Scan 117
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1DONNA DEL LAGO, LA
3never likely to result in work of enduring quality. He wrote an opera ('Il campanello di notte') in nine days and the greater part of the last act of 'La favorita' in a few hours. Even allowing for the thinness and conventional character of the accompaniments it is clear that such work can be no more than successful improvisation. Moreover, Donizetti lived in an age of vocal virtuosity. His interpreters were Mario, Pasta, Rubini, Grisi, Lablache, Duprez, Persiani, and it would be difficult to determine whether he was under a heavier debt to them than they were to him. With the passing of the great virtuosi the music written for them, the music which fed that fashion, was bound to suffer. Facile, sentimental melodies can no longer sustain the interest or be supposed to represent adequately dramatic action, and Donizetti seldom rises above that standard. He is said to have imitated Rossini first and then anticipated Verdi. But his music never attains to anything like the brilliancy of the first or to the earnest sincerity of the second.
5F. B.
7The following is a list of Donizetti's operas:
9Enrico di Borgogna, 1818.
10Il falegname di Livonia, 1819.
11Le nozze in villa, 1820.
12Zoraide di Granata, 1822.
13La Zingara.
14La lettera anonima.
15Chiara e Serafina.
16Il fortunato inganno, 1823.
17Aristea. Alfredo il Grande.
18Una folla.
19L' ajo nell' imbarazzo, 1824.
20Emilia di Liverpool.
21Alahor in Granata, 1825.
22Il castello degli invalidi.
23Elvira.
24Olivo e Pasquale, 1827.
25Il borgomastro di Saardam.
26Le convenienzi teatrali.
27Otto mesi in due ore.
28Elisabetta a Kenilworth, 1828.
29La Regina di Golconda.
30Gianii di Calais.
31Il Giovedi grasso.
32L' esule de Roma.
33Il Paria, 1829.
34Il castello de Kenilworth.
35Il diluvio universale, 1830.
36I pazzi per progetto.
37Francesca di Foix.
38Isnelda di Lambertazzi.
39La Romanziara.
40Anna Bolena.
42Fausta, 1832.
43Ugo Conte di Parigi.
44L' elisir d' amore.
45Sancia di Castiglia.
46Il nuovo Pourceaugnac.
47Il furioso, 1833.
48Parisina.
49Torquato Tasso.
50Lucrezia Borgia.
51Rosamonda d' Inghilterra, 1834.
52Maria Stuarda.
53Genina di Vergy
54Marino Faliero, 1835.
55Lucia di Lammermoor.
56Belisario, 1836.
57Il campanello di notte.
58Betly.
59Roberto Devereaux, 1837.
60Pia di Tolomei.
61Maria di Rudenz, 1838.
62Poliuto, 1840.
63Gianni di Parigi, 1839.
64Gabriella di Vergy.
65La fille du regiment, 1840.
66La favorita, 1840.
67Adelasia, 1841.
68Maria Padilla.
69Linda di Chamounix, 1842.
70Maria di Rohan, 1843.
71Don Pasquale.
72Don Sebastien.
73Catarina Cornaro, 1844.
75Posthumously performed:
76Rita, ou le mari battu. (Paris, 1860.)
77Il Duca d' Alba. (Rome, 1882.)
79BIBLIOGRAPHY
80F. CICCONETTI: Vita di G. Donizetti. (1864.)
81F. ALBORGHETTI: U. Donizetti e Simon Mayr. (1875.)
82CH. MALHERBE: Donizetti, catalogue bibliographique à l'Exposition de Bergame, 1897; Le Centenaire de Donizetti et l'Exposition de Bergame. R.M. (1897.)
84DONNA DEL LAGO, LA, opera in 2 acts, founded on The Lady of the Lake; libretto by Tottola, music by Rossini. Produced San Carlo, Naples, Oct. 4, 1819; and King's Theatre, London, Feb. 18, 1823.
86DON PASQUALE, opera buffa in 3 acts; music by Donizetti. Produced Jan. 4, 1843, Théâtre des Italiens, Paris; Her Majesty's Theatre, June 29, 1843; New York (in English), Mar. 9, 1846.
88DON QUIXOTE. The theme of Cervantes's novel attracted the attention of playwrights soon after the English translation was issued, and there are one or two 17th-century dramas bearing the title. The most famous of these is Thomas D'Urfey's 'Comical History of Don Quixote,' acted at the theatre in Dorset Gardens in 1694. A second part followed in the same year, and a third in 1696.
90There are musical settings in each, and some of the songs attained a considerable degree of popularity. Henry Purcell and John Eccles were the principal composers, and the music was published by Samuel Briscoe in three small folio volumes having the above dates.
92Other musical plays with Cervantes's hero as a title might be quoted, one among them being 'Don Quixote in England,' 1733, by Henry Fielding; in this first appears the famous song 'The Roast Beef of Old England.'
94F. K.
96No fewer than 29 operatic settings of the subject, or of libretti taken from some part of the book, are enumerated in Riemann's Opern-Handbuch. The earliest seems to be that by Förtsch at Hamburg, 1690; among others may be mentioned settings by Caldara (1727), Padre Martini (c. 1730), Salieri (1771), Paisiello (c. 1775), G. A. Macfarren's setting of a libretto by his father in 2 acts (Drury Lane, Feb. 3, 1846), Hervé (Paris, 1848), Frederic Clay (1875) and Massenet ('Don Quichotte,' 5 acts, Monte Carlo, 1910, London Opera House, May 18, 1912). Manuel de Falla's 'El retablo de Maese Pedro' (The Puppet-show of Master Pedro), opera in 1 act, an incident in Don Quixote's career, received its first public performance in an English version by J. B. Trend (based on Skelton's Don Quixote, 1620) at Victoria Rooms, Clifton, Oct. 21, 1924. Richard Strauss's symphonic poem on the subject of Don Quixote is called 'Fantastische Variationen,' and was first played in London, June 5, 1903.
98M.
100DONT, JACOB (b. Vienna, Mar. 2, 1815; d. Nov. 17, 1888), was a violinist, son of Joseph Valentine Dont, a violoncellist well known and esteemed in his time.
102Thoroughly grounded at the Vienna Conservatorium by Böhm (one of the teachers of Joachim and Hellmesberger senior), he became a very capable player, though his career as a soloist does not appear to have been one of especial brilliancy. He obtained positions in the orchestra of the Burgtheater (1831) and in the Imperial Chapel (1834), but was more famous as podagogue than performer, teaching at various Viennese institutions with great success. His best work was done at the Vienna Conservatorium, though he was not appointed professor till 1873, his pupils including Auer and Gregorowitsch. He published some 50 works, amongst them 'Studies for the violin,' which rank, in the opinion of Spohr and many other authorities, among the best written for the instrument. one of two readings
103Thoroughly grounded at the Vienna Conservatorium by Böhm (one of the teachers of Joachim and Hellmesberger senior), he became a very capable player, though his career as a soloist does not appear to have been one of especial brilliancy. He obtained positions in the orchestra of the Burgtheater (1831) and in the Imperial Chapel (1834), but was more famous as pedagogue than performer, teaching at various Viennese institutions with great success. His best work was done at the Vienna Conservatorium, though he was not appointed professor till 1873, his pupils including Auer and Gregorowitsch. He published some 50 works, amongst them 'Studies for the violin,' which rank, in the opinion of Spohr and many other authorities, among the best written for the instrument. one of two readings
105W. W. C.
107DONZELLI, DOMENICO (b. Bergamo, c. 1790; d. Bologna, Mar. 31, 1873), studied in his native
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