); and
988:Francesca di Foix
952:
871:Ponziano Loverini
867:Gaetano Donizetti
767:Alahor in Granata
669:Alfredo il grande
624:Chiara e Serafina
593:Francesco Florimo
578:Herbert Weinstock
420:Le nozze in villa
383:Adelaide Catalani
53:Gioachino Rossini
6528:
6433:
6432:
6431:
6421:
6420:
6419:
6409:
6408:
6397:
6396:
6395:
6388:
6370:
6360:
6359:
6256:Post-romanticism
6121:Vaughan Williams
5404:
5397:
5390:
5381:
5367:
5366:
5346:Donizetti Museum
5282:Caterina Cornaro
5210:L'Ange de Nisida
5162:Roberto Devereux
5117:
5005:L'elisir d'amore
4957:Gianni di Parigi
4893:Gianni di Calais
4837:Olivo e Pasquale
4696:L'ira di Achille
4652:
4645:
4638:
4629:
4516:
4515:
4506:The Music Review
4368:
4359:
4347:
4338:
4328:
4293:
4286:William Ashbrook
4277:
4260:Osborne, Charles
4255:
4243:
4241:
4226:
4212:
4203:
4180:
4156:Allitt's website
4153:
4135:
4129:
4123:
4117:
4111:
4110:
4103:
4097:
4096:
4089:
4083:
4074:
4068:
4062:
4056:
4050:
4041:
4031:
4025:
4018:
4012:
4005:
3999:
3992:
3986:
3980:
3974:
3973:, pp. 12â17
3968:
3955:
3948:
3942:
3935:
3929:
3923:
3917:
3911:
3900:
3894:
3885:
3875:
3869:
3862:
3856:
3850:
3844:
3838:
3832:
3826:
3820:
3814:
3808:
3802:
3796:
3790:
3784:
3777:
3771:
3765:
3756:
3749:
3740:
3734:
3725:
3719:
3713:
3706:
3700:
3694:
3688:
3687:, pp. 188ff
3682:
3673:
3666:
3660:
3654:
3648:
3642:
3636:
3629:
3623:
3617:
3611:
3605:
3599:
3593:
3587:
3581:
3575:
3569:
3563:
3557:
3551:
3545:
3536:
3525:Lammermuir Hills
3517:
3511:
3501:
3495:
3484:
3475:
3474:, pp. 29â30
3469:
3458:
3452:
3446:
3440:
3434:
3428:
3422:
3411:
3405:
3404:, pp. 27â28
3399:
3388:
3382:
3376:
3370:
3364:
3358:
3352:
3346:
3340:
3334:
3328:
3322:
3316:
3315:, pp. 32â33
3309:
3303:
3297:
3288:
3282:
3276:
3275:, pp. 28â32
3270:
3261:
3255:
3249:
3243:
3237:
3231:
3225:
3224:, pp. 18â19
3219:
3210:
3204:
3198:
3191:
3185:
3179:
3173:
3167:
3156:
3150:
3141:
3135:
3129:
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3113:
3107:
3101:
3094:
3088:
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3076:
3070:
3064:
3058:
3052:
3046:
3040:
3039:, pp. 50â51
3034:
3025:
3019:
3010:
3004:
2998:
2992:
2986:
2980:
2974:
2973:
2971:
2969:
2950:
2944:
2943:
2941:
2939:
2922:
2916:
2915:
2910:. Archived from
2893:
2887:
2886:
2884:
2882:
2862:
2845:
2844:
2843:
2842:
2836:
2831:
2827:
2826:
2823:
2822:
2819:
2816:
2813:
2810:
2807:
2804:
2799:
2798:
2795:
2792:
2789:
2782:
2774:
2773:
2770:
2769:
2766:
2763:
2760:
2757:
2754:
2751:
2744:
2735:
2733:
2732:
2729:
2728:
2725:
2722:
2719:
2716:
2713:
2710:
2707:
2704:
2701:
2691:
2662:Waltz in C major
2659:Waltz in A major
2603:Fugue in G minor
2543:No. 9 in D minor
2535:No. 7 in F minor
2532:No. 6 in G minor
2526:No. 5 in E minor
2523:No. 4 in D major
2361:Messa da Requiem
2335:
2314:L'elisir d'amore
2263:
2260:
2216:St Gotthard Pass
2185:
2178:
2174:
2171:
2165:
2163:
2122:
2098:
2090:
1923:, on leave from
1870:and revivals of
1858:Caterina Cornaro
1793:
1790:
1703:Ne m'oubliez moi
1698:Caterina Cornaro
1670:bipolar disorder
1458:L'Ange de Nisida
1430:
1419:
1411:Luigi Bettinelli
1369:with the title,
1329:
1328:
1309:
1293:William Ashbrook
1256:Roberto Devereux
1183:Vincenzo Bellini
1169:
1166:
1140:Sir Walter Scott
1105:
1104:
1082:
965:in 1911 for the
959:L'elisir d'amore
954:
953:
934:
919:
910:L'elisir d'amore
893:Gianni di Calais
837:Gianni di Calais
802:piĂšce d'occasion
626:, ossia I pirati
589:Vincenzo Bellini
568:Teatro del Fondo
564:Teatro San Carlo
558:, the prominent
556:Domenico Barbaja
550:
547:
469:Teatro Argentina
387:William Ashbrook
295:Stanislao Mattei
290:Giovanni Ricordi
244:William Ashbrook
231:
228:
157:Roberto Devereux
135:L'elisir d'amore
125:. In 1830, when
102:Caterina Cornaro
89:Domenico Barbaja
57:Vincenzo Bellini
43:
6536:
6535:
6531:
6530:
6529:
6527:
6526:
6525:
6441:
6440:
6439:
6429:
6427:
6417:
6415:
6403:
6399:Classical music
6393:
6391:
6383:
6381:
6376:
6353:
6349:Modernist music
6345:
6342:Classical music
6332:
6277:
6222:
6203:Romantic ballet
6198:Orchestral song
6178:Chorale prelude
6173:Character piece
6156:
6147:Romantic guitar
6140:Instrumentation
6135:
5971:Rimsky-Korsakov
5591:Ferdinand David
5428:
5422:
5413:
5408:
5378:
5373:
5355:
5329:
5312:
5218:Lucrezia Borgia
5186:Pia de' Tolomei
5170:Maria de Rudenz
5154:Pia de' Tolomei
5053:Lucrezia Borgia
4869:L'esule di Roma
4670:
4661:
4656:
4546:
4463:Gossett, Philip
4420:, Milan: Skira.
4375:
4373:Further reading
4362:
4350:
4341:
4296:
4280:
4274:
4258:
4246:
4239:
4224:
4215:
4206:
4200:
4183:
4177:
4161:
4147:
4144:
4139:
4138:
4130:
4126:
4118:
4114:
4105:
4104:
4100:
4091:
4090:
4086:
4075:
4071:
4063:
4059:
4051:
4044:
4032:
4028:
4019:
4015:
4006:
4002:
3993:
3989:
3983:Weatherson 2013
3981:
3977:
3971:Weatherson 2013
3969:
3958:
3949:
3945:
3936:
3932:
3924:
3920:
3912:
3903:
3895:
3888:
3876:
3872:
3863:
3859:
3851:
3847:
3839:
3835:
3827:
3823:
3815:
3811:
3803:
3799:
3791:
3787:
3778:
3774:
3766:
3759:
3750:
3743:
3735:
3728:
3720:
3716:
3707:
3703:
3695:
3691:
3683:
3676:
3667:
3663:
3655:
3651:
3643:
3639:
3630:
3626:
3618:
3614:
3606:
3602:
3594:
3590:
3582:
3578:
3570:
3566:
3558:
3554:
3546:
3539:
3518:
3514:
3502:
3498:
3485:
3478:
3470:
3461:
3453:
3449:
3441:
3437:
3429:
3425:
3412:
3408:
3400:
3391:
3383:
3379:
3371:
3367:
3359:
3355:
3347:
3343:
3335:
3331:
3323:
3319:
3310:
3306:
3298:
3291:
3283:
3279:
3271:
3264:
3256:
3252:
3244:
3240:
3232:
3228:
3220:
3213:
3205:
3201:
3192:
3188:
3180:
3176:
3172:, pp. 9â11
3168:
3159:
3151:
3144:
3136:
3132:
3123:
3116:
3108:
3104:
3095:
3091:
3087:, pp. 5â6.
3083:
3079:
3071:
3067:
3059:
3055:
3047:
3043:
3035:
3028:
3020:
3013:
3005:
3001:
2993:
2989:
2981:
2977:
2967:
2965:
2954:Smart, Mary Ann
2952:
2951:
2947:
2937:
2935:
2924:
2923:
2919:
2895:
2894:
2890:
2880:
2878:
2864:
2863:
2859:
2849:
2848:
2839:
2838:
2837:
2829:
2801:
2786:
2777:
2776:
2748:
2739:
2738:
2698:
2694:
2693:Pronunciation:
2692:
2688:
2678:
2330:string quartets
2326:
2301:
2261:
2251:
2186:
2175:
2169:
2166:
2123:
2121:
2111:
2099:
2088:
2056:
2011:
1993:Philippe Ricord
1977:
1937:
1898:
1831:
1829:1844: in Vienna
1814:Théùtre-Italien
1791:
1774:
1772:Return to Paris
1753:in addition to
1711:
1662:
1653:Théùtre-Italien
1585:Théùtre-Italien
1516:Josef Kriehuber
1424:
1413:
1399:
1353:
1352:
1344:
1342:
1341:
1340:
1339:
1330:
1323:
1320:
1313:
1307:
1302:
1278:Théùtre-Italien
1199:King Henry VIII
1167:
1138:, the novel by
1120:
1119:
1111:
1109:
1108:
1107:
1106:
1099:
1096:
1086:
1080:
1066:Théùtre-Italien
1051:Lucrezia Borgia
983:
982:
974:
972:
971:
970:
969:
955:
948:
945:
938:
932:
917:
868:
853:
832:opera semiseria
722:opera semiseria
714:
619:
548:
513:
484:Jacopo Ferretti
437:
435:Success in Rome
432:
374:Teatro San Luca
324:
319:
310:L'ira d'Achille
237:difetto di gola
229:
190:
44:
38:
24:
17:
12:
11:
5:
6534:
6532:
6524:
6523:
6518:
6513:
6508:
6503:
6498:
6493:
6488:
6483:
6478:
6473:
6468:
6463:
6458:
6453:
6443:
6442:
6438:
6437:
6425:
6413:
6401:
6378:
6377:
6375:
6374:
6364:
6346:
6338:
6337:
6334:
6333:
6331:
6330:
6329:
6328:
6318:
6317:
6316:
6311:
6306:
6301:
6291:
6285:
6283:
6279:
6278:
6276:
6275:
6268:
6263:
6258:
6253:
6248:
6241:
6236:
6230:
6228:
6224:
6223:
6221:
6220:
6215:
6213:Symphonic poem
6210:
6208:Romantic opera
6205:
6200:
6195:
6190:
6185:
6180:
6175:
6170:
6164:
6162:
6158:
6157:
6155:
6154:
6149:
6143:
6141:
6137:
6136:
6134:
6133:
6128:
6123:
6118:
6113:
6108:
6103:
6098:
6093:
6088:
6083:
6078:
6073:
6068:
6063:
6058:
6053:
6048:
6043:
6038:
6033:
6028:
6023:
6018:
6013:
6008:
6003:
5998:
5993:
5988:
5983:
5978:
5973:
5968:
5963:
5958:
5953:
5948:
5943:
5938:
5933:
5928:
5923:
5918:
5913:
5908:
5903:
5898:
5893:
5888:
5883:
5878:
5873:
5868:
5863:
5858:
5853:
5848:
5843:
5838:
5833:
5828:
5823:
5818:
5813:
5808:
5803:
5798:
5793:
5788:
5783:
5778:
5773:
5768:
5763:
5758:
5753:
5748:
5743:
5738:
5733:
5728:
5723:
5718:
5713:
5708:
5703:
5698:
5693:
5688:
5683:
5678:
5673:
5668:
5663:
5658:
5653:
5648:
5643:
5638:
5633:
5628:
5623:
5618:
5613:
5608:
5603:
5598:
5593:
5588:
5586:FĂ©licien David
5583:
5578:
5573:
5568:
5563:
5558:
5553:
5548:
5543:
5538:
5533:
5528:
5523:
5518:
5513:
5508:
5503:
5498:
5493:
5488:
5483:
5478:
5473:
5468:
5463:
5458:
5453:
5448:
5443:
5438:
5432:
5430:
5424:
5423:
5418:
5415:
5414:
5411:Romantic music
5409:
5407:
5406:
5399:
5392:
5384:
5375:
5374:
5372:
5371:
5360:
5357:
5356:
5354:
5353:
5348:
5343:
5337:
5335:
5331:
5330:
5328:
5327:
5320:
5318:
5314:
5313:
5311:
5310:
5302:
5298:Maria di Rohan
5294:
5286:
5278:
5270:
5262:
5254:
5246:
5238:
5230:
5222:
5214:
5206:
5198:
5190:
5182:
5174:
5166:
5158:
5150:
5142:
5134:
5126:
5118:
5105:
5101:Marino Faliero
5097:
5093:Gemma di Vergy
5089:
5081:
5073:
5065:
5057:
5049:
5045:Torquato Tasso
5041:
5033:
5025:
5017:
5009:
5001:
4993:
4985:
4977:
4969:
4961:
4953:
4945:
4937:
4929:
4921:
4913:
4905:
4897:
4889:
4881:
4873:
4865:
4857:
4849:
4841:
4833:
4825:
4817:
4809:
4801:
4793:
4785:
4777:
4769:
4761:
4753:
4745:
4737:
4729:
4721:
4715:
4707:
4699:
4693:
4687:
4678:
4676:
4672:
4671:
4668:List of operas
4666:
4663:
4662:
4657:
4655:
4654:
4647:
4640:
4632:
4626:
4625:
4611:
4601:
4591:
4586:
4580:
4574:
4568:
4553:
4545:
4544:External links
4542:
4541:
4540:
4533:
4518:
4502:
4495:
4481:
4460:
4453:
4446:
4445:. (In Italian)
4435:
4428:
4421:
4414:
4383:
4374:
4371:
4370:
4369:
4360:
4348:
4339:
4319:(3): 189â200.
4294:
4278:
4272:
4256:
4244:
4231:(in Italian).
4229:www-5.unipv.it
4213:
4204:
4198:
4186:Holden, Amanda
4181:
4175:
4159:
4143:
4140:
4137:
4136:
4132:Weinstock 1963
4124:
4120:Weinstock 1963
4112:
4109:. 7 July 2018.
4098:
4084:
4069:
4067:, p. 121.
4057:
4053:Weinstock 1963
4042:
4034:Weinstock 1963
4026:
4022:Weinstock 1963
4013:
4009:Weinstock 1963
4000:
3996:Weinstock 1963
3987:
3975:
3956:
3952:Weinstock 1963
3943:
3939:Weinstock 1963
3930:
3926:Weinstock 1963
3918:
3914:Weinstock 1963
3901:
3897:Weinstock 1963
3886:
3882:Weinstock 1963
3870:
3866:Weinstock 1963
3857:
3855:, p. 215.
3853:Weinstock 1963
3845:
3833:
3831:, p. 213.
3829:Weinstock 1963
3821:
3819:, p. 217.
3817:Weinstock 1963
3809:
3807:, p. 190.
3797:
3793:Weinstock 1963
3785:
3781:Weinstock 1963
3772:
3757:
3753:Weinstock 1963
3741:
3726:
3714:
3710:Weinstock 1963
3701:
3699:, p. 195.
3697:Weinstock 1963
3689:
3685:Weinstock 1963
3674:
3670:Weinstock 1963
3661:
3659:, p. 186.
3657:Weinstock 1963
3649:
3645:Weinstock 1963
3637:
3624:
3620:Weinstock 1963
3612:
3600:
3588:
3576:
3564:
3552:
3548:Mackerras 1998
3537:
3521:original novel
3512:
3504:Weinstock 1963
3496:
3492:Weinstock 1963
3486:Review in the
3476:
3459:
3447:
3435:
3431:Weinstock 1963
3423:
3406:
3389:
3377:
3365:
3353:
3349:Weinstock 1963
3341:
3329:
3325:Weinstock 1963
3317:
3313:Weinstock 1963
3304:
3289:
3285:Weinstock 1963
3277:
3273:Weinstock 1963
3262:
3250:
3246:Weinstock 1963
3238:
3226:
3211:
3207:Weinstock 1963
3199:
3186:
3182:Weinstock 1963
3174:
3157:
3155:, pp. 9ff
3142:
3130:
3126:Weinstock 1963
3114:
3112:, pp. 8â9
3102:
3098:Weinstock 1963
3089:
3085:Weinstock 1963
3077:
3065:
3063:, p. 225.
3053:
3041:
3026:
3011:
3007:Weinstock 1963
2999:
2987:
2975:
2945:
2917:
2914:on 8 May 2021.
2888:
2856:
2855:
2847:
2846:
2685:
2684:
2677:
2674:
2671:
2670:
2668:
2666:
2663:
2660:
2657:
2654:
2651:
2647:
2646:
2643:
2640:
2637:
2634:
2631:
2628:
2625:
2621:
2620:
2617:
2614:
2607:
2604:
2601:
2598:
2595:
2591:
2590:
2586:
2585:
2583:
2581:
2579:
2577:
2575:
2573:
2570:
2566:
2565:
2562:
2559:
2556:
2553:
2550:
2547:
2544:
2540:
2539:
2536:
2533:
2530:
2527:
2524:
2521:
2518:
2514:
2513:
2509:
2508:
2506:
2504:
2502:
2500:
2497:
2494:
2491:
2487:
2486:
2484:
2481:
2478:
2475:
2472:
2469:
2466:
2462:
2461:
2460:Chamber works
2457:
2456:
2454:
2452:
2450:
2448:
2446:
2444:
2442:
2438:
2437:
2434:
2431:
2428:
2425:
2422:
2419:
2416:
2412:
2411:
2407:
2406:
2404:
2401:
2398:
2395:
2392:
2389:
2386:
2382:
2381:
2377:
2376:
2374:
2372:
2365:
2362:
2359:
2356:
2353:
2349:
2348:
2344:
2343:
2325:
2322:
2300:
2297:
2250:
2247:
2188:
2187:
2102:
2100:
2093:
2087:
2084:
2055:
2052:
2010:
2007:
1998:Gemma di Vergy
1976:
1973:
1936:
1933:
1925:Constantinople
1897:
1894:
1890:Giuseppe Verdi
1830:
1827:
1819:Maria di Rohan
1810:Maria di Rohan
1773:
1770:
1766:Maria di Rohan
1761:Maria di Rohan
1738:Maria di Rohan
1721:, Vienna, 1830
1710:
1709:Work in Vienna
1707:
1661:
1658:
1620:Maria di Rohan
1611:Giuseppe Lillo
1601:Luigi Lablache
1409:: (from left)
1398:
1395:
1343:
1331:
1321:
1316:
1315:
1314:
1305:
1304:
1303:
1301:
1298:
1175:dramma tragico
1110:
1097:
1089:
1088:
1087:
1078:
1077:
1076:
1024:Torquato Tasso
973:
956:
946:
941:
940:
939:
930:
929:
928:
885:Giuditta Pasta
859:Giuditta Pasta
852:
849:
713:
710:
618:
615:
512:
509:
436:
433:
431:
428:
323:
320:
318:
315:
189:
186:
67:Giuseppe Verdi
32:
15:
13:
10:
9:
6:
4:
3:
2:
6533:
6522:
6519:
6517:
6514:
6512:
6509:
6507:
6504:
6502:
6499:
6497:
6494:
6492:
6489:
6487:
6484:
6482:
6479:
6477:
6474:
6472:
6469:
6467:
6464:
6462:
6459:
6457:
6454:
6452:
6449:
6448:
6446:
6436:
6426:
6424:
6414:
6412:
6407:
6402:
6400:
6390:
6386:
6373:
6369:
6365:
6363:
6355:
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6351:
6350:
6344:
6343:
6335:
6327:
6324:
6323:
6322:
6319:
6315:
6312:
6310:
6307:
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6300:
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6189:
6186:
6184:
6181:
6179:
6176:
6174:
6171:
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6056:J. Strauss II
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5427:Composers and
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5306:Dom SĂ©bastien
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5300:
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5295:
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5266:Maria Padilla
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5228:
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5220:
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5215:
5212:
5211:
5207:
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5203:
5202:Le duc d'Albe
5199:
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5159:
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5148:
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5132:
5131:
5130:Il campanello
5127:
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5119:
5116:
5111:
5110:
5106:
5103:
5102:
5098:
5095:
5094:
5090:
5087:
5086:
5082:
5079:
5078:
5077:Maria Stuarda
5074:
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5066:
5063:
5062:
5058:
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5050:
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5018:
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4708:
4705:
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4697:
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4688:
4685:
4684:
4683:Il Pigmalione
4680:
4679:
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4669:
4664:
4660:
4653:
4648:
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4641:
4639:
4634:
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4599:
4595:
4592:
4590:
4587:
4584:
4581:
4578:
4575:
4572:
4569:
4566:
4563:published by
4562:
4558:
4554:
4551:
4548:
4547:
4543:
4538:
4534:
4531:
4527:
4523:
4519:
4514:
4507:
4503:
4500:
4496:
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4486:
4482:
4480:
4476:
4472:
4468:
4464:
4461:
4458:
4454:
4451:
4447:
4444:
4440:
4436:
4433:
4429:
4426:
4422:
4419:
4415:
4413:
4412:1-56159-228-5
4409:
4405:
4401:
4400:
4395:
4394:Stanley Sadie
4391:
4390:Julian Budden
4387:
4384:
4381:
4377:
4376:
4372:
4366:
4361:
4357:
4353:
4349:
4345:
4340:
4336:
4332:
4327:
4322:
4318:
4314:
4313:
4308:
4306:
4302:
4295:
4291:
4287:
4283:
4282:Parker, Roger
4279:
4275:
4269:
4265:
4261:
4257:
4253:
4249:
4245:
4238:
4234:
4230:
4223:
4221:
4214:
4210:
4205:
4201:
4195:
4191:
4187:
4182:
4178:
4172:
4168:
4164:
4160:
4157:
4151:
4146:
4145:
4141:
4134:, p. 20.
4133:
4128:
4125:
4122:, p. 17.
4121:
4116:
4113:
4108:
4102:
4099:
4094:
4088:
4085:
4082:
4078:
4073:
4070:
4066:
4065:Ashbrook 1982
4061:
4058:
4054:
4049:
4047:
4043:
4039:
4038:Ashbrook 1982
4035:
4030:
4027:
4023:
4017:
4014:
4011:, p. 243
4010:
4004:
4001:
3998:, p. 246
3997:
3991:
3988:
3984:
3979:
3976:
3972:
3967:
3965:
3963:
3961:
3957:
3954:, p. 247
3953:
3947:
3944:
3941:, p. 246
3940:
3934:
3931:
3927:
3922:
3919:
3915:
3910:
3908:
3906:
3902:
3899:, p. 227
3898:
3893:
3891:
3887:
3883:
3879:
3878:Ashbrook 1982
3874:
3871:
3868:, p. 220
3867:
3861:
3858:
3854:
3849:
3846:
3842:
3841:Zavadini 1948
3837:
3834:
3830:
3825:
3822:
3818:
3813:
3810:
3806:
3805:Ashbrook 1982
3801:
3798:
3794:
3789:
3786:
3783:, p. 204
3782:
3776:
3773:
3769:
3768:Ashbrook 1982
3764:
3762:
3758:
3755:, p. 196
3754:
3748:
3746:
3742:
3738:
3737:Ashbrook 1982
3733:
3731:
3727:
3724:, p. 43.
3723:
3718:
3715:
3712:, p. 194
3711:
3705:
3702:
3698:
3693:
3690:
3686:
3681:
3679:
3675:
3672:, p. 186
3671:
3665:
3662:
3658:
3653:
3650:
3646:
3641:
3638:
3634:
3628:
3625:
3621:
3616:
3613:
3610:, p. 41.
3609:
3604:
3601:
3598:, p. 40.
3597:
3592:
3589:
3585:
3580:
3577:
3574:, p. 137
3573:
3572:Ashbrook 1982
3568:
3565:
3562:, p. 17.
3561:
3556:
3553:
3549:
3544:
3542:
3538:
3534:
3530:
3526:
3522:
3516:
3513:
3509:
3505:
3500:
3497:
3493:
3489:
3483:
3481:
3477:
3473:
3468:
3466:
3464:
3460:
3456:
3455:Ashbrook 1982
3451:
3448:
3444:
3439:
3436:
3432:
3427:
3424:
3420:
3419:Ashbrook 1982
3416:
3410:
3407:
3403:
3398:
3396:
3394:
3390:
3387:, p. 156
3386:
3381:
3378:
3375:, p. 31.
3374:
3373:Ashbrook 1982
3369:
3366:
3363:, p. 29.
3362:
3361:Ashbrook 1982
3357:
3354:
3350:
3345:
3342:
3339:, p. 27.
3338:
3337:Ashbrook 1982
3333:
3330:
3327:, p. 34.
3326:
3321:
3318:
3314:
3308:
3305:
3301:
3300:Ashbrook 1982
3296:
3294:
3290:
3286:
3281:
3278:
3274:
3269:
3267:
3263:
3260:
3254:
3251:
3247:
3242:
3239:
3235:
3234:Ashbrook 1982
3230:
3227:
3223:
3222:Ashbrook 1982
3218:
3216:
3212:
3209:, p. 22.
3208:
3203:
3200:
3196:
3195:Ashbrook 1982
3190:
3187:
3184:, p. 19.
3183:
3178:
3175:
3171:
3166:
3164:
3162:
3158:
3154:
3153:Ashbrook 1982
3149:
3147:
3143:
3139:
3138:Ashbrook 1982
3134:
3131:
3127:
3121:
3119:
3115:
3111:
3110:Ashbrook 1982
3106:
3103:
3099:
3093:
3090:
3086:
3081:
3078:
3074:
3069:
3066:
3062:
3057:
3054:
3051:, p. 52.
3050:
3045:
3042:
3038:
3033:
3031:
3027:
3023:
3018:
3016:
3012:
3009:, p. 13.
3008:
3003:
3000:
2997:, p. 139
2996:
2991:
2988:
2984:
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2976:
2963:
2959:
2955:
2949:
2946:
2933:
2932:
2927:
2921:
2918:
2913:
2909:
2905:
2903:
2898:
2892:
2889:
2877:
2876:HarperCollins
2873:
2872:
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2861:
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2772:
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2655:
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2599:
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2378:
2375:
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2370:
2366:
2363:
2360:
2357:
2354:
2351:
2350:
2347:Choral works
2345:
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2321:
2319:
2315:
2311:
2307:
2298:
2296:
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2286:
2281:
2279:
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2270:
2255:
2249:Personal life
2248:
2246:
2244:
2240:
2235:
2233:
2223:
2219:
2217:
2213:
2210:, then on to
2209:
2204:
2203:Scotti family
2194:
2184:
2181:
2173:
2162:
2159:
2155:
2152:
2148:
2145:
2141:
2138:
2134:
2131: â
2130:
2126:
2125:Find sources:
2119:
2115:
2109:
2108:
2103:This section
2101:
2097:
2092:
2091:
2085:
2083:
2079:
2072:
2071:Daguerreotype
2068:
2060:
2053:
2051:
2049:
2048:
2043:
2042:
2041:Le duc d'Albe
2035:
2027:
2022:
2020:
2014:
2008:
2006:
2002:
2000:
1999:
1994:
1989:
1981:
1974:
1972:
1970:
1969:
1968:Le duc d'Albe
1963:
1961:
1960:
1959:I due Foscari
1954:
1953:Dom SĂ©bastien
1949:
1941:
1934:
1932:
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1823:Dom SĂ©bastien
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1806:Dom SĂ©bastien
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1684:
1683:Dom SĂ©bastien
1679:
1673:
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1668:and probable
1667:
1659:
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1641:
1636:
1631:
1629:
1627:
1626:Dom SĂ©bastien
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1562:Maria Padilla
1559:
1554:
1550:
1548:
1544:
1543:kapellmeister
1540:
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1500:
1494:
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1480:Maria Padilla
1474:
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1471:
1466:
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1438:
1437:Luigi Deleidi
1434:
1428:
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1422:Antonio Dolci
1417:
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1403:
1396:
1394:
1392:
1391:
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1382:
1378:
1374:
1373:
1368:
1367:EugĂšne Scribe
1364:
1360:
1359:
1351:
1349:
1337:
1336:
1319:
1299:
1297:
1294:
1290:
1287:
1286:musicologists
1283:
1279:
1275:
1271:
1270:
1265:
1260:
1258:
1257:
1252:
1248:
1244:
1243:
1242:Maria Stuarda
1238:
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1127:
1126:
1118:
1116:
1095:
1094:
1075:
1073:
1072:
1067:
1063:
1062:
1061:Marin Faliero
1057:
1053:
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1042:
1038:
1036:
1035:
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1025:
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1019:
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1013:
1008:
1007:
1002:
1001:
996:
995:
990:
989:
981:
979:
968:
964:
963:Enrico Caruso
960:
944:
927:
925:
924:
916:
912:
911:
905:
902:
898:
894:
889:
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42:
36:
30:
26:
22:
6347:
6340:
6243:
6227:Other topics
6051:J. Strauss I
5941:Rachmaninoff
5696:Gretchaninov
5615:
5304:
5296:
5290:Don Pasquale
5288:
5280:
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5107:
5099:
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5085:Buondelmonte
5083:
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4813:Don Gregorio
4811:
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4709:
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4695:
4689:
4681:
4658:
4610:(ChoralWiki)
4565:Casa Ricordi
4557:Roger Parker
4536:
4521:
4512:
4505:
4498:
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4456:
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3717:
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3664:
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3635:, p. 42
3627:
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3603:
3591:
3586:, p. 1.
3579:
3567:
3555:
3550:, p. 29
3515:
3508:Osborne 1994
3499:
3494:, p. 64
3487:
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3438:
3426:
3421:, p. 32
3414:
3409:
3385:Osborne 1994
3380:
3368:
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3332:
3320:
3307:
3302:, p. 25
3280:
3259:Osborne 1994
3253:
3241:
3229:
3202:
3197:, p. 16
3189:
3177:
3140:, p. 9.
3133:
3128:, p. 8.
3105:
3092:
3080:
3068:
3056:
3044:
3002:
2995:Osborne 1994
2990:
2985:, p. 9.
2978:
2966:. Retrieved
2961:
2948:
2936:. Retrieved
2929:
2920:
2912:the original
2900:
2891:
2879:. Retrieved
2869:
2860:
2851:
2850:
2689:
2680:
2679:
2589:Piano works
2338:Operas (see
2327:
2318:Don Pasquale
2317:
2313:
2309:
2305:
2302:
2282:
2268:
2266:
2236:
2231:
2228:
2199:
2176:
2167:
2157:
2150:
2143:
2136:
2124:
2112:Please help
2107:verification
2104:
2080:
2076:
2045:
2039:
2036:
2032:
2018:
2016:
2012:
2003:
1996:
1990:
1986:
1966:
1964:
1957:
1952:
1950:
1946:
1929:
1918:
1886:Casa Ricordi
1879:
1876:Don Pasquale
1875:
1871:
1865:
1863:
1857:
1855:
1847:
1846:would allow
1836:
1832:
1822:
1818:
1809:
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1751:Don Pasquale
1750:
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1647:proclaimed:
1638:
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1634:
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1606:Don Pasquale
1604:
1593:Giulia Grisi
1588:
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1524:Stabat Mater
1523:
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1499:Stabat Mater
1497:
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1289:Roger Parker
1273:
1267:
1261:
1254:
1249:), based on
1246:
1240:
1236:
1228:
1218:
1217:. They were
1214:
1195:Tudor period
1192:
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141:Don Pasquale
139:
133:
126:
116:
110:
107:comic operas
100:
86:
79:
60:
48:
47:
25:
6461:1848 deaths
6456:1797 births
6294:Romanticism
6076:Tchaikovsky
6011:R. Schumann
6006:C. Schumann
5991:Saint-Saëns
5886:Niedermeyer
5776:Leoncavallo
5746:Kalkbrenner
5521:Bortkiewicz
5242:La favorite
5226:Les martyrs
4949:Anna Bolena
4616:, from the
4301:Anna Bolena
4220:Les Martyrs
3843:, p. .
3722:Allitt 1991
3633:Allitt 1991
3631:Rossini in
3608:Allitt 1991
3596:Allitt 1991
3472:Allitt 1991
3443:Allitt 1991
3402:Allitt 1991
3170:Allitt 1991
3100:, p. 6
3024:, p. 1
2983:Allitt 1991
2926:"Donizetti"
2866:"Donizetti"
2262: 1820
1849:Le ProphĂšte
1839:LĂ©on Pillet
1792: 1821
1785:Paris Opera
1759:. Finally,
1689:Les Martyrs
1589:opera buffa
1581:Jules Janin
1464:La favorite
1445:Switzerland
1425: [
1414: [
1377:grand opera
1372:Les Martyrs
1282:Paris Opéra
1247:Mary Stuart
1237:Amy Robsart
1223:, based on
1215:Anna Bolena
1168: 1835
1163:Donizetti,
1091:Prelude to
923:opera buffa
915:Anna Bolena
897:Anna Bolena
880:Anna Bolena
718:Romanticism
697:opera buffa
660:opera buffa
656:opera seria
549: 1830
474:opera seria
230: 1810
173:Les martyrs
138:(1832) and
128:Anna Bolena
112:opera seria
6445:Categories
6282:Background
6183:Intermezzo
6116:Wieniawski
6096:Vieuxtemps
6061:R. Strauss
5986:Rubinstein
5911:Paderewski
5881:Mussorgsky
5876:Moszkowski
5851:Mercadante
4749:La zingara
4711:Una follia
4624:, Library.
4469:, Oxford:
4441:, Milano:
4344:Newsletter
3533:Dalrymples
3193:quoted in
3049:Black 1982
3037:Black 1982
3022:Black 1982
2852:References
2410:Concertos
2367:Miserere (
2358:Il sospiro
2170:March 2019
2140:newspapers
1433:Simon Mayr
1405:Deleidi's
1348:media help
1115:media help
1071:I puritani
978:media help
961:, sung by
793:or opera,
790:melodramma
678:La zingara
573:La zingara
400:Una follia
370:impresario
288:publisher
202:Bergamo's
75:Simon Mayr
6423:Biography
5896:Offenbach
5871:Moscheles
5866:Moniuszko
5861:Meyerbeer
5816:Marschner
5801:MacDowell
5616:Donizetti
5561:Cherubini
5551:Chaminade
5476:Beethoven
5461:Balakirev
5451:Atterberg
5429:musicians
5122:Belisario
4960:(1828-31)
4690:Olimpiade
4439:Donizetti
4288:(1994), "
4154:Also see
2968:9 January
2938:16 August
2881:16 August
2352:Ave Maria
2293:Mahmud II
1269:Belisario
1264:La Fenice
1229:Leicester
1144:bel canto
781:given as
736:semiseria
720:with the
560:intendant
465:intendant
306:Olympiade
267:immortal.
62:bel canto
6362:Category
6339: â
6218:Symphony
6081:Thalberg
6046:Spontini
6021:Sibelius
6016:Scriabin
6001:Schubert
5996:Sarasate
5961:Respighi
5956:Reinecke
5916:Paganini
5826:Massenet
5821:Masarnau
5806:Madetoja
5751:Kreisler
5741:Kalivoda
5686:J. Gomis
5671:Glazunov
5666:Giuliani
5556:Chausson
5546:Chadwick
5536:Bruckner
5369:Category
5037:Parisina
4901:Il paria
4465:(1985),
4354:(1963).
4262:(1994).
4250:(1998).
4237:Archived
4165:(1982).
3527:area of
3415:Giornali
2830:Italian:
2369:Psalm 50
2239:Valtesse
2212:Brussels
1921:Giuseppe
1914:Giuseppe
1812:for the
1678:Ruy-Blas
1666:syphilis
1251:Schiller
1034:Parisina
732:Giornali
674:Giornali
610:Giornali
585:Giornale
580:states.
6385:Portals
6352:â
6314:Science
6193:Mazurka
6168:Ballade
6101:VoĆĂĆĄek
6071:TĂĄrrega
6066:Taneyev
6026:Smetana
5981:Rossini
5936:Puccini
5931:Prudent
5891:Nielsen
5856:MĂ©reaux
5831:Medtner
5796:Lysenko
5766:Lachner
5731:Joachim
5711:Herbert
5631:Farrenc
5596:Delibes
5571:Crusell
5516:Borodin
5506:Berwald
5496:Berlioz
5486:Bennett
5481:Bellini
5466:Bazzini
5446:Arensky
5334:Related
5324:Requiem
5178:Poliuto
5112:(1835)
4620:at the
4606:in the
4600:(IMSLP)
4596:at the
4396:(ed.),
4335:1285447
4326:2589608
4290:Poliuto
4188:(ed.).
4142:Sources
3584:Girardi
3529:Lowland
2289:Ottoman
2278:measles
2274:cholera
2269:Zoraida
2154:scholar
1874:and of
1747:Nabucco
1732:Nabucco
1504:Bologna
1363:Poliuto
1358:Poliuto
1276:at the
1148:Bellini
1056:Rossini
693:Zoraida
664:Zoraide
645:Zoraida
562:of the
504:Zoraida
467:of the
442:Rossini
372:of the
206:quarter
167:Poliuto
71:Bergamo
6372:Portal
6309:Poetry
6161:Genres
6106:Wagner
6086:Tobias
5951:Reicha
5926:Popper
5906:Pacini
5901:Onslow
5811:Mahler
5791:Lumbye
5756:Kuhlau
5736:Joplin
5726:Hummel
5716:HĂ©rold
5706:Halévy
5691:Gounod
5676:Glinka
5656:Franck
5651:Foster
5621:DvoĆĂĄk
5611:d'Indy
5601:Delius
5581:Czerny
5566:Chopin
5541:Busoni
5526:Brahms
5501:Bertin
5491:BĂ©riot
5326:(1835)
5309:(1843)
5301:(1843)
5293:(1843)
5285:(1844)
5277:(1842)
5269:(1841)
5261:(1841)
5253:(1841)
5250:Adelia
5245:(1840)
5237:(1840)
5229:(1840)
5221:(1840)
5213:(1839)
5205:(1839)
5197:(1839)
5189:(1838)
5181:(1838)
5173:(1838)
5165:(1837)
5157:(1837)
5149:(1836)
5141:(1836)
5133:(1836)
5125:(1836)
5104:(1835)
5096:(1834)
5088:(1834)
5080:(1834)
5072:(1834)
5064:(1834)
5056:(1833)
5048:(1833)
5040:(1833)
5032:(1833)
5024:(1833)
5016:(1832)
5008:(1832)
5000:(1832)
4992:(1832)
4989:Fausta
4984:(1831)
4976:(1831)
4968:(1831)
4952:(1830)
4944:(1830)
4936:(1830)
4928:(1830)
4920:(1829)
4912:(1829)
4904:(1829)
4896:(1828)
4888:(1828)
4880:(1828)
4872:(1828)
4864:(1827)
4856:(1827)
4848:(1827)
4840:(1827)
4832:(1826)
4824:(1826)
4821:Elvida
4816:(1826)
4808:(1826)
4800:(1824)
4792:(1824)
4784:(1823)
4776:(1823)
4768:(1822)
4760:(1822)
4752:(1822)
4744:(1822)
4736:(1820)
4728:(1819)
4720:(1819)
4714:(1818)
4706:(1818)
4698:(1817)
4692:(1817)
4686:(1816)
4675:Operas
4528:
4491:
4477:
4406:
4333:
4323:
4270:
4196:
4173:
2902:Lexico
2208:Amiens
2156:
2149:
2142:
2135:
2127:
1881:Ernani
1599:, and
1547:Mozart
1532:Stabat
1518:(1842)
1491:Vienna
1225:Scribe
1000:Fausta
796:Elvida
772:Alahor
740:Emilia
492:musico
424:Mantua
378:Enrico
368:, the
178:Vienna
97:Naples
37:, 1837
6435:Music
6411:Opera
6299:Chess
6131:YsaĂże
6111:Weber
6091:Verdi
6041:Spohr
6036:Sousa
5921:Paine
5836:MĂ©hul
5786:Loewe
5781:Liszt
5761:Kuula
5721:Holst
5701:Grieg
5681:Gomes
5661:Franz
5646:Foote
5641:Field
5636:Fauré
5626:Elgar
5606:Denza
5531:Bruch
5511:Bizet
5471:Beach
5456:Auber
5441:Alkan
4240:(PDF)
4225:(PDF)
3490:, in
2681:Notes
2161:JSTOR
2147:books
1867:Norma
1633:When
1558:Genoa
1449:Milan
1429:]
1418:]
1383:into
1332:From
1284:. As
1274:Lucia
1187:Lucia
1173:This
1153:Norma
957:from
918:'
682:farsa
600:farsa
6188:Lied
6126:Wolf
5976:Rode
5966:Ries
5946:Raff
5771:Lalo
5436:Adam
5258:Rita
4526:ISBN
4489:ISBN
4475:ISBN
4404:ISBN
4331:PMID
4268:ISBN
4194:ISBN
4171:ISBN
4036:and
3413:The
2970:2017
2940:2019
2883:2019
2736:also
2316:and
2133:news
2047:Rita
1717:The
1564:and
1291:and
1233:Hugo
1231:and
799:, a
308:and
123:Rome
55:and
6031:Sor
5576:Cui
4321:PMC
3417:in
3257:In
2800:-,-
2276:or
2116:by
2019:sic
1502:in
1235:'s
1227:'s
1150:'s
526:sic
95:in
6447::
4532:.
4473:.
4410:,
4329:.
4317:65
4315:.
4309:.
4303:,
4284:;
4235:.
4227:.
4079:,
4045:^
3959:^
3904:^
3889:^
3760:^
3744:^
3729:^
3677:^
3540:^
3479:^
3462:^
3392:^
3292:^
3265:^
3214:^
3160:^
3145:^
3117:^
3029:^
3014:^
2960:.
2928:.
2906:.
2899:.
2874:.
2868:.
2828:;
2794:oÊ
2781::
2779:US
2775:,
2747:/-
2743::
2741:UK
2734:,
2342:)
2320:.
2312:,
2308:,
2259:c.
1789:c.
1787:,
1745:.
1595:,
1549:.
1431:,
1427:ru
1416:it
1165:c.
1156:.
926:.
834:,
724:,
684:,
602:,
546:c.
498::
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227:c.
184:.
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6387::
6274:"
6270:"
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5389:v
4651:e
4644:t
4637:v
4337:.
4276:.
4222:"
4202:.
4179:.
4158:.
4095:.
3075:.
2972:.
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