Alessandro Stradella

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Stradella, Alessandro

(älĕs-sän`drō strädĕl`lä), 1642?–1682, Italian composer of operas, cantatas, oratorios, and instrumental music. Few facts but many legends exist concerning his life; he is said to have been assassinated at the behest of a Venetian nobleman with whose mistress Stradella had eloped. His life is the subject of several operas, one by Friedrich von Flotow (1844). Stradella's music is generally lighthearted and melodious. He helped to develop the structural form and expressive power of the aria and to increase the use of contrapuntal techniques in opera. Handel was influenced by his oratorios and even borrowed some of his musical ideas.

Stradella, Alessandro


Born Oct. 1, 1644, in Rome; died Feb. 25 (according to other sources, Feb. 28 or Mar. 1), 1682, in Genoa. Italian composer and singer.

Stradella contributed to the development of the oratorio and the cantata and produced works in various other genres, including opera. He was murdered at the instigation of the Lomellini family, in whose household he gave lessons. Precise information on his life has long been lacking. A legendary aura has surrounded Stradella because of the supposedly miraculous power of his music and the attempts made on his life out of jealousy and revenge. This dramatic story was the theme of Flotow’s opera Alessandro Stradella (1844).


Giazotto, R. Vita di A. Stradella, vols. 1–2. Milan, 1962.
References in periodicals archive ?
Highlights include popular playwright John Godber 'in conversation', a visit from America's Ouachita Jazz Band, Hope Professor of musical performance Joanna MacGregor performing Beethoven piano sonatas, and a groundbreaking revival of the work of Italian composer Alessandro Stradella.
He has decided to sing the operatic aria Pieta, Signore or O Lord, Have Mercy by Alessandro Stradella.
El occiso respondia al nombre de Alessandro Stradella, quien ya habia sorteado varios intentos de asesinato.
Alessandro Stradella (1639-1682) is one of the few Italian composers between the time of Palestrina and Rossini who was never forgotten, though for a reason that would hardly have pleased him: he was murdered.
The double choir structure can be found in many of the concertos and sinfonias of Alessandro Stradella (1642 [recte, 1639]-1682), who was probably a strong influence on the young Corelli.
In any case, McClary tackles an impressive variety of music, from an aria by Alessandro Stradella to a Bessie Smith blues song, and from a late Beethoven quartet to a rap by Public Enemy, and she has many interesting and insightful things to say.