Who was Domenico Gaetano Maria Donizetti, and what was his primary contribution to music?

Domenico Gaetano Maria Donizetti was an Italian Romantic composer, born on November 29, 1797, and died on April 8, 1848. He is best known for his nearly 70 operas, and was a leading composer of the bel canto opera style during the first half of the nineteenth century, alongside Gioachino Rossini and Vincenzo Bellini. Bel canto, meaning 'beautiful singing' in Italian, is an operatic vocal style characterized by lyrical and expressive melodies, smooth legato phrasing, and technical agility.

What was Simon Mayr's significant role in Gaetano Donizetti's early musical development?

Simon Mayr, a German composer of internationally successful operas and *maestro di cappella* at Bergamo's principal church, took Donizetti under his wing at an early age. Mayr enrolled Donizetti with a full scholarship in the Lezioni Caritatevoli school, which he had established in 1805 to provide detailed musical training beyond what choirboys typically received. Mayr was also instrumental in securing Donizetti's place at the Bologna Academy.

What was Donizetti's first opera, and what is known about its performance during his lifetime?

Donizetti's first opera was the one-act comedy *Il Pigmalione*, which he wrote at the age of 19 while at the Bologna Academy. The source indicates that this opera may never have been performed during his lifetime.

How did Donizetti's long residency in Naples begin, and how many of his operas were presented there?

Donizetti's residency in Naples began in 1822 following an offer from Domenico Barbaja, the impresario of the Teatro di San Carlo. This move occurred after Donizetti had composed his ninth opera. He resided in Naples until January 1844, and a total of 51 of his operas were presented in the city.

What trend characterized Donizetti's operatic successes before 1830, and what opera marked a shift in this trend?

Before 1830, Donizetti's success primarily came from his comic operas, with his serious operas failing to attract significant audiences. This trend shifted in 1830 with the first performance of *Anna Bolena*, an *opera seria*, which made a major impact on the Italian and international opera scene.

What were some of Donizetti's most successful comic and historical drama operas after 1830?

Even after 1830, Donizetti's best-known works included comedies such as *L'elisir d'amore* (1832) and *Don Pasquale* (1843). Significant historical dramas that succeeded included *Lucia di Lammermoor* (1835), which featured a libretto by Salvadore Cammarano, and *Roberto Devereux* (1837), one of his most successful Neapolitan operas.

Why did Gaetano Donizetti become interested in working in Paris from about 1836?

From about 1836, Donizetti became interested in working in Paris because he perceived greater freedom to choose subject matter there, in addition to the prospect of receiving larger fees and greater prestige compared to Italy, where he chafed against censorship limitations, especially in Naples.

What was the nature of Donizetti's illness that began around 1843 and ultimately led to his death?

From around 1843, Donizetti began to suffer from a severe illness that limited his activities. By early 1846, he was confined to an institution for the mentally ill. He died in April 1848 in a state of mental derangement due to neurosyphilis, a neurological complication of syphilis.

Describe Gaetano Donizetti's family background and his initial acceptance into Simon Mayr's school.

Gaetano Donizetti was the youngest of three sons, born in 1797 in the Borgo Canale quarter of Bergamo. His family was very poor and had no musical tradition, as his father, Andrea, was the caretaker of the town pawnshop. In 1807, at the age of nine, Gaetano was accepted into Simon Mayr's Lezioni Caritatevoli school, although his elder brother, Giuseppe, then 18, was considered too old.

What early concerns did Simon Mayr have about Donizetti's musical talent, and how did he address them?

During Donizetti's first three trial months at the school in 1807, there was some concern about a 'difetto di gola' (a throat defect), suggesting he was not especially successful as a choirboy. However, Mayr soon reported that Gaetano surpassed others in musical progress and persuaded authorities to keep him. In 1809, when Donizetti was threatened with leaving due to his voice changing, Mayr intervened again in 1811 by casting Donizetti as 'the little composer' in his 'pasticcio-farsa' *Il piccolo compositore di musica*, which served as an argument for him to continue his musical studies.

How did Donizetti's behavior as a 16-year-old affect his studies, and how did Simon Mayr continue to support him?

As a 16-year-old, Donizetti gained a reputation for regularly failing to attend classes and for making a spectacle of himself in town. Despite this, Simon Mayr not only persuaded Donizetti's parents to allow him to continue his studies but also secured two years of scholarships from the Congregazione di Carità in Bergamo. Mayr also provided him with letters of recommendation for further study in Bologna.

What was the nature of Donizetti's early operatic compositions in Bologna, and what did he do upon returning to Bergamo in 1817?

In Bologna, Donizetti's initial exercises in operatic style, such as *Il pigmalione* (1816) and portions of *Olympiade* and *L'ira d'Achille* (1817), were described as merely suggesting the work of a student. Encouraged by Mayr, he returned to Bergamo in 1817, where he began his 'quartet years,' composing piano pieces, and likely performing in quartets, while also seeking employment.

How did Donizetti secure his first opera presentation, *Enrico di Borgogna*, and what challenges did its premiere face?

Donizetti secured the presentation of *Enrico di Borgogna* through a coincidental meeting with his old school friend, Bartolomeo Merelli, who offered him a libretto. Donizetti composed the music first and then found Paolo Zancla, the impresario of the Teatro San Luca in Venice, to accept it. The premiere on November 14, 1818, faced challenges including the audience's greater interest in the newly re-decorated opera house, the last-minute withdrawal of the soprano Adelaide Catalani due to stage fright, and the consequent omission of some of her music.

What was the critical assessment of Donizetti's musical style in *La lettera anonima*?

The critical assessment of Donizetti's musical style in *La lettera anonima*, a one-act *farsa* premiered in June 1822, recognized an important aspect of his burgeoning talent. Critics noted his concern with the dramatic essence of opera rather than the mechanical working out of musical formulas, indicating this quality was already present and active in his early work.

Which of Donizetti's operas marked his first truly lasting success, and what contributed to its achievement?

Donizetti's *opera buffa* *L'ajo nell'imbarazzo* (The Tutor Embarrassed), with a libretto by Jacopo Ferretti, marked his first really lasting success. Its premiere on February 4, 1824, was met with wild enthusiasm. The success was attributed to Donizetti's ability to effectively utilize a good libretto, demonstrating his strong sense of what would succeed on stage, often surpassing his librettists' dramatic content.

What significant professional and personal developments occurred in Donizetti's life around 1827-1828?

Around 1827-1828, three important elements converged in Donizetti's life: he began a fruitful collaboration with librettist Domenico Gilardoni, who wrote eleven librettos for him; the Naples impresario Barbaja engaged him to write twelve new operas over three years; and he was appointed Director of the Royal Theatres of Naples starting in 1829. Personally, he announced his engagement to Virginia Vasselli in May 1827, whom he married in July 1828.

How did *Anna Bolena* impact Donizetti's international reputation and career trajectory?

*Anna Bolena*, premiered in Milan on December 26, 1830, brought Donizetti his first acclaimed international success, establishing his instant fame throughout Europe. Its success, particularly as an *opera seria*, solidified his reputation as a composer of serious opera, shifting the balance away from his earlier primary success with comedic works.

What factors contributed to Donizetti's rise as the leading Italian opera composer after 1835?

After 1835, Donizetti rose to become the 'sole reigning genius of Italian opera' due to several factors: Gioachino Rossini had recently retired, and Vincenzo Bellini had died shortly before the premiere of Donizetti's *Lucia di Lammermoor*. Additionally, there was a widespread European interest in the history and culture of Scotland, which resonated with audiences and was utilized in Scott's novel, the basis for *Lucia*.

What was the 'Three Donizetti Queens' series, and which operas were part of it?

The 'Three Donizetti Queens' series refers to a group of Donizetti's operas that focused on the Tudor period of 16th-century English history, particularly revolving around female monarchs. These operas included *Elisabetta al castello di Kenilworth* (1829, revised 1830), *Maria Stuarda* (Mary Stuart, 1835), and *Roberto Devereux* (1837), which features the relationship between Queen Elizabeth I and the Earl of Essex.

Why did Donizetti decide to permanently move to Paris in October 1838?

Donizetti moved to Paris in October 1838 because the King of Naples banned the production of his opera *Poliuto*, deeming its sacred subject inappropriate for the stage. This censorship led Donizetti to vow never to deal with the San Carlo theater again, and he sought greater artistic freedom, larger fees, and more prestige in Paris.

How did Donizetti adapt *Poliuto* for the Paris Opéra, and what other French opera did he compose during this period?

Donizetti adapted his then-unperformed opera *Poliuto* for the Paris Opéra by revising it into an expanded four-act French-language libretto by Eugène Scribe, titled *Les Martyrs*. This became his first grand opera in the French tradition and was quite successful. During this period, he also wrote *La fille du régiment*, his first opera composed specifically to a French libretto, which also became a success.

What significant meeting and professional recognition did Donizetti receive in Bologna and Vienna in 1842?

In March 1842, Donizetti conducted the premiere of Rossini's *Stabat Mater* in Bologna, where he met Rossini for the first time. Rossini praised Donizetti, stating he was 'the only maestro in Italy capable of conducting my *Stabat* as I would have it.' Upon arriving in Vienna in Spring 1842, Donizetti was appointed *Kapellmeister* (chapel master) to the chapel of the royal court, a prestigious post previously held by Mozart.

What was the critical reception of Donizetti's comic opera *Don Pasquale* in Paris in 1843?

When *Don Pasquale* premiered on January 3, 1843, in Paris, it was an overwhelming success. The critic Étienne-Jean Delécluze proclaimed that 'No opera composed expressly for the *Théâtre-Italien* has had a more clamorous success,' noting multiple repeated numbers, call-outs for the singers, and ovations reserved for truly great composers.

What health issues did Donizetti begin to exhibit by 1843, and how did they affect his work ethic?

By 1843, Donizetti was exhibiting symptoms of syphilis and probable bipolar disorder, leading to a broken, sad, and incurably sick inner state. Musicologist William Ashbrook suggested that Donizetti's intense preoccupation with work during late 1842 and throughout 1843 indicated his awareness of his declining health and a desire to compose as much as possible while he still could.

What was the outcome of *Caterina Cornaro* in Naples in January 1844, and why was it considered a failure?

*Caterina Cornaro*, premiered in Naples in January 1844, was a failure. Its lack of success was primarily attributed to Donizetti's absence, as he was unable to be present to oversee and control the staging, which was normally one of his strengths. Rumors also circulated that it was not entirely his work, and the heavily censored libretto contributed to its poor reception.

How did Giuseppe Verdi express his trust in Donizetti's conducting abilities in 1844?

In 1844, Donizetti conducted the first production of Verdi's *Ernani* in Vienna, fulfilling a promise to the publishing house Casa Ricordi. Following the successful performance, Giuseppe Verdi sent Donizetti a very warm letter, entrusting the production to his care and concluding with 'With the most profound esteem, your most devoted servant, G. Verdi.'

Describe Donizetti's physical and mental state during his last visit to Vienna in 1844-1845.

During his last visit to Vienna from December 1844 to July 1845, Donizetti's friends noticed an alarming change in his physical condition, with his ability to concentrate and remain standing often impaired. He experienced periods of relative calm but also relapses into depression, expressing that he was 'half-destroyed' and that it was 'a miracle that I'm still on my feet.'

What was Donizetti's diagnosis in August 1845, and what did doctors recommend?

In August 1845, Donizetti was diagnosed with cerebro-spinal syphilis and severe mental illness. Two doctors, including syphilis specialist Dr. Philippe Ricord, recommended that he abandon work entirely and that the Italian climate would be beneficial for his health, along with various remedies.

What events led to Donizetti's institutionalization in February 1846?

In February 1846, after his condition worsened and doctors concluded he was no longer capable of making sound decisions, Donizetti's nephew Andrea agreed to his institutionalization. Donizetti was led to believe he was traveling to Vienna to fulfill a contract, but instead, he was taken to Maison Esquirol in Ivry-sur-Seine, a suburb of Paris, under the guise of staying at a 'comfortable inn' after an 'accident.'

How was Donizetti eventually moved from institutional confinement back to Bergamo?

After being confined in Maison Esquirol and then under virtual house arrest in a Paris apartment, Donizetti's nephew Andrea, with the support of his brother Giuseppe (who filed a formal complaint with the Austrian ambassador), finally secured permission for Donizetti to leave Paris. Despite conflicting medical opinions and police interference, Donizetti set out on a seventeen-day trip, crossing Belgium, Germany, and Switzerland via the St. Gotthard Pass, arriving in Bergamo on October 6, 1847.

Describe Donizetti's condition during his final months in Bergamo and the circumstances of his death.

During his final months in Bergamo, Donizetti was settled comfortably but spoke very rarely, often only in monosyllables, and remained largely detached from his surroundings. While he showed some attention when Giovannina Basoni played and sang his arias, he showed no sign of recognition when the tenor Rubini visited and sang from *Lucia di Lammermoor*. His condition remained largely unchanged until a serious bout of apoplexy on April 1, 1848, followed by further decline and inability to eat. Gaetano Donizetti died on the afternoon of April 8, 1848.

Who was Virginia Vasselli, and what tragic events marked her life with Donizetti?

Virginia Vasselli was the daughter of a Roman family who befriended Donizetti, and she became his wife in 1828. Their life together was marked by tragedy, as she gave birth to three children, none of whom survived. Within a year of Donizetti's parents' deaths, Virginia herself died on July 30, 1837, from what is believed to be cholera or measles, though some speculate it was connected to a severe syphilitic infection.

What was the professional role of Donizetti's elder brother, Giuseppe Donizetti?

Gaetano Donizetti's elder brother, Giuseppe Donizetti, became the Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808–1839) in 1828.

How has Donizetti's reputation as a composer evolved since the mid-20th century?

After the death of Bellini, Donizetti was considered the most significant composer of Italian opera until Verdi. While his reputation fluctuated for a time, his work has been increasingly performed since the 1940s and 1950s, leading to a resurgence of interest in his compositions.

What are some of Donizetti's most well-known operas today?

Today, Donizetti's most well-known operas include *Lucia di Lammermoor*, *La fille du régiment*, *L'elisir d'amore*, and *Don Pasquale*.

Beyond operas, what other musical forms did Gaetano Donizetti compose, and what was the approximate scale of his output?

Beyond his operatic works, Gaetano Donizetti was a prolific composer who also wrote church music, string quartets, and orchestral pieces. Altogether, he composed approximately 75 operas, 16 symphonies, 19 string quartets, 193 songs, 45 duets, 3 oratorios, 28 cantatas, and various instrumental concertos, sonatas, and other chamber pieces.

Name some of Donizetti's notable choral works.

Donizetti's notable choral works include *Ave Maria*, *Grande Offertorio*, *Il sospiro*, *Messa da Requiem*, *Messa di Gloria e Credo*, and *Miserere* (Psalm 50).

List some of Gaetano Donizetti's orchestral compositions.

Gaetano Donizetti's orchestral compositions include *Allegro for Strings in C major*, *Larghetto, tema e variazioni in E flat major*, *Sinfonia Concertante in D major* (1817), *Sinfonia in A major*, *Sinfonia in C major*, *Sinfonia in D major* (1818), and *Sinfonia in D minor*.

What are some examples of concertos composed by Donizetti?

Examples of concertos composed by Donizetti include *Concertino for Clarinet in B flat major*, *Concertino for English Horn in G major* (1816), *Concertino in C minor for flute and chamber orchestra* (1819), *Concertino for Flute and Orchestra in C major*, *Concertino for Flute and Orchestra in D major*, *Concertino for Oboe in F major*, *Concertino for Violin and Cello in D minor*, and *Concerto for 2 Clarinets 'Maria Padilla'*.

Name some of Donizetti's chamber works.

Donizetti's chamber works include *Andante sostenuto for Oboe and Harp in F minor*, *Introduction for Strings in D major*, *Larghetto and Allegro for Violin and Harp in G minor*, *Largo/Moderato for Cello and Piano in G minor*, *Nocturnes (4) for Winds and Strings*, *Sonata for Flute and Harp*, *Sonata for Flute and Piano in C major*, *Sinfonia for Winds in G minor* (1817), *Quintet for Guitar and Strings no 2 in C major*, and *Study for Clarinet no 1 in B flat major*.

What are some of Donizetti's piano compositions?

Donizetti's piano compositions include *Adagio and Allegro in G major*, *Allegro in C major*, *Allegro in F minor*, *Fugue in G minor*, *Grand Waltz in A major*, *Larghetto in A minor 'Una furtiva lagrima'*, *Larghetto in C major*, *Pastorale in E major*, *Presto in F minor*, *Sinfonia in A major*, *Sinfonia No. 1 in C major*, *Sinfonia No. 1 in D major*, *Sinfonia No. 2 in C major*, *Sinfonia No. 2 in D major*, *Sonata in C major*, *Sonata in F major*, *Sonata in G major*, *Variations in E major*, *Variations in G major*, *Waltz in A major*, *Waltz in C major*, and *Waltz in C major 'The Invitation'*.

What does the 1837 portrait of Gaetano Donizetti by Francesco Coghetti depict?

The source material references a portrait of Gaetano Donizetti painted by Francesco Coghetti in 1837, which visually represents the composer during a significant period of his career.

What does the image titled 'Donizetti as a schoolboy in Bergamo' show?

The image titled 'Donizetti as a schoolboy in Bergamo' provides a visual representation of Gaetano Donizetti during his formative years in his hometown.

What does the image of Johann Simone Mayr from around 1810 depict?

The image shows a portrait of Johann Simone Mayr, Donizetti's teacher and mentor, from approximately 1810.

What does the image titled 'The young Donizetti' portray?

The image titled 'The young Donizetti' offers a visual depiction of the composer in his youth.

What does the image of Bartolomeo Merelli from 1840 represent?

The image shows a lithograph of Bartolomeo Merelli from 1840, who was an old school friend of Donizetti and later went on to have a distinguished career, including providing librettos for some of Donizetti's early operas.

What does the image of Jacopo Ferretti, the Italian librettist and poet, illustrate?

The image illustrates Jacopo Ferretti, an Italian librettist and poet who lived from 1784 to 1852, and who collaborated with Donizetti on several librettos.

What does the image of Domenico Barbaja in Naples in the 1820s show?

The image shows Domenico Barbaja, a prominent impresario of the Teatro San Carlo and other royal houses in Naples, during the 1820s, a period when he offered Donizetti a significant contract.

What does the image of Teatro di San Carlo from around 1830 depict?

The image depicts the Teatro di San Carlo, a renowned opera house in Naples, as it appeared around 1830, a venue where many of Donizetti's operas were performed.

What does the image of Giuditta Pasta portray?

The image portrays Giuditta Pasta, an acclaimed soprano who performed in the title role of Donizetti's *Anna Bolena*.

What does the posthumous portrait of Gaetano Donizetti by Ponziano Loverini show?

The image shows a posthumous portrait of Gaetano Donizetti painted by Ponziano Loverini, providing a visual representation of the composer after his death.

Gaetano Donizetti Wiki: Maestro of Melodies: The Enduring Legacy of Gaetano Donizetti

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A Prolific Composer

Architect of Bel Canto

Domenico Gaetano Maria Donizetti (1797–1848) was a leading Italian Romantic composer, celebrated for his nearly 70 operas. Alongside contemporaries Gioachino Rossini and Vincenzo Bellini, he defined the "bel canto" opera style during the first half of the nineteenth century, significantly influencing later composers such as Giuseppe Verdi.

Early Recognition

Born in Bergamo, Lombardy, Donizetti's musical journey began early under the mentorship of Simon Mayr, who provided him with a full scholarship to a music school he established. This foundational training led Donizetti to the Bologna Academy, where at 19, he composed his first one-act opera, the comedy Il Pigmalione.

Naples and Beyond

A pivotal offer in 1822 from Domenico Barbaja, impresario of the Teatro di San Carlo in Naples, marked a significant turning point. Donizetti relocated to Naples, where he resided until 1844, and an impressive 51 of his operas premiered in the city. While his early successes were primarily in comic opera, his serious works gained prominence after 1830.

Formative Years

Beginnings

Born in 1797 in the Borgo Canale quarter of Bergamo, Donizetti came from a very poor family with no musical background; his father was a pawnshop caretaker. His talent was recognized by Simon Mayr, a German composer and maestro di cappella at Bergamo's principal church, who founded the Lezioni Caritatevoli school in 1805 to provide musical training.

Mayr's Mentorship

In 1807, nine-year-old Gaetano was accepted into Mayr's school, despite initial concerns about a "throat defect." Mayr quickly noted his exceptional musical progress, stating he "surpasses all the others." Mayr's intervention was crucial, even casting Donizetti as "the little composer" in a "pasticcio-farsa" in 1811 to advocate for his continued studies. This piece humorously showcased Donizetti's early confidence and talent.

Bologna Academy

Despite a reputation for skipping classes in his mid-teens, Mayr secured two years of scholarships and recommendations for Donizetti to study musical structure under Padre Stanislao Mattei at the Liceo Musicale in Bologna. Here, he composed initial operatic exercises like Il Pigmalione, Olympiade, and L'ira d'Achille, laying the groundwork for his future career.

Early Career

Venetian Debuts

After returning to Bergamo, a chance meeting with old school friend Bartolomeo Merelli led to an offer to compose Enrico di Borgogna. Without a prior commission, Donizetti wrote the music first, eventually securing its premiere in Venice in November 1818. Despite performance issues, the audience recognized his "regular handling and expressive quality." This led to another one-act opera, Una follia, a month later.

Roman Triumph

A contract with the Teatro Argentina in Rome for his ninth opera, Zoraida di Granata, marked a significant turning point. Despite a tenor's death forcing a last-minute rewrite, the premiere in January 1822 was a triumph, hailed as a "new and very happy hope" for Italian musical theatre. This success solidified his reputation as a composer of serious opera.

Naples Residency

Following his Roman success, Donizetti moved to Naples, where he would spend a large part of his life. Impresario Domenico Barbaja offered him a contract to compose new operas and oversee productions. His first Neapolitan work, La zingara, premiered in May 1822 to "hot enthusiasm," running for 28 consecutive evenings. He also met the young music student Vincenzo Bellini during this period.

Dramatic Evolution

While some early Neapolitan works like Alfredo il grande and Il fortunato inganno were less successful, Donizetti's focus on "the dramatic essence of opera rather than the mechanical working out of musical formulas" became increasingly evident. His 1824 opera buffa, L'ajo nell'imbarazzo, premiered in Rome, was a "wild enthusiasm" success, proving his ability to elevate a good libretto with strong dramatic content.

International Acclaim

The Rise of Anna Bolena

In 1830, Donizetti achieved his first major international success with Anna Bolena, premiering in Milan. This opera, featuring Giuditta Pasta in the title role, brought him instant fame across Europe, with performances staged widely throughout the 1830s and 1840s. This work firmly established his reputation as a master of serious opera.

Comic Masterpieces

Despite his growing renown for tragic operas, Donizetti continued to compose successful comedies. L'elisir d'amore (1832), produced shortly after Anna Bolena, is considered one of the masterpieces of 19th-century opera buffa. This period saw a prolific output, including Francesca di Foix, Fausta, Ugo, conte di Parigi, and Lucrezia Borgia.

Lucia di Lammermoor

His return from Paris in 1835 to stage Lucia di Lammermoor marked another pinnacle. Based on Sir Walter Scott's novel, this "dramma tragico" became his most famous opera and a high point of the bel canto tradition, achieving a stature comparable to Bellini's Norma. Its success was amplified by the retirement of Rossini and the recent death of Bellini, positioning Donizetti as the preeminent Italian opera composer.

Tudor Dramas

Donizetti's fascination with 16th-century English history, particularly the Tudor period, inspired several significant works. These included Elisabetta al castello di Kenilworth (1829), Maria Stuarda (1835), and Roberto Devereux (1837), forming a series often referred to as the "Three Donizetti Queens."

Later Years

Parisian Ventures

Frustrated by Italian censorship, Donizetti increasingly sought opportunities in Paris, where he found greater artistic freedom and financial rewards. In October 1838, he moved to Paris, vowing to avoid the San Carlo opera house after the King of Naples banned his opera Poliuto. In Paris, Poliuto was revised into the four-act French grand opera Les Martyrs (1840), which was a success. He also composed La fille du régiment and La favorite, both well-received.

European Travels

From 1840 to 1843, Donizetti frequently traveled between Paris, Milan, Vienna, and Naples, composing and staging his own works and those of others. He conducted the premiere of Rossini's Stabat Mater in Bologna in 1842, earning praise from Rossini himself. In Vienna, he was appointed "Kapellmeister" to the royal court, a prestigious position once held by Mozart.

Don Pasquale Triumph

His comic opera Don Pasquale, premiered in Paris in January 1843, was an overwhelming success, hailed by critics as a work reserved for "the truly great." This period also saw the composition of Maria di Rohan and the ambitious Dom Sébastien, roi de Portugal, his longest opera, on which he spent considerable effort.

Declining Health

By 1843, Donizetti began exhibiting symptoms of syphilis and probable bipolar disorder, leading to a period of intense work, perhaps driven by a premonition of his declining health. Friends and colleagues noted an alarming change in his physical and mental condition, with impaired concentration and frequent relapses into depression. His final opera, Caterina Cornaro (1844), premiered in Naples without his presence and was not successful.

Personal Life

Marriage and Loss

In Rome, Donizetti met the Vasselli family, and in 1828, he married Virginia Vasselli. Their marriage was marked by profound tragedy: all three of their children died in infancy. In 1837, within a year of his parents' deaths, Virginia herself passed away, likely from cholera or measles, though some speculate it was connected to a severe syphilitic infection. This series of personal losses deeply affected the composer.

Family Ties

Gaetano was the younger brother of Giuseppe Donizetti, who became the Instructor General of Imperial Ottoman Music at the court of Sultan Mahmud II in Constantinople in 1828. His youngest brother, Francesco, remained in Bergamo for most of his life, only briefly visiting Paris during Gaetano's final decline. Francesco survived Gaetano by only eight months.

Final Years

By August 1845, Donizetti was formally diagnosed with cerebro-spinal syphilis and severe mental illness. Despite medical advice to cease work, he continued composing, even initiating a lawsuit against the Opéra. His nephew Andrea traveled from Constantinople to Paris to care for him, eventually arranging for his institutionalization in February 1846 at Maison Esquirol in Ivry-sur-Seine, a health spa-like facility.

Return to Bergamo

After prolonged efforts by his family and diplomatic intervention, Donizetti was finally granted permission to leave Paris. He embarked on a seventeen-day journey back to Bergamo, arriving on October 6, 1847. He was settled in the noble Scotti family's palace, but remained largely detached and unresponsive. Despite visits from friends and performances of his music, he showed little recognition. After a serious bout of apoplexy on April 1, 1848, Gaetano Donizetti passed away on April 8. His body was later transferred to Bergamo's Basilica of Santa Maria Maggiore, resting near his beloved teacher Simon Mayr.

Musical Legacy

Prolific Output

Donizetti was an exceptionally prolific composer, renowned primarily for his operatic works, but his compositional breadth extended to various other forms. His extensive catalog includes:

Approximately 75 operas
16 symphonies
19 string quartets
193 songs
45 duets
3 oratorios
28 cantatas
Numerous instrumental concertos, sonatas, and chamber pieces.

His reputation, though fluctuating historically, has seen a significant resurgence since the mid-20th century, with his most celebrated operas today including Lucia di Lammermoor, La fille du régiment, L'elisir d'amore, and Don Pasquale.

Operas (Selected)

Il Pigmalione (1816)
Enrico di Borgogna (1818)
Zoraida di Granata (1822)
La zingara (1822)
L'ajo nell'imbarazzo (1824)
Anna Bolena (1830)
L'elisir d'amore (1832)
Lucrezia Borgia (1833)
Lucia di Lammermoor (1835)
Roberto Devereux (1837)
La fille du régiment (1840)
La favorite (1840)
Linda di Chamounix (1842)
Don Pasquale (1843)
Dom Sébastien (1843)

Choral Works

Work	Work	Work	Work	Work	Work
Ave Maria	Grande Offertorio	Il sospiro	Messa da Requiem	Messa di Gloria e Credo	Miserere (Psalm 50)

Orchestral Works

Work	Work	Work	Work	Work	Work	Work
Allegro for Strings in C major	Larghetto, tema e variazioni in E flat major	Sinfonia Concertante in D major (1817)	Sinfonia in A major	Sinfonia in C major	Sinfonia in D major (1818)	Sinfonia in D minor

Concertos

Work	Work	Work	Work	Work	Work	Work
Concertino for Clarinet in B flat major	Concertino for English Horn in G major (1816)	Concertino in C minor for flute and chamber orchestra (1819)	Concertino for Flute and Orchestra in C major	Concertino for Flute and Orchestra in D major	Concertino for Oboe in F major	Concertino for Violin and Cello in D minor
Concerto for Violin and Cello in D minor	Concerto for 2 Clarinets "Maria Padilla"

Chamber Works

Work	Work	Work	Work	Work	Work	Work
Andante sostenuto for Oboe and Harp in F minor	Introduction for Strings in D major	Larghetto and Allegro for Violin and Harp in G minor	Largo/Moderato for Cello and Piano in G minor	Nocturnes (4) for Winds and Strings	Sonata for Flute and Harp	Sonata for Flute and Piano in C major
Sinfonia for Winds in G minor (1817)	Quintet for Guitar and Strings no 2 in C major	Study for Clarinet no 1 in B flat major	Trio for Flute, Bassoon and Piano in F major

String Quartets (Selected)

Work	Work	Work	Work	Work	Work	Work
String Quartet in D major	No. 3 in C minor: 2nd movement, Adagio ma non troppo	No. 4 in D major	No. 5 in E minor	No. 5 in E minor: Larghetto	No. 6 in G minor	No. 7 in F minor
No. 8 in B flat major	No. 9 in D minor	No. 11 in C major	No. 12 in C major	No. 13 in A major	No. 14 in D major	No. 15 in F major
No. 16 in B minor	No 17 in D major	No. 18 in E minor	No. 18 in E minor: Allegro

Piano Works

Work	Work	Work	Work	Work	Work	Work	Work
Adagio and Allegro in G major	Allegro in C major	Allegro in F minor	Fugue in G minor	Grand Waltz in A major	Larghetto in A minor "Una furtiva lagrima"	Larghetto in C major	Pastorale in E major
Presto in F minor	Sinfonia in A major	Sinfonia No. 1 in C major	Sinfonia No. 1 in D major	Sinfonia No. 2 in C major	Sinfonia No. 2 in D major	Sonata in C major	Sonata in F major
Sonata in G major	Variations in E major	Variations in G major	Waltz in A major	Waltz in C major	Waltz in C major "The Invitation"

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References

Lines from Mayr's libretto, as spoken by Donizetti in 1811, quoted in Weinstock 1963, p. 8.

Review in the Gazzetta privilegiata, in Weinstock 1963, p. 64

Weinstock 1963, Performance history, pp. 325â328. Confirmed in Osborne 1994, pp. 194â197

Weinstock 1963, p. 184: A letter from a Doctor Galli which describes his condition

Donizetti to Antonio Dolci (a Bergamo friend), 15 September 1842, in Weinstock 1963, p. 186

Donizetti to Vasselli, 30 January 1843, in Weinstock 1963, p. 196

Ashbrook 1982, p. 191; further details of specific dates from Weinstock 1963, pp. 221â224

Weinstock 1963, Ch. X: August 1845 â September 1846, pp. 233â255

Drs. Calmeil and Ricord to Andrea Donizetti, 31 January 1846, in Weinstock 1963, p. 247

Report of three doctors, 10 July 1846, in Weinstock 1963, p. 243

Report from Drs. Calmeil, Ricord, and Moreau to Andrea Donizetti, 30 August 1846, in Weinstock 1963, pp. 254â255

Weinstock 1963 and Ashbrook 1982 provide different departure days.

Weinstock 1963, Ch. XI: September 1846 â April 1848, pp. 256â271

"Gaetano Donizetti ", English National Opera

A full list of references for this article are available at the Gaetano Donizetti Wikipedia page

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Maestro of Melodies

💡 Dive in with Flashcard Learning! 💡

A Prolific Composer 🇮🇹

🎭 Architect of Bel Canto

🌟 Early Recognition

🌆 Naples and Beyond

Formative Years 📚

humble Beginnings

🎓 Mayr's Mentorship

🏛️ Bologna Academy

Early Career 📈

🎭 Venetian Debuts

🌟 Roman Triumph

🏙️ Naples Residency

💡 Dramatic Evolution

International Acclaim 🌍

👑 The Rise of Anna Bolena

🥂 Comic Masterpieces

🏴󠁧󠁢󠁳󠁣󠁴󠁿 Lucia di Lammermoor

🇬🇧 Tudor Dramas

Later Years ✈️

🇫🇷 Parisian Ventures

🔄 European Travels

✨ Don Pasquale Triumph

📉 Declining Health

Personal Life 💔

💍 Marriage and Loss

👨‍👩‍👧‍👦 Family Ties

🏥 Final Years

🕊️ Return to Bergamo

Musical Legacy 🎼

🎶 Prolific Output

Operas (Selected)

Choral Works

Orchestral Works

Concertos

Chamber Works

String Quartets (Selected)

Piano Works

Teacher's Corner 🧑‍🏫

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References

📜 References

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📜 Important Notice

Dive in with Flashcard Learning!

A Prolific Composer

Architect of Bel Canto

Early Recognition

Naples and Beyond

Formative Years

Beginnings

Mayr's Mentorship

Bologna Academy

Early Career

Venetian Debuts

Roman Triumph

Naples Residency

Dramatic Evolution

International Acclaim

The Rise of Anna Bolena

Comic Masterpieces

Lucia di Lammermoor

Tudor Dramas

Later Years

Parisian Ventures

European Travels

Don Pasquale Triumph

Declining Health

Personal Life

Marriage and Loss

Family Ties

Final Years

Return to Bergamo

Musical Legacy

Prolific Output

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice