Relevant bibliographies by topics / Gaetano Donizetti

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Gaetano Donizetti'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Gaetano Donizetti"

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Ashbrook, William. "Gaetano Donizetti." Opera Quarterly 12, no. 2 (1995): 136–42. http://dx.doi.org/10.1093/oq/12.2.136.

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Jellinek, George. "Elvida. Gaetano Donizetti." Opera Quarterly 21, no. 4 (2005): 766–68. http://dx.doi.org/10.1093/oq/kbi065.

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Baxter, R. "Belisario. Gaetano Donizetti." Opera Quarterly 22, no. 1 (December 13, 2006): 182–84. http://dx.doi.org/10.1093/oq/kbi083.

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Glasow, E. Thomas. "Poliuto. Gaetano Donizetti." Opera Quarterly 8, no. 1 (1991): 130–32. http://dx.doi.org/10.1093/oq/8.1.130.

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Ashbrook, William. "Gencer and Donizetti Anna Bolena. Gaetano Donizetti." Opera Quarterly 6, no. 3 (1989): 135–37. http://dx.doi.org/10.1093/oq/6.3.135.

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Baxter, Robert. "L’elisir d’amore. Gaetano Donizetti." Opera Quarterly 21, no. 4 (2005): 768–70. http://dx.doi.org/10.1093/oq/kbi066.

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McKee, David. "L'elisir d'amore. Gaetano Donizetti." Opera Quarterly 10, no. 3 (1994): 177–79. http://dx.doi.org/10.1093/oq/10.3.177.

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Willier, Stephen A. "Maria Padilla. Gaetano Donizetti." Opera Quarterly 10, no. 4 (1994): 134–36. http://dx.doi.org/10.1093/oq/10.4.134.

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Green, London. "Roberto Devereux. Gaetano Donizetti." Opera Quarterly 12, no. 2 (1995): 125–27. http://dx.doi.org/10.1093/oq/12.2.125.

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Migliavacca, G. "Parisina d'Este. Gaetano Donizetti." Opera Quarterly 17, no. 4 (January 1, 2001): 747–51. http://dx.doi.org/10.1093/oq/17.4.747.

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Dissertations / Theses on the topic "Gaetano Donizetti"

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Krueger, Nathan Elliott. "Gaetano Donizetti, Saverio Mercadante, and the Evolution and Development of the Verdi Baritone." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/203444.

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The leading baritone roles in the operas of Giuseppe Verdi, known as Verdi baritone roles, presented new challenges for the singers who first interpreted these roles. Their demanding tessitura and complex characterizations tested the skill of a generation of singers who began their careers singing the roles of Gioacchino Rossini, Gaetano Donizetti, Saverio Mercadante, Vincenzo Bellini and Giovanni Pacini in the lighter, bel canto style. The purpose of this study is to examine the careers of singers active in Italy between 1830 and 1845 and to provide insight as to which roles written before the premiere of Verdi's Nabucco contained similar vocal and characterization demands. Through examination of available Italian opera house annals, ten singers were identified by the author as precursors to the Verdi baritone, and are categorized into three groups: the pre-Verdi baritones, the transitional baritones and the established Verdi baritones. A brief biography of each singer is included, as well as an appendix for each singer that includes roles performed, dates and locations of the performances. The title role in Donizetti's Torquato Tasso and the role of Manfredo in Mercadante's Il giuramento were determined to be the roles most similar to Verdi's Nabucco. Each role is analyzed in terms of characterization and tessitura demands, and is compared using tessitura charts that account for the frequency and duration of individual pitches. The roles are divided into sections, and each section is designated by its overall range, primary tessitura, secondary tessitura, and weighted pitches. These designations provide quantifiable evidence that each role presents similar challenges for the baritone.
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Cazaux, Chantal. "Pour une approche de l'écriture dramatique de Gaetano Donizetti de 1830 à 1837 : contribution à l'étude d'Anna Bolena, de Maria Stuarda et Roberto Devereux." Saint-Etienne, 2002. http://www.theses.fr/2002STET2073.

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Ce travail tente de déterminer les différentes caractéristiques musicales et littéraires propres à l'écriture dramatique de Gaetano Donizetti, compositeur italien (1797-1848), dans la décennie 1830. Ces caractéristiques sont observées telles qu'elles se dégagent de l'étude de trois opéras dramatiques choisis dans cette période - la plus féconde de la carrière italienne du compositeur : Anna Bolena (1830), Maria Stuarda (1834-1835) et Roberto Devereux (1837). Sont notamment visés par cette étude les livrets - leurs sources historiques et littéraires, remontant à la Renaissance anglaise et à ses dynasties régnantes tantôt par le biais du roman "gothique" anglais, tantôt par celui du théâtre romantique européen, leur niveau de langue audacieux, ou bien encore leurs réseaux psychologiques et formels de personnages et de narrations -, les structures musicales - reproduites plus ou moins fidélement ou éclatées pour le besoin de l'action dramatique, utilisant le rythme scènique, l'orchestration et le rapport de la voix à l'orchestre comme autant d'éléments dramaturgiques - et enfin, plus particulièrement, l'écriture vocale et les nouveaux usages propres au compositeur dans l'utilisation des registres, des tessitures et de l'écriture mélodique. Il s'agit ainsi de distinguer d'une part les éléments de langage servant chez Gaetano Donizetti les dimensions réalistes et/ou fantastiques du lyrisme dramatique et italien de l'époque, d'autre part ceux hérités du bel canto rossinien et ceux ouvrant la voie à une vocalité et une dramaturgie pré-verdiennes, distinctions permettant alors de tenter une définition du "drame donizettien".
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Mota, Carla Sofia Catarino Silva. "Literatura e música em Victor Hugo: mitologia do escritor romântico na génese do repertório operático oitocentista." Doctoral thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de lisboa, 2014. http://hdl.handle.net/10362/12110.

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Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Línguas, Literaturas e Culturas, área de especialização em Estudos Literários Comparados
Através da Dissertação de Doutoramento intitulada Literatura e música em Victor Hugo: mitologia do escritor romântico na génese do repertório operático oitocentista, pretende-se evidenciar a riqueza e a relevância da análise comparativista inter-artes, nomeadamente entre Literatura e Música, sendo possível traçar as ligações estreitas, mas nem sempre conceptuais, entre uma e outra, realçar a presença indiscutível da literatura no fascinante mundo da ópera, lugar incontestado de admiráveis expressões literárias, e questionar as temáticas do mito, do modelo e da intertextualidade, do género operático e do estatuto do libreto de ópera, passando pela incontornável abordagem da estética da recepção. Dando particular enfoque à época romântica, a nossa análise concentra-se na grandeza e no génio criador daquele que Paul Valéry apelidou de “mais imponente astro da literatura universal”: Victor Hugo. Mediante um indispensável estudo da influência do homem de letras que se tornou mito, bem como da relação que o “Mestre” cultivou com a música, para além do inegável lirismo que atravessa toda a sua obra, veremos o quanto o drama moderno por ele definido terá um papel capital na elaboração de um novo ideal operático do século XIX, estando grande parte da sua obra na origem de inúmeras adaptações para a cena lírica oitocentista. Guiados pela leitura atenta e paralela de algumas obras de destaque de Hugo e das suas adaptações em libreto, equacionar-se-ão temas, estéticas, teorias e modas, sem esquecer a beleza ofuscante da união de um verbo sublime com a grandeza e a eloquência da música. Uma forma peculiar, portanto, mas também inabitual e fascinante de abordar a literatura - uma literatura que se relaciona intimamente com arte lírica e que se torna, por isso mesmo, próxima mas também difícil de apreender na sua totalidade, confundindo-se com o mito que ela própria constrói.
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Gerber, Melissa. "Power in Madness : a critical investigation into the musical representation of female madness in the mad scenes of Donizetti’s ‘Lucia’ from Lucia di Lammermoor (1835) and Thomas’s ‘Ophélie’ from Hamlet (1868)." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/51380.

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The 19th-century fascination with madness led to a theatrical phenomenon most palpably represented in the operatic mad scene, where the insane heroine expresses her madness in an aria of ‘phenomenal difficulty’ (Ashley 2002). This research explores the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti’s Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas’s Hamlet (1868). The objective is to investigate the representation of female madness in the libretti, the musical scores and in visual performances, in order to challenge the notion of female madness as weakness. The research was conducted using a qualitative research paradigm. The study explored the depiction of female madness in various fields of artistic representation, and the concept of power and female power in literature, resulting in the novel interpretation of these enigmatic mad scenes. This was a hermeneutic study considered within an interpretive paradigm. The research was conducted in three stages: a literature review, a full score analysis and a visual performance analysis. The results show that the 19th-century gendered paradigm shift of madness to an overtly female disorder, led to various artistic interpretations of the madwoman, most notably in art, literature, theatre and opera. Opera proved to be the ultimate platform for the musical depiction of female madness, particularly due to the virtuosic vocal capacity of the coloratura soprano. In spite of social and political advancement, women were portrayed as weak in operatic plots. It was established that a delicate balance exists between power and powerlessness in the operatic mad scene. Both Lucia and Ophélie are women trapped in a patriarchal environment, and the onset of their madness is traditionally attributed to the weak default of their gender and their inability to process dramatic emotional events. However, the composers’ musical realisation of madness, as well as the embodied performance of both characters by the soloists, accentuates the interplay between madness as weakness and, most importantly, madness as empowerment. The study shows that the powerlessness associated with female madness is paradoxically reversed by the very factors that denote female madness in the operatic mad scene, namely gender and vocal virtuosity. Numerous musical and visual performance elements employed by composers and directors, notably depicting the madwoman as feeble, point to the empowerment of the seemingly ‘weak’ soprano. Musical elements used to portray madness include deconstruction, orchestration and high pitch. The study revealed additional musical elements, such as the inclusion of themes from previous acts of the opera, the use of specific instrumentation and a capella passages for soprano. The study argues that the characteristics that define female madness in music, namely gender and vocal excess, specifically contribute to the representation of madness as power. Elaborate coloratura vocal passages and scant orchestration are the two musical elements used by Donizetti and Thomas to assist in the depiction of female madness as power in the operatic mad scene. Consequently the study establishes that the extravagant vocal virtuosity displayed by the coloratura soprano casts the madwoman as powerful in the operatic mad scene.
Mini Dissertation (MMus)--University of Pretoria, 2016.
Music
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Santos, Marcos. "Estudo e análise técnica e interpretativa do papel principal de tenor nas óperas Lucia di Lammermoor (Edgardo) e L' Elisir d' Amore (Nemorino) de Gaetano Donizetti." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19771.

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Nesta dissertação pretendemos analisar a interpretação do papel do tenor nas óperas Lucia di Lammermoor e L´Elisir d´Amore de Gaetano Donizetti, estudando os principais fatores que influenciaram a interpretação do papel do tenor e como esta mudou ao longo dos anos, por comparação de gravações destas óperas com 50 anos de intervalo entre si. O período do bel canto está associado à linha de canto ornamentada para exprimir emoções, o que, em conjunto com outros aspetos, fez com que a voz de tenor passasse a ter uma emissão distinta, especialmente no registo agudo. O contexto histórico e musical desta época, bem como os desenvolvimentos técnicos que se verificaram, influenciaram a forma de cantar e introduziram o tenor como papel principal nas óperas, com todos os desafios de cantar na zona de passagem, de domínio da respiração e de respeito pelas diversas formas de expressão musical que os compositores do período do bel canto usavam como veículos de interpretação e expressão dos sentimentos. A escolha destas duas óperas de Donizetti assenta num gosto pessoal e no meu interesse em estudar os contrastes dos personagens Edgardo e Nemorino, que são apresentados nesta dissertação sob o ponto de vista interpretativo, analisando a problemática de cada papel e a forma como o percurso tonal destas obras influencia as performances dos intérpretes; Abstract: STUDY AND ANALYSIS TECHNICAL-INTERPRETATION OF THE LEADING ROLE OF THE TENOR IN THE OPERAS LUCIA DI LAMMERMOOR (EDGARDO) AND L´ELISIR D´AMORE (NEMORINO) OF GAETANO DONIZETTI In this dissertation we analyze the interpretation of the tenor role in the operas Lucia di Lammermoor and L´Elisir d´Amore by Gaetano Donizetti, studying the major factors that influenced the tenor role interpretation and how it developed along the years, by comparing two recordings of these operas recorded 50 years apart from each other. The period of the bel canto is associated with the vocal ornamentation to express emotions which, as a consequence and together with other aspects, required technical changes to the tenor voice, in particular the high register. The historic and musical context of this time, as well as the technical developments that happened then, influenced the way of singing and introduced the tenor as the main role in operas, with all the challenges to sing in the passagio, to master the breathing process and to use all the forms of musical expression that the bel canto composers used as vehicles to interpret and express feelings. The choice of these two operas by Donizetti is based on personal taste and also on the interpretative contrasts between the roles of Edgardo and Nemorino, studied in this dissertation in terms of their interpretation, their problematic and how the harmony of these operas influences the interpretation of the singers.
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Hsiao, Han. "An Analysis of the Representation of Queen Elizabeth I of England in the Operas by Rossini, Donizetti, and Thomas in the Context of Nineteenth-Century Vocal Style and Historical Influence." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707281/.

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The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.
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Tackett, Joshua Lucas. "A master’s vocal recital analyzing the historical and stylistic aspects of works by George Frideric Handel, Wolfgang Amadeus Mozart, Franz Schubert, Vincenzo Bellini, Giuseppe Verdi, Gaetano Donizetti, Reynaldo Hahn, and Michael Head." Kansas State University, 2014. http://hdl.handle.net/2097/18335.

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Master of Music
Department of Music, Theatre, and Dance
Reginald L. Pittman
The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.
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Evans, John Scoville. "Parisina: Literary and Historical Perspectives Across Six Centuries." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4074.

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This thesis explores the relationship between the many literary texts referring to the deaths of Ugo d'Este and Parisina Malatesta, who were executed in Ferrara in 1425 in accordance with an order by Niccolò III d'Este after he discovered their incestuous relationship. The texts are divided in three categories: (1) the fifteenth- and sixteenth-century Italian novellas and their translations; (2) the seventeenth-century Spanish tragedy; and (3) the nineteenth- and twentieth-century Romantic works. Although these categories divide the various texts chronologically, they also represent a thematic grouping as the texts within each category share common themes that set them apart from those in the other groups. While the various texts all tell the same story, each approaches the tragedy slightly differently based largely on the audience for which it was intended. Thus, the time and place of each text greatly affects its telling. Still, the fact that substantial differences exist between texts that were produced in both geographic and temporal proximity suggests that these are not all-determining factors. Although scholarship exists analyzing individual texts, a comprehensive study of the literary accounts relating to the tragedy has never been undertaken. Rather than detracting from the story, the differences put forth in each of the literary texts enrich the global reading experience by offering many perspectives on the tragedy. In addition, these differences influence how the reader reacts to each of the other texts. Familiarity with one version of the story changes the way a reader approaches the others. A parallel reading of the different versions of the story also shows the power culture has on interpretation. Texts referring to a singular event from one time and place sharply contrast with those that are the product of other circumstances.
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Lin, Ya Chien, and 林雅倩. "Gaetano Donizetti《Lucia di Lammermoor》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/21526510243250475806.

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Cheng, Hung-Yi, and 鄭宏毅. "An analysis and interpretation of three baritone arias by Gaetano Donizetti." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/29724441011608469659.

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碩士
臺北市立大學
音樂學系
103
Gaetano Donizetti（1797-1848）was one of the leading composers of the earlier stage of Romantic Period. He devoted himself to opera buffa and opera seria. Donizetti’s composition style was influence by Gioachino Rossini（1792-1868）and Vincenzo Bellini（1801-1835）. The three famous composers planted the seeds that enabled opera to flourish in the latter half of the nineteenth century. The researcher analyzes and investigates the reference to discuss about the aria of baritone in the three famous operas of Donizetti, L’elisir d’amore, Lucia di Lammermoor, and Don Pasquale. The study is divided into three parts. The first part includes the compositional background and the plots of L’elisir d’amore, Lucia di Lammermoor, and Don Pasquale. The second part includes the analysis of the aria of baritone and the interpretation of role in the three operas. The last but not the least, the researcher would apply the result of the study into the performance. The researcher could deeply investigate the aria of baritone through the analysis of the three important operas of Donizetti. With the study, the researcher could approach to the original motivation and the composition style of Gaetano Donizetti.
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Books on the topic "Gaetano Donizetti"

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Anselmo, Francesco Attardi. Don Pasquale di Gaetano Donizetti. Milano: Mursia, 1998.

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Allitt, John. Gaetano Donizetti: Pensiero, musica, opere scelte. Villa di Serio [Bergamo]: Edizioni Villadiseriane, 2003.

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Cassaro, James P. Gaetano Donizetti: A guide to research. New York: Garland Pub., 2000.

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Gaetano Donizetti: Pensiero, musica, opere scelte. Villa di Serio (Bergamo): Edizioni Villadiseriane, 2003.

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Gaetano Donizetti: A research and information guide. 2nd ed. New York: Routledge, 2009.

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Anna Bolena and the artistic maturity of Gaetano Donizetti. Oxford: Clarendon Press, 1985.

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Osborne, Charles. The bel canto operas of Rossini, Donizetti, and Bellini. Portland, Or: Amadeus Press, 1994.

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Osborne, Charles. The bel canto operas of Rossini, Donizetti, and Bellini. Portland, Or: Amadeus Press, 1996.

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International, Conference on the Operas of Gaetano Donizetti (1992 Bergamo Italy). L' opera teatrale di Gaetano Donizetti: Atti del Convegno internazionale di studio, Bergamo, 17-20 settembre 1992 = Proceedings of the International Conference on the Operas of Gaetano Donizetti : Bergamo, 17-20 settembre 1992. [Bergamo]: Comune di Bergamo, Assessorato allo spettacolo, 1993.

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Nicoletti, Odette. Costumi di Odette Nicoletti per Le convenienze e le inconvenienze teatrali di Gaetano Donizetti, messo in scena dal Teatro di San Carlo nel secondo centenario della nascita di Gaetano Donizetti, dialoghi recitati e regia di Roberto De Simone. Napoli: G. Macchiaroli, 1997.

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Book chapters on the topic "Gaetano Donizetti"

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Miller, Norbert. "Donizetti, (Domenico) Gaetano (Maria)." In Komponisten, 78–83. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_15.

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Miller, Norbert. "Donizetti, (Domenico) Gaetano (Maria)." In Komponisten Lexikon, 159–63. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_80.

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Miller, Norbert. "Donizetti (Domenico) Gaetano (Maria)." In Metzler Komponisten Lexikon, 210–15. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_85.

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Meißner, Thomas. "Gaetano Donizetti: Ein Neurolues-Fall fürs Lehrbuch." In Der prominente Patient, 47–49. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57731-8_11.

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Ożarowska, Aleksandra. "Women in Power and in Love: 19th-Century Portraits of British Queens in Gaetano Donizetti’s Operas." In From Queen Anne to Queen Victoria. Readings in 18th and 19th century British literature and culture. Warsaw University Press, 2018. http://dx.doi.org/10.31338/uw.9788323536123.pp.251-264.

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