Uccelli [née Pazzini], Carolina Uccellini, Marco
Usandizaga [Soraluce], José Maria
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- Usiglio, Emilio
Usandizaga [Soraluce], José Maria(b San Sebastián, 31 March 1887; d San Sebastián, 5 Oct 1915). Basque composer. He began studies at an early age in San Sebastián with German Cendoya (piano) and Beltran Pagola (harmony). Later he played the piano at a private audition for Planté, who recommended him to d'Indy, and accordingly he went to the Schola Cantorum in Paris at the age of 14 to study with Grovlez (piano), Tricon (counterpoint) and Séré. His family wanted him to concentrate on the piano, but an arterial disease in the hand obliged him to give his attention instead to composition. He returned to San Sebastián in 1906, and shortly thereafter his first works based on Basque folk music – Irurak bat for orchestra, Bidasoa for band and Euskal festara for band – were performed. Usandizaga now became a prolific composer in all genres, but it was in the theatre that he had his greatest popular successes. The triumphal reception accorded his first work for the stage, Mendi mendiyan (‘High in the Mountains’), at San Sebastián in 1911 encouraged him to search for another opera subject. He found it in Martinez Sierra's play Teatro del ensueño. In September 1913 the dramatist sent him an adaptation entitled Las golondrinas and two months later the work was complete. After the Madrid première in 1914 Usandizaga was established as a national figure. He asked Martinez Sierra for another libretto and spent his last months in Yanci, Navarre, composing La llama. On his death the work was finished by his brother, Ramón. Usandizaga's orchestration was Puccinian and there was a French influence in his music, but despite these links he was a Basque musician par excellence and, together with Guridi, he laid the foundations of Basque art music. WORKS(selective list)
BIBLIOGRAPHYP.L. Villalbe Muñoz: Ultimos músicos españoles: José M. de Usandizaga (Madrid, 1918) H. Collet: L'essor de la musiqe espagnole au XXe siècle (Paris, 1929) J.M. Arozamena: Joshemari y la bella epoca donostiarra (San Sebastián, 1969) A. Fernández Cid: La música español en el siglo XX (Madrid, 1973) T. Marco: Historia de la música español: sigla XX (Madrid, 1983; Eng. trans., 1993) J. Montero: Usandizaga (Madrid, 1985) ANTONIO RUIZ-PIPÓ Usiglio, Emilio(b Parma, 8 Jan 1841; d Milan, 8 July 1910). Italian composer and conductor. He began piano lessons at the age of five and later moved to Borgo S Donnino (now Fidenza) to study harmony with Giovanni Rossi (ii). He completed his piano studies with Gustavo Romani in Pisa, where his family had settled, and studied harmony and counterpoint in Florence with Teodulo Mabellini. At the age of 19, Usiglio composed his first opera, La locandiera (from Goldoni’s comedy), which was favourably reviewed by F. D’Arcais on its début in Turin in 1861. After a second comic opera, L’eredità in Corsica (1864), there followed Usiglio’s most successful work, Le educande di Sorrento (1868), expressly written for the Teatro Alfieri in Florence. The opera had a wide circulation in Italy and was also performed in Malta, as La figlia del generale (Manoel, 1875), and in Berlin (Volksoper, 18 February 1911, sung in German). After La scommessa (1870), he again borrowed from Goldoni for Le donne curiose (1879). The libretto was by A. Zanardini, who later adapted Labiche’s La mariée du mardis gras for Usiglio’s last opera, Le nozze in prigione (1881). Usiglio also composed ballets, chamber music and songs, but his prestige came mostly from his intense activity as a conductor, even though excessive drinking was eventually to mar his career. Usiglio took Aida on tour in Italy after its La Scala première was conducted by Franco Faccio in 1872. He was responsible for the first Italian performances of Thomas’s Hamlet (1876, Venice) and Carmen (1879, Naples), and won the critics’ favour to Boito’s revised Mefistofele, conducting it at Bologna’s Teatro Communale on 4 October 1875. In 1882 he conducted a successful revival of Lohengrin at La Fenice. He was widely appreciated for his intelligence, sense of balance and secure conducting style. In later years he grew deaf and retired to Milan with his wife, the singer Clementina Brusa; she died three months after him, on 2 October 1910, leaving a legacy to the Parma Conservatory to found a competition for Italian composers of comic opera. Among minor composers of late 19th-century Italian opera, Usiglio had a particular inclination for opera buffa, which he cultivated through the unabashed revival of Rossinian and Donizettian formulas. Like his older colleagues Lauro Rossi or Nicola De Giosa, he was the epigone of a tradition that had long lost its vitality; but in his best operas, Le educande di Sorrento and Le donne curiose, Usiglio could strike a personal note in some brilliant ensemble writing. Le educande also shows, along with typical devices of the old style – for example the buffo mannerism of Don Democrito rector of a girls’ college – parodies of contemporary Verdian highlights, including a rataplan (Act 1), a brindisi (Act 2) and a sentimental romanza (Act 3).
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BIBLIOGRAPHYP. Bettoli: I nostri fasti musicali (Parma, 1875) ‘Le donne curiose del maestro Emilio Usiglio al Teatro Dal Verme di Milano’, Teatro illustrato, i (1881) A. Galli: ‘Emilio Usiglio’, Teatro illustrato, xii (1881) G. Monaldi: Ricordi viventi di artisti scomparsi (Campobasso, 1927) U. Manferrari: Dizionario universale delle opere melodrammatiche (Florence, 1955) MATTEO SANSONE Yüklə 3,09 Mb. Dostları ilə paylaş:
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