Domenico Cimarosa

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 It might be outdated or ideologically biased.

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).


Shen, D. Domeniko Chimaroza i ego opera “Tainyi brak.” Leningrad, 1939.
Tibaldi Chiesa, M. Cimarosa e il suo tempo. Milan, 1939.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Terzetto / Del Bailo secondo, esequito nel Regio Teatro della Pergola / Dai Sig.n Gaetano, e Ferdinando Giora, e della Sig.ra Antonia Tarapattoni / L'autunno de l'anno 1798: In Firenze / Musica del Domenico Cimarosa / Ridotto per Clavecimbalo, o Piano forte / Con Violino Obbligato / Dali Ill:mo Marchese Silvio Zurla / Della Sig:ra Margherita Lapi.
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.
Mozart, Richard Strauss and Domenico Cimarosa next Feb.
And if one is wondering why Hummel omitted Mozart's overtures to Don Giovanni and La clemenza di Tito from the present set of twelve overtures while including those to Le nozze di Figaro and Die Zauberflote, it was probably because he wanted to save them for his second set of twelve overtures, which similarly mixes the familiar with the now unfamiliar, with overtures by Beethoven (Fidelio), Francois Adrien Boieldieu (Le calife de Bagdad), Luigi Cherubini (Les deux journees), Domenico Cimarosa (Il matrimonio segreto), Friedrich Heinrich Himmel (Fanchon), Gioacchino Rossini (Il barbiere di Siviglia, La gazza ladra, and L'italiana in Algeri), Johann Christoph Vogel (Demophon), and Peter Winter (Das unterbrochene Opferfest).
Though Piccinni had dominated the 1778-80 run of Italian operas at the Academie royale de musique, Giovanni Paisiello and Domenico Cimarosa were preferred at the Theatre de Monsieur.
Folge, includes sixteen such pieces written for operas composed by Pasquale Anfossi (3), Domenico Cimarosa (3), Francesco Bianch i (2), Florian Leopold Gassmann (2?), Giuseppe Gazzaniga, Pietro Alessandro Guglielmi, Giovanni Paisiello, Antonio Salieri, Giuseppe Sarti, and Tommaso Traetta.
Radomski rightly places emphasis on Garcia's ability to improvise, and he gives a fascinating description of a lesson with the French tenor Adolphe Nourrit: when Nourrit rehearsed the aria Pria che spunti in ciel aurora" from Domenico Cimarosa's II matrimonio segreto, Garcia expected him to be able to improvise at least ten different cadenzas on the spot.
The opera excerpts in the third volume intermix the well-known (Vincenzo Bellini, Domenico Cimarosa, Gaetano Donizetti, Saverio Mercadante, Ferdinando Paer, Giovanni Paisiello, Gioachino Rossini, Giuseppe Verdi) with the lesser-known (Carlo Coccia, Fr.
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.