Arrigo Boito


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Boito, Arrigo

 

Born Feb. 24, 1842, in Padua; died June 10, 1918, in Milan. Italian composer, poet, and librettist. Received his doctorate from the University of Cambridge in 1893.

Boito studied at the Milan Conservatory under A. Mazzucato. In the 1860’s he lived in Germany, France, and Poland; thereafter he lived in Italy. His operatic works were influenced by R. Wagner; Boito sought to transfer the principles of Wagner’s musical drama to Italian opera. This can be seen in his first opera, Mephistopheles (Boito’s libretto after the first and second parts of Goethe’s Faust, 1868; revised, 1875). The popularity of this opera was fostered by F. I. Chaliapin, who played the role of Mephistopheles in Milan (1901) and Russia. Boito’s second opera was Nero (unfinished; produced according to A. Toscanini’s revision, 1924, La Scala Theater).

Boito wrote several short stories and poems (the collection Book of Verses and others) under the pseudonym of Tobia Gorrio. He wrote librettos for such operas as Otello, Simon Boccanegra, and Falstaff by Verdi and La Gioconda by Ponchielli. He translated into Italian the librettos of Glinka’s opera Ruslan and Liudmila and Wagner’s operas Tristan and Isolde and Rienzi, as well as the words to A. G. Rubinstein’s art songs and other works.

REFERENCES

Engel’, Iu. V opere: Sb. statei ob operakh i baletakh. Moscow, 1911.
Pompeati, A.Arrigo Boito. Florence, [1919].
Vajro, M. A. Boito. Brescia, 1955.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
These times, however, the libretti were in the hands of a real poet and musician, Arrigo Boito. As he was writing the libretto for Otello and later on for Falstaff, Boito was also working on another intellectually very challenging opera, Nerone, for which he wrote both text and music.
Hans Joachim Kreutzer's Faust: Mythos und Musikis, by contrast, a relatively slender compilation of eight distinct chapters that proceed from the Faust Book of 1587 to musical compositions by Louis Spohr, Robert Schumann, and Hector Berlioz, via Charles Gounod and Arrigo Boito, right down to Alfred Schnittke.
To the biographer, these articles seemed to be goldmines, filled with hitherto unknown adventures of Debussy's travels and recording detailed conversations between Debussy and a wearily matter-of-fact Leoncavallo, an unusually garrulous Brahms, an accommodating Arrigo Boito, and a rustic, sunny-tempered Verdi.
His librettist and old friend Arrigo Boito wrote that `we were all brightened by the sunshine of that Olympian old age.'
Veronica Villarroel is replacing Maria Guleghina in the Metropolitan Opera's new production of Arrigo Boito's Mefistofele, which opens in New York in November.
Mozart's Die Zauberflote (1791; The Magic Flute ); Arrigo Boito, who wrote his own operas and collaborated with other composers to write the text for theirs; and W.S.
And with opera, as Arrigo Boito, the librettist of both Verdi's Otello and his Falstaff demonstrated, it is occasionally possible--although I personally cannot think of another occasion--to distill the spirit of Shakespeare into another elixir that combines with music to attain its own validity.
(11.) Secondo Bragantini (2007) la scelta di Cari Maria von Weber, all'epoca molto piu conosciuto in Francia che in Italia, e determinata dalla frequentazione assidua dell'ambiente parigino, che Gualdo inizia negli anni giovanili, e dall'amicizia con un intenditore di musica quale Arrigo Boito. Si noti che in un racconto di Fogazzaro, Un'idea di Ermes Torranza (1882), simile nella trama per la presenza di una musica fantasmatica, l'opera in questione ricorda da vicino, afferma il narratore, la Derniere pensee musicale di Weber.
Della Seta discusses the composer's misgivings and musical reconsiderations as voiced in letters to Giulio Ricordi and Arrigo Boito, and then reproduces excerpts from the published research of the musicologists Andrea Della Corte, Massimo Mila, Pierluigi Petrobelli, Julian Budden, Carl Dahlhaus, Harold Powers, and Lorenzo Bianconi.