Niccolò Piccinni
Niccolò Piccinni Vito, also Piccini, Nicola Marcello Antonio Giacomo Picci ( n ) ni ( born January 16, 1728 in Bari, † May 7, 1800 in Passy, near Paris) was an Italian composer of classical music. His main area was the opera.
- 2.1 operas ( selection)
- 2.2 instrumental
Life
Naples
His musical education was Niccolò Piccinni in Naples, 1742-1744 by the opera composer Leonardo Leo and then with Francesco Durante at the Conservatorio di to 1754 Sant ' Onofrio. His father was a musician, and his mother was the sister of the opera composer Gaetano latilla. In Naples, he made his debut in 1754 at the Teatro dei Fiorentini with his first opera buffa Le donne dispettose. This was followed in 1756 and 1757, the Opere serie Zenobia and Nitetti. On July 30, 1756 he married his 14 -year-old singing pupil Vincenza Sibilla.
Rome
1758 Piccinni was invited to Rome and had from here his first European success with the opera buffa La buona figliuola (La Ceccina, 1760 ), the text of which came from Carlo Goldoni after Richardson's novel Pamela. In Rome he continued to compose operas both in the style of opera seria based on texts Pietro Metastasio and opere buffe. 1773 he returned to Naples, where he was Director of Music and second organist of the royal chapel.
Paris and the Piccinnistenstreit
Currently Piccinni played in Paris a publicly registered controversy over questions of style of the opera. Had learned early as the beginning of the 18th century since the Abbe and church lawyer François Raguenet with a trip to Italy know the Italian opera and 1702 taken in Paris publicly for the party, the royal court and the Parisian society discussed passionately the question of the primacy of the Italian ago French opera, and vice versa. Fifty years later, the public Italian / French controversy flared up again in the so-called " Buffonistenstreit " after a successful Italian Buffotruppe with La serva padrona had seen ( the maid as Mistress ) by Giovanni Battista Pergolesi in Paris for enthusiasm. Another twenty years later demanded the Paris Opera audience - a specially Italianate party - again after an Italian composer who should represent the Italian Melos. The Neapolitan ambassador in Paris, Domenico Caracciolo, recommended his fellow countryman Piccinni. Since in the meantime, the French king, Louis XV. , Had died, there were delays, so from Vienna Christoph Willibald Gluck was appointed. Piccinni was now himself - now drawn into the new opera dispute between the Gluckists and the rival, him -use as a figurehead Piccinnists - after his arrival in Paris in 1776. This controversy made history in connection with the " Gluck's opera reform ".
" In this conflict, which under the name" received Piccinnists dispute " in the history of music, Piccinni remained almost the only dignity and credibility. His ability to adapt to the requirements of the French operatic stage (which he did in a far greater degree by the way, as a Gluck ), sign of the considerable compositional skills and self -confidence. "
Gluck returned to Vienna in 1779, during Piccinni remained in Paris and as an opera conductor royale initiated an Italian opera company at the Académie. Likewise, he set six operas in the style of Tragédie lyrique, the main form of French opera. 1783 had its Didon great success.
As an Italian singing teacher, he became in 1784 professor at the newly founded École Royale de Chant et de Déclamtion ( Royal School of singing and declamation ) in Paris. After the outbreak of the French Revolution in 1789, he lost his salary, and returned to Italy, where he lived alternately in Venice, Rome and Naples (where he had serve a prison term for political reasons ) and continue aufführte operas. 1798 however, he returned to Paris.
Piccinni was a member of a Masonic lodge, the so-called Philosophenloge Neuf Sœurs in Paris. In 1800 he died at Passy, near Paris.
In his hometown of Bari, a memorial plaque was after his death to his birthplace attached, a street ( " Via Piccinni " ) and the " Conservatorio di Musica N. Piccinni " named after him.
Works
His oeuvre is its periphery, not yet tapped. Detailed lists of his works are in MGG 2, 2005 in New Grove Dictionary of Opera in 1998 and in Rivista musicale italiana, viii. 75 published. The specified number of its sources in the ( Italian ) opera - they show in later years, French and German influences - varies between 80 and 120 more vocal compositions, including oratorios, belong to the church music.
Operas ( selection)
- Le Donne dispettose (Naples 1754)
- Zenobia, opera seria (Naples 1756 )
- Nitetti, opera seria (Naples 1757)
- Alessandro nell'Indie, opera seria by Pietro Metastasio (Rome 1758, recast Naples 1774)
- La buona figliuola, opera buffa by Carlo Goldoni (Rome -1760 )
- Olimpiade, opera seria by Metastasio (1761, second version 1768)
- La buona figliuola maritata, opera buffa (Bologna 1761)
- Le donne vendicate, opera buffa (Rome 1763)
- La pescatrice, opera buffa by Goldoni (Rome 1766 )
- Catone in Utica, opera seria by Metastasio (1770, reissue 2007 in Mannheim )
- Iphigénie en Tauride (1781, opera seria )
- Didon ( Fontainebleau 1783)
- Penelope ( Fontainebleau, 1785)