|
Giacomo David (born Giacomo Davide, Presezzo, 1750 – Bergamo, 1830), was a leading Italian tenor of the late 18th and early 19th centuries.〔biographical data are drawn from the articles about David on Caruselli's ''Grande enciclopedia della musica lirica'' and ''The New Grove Dictionary of Opera'' (cf. "Sources" below)〕 ==Biography== Probably self-taught as a singer, he studied composition in Naples with Nicola Sala,〔.〕 and began his career in the early 1770s appearing on the stages of major Italian theatres such as the Teatro Regio in Turin, the Teatro San Carlo in Naples, and the Teatro San Benedetto in Venice. Here he participated in the inauguration of the newly erected theatre La Fenice, in 1792, performing the role of ''Eraclide'' in Paisiello's ''I giochi di Agrigento''. After having made his debut at Milan's Teatro alla Scala in 1782, he became a regular performer there at the beginning of the new century. In 1791 Davide travelled to London, where the ''-e'' in his surname seems to have been dropped, and where he appeared at the King's Theatre as the protagonist of Paisiello's ''Pirro'', one of his favourite roles. On 17 May 1791, he took part in a charity concert in the Hannover Square Rooms, where he executed the tenor aria "''Cara deh torna''", specially composed for the occasion by Joseph Haydn.〔to the "celebrated Davide" (as the composer himself wrote), Haydn had also enthusiastically allotted the leading role of Orpheus in his last opera ''L'anima del filosofo'' which was scheduled in London in 1791; it was not however to be performed until 1951 when it was finally staged at the Maggio Musicale Fiorentino starring Maria Callas as Eurydice (Eve Barsham, "Orpheus in England", in Patricia Howard (ed), ''C.W. von Gluck: Orfeo'', Cambridge University Press (paperback), Cambridge/London etc., 2010, p. 65, ISBN 0-521-29664-1 (first published 1981) )〕 In 1801, he took part in the inauguration of Trieste's Regio Teatro Nuovo, performing two premières on 20 and 21 April: Antonio Salieri's ''Annibale in Capua'' (''Scipione'') and Simon Mayr's ''Ginevra di Scozia'' (''Polinesso''). His career was very long, continuing into the early twenty years of the 19th century, with a repertoire based upon such composers as Paisiello, Mayr, Ferdinando Bertoni, Domenico Cimarosa, Pietro Alessandro Guglielmi, Giuseppe Sarti, Niccolò Antonio Zingarelli, and Francesco Bianchi. In many operas he worked alongside the castrati Girolamo Crescentini and Gaspare Pacchierotti, and the soprano Brigida Banti, who shared common artistic trends with him.〔cf. Celletti, p. 107: "It was only towards the end of the () century and during the first years of the nineteenth century that passion and vigour reappeared— in a number of exponents of the last generation of castrati, like Girolamo Crescentini and Gaspare Pacchiarotti, tenors like ... Giacomo David; in a few prima donnas like Brigida Banti ...".〕 In France, where he appeared opposite Isabella Colbran in ''Otello'', David came to be known as ''Giacomo le père'' ("Giacomo the father"), because his son Giovanni David was also pursuing a successful career in opera. David can be considered 〔along with his contemporaries Giuseppe Viganoni and Adamo Bianchi〕 as the initiator of the Bergamo tenor school which was going to produce such notable singers as Andrea Nozzari and Giacomo's aforesaid son, Giovanni (who were also actual pupils of his), Domenico Donzelli, Giovanni Battista Rubini, and Marco Bordogni.〔Caruselli, II, article: ''David, Giacomo'', p. 334〕 David died in 1830. 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「Giacomo David」の詳細全文を読む スポンサード リンク
|