What is paisiello, giovanni? The meaning and interpretation of the word paiziello giovanni, the definition of the term. Meaning of paisiello, giovanni in the collier dictionary

In 1754-1763 he studied at the con-ser-va-to-rii "Sant-Onof-rio" in Ne-apo-le (among his teachers-te-lei - F. Du-ran-te) . The early comic operas of Paisiello became in the theaters of Par-my (“Funny vir-tu-oz-ki”, libretto by K. Gol-do-ni), Mo- de-ny (“Woman in pants”, based on the eponymous comedy by Y. A. Nel-li), Bo-lo-ny (“Bol-tun”, all three 1764 ), Ve-ne-tion (“Love on the ba-lu”, 1765).

Since 1766, he lived in Ne-apo-le, where would-be-stay-le-we "Ki-thai idol" (1767, theater "Nuo-vo"), "Don Ki-hot La Manch-sky "(libretto by J. Lo-ren-tsi after M. de Ser-van-te-su, 1769, "Te-at-ro dei Fio-ren-ti-ni"), "I-mine So-crates ”(1775, theater“ Nuo-vo ”). In the genre of opera-ry-se-ria, he created “Dik-ta-tor Lu-ciy Pa-pi-riy” (libretto by A. Dze-no, 1767, theater “San Car -lo"), "Ar-ta-xerxes", "De-met-riy" (both 1771, Mo-de-na), "Alexander in India" (1773, ibid.; all three to the libretto by P. Me-ta-sta-zio), “An-dro-me-da” (1774, Mi-lan), “De-mo-font” (libretto by Me-ta-sta-zio, 1775 , Ve-not-tion).

In 1776-1784, the court ka-pel-me-ster in St. Peter-ter-burg, was the third (after B. Ga-lup-pi and T. Tra-et- you) from the major Italian masters, who led the musical life of the Russian imperial court in the 18th century. De-bu-tiro-val here is the opera-roi-se-ria "Nit-te-ti" (libretto Me-ta-sta-zio, 1777). In Russia, they are on-pi-sa-ny “te-at-ral-noe dey-st-vo” “Lu-tsin-da and Ar-mi-dor” (1777), opera-ry-se- ria "Achilles on Sky-ro-se" (libretto Me-ta-sta-zio, 1778), "Al-kid on the path-thie" (1780), opera-ra-buff-fa "Se- Vil-sky tsi-ryul-nik, or Vain pre-dos-that-birth-ness ”(according to P. Beau-mar-she, 1782, Er-mi-tage-ny te- atr), etc.

Some of Paisiello’s earlier creations of pro-of-ve-de-ny would have been put on the Russian stage (opera “Imaginary So -krat "under the title" Imaginary fi-lo-so-fy ", bringing Eka-te-ri-nu II into delight; in-ter-me-dia" Servant-zhan-ka- Mrs. Ms. ”to the libretto by J. A. Fe-de-ri-co, previously used by J. B. Per-go-le-zi, 1781). His opera-ry became-vi-li-same in the-native re-zi-den-qi-yah im-per-rat-ri-tsy (Ka-men-ny island, Pe- ter-gof, Tsar-skoe Se-lo). Opera "Lunar World" (libretto by K. Gol-do-ni) was used at the opening of Bol-sho-go (Ka-men-no-go) te-at- ra in St. Peterburg (1783).

In Mo-sk-ve si-la-mi of the Italian troupe-py, having become-le-na-opera-ry-buf-fa “Pre-creative love-bov-ni-tsa”, “Imaginary as- t-ro-lo-gi ”(re-dac-tion of “I-my-fi-lo-so-fov”) and in-ter-media “Servant-zhan-ka-goss-mrs” (all 1782), the opera “Lu-tsin-da and Ar-mi-dor” (1784; all of them later entered the re-per-to-ar of the Russian troupe); opera "Se-vil-sky tsi-rul-nik, or Bes-po-lez-naya pre-dos-that-rozh-nost" was-la is-pol-not-on into Russian (1797) .

Paisiello wrote-sal also in-st-ru-men-tal-nuyu m-zy-ku for court festivities (saved 24 di-ver-tis-men-ta for 2 flutes, 2 klar-not-tov, 2 val-torn and fa-go-ta, some of them have software sub-for-go-lovs - “ Dia-na”, “Half-day”, “Over-the-sun-tsa”, “From-going to sleep”), clavier pieces (from 2 concerts for cla-ve-si-na with or-ke-st-rum) and in-st-ru-men-tal-nye an-samb-li (published in Paris at the end of the 18th century), before -significant for the Grand Duchess Maria Fedor-rov-na (bu-du-schey im-per-rat-ri-tsy), someone-paradise took lessons from Paisiello. It’s sacred to her, but his study guide “Pra-vi-la ho-ro-she-go ak-com-pa-not-men-ta ...” (“Regole per bene ac -compagnare il partimento ... ", given in Italian in St. Peterburg, 1782). For the performance in St. Petersburg spiritual concerts Paisiello on-pi-sal ora-to-ryu “The Passion of Christ-you” (“Passione di Gesu Cristo” , 1783).

Upon returning to the ro-di-nu, Paisiello was appointed by the court ka-pel-mei-ste-rum and com-po-zi-to-rum not-apo-li -tan-ko-ko-ro-la. In 1799, he became the director of the mu-zy-ki in the revolution pra-vi-tel-st-ve Ne-apo-la, but after the restoration authorities Bur-bo-new from-country-nyon from all dues. In the years 1802-1803 in Pa-ri-same ru-ko-vo-dil personal ka-pel-loy Na-po-le-o-na Bo-na-par-ta. Here it would-la-stave-le-on his opera “Pro-zer-pi-na” (to the French libretto by F. Ki-no, 1803), without having-shay, one-on-ko, mustache -pe-ha. After a hundred-nov-ki in Ne-a-po-le of the opera “Pi-fa-go-rei-tsy” (1808), Paisiello moved away from creative activity.

Paisiello is the largest representative of the Italian operatic art of the second half of the 18th century. He creates, yes, but about 100 operas (se-ria and buff-fa; some soo-shche-st-vu-yut in various editions). Along with N. Pich-chin-ni, Paisiello was the largest master of the Italian comic opera in its highest race-color in the second half of the 18th century. Oper-ry-buf-fa Paisiello from-whether-cha-yut-sve-same-stu and different-but-about-ra-zi-em me-lo-di-ki, vpi-tav-shay element-men - you are not-apo-li-tang folk song, rhythmic ost-ro-toy and iso-bre-ta-tel-no-stu, rising ro-lew or-ke-st -ra. The gift of met-kih and bro-sky kha-rak-te-ri-stick, which was given to someone-by-zi-to-ru, allowed him to create-da-vat for-by-mi-nayu- schi-sya musical stage images. Skillfully using con-tra-sta, he dos-ti-gal str-mi-tel-no-sti action and bright co-medium effects .

Not og-ra-no-chi-va-yas chi-something-me-di-noy te-ma-ti-koy, Paisiello turned to s-s-the-same-there and about-times ek-zo-ti-che-sko-go (“Ki-thai idol”, 1766), chuv-st-vi-tel-no-pas-to-ral-no-go (“Mel-ni- chi-ha ", 1789; not-one-but-time-but became-vi-las in the Moscow Bolshoi te-at-re) ha-rak-te-ra. In the opera “Ni-na, or Be-zoom-naya from love” (libretto by J. Lo-ren-tsi, 1789; in Russia it was called “Ni-na, or From love su-ma-descended-shay, 1797, Bolshoy te-atr), one of the peaks of Paisiello’s creation, he comes closer to ti-pu sen-ti-men-tal-noy bourgeois-zhu-az-noy dra-we. Paisiello had an influence on V. A. Mo-tsar-ta and J. Ros-si-ni.

And a teacher. A master of comic opera, he was a significant influence in shaping the style of Mozart and Rossini.

Biography

Giovanni Paisiello received his primary musical education at the Jesuit school in Taranto, in -1763 he studied in Naples, at the Sant'Onofrio a Capuana Conservatory, where Francesco Durante was one of his teachers. The success of the opera-buffa "Chatterbox" (Il сiarlone), staged in 1764 in Bologna, inspired Paisiello to continue working mainly in this genre. In the following years, his operas, after the premiere in Naples, where the composer lived from 1766, were staged with constant success in other cities of Italy. Orders came from Milan, Venice, Modena; the most famous operas of this period are "The Chinese Idol" (L'idolo cinese, 1766), "Don Quixote" (Don Chisciotte della Mancia, 1769), "Artaxerxes" (1771), "Alexander in India" (Alessandro nelle Indie, 1773 ), "Andromeda" (1774).

In Petersburg

By the mid-70s, the composer's fame had gone beyond Italy. In 1776, Paisiello was invited by Catherine II to St. Petersburg and became, after B. Galuppi and T. Traetta, the third outstanding Italian composer who led the musical life of the capital of the Russian Empire. Paisiello remained court composer until 1784.

In St. Petersburg he wrote at least 10 operas and interludes, his debut was the opera "Nitteti", written to a libretto by Pietro Metastasio (1777), and the most famous of those written in Russia, "The Maid-Mistress" to the libretto by G. Federico (La Serva padrona, 1781) and The Barber of Seville based on the comedy by P. Beaumarchais (Il Barbiere di Siviglia, 1782). Paisiello's operas were performed both in the court and in the city's public theater - the Maly (Volny) Theater on the Tsaritsyn Meadow (now the Field of Mars).

Paisiello also wrote music for court festivities - divertissements for wind instruments. He gave music lessons to Grand Duchess Maria Feodorovna, for whom he composed clavier pieces and instrumental ensembles. In 1782 he published a textbook "Rules for good playing partiment, or fundamental bass, on the harpsichord" ( Regole per bene accompagnare il partimento o sia il basso fondamentale sopra il cembalo), which generalized the didactic practice of implementing digital bass within the framework of typical (for major-minor keys) models, widespread in his homeland.

As a court bandmaster, Paisiello also participated in St. Petersburg spiritual concerts, for which, in particular, The Passion of Jesus Christ was written to a libretto by P. Metastasio (Passione di Gesu Cristo, 1783).

After Petersburg

But among the numerous admirers of the composer was Napoleon, who in 1802 invited Paisiello to Paris. Here, in 1803, Paisiello wrote "Proserpine" to the French libretto by F. Cinema, sustained in the traditions of the old Italian opera seria; after

Giovanni Gregorio Cotaldo Paisiello was born on May 8, 1740 in Taranto, Sicily. He received his musical education at the Jesuit school and continued it at the Sant'Onofrio Conservatory, first under the direction of Durante, and then - Cotumacci. As a composer, Paisiello was popular not only in Italy, but also in Germany, where his works were performed with German text.

He began his brilliant career with two comic operas for the theater in Bologna - "La pupilla" and "Il mondo al rovercio", which were a huge success and brought him fame. This first success prompted Paesiello to work mainly on composing operas. During his life he wrote about a hundred of them. He wrote operas of various genres for the theaters of Naples, Milan, Florence, Rome and St. Petersburg.

In 1776, Paisiello was invited to Russia as a composer and conductor of the Italian court opera. For eight years he was in Russia, during which time he wrote about ten operas and many cantatas. Several piano pieces were written for the Grand Duchess Maria Feodorovna, the wife of the heir to the throne, Pavel. The princess took lessons from Paesuello, and for her he composed a study guide - "Rules for good accompaniment on the harpsichord."

Paisiello made his debut in St. Petersburg with the opera Nittetti. Then Achilles at Skyros and Alcides at the Crossroads were staged. In 1781, the premiere of his opera The Servant - Madam took place in Tsarskoye Selo, and a year later The Barber of Seville was staged in St. Petersburg. Some of the previously created pieces were reworked by Paisiello for the Russian stage. The opera Lunar World was performed at the opening of the Stone Theater in St. Petersburg in 1783. The composer wrote a lot of instrumental music for court festivities, took part in "home" concerts in the palace, where he accompanied the wonderfully singing maid of honor of Catherine II Sinyavina. The Vorontsov family patronized the Italian composer.

In 1786, Paisiello finally returned to his homeland in Naples. Here he becomes the bandmaster of the court chapel and remains in this place for six years. After his departure from Russia, Paisiello not only did not weaken friendly ties with representatives of the Russian nobility, but also acted as a kind of “musical agent” for them abroad, sent notes, reported the latest musical news, tried in every possible way to help.

In 1792, Paisiello was invited by Napoleon to Paris as director of the Tuileries Chapel. Here his opera "Proserpine" was staged, which was not successful and was coldly received by French musicians. Unacceptable conditions of service, and, in part, the reaction to the staged opera, force the composer to return to Naples, to his former position as bandmaster of the court chapel. The political events in Italy in 1815 caused his resignation from the service, although he was retained a bandmaster's salary. The 74-year-old composer could not cope with such a blow of fate and died in 1816.

It is necessary to recall here that Paisiello is also known as a composer of church music. He wrote an oratorio on the Passion of the Lord, a Nativity pastoral, two requiems, three large orchestral masses, and about thirty small four-part masses.

Viktor Kashirnikov

Italian opera composer who worked extensively in Russia

Biography

Giovanni Paisiello received his primary musical education at the Jesuit school in Taranto, in 1754-1763 he studied in Naples, at the Sant'Onofrio a Capuana Conservatory, where Francesco Durante was one of his teachers. The success of the buffa opera Il сiarlone, staged in Bologna in 1764, inspired Paisiello to continue working mainly in this genre. In the following years, his operas, after the premiere in Naples, where the composer lived from 1766, were staged with constant success in other cities of Italy. Orders came from Milan, Venice, Modena; the most famous operas of this period are The Chinese Idol (L "idolo cinese, 1766), Don Quixote (Don Chisciotte della Mancia, 1769), Artaxerxes" (1771), "Alexander in India" (Alessandro nelle Indie, 1773 ), "Andromeda" (1774).

In Petersburg

By the mid-70s, the composer's fame had gone beyond Italy. In 1776, Paisiello was invited by Catherine II to St. Petersburg and became, after B. Galuppi and T. Traetta, the third outstanding Italian composer who led the musical life of the capital of the Russian Empire. Paisiello remained court composer until 1784; here he wrote at least 10 operas and interludes, the opera Nitteti, written to a libretto by Pietro Metastasio (1777), became his debut, and the most famous of those written in Russia, The Maid-Mistress, to a libretto by G. Federico (La Serva padrona, 1781) and The Barber of Seville based on the comedy by P. Beaumarchais (Il Barbiere di Siviglia, 1782). Paisiello's operas were performed both in the court and in the city public theater - the Maly (Free) on the Tsaritsyn Meadow (now the Field of Mars); in 1783, the Stone Theater was opened in St. Petersburg with the performance of the opera Lunar World to the libretto by C. Goldoni.

Paisiello also wrote music for court festivities - divertissement for wind instruments; he gave music lessons to Grand Duchess Maria Feodorovna, for whom he composed clavier pieces and instrumental ensembles; for his student, Paisiello wrote a textbook "Rules for good harpsichord accompaniment" (Regole per bene accompagnare il partimento: about sia il basso fondamentale sopra il Cembalo, 1782).

As a court bandmaster, Paisiello also participated in St. Petersburg spiritual concerts, for which, in particular, The Passion of Jesus Christ was written to a libretto by P. Metastasio (Passione di Gesu Cristo, 1783).

After Petersburg

In 1784, Paisiello returned to his homeland and became the court bandmaster and composer of the King of Naples. By this time, Paisiello had already received recognition in Vienna, for which in 1784 he wrote the opera Il re Teodoro in Venice (1784); during this period, along with the buffa opera (“Cave of Trophonius”, “The Miller’s Woman”, etc.), the composer increasingly turns to the opera seria genre, Antigonus (Antigono, 1785), Phaedra (1788) are born in Naples ), "Abandoned Dido" (Didone abbandonata, 1794), "Andromache" (1797), etc.

In 1799, French troops, with the support of Italian rebels, overthrew the Neapolitan Bourbon and Paisiello received the post of director of national music in the Partenopeian Republic created by Napoleon. Six months later, when the French troops left, the Republic fell; the returned king accused Paisiello of treason for going over to the side of the rebels and removed him from office.

paisiello, giovanni -

(Paisiello, Giovanni) (1740-1816), Italian composer, author of comic operas, singer and instrumentalist. Born May 8, 1740 in Taranto, Sicily. A teacher at the Jesuit school that the boy attended persuaded Father Giovanni to send his son to the Conservatory of St. Onufry in Naples, where Paisiello studied for nine years (since 1754).

Endowed with a lively sense of humor and the ability to make fun of himself and those around him, Paisiello found an outlet for his abilities in composing comic operas; he delighted the listeners with a whole series of works, which were staged with invariable success in the main cities of Italy.

In 1776, Paisiello received an invitation from the Russian Empress Catherine II and went to St. Petersburg. While working at the Russian court (1776-1784), he composed the opera The Barber of Seville (Il Barbiere di Siviglia, 1782), presented during a visit to Russia by naval sailor John Paul Jones, a hero of the American War of Independence. Jones suggested that the composer write a revolutionary anthem for the United States, but Paisiello turned down the offer, saying that America needed new laws much more than such a trifle as the music for the national anthem.

After the successful completion of his service in Russia, Paisiello worked in Vienna, where he wrote 12 symphonies commissioned by Emperor Joseph II and the opera King Theodore in Venice (Il re Teodoro in Venezia, 1784). Returning to his native Naples at the time when the republic was proclaimed there, Paisiello was favored by the new government and received the post of director of music of the Neapolitan Republic. During the restoration of the monarchy, he lost this post, but his services were needed by Napoleon, who wished Paisiello to organize and lead the imperial chapel. In France, Paisiello received the same generous reward as earlier in Russia, which aroused the jealousy of other court musicians. For France, he wrote many operas and even tried to compose an opera to a French libretto (Proserpina, 1803). However, she was not successful, Paisiello lost heart and convinced Napoleon to let him go to Naples, citing his wife's illness.

At home, Paisiello lived the rest of his days safely. He was quite well off, receiving a pension from various monarchs whom he had previously served. Paisiello died in Naples on June 5, 1816.

paisiello, giovanni

(Paisiello, Giovanni) (1740-1816), Italian composer, author of comic operas, singer and instrumentalist. Born May 8, 1740 in Taranto, Sicily. A teacher at the Jesuit school that the boy attended persuaded Father Giovanni to send his son to the Conservatory of St. Onufry in Naples, where Paisiello studied for nine years (since 1754). Endowed with a lively sense of humor and the ability to make fun of himself and those around him, Paisiello found an outlet for his abilities in composing comic operas; he delighted the listeners with a whole series of works, which were staged with invariable success in the main cities of Italy. In 1776, Paisiello received an invitation from the Russian Empress Catherine II and went to St. Petersburg. While working at the Russian court (1776-1784), he composed the opera The Barber of Seville (Il Barbiere di Siviglia, 1782), presented during a visit to Russia by naval sailor John Paul Jones, a hero of the American War of Independence. Jones suggested that the composer write a revolutionary anthem for the United States, but Paisiello turned down the offer, saying that America needed new laws much more than such a trifle as the music for the national anthem. After the successful completion of his service in Russia, Paisiello worked in Vienna, where he wrote 12 symphonies commissioned by Emperor Joseph II and the opera King Theodore in Venice (Il re Teodoro in Venezia, 1784). Returning to his native Naples at the time when the republic was proclaimed there, Paisiello was favored by the new government and received the post of director of music of the Neapolitan Republic. During the restoration of the monarchy, he lost this post, but his services were needed by Napoleon, who wished Paisiello to organize and lead the imperial chapel. In France, Paisiello received the same generous reward as earlier in Russia, which aroused the jealousy of other court musicians. For France, he wrote many operas and even tried to compose an opera to a French libretto (Proserpina, 1803). However, she was not successful, Paisiello lost heart and convinced Napoleon to let him go to Naples, citing his wife's illness. At home, Paisiello lived the rest of his days safely. He was quite well off, receiving a pension from various monarchs whom he had previously served. Paisiello died in Naples on June 5, 1816.

You may be interested to know the lexical, direct or figurative meaning of these words:

pavlova, anna pavlovna
Pavlova, Anna Pavlovna Matveevna - (18811931), one of the greatest ballerinas of the 20th century. Born...
pausanias - (2nd century AD), ancient Greek traveler and writer, author ...