{"id":1555,"date":"2013-07-10T10:30:32","date_gmt":"2013-07-10T14:30:32","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/loebmusic\/?p=1555"},"modified":"2013-07-22T17:23:08","modified_gmt":"2013-07-22T21:23:08","slug":"newly-digitized-girolamo-crescentini-sei-cantate-e-diciotto-ariette","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/loebmusic\/2013\/07\/10\/newly-digitized-girolamo-crescentini-sei-cantate-e-diciotto-ariette\/","title":{"rendered":"Newly Digitized: Girolamo Crescentini, Sei cantate e diciotto ariette"},"content":{"rendered":"

A fixture of operatic and concert stages at the turn of the nineteenth century, the castrato Girolamo Crescentini (1762-1846) was particularly known for his showpiece aria “Ombra adorata aspetta,” which he inserted in Nicola Zingarelli’s Giulietta e Romeo<\/em> (1796).1<\/sup><\/p>\n

By the time he published the collection Sei cantata e diciotto arietta<\/em>, Crescentini had been retired from the stage for nearly a decade, after six years (1806-1812) spent at Napoleon’s court as a performer and teacher. When he returned to Bologna in 1813, he took a position at the recently-founded Liceo Filarmonico – today the Conservatorio di Musica G.B. Martini – before moving to a similar position in Naples.2<\/sup> There, his pupils included Isabella Colbran, and his vocal exercises and treatises remained influential throughout the century with proponents of bel canto. A brief sketch of his career in the Musical World calls him “the Nestor and prince of song.”3<\/sup><\/p>\n

\"Girolamo<\/a>

Girolamo Crescentini, Il Sogno. Merritt Room Mus 641.369.601<\/p><\/div><\/em><\/div>\n