Books › Cyclopedia of music and musicians, 1888 › scan 79
Scan 79
Cyclopedia of music and musicians, 1888
14 lines. Read by computer on 11 September 2026. Printed page 49. See the scan on archive.org.
1ORLANDO
3Venice, 1718; Ifigenia in Tauride, 1719; Paride, Griselda, Bologna, 1720; Nerone, Venice, 1721; Orontea, Milan, 1724; Berenice, Venice, 1725; L'Adelaide, ib., 1729; La donna nobile, 1730; Massimiano, Venice, 1730; Il Temistocle, Florence, 1737; Lo scialacquatore, 1745. Oratorios: Giuditta, Ancona, 1723; Gioas, rè di Giuda, Florence, 1746.—Fétis.
5ORLANDO, Italian opera in three acts, text by Braccioli, music by Handel, first represented at the King's Theatre, London, Jan. 27, 1733. The autograph, in Buckingham Palace, is dated at the end of the second act, Nov. 10, 1732, at the end of the third, Nov. 20, 1732. It contains the last songs which Handel wrote for Senesino. One of these, "Già l'ebro mio ciglio," has an accompaniment for two violette marine, which were played by the brothers Pietro and Prospero Castrucci, who introduced that instrument into England in 1732. The aria, "Sorge infausta," was sung by Signor Tasca at the Handel commemoration, May 27, 1784. Original cast: Orlando, hero (C.), Signor Senesino; Angelica, Queen of Catai, in love with Medoro (S.), Signora Strada; Medoro, African prince, Angelica's lover (A.), Signor Bertolli; Dorinda, a shepherdess (S.), Signora Celeste (Gismondi); and Zoroastro, a Persian magician and friend of Orlando (B.), Signor Montagnano. Published by Walsh (London, 1733); edition by Chrysander, for the Händel-Gesellschaft (Leipsic, 1881).—Chrysander, Händel, II., 252; Rockstro, Handel, 180; Schelcher, Handel, 122; Marshall, Handel, 87; Burney, iv. 362; id., Handel Commemoration, 49; Grove, i. 319; iv. 267.
7ORLANDO GENEROSO, Italian opera, text by Hortensio Mauro, music by Steffani, first represented in Brunswick in 1696. Other Italian operas on Tasso's hero, La pazzia d'Orlando, by Giacomo Griffino, Lodi, 1692; Orlando, by Steffani, text by Mauro, Brunswick, 1696; by Domenico Scarlatti, on Sigismondo Capeci's text, Rome, 1711; Orlando, by Maurizio Cacciati, about 1710; Orlando furioso, by Ristori, on Braccioli's text, Venice, 1713; Same text, music by Vivaldi, ib., 1714; Same text, music by Antonio Bioni, Baden, 1725, Breslau, 1725; by Giacomo Macari, Venice, 1727; Il nuovo Orlando, by Niccolò Piccinni, Naples, 1763; Le pazzie d'Orlando, by Pietro Gugliemi, London, 1771; by Pasquale Anfossi (?), Vienna, June 19, 1877; Ritter Roland, by Haydn, on Nunziato Porta's text, Eszterház, 1782, Presburg, 1787, Dresden, 1792; Orlando furioso, by Agostino Loffredo, Naples, 1831; and Orlando, German opera, by Fr. Adami, Schwerin, Jan. 1, 1848. See Roland.
9OR LET THE MERRY BELLS, aria of L'Allegro, for soprano or tenor, in D major, with accompaniment of two violins and bass, in Handel's L'Allegro, il Pensieroso, ed il Moderato, Part I., No. 26.
11ORLOWSKI, ANTONI, born in Warsaw in 1811 (?), still living (?), 1890. Violinist, pupil at the Conservatorium, Warsaw, of Bielawski, and in composition of Elsner; won in 1823 the first prizes for violin and pianoforte. After 1827 he passed some time in Germany; and in 1830 went to Paris, where he studied under Lesueur; then settled at Rouen, where he conducted the theatre orchestra and the philharmonic society. Works: Le mari de circonstance, opera, Rouen, 1834; The Invasion of Spain by the Moors, ballet, Warsaw, 1827; Quartet for pianoforte and strings; Trio for do.; Sonata for pianoforte and violin; Duo for do.; Polonaises, rondos, caprices, etc., for pianoforte.—Fétis; Sowiński.
13ORPHÉE ET EURIDICE, French opera in three acts, text by Moline, translated from Calzabigi, music by Gluck, first represented at the Académie Royale de Musique, Paris, Aug. 2, 1774. The rôle of Orphée, which had been written for a contralto, was transposed for a high tenor, six measures were added to his first song in the infernal regions, three to his second, three to the "Che faro senza Euridice," and one to the chorus of the happy shades; "Torna o bella al tuo
The computer misreads some letters and numbers. Where a name matters to you, read the scan.