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Journal articles on the topic 'Gaetano Donizetti'

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Published: 4 June 2021
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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Graeme, R. "Maria Stuarda. Gaetano Donizetti." Opera Quarterly 18, no. 2 (April 1, 2002): 275–80. http://dx.doi.org/10.1093/oq/18.2.275.

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12

Graeme, R. "La favorite. Gaetano Donizetti." Opera Quarterly 18, no. 3 (July 1, 2002): 424–28. http://dx.doi.org/10.1093/oq/18.3.424.

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13

Ashbrook, W. "Anna Bolena. Gaetano Donizetti." Opera Quarterly 18, no. 4 (October 1, 2002): 635–36. http://dx.doi.org/10.1093/oq/18.4.635.

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14

Ashbrook, William. "La Favorite. Gaetano Donizetti." Opera Quarterly 3, no. 1 (1985): 147–49. http://dx.doi.org/10.1093/oq/3.1.147.

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15

Wakeling, Dennis W. s. "L'elisir d'amore. Gaetano Donizetti." Opera Quarterly 4, no. 1 (1986): 175–76. http://dx.doi.org/10.1093/oq/4.1.175.

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16

Eckert, Thor. "L'eisir d'amore. Gaetano Donizetti." Opera Quarterly 5, no. 4 (1987): 110–11. http://dx.doi.org/10.1093/oq/5.4.110.

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17

Harris, Kenn. "Don Pasquale. Gaetano Donizetti." Opera Quarterly 6, no. 2 (1988): 152–54. http://dx.doi.org/10.1093/oq/6.2.152.

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18

Pines, Roger. "Don Pasquak. Gaetano Donizetti." Opera Quarterly 6, no. 3 (1989): 141–43. http://dx.doi.org/10.1093/oq/6.3.141.

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19

Ashbrook, William. "Torquato Tasso. Gaetano Donizetti." Opera Quarterly 7, no. 1 (1990): 209–11. http://dx.doi.org/10.1093/oq/7.1.209.

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20

Baxter, R. "Lucia di Lammermoor. Gaetano Donizetti." Opera Quarterly 21, no. 4 (January 1, 2005): 770–72. http://dx.doi.org/10.1093/oq/kbi067.

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21

Fabiano, Andrea. "Gilles De Van, Gaetano Donizetti." Italies, no. 13 (December 1, 2009): 535–37. http://dx.doi.org/10.4000/italies.4182.

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22

Ashbrook, W. "Lucie de Lammermoor. Gaetano Donizetti." Opera Quarterly 15, no. 2 (January 1, 1999): 339–40. http://dx.doi.org/10.1093/oq/15.2.339.

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23

MCKEE, D. "Lucia di Lammermoor. Gaetano Donizetti." Opera Quarterly 16, no. 1 (January 1, 2000): 133–36. http://dx.doi.org/10.1093/oq/16.1.133.

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24

Rishoi, N. "Lucia di Lammermoor. Gaetano Donizetti." Opera Quarterly 16, no. 3 (January 1, 2000): 484–87. http://dx.doi.org/10.1093/oq/16.3.484.

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25

Schreiber, Andrew L. "Lucia di Lammermoor. Gaetano Donizetti." Opera Quarterly 3, no. 2 (1985): 137–39. http://dx.doi.org/10.1093/oq/3.2.137.

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26

Parker, Roger. "Sancia di Castiglia. Gaetano Donizetti." Opera Quarterly 5, no. 1 (1987): 145–47. http://dx.doi.org/10.1093/oq/5.1.145.

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27

Jellinek, George. "Gemma di Vergy. Gaetano Donizetti." Opera Quarterly 6, no. 1 (1988): 137–38. http://dx.doi.org/10.1093/oq/6.1.137.

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28

Ashbrook, William. "Emilia di Liverpool. Gaetano Donizetti." Opera Quarterly 6, no. 2 (1988): 137–38. http://dx.doi.org/10.1093/oq/6.2.137.

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29

Wakeling, Dennis W. "Marin(o) Faliero. Gaetano Donizetti." Opera Quarterly 6, no. 4 (1989): 121–25. http://dx.doi.org/10.1093/oq/6.4.121.

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30

Graeme, Roland. "Lassedio di Calais. Gaetano Donizetti." Opera Quarterly 7, no. 4 (1990): 189–91. http://dx.doi.org/10.1093/oq/7.4.189.

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31

Jellinek, George. "Ugo, Conte di Parigi. Gaetano Donizetti." Opera Quarterly 8, no. 2 (1991): 181–83. http://dx.doi.org/10.1093/oq/8.2.181.

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32

Ashbrook, William. "I pazzi per progetto. Gaetano Donizetti." Opera Quarterly 8, no. 4 (1991): 157–59. http://dx.doi.org/10.1093/oq/8.4.157.

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33

Ashbrook, William. "Emilia di Liverpool(1824). Gaetano Donizetti." Opera Quarterly 9, no. 2 (1992): 154–55. http://dx.doi.org/10.1093/oq/9.2.154.

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34

Gomar Calatayud, Marc. "La Lucrècia Borja de ficció en el drama d’Hugo i els seus derivats." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 6, no. 6 (December 29, 2015): 100. http://dx.doi.org/10.7203/scripta.6.7825.

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Resum: El drama Lucrèce Borgia de Victor Hugo confereix al personatge històric una sèrie d’atributs en sintonia amb el gust sensacionalista de l’època: en ser dona, poderosa, bella i formada. Lucrècia Borja és el millor exemple d’allò que Kristeva anomena «l’abjecte» en les Pouvoirs de l’horreur (1980). Una imatge de femme fatale lligada al verí o l’incest que es popularitzarà gràcies a les nombroses obres derivades del drama: de l’òpera de Donizetti als romanços populars de manera que les característiques del personatge de ficció s’imposaran a l’històric en l’imaginari col·lectiu. Lucrècia Borja, que fins aleshores havia estat considerada un instrument al servei de les polítiques familiars, entrarà a formar part per «mèrits» propis del triangle del mal junt amb l germà, Cèsar Borja, i son pare, el papa Alexandre VI. Paraules clau: Lucrècia Borja, Victor Hugo, Gaetano Donizetti, llegenda negra, literatura de cordell, paròdia, segle XIX, Francesc Godó, abjecte Abstract: The Victor Hugo’s drama Lucrezia Borgia gives to the historical character some attributes in line with the sensationalist preferences of that time: being a female, powerful, beautiful and educated. Lucrezia Borgia is the best example of what Kristeva names «the abject» in Pouvoirs de l’horreur (1980). The character is a femme fatale image linked to poison or incest and it was popularized thanks to the many works resulting from this drama. So that, the features of the fictional character prevailed to the real historical character in the popular beliefs, this happened in Donizetti's opera, but also in the chapbooks of that time. Lucrezia Borgia had previously been considered an instrument in the service for family policies, but she became part of an evil triangle, thanks to her own attitude, along with her brother, Cesare Borgia, and her father, the pope Alexander VI. Keywords: Lucrezia Borgia, Victor Hugo, Gaetano Donizetti, black legend, chapbook, parody, nineteenth century, Francesc Xavier Godó, abject
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35

Ashbrook, W. "La romanziera e l'uomo nero. Gaetano Donizetti." Opera Quarterly 18, no. 2 (April 1, 2002): 273–74. http://dx.doi.org/10.1093/oq/18.2.273.

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36

Simionescu, Cristina. "Arias, Recitatives, Duets and Vocal Ensembles in The Opera Don Pasquale by Gaetano Donizetti." Review of Artistic Education 17, no. 1 (March 1, 2019): 77–99. http://dx.doi.org/10.2478/rae-2019-0009.

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Abstract A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.
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37

Downes, Edward, and Philip Gossett. "Anna Bolena and the Artistic Maturity of Gaetano Donizetti." Notes 42, no. 3 (March 1986): 532. http://dx.doi.org/10.2307/897332.

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38

Duval-Wirth, Geneviève, Philip Gossett, and Genevieve Duval-Wirth. "Anna Bolena and the Artistic Maturity of Gaetano Donizetti." Revue de musicologie 74, no. 1 (1988): 117. http://dx.doi.org/10.2307/928181.

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39

Kreuzer, G. "Gaetano Donizetti -- Moment und Prozess: Studien zur musikalischen Dramaturgie." Music and Letters 88, no. 1 (October 25, 2006): 169–71. http://dx.doi.org/10.1093/ml/gcl055.

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40

Parker, Roger. ""Anna Bolena" and the Artistic Maturity of Gaetano Donizetti . Philip Gossett ." Journal of the American Musicological Society 41, no. 2 (July 1988): 368–75. http://dx.doi.org/10.1525/jams.1988.41.2.03a00070.

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41

Anfi, lovaS G. "In the shade of “beautiful style”: talking about the chamber vocal music pieces by G. Donizetti." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 99–118. http://dx.doi.org/10.34064/khnum2-15.05.

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Background. In 2018, the 170th anniversary of the death of Gaetano Donizetti (1797–1848) was commemorated. G. Donizetti created 74 operas of various genres and themes. He was the head of the Italian opera school in the second half of the 1830s, picking up the baton from G. Rossini and V. Bellini and anticipating G. Verdi’s searching. Having an apparent melodic gift, excellent skills of composing, knowledge of musical theatre, he created his works extremely quickly and easily – up to 3–4 operas per year, which caused repeated critical attacks. Opera works by G. Donizetti got a hard futurity. This music laid hold of audience in the 1830s–40s, but practically got out of the repertoire by the end of the 19th century, giving way to the masterpieces by G. Verdi and R. Wagner. Its revival began in the 50s of the 20th century, thanks to remarkable interpretations of great performers, in particular Maria Callas, Joan Alston Sutherland, Montserrat Caballé (since 1965), and others. A new success of opera masterpieces arose due to the fact that performing concepts restored the original author’s conception. Among the researchers and listeners, G. Donizetti’s operatic works eclipsed other spheres of his creativity, such as instrumental and chamber vocal music. But at the same time, G. Donizetti lived in the times of the widespread distribution of the romance, and the rapid growth of its popularity in the amateur and professional performing environment. He was an outstanding expert of vocal music and could not ignore this genre. Naturally there is a need for a more attentive approach to such a little-studied topic, as the composer’s chamber vocal music. Objectives. Gaetano Donizetti’s chamber-vocal creativity is the object of this study. The subject is the song cycle “Summer Nights in Posillipo” (“Nuits d’été à Pausilippe”) in terms of individual composer style. The objectives of offered article are not so much fi ll existing gaps on this issue, as taking a closer look at the romance genre, which is eclipsed by the composer’s opera compositions. The author of this work uses classical methods of analysis of historical and theoretical musicology. Results. Studies on the composer style of G. Donizetti in the Russian and Ukrainian languages are very limited in both quantitative and thematic terms. Most sources, including in other languages, consider opera works by the composer. The exact number of Donizetti’s romances is still unknown (from 250 to 270). The song cycle “Nuits d’été à Pausilippe” / “Summer Nights in Posillipo” (1836), consisting of 12 songs, is also not considered in the scientifi c literature. Typical for the fi rst third of the 19th century is the chronotope of this cycle, in which the poetics of the geographical toponym and the symbolism of the night are combined. Posillipo is a distinctive place in the northern part of the Gulf of Naples, with its unusually picturesque landscape and artifacts of ancient culture. The name of the song collection by G. Donizetti corresponds to the popular literature formula of the 1830s – “Florentine Nights” (1833) by H. Heine, “Egyptian Nights” (1835) by A. S. Pushkin, and others, in which the genre of the “night” novelistic cycle embodied. The musical implementations are “Night Pieces” op. 23 (1839) by R. Schumann, song cycle “Summer Nights” op. 7 (1841) by G. Berlioz, which were created in the period of composition writing (1836) by G. Donizetti. The novella-like character of “Summer Nights in Posillipo” is represented by incompleteness of lyric utterance, free alternation of fragments within the boundaries of a given topic, the variability of timbre solutions, varied choice of authors of poetic texts. Six solo numbers (Nos. 1–6) are supplemented by six duets for various timbre sets (Nos. 7–12, for 2 sopranos, soprano and mezzo-soprano, soprano and tenor, tenor and bass). The poems by four poets of Romanticism are involved: Leopoldo Tarantini (Nos. 1, 8, 10, 12), Carlo Guaita (No. 2), Michele Palazzolo (Nos. 7, 11), Francesco Puoti (No. 9), Victor Hugo (No. 6). Also the poems of the anonymous poet (No. 3) and the folklore text (No. 5) are used here. The cycle is “multilingual”, the Italian language coexists with the Neapolitan and French. The love theme prevails. We can talk about creation of a poetic-collective image entitled Homo amore. Solo songs (Nos. 1–6) form conditional self-contained cycle, which is distinguished by genre diversity. This is evidenced by both the designations of the composer himself (Barcarolle – No. 1, Romance – No. 2, Arietta – No. 3, Ballade – No. 4, Neapolitan song – No. 5), and signs of other genres (opera monologue – No. 1, Chivalric romance – No. 2, Serenade – No. 3, Alba – No. 6). The second little cycle is formed by the duets Nos. 7–12. The composer designates Nos. 7–11 as nocturne, while Nos. 12 as brindisi, or drinking song. G. Donizetti’s nocturnes are glad and lyrical, motile, virtuosic, theatrically spectacular. Life and earthly pleasures are glorifi ed in sounding. The atmosphere of a brilliant ball evening is felt here. The unifying factor in duets are the principles of the texture organization of vocal parts. The fi rst one is associated with the interaction of voices-parts with each other according to the principle of anti-phoning singing (Nos. 7, 9, 11). The second principle is associated with the simultaneous sounding of two voices (Nos. 8, 10, 12). The role of intonation relatedness at the songs is signifi cant. The thematism of twelve songs can be divided by the type of melodic core. As a result, there are three groups: I – themes Nos. 1, 2, 5, 8, 10; II – Nos. 3, 6; III – duets Nos. 7, 9. Conclusions. The applying of the “intonation vocabulary” of the epoch is refl ected in numerous allusions between the melodies of the romances by G. Donizetti and the works of his contemporaries (M. Glinka, F. Schubert) and successors (R. Hahn). The biggest interest is the composer work with the form. Acting within the framework of the repeatability (melodic and structural) and stanza form, G. Donizetti seeks to overcome this necessity in every possible way by various means. The structure of his romances “lives”, naturally unfolds in time, obeying the laws of vocal music. The results of “Summer Nights in Posillipo” analysis allow us to conclude about the originality of G. Donizetti’s creative decisions in the genre of romance.
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42

Glasow, E. T. "Gaetano Donizetti: "Don Pasquale," Dramma buffo in tre atti di Giovanni Ruffini." Opera Quarterly 18, no. 3 (July 1, 2002): 447–48. http://dx.doi.org/10.1093/oq/18.3.447.

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43

Holland, John. "Medea in Corinto by Giovanni Simone Mayr, and: Marino Faliero by Gaetano Donizetti." Notes 70, no. 1 (2013): 160–61. http://dx.doi.org/10.1353/not.2013.0132.

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44

Parker, Roger. "Review: Anna Bolena and the Artistic Maturity of Gaetano Donizetti by Philip Gossett." Journal of the American Musicological Society 41, no. 2 (1988): 368–75. http://dx.doi.org/10.2307/831439.

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45

Hepokoski, James A. "In the Beginning: Anna Bolena and the Artistic Maturity of Gaetano Donizetti . Philip Gossett." 19th-Century Music 12, no. 1 (July 1988): 74–80. http://dx.doi.org/10.1525/ncm.1988.12.1.02a00060.

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46

Ashbrook, William. "Early Romantic Opera: Bellini, Rossini, Meyerbeer, Donizetti, & Grand Opera in Paris . Vincenzo Bellini , Gioacchino Rossini , Giacomo Meyerbeer , Gaetano Donizetti , Philip Gossett , Charles Rosen ." Journal of the American Musicological Society 38, no. 3 (October 1985): 622–28. http://dx.doi.org/10.1525/jams.1985.38.3.03a00070.

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47

Bartolomeo, Paolo, and Jean-Pierre Luauté. "Quand une paralysie générale débutante était considérée comme un facteur de créativité. L’exemple de Gaetano Donizetti." Annales Médico-psychologiques, revue psychiatrique 177, no. 2 (February 2019): 173–77. http://dx.doi.org/10.1016/j.amp.2018.12.005.

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48

Ashbrook, William. "Review: Early Romantic Opera: Bellini, Rossini, Meyerbeer, Donizetti, & Grand Opera in Paris by Vincenzo Bellini, Gioacchino Rossini, Giacomo Meyerbeer, Gaetano Donizetti, Philip Gossett, Charles Rosen." Journal of the American Musicological Society 38, no. 3 (1985): 622–28. http://dx.doi.org/10.2307/831481.

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49

Rollet, Stella. "Les multiples enjeux de la critique musicale : l'accueil de l'?uvre de Gaetano Donizetti en France (années 1830-1850)." Le Temps des médias 22, no. 1 (2014): 35. http://dx.doi.org/10.3917/tdm.022.0035.

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50

Mordey, Delphine. "Gaetano Donizetti, La Favorite - Kate Aldrich mezzo, Yijie Shi ten, Ludovic Tézier bar, Giovani Furlanetto bass, Marie-Bénédicte Souquet sop, Alain Gabriel ten Orchestre national du Capitole de Toulouse, Antonello Allemandi, cond Vincent Boussard, stage director Opus Arte (1 DVD: 184 Minutes)." Nineteenth-Century Music Review 15, no. 2 (April 4, 2018): 301–3. http://dx.doi.org/10.1017/s1479409817000830.

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