Nabokov, Nicolas [Nikolay]
Nicolini [Grimaldi, Nicolo]
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Nicolini [Grimaldi, Nicolo](b Naples, bap. 5 April 1673; d Naples,1 Jan 1732). Italian alto castrato. He studied under Provenzale, in whose La Stellidaura vendicata he made his début in 1685, in Naples. He sang in Naples Cathedral and the royal chapel as a soprano from 1690. He appeared frequently in opera, at the Teatro di S Bartolomeo and sometimes in the royal palace, between 1697 and 1731 and was particularly associated with Alessandro Scarlatti, singing in his La caduta de' Decemviri (1697), Il prigioniero fortunato (1698), Arminio, L'amor generoso and Scipione nelle Spagne (1714), Tigrane (1715) and Cambise (1719); he also sang in operas by C.F. Pollarolo, Giovanni Bononcini (Muzio Scevola), Mancia, Mancini, Lotti, Leo, Porpora, Vinci and others, and in Leo’s adaption of Handel’s Rinaldo (1718). He sang in Rome and Bologna in 1699 and 1700, Parma in 1699, Genoa in 1700, Reggio nell'Emilia in 1700 and 1725, Rovigo in 1703, Vicenza in 1707–8, Ferrara in 1713, Salerno in 1719, Rome in 1720–21, Milan in 1725 and 1727, Florence in 1725 and 1728, Bologna in 1727 and 1730, Faenza in 1728, and between 1700 and 1731 he appeared many times in Venice, in works by C.F. Pollarolo, Antonio Pollarolo, Gasparini, Caldara, Albinoni, Leo, Orlandini, Vinci, Porpora, Hasse and others (see illustration). Nicolini went to London in 1708, promoted by John Vanbrugh, and made his début at the Queen's Theatre in Haym's arrangement of Scarlatti's Pirro e Demetrio. He enjoyed a great personal triumph and was largely responsible for the increasing popularity of Italian opera in London. In 1709 he signed a three-year contract with Owen Swiney, in which he undertook to arrange operas for the London stage. He sang in all the operas during that period, many of them pasticcios arranged by Haym or himself: Camilla (G. Bononcini), Clotilda and Tomiri in 1709, Almahide and Mancini's Idaspe fedele (including his notorious scene with a lion) in 1710, Bononcini's Etearco and Gasparini's Antioco in 1711, Ambleto and Ercole in 1712. In 1711 he sang the title role in the first performance of Handel's Rinaldo; in the same year he appeared in Dublin in a concert that raised over £39 for the Blue Coat Hospital. He returned to London in 1715 and created the title role in Handel's Amadigi. He continued to sing in pasticcios and revivals up to 1717, and Swiney tried repeatedly to persuade the Royal Academy to re-engage him between 1725 and 1727. Nicolini was the leading male singer of his age and an outstanding all-round artist. Burney's evaluation, ‘this great singer, and still greater actor’, was shared by contemporaries such as Steele. Addison called him ‘the greatest performer in dramatic Music that is now living or that perhaps ever appeared on a stage’. The two parts Handel composed for him require exceptional agility and breath control, with a compass a to f''. He never retired, and after singing in Vinci's Siroe and Orlandini's Massimiano in Venice in 1731 he was engaged for Pergolesi's first opera, Salustia, in Naples, but was taken ill and died during rehearsals.
WINTON DEAN Nicolini [Nicolas], Ernest(b Saint Malo, 23 Feb 1834; d Pau, 19 Jan 1898). French tenor. He studied at the Paris Conservatoire and made his début (as Nicolas) in 1857 at the Opéra-Comique in Halévy’s Les mousquetaires de la reine. After further study in Italy, he sang at La Scala in La traviata (1859), Rossini’s Otello (as Rodrigo), I Lombardi, Giorza’s Corrado, console di Milano and La sonnambula (1860). From 1862 to 1869 he appeared at the Théâtre Italien, Paris, and he made his Covent Garden début (under the pseudonym Nicolini) in 1866, singing opposite Patti in Lucia di Lammermoor, but without great success. In 1871 he returned to London to sing in Faust and Robert le diable at Drury Lane, and from 1872 to 1884 he was engaged every season at Covent Garden. He appeared in many roles, including Pery in Gomez’s Il guarany (1872), Lohengrin (1875), Radamès in Aida (1876) and Fabio in Jules Cohen’s Estella (1880), all first London performances, and he sang Celio at the première of Lenepveu’s Velléda (1882). His voice had a wide vibrato that some of his contemporaries found distressing, but his fine stage presence and intense acting were particularly appreciated in such roles as Gounod’s Faust and Romeo. He accompanied Patti on tours of Europe (to Vienna, Milan, Brussels, Berlin, Hamburg and other cities), and of the USA and South America. In 1886 he became her second husband, and that year made his final stage appearance, as Almaviva in Il barbiere di Siviglia at Drury Lane, though he continued to sing in concerts for some time. BIBLIOGRAPHYH. Klein: The Reign of Patti (London, 1920) H. Rosenthal: Two Centuries of Opera at Covent Garden (London, 1958) ELIZABETH FORBES Nicolini [Niccolini], Giuseppe(b Piacenza, 29 Jan 1762; d Piacenza, 18 Dec 1842). Italian composer. The sixth of 14 brothers, he first studied music with his father, Omobono Nicolini, organist and maestro di cappella in Piacenza, and singing with Filippo Macedone. With financial help from Duke Gian Girolamo Sforza Fogliani of Piacenza he studied composition for seven years, probably from 1778 to 1784, at the Conservatorio di S Onofrio in Naples, where his teachers were Insanguine and later Cimarosa. After composing the oratorio Daniele nel lago dei leoni (1781, Naples) and the azione sacra Giuditta (1785, Venice), he made his opera début with La famiglia stravagante (1793, Parma). This first success was followed by at least 45 works, produced at the rapid pace imposed by the market. As one of the last representatives of the old Neapolitan school, which by 1800 was in decline and was soon to be engulfed in a process of national unification of musical taste (to which the work of Rossini was to give the strongest impetus), Nicolini imitated its models with ability but reduced them to stereotyped formulae. Nevertheless, for about 20 years, principally between 1811 and 1820, he could count on an enormous public, even outside Italy, who exalted him to the level of the most celebrated masters. In 1807 in Rome, his Traiano in Dacia, starring the castrato Velluti, defeated Cimarosa’s much-loved classic Gli Orazi ed i Curiazi in a contest for popular favour. His operas were performed by the best virtuosos of the time, including (besides Velluti) Bonoldi, Pasta, Pisaroni and the young Catalani, who sang in I baccanali di Roma at La Scala in 1801. In 1816, when the administration of the Teatro Nuovo (thereafter the Teatro Comunale) passed from the Duchess Maria Luisa to the municipality of Piacenza, he was appointed for life to the service of that theatre by a special decree from the duchess, and from that time he wrote little for the stage. In 1819 he was elected maestro di cappella of the cathedral. In the meantime his fame had become obscured by that of Rossini, although in his final years he assimilated some of the features of Rossini’s style. He abandoned the theatre completely in 1831 to devote himself to sacred music. During his last years, lack of means obliged him to serve in some of the choirs of his city; he died in poverty and forgotten. In 1914 Piacenza named its Liceo Musicale after him. WORKSstage
other works
BIBLIOGRAPHYFétisB; GiacomoC; GroveO (A. Lanza) [incl. complete list of operas] C. Gervasoni: Nuova teoria di musica (Parma, 1812/R), 200 AMZ, xxii (1820), 287 [on La feudataria]; xxvi (1824), 509–10 [on Aspasia e Agide]; xxxv (1833), 360–61 [on Il trionfo di Manlio] F. Giarelli: ‘Note malnote: Giuseppe Nicolini’, GMM, xli (1886), 217–18 E. Papi: Il teatro municipale di Piacenza: cento anni di storia (Piacenza, 1912) E. de Giovanni: Giuseppe Nicolini e Sebastiano Nasolini (Piacenza, 1927) Un maestro di musica piacentino: Giuseppe Nicolini (nel primo centenario della morte) (Piacenza, 1944) [incl. I. Cappa: ‘Per Giuseppe Nicolini’, 7–19; A. Rapetti: ‘Vita e opere di Giuseppe Nicolini (1762–1842)’, 21–100; C. Censi: ‘L’arte di Giuseppe Nicolini’, 101–13; detailed but inaccurate list of works, 117ff] M. Donà: ‘Un’ aria di Rossini per un’opera di Nicolini nella Biblioteca Comunale di Civitanova Marche’, AnMc, no.19 (1979), 320–29 [incl. notes on Nicolini’s Quinto Fabio] F. Bussi: Storia di Piacenza: L’Ottocento (Piacenza, 1980), 749–53 H. Lühning: ‘“Titus”: Vertonungen im 18. Jahrhundert’, AnMc, no.20 (1983) [whole vol.], esp. 77–8, 451–60 ANDREA LANZA Yüklə 10,2 Mb. Dostları ilə paylaş:
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