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Scan 75
Cyclopedia of music and musicians, 1888
12 lines. Read by computer on 11 September 2026. Printed page 45. See the scan on archive.org.
1represented at La Fenice, Venice, in 1797. In the original representation the part of Orazia was sung by Giuseppa Grassini, afterwards noted for her relations with Napoleon, who made in it an extraordinary success. She sang it also in London, in 1805, where her acting in this piece was pronounced almost equal to that of Mrs. Siddons. It was given in Paris in January, 1812, and on June 16, 1813. Published by Simrock (Bonn). Same title, Italian operas, by B. Marcello, Venice, about 1720; by F. G. Bertoni, ib., 1746; by Zingarelli, Turin, 1794; by Marcos Portugal, Ferrara, 1799; by Capotorti, Naples, 1800; and by Mercadante on Cammarano's text, Vienna, 1830; Naples, 1846.
3OR CHE IL CIELO A ME TI RENDE, aria for soprano with orchestra, in E-flat, by Mozart, composed in Vienna in 1781. Breitkopf & Härtel, Mozart Werke, Serie vi., No. 22.—Köchel, Verzeichniss, No. 374; André, No. 175; Jahn, Mozart, iii. 8.
5OR CHE IL DOVER, recitative and aria (Tali e cotanti sono di Sigismondo i merti) for tenor with orchestra, in D, text from an opera, Licenza, written for the name-day of the Archbishop of Salzburg, music by Mozart, composed in 1770. Breitkopf & Härtel, Mozart Werke, Serie vi., No. 3.—Köchel, Verzeichniss, No. 36; Jahn, Mozart, i. 228, 414.
7ORDINAIRE, RAOUL, born at Besançon in 1843, still living, 1890. Instrumental and vocal composer, pupil of Pierre de Mol. He is also a writer on music, and in 1866–70 was co-editor of "L'art musical." Works: Morceaux symphoniques; Serenade for quintet; Quartet for strings; Trio for pianoforte and strings; Sonata for pianoforte and violoncello; Pianoforte music, choruses, and songs.—Fétis, Supplément, ii. 287.
9O REST IN THE LORD. See Sei stille dem Herrn.
11ORFEO, Italian opera in five acts, music by Monteverde, first represented at the court of Mantua, in 1607. The libretto, on the story of Orpheus and Eurydice, was thought until recently to have been written by Rinuccini, the author of the text of Peri's Euridice, but Alessandro Striggio is now considered the true author. Characters represented: La Musica, Prologo; Orfeo; Euridice; Speranza; Caronte (Charon); Pluto; Proserpine; Apollo; Chorus of nymphs and shepherds, and chorus of infernal spirits. The opera begins with a prologue of five recitatives, the first of which is spoken by the Genius of Music to declare the argument and to enjoin silence from the audience. There are no solo arias, but the work is composed of duets, recitatives, choruses, and trios, and closes with the Moresca, or Moorish Dance, performed by shepherds. The score shows many remarkable affinities with dramatic music in its latest development, including the constant employment of mezzo-recitativo, supported by characteristic instruments; and the great variety and effect in the orchestration. The introduction to Wagner's Rheingold is identical in construction with the instrumental prelude to this opera, called by Monteverde a Toccata, and consisting of eight measures on the chord of C with a single and sustained note in the
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