Scan 82
The American history and encyclopedia of music, 1908
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1Belletti
2territory of Lunigiana. His musical talent was early evinced, and his father sent the gifted child to the school at Bologna, directed by Pilotti. Belletti studied counterpoint and singing at Bologna, and remained at the famous school until he received his diploma. Although possessing a remarkable voice, Belletti hesitated to go on the stage; but his indecision came to an end when the Swedish sculptor, Bryström, offered to make all preparation for his debut in Stockholm, and in 1838, Belletti appeared at the Swedish capital, in Rossini's Il Barbiere. It was just at this time that Jenny Lind's victorious course was beginning, and she and Belletti started together on the road to fame and riches. Julian Marshall, in Grove, says: "To the influence of Jenny Lind, and to the critical taste of his first audience, as well as to the fine old school of singing in which he had been brought up, he owed the pure style and freedom from vulgarity which, more even than his noble voice, made him the greatest barytone of the century." In Stockholm and London, Belletti sang with Jenny Lind in the operas of Verdi, Rossini, Donizetti and Meyerbeer. Paris applauded him, and he was markedly successful in his own land. When Jenny Lind was engaged by Barnum to tour in the United States, at her request Belletti was engaged to accompany her. He was most enthusiastically received in America, and had full share in the homage paid the Swedish nightingale and her company. After the tour in America, Belletti sang in London until 1863, then, in the height of his career, retired from public life, went back to Sarzana, to a quiet life in the town of his birth.
4Belleville – Oury (běl-vē-yū ōō'-rē), Emilie. 1808-1880.
5Accomplished German pianist. Born in Munich. Studied with Czerny and afterward made many and successful concert tours, on one of which she married the violinist Oury in London and lived there for some time, some biographers say for years. She returned eventually to Munich, however, and died there. Schumann has compared her work very favorably with that of Clara Schumann. She composed some piano music and made many transcriptions and arrangements.
7Bellini
8Bellini (běl-lē'-nē), Vincenzo. 1801-1835.
9Celebrated Italian dramatic composer. Born in Sicily. His father, who was an organist, was his first teacher. Later he was sent to the Conservatory at Naples, by a Sicilian nobleman, who was impressed by his talent. Bellini's instruction at Naples was not at all thorough, the Conservatory, under the direction of Zingarelli, being very poorly managed. It is probable that he got his best training from his study alone of the great masters. Bellini began composing very early, his first work being instrumental and sacred productions. Among them was a symphony for full orchestra, two masses, a cantata and several songs. At the age of twenty-four his first opera, Adelson e Salvina, was produced at the theatre of the Conservatory. Babbaja, the manager of the San Carlo Theatre at Naples and La Scala at Milan, was present at this performance and immediately commissioned Bellini to write an opera for the former house. The result was Bianca e Fernando, which was so successful that Bellini received another commission, this time for Milan, and, in 1827, Il Pirata was produced at La Scala and was a brilliant success. These operas of Bellini's, with their simple melodies, were a great contrast to the florid music at that time the fashion in Italy, and they became very popular. In 1833 Bellini went to England, where he remained for a short time, afterward going to Paris, where he settled and was gaining popularity, when his early death, in 1835, cut short his career. The other works of Bellini, besides the operas already mentioned, are La Straniera, which was very successful; Zarra, said to have been a failure; Beatrice di Tenda, also unsuccessful; Montechi e Capuleti, a great favorite in Italy; La Sonnambula, considered his masterpiece; Norma, considered by Bellini his best work and a great favorite with musicians; and I Puritani, his last opera. Bellini's operas are especially noted for their lovely melodies, whose chief characteristics are simplicity, grace and tunefulness. In harmony, orchestration and dramatic effect Bellini's operas are weak, but for the ordinary hearer this is more than balanced by their beauty of
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