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Ferdinando Bertoni (1725-1813) - Veni Creator (1765)

★ Follow music ►   / reciclassicat   Composer: Ferdinando Bertoni (1725-1813) Work: Veni Creator (1765) Performers: Patricia Schumаn (soprano); Margаrita Zimmеrmann (mezzosoprano); l SoIisti Vеnеti; Claudio Scimonе (1934-2018, conductor) Painting: Giovanni Antonio Canal 'Canaletto' (1697-1768) - The Basin of San Marco on Ascension Day, Venice (c.1740) Image in high resolution: https://flic.kr/p/2mdGJwe Further info: https://www.amazon.es/Miserere-Ferdin... Listen free: No available --- Ferdinando (Gasparo) Giuseppe Bertoni (Salò, 15 August 1725 - Desenzano, 1 December 1813) Italian composer. He studied composition with Padre Martini in Bologna. His first opera was the successful pasticcio 'La vedova accorta', first performed in Florence in 1745. It was repeated in Venice (1746) and elsewhere in Europe. The Venetian libretto identifies Bertoni as the composer of ‘La Musica de' recitativi, e delle [9] arie’. His first serious opera, 'Il Cajetto', was staged privately, with puppets, in 1746. He composed two more opere serie within the year for commercial theatres in Venice, but was more successful in the comic genre: 'Le pescatrici' (1751), on a Goldoni libretto, had 14 productions in 17 years throughout Europe, including Dresden (1754), London (1761) and Madrid (1765) in a Spanish translation by Ramón de la Cruz. 'La moda' (1754) contains his earliest extant cavatinas, and Bertoni may have been the first to introduce the cavatina to opera. With his appointment as primo organista at S Marco, Venice (1752), and maestro of the female chorus at the Ospedale dei Mendicanti (1753), Bertoni turned more to religious compositions and to serious opera, although his best comic opera, 'L'anello incantato', was written in 1771. In February of that year Mozart and his father may have heard Anna de Amicis sing in Bertoni's Alessandro nell'Indie (Venice, Teatro S Benedetto), and in 1778 Mozart requested a ‘grand aria’ by Bertoni, which Leopold sent to Mannheim. The Act 1 finale of Alessandro begins with accompanied recitative leading to a duet which includes a reprise of a cavatina and bravura aria from earlier scenes (sung now by opposite characters) and brilliant passaggi in thirds. With the Bologna production of 'L'olimpiade' (Carnival 1773), Bertoni began his professional association with the castrato Gasparo Pacchierotti, his former pupil in Venice. Following their triumphs in 'Artaserse' (1776), 'Medonte' (1777) and 'Quinto Fabio' (1778), they travelled to London for the first of two visits with Bertoni as composer-in-residence and Pacchierotti as primo uomo at the King's Theatre. Of the seven operas Bertoni worked on during the first visit (1778-80), most were pasticcio versions of earlier works; only one new opera, 'Il duca di Atene', was composed. He wrote music for two other pasticcios: 'Demofoonte', in which Pacchierotti sang ‘Non temer bell'idol mio’ which became a favourite song, and 'La governante' whose rondò 'La virginella' became a popular salon song, translated into English and French and transcribed for various instruments, as well as inserted in other operas. During the second visit (1781-3), Bertoni composed two new operas, Il convito and Cimene. Pacchierotti sang in pasticcio versions of three other operas, and in a production of Ifigenia in Aulide. Bertoni returned to Italy with ‘a bad portrait of Sacchini’ and the Reynolds portrait of Burney for Padre Martini's collection. Burney praised Bertoni's graceful and flowing melody and his ‘clear and well-arranged’ harmony, and found his style ‘natural, correct, and judicious; often pleasing, and sometimes happy’, but had qualms about his inventiveness. Caffi described his style as ‘natural, clear, the voice part agreeable; the orchestration graceful, and not exaggerated’. Bertoni's progressive tendencies show mostly in his use of more flexible aria forms such as the cavatina, some 40 of which are found in his operas, and large scene complexes with accompanied recitative and fuller orchestration, as in Armida abbandonata. He wrote only one ‘reform’ opera, Orfeo ed Euridice (1776), on Calzabigi's libretto, patterned after Gluck's music. It was highly successful and his only opera printed in full score during his lifetime. Gluckists have never forgiven him for the similarities, yet Gluck himself ‘borrowed’ several Bertoni arias without attribution for his operas. Bertoni was elected a member of the Accademia Filarmonica, Bologna, in 1773. In addition to the large repertory for female voices, Bertoni composed numerous works for mixed chorus during his 55-year association with S Marco, Venice. His Requiem for Admiral Angelo Emo in 1792 was also performed at his own funeral on 28 June 1814 at S Marco with Pacchierotti coming out of retirement to sing publicly for the last time in honour of his teacher and long-time friend.