Famous composers of Italy. Origin, childhood

Giuseppe Verdi, whose biography is presented in the article, is a famous Italian composer. The years of his life are 1813-1901. A bunch of immortal works created by Verdi Giuseppe. The biography of this composer is certainly worthy of attention.

His work is considered the highest point in the development of 19th century music in his native country. Verdi's activity as a composer spanned more than half a century. She was mainly associated with the opera genre. Verdi created the first of them when he was 26 years old (Oberto, Count di San Bonifacio), and he wrote the last one at 80 years old (Falstaff). The author of 32 operas (including new editions of works written earlier) is Giuseppe Verdi. His biography still evokes big interest, and Verdi’s creations are still included in the main repertoire of theaters around the world today.

Origin, childhood

Giuseppe was born in Roncola. This village was located in the province of Parma, which at that time was part of the Napoleonic Empire. The photo below shows the house in which the composer was born and spent his childhood. It is known that his father ran a grocery business and maintained a wine cellar.

Giuseppe received his first lessons in Verdi's music from the local church organist. His biography is marked first important event in 1823. It was then that the future composer was sent to Busseto, a neighboring town, where he continued his studies at school. At the age of 11, Giuseppe began to exhibit pronounced musical abilities. The boy began to perform the duties of organist in Ronkola.

Giuseppe was noticed by A. Barezzi, a wealthy merchant from Busseto, who supplied the shop of the boy's father and had a great interest in music. The future composer owes what he received musical education exactly this person. Barezzi took him into his house, hired the boy the best teacher and began to pay for his education in Milan.

Giuseppe becomes a conductor, studying with V. Lavigny

At the age of 15 he was already the conductor of Giuseppe Verdi's small orchestra. short biography it continues with the arrival in Milan. He went here with money raised by his father’s friends. Giuseppe's goal was to enter the conservatory. However, he was not accepted into this educational institution due to lack of ability. Nevertheless, V. Lavigna, a Milanese conductor and composer, appreciated Giuseppe’s talent. He started teaching him compositions for free. I learned operatic writing and orchestration in practice, in opera houses Milana Giuseppe Verdi. His short biography is marked by the appearance of his first works a few years later.

First works

Verdi lived in Busseto from 1835 to 1838 and worked as a conductor in the municipal orchestra. Giuseppe created his first opera in 1837, entitled Oberto, San Bonifacio. This work was staged 2 years later in Milan. It was a great success. By order of La Scala, the famous Milan theater, Verdi wrote a comic opera. He called it "Imaginary Stanislav, or one day of reign." It was staged in 1840 ("The King for an Hour"). Another work, the opera "Nabucco", was presented to the public in 1842 ("Nebuchadnezzar"). In it, the composer reflected the aspirations and feelings of the Italian people, who in those years began the struggle for independence, for deliverance from the Austrian yoke. The audience saw in the suffering of the Jewish people who found themselves in captivity an analogy with contemporary Italy. The choir of captive Jews from this work caused active political demonstrations. Giuseppe's next opera, "The Lombards in crusade", also echoed calls for the overthrow of tyranny. It was staged in Milan in 1843. And in Paris in 1847, the second edition of this opera with ballet ("Jerusalem") was presented to the public.

Life in Paris, marriage to G. Strepponi

In the period from 1847 to 1849 he was mainly in the French capital Giuseppe Verdi. His biography and work at this time were marked by important events. It was in the French capital that he made a new edition of “The Lombards” (“Jerusalem”). In addition, in Paris, Verdi met his friend, Giuseppina Strepponi (her portrait is presented above). This singer took part in productions of “Lombards” and “Nabucco” in Milan and already in those years became close to the composer. They eventually got married 10 years later.

Characteristics of Verdi's early work

Almost all of Giuseppe’s works from the first period of his creative work are permeated through and through with patriotic sentiments and heroic pathos. They are associated with the fight against oppressors. This is, for example, “Ernani”, written after Hugo (the first production took place in Venice in 1844). Verdi based his work “The Two Foscari” on Byron (the premiere took place in Rome in 1844). He was also interested in Schiller's work. "The Maid of Orleans" was presented in Milan in 1845. In the same year, the premiere of "Alzira" based on Voltaire took place in Naples. Shakespeare's Macbeth was staged in Florence in 1847. Greatest success Among the works of this time were the operas "Macbeth", "Attila" and "Ernani". The stage situations from these works reminded the audience of the situation in their country.

Response to the French Revolution by Giuseppe Verdi

Biography, summary works and testimonies of the composer's contemporaries indicate that Verdi warmly responded to French revolution 1848. He witnessed her in Paris. Returning to Italy, Verdi composed The Battle of Legnano. This heroic opera was staged in Rome in 1849. Its second edition dates back to 1861 and was presented in Milan (“The Siege of Harlem”). This work describes how the Lombards fought to unify the country. Mazzini, an Italian revolutionary, commissioned Giuseppe to write a revolutionary anthem. This is how the work “The Trumpet Sounds” appeared.

1850s in the work of Verdi

1850s - new period creativity of Giuseppe Fortunino Francesco Verdi. His biography was marked by the creation of operas that reflect experiences and feelings ordinary people. The struggle of freedom-loving individuals against bourgeois society or feudal oppression became the central theme of the composer’s work of this time. It can be heard already in the first operas belonging to this period. In 1849, "Louise Miller" was presented to the public in Naples. This work is based on the drama “Cunning and Love” by Schiller. In 1850, Stiffelio was staged in Trieste.

The theme of social inequality was developed with even greater force in such immortal works as Rigoletto (1851), Il Trovatore (1853) and La Traviata (1853). The character of the music in these operas is truly folk. They revealed the composer's gift as a playwright and melodist, reflecting the truth of life in his works.

Development of the "grand opera" genre

The following creations by Verdi belong to the genre " grand opera". These are such historical and romantic works as "Sicilian Vespers" (staged in Paris in 1855), "Un ballo in maschera" (premiered in Rome in 1859), "Force of Destiny", written by order Mariinsky Theater. By the way, in connection with the production last opera Verdi visited St. Petersburg twice in 1862. The photo below shows his portrait taken in Russia.

In 1867, Don Carlos appeared, written after Schiller. In these operas, Giuseppe's themes of fighting oppressors and inequality, which were near and dear to his heart, are embodied in performances that are replete with contrasting, effective scenes.

Opera "Aida"

With the opera "Aida" a new period of Verdi's work begins. It was commissioned by the Egyptian khedive to the composer in connection with an important event - the opening of the Suez Canal. A. Mariette Bey, a famous Egyptologist, suggested to the author interesting story, which represents life Ancient Egypt. Verdi became interested in this idea. Librettist Ghislanzoni worked on the libretto with Verdi. Aida premiered in Cairo in 1871. The success was huge.

The composer's later work

After this, Giuseppe did not create new operas for 14 years. He was reviewing his old works. For example, in Milan in 1881 the premiere of the second edition of the opera Simon Boccanegra, written in 1857 by Giuseppe Verdi, took place. It was said about the composer that because of old age he can no longer create anything new. However, he soon surprised the audience. 72-year-old Italian composer Giuseppe Verdi said he was working on creating new opera"Othello". It was staged in Milan in 1887, and with the ballet in Paris in 1894. And a few years later, 80-year-old Giuseppe attended the premiere of a new work, also created after the production of “Falstaff” in Milan in 1893. Giuseppe found a wonderful librettist, Boito, for Shakespeare's operas. In the photo below are Boito (left) and Verdi.

Giuseppe in his last three operas sought to expand forms, to merge dramatic action and music. He gave recitative a new meaning and strengthened the role played by the orchestra in revealing the images.

Verdi's own path in music

As for Giuseppe's other works, Requiem stands out among them. It is dedicated to the memory of A. Manzoni, famous poet. Giuseppe's work is distinguished by its realistic character. It’s not for nothing that the composer was called a chronicler musical life Europe 1840-1890 Verdi followed the achievements of contemporary composers - Donizetti, Bellini, Wagner, Meyerbeer, Gounod. However, Giuseppe Verdi did not imitate them. His biography is marked by the creation independent works already in early period creativity. The composer decided to go his own way and was not mistaken. Intelligible, bright, melodic rich music Verdi became very popular all over the world. Democracy and realism of creativity, humanism and humanity, connection with folk art home country, - these are the main reasons why Verdi gained great fame.

On January 27, 1901, Giuseppe Verdi died in Milan. His brief biography and work are still of interest to music lovers from all over the world.

BONONCINI - family of Italian musicians:

Giovanni Maria (1642 – 1648) – composer, violinist, theorist. Op. 9 collections of sonatas and dance pieces. He owns a treatise on counterpoint. IN last years wrote a chamber opera, a number of madrigals, and solo cantatas.

Giovanni Batista (1670 – 1747) – his son, composer and cellist. His legacy includes 40 operas, over 250 solo cantatas, about 90 symphonies, concerts, and trio sonatas. The success of some of his operas in London surpassed that of his main rival, Handel.

Antonio Maria (1677 – 1726) – composer and cellist. Author of works for musical theater and churches. In terms of texture and harmony, his music was more refined than that of his older brother, but it never enjoyed the same success.

Giovanni Maria Jr. (1678 – 1753) – half-brother, cellist, then violinist in Rome, author of vocal works.

VIVALDI ANTONIO (1678 – 1741)

Highest achievements belong to the instrumental concert genre. Occupies a significant place in the heritage vocal music. Striving for success in op. genre and traveled a lot directing his productions. Worked in op. theaters in Vicenza, Venice, Mantua, Rome, Prague, Vienna, Ferrara, Amsterdam. Op. OK. 50 operas(20 preserved), incl. "Titus Manlius", "Justin", " Furious Roland", "The Faithful Nymph", "Griselda", "Bayazet". OK. 40 solo cantatas, oratorio “Judith Triumphant”).

Giordani Giuseppe (c.1753 – 1798)

DUNI EGIDIO (1708 – 1775)

He studied in Naples with Durante. Author of 10 opera series based on texts Metastasio, about 20 op. in the French genre comic opera. He introduced ariettas and recitatives in the Italian style. This genre is called Comedy with Ariettas.Operas:“Nero”, “Demophon”, “The Artist in Love with His Model” (comic op.).

DURANTE FRANCESCO (1684 – 1755)

Italian composer. He studied in Naples, then became the first conductor of several Neapolitan conservatories. He was considered the best composition teacher in Naples. Among his students are Duni, Pergolesi, Piccini, Paisiello. Unlike other it. composers did not write operas. The most valuable part of his heritage is sacred music. Instrumental works are also interesting - 12 sonatas for harpsichord, 8 concertos for quartet, plays from the pedagogical repertoire.

CAVALLI FRANCESCO (1602 – 1676)

Nicknamed Bruni. He was a choirmaster and organist at St. Stamp in Venice. He began writing operas that were performed in opera houses in Italy. After Paris, where his opera “Hercules the Lover” was staged with singing and dancing written for this performance by the young Lully, all of Cavalli’s further activities were connected with the Cathedral of St. Brand. He is the author of about 30 operas. Thanks to him, Venice of the 17th century. became the center of IT. opera art. Like the later op. Monteverdi, op. Cavalli is rich in contrasts and psychological nuances; pathetic, even tragic climaxes in them are often replaced by episodes of a comic and everyday nature.

Operas: “The Love of Apollo and Daphne”, “Dido”, “Ormindo”, “Jason”, “Calisto”, “Xerxes”, “Hercules the Lover”

Spiritual music: Mass, 3 vespers, 2 Magnificats, Requiem

Secular music: cantata arias.

CALDARA ANTONIO (1670 – 1736)

He played the viola, cello, and clavier. He composed almost exclusively vocal music - oratorios, cantatas, opera seria. Served as church and theater bandmaster. Later he composed a number of works for the Vienna carnival and court festivities, as well as for Salzburg. In total, he wrote 3,000 vocal compositions. Metastasio was the first to set many of Metastasio's librettos to music.

CARISSIMI GIACOMO (1605 – 1674)

He was a choirmaster, organist, bandmaster of the Jesuit Collegiate Germanico, and was ordained. The most significant part of the heritage is the oratorios, designed in a narrative-recitative style. Some fragments by the nature of the writing are close to arias. Important role allocated to choral scenes. Among his students are A. Chesti, A. Scarlatti, M.-A. Charpentier.

Works: 4 Masses, about 100 motets, 14 oratorios incl. “Belshazzar”, “Jeuthae”, “Jonah”, about 100 secular cantatas.

CACCINI GIULIO (1545 – 1618)

Had a nickname - Roman. Composer, singer, lutenist. He was patronized by Duke Cosimo I de' Medici, who took him to Florence, where he attended meetings of the Camerata and developed a new style of singing - stile recitativo. He published the collection “New Music”, where he most fully reflected his innovative aspirations. The collection includes madrigals and strophic arias for voice and basso continuo. The most popular song collection – Amarilli. In 1614, the composer’s second collection, “New Music and new way write them." The name of Caccini, an outstanding composer and innovative singer, was not forgotten throughout the 17th century. Many composers created collections of vocal pieces based on his model. Caccini's two daughters, Francesca and Settimia, became famous as singers and composed music.

MARTINI (1741 – 1816)

Nickname Il Tedesco ("Italian German" real name Schwarzendorf Johann Paul Egidius). German composer. Before moving to Paris (1764), he was in the service of the Duke of Lorraine. He taught at the Paris Conservatory, directed the court orchestra. Author of 13 operas, vocal miniatures (incl. popular song"Plaisir d'amour"

MARCELLO ALESSANDRO (1669 – 1747)

Brother B. Marcello. An amateur musician, he organized concerts in his Venetian house. He composed solo cantatas, arias, canzonettas, violin sonatas and concertos. Concertos for oboe and strings (6 in total) belong to the latest examples of the Venetian baroque variety of the genre. Concerto for oboe and strings in d minor (c. 1717) is known in J. S. Bach's arrangement for clavier.

MARCELLO BENEDETTO (1686 – 1739)

Composer, music writer, lawyer, brother of A. Marcello. He held high government positions in Venice. The collection of psalms for 1 – 4 voices with digital bass (50 in total) brought wide popularity. He also owns other compositions for church, oratorios, operas, over 400 solo cantatas, duets, as well as sonatas and concertos, marked by the influence of Vivaldi. His music combines polyphonic mastery with sensitivity to the new gallant style. An interesting treatise by Marcello is a satire on opera seria.

PAISIELLO GIOVANNI (1740 – 1816)

He studied in Naples with Durante. He gained a reputation as one of the leading masters of the opera buffa genre. He served as bandmaster at the court of Catherine II in St. Petersburg. Among this period, op. " Barber of Seville" Upon returning to Naples he began to write opera sevenseries(semi-serious) - “Nina, or Crazy in Love.” He served briefly in Paris as the personal bandmaster of Napoleon I. The quality of Paisiello's operas influenced Mozart - the art of the muses. character sketches, mastery of orchestral writing, melodic inventiveness. Operas:“Don Quixote”, “The Maid-Madam”, “King Theodore in Venice”, “The Miller’s Wife”, “Proserpina”, “The Pythagoreans” and at least 75 more operas.

PERGOLESI GIOVANNI BATISTA (1710 – 1736)

He studied in Naples and at the same time worked as a violinist in an orchestra. Wrote stage works in the genre sacred drama. He died of tuberculosis at the age of 26. Go down in history as the founder of the genre opera buffa. The masterpiece of this genre was op. "Servant Mistress." He wrote works for the church: “Stabat mater” for soprano, contralto and orchestra, 2 Masses, Vespers, 2 “Salve Regina”, 2 motets.

PERI JACOPO (1561 – 1633)

Composer and singer, priest. Served as a composer and singer at court Medici. He was also known as a performer on kitarrone –(plucked string instrument, a type of bass lute, up to 2 m long, used mainly to accompany solo singing). Attended meetings Cameras. He composed in a new recitative style, imitating the ancient practice of solo singing with accompaniment. Wrote operas " Daphne", "Eurydice". He also composed a collection of vocal pieces containing several examples of recitative style.

PICCINI NICCOLO (1728 – 1800)

He studied in Naples with Durante. He not only composed operas, but also taught singing, was a bandmaster and organist. Having settled in Paris, he wrote a number of serious and comic French works. oper. Serious competition from Gluck did not prevent his success lyrical tragedies"Roland", "Iphigenia in Tauris", "Dido". The opera “Cecchina, or the Good Daughter” (1760) brought him international fame.

SARRI DOMENICO (1679 – 1744)

He studied in Naples, where he also served as court conductor. Early operas, oratorios, and serenata are designed in the same baroque style as the vocal music of A. Scarlatti. At the same time, his work contributed to the development of a simpler and more melodic Neapolitan style.

SCARLATTI ALESSANDRO (1660 – 1725)

Kapellmeister of theatres, the Royal Chapel and the Conservatory of Naples, where he taught. Among the students are D. Scarlatti, F. Durante, I. A. Hasse. One of the founders and the largest representative Neapolitan Opera School. Under him such forms as aria da capo, Italian overture, recitative with instrumental accompaniment. Op. more than 125 opera seria , incl. “The Follies of Love or Rosaura”, “The Corinthian Shepherd”, “ Great Tamerlane", "Mithridates Evpator", "Telemacus", etc. Over 700 cantatas, 33 serenata, 8 madrigals.

SCARLATTI DOMENICO (1685 – 1757)

Son of A. Scarlatti. He wrote operas, sacred and secular music, but gained fame as a virtuoso harpsichordist. The main place in his work was occupied by one-part keyboard works, which he called “exercises”. Innovator in the field of keyboard technology. Op. more than 550 keyboard sonatas, 12 operas, 70 cantatas, 3 Masses, Stabat Mater, Te Deum

STRADELLA ALESSANDRO (1644 – 1682)

Italian composer, composed music commissioned by Queen Christina. Among his works of the Roman period, prologues and intermezzos predominate, incl. to the operas Cavalli and Cesti. His life was replete with scandals and loud love stories. In 1677 he fled to Genoa. Among several operas staged in Genoa, the comic “Guardian of Trespolo” stands out. Stradella was killed out of revenge by mercenaries of the Lomellini family.

One of the most talented and versatile composers of his time. In total, he composed about 30 stage works and about 200 cantatas. 27 instrumental works have survived.

HONOR ANTONIO (1623 – 1669)

The real name of this Franciscan monk is Pietro. In his youth he served as a church choirmaster in Arezzo, then became a novice in the Florentine monastery of Santa Croce. Cathedral organist, then conductor at Voltaire, where he was patronized by his family Medici. Cesti's career as an opera composer began in 1649, when his opera Orontea was successfully performed in Venice. In 1652 he became court musician to Archduke Ferdinand Charles in Innsbruck and was defrocked. From 1665 he served at the Viennese imperial court. During the short time spent in Vienna, he created many operas, incl. grandiose " Golden Apple» , the production of which was timed to coincide with the wedding of Leopold I. Shortly before his death, he was appointed conductor at the Tuscan court in Florence.

Agostino Agazzari(12/02/1578 - 04/10/1640) - Italian composer and music theorist.

Agazzari was born in Siena into an aristocratic family and received a good education. In 1600 he published two books of his madrigals in Venice. In 1601 Agazzari moved to Rome and became a teacher at the German-Hungarian College (seminary).

Adriano Banchieri(09/03/1568 - 1634) - Italian composer, music theorist, organist and poet late Renaissance and early Baroque. One of the founders of the Accademia dei Floridi in Bologna - one of the leading Italian music academies XVII century.

Alessandro Grandi (de Grandi)(1586 - summer 1630) - Italian composer of the early Baroque era, wrote in the new concertato style. He was a popular composer northern Italy of that time, famous for its church music, secular cantatas and arias.

Alfonso Fontanelli(02/15/1557 - 02/11/1622) - Italian composer, writer, diplomat, court aristocrat of the late Renaissance and early Baroque. One of the leading representatives of the Ferrara school of art of the late 16th century, one of the first composers in the style of the "Second Practice" in the transition to the Baroque era.

Antonio Cesti(baptized August 5, 1623 - October 14, 1669) - Italian Baroque composer, singer (tenor) and organist. One of the most famous Italian composers of his time, he mainly composed operas and cantatas.

Girolamo Frescobaldi(09/13/1583 - 03/01/1643) - Italian composer, musician, teacher. One of the most important composers organ music late Renaissance and early Baroque. His works are the culmination of the development of organ music in the 17th century and influenced many major composers, including Johann Sebastian Bach, Henry Purcell and others, until the end of the 19th century.

Giovanni Bassano(c. 1558 - summer 1617) - Italian composer and cornettist (cornett - ancient wind instrument) wooden instrument) Venetian school of early Baroque. Was a key figure in the development instrumental ensemble in St. Mark's Basilica (the most famous cathedral in Venice). He compiled a detailed book about instrumental ornamentation, which is a rich source for research in modern practice execution.

Giovanni Battista Riccio (Giovanni Battista Riccio)(d. after 1621) - Italian composer and musician of the early Baroque, worked in Venice, made a significant contribution to the development of instrumental forms, especially for the recorder.

There was a strong community between Russia and Italy in almost all branches of culture and art; it brought us closer and made us family. Many Russian composers and writers visited Italy at least once in their lives. Let's remember the greatest of them.

Glinka M. (1804—1857)

Another of our compatriots, in love with Italy, to whom the Italians, in turn, reciprocated... In 1830, he came to Italy to study “bel canto”. Here he became friends with Italian composers Bellini and Donizetti.
IN creative heritage Glinka’s opera “Venice Night”, the piano piece “Capriccio” and many romances, the writing of which he was inspired by Italian serenades. The most famous opera Glinka is dedicated to Ivan Susanin, who saved Moscow from the Polish invaders.

Tchaikovsky P. (1840—1893)

An outstanding composer, master symphonist, musical playwright, Pyotr Ilyich Tchaikovsky came to Italy so often and worked there so fruitfully that he is rightfully considered a “Russian Italian.” Among the many beautiful works that he created, I would like to highlight those written in Florence: “Eugene Onegin” (1878), “The Maid of Orleans” (1879), “Italian Capriccio” (1880). Ten years later he returned to Florence and, while living at the Washington Hotel, wrote the famous “ Queen of Spades"(1890), and upon returning to Russia - the string sextet "Memories of Florence" (1892). Italy also inspired the composer to create a suite for the famous ballet “The Nutcracker”.

Igor Stravinsky (1882—1971)

Many singers, the “golden voices” of Russia, visited Italy, but the most famous of them, of course, was Fyodor Ivanovich Chaliapin.

Fyodor Ivanovich Chaliapin. (1873—1938)

Pasternak B. (1890—1960)

When asked: “Which Russian writers do you know?”, Italians name Fyodor Dostoevsky.

Dostoevsky F. (1821 - 1881)

Touching love for the Russian master of fine art psychological analysis is quite understandable: Italians are not only well acquainted with his work, but also consider him “one of their own” also because Fyodor Mikhailovich spent almost 5 years in Florence, where he rented an apartment next to Palazzo Pitti and where he wrote the novels “The Idiot” and “Demons” .

Gogol N. (1809—1852)

Gogol was a frequent guest in the salon of Zinaida Volkonskaya, another “Russian Roman”. Grateful fans erected a monument to Gogol in 2003 in Rome at Villa Borghese. His name is engraved on the pedestal famous phrase: “I can only write about Russia in Rome...” In letters to friends, Gogol wrote about Rome and Italy, sometimes with delight, sometimes with passionate melancholy, sometimes with almost religious awe: “You fall in love with Rome very slowly, little by little - and then for life."

“Oh, Rome, Rome! Apart from Rome, there is no Rome in the world, I wanted to say, “happiness and joy, and Rome is greater than happiness and joy.”

“What kind of air! It seems that when you stretch your nose, at least 700 angels fly into your nasal nostrils. Amazing spring! “If you knew with what joy I left Switzerland and flew to my darling, to my beautiful Italy. She is mine! No one in the world will take it away from me! I was born here...”

“...all of Europe is for watching, and Italy is for living.”

“Here is my opinion! Whoever has been to Italy, say “forgive” to other lands. Whoever was in heaven will not want to come to earth. In a word, Europe in comparison with Italy is the same as a cloudy day in comparison with a sunny day.”

“Oh, Italy! Whose hand will tear me out of here? What a sky! What days! Summer is not summer, spring is not spring, but better than spring and summers like those found in other parts of the world. What kind of air! I drink and I don’t get drunk, I look and I don’t get enough. There is heaven and paradise in the soul. Now I have few acquaintances in Rome, or, better yet, almost no one. But I have never been so cheerful, so satisfied with life.”

“...There is no better fate than to die in Rome...”

Kiprensky O. (1782—1836)

Egorov A. (1776—1851)

Bryullov K. (1799—1852)

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Puccini. Italy, recognized homeland this genre musical art, V different eras gave to the world unsurpassed masterpieces However, the 19th century is rightfully considered the “golden age” of Italian opera.

"On opera stage Even the smallest joys or dull passions give pleasure. We are not talking about the painful tension that accompanies the growing vibrato, and not only about the insane rush of the voice shaking the walls of the theater. We are talking about a genuine effort to get off the ground, about the fluttering of wings. With such exposure of feelings, the audience, in turn, also trembles. After all, this is about her,” wrote the famous Italian musical critic Gustavo Marchesi.

Among all types performing arts opera is the most synthetic, combining genres that are far from each other - music, poetry and theater. Modern opera owes its emergence to the Commonwealth Italian poets and musicians of the “Florentine Circle”, which formed in the very early XVII century. A group of talented like-minded people set themselves the goal of reviving the fusion of great genres of art, following the example of ancient authors. Therefore my homeland modern opera, without a doubt, is Italy. Over the next three centuries, a galaxy of Italian composers who adopted a new musical genre secured their country’s reputation as a true “queen of opera.” Among the great opera composers of the world, most of the names are Italian - Monteverdi, Scarlatti, Rossini, Verdi, Puccini.

At the turn of the XVIII-XIX centuries. Italian opera art was experiencing a period of stagnation. The traditional opera seria and opera buffa have exhausted their capabilities. The activities of the largest Italian composer of that time, Gaspare Spontini, took place outside his homeland. At the same time, the richest traditions of opera singing were preserved in Italy. Bel Canto or "beautiful singing" - vocal technique, which arose in the middle of the 17th century, reaches its highest point in the works of the great Italian composers of the 19th century V.

Bel Canto- a performance style characterized by lightness and beauty of sound, impeccable cantilena (melody), grace and virtuosity. This style originated in Italy in the mid-17th century. and was formed on the basis of phonetic features Italian language. The influence of bel canto on vocal schools Europe was so strong that opera composers wrote their works based on the characteristics of this style. In addition to Italy, bel canto showed itself in the works of G.F. Mendel, K.V. Gluck and especially W.A. Mozart.