Giovanni Paisiello  
Giovanni Paisiello
Giovanni Paisiello, Paisiello also spelled Paesiello (born May 9, 1740, Roccaforzata, near Taranto, Kingdom of Naples [Italy]—died June 5, 1816, Naples), Neapolitan composer of operas admired for their robust realism and dramatic power.

Paisiello’s father, who intended him for the legal profession, enrolled him at age five in the Jesuit school in Taranto. When his talent for singing became obvious, he was placed in the Conservatory of San Onofrio at Naples. For the theatre of the conservatory he wrote some intermezzi, one of which attracted so much notice that he was invited to write two operas, La Pupilla (“The Female Pupil”), for Bologna, and Il Marchese Tulissano, for Rome. His reputation established, he settled for some years at Naples, where he produced a series of successful operas. In 1776 Paisiello was invited by the Russian empress Catherine II to St. Petersburg, where he remained for eight years. Among the works he produced for Catherine was Il Barbiere di Siviglia (1782; The Barber of Seville), which some consider his masterpiece, on a libretto by Giuseppe Petrosellini, after Beaumarchais’s comedy Le Barbier de Séville.

In 1784 Paisiello left Russia and, after a brief sojourn in Vienna, where he composed for Joseph II, entered the service of Ferdinand IV of Naples. During his 15 years as music director there, he composed several of his best operas, including La Molinara (1788) and Nina (1789). After many vicissitudes resulting from political and dynastic changes, he was invited to Paris in 1802 by Napoleon. Paisiello conducted the music of the court in the Tuileries; the Parisian public, however, received his opera Proserpine (1803) without enthusiasm. Disappointed at the failure of his only opera with a French libretto, he returned to Naples in 1804. There he was reinstated in his former appointment by Joseph Bonaparte and Joachim Murat, but he was unable to meet the demands for new works, and he left in 1815. The power of the Bonaparte family was tottering, and Paisiello’s fortunes fell with it; he died in political disgrace a year after King Ferdinand was restored to power.

Paisiello’s popularity and influence during his lifetime were considerable. His success with Il Barbiere di Siviglia (produced in Vienna in 1783) led Mozart to set its sequel (Le nozze di Figaro, 1786), and traces of his style may be found in this and Mozart’s second Da Ponte collaboration, Don Giovanni (1787); moreover, the persistent popularity of Il Barbiere was a substantial roadblock for Gioachino Rossini, whose operatic version of the play (early 1816) eventually displaced Paisiello’s. In all, Paisiello is known to have composed more than 80 operas. His church music comprises about 40 masses and many smaller works. His instrumental music includes symphonies, a harp concerto, string quartets, and sonatas for harp and for violin and cello. In the 20th century, Il Barbiere and La Molinara were revived, and several of his operas and piano concerti, string quartets, and keyboard pieces were republished.

Encyclopædia Britannica

Musical style
Paisiello was primarily an opera composer. His instrumental works are therefore imbued with a similar vocally conceived melodic line, granted they may be lacking in the sophisticated counterpoint and motivic work of Haydn and Mozart's music. This characterization, however, does not do justice to the extreme drama and topical contrast in all his works such as the Piano Concerto No. 4 in G minor. (CD Naxos 8.557031. Francesco Nicolosi, Piano, Collegium Philarmonicum Chamber Orchestra - Gennaro Cappabianca, Conductor.) Essentially he had mastered all the techniques which made for good opera, and this made his works widely popular and admired throughout Europe.

R 1.00 La moglie in calzoni (18.2.1764, Modena)
R 1.01 Il ciarlone (12.5.1764, Bologna) — lost
R 1.02 I francesi brillanti (24.6.1764, Bologna)
R 1.03 Madama l'umorista, o Gli stravaganti (26.1.1765, Modena) — lost
R 1.04 L'amore in ballo (carnival 1765, Venice S Moisè)
R 1.05 La mascherata delle nozze di Bacco e d'Arianna (11.2.1765, Modena)
I bagni d'Abano (spring 1765, Parma)
Il negligente (1765, Parma)
Pulcinella vendicato nel ritorno di marechiaro (1765, Naples, Teatro Bellini)
R 1.05a Le virtuose ridicole (1765, Parma)
R 1.06 Le nozze disturbate (carnival 1776, Venice S Moisè)
R 1.07 Le finte contesse (2.1766, Rome Valle) [Il Marchese di Tulissano?]
R 1.08 La vedova di bel genio (spring 1766, Naples, Teatro Nuovo)
R 1.09 Le 'mbroglie de le Bajasse (carnival 1767, Naples) — lost
R 1.09a La serva fatta padrona (summer 1769, Naples) 2nd version of Le 'mbroglie de le Bajasse
R 1.10 L'idolo cinese (spring 1767, Naples, Teatro Nuovo)
R 1.11 Licenza to L'idolo cinese
R 1.12 Lucio Papirio dittatore (summer 1767, Naples, Teatro di S Carlo)
R 1.13 Il furbo malaccorto (winter 1767, Naples, Teatro Nuovo)
R 1.14 Alceste in Ebuda, ovvero Olimpia (20.1.1768, Naples, Teatro di S Carlo)
R 1.15 Le nozze di Peleo e Tetide (31.5.1768, Naples PR) [Festa teatrale in musica]
R 1.16 Licenza to Peleo
R 1.17 La luna abitata (summer 1768, Naples, Teatro Nuovo)
R 1.18 La finta maga per vendetta (autumn? 1768, Naples, Teatro dei Fiorentini)
R 1.19 L'osteria di Marechiaro (winter 1768, Naples, Teatro dei Fiorentini)
R 1.20 La Claudia vendicata (performed as act III of L'osteria 1770, Naples)
R 1.21 Don Chisciotte della Mancia (summer 1769, Naples, Teatro dei Fiorentini)
R 1.22 L'arabo cortese (winter 1769 Naples, Teatro Nuovo)
R 1.23 La Zelmira, o sia La marina del Granatello (summer 1770 Naples, Teatro Nuovo)
R 1.24 Le trame per amore (7.10.1770 Naples, Teatro Nuovo)
R 1.25 Demetrio (Lent 1771, Modena)
R 1.26 Annibale in Torino (16.1.1771 Turin, Teatro Regio di Torino)
R 1.27 La somiglianza de' nomi (spring 1771 Naples, Teatro Nuovo)
R 1.28 and 1.29 I scherzi d'amore e di fortuna (summer 1771 Naples, Teatro Nuovo)
R 1.30 Artaserse (26.12.1771 Modena)
R 1.31 Semiramide in villa (carnival 1772 Rome, Teatro Capranica)
R 1.32 Motezuma (1.1772 Rome, Dame)
R 1.33 La Dardanè (spring 1772 Naples, Teatro Nuovo)
R 1.34 Gli amante comici (autumn 1772 Naples, Teatro Nuovo)
Don Anchise Campanone (1773 Venice) [rev. Gli amante comici]
R 1.35 L'innocente fortunata (carnival 1773 Venice S Moisè)
R 1.36 Sismano nel Mogol (carnival 1773 Milan, Teatro Regio Ducal)
R 1.37 Il tamburo (spring 1773 Naples, Teatro Nuovo) [Il tamburo notturno]
R 1.38 La semplice fortunata (summer 1773, Naples)
R 1.39 Alessandro nell'Indie (26.12.1773 Modena) — fragment
R 1.40 Andromeda (carnival 1774 Milan, Teatro Regio Ducal)
R 1.41 Il duello (spring 1774 Naples, Teatro Nuovo)
R 1.42 Il credulo deluso (autumn 1774 Naples, Teatro Nuovo)
R 1.43 La frascatana (autumn 1774 Venice, S Samuele) [L'infante de Zamora]
R 1.44 Il divertimento dei numi (4.12.1774 Naples, Reale)
R 1.45 Demofoonte (carnival 1775 Venice, S Benedetto)
R 1.46 La discordia fortunata (carnival 1775 Venice, S Samuele) [L'avaro deluso]
R 1.47 Le astuzie amorose (spring 1775 Naples, Teatro Nuovo)
R 1.48 Socrate immaginario (autumn 1775 Naples, Teatro Nuovo)
R 1.49 Il gran Cid (3.11.1775 Florence, Teatro La Pergola)
R 1.50 Le due contesse (3.1.1776 Rome, Teatro Capranica in Palazzo alla Valle)
R 1.51 La disfatta di Dario (carnival 1776 Rome, Teatro Argentina)
R 1.52 Dal finto il vero (spring 1776 Naples, Teatro Nuovo)
R 1.53 Il finto spettro (26.12.1776, Mannheim)
R 1.54 Nitteti (28.1.1777 St. Petersburg)
R 1.55 Lucinda e Armidoro (autumn1777 St. Petersburg)
R 1.56 Achille in Sciro (6.2.1778 St. Petersburg)
R 1.57 Lo sposo burlato (24.7.1778 St. Petersburg)
R 1.58 Gli astrologi immaginari (14.2.1779 St. Petersburg, Hermitage) [I filosofi immaginari], [Le philosophe imaginaire]
R 1.59 Demetrio (13.6.1779, Tsarskoye Selo)
R 1.60 Il matrimonio inaspettato (1779 Kammenïy Ostrov) [La contadina di spirito]
R 1.61 La finta amante (5.6.1780 Mogilev) [Camiletta]
R 1.62 Alcide al bivio (6.12.1780 St. Petersburg, Hermitage)
R 1.63 La serva padrona (10?.9.1781 Tsarskoye Selo)
Il duello comico (1782 Tsarskoye Selo) [rev. Il duello]
R 1.64 Il barbiere di Siviglia, ovvero La precauzione inutile (26.9.1782 St. Petersburg)
R 1.65 Il mondo della luna (1782 Kammenïy Ostrov)
R 1.66 Il re Teodoro in Venezia (23.8.1784 Vienna, Burg)
R 1.67 Antigono (12.10.1785 Naples, Teatro di S Carlo)
R 1.68 L'amor ingegnoso, o sia La giovane scaltra (carnival 1785 Padua)
R 1.69 La grotta di Trofonio (12.1785 Naples, Teatro dei Fiorentini)
R 1.70 Olimpiade (20.1.1786 Naples, Teatro di S Carlo)
R 1.71 Le gare generose (spring 1786 Naples, Teatro dei Fiorentini) [Gli schiavi per amore; Le bon maître, ou L'esclave par amour]
R 1.72 Pirro (12.1.1787 Naples, Teatro di S Carlo)
Il barbiere di Siviglia, ovvero La precauzione inutile [rev] (1787 Naples, Teatro dei Fiorentini)
R 1.73 Giunone e Lucina (8.9.1787 Naples, Teatro di S Carlo)
R 1.74 La modista raggiratrice (autumn 1787 Naples, Teatro dei Fiorentini) [La scuffiara amante, o sia Il maestro di scuola napolitano; La scuffiara raggiratrice]
R 1.75 Fedra (1.1.1788 Naples, Teatro di S Carlo)
R 1.76 L'amor contrastato (carnival 1789 Naples, Teatro dei Fiorentini) [L'amor contrastato o sia La molinarella]
R 1.77 Catone in Utica (5.2.1789 Naples, Teatro di S Carlo)
R 1.78 Nina, o sia La pazza per amore (25.6.1789 Caserta)
R 1.79 I zingari in fiera (21.11.1789 Naples, Teatro dei Fiorentinio)
R 1.80 Le vane gelosie (spring 1790 Naples, Teatro dei Fiorentini)
R 1.81 Zenobia in Palmira (30.5.1790 Naples, Teatro di S Carlo)
La molinara (1790 Vienna) [rev. L'amor contrastato]
Nina, o sia La pazza per amore [rev] (1790 Naples, Teatro dei Fiorentini)
R 1.82 Ipermestra (6.1791 Padua)
R 1.83 La locanda (16.6.1791 London Pantheon) [La locanda di falcone; Lo stambo in Berlina]
R 1.84 I giuochi d'Agrigento (16.5.1792 Venice, Fenice)
Il fanatico in Berlina (1792 Naples, Teatro dei Fiorentini) [rev. La locanda]
R 1.85 Il ritorno d'Idomeneo in Creta (autumn 1792 Perugia) — lost
R 1.86 Elfrida (4.11.1792 Naples, Teatro di S Carlo) [Adevolto]
R 1.87 Elvira (12.1.1794 Naples, Teatro di S Carlo)
R 1.88 Didone abbandonata (4.11.1794 Naples, Teatro di S Carlo)
Nina, o sia La pazza per amore [rev 2] (1795 Naples, Teatro dei Fiorentini)
Chi la dura la vince (9.6.1797 Milan S)
R 1.89 La Daunia felice (26.6.1797 Foggia, Palazzo Dogana)
R 1.90 Andromaca (4.11.1797 Naples, Teatro di S Carlo)
R 1.91 L'inganno felice (1798 Naples, Teatro dei Fiorentinio)
R 1.92 L'isola disabitata (3.7.1799, Lisbon) — lost
R 1.93 La Pace
R 1.94 Proserpine (28.3.1803 Paris, Opéra)
R 1.95 Elisa (19.3.1807 Naples, Teatro di S Carlo) [+ Mayr]
R 1.96 I pittagorici (19.3.1808 Naples, Teatro di S Carlo)

Cantatas (secular)

R 2.01 – L'Ebone (lost)
R 2.02 – La sorpresa delli Dei (lost)
R 2.03 – 2 Notturni
R 2.04 – La Partenza
R 2.05 – La Libertà e Palinodia a Nice
R 2.06 – Il Ritorno di Perseo
R 2.07 – Amor vendicato
R 2.08 – Il Genio Poetico Appagato
R 2.09 – Cantata epitalamica (lost)
R 2.10 – Canone a 4 voci
R 2.11 – Le nozze di Silvio e Clori
R 2.12 – La Volontaria
R 2.13 – Il mio bene, il mio tesoro
R 2.14 – Birthday Cantata for Prince Felice of Lucca
R 2.15 – Tirsi a Fille
R 2.16 – Fille a Tirsi
R 2.17 – La Lontananza di Tirsi
R 2.18 – La scusa
R 2.19 – Riede omai la nuova aurora
R 2.20 – 3 Notturni for 2 sopranos

Oratorios, passions and sacred cantatas

R 3.01 – Jephte sacrificium (lost)
R 3.02 – La Passione di Nostro Signor Gesù Cristo
R 3.03 – Passio secundum Mattheum
R 3.04 – Passio di San Giovanni
R 3.05 – Il transito di San Luigi Gansaga
R 3.06 – Cantata fatta in occasione della transalazione del sangue di S. Gennaro
R 3.07 – Baldassare
R 3.08 – Cantata per la Sollenit‡ del SS. Corpo di Cristo
R 3.09 – Cantata per la transalazione del sangue del glorioso martire S. Gennaro
R 3.10 – Il fonte prodigioso di Orebre (lost)
R 3.11 – Passio per la domenica delle Palme
R 3.12 – Passio per il venerdi Santo

Religious works for Napoleon's chapels

Works composed for Napoleon's and King Joseph's Chapels.
R 4.01 – Virgam virtutis tuae in F major
R 4.02 – Mass in F major
R 4.03 – Absit sonitus tubae in D major
R 4.04 – Mass in A major
R 4.05 – Veni ferox, veni in G minor
R 4.06 – Mass in C major
R 4.07 – Splendete o coeli in G major
R 4.08 – Mass in G major
R 4.09 – Coeli stella amica in E flat major
R 4.10 – Mass in F major
R 4.11 – Non est in vita amara in C major
R 4.12 – Mass in B flat major
R 4.13 – Messa in Pastorale per il Natale in G major
R 4.14 – Mass for Passion and Palm Sundays in F major
R 4.15 – Veni sancte spiritus in E flat major
R 4.16 – Mass for the coronation of Napoleon I in B flat major
R 4.17 – Deh resplende o clara stella in D major
R 4.18 – Gratiae sint Deo devotae in E flat major
R 4.19 – Splendete o coeli in G major
R 4.20 – Sitibundi desolati in D minor
R 4.21 – Alma fax et casti in E flat major
R 4.22 – Mass in D major
R 4.23 – Ne lucem Bene in B flat major
R 4.24 – Altas Olympi fores in A major
R 4.25 – Rosae lux e coelo in A major
R 4.26 – Mass in F major
R 4.27 – Vivat Deus in C major
R 4.28 – Si mare ferox murmurat in F major
R 4.29 – Coeli stella amica in E flat major
R 4.30 – Non est in vita amara in C major
R 4.31 – Heu nos jam velum in E flat major
R 4.32 – Quis est? in C major
R 4.33 – Mass in C major
R 4.34 – Absit sonitus tubae in D major
R 4.35 – In tuo beato ardore in G major
R 4.36 – O mortales summo ardore in D major
R 4.37 – Mass in D major
R 4.38 – Mass for the Assumption of the Blessed Virgin Mary in G major (1809)
R 4.39 – Sagro trattenimento musicale in B flat major
R 4.40 – Sagro componimento musicale in C major
R 4.41 – Sagro componimento musicale in G major
R 4.42 – Mass for the Assumption of the Blessed Virgin Mary in G major (1811)
R 4.43 – Mass in E flat major
R 4.44 – Mass for the Assumption of the Blessed Virgin Mary in C major
R 4.45 – Mass in B flat major
R 4.46 – Te Deum breve in G major
R 4.47 – Laudate pueri in E minor
R 4.48 – Salvum fac Domine in B flat major


R 5.01 – Missa Defunctorum in C minor
R 5.02 – Mass in G major
R 5.03 – Mass in D major
R 5.04 – Mass in F major
R 5.05 – Mass in D major
R 5.06 – Mass in B flat major
R 5.07 – Agnus Dei in G major
R 5.08 – Mass in F major
R 5.09 – Mass in C major
R 5.10 – Mass in F major
R 5.11 – Mass in C major (doubtful)

Pieces for the ordinary of the mass

R 5.51 – Introit, offertory and communion for the mass in F major
R 5.52 – Introit, kyrie and offertory
R 5.53 – Introit, gradual, offertory, post-communion and responsory
R 5.54 – Gradual: Omnes de Saba venient in G major
R 5.55 – Offertory: Te gloriosus chorus in D major
R 5.56 – Veni sancte spiritus in D major
R 5.57 – Exsulta jam cor meum in D major
R 5.58 – Stabat Mater del Pergolese in C minor
R 5.59 – Libera me Domine in D minor
R 5.60 – Caro mea vere est cibus in B flat major
R 5.61 – Benedictus Rex in B flat major

Canticles, hymns and psalms

R 6.01 – Te Deum in B flat major
R 6.02 – Te Deum in C major
R 6.03 – Hymn: O salutaris hostia in A major
R 6.04 – Dixit Dominus in A major
R 6.05 – Antiphon: Domine ad adjuvandum in F major
R 6.06 – Dixit Dominus in F major
R 6.07 – Antiphon: Domine ad adjuvandum in G major
R 6.08 – Dixit Dominus in C major
R 6.09 – Dixit Dominus in D major
R 6.10 – Dixit Dominus in G major
R 6.11 – Dixit Dominus in D major
R 6.12 – Dixit Dominus in G major
R 6.13 – Psalm: Confitebor tibi in A major
R 6.14 – Psalm: Laudate pueri in E flat major
R 6.15 – Psalm: Laudate pueri in C major
R 6.16 – Psalm: Laudate pueri in C major
R 6.17 – Psalm: Laetatus sum in D minor
R 6.18 – Psalm: Magnificat in C major
R 6.19 – Psalm: Magnificat in G major
R 6.20 – Litany in G major
R 6.21 – Responsoria Nativitatis Domini in E minor
R 6.22 – Responsori per la settimana santa
R 6.23 – Responsori per Giovedi Santo
R 6.24 – Responsori per Venerdi Santo
R 6.25 – Lamentazione prima in C major
R 6.26 – Lamentazione seconda in G major
R 6.26 – Lamentazione terza in F major
R 6.28 – Lezione per la sera del Giovedi Santo
R 6.29 – Christus factus est in A minor
R 6.30 – Miserere a 5 in D minor
R 6.31 – Hymn: Pange lingua in C minor
R 6.32 – Hymn: Tantum ergo in A major
R 6.33 – 3 Tantum ergo for soprano
R 6.34 – Hymn: Tantum ergo in C major
R 6.35 – Antiphon: Benedicat in F major
R 6.36 – Antiphon: Regina coeli in B flat major
R 6.37 – Antiphon: Salve Regina in E flat major
R 6.38 – Antiphon: Ave maris stella in F major


R 7.01 – Motet: Astra coeli in C major
R 7.02 – Motet: O luminosa aurora in G major
R 7.03 – Motet: In corde intrepido in C major
R 7.04 – Motet: Mille furis in C major
R 7.05 – Motet: Absit sonitus in D major

Instrumental works

R 8.01 – String Quartet No.1 in C major
R 8.02 – String Quartet No.2 in A major
R 8.03 – String Quartet No.3 in D major
R 8.04 – String Quartet No.4 in E flat major
R 8.05 – String Quartet No.5 in E flat major
R 8.06 – String Quartet No.6 in C major
R 8.07 – String Quartet No.7 in E flat major
R 8.08 – String Quartet No.8 in G major
R 8.09 – String Quartet No.9 in A major
R 8.10 – Keyboard Concerto No.1 in C major
R 8.11 – Keyboard Concerto No.2 in F major
R 8.12 – 4 Divertimenti for winds in E flat major
R 8.13 – 12 Divertimenti for winds
R 8.14 – Collection of rondos and capriccios for keyboard
R 8.15 – Keyboard Concerto No.3 in A major
R 8.16 – Keyboard Concerto No.4 in G minor
R 8.17 – Keyboard Concerto No.5 in D major
R 8.18 – Keyboard Concerto No.6 in B flat major
R 8.19 – Keyboard Concerto No.7 in A major
R 8.20 – Keyboard Concerto No.8 in C major
R 8.21 – Violin Sonata in E major
R 8.22 – Marche funèbre pour le Général Hoche in C minor
R 8.23 – Andante for horn and harp in C major
R 8.24 – 3 Pieces for Military Band
R 8.25 – Symphony in C major

Works of doubtful authenticity

R E.02 – Sinfonia in E flat major
R E.06 – Flute Quartet Op. 23 No.2 in D major
R E.07 – Flute Quartet Op. 23 No.5 in G major
R E.08 – Flute Quartet Op. 23 No.4 in G major
R E.09 – Flute Quartet Op. 23 No.1 in C major
R E.10 – Flute Quartet Op. 23 No.3 in E minor
R E.11 – Flute Quartet Op. 23 No.6 in G major
R E.13 – Marche du Premier Consul in B flat major
R 8.14 – Mandolin concerto in E flat major
R 8.15 – Mandolin concerto in C major
R 8.16 – Mandolin concerto in G major

Fedra - Lucille Udovich
Aricia - Angelica Tuccari
Diana - Renata Mattioli
Tisifone - Ortensia Beggiato
Ippolito - Agostino Lazzari
Mercurio/Learco - Tomaso Frascati
Teseo - Renato Cesari
Dir. Angelo Questa
Giovanni Paisiello - IL RE TEODORO IN VENEZIA
Tedoro: Sesto Bruscantini, Gafforio: Florindo Andreolli, Acmet Terzo: Mario Basiola, Taddeo: Paolo Pedani, Lisetta: Cecilia Fusco, Sandrino: Nicola Monti, Belisa: Rukmini Sukmavati, Messer Grande: Angelo Nosotti . I Virtuosi di Roma direttore Renato Fasano - Registato agli studi Rai di Torino il 22 aprile 1962
Giovanni Paisiello - La Serva Padrona
Performed by: La Cetra, direttore Attilio Cremonesi,
Cinzia Forte: Serpina
Antonio Abete: Uberto
Picture by: Caricatura - Melchiorre Delfico

Se ritenete che questo video leda i vostri diritti di proprietà, vogliate comunicarmelo e sarà mio dovere eliminare il video dal web. Grazie.
If you think this video is affecting your property rights, please tell me and I will remove it from the web. Thank you.

Giovanni Paisiello - La Passione di Gesu Cristo (1783)
La Passione di Gesù Cristo (1783) oratorio in two parts, St. Petersburg

Libretto: Pietro Metastasio

Introduction: Dove son? Dove Corro? (Pietro) 00:00
Aria: Giacché mi tremi in seno, esci dagli occhi, almeno (Pietro) 08:44
Chorus: Quanto costa il tuo delitto, sconsigliata umanita! 12:01
Recitative: Ma qual dolente stuolo s'appressa a me? (Pietro) 14:05
Terzetto: All'idea di quelle pene (Maddalena, Giovanni, Giuseppe) 14:36
Recitative: Maddalene, Giovanni, Giuseppe, amici: il mio Gesu respira? (Pietro) 16:53
Chorus: Quanto costa il tuo delitto, sconsigliata umanita! 18:06
Aria: Vorrei dirti mio dolore, ma dal labbro i mesti accenti (Maddalena) 20:12
Recitative: Oh più di no felice, Pietro, che non mirasti (Giovanni, Giuseppe) 23:16
Aria: Torbido mar che freme, alle querele, a voti (Giuseppe) 24:57
Recitative: Oh barbari! Oh crudeli! (Pietro, Maddalena, Giovanni) 30:04
Aria: Come, a vista di pene si fiere (Giovanni) 31:58
Recitative: E la Madre frattanto, in mezzo all'empie (Pietro, Giovanni, Maddalena) 35:10
Aria: Potea quel pianto, dovea quel sangue nel cor più barbaro (Maddalena) 36:56
Recitative: Come invetor potea pena maggior (Pietro, Giuseppe, Giovanni) 42:10
Aria: Tu nel duol felice sei (Pietro) 43:25
Recitative: Dopo un pegno si grande d'amore e di pieta (Giovanni) 46:29
Duetto: Vi sento, oh Dio, vi sento, rimproveri penosi (Pietro, Maddalena) 48:10
Chorus: Di qual sangue, o mortale, oggi fa d'uopo 53:19

Recitatative: Ed insepolto ancora e l'estinto Signor? (Pietro, Giuseppe, Maddalene, Giovanni) 57:22
Aria: Ritornera fra voi, non fra le palme accolto (Giovanni) 58:26
Recitative: Qual terribil vendetta sovrasta a te (Giuseppe) 01:01:04
Aria: All'idea de' tuoi perigli, all'orror de' mali immensi (Giuseppe) 01:03:58
Recitative: Le minacce non teme il popolo infedel, perche di Dio (Pietro) 01:07:04
Aria: Se la pupilla inferma non puo fissarsi al sole (Pietro) 01:08:22
Recitative: Pur dovrebbe in tal giorno (Maddalena, Giovanni) 01:10:41
Aria: Dovunque il guardo giro, immenso Dio ti vedo (Giovanni) 01:11:54
Recitative: Giovanni, anch'io lo so: per tutto e Dio (Maddalena) 01:16:17
Aria: A' passi erranti dubbio e il sentiero (Maddalena) 01:17:53
Recitative: Non senza guida, o Maddalena, e soli (Pietro) 01:23:05
Aria: Se a librarsi in mezzo all' onde in comincia il fanciulletto (Pietro) 01:24:
Recitative: Ah, dal felice marmo presto risorga! (Maddalena, Giovanni, Guiseppe, Pietro) 01:30:40
Chorus: Santa Speme, tu sei ministra all'alme nostre 01:32:00

Pietro: Roberta Invernizzi, soprano
Maddalena: Alla Simoni, soprano
Giovanni: Luca Dordolo, tenor
Giuseppe: José Fardilha, baritone

Chorus: Radio Svizzera Choir, Lugano

Orchestra: I Barocchisti

Conductor: Diego Fasolis

Giovanni Paisiello 1795 Nina o la Pazza per Amore Cecilia Bartoli Ivan Fisher
Il barbiere di Siviglia
Il barbiere di Siviglia, ovvero La precauzione inutile (The Barber of Seville, or The Useless Precaution) is a comic opera by Paisiello Giovanni from a libretto by Giuseppe Petrosellini, even though his name is not identified on the score's title page.

The opera was first performed on 26 September 1782 (old Russian calendar, 15 September) at the Imperial Court, Saint Petersburg. It was adapted from the play Le Barbier de Séville of Pierre Beaumarchais. The full title for the opera reads: "Il barbiere di Siviglia, ovvero La Precauzione inutile, dramma giocoso per musica tradotto liberamente dal francese, da rappresentarsi nel Teatro Imperiale del corte, l'anno 1782" (Trans: "The Barber of Seville, or The Useless Precaution, comical drama with music freely translated from the French, presented at the Imperial Court Theater, the year 1782")

The story essentially follows the original Beaumarchais play, and in some places directly translates songs and dialogue. The plots of the Paisiello and the Rossini versions very closely resemble each other, with subtle differences. Petrosellini's libretto puts a greater emphasis on the love story and less on the comic qualities.

Performance history

Several musical adaptations of Il barbiere di Siviglia predated the version by Paisiello, but Paisiello's comic opera was the first to achieve widespread success. It was subsequently staged in several cities in the years immediately following its premiere, including  Vienna, where Il barbiere played at five venues from 1783 until 1804, both in Italian and German, and received nearly 100 performances, and Naples (1783); Warsaw, Prague, Versailles (1784); Cassel, Bratislava, Mannheim (1785); Liège, Cologne (1786); Madrid and, for the 1787 production in Naples at the Teatro dei Fiorentini, the opera was reduced to three acts and Pasiello wrote three new numbers: "La carta che bramate" for Rosina, "Serena il bel sembiante" for Almaviva, and a finale for act one. In 1788 the opera was given in Berlin, followed by London and Paris (1789); Lisbon (1791); Brussels (1793); Stockholm (1797); and New Orleans (1801)

In 1789 Mozart dedicated the aria "Schon lacht der holder Frühling" (K. 580) to his sister-in-law Josepha Hofer as a substitute for Rosina's original act 3 aria (Già riede primavera). Although it is missing only the closing ritornello, the incomplete orchestration suggests it was never used.

The opera proved to be Paisiello's biggest success. Even after the 1816 premiere of Gioachino Rossini's own version of The Barber of Seville, Paisiello's version continued to be more popular by comparison. With time, however, that situation changed. As Rossini's version gained in popularity, Paisiello's diminished in parallel, to the point where it fell from the repertoire.

Paisiello's version did receive revival in later years, including Paris (1868); Turin (1875); Berlin (1913); and Monte Carlo (1918). In 2005 Bampton Classical Opera gave performances of Paisiello's opera in English.

From Wikipedia, the free encyclopedia

Giovanni Paisiello - Il Barbiere di Siviglia
Paisiello Don Chisciotte
Giovanni Paisiello: La molinara - Napoli, 1959 (Sciutti, Calabrese, Bruscantini; dir. Carracciolo)
Rachelina: Graziella Sciutti
Il notaro Pistolfo: Sesto Bruscantini
Don Rospolone: Franco Calabrese
Don Calloandro: Alvino Misciano
Don Luigino: Agostino Lazzari
Eugenia: Giuliana Raimondi
Amarante: Giovana Fioroni
Orchestra di camera "Alessandro Scarlatti" di Napoli della RAI
dir. Franco Carraciolo
rec. 1959
Giovanni Paisiello Piano Concerto 4 in g-minor (mov 1/3)
Pietro Spada
Chamber Orchestra of Santa Cecilia

Giovanni Paisiello (or Paesiello) (May 9, 1740 June 5, 1816), was an Italian composer of the Classical era.

Paisiello - Missa Defunctorum
1 - Introitus
2 - Kyrie
3 - Graduale
4 - Tractus
5 - Sequentia
6 - Offertorium
7 - Sanctus - Benedictus
8 - Agnus Dei
9 - Communio
10 - Libera me, Domine
Giovanni Paisiello - Stabat Mater del Pergolese
Mov.I: Stabat Mater Dolorosa, Largo 00:00
Mov.II: Cuius Animam Gentem, Andante Amoroso 04:24
Mov.III: O Quam Tristis Et Afflicta, Larghetto 07:14
Mov.IV: Quae Moerebat Et Dolebat, Allegro 09:36
Mov.V: Quis Est Homo, Largo 12:05
Mov.VI: Vidit Suum Dulcem Natum, Tempo Giusto 14:46
Mov.VII: Eia Mater, Fons Amoris, Andante 18:06
Mov.VIII: Fac, Ut Ardeat Cor Meum, Allegro 20:59
Mov.IX: Vidit Suum Dulcem Natum, Tempo Giusto 23:15
Mov.X: Fac, Ut Portem Christi Mortem 28:43
Mov.XI: Inflammatus Et Accensus, Andante 32:14
Mov.XII: Quando Corpus Morietur, Largo 34:47
Mov.XIII: Amen, Allegro 37:48

Soprano: Ermonela Jaho
Mezzosoprano: Sonia Prina
Tenor: Alessandro Codeluppi
Basso: Nikola Mijailovic

Orchestra: Cosarara

Conductor: Giuseppe Camerlingo

Paisiello - Messe en pastoral pour le Premier Consul
1- Kyrie 5:24
2- Gloria 5:21
3- Credo 10:13
4- Oration pro Republica 3:52
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks