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Gaetano Donizetti

Gaetano Donizetti
Born November 29, 1797 in Bergamo, Italy
Died April 08, 1848 in Bergamo, Italy
  • Period: Romantic (1820-1869)
  • Country: Italy
  • Genres: Opera, Vocal

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

Discography

Donizetti: Parisina D' Este

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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
Vocal chamber music
  • c 250 songs and duets with pf acc
  • choruses
Sacred music
  • c 100 works, incl. Requiem, d, for Bellini (1835)
  • Miserere, g (1837)
  • Ave Maria (1842)
Instrumnetal music
  • 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).

 
Britannica Concise Encyclopedia: Domenico Gaetano Maria Donizetti

(born Nov. 29, 1797, Bergamo, Cisalpine Republic — died April 8, 1848, Bergamo, Lombardy, Austrian Empire) Italian opera composer. He was tutored and guided by the opera composer Simone Mayr (1763 – 1845). His opera Zoraida di Granata had a successful premiere in Rome in 1822, but it was Anna Bolena in 1830 that made his name internationally. Later successes included L'Elisir d'amore (1832), Lucrezia Borgia (1833), Lucia di Lammermoor (1835), Roberto Devereux (1837), La Fille du régiment (1840), and Don Pasquale (1843). Enormously prolific, he could produce an entire opera in weeks. He completed almost 70 operas, as well as more than 150 sacred works and hundreds of songs. Infected with syphilis, he suffered a severe four-year decline leading to his death. He was one of the foremost Italian opera composers of the early 19th century and a principal master of the bel canto style.

For more information on Domenico Gaetano Maria Donizetti, visit Britannica.com.

 
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: 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).

 
Wikipedia: Gaetano Donizetti
Gaetano Donizetti.
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Gaetano Donizetti.

Domenico Gaetano Maria Donizetti (November 29, 1797 – April 8, 1848) was an Italian opera composer from Bergamo, Lombardy. Donizetti's most famous work is Lucia di Lammermoor (1835). Along with Vincenzo Bellini and Gioacchino Rossini, he was a leading composer of bel canto opera.

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 Giovanni Simone Mayr, a priest at Bergamo's principal church (and also himself a composer of successful operas).

Donizetti was not an especial success as a choirboy, but in 1806 he was one of the first pupils to be enrolled at the Lezioni Caritatevoli school, founded by 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 31 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.

Gaetano Donizetti.
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Gaetano Donizetti.

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 and what is known today as bipolar disorder. 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, where he died in 1848, after several years in the grip of insanity. After his death Donizetti was buried in the cemetery of Valtesse but in the late 19th century is body was transferred in Bergamo's Basilica of Santa Maria Maggiore near the grave of his teacher Simone 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 is also 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).

Critical reputation

Donizetti's vocal style enriched the bel canto tradition which Gioacchino Rossini and Vincenzo Bellini had made popular. These three composers are generally accepted as the primary exemplars of early 19th century bel canto writing. During his life, and for a considerable period after his death, Donizetti's works were held in vast popular acclaim, but by the beginning of the 20th century they had been almost completely overshadowed by the heavier masterpieces of Wagner, Puccini, and Verdi, perhaps due to the technical demands of bel canto singing. However, since the 1950s a growing interest in the bel canto repertoire has led to more frequent performances of Donizetti's operas, and Lucia di Lammermoor, La fille du régiment, Don Pasquale and L'elisir d'amore have assumed more or less constant places in the standard repertory.

Works

Donizetti 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

Gaetano Donizetti.
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Gaetano Donizetti.
  • Olivo e Pasquale (7.1.1827 Teatro Valle, Rome)
  • Olivo e Pasquale [rev] (1.9.1827 Teatro Nuovo, Naples)
  • Otto mesi in due ore (13.5.1827 Teatro Nuovo, Naples) (Gli esiliati in Siberia)
  • Il borgomastro di Saardam (19.8.1827 Teatro del Fondo, Naples)
  • Le convenienze teatrali (21.11.1827 Teatro Nuovo, Naples)
  • L'esule di Roma, ossia Il proscritto (1.1.1828 Teatro San Carlo, Naples)
  • Emilia di Liverpool [rev] (8.3.1828 Teatro Nuovo, Naples)
  • Alina, regina di Golconda (12.5.1828 Teatro Carlo Felice, Genoa)
  • Gianni di Calais (2.8.1828 Teatro del Fondo, Naples)
  • Il paria (12.1.1829 Teatro San Carlo, Naples)
  • Il giovedi grasso (26.2.1829? Teatro del Fondo, Naples) (Il nuovo Pourceaugnac)
  • Il castello di Kenilworth (6.7.1829 Teatro San Carlo, Naples)
  • Alina, regina di Golconda [rev] (10.10.1829 Teatro Valle, Rome)
  • I pazzi per progetto (6.2.1830 Teatro San Carlo, Naples)
  • Il diluvio universale (28.2.1830 Teatro San Carlo, Naples)
  • Imelda de' Lambertazzi (5.9.1830 Teatro San Carlo, Naples)
  • Anna Bolena (26.12.1830 Teatro Carcano, Milan)
  • Le convenienze ed inconvenienze teatrali [rev of Le convenienze teatrali] (20.4.1831 Teatro Canobbiana, Milan)
  • Gianni di Parigi (1831; 10.9.1839 Teatro alla Scala Milan)
  • Francesca di Foix (30.5.1831 Teatro San Carlo, Naples)
  • La romanziera e l'uomo nero (18.6.1831 Teatro del Fondo, Naples) (libretto lost)
  • Fausta (12.1.1832 Teatro San Carlo, Naples)
  • Ugo, conte di Parigi (13.3.1832 Teatro alla Scala Milan)
  • L'elisir d'amore (12.5.1832 Teatro Canobbiana, Milan)
  • Sancia di Castiglia (4.11.1832 Teatro San Carlo, Naples)
  • Il furioso all'isola di San Domingo (2.1.1833 Teatro Valle, Rome)
  • Otto mesi in due ore [rev] (1833, Livorno)
  • Parisina (17.3.1833 Teatro della Pergola, Florence)
  • Torquato Tasso (9.9.1833 Teatro Valle, Rome)
  • Lucrezia Borgia (26.12.1833 Teatro alla Scala Milan)
  • Il diluvio universale [rev] (17.1.1834 Teatro Carlo Felice, Genoa)
  • Rosmonda d'Inghilterra (27.2.1834 Teatro della Pergola, Florence)
  • Maria Stuarda [rev] (18.10.1834 Teatro San Carlo, Naples) (Buondelmonte)
  • Gemma di Vergy (26.10.1834 Teatro alla Scala Milan)
  • Maria Stuarda (30.12.1835 Teatro alla Scala Milan)
  • Marin Faliero (12.3.1835 Théâtre-Italien, Paris)
  • Lucia di Lammermoor (26.9.1835 Teatro San Carlo, Naples)
  • Belisario (4.2.1836 Teatro La Fenice, Venice)
  • Il campanello di notte (1.6.1836 Teatro Nuovo, Naples)
  • Betly, o La capanna svizzera (21.8.1836 Teatro Nuovo, Naples)
  • L'assedio di Calais (19.11.1836 Teatro San Carlo, Naples)
  • Pia de' Tolomei (18.2.1837 Teatro Apollo, Venice)
  • Pia de' Tolomei [rev] (31.7.1837, Sinigaglia)
  • Betly [rev] ((?) 29.9.1837 Teatro del Fondo, Naples)
  • Roberto Devereux (28.10.1837 Teatro San Carlo, Naples)
  • Maria de Rudenz (30.1.1838 Teatro La Fenice, Venice)
  • Gabriella di Vergy [rev] (1838; 8.1978 recording, London)
  • Poliuto (1838; 30.11.1848 Teatro San Carlo, Naples)
  • Pia de' Tolomei [rev 2] (30.9.1838 Teatro San Carlo, Naples)
  • Lucie de Lammermoor [rev of Lucia di Lammermoor] (6.8.1839 Théâtre de la Renaissance, Paris)
  • Le duc d'Albe (1839; 22.3.1882 Teatro Apollo, Rome) (Il duca d'Alba)
  • Lucrezia Borgia [rev] (11.1.1840 Teatro alla Scala Milan)
  • Poliuto [rev] (10.4.1840 Théâtre de l'Académie Royale de Musique (Paris Opéra), Paris) (Les martyrs)
  • La fille du régiment (11.2.1840 Opéra-Comique, Paris)
  • L'ange de Nisida (1839; ?)
  • Lucrezia Borgia [rev 2] (31.10.1840 Théâtre-Italien, Paris)
  • La favorite [rev of L'ange de Nisida] (2.12.1840 Théâtre de l'Académie Royale de Musique, Paris)
  • Adelia (11.2.1841 Teatro Apollo, Rome)
  • Rita (1841; 7.5.1860 Opéra-Comique, Paris) (Deux hommes et une femme)
  • Maria Padilla (26.12.1841 Teatro alla Scala Milan)
  • Linda di Chamounix (19.5.1842 Kärntnertortheater, Vienna)
  • Linda di Chamounix [rev] (17.11.1842 Théâtre-Italien, Paris)
  • Caterina Cornaro (18.1.1844 Teatro San Carlo, Naples)
  • Don Pasquale (3.1.1843 Théâtre-Italien, Paris)
  • Maria di Rohan (5.6.1843 Kärntnertortheater, Vienna)
  • Dom Sébastien (13.11.1843 Théâtre de l'Académie Royale de Musique , Paris)
  • Dom Sébastien [rev] (6.2.1845 Kärntnertortheater, Vienna)

Choral works

  • Ave Maria
  • Grande Offertorio
  • Il sospiro
  • Messa da Requiem
  • Messa di Gloria e Credo
  • Miserere (Psalm 50)

Orchestral works

  • Allegro for Strings in C major
  • L'ajo nell'imbarazzo: Sinfonia
  • Larghetto, tema e variazioni in E flat major
  • Roberto Devereux: Sinfonia
  • Sinfonia Concertante in D major (1818)
  • Sinfonia for Winds in G minor (1817)
  • Sinfonia in A major
  • Sinfonia in C major
  • Sinfonia in D major
  • Sinfonia in D minor
  • Ugo, conte di Parigi: Sinfonia

Concertos

  • Concertino for Clarinet in B flat major
  • Concertino for English Horn in G major (1816)
  • Concertino in C minor for flute and chamber orchestra (1819)
  • Concertino for Flute and Orchestra in C major
  • Concertino for Flute and Orchestra in D major
  • Concertino for Oboe in F major
  • Concertino for Violin and Cello in D minor
  • Concerto for 2 Clarinets "Maria Padilla"
  • Concerto for Violin and Cello in D minor

Chamber works

  • Andante sostenuto for Oboe and Harp in F minor
  • Introduction for Strings in D major
  • Larghetto and Allegro for Violin and Harp in G minor
  • Largo/Moderato for Cello and Piano in G minor
  • Nocturnes (4) for Winds and Strings
  • Quartet for Strings in D major
  • Quartet for Strings no 10 in G minor
  • Quartet for Strings no 11 in C major
  • Quartet for Strings no 12 in C major
  • Quartet for Strings no 13 in A major
  • Quartet for Strings no 14 in D major
  • Quartet for Strings no 15 in F major
  • Quartet for Strings no 16 in B minor
  • Quartet for Strings no 17 in D major
  • Quartet for Strings no 18 in E minor
  • Quartet for Strings no 18 in E minor: Allegro
  • Quartet for Strings no 3 in C minor: 2nd movement, Adagio ma non troppo
  • Quartet for Strings no 4 in D major
  • Quartet for Strings no 5 in E minor
  • Quartet for Strings no 5 in E minor: Larghetto
  • Quartet for Strings no 6 in G minor
  • Quartet for Strings no 7 in F minor
  • Quartet for Strings no 8 in B flat major
  • Quartet for Strings no 9 in D minor
  • Quintet for Guitar and Strings no 2 in C major
  • Solo de concert
  • Sonata for Flute and Harp
  • Sonata for Flute and Piano in C minor
  • Sonata for Oboe and Piano in F major
  • Study for Clarinet no 1 in B flat major
  • Trio for Flute, Bassoon and Piano in F major

Piano works

  • Adagio and Allegro for Piano in G major
  • Allegro for Piano in C major
  • Allegro for Piano in F minor
  • Fugue for Piano in G minor
  • Grand Waltz for Piano in A major
  • Larghetto for Piano in A minor "Una furtiva lagrima"
  • Larghetto for Piano in C major
  • Pastorale for Piano in E major
  • Presto for Piano in F minor
  • Sinfonia for Piano in A major
  • Sinfonia for Piano no 1 in C major
  • Sinfonia for Piano no 1 in D major
  • Sinfonia for Piano no 2 in C major
  • Sinfonia for Piano no 2 in D major
  • Sonata for Piano in C major
  • Sonata for Piano in F major
  • Sonata for Piano in G major
  • Variations for Piano in E major
  • Variations for Piano in G major
  • Waltz for Piano in A major
  • Waltz for Piano in C major
  • Waltz for Piano in C major "The Invitation"

Media

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 years-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)

Bibliography

  • 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 John'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

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