VINCENZO See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• VINCENZO BELLINI (1801--18J5)

BELLINI (1801--18J5)  , operatic composer of the See also:

• ITALIAN

Italian school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• CATANIA (Gr. Katane, Rom. Catinal)

Catania in See also:

• SICILY (Ital. Sicilia)

Sicily, on the 1st of See also:

• NOVEMBER (Lat. novem, nine)

November 18or . He was descended from a See also:

• FAMILY

family of musicians, both his See also:

• FATHER

father and grandfather having been composers of some reputation . After having received his preparatory musical See also:

• EDUCATION

education at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, he entered the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

conservatoire of See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, where he studied singing and See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition under Tritto and Zingarelli . He soon began to write pieces for various See also:

• INSTRUMENTS

instruments, as well as a See also:

• CANTATA (Italian for a song or story set to music)

cantata and several masses and other sacred compositions . His first See also:

• OPERA (Italian for " work ")

opera, Adelson e Savina, was performed in 1825 at a small See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre in Naples; his second dramatic See also:

• WORK

work, Bianca e Fernando, was produced next See also:

• YEAR

year at the See also:

• SAN

San Carlo theatre of the same See also:

• CITY (through Fr. cite, from Lat. civitas)

city, and made his name known in See also:

• ITALY
• ITALY (Italia)

Italy . His next work, Il Pirata (1527), was written for the Scala in See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, to words by Felice Romano, with whom See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini formed a See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union of friendship to be severed only by his See also:

• DEATH

death . The splendid rendering of the See also:

• MUSIC

music by Tamburini, Rubini and other See also:

• GREAT

great Italian singers contributed greatly to the success of the work, which at once established the See also:

• EUROPEAN

European reputation of its composer . In almo°t every year of the See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• REMAINDER, REVERSION

remainder of his See also:

• LIFE

life he produced a new operatic work, which was received with rapture by the audiences of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, Italy, See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . The names and See also:

• DATES

dates of four of Bellini's operas See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to most lovers of Italian music are: I Montecchi e Capuleti (1830), in which the See also:

• PART

part of Romeo became a favourite with all the great contraltos; La Sonnambula (1831); Norma, Bellini's best and most popular creation (1831); and I Puritani (1835), written for the Italian opera in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and to some extent under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French music . In 1833 Bellini had See also:

• LEFT

left his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country to accompany to England the See also:

• SINGER, SIMEON (1846-1906)

singer Pasta, who had created the part of his Sonnambula . In 1834 he accepted an invitation to write an opera for the See also:

• NATIONAL

national See also:

• GRAND

grand opera in Paris . While he was carefully studying the French See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language and the See also:

• CADENCE (through the Fr. from the Lat. cadentia, from cadere, to fall)

cadence of French See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse for the purpose, he was seized with a sudden illness and died at his See also:

• VILLA

villa in See also:

• PUTEAUX

Puteaux near Paris on the 24th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1835 .

His operatic creations are throughout replete with a spirit of See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle See also:

• MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy, frequently monotonous and almost always undramatic, but at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time irresistibly sweet . To this spirit, combined with a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich flow of cantilena, Bellini's operas owe their popularity . " I shall never forget," wrote See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner, " the impression made upon me by an opera of Bellini at a See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period when I was completely exhausted with the ever-lastingly abstract complication used in our orchestras, when a See also:

• SIMPLE

simple and See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody was revealed anew to me." See also G . Labat, Bellini (See also:

• BORDEAUX

Bordeaux, 1865) ; A . Pougin, Bellini, sa See also:

• VIE

vie et ses oeuvres (Paris, 1868) .