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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El Stabat Mater es la obra mas popular de Pergolesi, siendo una de las mas editadas, impresas y grabadas de todo el repertorio del siglo XVIII, con innumerables versiones, arreglos y adaptaciones que han contribuido a mantener vigente esta obra memorable; Johann Sebastian Bach, por ejemplo, la uso como base de su Salmo Tilge, Hochsterm meine Suden BWV 1083, y lo mismo harian, consecuentemente, Johann Adam Hiller, Paisiello, Salieri.
Other ownership notes by Mrs Viani Cesena are found in music manuscripts by Giovanni Paisiello, Vincenzo Federici, Giuseppe Farinelli, and Johann Simon Mayr.
139 (<<Tiene un bazzaro molto accorsato ove si vendono tutte le sorti di merci>>) e 1816, Onori funebri renduti alla memoria di Giovanni Paisiello.
The Sinfonia Funebre by Paisiello is, as the title suggests, a funereal symphony, while the ballads by Theodorakis which round off the programme are four examples of the Greek composer's more lyrical output.
Almavlva; o sia U Inutile Precauzione fue el titulo original, ya que en un principio no se utilizo el nombre con la que se la conoce hoy dia para diferenciarla de II barbiere di Siviglia (1782) de Giovanni Paisiello (1740-1816), opera que Rossini admiraba y respetaba.
Kuhn became directly involved with Futurism around 1912, when she lived next door to the great futurist artist Giacomo Balla in Rome's Via Paisiello, and met, among other protagonists of the futurist movement, Umberto Boccioni and the leader of Futurism himself, Filippo Tommaso Marinetti.
After the opening Beethoven Variations on a theme of Paisiello (one of many Italian connections throughout his recital), we heard a crisp and dramatic performance of Beethoven's Sonata op.
Esta obra no fue la primera tonadilla sobre esta cancion, ya que en el gasto de copia de la opera La frascatana de Paisiello, interpretada por la compania de Eusebio Ribera el 16 de julio de 1785, consta que el titulo del fin de fiesta que se incluyo era, precisamente, El Malbruc y Tirana (Archivo de la Villa de Madrid (=AVM), Secretaria 1-386-2), lo cual muestra ya una anterior rivalidad entre esta cancion y generos cancionisticos y coreuticos espanoles como la tirana.
Paisiello does hint at her flair for flirtation; it is an element that has considerable impact on the eventual infidelity of not only her husband but also herself.
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.
El propio Manuel Garcia habia traducido al castellano mas de una obra de Mozart, de Paisiello y de Rossini para su representacion en Madrid.
Paisiello won renown for the delicacy and sensitivity of his musical portrayal of grief, but at the end of his life the composer's lot was as desperate as that of the fictional Nina.