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Fabio Campana (14 January 1819 – 2 February 1882) was an Italian composer, opera director, conductor, and singing teacher who composed eight operas which premiered between 1838 and 1869.〔Ambìveri (1998) p. 32〕 He was born in Livorno, the city where his first two operas premiered, but in the early 1850s he settled in London. There he opened a famous singing school, conducted concerts, and continued his reputation as a prolific and popular composer of art songs and concert arias.〔 His last opera, ''Esmeralda'', premiered in Saint Petersburg in 1869, followed by London performances in 1870 with Adelina Patti in the title role. Campana died in London at the age of 63. Although his operas are no longer performed, his art songs can be heard on several modern recordings. ==Life and career== Campana was born in Livorno and initially studied music there with Bernardo Nucci before going on to further studies at the Naples Conservatory and finally at the Accademia Filarmonica di Bologna. His first opera ''Caterina di Guisa'', set to a libretto by Felice Romani, premiered while he was still a student.〔Forbes〕 It was first performed on 14 August 1838 at the Teatro degli Avvalorati in Livorno, with Verdi's future wife Giuseppina Strepponi in the title role.〔Casaglia〕 The opera was warmly received as was his next opera ''Giulio d'Este'' which premiered at the same theatre in 1841. Campana also directed several operas at the theatre, including Mercadante's ''Il giuramento'' (1839), Donizetti's ''Lucia di Lammermoor'' (1840), Meyerbeer's ''Il crociato in Egitto'' (1840), and Bellini's ''Il pirata'' (1840).〔 In addition to conducting the premiere of his own opera, ''Vannina d'Ornano'' at the Teatro della Pergola in Florence (1842), he conducted a series of concerts in Rome, including a performance of Rossini's ''Stabat Mater''. His last opera to be premiered in Italy was ''Mazeppa'', with a libretto based on Byron's narrative poem, ''Mazeppa''. It was first performed at the Teatro Comunale di Bologna on 6 November 1850 with the tenor Settimio Malvezzi in the title role.〔Born in Florence, Settimio Malvezzi (1817–1887) created several leading tenor roles in 19th operas, most notably Rodolfo in Verdi's ''Luisa Miller''.〕 In 1850 Campana had gone to Paris, armed with a letter of recommendation from Rossini to seek a position at the Théâtre des Italiens which at that time was run by Benjamin Lumley.〔 He was unsuccessful, however, and returned to Italy. Then on the suggestion of Lord Ward, a principal benefactor of Her Majesty's Theatre, he went to London where he was to live for the rest of his life. There he opened a famous singing school, conducted concerts, and continued his reputation as a prolific and popular composer of art songs.〔Sanvitale (2002) p. 153〕 The first of his "Grand Matinee Musicale" concerts took place in 1854 under the patronage of Lord Ward, and featured his latest compositions. The 1860s saw the premieres of his last two operas. ''Almina'' premiered in London at Her Majesty's Theatre on 26 April 1860 conducted by Luigi Arditi with Marietta Piccolomini in the title role.〔Born in Siena, Marietta Piccolomini (1834–1899) was a leading soprano of her day and later a well-known voice teacher.〕 The critical reaction was tepid. ''The Musical World'' criticised its lack of "dramatic fire", but also went on to note that the audience did not appear to share that view: Taking applause as a criterion, the success of ''Almina'' was triumphant. After the first act, the principal singers were recalled, and then Signor Campana was compelled to appear, when he was not merely received with tumultuous acclamations, but fêted with bouquets and laurel-wreaths. At the fall of the curtain, too, he was summoned to the foot-lights twice, when the demonstrations were renewed, and no doubt the composer left the theatre perfectly satisfied that his opera had achieved a great and legitimate triumph. First nights, however, are not always precedents—the Barbiere of Rossini to witness.〔''The Musical World'' (28 April 1860) p. 273. The critic here is referring to Rossini's ''The Barber of Seville'' which had a disastrous opening night.〕 Campana's final opera ''Esmeralda'', based on Victor Hugo's ''The Hunchback of Notre-Dame'', premiered in Russia at the Saint Petersburg Imperial Italian Opera on 20 December 1869. The title role had been written expressly for Adelina Patti, but she could not make the Saint Petersburg premiere and the role was sung by Carolina Volpi instead. In June of the following year, it was mounted in London at the Theatre Royal, Covent Garden this time with Adelina Patti as Esmeralda. The French journal ''Le Ménestrel'' reporting on the Saint Petersburg premiere praised the opera for its beautiful melodies and orchestration. The English critics' reaction to the London premiere was scathing. Henry Lunn, writing in ''The Musical Times'', called it "a feeble work" with "commonplace" music, rescued only by the singing of Patti.〔Lunn (1 September 1871) p. 199〕 The critic for ''The Saturday Review'' pronounced it "irredeemably bad".〔''The Saturday Review'', 18 June 1870, reprinted in ''Dwight's Journal of Music'' (30 July 1870) p. 282〕 However, in his review of the London performance for ''Le Ménestrel'', Joseph Tagliafico (writing under his pseudonym "De Retz") took exception to the vehemence of the English critics' reaction finding it inexplicable. He concluded his review: They say of Campana's opera that it is () a new ''Album of Songs'' by the composer. Bah! Could not one also say that Donizetti's ''La favorite'' is a romanza in five acts? The future will decide who was right and who was wrong.〔De Retz (26 June 1870) p. 237. Original French: フランス語:"On a dit de l'opéra de Campana que c'était un nouvel ''Album de mélodies'' de l'auteur. Bah ! N'a-t-on pas dit ici que la ''Favorite'' de Donizetti était une romance en cinq actes? L'avenir prouvera qui a tort ou raison."〕 ''Esmeralda'' ran for a couple of seasons in London and was also performed in Hamburg (again with Patti in the title role) and in Trieste but then dropped from the repertoire. Fabio Campana died in London on 2 February 1882 at the age of 63. His operas are no longer performed, but his art songs can be heard on several modern recordings, including Opera Rara's ''Il Salotto'' series, and Joan Sutherland's 1978 LP set ''Serate Musicali'' (re-released on CD by Decca in 2006). A portrait of Campana by Giovanni Fattori hangs in the Museo Civico Giovanni Fattori in Livorno.〔Durbè (1980) p. 147〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Fabio Campana」の詳細全文を読む スポンサード リンク
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