The Conservatorio di Musica Alessandro Scarlatti (English: Conservatory of Music Alessandro Scarlatti ), better known in English as the Palermo Conservatory , is a music conservatory in Palermo , Italy. One of the oldest music schools in Italy, the organization was originally established as an orphanage for boys known as the Orfanotrofio del Buon Pastore in 1618. Music instruction began at the school in the late 17th century, and for a limited period music was the primary emphasis of the school when it was known as the Conservatorio dei giovanetti dispersi (English: Conservatory of missing youths ). It evolved into a liberal arts college, known as the Collegio dei giovanetti dispersi , with an emphasis on literature and writing during the first half of the 18th century. In 1747 an emphasis on music resumed, and not long after the school was renamed the Collegio musicale del Buon Pastore . It operated under that name until 1915 when the school's name was changed to the Conservatorio di Musica Vincenzo Bellini . In 2018, the school's name was changed once again in honor of the composer Alessandro Scarlatti .
23-621: Conservatorio Vincenzo Bellini or Vincenzo Bellini Conservatory may refer to: A former name of the Palermo Conservatory The current name of the Catania Conservatory Istituto Superiore di Studi Musicali Vincenzo Bellini in Caltanissetta, Sicily Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
46-536: A committee led by Giovanni Pacini in 1863. He was succeeded by Gaetano Vanneschi. Composer and conductor Guglielmo Zuelli served as director of the Palermo Conservatory from 1895 through 1912. In 1915, the conservatory was renamed from Collegio musicale del Buon Pastore to the Conservatorio di Musica Vincenzo Bellini after the opera composer of that name . Composer, pianist and conductor Rito Selvaggi
69-681: A few weeks of each other. The success of many of Pacini's lighter operas especially Il Barone di Dolsheim , La sposa fedele, and La schiava in Bagdad (all composed between 1818 and 1820) made Pacini one of the most prominent composers in Italy. His position was greatly enhanced by the rapid-fire successes of Alessandro nelle Indie (Naples, 1824, revised, Milan, 1826; given and recorded in London in November 2006), Amazilia (Naples 1824, revised, Vienna, 1827), and
92-434: Is less than earlier estimates, which ranged from 80 to 90, since it has now been ascertained that many were just alternate titles for other works. It has been noted that he "bothered little about harmony and instrumentation", a fact supported by Rossini who once said: "God help us if he knew music. No one could resist him". Certainly, Pacini recognized Rossini's strengths and his dominance during this period: "Everyone followed
115-635: Is noteworthy because it deals with the youth of King Charles II , before he was crowned King of England. In contrast—by 1844—Verdi had written Nabucco , I Lombardi , and Ernani , thus outstripping Pacini. This period of accomplishments was followed by a long but slow decline, marked only by the moderate successes of La punizione (Venice, 1854), Il saltimbanco (Rome, 1858), and Niccolò de' Lapi (Florence, 1873). Pacini died in Pescia , Tuscany in 1867. During his lifetime, he produced much music of high caliber. His output of more than 70 stage works
138-601: Is one of the few Pacini operas currently available on CD, and it has received many warm reviews. Pacini himself was the first to recognize his apparent defeat noted in memoirs: "I began to realize that I must withdraw from the field. Bellini, the divine Bellini, has surpassed me." Some years later, he resumed composing, and, after one more setback, enjoyed his greatest triumph with Saffo (Naples, 1840). After Saffo , Pacini entered into another period of prominence. Donizetti had departed for Paris, Bellini had died, and Mercadante's major successes were behind him, thus Verdi offered
161-531: The 1820s. Many operas followed that are almost completely forgotten. However, one of these, Il corsaro (Rome, 1831) was revived 173 years later, in 2004, albeit only with piano accompaniment. This work is different in many ways from Verdi's later opera by the same name. The title role, Corrado, is a musico role for an alto, and the villainous Seid is a tenor. However, first Bellini and then Donizetti outstripped Pacini in fame. Many of his later operas, such as Carlo di Borgogna of 1835, were failures, but this
184-637: The Italian operatic stage. But Pacini's operas were "rather superficial", a fact which, later, he candidly admitted in his Memoirs . For some years he held the post of "director of the Teatro San Carlo in Naples." Later, retiring to Viareggio to found a school of music, Pacini took time to assess the state of opera in Italy and, during a five-year period during which he stopped composing, laid out his ideas in his Memoirs. Like Saverio Mercadante , who also reassessed
207-455: The conservatory underwent a period of significant growth under his leadership which lasted until 1852. The school struggled following Raimondi's departure, and by 1863 the conservatory had been taken over by the administration of the Government of Italy in order to prevent the school from closing. The school thrived once again after Pietro Platania was appointed director of the conservatory by
230-466: The faculty during his time in Palermo in the mid-1820s. In 1833, Baron Pietro Pisani raised a large sum of money for the school which significantly improved the school's resources and quality of its instruction; including the building of a theatre on the conservatory's property and the purchasing of new music and instruments. At this time the composer Pietro Raimondi became director of the institution, and
253-521: The nature of Italian opera and took bel canto singing in a new direction. Orchestration became heavier, coloratura was reduced, especially for men's voices, and more importance was placed on lyrical pathos. While there were exceptions, romantic leads were assigned to tenors (in Rossini's time, they were frequently sung by alto or mezzo-soprano women). Villains became basses or later baritones (while they often were tenors for Rossini). Over time, far more emphasis
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#1732876352385276-451: The only important competition. Pacini's successes during this time period include La fidanzata corsa (Naples, 1842), Maria, regina d'Inghilterra (Palermo, 1843), Medea (Palermo, 1843 with several later revisions, the last of which was in Naples in 1853), Lorenzino de' Medici (Venice, 1845), Bondelmonte (Florence, 1845), Stella di Napoli (Naples,1845) and La regina di Cipro (Turin, 1846). Allan Cameron (Venice, 1848)
299-454: The previously mentioned L'Ultimo giorno di Pompei (Naples, 1825). In Alessandro nelle Indie , the title role of Alessandro was created by a baritonal tenor, Andrea Nozzari , but it was sung by the much lighter-voiced Giovanni David at the Milan revival, indicating Pacini's desire to go in a new direction. Arabi nelle Gallie (Milan, 1827) reached many of the world's most important stages and
322-457: The same school, the same fashions, and as a result they were all imitators of the great luminary .... If I was a follower of the great man from Pesaro, so was everyone else" After Rossini moved to Paris in 1824, Pacini and his contemporaries ( Giacomo Meyerbeer , Nicola Vaccai , Michele Carafa , Carlo Coccia , Vincenzo Bellini , Gaetano Donizetti , the brothers Federico and Luigi Ricci , and Saverio Mercadante ) collectively began to change
345-452: The school being renamed the Collegio dei giovanetti dispersi. However, in 1747 a gradual shift back towards a music emphasis began, and not long after the school became completely devoted to music instruction and was renamed the Collegio musicale del Buon Pastore. Composer Nicola Logroscino was maestro di cappella at the conservatory from 1758 to 1764. Composer Gaetano Donizetti taught on
368-400: The school was renamed the Conservatorio dei giovanetti dispersi (English: Conservatory of missing youths ) when administration of the school was given over to the Government of Palermo . In the first half of the 18th century (1721) the school's focus shifted away from music to a broader liberal arts education with studies in literature and writing being emphasized over that of music; with
391-422: The strength and weaknesses of this period in opera, Pacini's style did change, but he quickly became eclipsed by the rising influence of Giuseppe Verdi on the Italian operatic scene, and many of his operas appeared to be old fashioned and rarely, if ever, appeared outside of Italy." Pacini's work is largely forgotten today, although some recordings do exist. During his lifetime, Pacini wrote some 74 operas. This
414-524: The title Conservatorio Vincenzo Bellini . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Conservatorio_Vincenzo_Bellini&oldid=1179916504 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Palermo Conservatory The Palermo Conservatory
437-601: Was an Italian composer , best known for his operas . Pacini was born in Catania , Sicily , the son of the buffo Luigi Pacini , who was to appear in the premieres of many of Giovanni's operas. The family was of Tuscan origin, living in Catania when the composer was born. He served as the Florence Conservatory 's first director from 1849 through 1862. His first 25 or so operas were written when Gioachino Rossini dominated
460-572: Was director of the conservatory from 1938 through 1943. The conservatory's library was destroyed by bombing during World War II , and the school's music librarian and professor of music history Nino Pirrotta achieved acclaim for his work restoring the library after this incident. In 2018, the school was renamed after the composer Allesandro Scarlatti . 38°07′17″N 13°21′51″E / 38.12139°N 13.36417°E / 38.12139; 13.36417 Giovanni Pacini Giovanni Pacini (11 February 1796 – 6 December 1867)
483-656: Was originally founded in 1618 as the Orfanotrofio del Buon Pastore; an orphanage for boys located within the Chiesa di Maria Santissima Annunziata [ it ] . The idea and the funds for the school were provided by Francisco Ruiz de Castro , the Viceroy of Sicily . At the end of the seventeenth century, musical instruction was introduced at the orphanage that was modeled after the Naples Conservatory , and not long after
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#1732876352385506-442: Was placed on the drama. The role that Pacini played in instituting these changes is only now beginning to be recognized. There is little doubt that Pacini and his contemporary Nicola Vaccai exerted a stronger influence on Bellini than has been credited before. This change in attitude can be credited to the revival of two key works: Vaccai's Giulietta e Romeo and Pacini's L'ultimo giorno di Pompei , both composed in 1825 within
529-532: Was the first Pacini opera to be given in the United States. It was staged frequently in Italy, and it was not until 1830 that Bellini's first success, Il pirata (also Milan, 1827) passed Gli arabi nelle Gallie in number of performances at the Teatro alla Scala. While this is not generally recognized, it was Pacini, rather than Donizetti, Mercadante or Bellini, who gave Rossini the stiffest competition in Italy during
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