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تصفح أوراق البيانو لـChristoph Willibald Gluck على Zen Virtual Piano. Gluck set out to bring opera back to its origins, centering on human drama and passion and giving words and music equal weight. Gluck was born in the Upper Palatinate and raised in Bohemia, then both parts of the Holy Roman Empire, and rose to prominence at the Habsburg court in Vienna. A composer who sought a return to opera’s origins while gaining prominence at the Habsburg court can be read as someone changing opera from inside an established house. Gluck reached Milan in 1737, where he was introduced to Giovanni Battista Sammartini; according to Giuseppe Carpani, Sammartini taught him “practical knowledge of all the instruments.” Pope Benedict XIV made Gluck a Knight of the Golden Spur after his opera Antigono was performed in Rome in February 1756. Gluck took a break from Italian opera seria and began to write opéra comiques. In Vienna Gluck found kindred spirits in the opera world. Count Giacomo Durazzo headed the court theatre and was among the main instigators of operatic reform in the city; the librettist Ranieri de’ Calzabigi wanted to attack the dominance of Metastasian opera seria; Gasparo Angiolini was an innovative choreographer; and Gaetano Guadagni was a castrato trained in London. A circle that included a theatre director, a librettist, a choreographer and a singer can be read as reform that needed several kinds of theatre people at once. Orfeo ed Euridice, with a libretto by Calzabigi and music by Gluck, received its first performance on 5 October 1762. A first performance built on a librettist’s words and a composer’s music can be read as the stated ideal of equal importance put into practice.
تصفح أوراق البيانو لـChristoph Willibald Gluck على Zen Virtual Piano.
Gluck set out to bring opera back to its origins, centering on human drama and passion and giving words and music equal weight. Gluck was born in the Upper Palatinate and raised in Bohemia, then both parts of the Holy Roman Empire, and rose to prominence at the Habsburg court in Vienna. A composer who sought a return to opera’s origins while gaining prominence at the Habsburg court can be read as someone changing opera from inside an established house.
Gluck reached Milan in 1737, where he was introduced to Giovanni Battista Sammartini; according to Giuseppe Carpani, Sammartini taught him “practical knowledge of all the instruments.” Pope Benedict XIV made Gluck a Knight of the Golden Spur after his opera Antigono was performed in Rome in February 1756.
Gluck took a break from Italian opera seria and began to write opéra comiques. In Vienna Gluck found kindred spirits in the opera world. Count Giacomo Durazzo headed the court theatre and was among the main instigators of operatic reform in the city; the librettist Ranieri de’ Calzabigi wanted to attack the dominance of Metastasian opera seria; Gasparo Angiolini was an innovative choreographer; and Gaetano Guadagni was a castrato trained in London. A circle that included a theatre director, a librettist, a choreographer and a singer can be read as reform that needed several kinds of theatre people at once.
Orfeo ed Euridice, with a libretto by Calzabigi and music by Gluck, received its first performance on 5 October 1762. A first performance built on a librettist’s words and a composer’s music can be read as the stated ideal of equal importance put into practice.
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