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Niccolò Antonio Zingarelli

January 01, 1970

Niccolò Antonio Zingarelli (Italian pronunciation: [nikkoˈlɔ anˈtɔːnjo ddziŋɡaˈrɛlli]; 4 April 1752 – 5 May 1837) was an Italian composer, chiefly of opera.

Niccolò Antonio Zingarelli

Life edit

Early career edit

Zingarelli was born in Naples, where he studied (from the age of 7) at the Santa Maria di Loreto conservatory under Fenaroli and Speranza.

In 1789–1790 Zingarelli went to Paris to compose Antigone. He left France hurriedly at the time of the revolution and eventually returned to Italy. He was appointed maestro di cappella at Milan Cathedral in 1793, and remained there until 1794, when he took up the prestigious post of maestro di cappella at the Basilica della Santa Casa, Loreto.[1]

Rome edit

In 1804, Zingarelli was appointed choir master of the Sistine Chapel in Rome. Seven years later he publicly refused, as an Italian patriot, to conduct a Te Deum for Napoleon's new-born son, known as King of Rome, in St. Peter's Basilica. As a result of this refusal he was captured and taken to Paris. Nevertheless, the Emperor was a great admirer of Zingarelli's music and soon gave the composer his liberty. In addition, Zingarelli was awarded a state pension.

Naples edit

In 1813, Zingarelli moved to Naples, where he became director of the conservatory. Then in 1816 he replaced Giovanni Paisiello as choir master of Naples Cathedral, a position he held until his death in 1837.

He died at Torre del Greco in 1837. Donizetti wrote a sinfonia funebre for his funeral.[2]

Works edit

Opera edit

In his early career, Zingarelli concentrated on writing opera; his debut was with the opera seria Montezuma, given at San Carlo on 13 August 1781, which aroused some interest, although the public in Naples found it too “learned”. Haydn revived it at the Eszterháza theatre in 1785.

Antigone, in which Zingarelli adopted some of the reform principles of French opera, won little favour in Paris; after that he eschewed innovation and contented himself with tried and tested formulae.

Zingarelli wrote 37 mainly comic operas in a prolific career. Between 1785 and 1803 he wrote mainly for La Scala of Milan, the first to be produced here being Alsinda. He achieved immediate success with Il mercato di Monfregoso and La secchia rapita. However Giulietta e Romeo is nowadays often considered his best opera. His last opera, Berenice, achieved considerable success in his lifetime after its initial production in Rome.

Surviving operas include:

  • Montezuma (1781)
  • Alsinda (1785)
  • Ifigenia in Aulide (1787)
  • Artaserse (1789)
  • Antigone (1790)
  • La morte di Cesare (1790)
  • Pirro re di Epiro (1791)
  • Annibale in Torino (1792)
  • L'oracolo sannita (1792)
  • Il mercato di Monfregoso (1792)
  • Apelle (1793, revised as Apelle e Campaspe (1795)
  • Quinto Fabio (1794)
  • Il conte di Saldagna (1794)
  • Gli Orazi e i Curiazi (1795)
  • Giulietta e Romeo (1796)
  • La morte di Mitridate (1797)
  • Ines de Castro (1798)
  • Carolina e Mexicow (1798)
  • Meleagro (1798)
  • Il ritratto (1799)
  • Il ratto delle Sabine (1799)
  • Clitennestra (1800)
  • Edipo a Colono (1802)
  • Il bevitore fortunato (1803)
  • Berenice regina d'Armenia (1811)

There are 4 doubtful works; and 17 operas were lost including:

Sacred music edit

Being a deeply religious Catholic, Zingarelli devoted most of his attention to masses, oratorios, cantatas, and motets. For Loreto he composed 541 works, including 28 masses.

In 1829, aged 80, he wrote a Cantata Sacra, based on Isaiah chapter 12 for the Birmingham Music Festival. This was the occasion for the memorably inauspicious début of his protégé and representative Michael Costa, aged 19. The intention was that Costa should rehearse and conduct the work, but J. B Cramer and Thomas Greatorex elbowed him out and was instead engaged as a tenor soloist in another concert. Unfortunately both the work and Costa's singing met with ferocious criticism: "[This cantata] is one of the most tame, insipid things we were ever doomed to hear: a heap of common-place trash from the first to the last note. After twaddling in B-flat for half-an-hour, he ventures for a few bars into F, then returns to B, and there is an end." "As a singer [Costa] is far below mediocrity, and he does not compensate for his vocal deficiencies by his personal address, which is abundantly awkward. In the theatre while singing the air "Nel furor delle tempeste" [from Bellini's Il pirata] and accompanying himself, he had a narrow escape. The tempests proved contagious, and were beginning to manifest themselves in the galleries, and had he remained but a few moments longer on the stage, he would have witnessed a storm compared to which the roarings of his own Vesuvius would have seemed but a murmur."[3]

Less than a month before his death he produced an oratorio, The Flight into Egypt, and his requiem mass, composed for his own funeral, is said to embody his most devotional church style.[4]

Educational works edit

Zingarelli wrote two influential books of partimenti, which are the biggest corpus of partimenti after those of Fedele Fenaroli.[5]

See also edit

References edit

  1. ^ Slonimsky, Nicolas (1978). "Zingarelli, Nicola Antonio". Baker's Biographical Dictionary of Musicians (6th ed.). New York: Schirmer Books. pp. 1948–1949. ISBN 0-02-870240-9.
  2. ^ William Ashbrook (1983). Donizetti and His Operas. Cambridge University Press. p. 724. ISBN 978-0-521-27663-4.
  3. ^ "Sir Michael Costa. Born, February 4, 1810. Died, April 28, 1884". The Musical Times and Singing Class Circular. 25 (496): 321–323. 1 June 1884. JSTOR 3356498.
  4. ^ A list may be found at nl:Nicola Antonio Zingarelli#Missen, cantates, oratoria en gewijde muziek on the Dutch Wikipedia.
  5. ^ Sanguinetti, Giorgio (May 2012). The Art of Partimento. Oxford University Press, USA. p. 86. ISBN 978-0-19-539420-7.

  This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). "Niccolò Antonio Zingarelli". Catholic Encyclopedia. New York: Robert Appleton Company.

Further reading edit

  • Caraci, Maria (1988). "Niccolò Zingarelli tra mito e critica". Nuova rivista musicale italiana. 22: 375–422.

External links edit

 
Wikimedia Commons has media related to Niccolò Antonio Zingarelli.

January 01, 1970
niccolò, antonio, zingarelli, italian, pronunciation, nikkoˈlɔ, anˈtɔːnjo, ddziŋɡaˈrɛlli, april, 1752, 1837, italian, composer, chiefly, opera, contents, life, early, career, rome, naples, works, opera, sacred, music, educational, works, also, references, furt. Niccolo Antonio Zingarelli Italian pronunciation nikkoˈlɔ anˈtɔːnjo ddziŋɡaˈrɛlli 4 April 1752 5 May 1837 was an Italian composer chiefly of opera Niccolo Antonio Zingarelli Contents 1 Life 1 1 Early career 1 2 Rome 1 3 Naples 2 Works 2 1 Opera 2 2 Sacred music 2 3 Educational works 3 See also 4 References 5 Further reading 6 External linksLife editEarly career edit Zingarelli was born in Naples where he studied from the age of 7 at the Santa Maria di Loreto conservatory under Fenaroli and Speranza In 1789 1790 Zingarelli went to Paris to compose Antigone He left France hurriedly at the time of the revolution and eventually returned to Italy He was appointed maestro di cappella at Milan Cathedral in 1793 and remained there until 1794 when he took up the prestigious post of maestro di cappella at the Basilica della Santa Casa Loreto 1 Rome edit In 1804 Zingarelli was appointed choir master of the Sistine Chapel in Rome Seven years later he publicly refused as an Italian patriot to conduct a Te Deum for Napoleon s new born son known as King of Rome in St Peter s Basilica As a result of this refusal he was captured and taken to Paris Nevertheless the Emperor was a great admirer of Zingarelli s music and soon gave the composer his liberty In addition Zingarelli was awarded a state pension Naples edit In 1813 Zingarelli moved to Naples where he became director of the conservatory Then in 1816 he replaced Giovanni Paisiello as choir master of Naples Cathedral a position he held until his death in 1837 He died at Torre del Greco in 1837 Donizetti wrote a sinfonia funebre for his funeral 2 Works editOpera edit In his early career Zingarelli concentrated on writing opera his debut was with the opera seria Montezuma given at San Carlo on 13 August 1781 which aroused some interest although the public in Naples found it too learned Haydn revived it at the Eszterhaza theatre in 1785 Antigone in which Zingarelli adopted some of the reform principles of French opera won little favour in Paris after that he eschewed innovation and contented himself with tried and tested formulae Zingarelli wrote 37 mainly comic operas in a prolific career Between 1785 and 1803 he wrote mainly for La Scala of Milan the first to be produced here being Alsinda He achieved immediate success with Il mercato di Monfregoso and La secchia rapita However Giulietta e Romeo is nowadays often considered his best opera His last opera Berenice achieved considerable success in his lifetime after its initial production in Rome Surviving operas include Montezuma 1781 Alsinda 1785 Ifigenia in Aulide 1787 Artaserse 1789 Antigone 1790 La morte di Cesare 1790 Pirro re di Epiro 1791 Annibale in Torino 1792 L oracolo sannita 1792 Il mercato di Monfregoso 1792 Apelle 1793 revised as Apelle e Campaspe 1795 Quinto Fabio 1794 Il conte di Saldagna 1794 Gli Orazi e i Curiazi 1795 Giulietta e Romeo 1796 La morte di Mitridate 1797 Ines de Castro 1798 Carolina e Mexicow 1798 Meleagro 1798 Il ritratto 1799 Il ratto delle Sabine 1799 Clitennestra 1800 Edipo a Colono 1802 Il bevitore fortunato 1803 Berenice regina d Armenia 1811 There are 4 doubtful works and 17 operas were lost including La secchia rapita 1793 Baldovino 1811 libretto by Jacopo Ferretti Sacred music edit Being a deeply religious Catholic Zingarelli devoted most of his attention to masses oratorios cantatas and motets For Loreto he composed 541 works including 28 masses In 1829 aged 80 he wrote a Cantata Sacra based on Isaiah chapter 12 for the Birmingham Music Festival This was the occasion for the memorably inauspicious debut of his protege and representative Michael Costa aged 19 The intention was that Costa should rehearse and conduct the work but J B Cramer and Thomas Greatorex elbowed him out and was instead engaged as a tenor soloist in another concert Unfortunately both the work and Costa s singing met with ferocious criticism This cantata is one of the most tame insipid things we were ever doomed to hear a heap of common place trash from the first to the last note After twaddling in B flat for half an hour he ventures for a few bars into F then returns to B and there is an end As a singer Costa is far below mediocrity and he does not compensate for his vocal deficiencies by his personal address which is abundantly awkward In the theatre while singing the air Nel furor delle tempeste from Bellini s Il pirata and accompanying himself he had a narrow escape The tempests proved contagious and were beginning to manifest themselves in the galleries and had he remained but a few moments longer on the stage he would have witnessed a storm compared to which the roarings of his own Vesuvius would have seemed but a murmur 3 Less than a month before his death he produced an oratorio The Flight into Egypt and his requiem mass composed for his own funeral is said to embody his most devotional church style 4 Educational works edit Zingarelli wrote two influential books of partimenti which are the biggest corpus of partimenti after those of Fedele Fenaroli 5 See also editSee List of music students by teacher T to Z Niccolo Antonio Zingarelli References edit Slonimsky Nicolas 1978 Zingarelli Nicola Antonio Baker s Biographical Dictionary of Musicians 6th ed New York Schirmer Books pp 1948 1949 ISBN 0 02 870240 9 William Ashbrook 1983 Donizetti and His Operas Cambridge University Press p 724 ISBN 978 0 521 27663 4 Sir Michael Costa Born February 4 1810 Died April 28 1884 The Musical Times and Singing Class Circular 25 496 321 323 1 June 1884 JSTOR 3356498 A list may be found at nl Nicola Antonio Zingarelli Missen cantates oratoria en gewijde muziek on the Dutch Wikipedia Sanguinetti Giorgio May 2012 The Art of Partimento Oxford University Press USA p 86 ISBN 978 0 19 539420 7 nbsp This article incorporates text from a publication now in the public domain Herbermann Charles ed 1913 Niccolo Antonio Zingarelli Catholic Encyclopedia New York Robert Appleton Company Further reading editCaraci Maria 1988 Niccolo Zingarelli tra mito e critica Nuova rivista musicale italiana 22 375 422 External links edit nbsp Wikimedia Commons has media related to Niccolo Antonio Zingarelli Free scores by Niccolo Antonio Zingarelli in the Choral Public Domain Library ChoralWiki Free scores by Niccolo Antonio Zingarelli at the International Music Score Library Project IMSLP Portals nbsp Biography nbsp Classical music nbsp Opera Retrieved from https en wikipedia org w index php title Niccolo Antonio Zingarelli amp oldid 1218348878, wikipedia, wiki, book, books, library,

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