GREAT ITALIAN COMPOSERS.

Shannon News, 28 June 1927, Page 1

GREAT ITALIAN COMPOSERS.

ROSSINI, BELLINI, DONIZETTI, AND VERDI. An outline of the lives and works of Italian opera composers was given by Mr Edwin Dennis, A.R.C.M., before a well-attended meeting in the Band Room, Levin, on Tuesday evening, ineontinuation of his series of lectures on “The Appreciation of Music," delivered under W.E.A. auspices. Referring first to Rossini, the lecturer said that if it was claimed that that master was a reformer in opera, one would be inclined to contradict —yet he was a reformer in, his way. He substituted a more dramatic recital for the old recitative. Rossini was a prolific writer, producing some 35 operas, fni eluding “The Barber of Seville," “Tancredi," and “William Tell." The latter had practically gone out of ordinary repertoire, but the overture was one of the very few handed down from Italian opera. There was hardly a small orchestra of any importance that did not play the “Tell'’ overture. Rossini was responsible also for 16 cantatas and several sacred numbers, among which were “Stabat Mater" and “Tantum ergo. ’ ’ Bellini lived from 1802 to 1835, and his most famous operas Avere “La Sonnambula," “Norma," and “I Puritanic >•i ■;

Donizetti, avlio was born in 1797, composed 67 operas, a few of which were still heard. Among them were ‘‘Lucia di Lammermoor, ” “La Favorita, ” and “Don Pasquale. ” In the “Mad Scene’ ’ in “Lucia,” he introduced a harp solo, and the obbligato to the soprano’s voice was taken by the flute. The vocal solo was one of the most difficult ever written, rising to E flat or F in alt and containing cadenzas that exhausted sopranos to the fullest extent. In “Don Pasquale,” a bassoon introduction to a solo was used, and this was the first time in .opera that instruments j>f that calibre were found orchestratetTin such a way. Donizetti was a distinct factor in the evolution of opera. Yerdi (1813-1901) unlike many other composers, had rather an unfavourablebeginning, and had to fight many difficulties. Through the help of a friend, the family were able to buy a .spinet for the boy to practise on, at the age of seven. He was rather impetuous, as a lad, and on one occasion broke the spinet to pieces with a hammer, in a fit of temper. When he was an infant -hirr-mfrClte-i — sirvctt'-Jl'llll 'all'll Jimaelf I’lOJii-

probable death at the hands of an invading army, and while lie was a boy lie had a narrow escape from drowning. Yerdi also had to encounter much jealousy. At the age of 18 he was refused sldmission to; \tli'e Conserv’atorium at Milan because it was said that he did not show sufficient musical talent. He married in 1836, at the age of 23, and in 1840 he was in sore straits, his two children and wife dying within three months. He composed 30 operas, besides other music, and he was probably considered as the greatest of the Italian writers. His progress as a composer was continuous. His first opera was “Oberto, ” and a few years after that he produced “Ernani. ” Subsequently he showed wonderful progress with “Eigoletto.” In 1858 the Khedive of Egypt commissioned him to Avrite an opera, and he Avrote “Aida,” thereby rising to eA’en greater heights. This Avas one of the Avorks that Avould live for ever: it Avas beautifully tuneful, had a good story and many effects, and it marked the beginning of a ucav period as far as Italian opera Avas concerned. Yerdi Avrote “Otello” in 1887, and in 1893 “Falstaff, ” one of the. most perfect things Avritten, from the point of \-iew of music and drama. The reason that it Avas not commonly heard was because it Avas advanced. He Avas the greatest of the Italian composers; he forged ahead steadily, and Avhen he svas an old man he Avas still improving his yvork. Whenever any of the opera companies made a tour “Eigoletto” Avould be heard.

Mr Dennis illustrated many of his references by narratives from the operas, and the Avhole lecture Avas listened to Avitli much appreciation.