| Revision as of 03:39, 11 December 2024 editOpus33 (talk | contribs)Autopatrolled, Extended confirmed users, Pending changes reviewers, Rollbackers16,955 edits still very rough, needs more sources and proper linking.← Previous edit | Revision as of 06:10, 11 December 2024 edit undoOpus33 (talk | contribs)Autopatrolled, Extended confirmed users, Pending changes reviewers, Rollbackers16,955 edits fix typos, link GazzanigaNext edit → | ||
| Line 1: | Line 1: | ||
| '''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 |
'''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 |
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 '']'' by ]. He sang in a number of operas with the company, including the following: | ||
| *1783 | *1783 | ||
| Line 11: | Line 11: | ||
| **''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'' (Gazzaniga). | **''La vendemmia'' (]). | ||
| *1785 | *1785 | ||
| **Artidoro in ]’s '']'' | **Artidoro in ]’s '']'' | ||
Revision as of 06:10, 11 December 2024
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 Venice (1775-1776) and Parma (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:
- 1783
- Mingone in Giuseppe Sarti’s Fra i due litiganti
- Don Fabio in Cimarosa’s Il falegname
- Count Almaviva in Giovanni Paisiello’s The Barber of Seville
- 1784
- Le vicende d’amore (P. A. Guglielmi),
- La finta amante and Il re Teodoro in Venezia (Paisiello)
- La vendemmia (Giuseppe Gazzaniga).
- 1785
- Artidoro in Stephen Storace’s Gli sposi malcontenti
- Plistene in Antonio Salieri’s La grotta di Trofonio
- 1786
- the Poet in Salieri’s Prima la musica e poi le parole
- Count Almaviva in Mozart’s Le nozze di Figaro (1 May)
- Lubino in Martín y Soler’s Una cosa rara
- Sarti’s I finti eredi
- Paisiello’s Le gare generose
- 1787–8
- Leandro in Paisiello’s Le due contesse
- Doristo in Martín y Soler’s L'arbore di Diana
- Biscroma in Salieri’s Axur, re d’Ormus.
Later he sang in Naples, Paris, again in Vienna, and St. Petersburg.
He was married to Maria Mandini, a French soprano.
Assessment
His singing was admired in St. Petersburg by the painter Elisabeth Vigée Le Brun. Raeburn observes, "His wide range permitted him to create Count Almaviva as a tenor for Paisiello and as a baritone for Mozart."