Domenico Cimarosa


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Cimarosa, Domenico

 

Born Dec. 17, 1749, in Aversa, near Naples; died Jan. 11, 1801, in Venice. Italian composer; a leading representative of the opera buffa.

The son of a stonemason, Cimarosa was orphaned at an early age. He studied at the conservatory of Santa Maria di Loreto in Naples. From 1787 to 1791 he was court composer at St. Petersburg, where his operas Le vergine del sole and Cleopatra and his ballet La felicità inaspettata were staged. Cimarosa became Kapellmeister in Vienna in 1792 and maestro di capella in Naples in 1793. In 1799 he took part in an uprising of Neapolitan patriots and wrote the anthem of the Parthenopean Republic. Among his numerous opere buffe, II matrimonio segreto (1792) is universally renowned. Cimarosa also composed opere serie, including Gli orazi e curiazi (1796).

REFERENCES

Shen, D. Domeniko Chimaroza i ego opera “Tainyi brak.” Leningrad, 1939.
Tibaldi Chiesa, M. Cimarosa e il suo tempo. Milan, 1939.
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References in periodicals archive ?
re Domenico Cimarosa / Ridotto per Clavecimbalo, o Piano forte / Con Violino Obbligato / Dali Ill:mo Sig.
Sinfonia / Negli Orazi, e Curiazi / Del Sig:re Domenico Cimarosa / Ridotta p Cimbalo, o Pian Forte / ad' uso / Della Sig:ra Margherita Lapi / F:1 / L-10
Sinfonia / Del Sig:re Domenico Cimarosa / Nell' Opera intitolata il Matrimonio Segreto / Ridotta p Cimbalo d Pian Forte / ad' uso / Della Sig:ra Margherita Lapi / F: 1 1/4 / L 1.
L'imprudente Fortunato / Musica / Del Sig:re Domenico Cimarosa / Parte Pma / In Noma presso Gaetano Rosati.
Udite tutti, udite / Aria Buff a / Del Sig:e Domenico Cimarosa / ad uso / di me Giuseppe Lapi / Nel Matrimonio Segreto F:e 10.
Aria / Del Sigre Maestro Domenico Cimarosa / Chi ben m'operua al faglio / ad' uso /Di me Gius:e Lapi /Fogli 5 1/4 /L 2.
Io Quand Eroun Fraschettone / Aria / Del Sig:re Domenico Cimarosa / ad uso di me Giuseppe Lapi/Fogli 7.
Se Fiato in Corpo avete / Duo / Del Sige Domenico Cimarosa / ad uso di me Giuseppe Lapi / Fo 14/4 / L 7.
One article gives brief biographies and portraits of some of Mozart's contemporaries, such as Christoph Willibald Gluck, Johann Christian Bach, and Domenico Cimarosa (as well as Joseph Haydn and Ludwig van Beethoven).
The 1817 inventory taken after reopening of the school in 1798 attests the arrival of vocal music by Domenico Cimarosa, Vicente Martin y Soler, Mozart, Giovanni Paisiello, and Giuseppe Sarti.
I look forward to the second volume, and I hope that the enterprise will inspire other scholars to provide us with similar works for other Italian composers from the period, such as Domenico Cimarosa, Niccolo Piccinni, Antonio Sacchini, and Giuseppe Sarti.