Giovanni Paisiello

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 It might be outdated or ideologically biased.

Paisiello, Giovanni


(Giovanni Paesiello). Born May 9, 1740, in Taranto; died June 5,1816, in Naples. Italian composer; representative of the Neapolitan school of opera.

Paisiello made his debut as a composer in Bologna with the opera Il ciarlone (1764). From 1776 to 1783 he lived in Russia, where he served as Kapellmeister at court and as supervisor of the Italian Opera in St. Petersburg. He composed and staged a number of operas in the Russian capital, including La serva padrona (1781) and The Barber of Seville (1782). From 1784 to 1802 and from 1803 to 1815 he was court composer in Naples. He held a similar position in Paris from 1802 to 1803. A master of opera buffa, he created more than 100 operas, including La molinara (1788) and Nina, o sia la pazza per amore (1789). Typical of his operas are swift development of the action, lively ensemble pieces, and a wealth of comic devices (tongue twisters, parody, and voice exchange). Paisiello also wrote 12 symphonies, as well as sacred instrumental chamber music.


Keldysh, Iu. Russkaia muzyka XVIII veka. Moscow, 1965.
Mooser, R.-A. Annales de la musique et des musiciens en Russie au 18 siècle, vols. 1–3. Geneva, 1948–51.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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During the 1781-82 season at the Smock Alley Theatre in Dublin Richard Daly's company gave their first performance of Giovanni Paisiello's comic opera L'innocente fortunata.
The orchestra, under the baton of Alkis Baltas and together with the soloists Michalis Kouloumis on the violin and soprano Elli Koutsouli, will perform Antonio Vivaldi's Sinfonia al Santo Sepolcro, Depart in Peace for solo soprano, solo violin, tampura and strings by John Tavener, Giovanni Paisiello's Sinfonia Funebre, as well as four ballads -- A Day in May, Weeping Eyes, My Mother Is Weeping at the Tomb and Sorrow Has No Words -- by Mikis Theodorakis, arranged by Baltas.
The choice of work to illustrate these particular ideas falls to the tragedia per musica Elfrida by the great operatic reformist Ranieri Calzabigi with music by Giovanni Paisiello. The fruits of Calzabigi's long and distinguished collaboration with Gluck had made a profound impression on Naples and their regular staging at the San Carlo reflects the court's willingness to embrace and encourage reform.
Upon arriving in Vienna, Calvesi sang Sandrino in Giovanni Paisiello's Teodoro in Venezia.
Tracing opera's arrival in England and the secularization of Handel's music via the parlor song, Hoeveler focuses her analysis largely upon works for the musical stage that adapted the King Lear motif such as Giovanni Paisiello's Nina (1789), Fernando Paer's Agnese de Fitzhenry (1809), and Francois de Neaufchateau's Pamela (1793).
Giovanni Paisiello's II barbiere di Siviglia (1782) was not the first opera based on Beaumarchais's comedy, but it became its most revered adaptation of the eighteenth century.
The first chapter examines adaptations of Shakespeare's Lear, operas by Giovanni Paisiello and Fernando Paer, and Amelia Opie's novella The Father and Daughter to argue that in such works the literature of sentiment ambivalently shifts the notion of human flourishing from the holy to the bourgeois family and from religious belief to human virtue, especially that of the dutiful, virginal daughter, who through her activity props up an otherwise tottering paternal authority.
Attraverso i titoli che vanno da "L'eredita di Giambattista Vico" o "Il Socrate immaginario dell'abate Galiani"--opera buffa con musica di Giovanni Paisiello e libretto di Giovanni Battista Lorenzi--o ancora da "La riflessione illuministica del Galanti sul romanzo e l'idea di natura edi classico" ad altri come "I giudizi di Carlo Tenca sul Manzoni" o "I giudizi manzoniani di Eugenio Camerini," passando per "L'ambiguita dei saggi estetici di Francesco Mario Pagano" o gli "Inediti poetici del Monti e il Fondo Grossi," la studiosa napoletana indaga sull'eredita critico-letteraria, lasciata dall'opera di Giambattista Vico, nel secondo Settecento a Napoli e nel primo Ottocento a Milano e a Torino.
Instead, let us begin with the death in 1816 of Giovanni Paisiello, the celebrated composer of Nina, ossia la pazza per l'amore (1789), an opera famous for its virtuous, weeping heroine driven mad by the loss of her lover.
In January, she appeared in Brussels in Vivaldi's Tito Manlio with l'Accademia Bizantina and Ottavio Dantone, and she also appeared with them in Giovanni Paisiello's Annibale in Torino in the spring.
It was a failure at its premiere in Rome in 1816, as the house was packed with hooting fans of competitor Giovanni Paisiello, who had written his own opera on the same subject 36 years before.