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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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.
By the time Calzabigi and Paisiello collaborated on Elfrida (1792), events in France had taken a turn that only the most ardent radical or pessimistic traditionalist would have predicted a few years earlier, and the climate of reform changed as the Bourbons looked first to protect and secure the kingdom.
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.
Hoffmeister, an aria by Paisiello and the melody of an old French rondeau.
The performance itself was a pastiche of homonymous operas written by Vivaldi, Pergolesi, Paisiello, Jommelli, Traetta, Hasse, Myslivecek, and Caldara.
38) After Arne it is said that sixty other composers used the same story including Paisiello and Cimarosa.
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.
For supper head for I Tre Moschettieri (via Paisiello 9/a; tel 0832 308484) a restaurant with a flower-filled courtyard.
The death of the commissioning impresario delayed an opening night that was spoiled by all sorts of accidents: persistent disruptions by followers of composer Paisiello, who had written another version of ``The Barber'' in 1782, angry opera fans objecting to the intrusion of comic opera, a singer with a bloody nose and an obstinate cat meowing on stage.
The highlights of Bartoli's opera-singing career to date have been her performances as Cherubino (Zurich Opera House), Zerlina (Scala di Milano and the Salzburg Festival), Dorabella (Maggio Musicale), Susanna, Donna Elvira and Fiordiligi (Zurich Opera House), Cenerentola (Metropolitan Opera, Bavarian State Opera and Teatro Comunale di Bologna), Susanna (Metropolitan Opera), Despina (Metropolitan Opera and Vienna's Theatre), Euridice in Haydn's L'Anima del Filosofo (Theatre an der Wien) and Nina in the opera of the same name by Paisiello (Zurich Opera House).
It made Rota take on in 1937 a job nobody else wanted at the Paisiello Institute in Taranto, in Italy's heel.
The English press dismissed it as "light and careless" and a German critic compared it unfavorably to Paisiello, finding it "too heavy and confused, notably devoid of the spark of genius so evident in L'Italiana in Algeri.