Giovanni Paisiello

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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.
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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 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.
Asi, reencontre al Alcaraz director de opera: Romeo y Julieta de Charles Gounod, El gato con botas de Xavier de Montsaltvage, Don Quijote de Giovanni Paisiello, Sol de mi antojo, de su autoria.
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.
Italy is represented by Giovanni Paisiello, and one of his engaging keyboard concerti arranged for harp.
In addition to his society verse and his satires, he wrote comic opera librettos to the music of Antonio Salieri and Giovanni Paisiello.
The great opera composer Giovanni Paisiello (1740-1816), for example, is mentioned as an ardent follower of the teachings of Durante; Fenaroli, whose students included Domenico Cimarosa (1749-1801) and Saverio Mercadante (1795-1870), was also from the Durante lineage.
Francesco Barberio, Giovanni Paisiello tra le ire di un copista e di un innovatore, Rivista Musicale Italiana, 22 (1915) pp.
In Bohemian lands in the early nineteenth century, it seems to have been common practice to borrow music from an opera or other stage work and set it to a new text for performance in parish churches, and Freemanova has identified such borrowings from a wide range of composers, including Wolfgang Amadeus Mozart, Giovanni Paisiello, Gioacchino Rossini, and Carl Maria von Weber.
Rossini also benefited from the experience of librettist Gaetano Rossi in this collaboration, as well as from the musical style of Giovanni Paisiello and Giovanni Simone Mayr, whose style he studied and parodied here.