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Gaspare Spontini

 
Music Encyclopedia: Gaspare (Luigi Pacifico) Spontini

(b Maiolati, 14 Nov 1774; d there, 24 Jan 1851). Italian composer and conductor. During his early career (1796-1802) he produced operas for Rome, Venice, Florence, Naples and Palermo with little success. Only in Paris (from 1803) and under the patronage of Joséphine did he gain public attention, notably with the triumphant première of his Gluckian tragédie lyrique La vestale (1807). Fernand Cortez, a spectacular historical pageant meant to glorify Napoleon, failed in its first version (1809) but won a place in the repertory when revised (1817). For two years (1810-12) he was an effective director of the Théâtre-Italien, though problems created by his proud and truculent personality led to his dismissal. His last tragédie lyrique for the Opéra, Olimpie (1819), was a colossal failure. In Berlin (1820-42), as Generalmusikdirektor, he was supported only by the king and came into conflict with Weber, while his complex and grandiose works were outpaced by the newer styles of Rossini and his arch rival Meyerbeer. His most important German opera was the last, Agnes von Hohenstaufen (1837), moving away from solo numbers to massive ensembles and a more continuous construction. His style in general however was a synthesis of newer French and Italian elements implanted into the traditional French framework, with triumphal processions, temple rituals and oath-swearings; a large part is played in his operas by calculated musical coups de théâtre.

works:
Dramatic music

  • La vestale (1807)
  • Fernand Cortez (1809, rev. 1817)
  • Olimpie (1819), rev. as Olympia (1821)
  • Nurmahal (1822)
  • Agnes von Hohenstaufen (1829, rev. 1837)
  • c 10 others
  • 2 stage works
  • contributions to other composers works
Vocal music
  • occasional choral works
  • sacred pieces
  • songs, duets
Instrumental music
  • orch pieces
  • marches for military band
  • pf music


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Columbia Encyclopedia: Gaspare Spontini
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Spontini, Gaspare (gäs'pärā spōntē'), 1774-1851, Italian opera composer. Spontini studied music in Naples. He went to Paris in 1803, won a prize from Napoleon for La Vestale (1807), and became court composer under Louis XVIII. In 1819 he was a leading musician at the court of Frederick William III of Prussia. Besides La Vestale, on which he worked for three years, Spontini had great successes with Fernand Cortez (1809), Olympie (1819, revised several times), and Nurmahal (1822). The pageantry and rich orchestration of his operas were greatly admired. In 1810, Spontini staged the first Paris performance of Don Giovanni in its original form.
Artist: Gaspare Spontini
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Gaspare Spontini
  • Period: Romantic (1820-1869)
  • Country: Italy
  • Born: November 14, 1774 in Majolati, Ancona, Italy
  • Died: January 24, 1851 in Majolati, Ancona, Italy
  • Genres: Opera

Biography

That Spontini was admired by both Berlioz and Wagner is probably due to his own inspiration by Gluck, but the fact that he made an indelible impression upon such antithetical natures confirms his importance in the development of grand opera as the century of Romanticism dawned. Early evidence of musical ability delivered him from a career in the priesthood, though his studies at Naples' Conservatorio della Pietá dei Turchini were soon abandoned. Having absorbed sufficient technique to employ the facile formulas of Italian opera, Spontini set out as a freelancer, appearing in 1796 with his first opera, Li Puntigli delle Donne, produced during the Roman Carnival. Its success enabled him to compose comic operas for Venice, Florence, and Naples. Association with Cimarosa in the latter city in 1798 seems to have been a turning point toward more exalted ambitions, while a stint in Palermo in 1800-1801, where the Bourbon court was in exile, introduced him to noble patronage. Moving on to Paris, he had the good fortune to win the interest Joséphine, wife of Napoleon I. Trivial works -- including vaudevilles -- vied for public favor with the more seriously striving Milton, in which the example of Gluck becomes apparent for the first time. It was only through the accident that a work by le Sueur (later to become Berlioz' teacher) was not completed in time that Spontini's La Vestale -- composed in 1805 -- reached the stage of the Opéra de Paris on December 15, 1807, to overwhelming acclaim and international success. Napoleon dictated that Spontini's next opera should glorify a conquering hero, though Fernand Cortez, premiered on November 28, 1809, before the emperor and the King of Saxony, failed to make the point, and won enduring fame only in its 1817 revision, by which time Napoleon was vanquished and exiled. Spontini's musical command was given a fillip by his fiery presence, making him a formidable conductor. He served as director of the Théâtre Italien from 1810 to 1812. With the restoration of the Bourbon monarchy and the success of Cortez, Spontini was in favor, though his Olympia, in 1819, achieved but six performances. In 1820 he moved on to Berlin, where King Friedrich Wilhelm III made him Generalmusikdirektor. The success of a revised Olympia in 1821 was soon upstaged by Weber's Der Freischütz, leading to a rivalry that forced Spontini from his post in 1842. Intrigues to regain his position, a Dresden revival of La Vestale in 1844, and the conferring of a papal nobility in 1847 filled his final years. ~ Adrian Corleonis, All Music Guide
Wikipedia: Gaspare Spontini
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Gaspare Luigi Pacifico Spontini

Gaspare Luigi Pacifico Spontini (14 November 1774 – 24 January 1851) was an Italian opera composer and conductor, extremely celebrated in his time, though largely forgotten after his death.

Contents

Biography

Born in Maiolati in the province of Ancona, now Maiolati Spontini, he spent most of his career in Paris and Berlin, but returned to his place of birth at the end of his life. During the first two decades of the 19th century, Spontini was an important figure in French opera. In his more than twenty operas, Spontini strove to adapt Gluck's classical tragédie lyrique to the contemporary taste for melodrama, for grander spectacle (in Fernand Cortez for example), for enriched orchestral timbre, and for melodic invention allied to idiomatic expressiveness of words. His single great masterpiece and success was La Vestale.[1]


As a youth, Spontini studied at the Conservatorio della Pietà de' Turchini in Naples. In 1803, he went to Paris, where he was appointed court composer in 1805.

In 1807, Spontini wrote La Vestale, his best known work. Written with the encouragement of Empress Joséphine, its premiere at the Opéra in Paris established Spontini as one of the greatest Italian composers of his age. His contemporaries Cherubini and Meyerbeer considered it a masterpiece, and later composers like Berlioz and Wagner admired it.

During the Peninsular War, “Napoleon promoted works such as Gasparo Spontini’s Fernand Cortez (1809),” which concerned the Spanish conquest of Mexico under the reign of Charles V.[2] Spontini's later opera Olimpie (1819, revised 1820, 1826) met with indifference, leading him to leave Paris for Prussia, where he became Kapellmeister and chief conductor at the Berlin Hofoper. There he showed hostility toward the young Mendelssohn.

Modern revivals

During the 20th century, Spontini's operas were only rarely performed, although several had their first revivals in years. Perhaps the most famous modern production was the revival of La vestale with Maria Callas at La Scala at the opening of the 1954 season, to mark the 180th anniversary of the composer's birth. The stage director was famed cinematic director Luchino Visconti. That production was also the La Scala debut of tenor Franco Corelli. Callas recorded the arias "Tu che invoco" and "O Nume tutela" from La vestale in 1955 (as did Rosa Ponselle in 1926). In 1969, conductor Fernando Previtali revived the opera, with soprano Leyla Gencer and baritone Renato Bruson. (An unofficial recording is in circulation.) In 1995, conductor Riccardo Muti recorded it with a cast of lesser-known singers.

Other revivals of Spontini include Agnese von Hohenstaufen at the Maggio Musicale festival in Florence in 1954, starring Franco Corelli and conducted by Vittorio Gui, and in Rome in 1970, with Montserrat Caballé and Antonietta Stella, conducted by Riccardo Muti. Fernando Cortez was revived in 1951, with a young Renata Tebaldi, at the San Carlo in Naples, conducted by Gabriele Santini. The premiere of the integral version of the work took place at the Erfurt (Germany) opera house (2006, Jean-Paul Penin, conductor).

Li puntigli delle donne was performed at the Putbus Festival 1998, conducted by Wilhelm Keitel (recording Arte Nova 74321591982).

Works

See List of operas by Spontini.

References

  1. ^ On La Vestale, Fernand Cortez and Etienne de Jouy, see Les aventures militaires, littéraires et autres de Etienne de Jouy de l'Académie française by Michel Faul (Editions Seguier, France, 2009 ISBN 978-2-8404-9556-7). Infos on E.de Jouy and his biography on E. de Jouy site
  2. ^ Silke Leopold, “The Idea of National Opera, c. 1800,” Unity and Diversity in European Culture c. 1800, ed. Tim Blanning and Hagen Schulze (New York: Oxford University Press, 2006), 22.

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