Antonio Barbieri
Antonio Barbieri (fl. 1720 – c. 1767) was an Italian tenor.
Biography
[edit]A native of Reggio Emilia, the exact year of Antonio Barbieri's birth is unknown.[1] He may have been related to the operatic contralto Santi Barbieri.[2] From 1720 to 1732 Antonio Barbieri was a court singer in the service to Philip of Hesse-Darmstadt, the governor of Mantua.[1] His earliest known performance was in the premiere of Antonio Vivaldi’s opera La Candace, o siano Li veri amici (1720) at the Teatro Arciducale in Mantua.[2] He performed regularly in Venetian theaters from 1720 to 1738 with a repertoire encompassing 23 different operas.[1] He made his Venice debut as Mamud in Vivaldi's La verità in cimento at the Teatro San Angelo (TSA) in October 1720.[3] In 1721 he portrayed Creon in Giuseppe Maria Orlandini's Antigona at the TSA.[4]
Some of the other operas Barbieri sang in Venice included Vivaldi's Filippo re di Macedonia (1720, as Antigono),[5] Giovanni Porta's Venceslao (1722, as the King of Poland),[6] Fortunato Chelleri's L'amor tirannico (1722, as Tiridate),[6] Giuseppe Maria Orlandini's Berenice (1725, as Flaviano),[7] Leonardo Vinci's La Rosmira fedele (1725, as Armindo),[8] Vinci's Gismondo, Re di Polonia (1727, as Primislao),[9] Vinci's Siroe, Re di Persia (1731, as Cosroe),[10] Luca Antonio Predieri's Scipione il giovane (1731, as Antioco),[11] Geminiano Giacomelli's Epaminonda (1732, as Epaminonda),[12] Johann Adolph Hasse's Il Demetrio (1732, as Fenicio),[13] Giacomelli's Adriano in Siria (1733, as Emperor Hadrian),[14] and Nicola Porpora's Lucio Papirio (1737, as Lucio Papirio).[15]
Barbieri also worked as an opera singer in theaters in other cities on the Italian peninsula from 1720 to 1740.[2] These included performances in Reggio Emilia (1720), Rome (beginning in 1724), Parma and Florence (both 1725 and 1734–1735), and Naples (1727–1729).[1] With his wife, the opera singer Livia Bassi Barbieri, he performed in Vivaldi’s Farnace in Pavia in 1731.[2] He also performed with her in Venice and Florence in 1734-1735.[1] Some of his final opera performances were in Turin in 1739-1740.[2]
From 1736 to 1767 Barbieri held the post of maetro di manieri at the Ospedale di San Lazaro e dei Mendicanti in Venice.[3] Karl-Josef Kutsch and Leo Riemens speculate that he may have died in 1767, but this is not for certain.[1]
References
[edit]Citations
[edit]- 1 2 3 4 5 6 Kutsch & Riemens 2003, p. 246.
- 1 2 3 4 5 Timms, Colin (2002). "Barbieri, Antonio (opera)". Grove Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.O009375.
- 1 2 Selfridge-Field 2007, p. 355.
- ↑ Selfridge-Field 2007, pp. 357–358.
- ↑ Selfridge-Field 2007, p. 357.
- 1 2 Selfridge-Field 2007, p. 364.
- ↑ Markstrom 2007, p. x.
- ↑ Markstrom 2007, p. 103.
- ↑ Markstrom 2007, p. 189.
- ↑ Selfridge-Field 2007, p. 423.
- ↑ Selfridge-Field 2007, p. 426.
- ↑ Selfridge-Field 2007, p. 427.
- ↑ Selfridge-Field 2007, p. 429.
- ↑ Selfridge-Field 2007, p. 435.
- ↑ Selfridge-Field 2007, pp. 453–454.
Bibliography
[edit]- Kutsch, K. J.; Riemens, Leo (2003). "Barbieri, Antonio". In Rost, Hansjörg (ed.). Grosses Sängerlexikon. K. G. Saur Verlag. ISBN 9783598440885.
- Markstrom, Kurt Sven (2007). The Operas of Leonardo Vinci, Napoletano. Pendragon Press. ISBN 9781576470947.
- Selfridge-Field, Eleanor (2007). A New Chronology of Venetian Opera and Related Genres, 1660–1760. The calendar of Venetian opera (1st ed.). Stanford, California: Stanford University Press. ISBN 978-0-8047-4437-9.