Il Rè Teodoro In Venezia Act Ii Scene 5. No. 18 Quartetto Signor Mio Chiedo Perdono Sandrino Teodoro Lisetta Taddeo - Music

Il Rè Teodoro In Venezia Act Ii Scene 5. No. 18 Quartetto Signor Mio Chiedo Perdono Sandrino Teodoro Lisetta Taddeo by Giovanni Paisiello

Giovanni Paisiello

Artist Biography For Giovanni Paisiello

Giovanni Paisiello Or Paesiello May 9 1740 – June 5 1816 Was An Italian Composer Of The Classical Era. Paisiello Was Born At Taranto Where He Attended The Jesuit College. The Beauty Of His Singing Voice Attracted So Much Attention That In 1754 He Was Sent To The Conservatorio Di S. Onofrio At Naples Where He Studied Under Francesco Durante And In Due Course Became Assistant Master. For The Theatre Of The Conservatorio Which He Left In 1763 He Wrote Some Intermezzi One Of Which Attracted So Much Notice That He Was Invited To Write Two Operas La Pupilla And Il Mondo Al Rovescio For Bologna And A Third Il Marchese Di Tidipano For Rome. His Reputation Being Now Firmly Established He Settled For Some Years At Naples Where Despite The Popularity Of Niccolò Piccinni Domenico Cimarosa And Pietro Guglielmi Of Whose Triumphs He Was Bitterly Jealous He Produced A Series Of Highly Successful Operas One Of Which L'ldolo Cinese Made A Deep Impression Upon The Neapolitan Public. In 1772 Paisiello Began To Write Church Music And Composed A Requiem For Gennara Di Borbone Of The Reigning Dynasty. In The Same Year He Married Cecilia Pallini And The Marriage Was A Happy One. In 1776 Paisiello Was Invited By The Empress Catherine II Of Russia To St Petersburg Where He Remained For Eight Years Producing Among Other Charming Works His Masterpiece Il Barbiere Di Siviglia Which Soon Attained A European Reputation. The Fate Of This Opera Marks An Epoch In The History Of Italian Art For With It The Gentle Suavity Cultivated By The Masters Of The 18th Century Died Out To Make Room For The Dazzling Brilliance Of A Later Period. When In 1816 Gioachino Rossini Set A Newly Revised And Updated Version Of The Libretto To Music Under The Title Of Almaviva It Was Hissed From The Stage Yet Under Its Changed Title Il Barbiere Di Siviglia It Is Now Acknowledged As Rossini's Greatest Work While Paisiello's Opera Is Only Infrequently Produced -- A Strange Instance Of Poetical Vengeance Since Paisiello Himself Had Many Years Previously Endeavoured To Eclipse The Fame Of Pergolesi By Resetting The Libretto Of His Famous Intermezzo La Serva Padrona. Paisiello Left Russia In 1784 And After Producing Il Re Teodoro At Vienna Entered The Service Of Ferdinand IV At Naples Where He Composed Many Of His Best Operas Including Nina And La Molinara. After Many Vicissitudes Resulting From Political And Dynastic Changes He Was Invited To Paris 1802 By Napoleon Whose Favor He Had Won Five Years Previously By A March Composed For The Funeral Of General Hoche. Napoleon Treated Him Munificently While Cruelly Neglecting Two More Famous Composers Luigi Cherubini And Etienne Méhul To Whom The New Favorite Transferred The Hatred He Had Formerly Borne To Cimarosa Guglielmi And Piccinni. Paisiello Conducted The Music Of The Court In The Tuileries With A Stipend Of 10 000 Francs And 4800 For Lodging But He Entirely Failed To Conciliate The Parisian Public Who Received His Opera Proserpine So Coldly That In 1803 He Requested And With Some Difficulty Obtained Permission To Return To Italy Upon The Plea Of His Wife's Ill Health. On His Arrival At Naples Paisiello Was Reinstated In His Former Appointments By Joseph Bonaparte And Joachim Murat But He Had Taxed His Genius Beyond Its Strength And Was Unable To Meet The Demands Now Made Upon It For New Ideas. His Prospects Too Were Precarious. The Power Of The Bonaparte Family Was Tottering To Its Fall And Paisiello's Fortunes Fell With It. The Death Of His Wife In 1815 Tried Him Severely. His Health Failed Rapidly And Constitutional Jealousy Of The Popularity Of Others Was A Source Of Worry And Vexation. Paisiello's Operas Of Which He Is Known To Have Composed 94 Abound With Melodies The Graceful Beauty Of Which Is Still Warmly Appreciated. Perhaps The Best Known Of These Airs Is The Famous "Nel Cor Più Non Mi Sento" From La Molinara Immortalized By Beethoven's Variations. His Church Music Was Very Voluminous Comprising Eight Masses Besides Many Smaller Works He Also Produced Fifty-One Instrumental Compositions And Many Detached Pieces. Manuscript Scores Of Many Of His Operas Were Presented To The Library Of The British Museum By Domenico Dragonetti. The Library Of The Gerolamini At Naples Possesses An Interesting Manuscript Compilation Recording Paisiello's Opinions On Contemporary Composers And Exhibiting Him As A Somewhat Severe Critic Especially Of The Work Of Pergolesi. The Grove Concise Dictionary Of Music 1 Notes That "Paisiello Was One Of The Most Successful And Influential Opera Composers Of His Time. Most Of His Over 80 Operas Are Comic And Use A Simple Direct And Spirited Style Latterly With Sharper Characterization More Colorful Scoring And Warmer Melodies Features That Influenced Mozart . His Serious Operas Have Less Than The Conventional Amount Of Virtuoso Vocal Writing Those He Wrote For Russia Are The Closest To Gluck's 'reform' Approach."