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{{Short description|Italian operatic baritone (1750–c. 1810)}}
] ] the Younger. From the collections of the British Museum.]]
'''Stefano Mandini''' (1750-ca. 1810) was an outstanding ] singer of the second half of the 18th century. He appeared in the premieres of many well-known operas of his day, of which the most famous at the present time is ]'s '']'', for which Mandini created the role of Count Almaviva. '''Stefano Mandini''' (1750–ca. 1810) was an outstanding ] singer of the second half of the 18th century. He appeared in the premieres of many well-known operas of his day, of which the most famous at the present time is ]'s '']'', for which Mandini created the role of Count Almaviva.


==Career== ==Career==
His career began in Italy with performances in Venice (1775-1776) and Parma (1776). A key event occurred when Emperor ] of Austria chose to found a top-rank Italian opera company at his capital in Vienna; and sent his representatives seeking the best available talent. Mandini was recruited during this search, and first sang in the Emperor's company on 5 May 1783 as Milord Arespingh in ''L'italiana in Londra'' by ]. He sang in a number of operas with the company, including the following: His career began in Italy with performances in Ferrara in 1774 and Parma in 1776.<ref name=Grove>{{harvnb|Raeburn|2001}}</ref> A key event occurred when Emperor ] of Austria chose to found a top-rank Italian opera company at his capital in Vienna, and sent his representatives seeking the best available talent. Mandini was recruited during this search, and first sang in the Emperor's company on 5 May 1783 as Milord Arespingh in ''L'italiana in Londra'' by ]. He sang in a number of operas with the company, including the following:<ref name=Grove />


*1783 *1783
**Mingone in ]’s '']'' **Mingone in ]'s '']''
**Don Fabio in Cimarosa’s ''Il falegname'' **Don Fabio in Cimarosa's ''Il falegname''
**Count Almaviva in ]’s '']'' **Count Almaviva in ]'s '']''
*1784 *1784
**''Le vicende d’amore'' (P. A. Guglielmi), **''Le vicende d'amore'' (P. A. Guglielmi)
**''La finta amante'' and ''Il re Teodoro in Venezia'' (Paisiello) **''La finta amante'' and ''Il re Teodoro in Venezia'' (Paisiello)
**''La vendemmia'' (]). **''La vendemmia'' (])
*1785 *1785
**Artidoro in ]’s '']'' **Artidoro in ]'s '']''
**Plistene in ]’s '']'' **Plistene in ]'s '']''
*1786 *1786
**the Poet in Salieri’s '']'' **the Poet in Salieri's '']''
**Count Almaviva in ]’s '']'' (1 May) **Count Almaviva in ]'s '']'' (1 May)
**Lubino in ]’s '']'' **Lubino in ]'s '']''
**Sarti’s ''I finti eredi'' **Sarti's ''I finti eredi''
**Paisiello’s ''Le gare generose'' **Paisiello's ''Le gare generose''
*1787–88
*1787–8
**Leandro in Paisiello’s ''Le due contesse'' **Leandro in Paisiello's ''Le due contesse''
**Doristo in Martín y Soler’s '']'' **Doristo in Martín y Soler's '']''
**Biscroma in Salieri’s '']''. **Biscroma in Salieri's '']''


It can be seen that Mandini created the role of Count Almaviva twice: the Count appears as a character in two operas derived from the plays of ], ''The Barber of Seville'' (set by Paisiello, and later, more famously, by ]); and "The Marriage of Figaro", set by Mozart. Remarkably, the Paisiello role is for a tenor, the Mozart role for baritone; Mandini's great vocal range enabled him to take both parts. It can be seen that Mandini created the role of Count Almaviva twice: the Count appears as a character in two operas derived from the plays of ], ''The Barber of Seville'' (set by Paisiello, and later, more famously, by ]); and "The Marriage of Figaro", set by Mozart. Remarkably, the Paisiello role is for a tenor, the Mozart role for baritone; Mandini's great vocal range enabled him to take both parts.<ref name=Grove />


Mandini left Vienna, following a gala benefit concert for himself, in 1788. He moved to sing in Naples, later Paris, again Vienna, and St. Petersburg. Mandini left Vienna, following a gala benefit concert for himself, in 1788. He moved to sing in Naples, later Paris, again Vienna, and Saint Petersburg.<ref name=Grove />


He was married to Maria Mandini, a French soprano, also member of the Vienna company. He was married to Maria Mandini, a French soprano, also member of the Vienna company.


==Assessment== ==Assessment==
His singing was admired in St. Petersburg by the painter ]. His singing was admired in Saint Petersburg by the painter ].<ref name=Grove />


==References== ==References==
{{Reflist}}
*Raeburn, Christopher (1992) "Mandini family (opera)". Now on line in ''Grove Music Online'',
'''Sources'''
* {{cite Grove|last=Raeburn|first=Christopher|others=revised by Dorothea Link|year=2001|title=Mandini, Stefano|doi=10.1093/omo/9781561592630.013.90000381143}} {{subscription}}

{{Portal bar|Biography|Opera}}
{{Authority control}}{{VIAF|227072748}}

{{DEFAULTSORT:Mandini, Stefano}}
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Latest revision as of 03:11, 14 December 2024

Italian operatic baritone (1750–c. 1810)
Stefano Mandini; engraving from the late 1780s by Thérèse-Éléonore Lingée [fr] after a drawing by Jean-Michel Moreau the Younger. From the collections of the British Museum.

Stefano Mandini (1750–ca. 1810) was an outstanding baritone singer of the second half of the 18th century. He appeared in the premieres of many well-known operas of his day, of which the most famous at the present time is Mozart's The Marriage of Figaro, for which Mandini created the role of Count Almaviva.

Career

His career began in Italy with performances in Ferrara in 1774 and Parma in 1776. A key event occurred when Emperor Joseph II of Austria chose to found a top-rank Italian opera company at his capital in Vienna, and sent his representatives seeking the best available talent. Mandini was recruited during this search, and first sang in the Emperor's company on 5 May 1783 as Milord Arespingh in L'italiana in Londra by Domenico Cimarosa. He sang in a number of operas with the company, including the following:

It can be seen that Mandini created the role of Count Almaviva twice: the Count appears as a character in two operas derived from the plays of Pierre de Beaumarchais, The Barber of Seville (set by Paisiello, and later, more famously, by Rossini); and "The Marriage of Figaro", set by Mozart. Remarkably, the Paisiello role is for a tenor, the Mozart role for baritone; Mandini's great vocal range enabled him to take both parts.

Mandini left Vienna, following a gala benefit concert for himself, in 1788. He moved to sing in Naples, later Paris, again Vienna, and Saint Petersburg.

He was married to Maria Mandini, a French soprano, also member of the Vienna company.

Assessment

His singing was admired in Saint Petersburg by the painter Élisabeth Vigée Le Brun.

References

  1. ^ Raeburn 2001

Sources

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VIAF 227072748

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