Who was Vincenzo Bellini and what characterized his musical style?

Vincenzo Bellini (1801-1835) was an Italian opera composer renowned for his long, graceful melodies and evocative musical settings. He was a central figure of the bel canto era, admired by the public and fellow composers alike for his ability to balance florid embellishment with a deceptively simple approach to lyric setting.

Where was Vincenzo Bellini born, and what was his family background regarding music?

Vincenzo Bellini was born in Catania, Sicily, into a highly musical family. His grandfather and father were both musicians, with his grandfather having studied at the Naples conservatory and served as an organist and teacher in Catania.

What is the historical perspective on the claims of Bellini's early childhood musical prodigy status?

While some accounts suggest Bellini was a child prodigy, capable of singing an aria at 18 months and composing by age six, biographers like Herbert Weinstock and Stelios Galatopoulos express skepticism. They note a lack of corroborating evidence for some claims and point out that Bellini was not a proficient pianist, even being placed in a beginners' class at the Naples conservatory.

What was Bellini's formal musical education, and where did it take place?

Bellini received his formal musical education at the Real Collegio di Musica di San Sebastiano in Naples, starting in 1819 after receiving a four-year pension. The curriculum focused on masters of the Neapolitan school, as well as works by Haydn and Mozart, and composers like Pergolesi and Paisiello.

Who were some of Bellini's key teachers and influential figures during his time in Naples?

During his studies in Naples, Bellini was taught harmony and accompaniment by Giovanni Furno and counterpoint by Giacomo Tritto. The artistic director of the conservatory was the opera composer Niccolò Antonio Zingarelli, who advised Bellini to focus on melody. He also met and befriended fellow student Francesco Florimo and admired the works of Gaetano Donizetti.

What advice did Niccolò Antonio Zingarelli give to Bellini regarding composition?

Niccolò Antonio Zingarelli advised Bellini that if his compositions were melodic, they would please audiences. He encouraged Bellini to train his heart to produce melody and present it as simply as possible to ensure success as a composer, rather than ending up as a village organist.

What was Bellini's first opera, and for what occasion was it composed?

Bellini's first opera was *Adelson e Salvini*, composed in 1825 for the *teatrino* (small theatre) of the Naples Conservatory as part of his assignment as *primo maestrino*. It was an *opera semi-seria* with a libretto by Andrea Leone Tottola.

How was *Adelson e Salvini* received by its initial audience?

*Adelson e Salvini* proved to be very popular among the student body at the Naples Conservatory, where it was performed every Sunday for a year after its premiere.

What was Bellini's first professionally produced opera, and where did it premiere?

Bellini's first professionally produced opera was *Bianca e Fernando*, which premiered on May 30, 1826, at the Teatro San Carlo in Naples. The opera was based on a play by Domenico Gilardoni, who also wrote the libretto.

Why was the title of Bellini's opera *Bianca e Fernando* changed to *Bianca e Gernando*?

The title *Bianca e Fernando* had to be changed because 'Fernando' was the name of the heir to the throne, and its use on a royal stage was prohibited. The opera was subsequently premiered with the title *Bianca e Gernando*.

How did *Bianca e Gernando* fare at its premiere, and what was the royal reaction?

*Bianca e Gernando* was very successful at its premiere, aided by the approval of King Francesco I, who broke custom by applauding the performance. The opera received positive reviews for Bellini's music.

Which Milanese opera house commissioned Bellini's next opera, and who was the impresario?

Domenico Barbaja, who was part of the management of La Scala in Milan, offered Bellini a commission for an opera to be presented there in the autumn of 1827. This led to the creation of *Il pirata*.

Who was Felice Romani, and what was his significance to Bellini's career?

Felice Romani was a prominent librettist who became Bellini's primary creative partner. He provided the libretti for six of Bellini's operas, starting with *Il pirata*, and their strong professional relationship was crucial to Bellini's success.

What was the significance of *Il pirata* for Bellini and the tenor Giovanni Battista Rubini?

The premiere of *Il pirata* in Milan on October 27, 1827, was an immediate success and marked a defining performance for the tenor Giovanni Battista Rubini. Bellini actively coached Rubini to enhance his expressiveness, which contributed to the opera's triumph and Bellini's growing international fame.

How did Bellini's opera *Bianca e Gernando* fare in its revised version in Genoa?

The revised version of *Bianca e Gernando*, retitled *Bianca e Fernando*, premiered in Genoa on April 7, 1828. It was even more successful than its Naples production, receiving 21 performances, although critical reactions were mixed.

What was *La straniera*, and how was it received?

*La straniera*, with a libretto by Felice Romani, premiered in Milan on February 14, 1829. It was a melodrama that became an even greater success than *Il pirata*, solidifying Bellini's reputation.

What marked *Zaira* as a setback in Bellini's career?

*Zaira*, which premiered in Parma on May 16, 1829, is considered Bellini's first serious setback. Contributing factors included potential lack of composer enthusiasm, Parma's traditional preference for Rossini's music, and challenges with adapting Voltaire's play for the libretto by Romani.

Which opera marked a return to success for Bellini after the setback of *Zaira*?

Bellini's return to success came with *I Capuleti e i Montecchi*, which premiered in Venice on March 11, 1830. This opera, with a libretto by Felice Romani, was enthusiastically received, with Maria Malibran notably performing the role of Romeo.

Describe the premiere and reception of *La sonnambula*.

*La sonnambula*, an opera semiseria with a libretto by Felice Romani, premiered on March 6, 1831, at the Teatro Carcano in Milan. It was a triumphant success, partly due to the refined libretto and Bellini and Romani's accumulated experience. The opera was praised by critics and even moved the composer Mikhail Glinka, who attended the performance.

How was *Norma* initially received, and what challenges did Bellini face during its creation?

*Norma*, a tragedia lirica with a libretto by Felice Romani, premiered in Milan on December 26, 1831. It was initially met with "chill indifference" from the audience, which Bellini described as a "fiasco." He faced challenges, including the lead soprano Giuditta Pasta's initial difficulty with the famous "Casta Diva" aria and external factors like negative press influenced by rivals.

What was Bellini's experience during his travels in Naples, Sicily, and Bergamo in 1832?

In 1832, Bellini traveled through Naples, Messina, and Catania, receiving warm civic welcomes and ovations. He attended performances of his operas, including *Capuleti* in Naples and *Il pirata* in Messina, which were met with great enthusiasm. He also visited his old conservatory and teacher in Naples.

How did Bellini's visit to London in 1833 contribute to his reputation?

By 1833, Bellini was already well-known in London, with several of his operas having been performed there. His attendance at a performance of Rossini's *La Cenerentola* alongside other famous musicians highlighted his established presence. The London premiere of *Norma* was a triumph, further solidifying his fame.

What was Bellini's relationship with Maria Malibran, and what incident highlighted this?

Bellini met Maria Malibran when he attended her performance of *La sonnambula* in London. Although he felt his music was "tortured" in the adapted English version, he was deeply moved by Malibran's singing, leading him to enthusiastically applaud and be called to the stage, where he embraced her.

What was the outcome of Bellini's negotiations with the Paris Opéra and his eventual engagement with the Théâtre-Italien?

Bellini negotiated with the Paris Opéra director Louis Véron but did not reach an agreement. Instead, he accepted an offer from the Théâtre-Italien, finding the pay richer, the company magnificent, and appreciating the opportunity to stay in Paris at others' expense.

Who was Carlo Pepoli, and what was his role in Bellini's final opera?

Carlo Pepoli was an Italian émigré writer and librettist whom Bellini met in Paris. Pepoli collaborated with Bellini on the libretto for his final opera, *I puritani*, which premiered in Paris in 1835.

What was Bellini's core instruction to Carlo Pepoli regarding the libretto for *I puritani*?

Bellini instructed Pepoli to carve into his head in "adamantine letters" that "The opera must draw tears, terrify people, make them die through singing." This emphasized Bellini's desire for intense emotional impact in his music.

How was *I puritani* received in Paris, and what honors did Bellini receive afterward?

*I puritani* was an immense success in Paris, becoming "the rage of Paris" and receiving 17 performances. Following this triumph, Bellini was awarded the title of Chevalier of the Légion d'honneur by King Louis-Philippe and received the cross of the Order of Francesco I from King Ferdinand II of Naples.

What was the nature of Bellini's recurring illness?

Bellini suffered from a recurring gastro-enteric condition, which he described as "a tremendous inflammatory gastric bilious fever." This illness plagued him throughout his career, worsening after each opera, and ultimately contributed to his early death.

What was the cause of Vincenzo Bellini's death?

Vincenzo Bellini died on September 23, 1835, in Puteaux, France, at the age of 33. A post-mortem examination revealed the cause of death to be acute inflammation of the colon, compounded by a liver abscess.

Who took charge of arrangements following Bellini's death, and what actions did he take?

Gioachino Rossini took charge of arrangements after Bellini's death. He planned Bellini's funeral and entombment, ordered a post-mortem, and formed a committee to raise funds for a monument and a funeral mass.

What was Felice Romani's tribute to Bellini after his death?

Felice Romani wrote a tribute published in Turin on October 1, 1835, stating that few composers understood the necessity of uniting music with poetry and dramatic truth as well as Bellini. He lamented that he had spent fifteen years searching for a composer like Bellini, only to lose him in a single day.

What is the significance of the Museo Belliniano in Catania?

The Museo Belliniano, located in Bellini's birthplace, the Palazzo Gravina-Cruyllas in Catania, preserves memorabilia and manuscripts related to the composer.

How did Bellini's personal life and relationships, particularly with Francesco Florimo, reflect the social norms of his time?

Bellini maintained a very close and affectionate correspondence with Francesco Florimo, which some have interpreted as indicative of his sexuality. However, scholars like Weinstock and Rosselli suggest these expressions of deep friendship were common in Mediterranean societies and the 19th-century opera world, rather than necessarily reflecting sexual attachment.

What was the nature of Bellini's relationship with Giuditta Turina?

Bellini had a five-year passionate affair with Giuditta Turina, a married woman, which began in 1828. While Bellini initially found the liaison satisfying as it kept him focused on his work, he later sought to distance himself when her husband discovered their relationship and he feared the commitment would impede his career.

What was Bellini's stance on marriage and romantic attachments in relation to his career?

Bellini expressed a strong desire to avoid romantic attachments that might distract him from his musical career. He declined marriage proposals and ended relationships when he felt they posed a threat to his professional focus and success.

What were the key operas composed by Vincenzo Bellini?

Bellini composed ten operas: *Adelson e Salvini* (1825), *Bianca e Fernando* (1826), *Il pirata* (1827), *La straniera* (1829), *Zaira* (1829), *I Capuleti e i Montecchi* (1830), *La sonnambula* (1831), *Norma* (1831), *Beatrice di Tenda* (1833), and *I puritani* (1835).

Besides operas, what other types of musical works did Bellini compose?

Bellini also composed songs, collected as *Composizioni da Camera*, symphonies in the Italian overture tradition, an Oboe Concerto, piano works, an organ sonata, and numerous sacred works, including several Masses and *Salve Regina* settings.

What is the significance of the *Composizioni da Camera*?

The *Composizioni da Camera* is a collection of fifteen songs published by Casa Ricordi in 1935, a century after Bellini's death. These songs showcase his lyrical style outside of his operatic works.

How did Bellini's symphonies differ from the Germanic tradition?

Bellini's symphonies were short works, typically under ten minutes, composed in the tradition of the Italian overture. This style differed from the Germanic tradition, exemplified by composers like Beethoven, which often featured longer, more complex symphonic structures.

What was the nature of the dispute between Bellini and his librettist Felice Romani regarding *Beatrice di Tenda*?

The creation of the libretto for *Beatrice di Tenda* led to a significant dispute between Bellini and Romani. Romani had over-committed himself to other composers, causing delays in delivering the libretto. This resulted in a public polemic through newspaper letters, with each blaming the other for the production's difficulties and Bellini's perceived dissatisfaction.

What specific musical piece is inscribed on Bellini's tomb in Pèere Lachaise Cemetery?

The musical notation inscribed on Bellini's tomb in Père Lachaise Cemetery is from *La sonnambula*, representing a poignant farewell to a flower fading too soon. This inscription symbolizes the beauty and fragility of life and art, reflecting the composer's own tragically short career.

How did Heinrich Heine's comments affect Bellini?

Heinrich Heine's remark that Bellini was a genius who would pay for his gift with a premature death, similar to Raphael and Mozart, horrified the superstitious Bellini. Heine also published a literary portrait of Bellini as "a sigh in dancing pumps," emphasizing less appealing aspects of his personality.

What is the relationship between Bellini's music and the concept of bel canto?

Bellini is considered a central figure of the bel canto era. His music is characterized by long, graceful melodies and a style that balanced florid embellishment with a deceptively simple approach to lyric setting, which are hallmarks of the bel canto tradition.

What was Bellini's view on Romanticism versus Classicism, according to a librettist's complaint?

According to a complaint lodged by librettist Luigi Torrigiani, Bellini favored Romanticism and exaggeration, finding Classicism "cold and boring." He was reportedly entranced by dramatic settings like unnatural meetings in forests, among graves, and tombs.

How did Romani describe his libretto for *Zaira* in relation to tragedy and melodrama?

In the preface to the *Zaira* libretto, Romani stated that the work was not covered by the "ample cloak of Tragedy" but rather "wrapped in the tight form of Melodrama." This indicated his intention to create a work within the more dramatic and emotionally heightened conventions of melodrama.

What were the main themes or characteristics of Bellini's operas that contributed to his fame?

Bellini's operas are renowned for their long, lyrical melodies, expressive vocal lines, and dramatic intensity. His focus on emotional depth and the skillful setting of poetic texts, particularly within the bel canto style, contributed significantly to his enduring fame.

What is the significance of the *Casta Diva* aria from *Norma*?

The *Casta Diva* aria from *Norma* is one of the most famous arias of the nineteenth century. Its difficulty and expressive demands made it a significant challenge for singers, including Giuditta Pasta, who initially struggled with it before mastering it.

What role did Giuditta Pasta play in Bellini's career?

Giuditta Pasta was a highly acclaimed soprano for whom Bellini wrote several major roles, including Amina in *La sonnambula* and Norma in *Norma*. Her vocal and dramatic capabilities were instrumental in the success of these operas and influenced Bellini's compositional choices.

What was the context of Bellini's relationship with the composer Gioachino Rossini?

Bellini and Rossini developed a strong bond and mutual admiration. Rossini visited Bellini in Milan, and later, Bellini found increasing support and affection from Rossini in Paris, viewing him as a mentor and father figure. Rossini also played a role in organizing Bellini's funeral arrangements after his death.

What does the inscription on Bellini's tomb signify?

The musical notation inscribed on Bellini's tomb is from *La sonnambula*, representing a poignant farewell to a flower fading too soon. This inscription symbolizes the beauty and fragility of life and art, reflecting the composer's own tragically short career.

Vincenzo Bellini Wiki: Maestro of Melody: The Life and Artistry of Vincenzo Bellini

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Vincenzo Bellini: A Bel Canto Luminary

The Essence of Bel Canto

Vincenzo Salvatore Carmelo Francesco Bellini (1801–1835) was an Italian opera composer renowned for his long, graceful melodies and evocative musical settings. As a central figure of the bel canto era, his work was admired by contemporaries and influenced subsequent generations of composers.

Melodic Mastery

Bellini's compositions are characterized by a deceptively simple approach to lyric setting, balancing florid embellishment with profound emotional expression. His songs and arias are celebrated for their exquisite vocal lines and dramatic intensity.

Global Impact

Though his career was brief, Bellini's operas, including Il pirata, La sonnambula, Norma, and I puritani, remain staples in the repertoire of major opera houses worldwide, testament to their timeless appeal and artistic merit.

Catania: Genesis of a Composer

Musical Pedigree

Born in Catania, Sicily, Vincenzo Bellini hailed from a family steeped in musical tradition. His grandfather and father were both accomplished organists and teachers, fostering an early environment conducive to musical development.

Prodigy or Myth?

Accounts suggest Bellini displayed prodigious musical talent from infancy, reportedly singing arias at eighteen months and composing by age six. While some biographical details remain debated, his early aptitude for music is undeniable.

While some historical accounts describe Bellini as an extraordinary child prodigy, with claims of early composition and advanced musical understanding, biographers note that certain details may be embellished. Nevertheless, his innate musicality was evident from a very young age, setting the stage for his formal training.

Path to Naples

Recognizing his burgeoning talent, Bellini secured a scholarship to study at the prestigious Real Collegio di Musica di San Sebastiano in Naples, a crucial step that would shape his artistic trajectory.

Naples: Cultivating the Craft

Neapolitan School Influence

At the Naples Conservatory, Bellini absorbed the stylistic elements of the Neapolitan School. His studies focused on masters like Pergolesi and Paisiello, while also being inspired by contemporary composers such as Donizetti and Rossini.

Mentorship and Advice

Under the guidance of composers like Giovanni Furno and Niccolò Antonio Zingarelli, Bellini honed his skills. Zingarelli famously advised him to prioritize melody, stating, "If your compositions 'sing', your music will most certainly please."

Peer Connections

During his formative years in Naples, Bellini forged significant friendships, notably with fellow student Francesco Florimo, who would become a lifelong correspondent and biographer.

Ascent to Milan and Beyond

First Operas

Bellini's early operas, Adelson e Salvini (1825) and Bianca e Fernando (1826), demonstrated his emerging talent and secured him a commission for La Scala in Milan.

The Milanese Breakthrough

The premiere of Il pirata (1827) at La Scala marked a pivotal moment, establishing Bellini's reputation and launching his significant, albeit short, career as a leading opera composer.

International Acclaim

His subsequent works, including La sonnambula (1831) and Norma (1831), solidified his international fame, leading to successful productions across Europe and establishing him as a master of the bel canto style.

Landmark Compositions

Melodic Architecture

Bellini's operas are celebrated for their lyrical beauty and dramatic depth. His melodies, often long and flowing, are meticulously crafted to convey intense emotion and psychological nuance.

Vocal Demands

The roles in Bellini's operas, particularly for sopranos like Giuditta Pasta, were written to showcase exceptional vocal agility, control, and expressive power, defining the pinnacle of the bel canto technique.

Bellini's music demands a specific vocal prowess, often referred to as bel canto. This includes:

Legato: Seamless, connected singing.
Florid Passagework: Intricate runs and ornamentation.
Expressive Phrasing: Deep emotional interpretation.
Wide Range and Agility: Ability to navigate high tessituras and execute rapid vocalizations.

Enduring Masterpieces

Operas such as Norma, La sonnambula, and I puritani are considered masterpieces, frequently performed and studied for their contribution to operatic history and vocal pedagogy.

Catalog of Compositions

Operatic Output

Bellini composed eleven operas, many of which are considered cornerstones of the bel canto repertoire. His collaboration with librettist Felice Romani was particularly fruitful.

Operas by Vincenzo Bellini
Title	Genre	Acts	Libretto	Date	Venue
Adelson e Salvini	opera semiseria	3 acts	Andrea Leone Tottola	12 (?) February 1825	Naples, Teatro San Sebastiano
Bianca e Gernando	melodramma	2 acts	Domenico Gilardoni	30 May 1826	Naples, Teatro San Carlo
Il pirata	melodramma	2 acts	Felice Romani	27 October 1827	Milan, Teatro alla Scala
Bianca e Fernando	melodramma	2 acts	Felice Romani	7 April 1828	Genoa, Teatro Carlo Felice
La straniera	melodramma	2 acts	Felice Romani	14 February 1829	Milan, Teatro alla Scala
Zaira	tragedia lirica	2 acts	Felice Romani	16 May 1829	Parma, Teatro Ducale
I Capuleti e i Montecchi	tragedia lirica	2 acts	Felice Romani	11 March 1830	Venice, Teatro La Fenice
La sonnambula	opera semiseria	2 acts	Felice Romani	6 March 1831	Milan, Teatro Carcano
Norma	tragedia lirica	2 acts	Felice Romani	26 December 1831	Milan, Teatro alla Scala
Beatrice di Tenda	tragedia lirica	2 acts	Felice Romani	16 March 1833	Venice, Teatro La Fenice
I puritani	melodramma serio	3 acts	Carlo Pepoli	24 January 1835	Paris, Théâtre-Italien

Vocal Compositions

Beyond his operas, Bellini composed numerous art songs (ariette and canzoncine), showcasing his melodic gift in more intimate settings. Notable among these is "Vaga luna, che inargenti."

Instrumental and Sacred Works

Bellini also contributed to instrumental music with works like his Oboe Concerto and composed several sacred pieces, including Masses and Salve Reginas, particularly during his early studies.

Personal Connections

Francesco Florimo

Bellini maintained a profound and lifelong friendship with Francesco Florimo, a fellow student in Naples. Their extensive correspondence offers invaluable insights into Bellini's life, work, and emotional state.

Maddalena Fumaroli

An early romantic entanglement involved Maddalena Fumaroli, whose father initially rejected Bellini due to his perceived lack of financial stability. Bellini's feelings cooled over time, leading to the eventual dissolution of the potential union.

Giuditta Turina

Bellini engaged in a significant affair with Giuditta Turina, a married woman, which lasted for several years. While passionate, Bellini ultimately prioritized his career, resisting commitments that might impede his artistic focus.

The relationship with Giuditta Turina was intense, but Bellini's letters reveal a consistent desire to avoid entanglements that could distract from his composing. He expressed concern over her potential arrival in Paris and his need to maintain professional focus, ultimately choosing his career over a sustained romantic commitment.

Enduring Influence and Final Years

Critical Reception

Bellini's melodic genius was recognized by peers like Verdi and Wagner. While some critics questioned the dramatic substance of his works, his unique contribution to opera and vocal writing is widely acknowledged.

Premature End

Bellini's life was tragically cut short at the age of 33. He succumbed to illness in Puteaux, France, leaving behind a legacy that profoundly shaped the operatic landscape.

Post-mortem examinations indicated that Bellini died from acute inflammation of the colon, complicated by a liver abscess. His death was a significant loss to the world of music, cutting short a brilliant career.

Commemoration

Bellini is honored through numerous institutions and tributes, including the Teatro Massimo Bellini in Catania and his tomb in Père Lachaise Cemetery, Paris. His music continues to inspire and captivate audiences.

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References

The Editors of EncyclopÃ¦dia Britannica, "Vincenzo Bellini, Italian Composer", EncyclopÃ¦dia Britannica, 15 January 2018

Verdi to Camille Belaigue, 2 May 1898, Lippmann & McGuire 1998, p. 392

Weinstock 1971, pp. 5â6 refers to "an anonymous prÃ©cis of his life, twelve handwritten pages" held in Catania's Museo Belliniaro

Florimo 1882, Bellini: Memorie e lettere, in Eisenbeiss 2013, p. 155

Gazzetta privilegiata review, in Galatopoulos 2002, pp. 67â68

Romani to Florimo, approx. February 1828, in Galatopoulos 2002, p. 73

Bellini to Florimo, 10 April 1828, in Galatopoulos 2002, p. 95

Press reactions to Bianca in Galatopoulos 2002, pp. 96â97

Bellini to Raina, in Cambi 1943 and quoted in Weinstock 1971, p. 63

La Gazzetta, 16 and 19 February 1829, in Weinstock 1971, p. 66

Felice Romani's Promio dell'autore, in Weinstock 1971, p. 76

Friedrich Lippmann, (Trans. T. A. Shaw) "Ziara Yesterday and Today" in booklet accompanying the Nuevo Era recording.

Bellini to his uncle, Vincenzo Ferlito, 28 August 1829, in Weinstock 1971, pp. 80â81

Bellini to Lanari, 5 January 1830, in Weinstock 1971, p. 83: Weinstock notes that Romani had used "Capellio" as Juliet's last name in the libretto.

Cambi 1943 in Weinstock 1971, p. 85

Bellini to Vincenzo Ferlito, April 1830, in Weinstock 1971, pp. 87â88

Bellini to Vincenzo Ferlito [his uncle], late May/early June 1830, in Weinstock 1971, p. 88

Bellini to his Venetian friend Giovanni Battista Peruchinni, 3 January 1831, in Weinstock 1971, p. 94

Bellini to Florimo, 27(?) September 1831, in Weinstock 1971, p. 101

Bellini to Count di Ruffano, 19 September 1831, in Weinstock 1971, p. 102

Bellini to Vincenzo Ferlito, 28 December 1831, in Weinstock 1971, p. 106

L'Osservatore peloritano, 27 February 1832, in Weinstock 1971, pp. 113â114

Bellini to Santocanale, 28 April 1832, in Weinstock 1971, p. 118

Bellini to Giuseppe Pasta, 28 April 1828, in Weinstock 1971, p. 118

Bellini to Ricordi, 24 May 1832, in Galatopoulos 2002, p. 256

Bellini to Santocanale, 1 July 1832, Galatopoulos 2002, pp. 256â257

Bellini to Ricordi, 2 August 1832, in Galatopoulos 2002, pp. 256â257

Bellini to Santocanale, 12 January 1833, in Weinstock 1971, p. 128

Bellini to Vincenzo Ferlito, 14 February 1833, in Weinstock 1971, pp. 128â129

Romani's apology in the printed libretto, quoted in Weinstock 1971, p. 129

quoted in Weinstock 1971, pp. 130â131, but its authenticity is suspect.

Pietro Marinetti, "Two Words for Signor Felice Romani", Il Barbiere di Siviglia, 11 April 1833, in Weinstock 1971, pp. 135â139

Detailed in Weinstock 1971, pp. 140â142, who notes that the entire contents of the letters is reprinted in Cambi 1943.

Bellini to Florimo, 11 March 1834, in Weinstock 1971, pp. 160â161

Bellini to Bordese, 11 June 1834, a letter published by Antonino Amore in 1894 (in addition to a draft of Bellini's unsent letter to Romani), in Weinstock 1971, pp. 166â167

Romani being quoted in the letter from Bellini to Romani, 29 May 1834, in Weinstock 1971, p. 167

Bellini to Romani, 7 October 1834, in Weinstock 1971, pp. 168â169

Purported to be an (undated) letter from Bellini to Florimo from London, published by Florimo. No original exists. In Weinstock 1971, pp. 143â145

Giuseppe Pasta to Rachele Negri [his mother-in-law], 22 June 1833, in Weinstock 1971, pp. 149â150

Bellini to Vincenzo Ferlito, [day, month unknown, 1835 after Puritani's success], in Weinstock 1971, pp. 163â164

Letters from Bellini to Florimo, in Weinstock 1971, pp. 179â182

Bellini to Florimo, 30 April 1834, in Weinstock 1971, pp. 164â165

Bellini to Vincenzo Ferlito, 11 April 1834, in Weinstock 1971, p. 161

Bellini to Florimo, 26 May 1834, in Weinstock 1971, pp. 162â163

Bellini to Pepoli, no date given, in Weinstock 1971, pp. 170â171

Bellini to Santocanale, 21 September 1834, in Weinstock 1971, p. 173

Bellini to Florimo, [date unknown; postmarked 26 January 1835], in Weinstock 1971, p. 184

Bellimo to Ferlito, 1 April 1835, in Weinstock 1971, pp. 192â194

Bellini to Florimo, 25 May 1825, in Weinstock 1971, pp. 196â197

Weinstock 1971, quoting and commenting on what he interprets from the statements by Francesco Pastura contained in Vincenzo Bellini, Catania; Torino; SEI (1959), in Weinstock 1971, pp. 197â198

Madame C. Joubert, quoting Heine, Souvenirs, Paris 1881, in Weinstock 1971, pp. 201â202

Heine, Florentinische NÃ¤chte, in Weinstock 1971, pp. 200â201

Luigi Montallegri's reports to Severini; reports from other sources, including diaries written by Baron Augusto AymÃ© d'Aquino of the Two Sicilies' Embassy in Paris, in Weinstock 1971, pp. 202â204

Dr. Dalmas' post-mortem report, supported by quotations from a report made in 1969 by Doctor Victor de Sabata, in Weinstock 1971, pp. 204â205

Rossini to Santocanale, letters of 27 September and 3 October 1835, in Weinstock 1971, pp. 206â209

Romani's tribute to Bellini, in Gazzetta piemontese (Turin), 1 October 1835, in Weinstock 1971, p. 211

Torrigiani to Parma's Grand Chamberlain, 14 December 1828, in Galatopoulos 2002, p. 145

Romani, preface to the printed libretto of Zaira, Parma 1829, quoted in Galatopoulos 2002, p. 155

Fumarolis to Bellini (date unknown), in Galatopoulos 2002, p. 56

Giuditta Turina to Florimo, 4 August 1834, referencing a September 1833 letter to her from Bellini where he stated that his career is "avant tout".

A full list of references for this article are available at the Vincenzo Bellini Wikipedia page

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Dive in with Flashcard Learning!

Vincenzo Bellini: A Bel Canto Luminary

The Essence of Bel Canto

Melodic Mastery

Global Impact

Catania: Genesis of a Composer

Musical Pedigree

Prodigy or Myth?

Path to Naples

Naples: Cultivating the Craft

Neapolitan School Influence

Mentorship and Advice

Peer Connections

Ascent to Milan and Beyond

First Operas

The Milanese Breakthrough

International Acclaim

Landmark Compositions

Melodic Architecture

Vocal Demands

Enduring Masterpieces

Catalog of Compositions

Operatic Output

Vocal Compositions

Instrumental and Sacred Works

Personal Connections

Francesco Florimo

Maddalena Fumaroli

Giuditta Turina

Enduring Influence and Final Years

Critical Reception

Premature End

Commemoration

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Academic Disclaimer

Important Notice