Giuseppe de De Begnis News
operatic bass singer
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2024-03-29
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The Boston Musical Intelligencer
2024-02-08 18:08:24
Dance Music of the Germania Musical Society
[…] were then at their height. At the close of the series a complimentary benefit was tendered to the orchestra for a number of resident musicians and amateurs, and the event called together the first and only crowded house of the season. This concert took place at the Tabernacle on the 11th of November, and a number of vocal and instrumental soloists, then popular, assisted, including Madam Otto, Mrs. Horn, Messrs. Timm and Scharfenberg, and Signor De Begnis. The performance throughout pleased amazingly, and its success served to revive the drooping spirits of the members. The gleam of light, however, was of brief duration. Before the close of the month, two other orchestras arrived from Europe, each with a reputation already established. One, the “Saxonia,” was of fair ability, which the other was no less than the famous orchestra of Joseph Gungl, from Berlin, out of which their own forces had […]
2017-01-27 17:55:05
Gold rush
By the early 19th century the story of Robert Devereux, Second Earl of Essex, and his liaison with Elizabeth I had already been the subject of a number of theatrical diversions including an opera by Saverio Mercadante. When Gaetano Donizetti decided to set it for the Teatro San Carlo in Naples for the season of 1837 his dramatist Salvadore Cammarano borrowed so liberally from the former’s libretto by Felice Romani (who had conveniently passed on) that his widow threatened a plagiarism suit. Donizetti fashioned the title role to the formidable gifts of Giuseppina Ronzi de Begnis who had created his Maria Stuarda and was considered the greatest Norma of her day second only to Giuditta Pasta. Mme. Ronzi de Begnis seems to have been a bit Zwischenfach in an age that didn’t put hard and fast labels on female voices. She excelled not only as Rossini’s Semiramide and Mozart’s Donna […]
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CNY Café Momus
2013-01-23 04:16:35
Jan. 19 Met simulcast: Maria Stuarda
[…] And that’s it. The opera is little more than a conventional love triangle with a royal overlay and an execution. The tenor Leicester dithers between women and is a most unsympathetic wimp. Elizabeth is played as a lumbering, unlovely, troubled monarch with a great wardrobe. All the sympathy goes to Mary, which makes sense when one considers that Donizetti wrote the piece as a vehicle for a favorite singer, Giuseppina Ronzi De Begnis (according to the New Grove). She never got to sing it because censors objected to the plot. That’s a problem with “vehicle” operas: they may show off an artist, as this one showcases DiDonato, but there is little else for the audience. Verdi might have made something of this story, as he did with another opera about a tenor in love with a queen: Don Carlos. […]
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