Giuseppe Millico: Difference between revisions
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'''Giuseppe Millico''' (19 January 1737 – 2 October 1802) was an Italian [[soprano]] [[castrato]], [[composer]], and music teacher of the 18th century who is best remembered for his performances in the [[opera]]s of [[Christoph Willibald Gluck]]. |
'''Giuseppe Millico''' (19 January 1737 – 2 October 1802) was an Italian [[soprano]] [[castrato]], [[composer]], and music teacher of the 18th century who is best remembered for his performances in the [[opera]]s of [[Christoph Willibald Gluck]]. |
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Millico was born at [[Terlizzi]], near [[Bari]]. In 1754, he came to Naples. In 1757 in Rome, he had his first performance as a singer. From 1758 to 1765, he worked in [[Russian opera|Russia]], and then returned to Italy. In 1769, Gluck adapted role of Orpheus in his ''[[Orfeo ed Euridice]]'' for Millico to perform at [[Parma]] — the original role, composed for the [[alto]] castrato [[Gaetano Guadagni]], was transposed up for Millico's soprano voice.<ref name="Hayes">Hayes</ref> In 1770, Millico sang, in the Vienna revival of ''[[Alceste (Gluck)|Alceste]]'', the originally [[tenor]] role of Admetus, which Gluck had specially rewritten for him, and created the role of Paris in the same composer's ''[[Paride ed Elena]]'', the last in the trilogy of his Italian reform operas.<ref name="Hayes"/> |
Millico was born at [[Terlizzi]], near [[Bari]]. In 1754, he came to Naples. In 1757 in Rome, he had his first performance as a singer. From 1758 to 1765, he worked in [[Russian opera|Russia]], and then returned to Italy. In 1769, Gluck adapted role of Orpheus in his ''[[Orfeo ed Euridice]]'' for Millico to perform at [[Parma]] — the original role, composed for the [[alto]] castrato [[Gaetano Guadagni]], was transposed up for Millico's soprano voice.<ref name="Hayes">Hayes</ref> In 1770, Millico sang, in the Vienna revival of ''[[Alceste (Gluck)|Alceste]]'', the originally [[tenor]] role of Admetus, which Gluck had specially rewritten for him, and created the role of Paris in the same composer's ''[[Paride ed Elena]]'', the last in the trilogy of his Italian reform operas.<ref name="Hayes"/> "Gluck and Millico became firm friends, and Gluck entrusted the musical education of his beloved niece [Marianna] to Millico's care—no small tribute to the singer's musicianship".<ref name="Howard" >Howard, p. 71</ref> |
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After interpreting the role of Rinaldo in [[Antonio Sacchini]]'s ''[[Armida (Sacchini)|Armida]]'', which was given at Milan's ''Teatro Regio Ducale'' during the 1772 Carnival season,<ref>[http://www.italianopera.org/italianOPERAru.php?f=compositori/S/c220411.htm ''Italianopera'' - Libretti a stampa]</ref> Millico decided to partner the composer in his moving to [[London]], in order to serve as the "''primo musico''" (principal castrato) at the [[Her Majesty's Theatre|King's Theatre]]. Here he performed the leading male roles in the first London operas by Sacchini (''Il Cid'' and ''Tamerlano'', both in 1773). <ref>DiChiera, p. 114</ref> On his way back home in 1774, he called on Gluck in [[Paris]] and, as the French version of ''Orfeo ed Euridice'' was in rehearsal, the composer would have two private performances "given at the house of the [[André Morellet|Abbé Morellet]] in which the tenor role of the French score was sung by Millico (with Gluck's niece Marianne taking both Eurydice and Cupid, and with Gluck at the [[harpsichord]])".<ref |
After interpreting the role of Rinaldo in [[Antonio Sacchini]]'s ''[[Armida (Sacchini)|Armida]]'', which was given at Milan's ''Teatro Regio Ducale'' during the 1772 Carnival season,<ref>[http://www.italianopera.org/italianOPERAru.php?f=compositori/S/c220411.htm ''Italianopera'' - Libretti a stampa]</ref> Millico decided to partner the composer in his moving to [[London]], in order to serve as the "''primo musico''" (principal castrato) at the [[Her Majesty's Theatre|King's Theatre]]. Here he performed the leading male roles in the first London operas by Sacchini (''Il Cid'' and ''Tamerlano'', both in 1773). <ref>DiChiera, p. 114</ref> On his way back home in 1774, he called on Gluck in [[Paris]] and, as the French version of ''Orfeo ed Euridice'' was in rehearsal, the composer would have two private performances "given at the house of the [[André Morellet|Abbé Morellet]] in which the tenor role of the French score was sung by Millico (with Gluck's niece Marianne taking both Eurydice and Cupid, and with Gluck at the [[harpsichord]])".<ref name="Howard"/> |
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After performing at [[Venice]], [[Florence]], [[Rome]] and [[Milan]], Millico returned to Naples in 1780, where he became highly popular as a composer and teacher.<ref name="Croll and Brandenburg">Croll and Brandenburg</ref> He taught singing to the [[House of Bourbon|Bourbon]] princesses Maria Teresa and Luisa Maria, and to [[Emma Hamilton]], not yet the lover of [[Lord Nelson]].<ref name="Croll and Brandenburg"/> During this time at Naples, he composed eight operas that are confirmed as being his work, nearly all of which premiered in Naples — two to [[libretto|libretti]] by [[Metastasio]] and one to words by [[Ranieri de' Calzabigi]], Gluck's librettist for all three of his Italian reform operas. The published score of Millico's opera ''La pietà d’amore'' includes a message of support for Gluck's attempted reforms of ''[[opera seria]]''. Millico also composed eight [[cantata]]s, a ''Salve regina'', 23 [[aria]]s and 22 duets unattached to a dramatic work, and 82 [[canzonet]]s. These works are usually composed for [[harp]] accompaniment and were extremely popular at the time; many of them were published, both individually and as a part of collections. A collection of his keyboard compositions, ''Musical Trifles: a Collection of Sonatine'', was published in 1791 in London.<ref name="Croll and Brandenburg"/> He remained at [[Naples]], where he died. |
After performing at [[Venice]], [[Florence]], [[Rome]] and [[Milan]], Millico returned to Naples in 1780, where he became highly popular as a composer and teacher.<ref name="Croll and Brandenburg">Croll and Brandenburg</ref> He taught singing to the [[House of Bourbon|Bourbon]] princesses Maria Teresa and Luisa Maria, and to [[Emma Hamilton]], not yet the lover of [[Lord Nelson]].<ref name="Croll and Brandenburg"/> During this time at Naples, he composed eight operas that are confirmed as being his work, nearly all of which premiered in Naples — two to [[libretto|libretti]] by [[Metastasio]] and one to words by [[Ranieri de' Calzabigi]], Gluck's librettist for all three of his Italian reform operas. The published score of Millico's opera ''La pietà d’amore'' includes a message of support for Gluck's attempted reforms of ''[[opera seria]]''. Millico also composed eight [[cantata]]s, a ''Salve regina'', 23 [[aria]]s and 22 duets unattached to a dramatic work, and 82 [[canzonet]]s. These works are usually composed for [[harp]] accompaniment and were extremely popular at the time; many of them were published, both individually and as a part of collections. A collection of his keyboard compositions, ''Musical Trifles: a Collection of Sonatine'', was published in 1791 in London.<ref name="Croll and Brandenburg"/> He remained at [[Naples]], where he died. |
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Revision as of 12:29, 6 February 2011
Giuseppe Millico (19 January 1737 – 2 October 1802) was an Italian soprano castrato, composer, and music teacher of the 18th century who is best remembered for his performances in the operas of Christoph Willibald Gluck.
Millico was born at Terlizzi, near Bari. In 1754, he came to Naples. In 1757 in Rome, he had his first performance as a singer. From 1758 to 1765, he worked in Russia, and then returned to Italy. In 1769, Gluck adapted role of Orpheus in his Orfeo ed Euridice for Millico to perform at Parma — the original role, composed for the alto castrato Gaetano Guadagni, was transposed up for Millico's soprano voice.[1] In 1770, Millico sang, in the Vienna revival of Alceste, the originally tenor role of Admetus, which Gluck had specially rewritten for him, and created the role of Paris in the same composer's Paride ed Elena, the last in the trilogy of his Italian reform operas.[1] "Gluck and Millico became firm friends, and Gluck entrusted the musical education of his beloved niece [Marianna] to Millico's care—no small tribute to the singer's musicianship".[2]
After interpreting the role of Rinaldo in Antonio Sacchini's Armida, which was given at Milan's Teatro Regio Ducale during the 1772 Carnival season,[3] Millico decided to partner the composer in his moving to London, in order to serve as the "primo musico" (principal castrato) at the King's Theatre. Here he performed the leading male roles in the first London operas by Sacchini (Il Cid and Tamerlano, both in 1773). [4] On his way back home in 1774, he called on Gluck in Paris and, as the French version of Orfeo ed Euridice was in rehearsal, the composer would have two private performances "given at the house of the Abbé Morellet in which the tenor role of the French score was sung by Millico (with Gluck's niece Marianne taking both Eurydice and Cupid, and with Gluck at the harpsichord)".[2]
After performing at Venice, Florence, Rome and Milan, Millico returned to Naples in 1780, where he became highly popular as a composer and teacher.[5] He taught singing to the Bourbon princesses Maria Teresa and Luisa Maria, and to Emma Hamilton, not yet the lover of Lord Nelson.[5] During this time at Naples, he composed eight operas that are confirmed as being his work, nearly all of which premiered in Naples — two to libretti by Metastasio and one to words by Ranieri de' Calzabigi, Gluck's librettist for all three of his Italian reform operas. The published score of Millico's opera La pietà d’amore includes a message of support for Gluck's attempted reforms of opera seria. Millico also composed eight cantatas, a Salve regina, 23 arias and 22 duets unattached to a dramatic work, and 82 canzonets. These works are usually composed for harp accompaniment and were extremely popular at the time; many of them were published, both individually and as a part of collections. A collection of his keyboard compositions, Musical Trifles: a Collection of Sonatine, was published in 1791 in London.[5] He remained at Naples, where he died.
Notes
References
- Gerhard Croll and Irene Brandenburg: "Millico, Giuseppe", Grove Music Online ed L. Macy (Accessed 07 March 2007), grovemusic.com, subscription access.
- David DiChiera, Sacchini, Antonio (Maria Gasparo Gioacchino), in Stanley Sadie (ed.), The New Grove Dictionary of Opera, New York, Grove (Oxford University Press), 1997, IV, pp. 114-116. ISBN 978-0-19-522186-2
- Jeremy Hayes: "Alceste", "Paride ed Elena" and "Orfeo ed Euridice", Grove Music Online ed L. Macy (Accessed 07 March 2007), grovemusic.com, subscription access.
- Patricia Howard (ed.), C.W. von Gluck: Orfeo, Cambridge/New York/Melbourne, Cambridge University Press, 1981 (consulted edition: Cambridge Opera Handbooks, paperback, 2010, ISBN 0-521-29664-1)