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Gaetano Donizetti
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| Music Encyclopedia: (Domenico) Gaetano (Maria) Donizetti |
(b Bergamo, 29 Nov 1797; d there, 8 April 1848). Italian composer. He was of humble origins but received help and a solid musical education (1806-14) from Mayr, producing apprentice operas and many sacred and instrumental works before establishing himself at Naples with La zingara (1822). Here regular conducting and a succession of new works (two to five operas a year) marked the real start of his career. With the international triumph of Anna Bolena (1830, Milan) he freed himself from Naples; the further successes of L′elisir d′amore and Lucrezia Borgia (1832, 1833, Milan), Marino Faliero (1835, Paris) and the archetype of Italian Romantic opera, Lucia di Lammermoor (1835, Naples), secured his pre-eminence. Some theatrical failures, however, as well as trouble with the censors and disappointment over losing the directorship of the Naples Conservatory to Mercadante, caused him to leave for Paris, where besides successful French versions of his earlier works he brought out in 1840 La fille du régiment and La favorite. His conducting of Rossini's Stabat mater (1842, Bologna) and enthusiasm in Vienna for Linda di Chamounix (1842) led to his appointment as Kapellmeister to the Austrian court. Declining health began to affect his work from this time, but in Don Pasquale (1843, Paris) he produced a comic masterpiece, and in the powerful Maria di Rohan (1843, Vienna), Dom Sébastien, roi di Portugal (1843, Paris) and Caterina Cornaro (1844, Naples) some of his finest serious music.
Donizetti's reputation rests on his operas: in comedy his position has never been challenged but in the tragic genre, though his work sums up a whole epoch, no single opera can be considered an unqualified masterpiece. His works survive through the grace and spontaneity of their melodies, their formal poise, their effortless dramatic pace, their fiery climaxes and above all the romantic vitality underlying their artifice. Like Bellini, Donizetti epitomized the Italian Romantic spirit of the 1830s. Having imitated Rossini's formal, florid style for ten years (1818-28) he gradually shed heavily embellished male-voice parts, conceiving melodies lyrically and allowing the drama to determine ensemble structures. From 1839 his style was further enriched by fuller orchestration and subtler, more varied harmony. If he contributed nothing so distinctive to the post-Rossinian tradition as Bellini's ‘heavenly’ melody, he still showed a more fluent technique and a wider-ranging invention, from the brilliant to the expressive and sentimental. He was particularly responsive to the individual qualities of his singers, including Persiani (Lucia), Pasta and Ronzi de Begnis (Anna Bolena, Maria Stuarda, Roberto Devereux), the baritone Giorgio Ronconi and the tenors Fraschini and Moriani (L′elisir d′amore, Lucia). Although his practical facility and readiness to adapt scores themselves constructed of ‘spare-part’ set forms once brought criticism, since 1950 revivals and reassessment as well as a fuller understanding of the theatrical practices of his day have restored Donizetti to critical and popular favour.
works:Dramatic music
- Anna Bolena (1830)
- L′elisir d′amore (1832)
- Lucrezia Borgia (1833)
- Maria Stuarda (1835)
- Marino Faliero (1835)
- Lucia di Lammermoor (1835)
- Roberto Devereux (1837)
- La fille du régiment (1840)
- La favorite (1840)
- Linda di Chamounix (1842)
- Don Pasquale (1843)
- Maria di Rohan (1843)
- Dom Sébastien, roi di Portugal (1843)
- Caterina Cornaro (1844)
- Poliuto (1848
- comp. 1838)
- c 50 others
- over 25 cantatas and occasional works
- c 250 songs and duets with pf acc
- choruses
- c 100 works, incl. Requiem, d, for Bellini (1835)
- Miserere, g (1837)
- Ave Maria (1842)
- 13 sinfonias
- 5 concs., incl. Concertino, G eng hn(1817)
- 19 str qts
- chamber music
- pf pieces
| Biography: Gaetano Donizetti |
The Italian opera composer Gaetano Donizetti (1797-1848) was one of the first composers of the romantic movement in Italy.
Gaetano Donizetti was born in Bergamo on Nov. 29, 1797. He received his first instruction in music from an uncle, but the beginning of his formation as a composer came in 1806, when he was accepted as a free student in the Lezione Caritatevoli, a school supported by the church of S. Maria Maggiore for the training of musicians and choristers for its services. The director was Simon Mayr, a German who had settled in Bergamo in 1805. Although not known today, his music was held in high esteem in his lifetime. Mayr's influence seems to have been decisive. He kept young Donizetti in the school although his voice was not of the necessary quality, even writing works for student performances in which these vocal defects could be avoided.
Following this training, Donizetti went to Bologna in 1815 to study with Padre Mattei, a student of Padre Martini and a teacher of Gioacchino Rossini. Mayr gave Donizetti financial support as well as letters of introduction. Donizetti's first publication, a set of variations on a theme by Mayr, appeared in 1815.
Donizetti's first three operas date from 1816 and 1817 and were not performed during his lifetime. His first opera to be performed was Enrico di Borgogna, given in Venice in 1818. From this time until 1844 he produced operas of all types at a fantastic pace. In 1827 he agreed to compose 12 operas for Venice within a 3-year period. This speed in production shows in many works that perfunctorily filled the established forms of the day. His works all allow the singer ample opportunity for display with cadenzas and brilliant coloratura writing. Many of his librettos deal with violent passions that are not always turned to best dramatic effect. However, works like L'elisir d'amore (1832), Lucia di Lammermoor (1835), La Fille du régiment (1840), and Don Pasquale (1843) have gained a place in the repertory for themselves and an important historical position for their composer.
Although now known primarily for his operas, Donizetti produced a large number of compositions in other genres. In addition to 71 operas, he composed cantatas, sacred works, symphonies, string quartets and quintets, and numerous works for piano solo, voice and piano, and piano and other instruments.
Donizetti's fame quickly spread throughout Italy; he went to Paris, where he wrote five operas, and to Vienna, where he became principal court conductor in 1842. His last years, 1844-1848, were spent in rather severe circumstances because of the progressive deterioration of his health, both physical and mental.
Further Reading
Two biographies of Donizetti are Herbert Weinstock, Donizetti and the World of Opera (1963), and William Ashbrook, Donizetti (1965), both containing numerous documents, lists of works, and librettos. Donizetti's place in early-19th-century music is discussed in Alfred Einstein, Music in the Romantic Era (1947), and Donald J. Grout, A Short History of Opera (2 vols., 1947; 2d ed. 1965).
| Dictionary of Dance: Gaetano Donizetti |
Donizetti, Gaetano (b Bergamo, 29 Nov. 1797, d Bergamo, 8 Apr. 1848). Italian composer. He wrote no ballet scores but some of his operas contained ballet divertissements, e.g. Les Martyrs (chor. Coralli, 1840) and La Favorite (chor. Albert, 1840). The music for some of these has later been used by e.g. Howard in Veneziana (1953), Balanchine in Donizetti Variations (1960), and Harkarvy in La Favorita (1969).
| Columbia Encyclopedia: Gaetano Donizetti |
Donizetti, Gaetano (gītä'nō dōnēdzĕt'tē), 1797-1848, Italian composer. He studied music in Bergamo and Bologna and achieved success with his first opera, Enrico di Borgogna (1818). His early work was influenced by Rossini, but he later developed his own pleasantly melodic, often sentimental, style. Most popular of his more than 60 operas are Lucrezia Borgia (1833), Lucia di Lammermoor (1835), and Linda di Chamounix (1842), all serious operas; La Fille du régiment (The Daughter of the Regiment, 1840), a French opéra comique; and L'Elisir d'amore (The Elixir of Love, 1832) and Don Pasquale (1843), outstanding examples of opéra buffa. He also wrote songs, several symphonies, chamber music, oratorios, cantatas, and church music. In 1845 he became paralyzed, and he never composed again.
Bibliography
See studies by A. Weinstock (1964) and W. Ashbrooke (1965).
| Artist: Gaetano Donizetti |
- Period: Romantic (1820-1869)
- Country: Italy
- Born: November 29, 1797 in Bergamo, Italy
- Died: April 08, 1848 in Bergamo, Italy
- Genres: Miscellaneous Music, Opera, Vocal Music
Biography
Gaetano Donizetti was among the most important composers of bel canto opera in both Italian and French in the first half of the nineteenth Century. Many of Donizetti's more than 60 operas are still part of the modern repertoire and continue to challenge singers for their musical and technical demands. Donizetti stands stylistically between Rossini and Verdi; his scenes are usually more expanded in structure than those of Rossini, but he never blurred the lines between set pieces and recitative as Verdi did in his middle-period and late works. Often compared to his contemporary, Bellini, Donizetti produced a wider variety of operas and showed a greater stylistic flexibility, even if he never quite achieved the sheer beauty of Bellini's greatest works.Donizetti was educated in Bergamo, the town of his birth, studying with the opera composer Simon Mayr from 1806 to 1814. His youthful works include chamber operas, religious works, and some chamber music. Donizetti's first opera of note was La Zingara, which was premiered in Naples in 1822. He continued to work in Naples throughout the 1820's and 1830's, where he was active as both a conductor and composer.
In 1830, Donizetti finally achieved international fame with his opera Anna Bolena; notable for its expressive music and more extended scenes, it established Donizetti as one of the leading contemporary opera composers. The comic opera L'elisir d'amore (1832) and the tragic Lucrezia Borgia (1833) came shortly after. Donizetti's next work was Maria Stuarda, followed the same year by Lucia di Lammermoor (1835), which became an internationally recognized masterpiece. The Elizabethan tragedy Roberto Devereux (1837) completed his trilogy of operas that chronicle the English court from Henry VIII to Elizabeth I.
Donizetti's operas from the late 1830s were unable to match the success of Lucia, and when Donizetti was passed over for the directorship of the Naples Conservatory in 1840, he moved to Paris. There he composed the opera comique La fille du Régiment (1840), which was celebrated immediately for its charm and virtuosity. Later that year he completed La favorite (1840), another major contribution to the French repertoire. In 1842 Donizetti was appointed Kapellmeister of the Austrian court in Vienna, but retained his association with Paris.
Among Donizetti's last operas are Maria di Rohan (1843), an important historic opera, and his French tragedy Dom Sébastian (1843). Caterina Cornaro (1843) is also one of his finest works for its strong dramatic content. These late operas, although rarely performed, are serious works that set the standard for Verdi. ~ Steven Coburn, All Music Guide
| Wikipedia: Gaetano Donizetti |
Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti's most famous work is Lucia di Lammermoor (1835), and arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from L'elisir d'amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera.
Contents |
Life
The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter located just outside the city walls. His family was very poor with no tradition of music, his father being the caretaker of the town pawnshop. Nevertheless, Donizetti received some musical instruction from Johann Simon Mayr, a priest at Bergamo's principal church (and also himself a composer of successful operas).
Donizetti was not especially successful as a choirboy, but in 1806 he was one of the first pupils to be enrolled at the Lezioni Caritatevoli school, founded by Johann Simon Mayr, in Bergamo through a full scholarship. He received detailed training in the arts of fugue and counterpoint, and it was here that he launched his operatic career. After some minor compositions under the commission of Paolo Zanca, Donizetti wrote his fourth opera, Zoraïda di Granata. This work impressed Domenico Barbaia, a prominent theatre manager, and Donizetti was offered a contract to compose in Naples. Writing in Rome and Milan in addition to Naples, Donizetti achieved some success (his 75 operas written in the space of just 12 years were usually popular successes, but the critics were often unimpressed), but was not well known internationally until 1830, when his Anna Bolena was premiered in Milan. He almost instantly became famous throughout Europe. L'elisir d'amore, a comedy produced in 1832, came soon after, and is deemed one of the masterpieces of the comic opera, as is his Don Pasquale, written in 1843. Shortly after L'elisir d'amore, Donizetti composed Lucia di Lammermoor, based on the Sir Walter Scott novel The Bride of Lammermoor. It became his most famous opera, and one of the high points of the bel canto tradition, reaching stature similar to Bellini's Norma.
After the success of Lucrezia Borgia (1833) consolidated his reputation, Donizetti followed the paths of both Rossini and Bellini by visiting Paris, but his opera Marino Falerio suffered by comparison with Bellini's I puritani, and he returned to Naples to produce his already-mentioned masterpiece, Lucia di Lammermoor. As Donizetti's fame grew, so did his engagements, as he was further hired to write in both France and Italy. In 1838, he moved to Paris after the Italian censor objected to the production of Poliuto (on the grounds that such a sacred subject was inappropriate for the stage); there he wrote La fille du régiment, which became another success.
Donizetti's wife, Virginia Vasselli, gave birth to three children, none of whom survived. Within a year of his parents' deaths, his wife died from cholera. By 1843, Donizetti exhibited symptoms of syphilis. After being institutionalized in 1845, he was sent to Paris, where he could be cared for. After visits from friends, including Giuseppe Verdi, Donizetti was sent back to Bergamo, his hometown. After several years in the grip of insanity, he died in 1848 in the house of the noble family Scotti. After his death Donizetti was buried in the cemetery of Valtesse but in the late 19th century his body was transferred to Bergamo's Basilica of Santa Maria Maggiore near the grave of his teacher Johann Simon Mayr.
Donizetti is best known for his operatic works, but he also wrote music in a number of other forms, including some church music, a number of string quartets, and some orchestral works.
He was the younger brother of Giuseppe Donizetti, who had become, in 1828, Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808-1839).
Works
Donizetti was a prolific composer. He composed about 75 operas, 16 symphonies, 19 string quartets, 193 songs, 45 duets, 3 oratorios, 28 cantatas, instrumental concertos, sonatas, and other chamber pieces.
Operas
1816–1819
- Il Pigmalione (written 1816; premiere: 13 October 1960, Teatro Donizetti, Bergamo)
- Olimpiade (1817, incomplete, libretto by Metastasio)
- L'ira di Achille (1817)
- Enrico di Borgogna (14 November 1818, Teatro San Luca, Venice)
- Una follia (17 December 1818, Teatro San Luca, Venice) (lost)
- I piccioli virtuosi ambulanti (1819), opera buffa in one act
- Pietro il Grande zar di tutte le Russie ossia Il Falegname di Livonia (26 December 1819, Teatro San Samuele, Venice),
1820–1824
- Le nozze in villa (1820; 1821? Teatro Vecchio, Mantua)
- Zoraida di Granata or Zoraïda di Granata (28 January 1822, Teatro Argentina, Rome, rev. 7 January 1824 at the same theatre)
- La Zingara (12 May 1822, Teatro Nuovo, Naples)
- La lettera anonima (29 June 1822, Teatro del Fondo, Naples)
- Chiara e Serafina, ossia I pirati (26 October 1822, Teatro alla Scala, Milan)
- Alfredo il grande (2 July 1823, Teatro San Carlo, Naples)
- Il fortunato inganno (3 September 1823, Teatro Nuovo, Naples)
- L'ajo nell'imbarazzo (4 February 1824, Teatro Valle, Rome)
- Emilia di Liverpool (L'eremitaggio di Liverpool) (28 July 1824, Teatro Nuovo, Naples)
1825–1829
- Alahor in Granata (7 January 1826 Teatro Carolino, Palermo)
- Don Gregorio [rev of L'ajo nell'imbarazzo] (11 June 1826, Teatro Nuovo, Naples)
- Elvida (6 July 1826, Teatro San Carlo, Naples)
- Gabriella di Vergy (written: 1826; premiere: 29 November 1869, Teatro San Carlo, Naples) (Gabriella)
- Olivo e Pasquale (7 January 1827 Teatro Valle, Rome)
- Olivo e Pasquale [rev] (1 September 1827, Teatro Nuovo, Naples)
- Otto mesi in due ore (13 May 1827, Teatro Nuovo, Naples) (Gli esiliati in Siberia)
- Il borgomastro di Saardam (19 August 1827, Teatro del Fondo, Naples)
- Le convenienze ed inconvenienze teatrali , also known as Viva la mamma (21 November 1827, Teatro Nuovo, Naples)
- L'esule di Roma, ossia Il proscritto (1 January 1828, Teatro San Carlo, Naples)
- Emilia di Liverpool [rev] (8 March 1828, Teatro Nuovo, Naples)
- Alina, regina di Golconda (12 May 1828, Teatro Carlo Felice, Genoa)
- Gianni di Calais (2 August 1828, Teatro del Fondo, Naples)
- Il paria (12 January 1829, Teatro San Carlo, Naples)
- Il giovedi grasso (Il nuovo Pourceaugnac) (26 February 1829?, Teatro del Fondo, Naples)
- Il castello di Kenilworth (6 July 1829, Teatro San Carlo, Naples)
- Alina, regina di Golconda [rev] (10 October 1829, Teatro Valle, Rome)
1830–1834
- I pazzi per progetto (6 February 1830, Teatro San Carlo, Naples)
- Il diluvio universale (28 February 1830, Teatro San Carlo, Naples)
- Imelda de' Lambertazzi (5 September 1830, Teatro San Carlo, Naples)
- Anna Bolena (26 December 1830, Teatro Carcano, Milan)
- Le convenienze ed inconvenienze teatrali [rev of Le convenienze teatrali] (20 April 1831, Teatro Canobbiana, Milan)
- Gianni di Parigi (written: 1831; premiere: 10 September 1839, Teatro alla Scala Milan)
- Francesca di Foix (30 May 1831, Teatro San Carlo, Naples)
- La romanziera e l'uomo nero (18 June 1831, Teatro del Fondo, Naples) (libretto lost)
- Fausta (12 January 1832, Teatro San Carlo, Naples)
- Ugo, conte di Parigi (13 March 1832, Teatro alla Scala Milan)
- L'elisir d'amore (12 May 1832, Teatro Canobbiana, Milan)
- Sancia di Castiglia (4 November 1832, Teatro San Carlo, Naples)
- Il furioso all'isola di San Domingo (2 January 1833, Teatro Valle, Rome)
- Otto mesi in due ore [rev] (1833, Livorno)
- Parisina (17 March 1833, Teatro della Pergola, Florence)
- Torquato Tasso (9 September 1833, Teatro Valle, Rome)
- Lucrezia Borgia (26 December 1833, Teatro alla Scala Milan)
- Il diluvio universale [rev] (17 January 1834, Teatro Carlo Felice, Genoa)
- Rosmonda d'Inghilterra (27 February 1834, Teatro della Pergola, Florence)
- Maria Stuarda [rev] (Buondelmonte) (18 October 1834, Teatro San Carlo, Naples)
- Gemma di Vergy (26 October 1834, Teatro alla Scala Milan)
1835–1839
- Maria Stuarda (30 December 1835, Teatro alla Scala Milan)
- Marin Faliero (12 March 1835, Théâtre-Italien, Paris)
- Lucia di Lammermoor (26 September 1835, Teatro San Carlo, Naples)
- Belisario (4 February 1836, Teatro La Fenice, Venice)
- Il campanello di notte (1 June 1836, Teatro Nuovo, Naples)
- Betly, o La capanna svizzera (21 August 1836, Teatro Nuovo, Naples)
- L'assedio di Calais (19 November 1836, Teatro San Carlo, Naples)
- Pia de' Tolomei (18 February 1837, Teatro Apollo, Venice)
- Pia de' Tolomei [rev] (31 July, 1837, Sinigaglia)
- Betly [rev] ((?) 29 September 1837, Teatro del Fondo, Naples)
- Roberto Devereux (28 October 1837, Teatro San Carlo, Naples)
- Maria de Rudenz (30 January 1, 1838 Teatro La Fenice, Venice)
- Gabriella di Vergy [rev] (written: 1838; August 1978 recording, London)
- Poliuto (written: 1838; permiere: 30 November 1848, Teatro San Carlo, Naples)
- Pia de' Tolomei [rev 2] (30 September 1838, Teatro San Carlo, Naples)
- Lucie de Lammermoor [rev of Lucia di Lammermoor] (6 August 1839, Théâtre de la Renaissance, Paris)
- Le duc d'Albe (written: 1839; premiere: 22 March 1882, Teatro Apollo, Rome) (Il duca d'Alba)
1840–1845
- Lucrezia Borgia [rev] (11 January 1840, Teatro alla Scala Milan)
- Poliuto [rev] (Les martyrs) (10 April 1840, Théâtre de l'Académie Royale de Musique (Paris Opéra), Paris)
- La fille du régiment (11 February 1840, Opéra-Comique, Paris)
- L'ange de Nisida (1839; ?)
- Lucrezia Borgia [rev 2] (31 October 1840, Théâtre-Italien, Paris)
- La favorite [rev of L'ange de Nisida] (2 December 1840, Théâtre de l'Académie Royale de Musique, Paris)
- Adelia (11 February 1841, Teatro Apollo, Rome)
- Rita (Deux hommes et une femme) (written: 1841; premiere: 7 May 1860, Opéra-Comique, Paris)
- Maria Padilla (26 December 1841, Teatro alla Scala Milan)
- Linda di Chamounix (19 May 1842, Kärntnertortheater, Vienna)
- Linda di Chamounix [rev] (17 November 1842, Théâtre-Italien, Paris)
- Caterina Cornaro (18 January 1844, Teatro San Carlo, Naples)
- Don Pasquale (3 January 1843, Théâtre-Italien, Paris)
- Maria di Rohan (5 June 1843, Kärntnertortheater, Vienna)
- Dom Sébastien (13 November 1843, Théâtre de l'Académie Royale de Musique , Paris)
- Dom Sébastien [rev] (6 February 1845, Kärntnertortheater, Vienna)
Choral works
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Orchestral works
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Concertos
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Chamber works
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Quotations
- "Ah, by Bacchus, with this aria I shall receive universal applause. People will say to me, “Bravo maestro!”
- I, in a very modest manner, shall walk about with bowed head; I’ll have rave reviews…I can become immortal…
- My mind is vast, my genius swift...
- And at composing, a thunderbolt am I."
- (From a poem composed by 14-year-old Gaetano Donizetti)
- "Donizetti, when asked which of his own operas he thought the best, spontaneously replied, 'How can I say which? A father always has a preference for a crippled child, and I have so many.'" (Louis Engel: "From Mozart to Mario", 1886)
See also
Bibliography
 |
This article is missing citations or needs footnotes. Please help add inline citations to guard against copyright violations and factual inaccuracies. (November 2007) |
- William Ashbrook: Donizetti and his Operas, Cambridge:Cambridge University Press 1982. Ashbrook also wrote an earlier life entitled Donizetti in 1965.
- Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Volume 7, London: Macmillan Publishers Ltd., 2001, pp. 761–796. The 1980 edition article, by William Ashbrook and Julian Budden, was also reprinted in The New Grove Masters of Italian Opera, London: Papermac, 1984, pp. 93–154.
- Stanley Sadie (ed.), The New Grove Dictionary of Opera, Volume 1, London: Macmillan Publishers Ltd., 1997, pp. 1201–1221.
- Egidio Saracino (ed), Tutti I libretti di Donizetti, Garzanti Editore, 1993.
- Herbert Weinstock, Donizetti, London: Metheun & Co., Ltd., 1964. (UK publication date).
- Giuliano Donati Petténi, Donizetti, Milano: Fratelli Treves Editori, 1930
- Guido Zavadini, Donizetti: Vita - Musiche- Epistolario, Bergamo, 1948
- John Stewart Allitt, Gaetano Donizetti – Pensiero, musica, opere scelte, Milano: Edizione Villadiseriane, 2003
- John Stewart Allitt, Donizetti – in the light of romanticism and the teaching of Johann Simon Mayr, Shaftesbury, Dorset, UK: Element Books, 1991. Also see Allitt's website http://www.johnstewartallitt.com/
- Annalisa Bini & Jeremy Commons, Le prime rappresentazioni delle opere di Donizetti nella stampa coeva, Milan: Skira, 1997
- John Black, Donizetti's Operas in Naples 1822-1848, London: The Donizetti Society, 1982
- James P. Cassaro, Gaetano Donizetti - A Guide to Research, New York: Garland Publishing. 2000
- Leopold M Kantner, ed., Donizetti in Wien, papers from a symposium in various languages (ISBN 3-7069-0006-8 / ISSN 156,00-8921). Published by Primo Ottocento, available from Edition Praesens.
- Philip Gossett, "Anna Bolena" and the Artistic Maturity of Gaetano Donizetti, Oxford: Oxford University Press, 1985
- Egidio Saracino Ed., Tutti i libretti di Donizetti, Milan: Garzanti, 1993
- Marcello Sorce Keller, "Gaetano Donizetti: un bergamasco compositore di canzoni napoletane", Studi Donizettiani, III(1978), 100- 107.
- Marcello Sorce Keller, "Io te voglio bene assaje: a Famous Neapolitan Song Traditionally Attributed to Gaetano Donizetti", The Music Review, XLV (1984), no. 3- 4, 251- 264. Also published as: "Io te voglio bene assaje: una famosa canzone napoletana tradizionalmente attribuita a Gaetano Donizetti, La Nuova Rivista Musicale Italiana, 1985, no. 4, 642- 653.
External links
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Wikimedia Commons has media related to: Gaetano Donizetti |
- Donizetti Society, Works
- Ricordi
- Stanford, the list of operas
- Archive Music
- Manitoba Opera
- Site of the Donizetti Foundation
- Gaetano Donizetti on Arizona Opera
- Gaetano Donizetti's works: text, concordances and frequency lists
- Donizetti: listen tracks (Lucia di Lammermoor and more) and read biography on Magazzini-Sonori (Italian)
Sheet music
- Free scores by Gaetano Donizetti in the International Music Score Library Project
- Sheet music for download
- Free scores by Gaetano Donizetti in the Choral Public Domain Library (ChoralWiki)
Sound-bites and recordings
- Donizetti String Quartet No.18 Sound-bites
- Donizetti cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
- Lucia di Lammermoor[dead link] Free MP3 Recording - Creative Commons License
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- Is there a oil painter by the name of Donizetti?
Mentioned in
- Lucia di Lammermoor (1971 Theater Film)
- Don Pasquale (2002 Theater Film)
- Renato Bruson: Live in Concert (Music Film)
- Life of Donizetti (1946 Film)
- Lucia di Lammermoor (1992 Theater Film)
- Il Pigmalione, opera (Classical Work)
- Philip Gossett
- Linda di Chamounix (opera)
- Eduard von Lannoy (Classical Musician)
- Bel Canto (Classical Album)
- Grand Paraphrase de la Marche composée pour le Sultan Abdul Médjid-Khan (I & II), for piano (after Donizetti), S. 403 (LW A137) (Classical Work)
- Donizetti: Ugo, conte di Parigi (Classical Album)
- Gedichte der Königin Maria Stuart (Mary Stuart Songs), for voice & piano, Op. 135 (Classical Work)
- Il diluvio universale, opera (Classical Work)
