NICCOLA [or NICCOLb] See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

ANTONIO See also:

• NICCOLA [or NICCOLb] ANTONIO PORPORA (1686—1767)

PORPORA (1686—1767)  , See also:

• ITALIAN

Italian operatic composer and teacher of singing, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

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

Naples on the 19th of See also:

• AUGUST (originally Sextilis)

August 1686 . He was educated at the Conservatorio di See also:

• SANTA

Santa Maria di See also:

• LORETO

Loreto . His first See also:

• OPERA (Italian for " work ")

opera, Basilio, was produced at Naples; his second, See also:

• BERENICE
• BERENICE, or BERNICE

Berenice, at See also:

• ROME
• ROME (Roma)

Rome . Both were successful, and he followed them up by innumerable compositions of like See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character; but his fame rests chiefly upon his unequalled See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of teaching singing . At the Conservatorio di . Sant' Onofrio and the Poveri di Gesu Cristo he trained See also:

• FARINELLI (1705–1782)

Farinelli, Caffarelli, Mingotti, Salimbeni, and other celebrated vocalists . Still his numerous engagements did not tempt him to forsake See also:

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

composition . In 1725 he visited See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, but 'the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

Emperor See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles VI. disliked his florid See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, especially his See also:

• CONSTANT, BENJAMIN (1845-1902)

constant use of the tritlo, and refused to patronize him . After this rebuff he settled in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, teaching regularly in the See also:

• SCHOOLS

schools of La Pieta and the Incurabili . In 1729 he was invited to See also:

• LONDON

London as a See also:

• RIVAL

rival to See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel; but his visit was unfortunate . Little less disastrous was his second visit to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England in 1734, when even the presence of his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, the See also:

• GREAT

great Farinelli, failed to See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save the dramatic See also:

• COMPANY

company of See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln's See also:

• INN

Inn See also:

• FIELDS, JAMES THOMAS (1817-1881)

Fields See also:

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

theatre, known as the " Opera of the See also:

• NOBILITY

Nobility," from ruin . The sequence of See also:

• DATES

dates and visits in See also:

• PORPORA, NICCOLA [or NICCOLb] ANTONIO (1686—1767)

Porpora's See also:

• LIFE

life are variously stated by different biographers .

The electoral See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of See also:

• SAXONY
• SAXONY (Ger. Provinz Sachsen)

Saxony and See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of See also:

• POLAND (Polish Polska, Ger. Polen), (see POLAND, RUSSIAN, below)
• POLAND, RUSSIAN

Poland had invited him to See also:

• DRESDEN

Dresden to become the singing See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the electoral princess, Maria Antonia, and in 1748 he is supposed to have been made Kapellmeister to the prince . Difficult relations, however, with See also:

• HASSE, JOHANN ADOLPH (1699-1783)

Hasse and his wife resulted in his departure, of which the date is not known . From Dresden heis said to have gone to Vienna, where he gave lessons to See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn (q.v.), and then to have returned in 1759 to Naples . From this 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 Porpora's career was a See also:

• SERIES (a Latin word from serere, to join)

series of misfortunes . His last opera, Camilla, failed; and he became so poor that the expenses of his funeral were paid by subscription . Yet at the moment of his See also:

• DEATH

death in 1767 Farinelli and Caffarelli were living in splendour on fortunes for which they were largely indebted to the excellence of the old See also:

• MAESTRO

maestro's teaching . In See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• SAND
• SAND, GEORGE (1804-1876)

Sand's Consuelo much use is made of a romantic version of the life of See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Haydn and his relations with the heroine, Porpora's pupil, and with Porpora himself . A See also:

• GOOD, JOHN MASON (1764-1827)

good linguist and a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of considerable See also:

• LITERARY

literary culture, Porpora was also celebrated for his power of repartee . His operas are, on the whole, tedious and conventional; but he produced some good See also:

• WORK

work in the See also:

• FORM (Lat. forma)

form of instrumental See also:

• MUSIC

music and chamber-cantatas . A series of six Latin duets on the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion (accessible in a See also:

• MODERN

modern edition published by Breitkopf and Haertel) is remarkable for dignity and beauty .