(29 November 1797 – 8 April 1848) was … Read Full Bio ↴Domenico Gaetano Maria Donizetti
(29 November 1797 – 8 April 1848) was a famous Italian opera composer. His most famous work is Lucia di Lammermoor (1835). Along with Vincenzo Bellini and Gioacchino Rossini, he was a leading composer of bel canto opera.
Donizetti composed about 75 operas, 16 symphonies, 19 string quartets, 193 songs, 45 duets, 3 oratorios, 28 cantatas, instrumental concertos, sonatas, and other chamber pieces.
He was born in Bergamo into a very poor family with no tradition of music, but in 1806 he was one of the first pupils to be enrolled in a charity school at Bergamo founded by Simon Mayr.
Donizetti is best known for his operatic works, but he also wrote music in a number of other forms, including some church music, a number of string quartets, and some orchestral works.
He is also the younger brother of Giuseppe Donizetti, who had become, in 1828, Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808-1839).
Donizetti's vocal style enriched the Bel Canto tradition which Rossini and Bellini had made popular. These three composers are generally accepted as the primary exemplars of early 19th century Bel Canto writing.
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Operas
* Il Pigmalione (1816; 13.10.1960 Teatro Donizetti, Bergamo)
* Enrico di Borgogna (14.11.1818 Teatro San Luca, Venice)
* Una follia (17.12.1818 Teatro San Luca, Venice) (lost)
* Le nozze in villa (1821? Teatro Vecchio, Mantua)
* Il falegname di Livonia, ossia Pietro il grande (26.12.1819 Teatro San Samuele, Venice)
* Zoraïda di Granata (28.1.1822 Teatro Argentino, Rome)
* La zingara (12.5.1822 Teatro Nuovo, Naples)
* La lettera anonima (29.6.1822 Teatro del Fondo, Naples)
* Chiara e Serafina, ossia I pirati (26.10.1822 Teatro alla Scala Milan)
* Alfredo il grande (2.7.1823 Teatro San Carlo, Naples)
* Il fortunato inganno (3.9.1823 Teatro Nuovo, Naples)
* Zoraïda di Granata [rev] (7.1.1824 Teatro Argentino, Rome)
* L'ajo nell'imbarazzo (4.2.1824 Teatro Valle, Rome)
* Emilia di Liverpool (28.7.1824 Teatro Nuovo, Naples) (L'eremitaggio di Liverpool)
* Alahor in Granata (7.1.1826 Teatro Carolino, Palermo)
* Don Gregorio [rev of L'ajo nell'imbarazzo] (11.6.1826 Teatro Nuovo, Naples)
* Elvida (6.7.1826 Teatro San Carlo, Naples)
* Gabriella di Vergy (1826; 29.11.1869 Teatro San Carlo, Naples) (Gabriella)
Gaetano Donizetti
* Olivo e Pasquale (7.1.1827 Teatro Valle, Rome)
* Olivo e Pasquale [rev] (1.9.1827 Teatro Nuovo, Naples)
* Otto mesi in due ore (13.5.1827 Teatro Nuovo, Naples) (Gli esiliati in Siberia)
* Il borgomastro di Saardam (19.8.1827 Teatro del Fondo, Naples)
* Le convenienze teatrali (21.11.1827 Teatro Nuovo, Naples)
* L'esule di Roma, ossia Il proscritto (1.1.1828 Teatro San Carlo, Naples)
* Emilia di Liverpool [rev] (8.3.1828 Teatro Nuovo, Naples)
* Alina, regina di Golconda (12.5.1828 Teatro Carlo Felice, Genoa)
* Gianni di Calais (2.8.1828 Teatro del Fondo, Naples)
* Il paria (12.1.1829 Teatro San Carlo, Naples)
* Il giovedi grasso (26.2.1829? Teatro del Fondo, Naples) (Il nuovo Pourceaugnac)
* Il castello di Kenilworth (6.7.1829 Teatro San Carlo, Naples)
* Alina, regina di Golconda [rev] (10.10.1829 Teatro Valle, Rome)
* I pazzi per progetto (6.2.1830 Teatro San Carlo, Naples)
* Il diluvio universale (28.2.1830 Teatro San Carlo, Naples)
Gaetano Donizetti
* Imelda de Lambertazzi (5.9.1830 Teatro San Carlo, Naples)
* Anna Bolena (26.12.1830 Teatro Carcano, Milan)
* Le convenienze ed inconvenienze teatrali [rev of Le convenienze teatrali] (20.4.1831 Teatro Canobbiana, Milan)
* Gianni di Parigi (1831; 10.9.1839 Teatro alla Scala Milan)
* Francesca di Foix (30.5.1831 Teatro San Carlo, Naples)
* La romanziera e l'uomo nero (18.6.1831 Teatro del Fondo, Naples) (libretto lost)
* Fausta (12.1.1832 Teatro San Carlo, Naples)
* Ugo, conte di Parigi (13.3.1832 Teatro alla Scala Milan)
* L'elisir d'amore (12.5.1832 Teatro Canobbiana, Milan)
* Sancia di Castiglia (4.11.1832 Teatro San Carlo, Naples)
* Il furioso all'isola di San Domingo (2.1.1833 Teatro Valle, Rome)
* Otto mesi in due ore [rev] (1833, Livorno)
* Parisina (17.3.1833 Teatro della Pergola, Florence)
* Torquato Tasso (9.9.1833 Teatro Valle, Rome)
* Lucrezia Borgia (26.12.1833 Teatro alla Scala Milan)
* Il diluvio universale [rev] (17.1.1834 Teatro Carlo Felice, Genoa)
* Rosmonda d'Inghilterra (27.2.1834 Teatro della Pergola, Florence)
* Maria Stuarda [rev] (18.10.1834 Teatro San Carlo, Naples) (Buondelmonte)
* Gemma di Vergy (26.10.1834 Teatro alla Scala Milan)
* Maria Stuarda (30.12.1835 Teatro alla Scala Milan)
* Marin Faliero (12.3.1835 Théâtre-Italien, Paris)
* Lucia di Lammermoor (26.9.1835 Teatro San Carlo, Naples)
* Belisario (4.2.1836 Teatro La Fenice, Venice)
* Il campanello di notte (1.6.1836 Teatro Nuovo, Naples)
* Betly, o La capanna svizzera (21.8.1836 Teatro Nuovo, Naples)
* L'assedio di Calais (19.11.1836 Teatro San Carlo, Naples)
* Pia de' Tolomei (18.2.1837 Teatro Apollo, Venice)
* Pia de' Tolomei [rev] (31.7.1837, Sinigaglia)
* Betly [rev] ((?) 29.9.1837 Teatro del Fondo, Naples)
* Roberto Devereux (28.10.1837 Teatro San Carlo, Naples)
* Maria de Rudenz (30.1.1838 Teatro La Fenice, Venice)
* Gabriella di Vergy [rev] (1838; 8.1978 recording, London)
* Poliuto (1838; 30.11.1848 Teatro San Carlo, Naples)
* Pia de' Tolomei [rev 2] (30.9.1838 Teatro San Carlo, Naples)
* Lucie de Lammermoor [rev of Lucia di Lammermoor] (6.8.1839 Théâtre de la Rennaisance, Paris)
* Le duc d'Albe (1839; 22.3.1882 Teatro Apollo, Rome) (Il duca d'Alba)
* Lucrezia Borgia [rev] (11.1.1840 Teatro alla Scala Milan)
* Poliuto [rev] (10.4.1840 Opéra, Paris) (Les martyrs)
* La fille du régiment (11.2.1840 Opéra-Comique, Paris)
* L'ange de Nisida (1839; ?)
* Lucrezia Borgia [rev 2] (31.10.1840 Théâtre-Italien, Paris)
* La favorite [rev of L'ange de Nisida] (2.12.1840 Opéra, Paris)
* Adelia (11.2.1841 Teatro Apollo, Rome)
* Rita, ou Le mari battu (1841; 7.5.1860 Opéra-Comique, Paris) (Deux hommes et une femme)
* Maria Padilla (26.12.1841 Teatro alla Scala Milan)
* Linda di Chamounix (19.5.1842 Kärntnertortheater, Vienna)
* Linda di Chamounix [rev] (17.11.1842 Théâtre-Italien, Paris)
* Caterina Cornaro (18.1.1844 Teatro San Carlo, Naples)
* Don Pasquale (3.1.1843 Théâtre-Italien, Paris)
* Maria di Rohan (5.6.1843 Kärntnertortheater, Vienna)
* Dom Sébastien (13.11.1843 Opéra, Paris)
* Dom Sébastien [rev] (6.2.1845 Kärntnertortheater, Vienna)
Lágrima
Gaetano Donizetti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Negli occhi suoi spuntò
Quelle festose giovani
Invidiar sembrò
Che più cercando io vò?
Che più cercando io vò?
M'ama! Sì m'ama, lo vedo, lo vedo
Un solo instante i palpitiDel suo bel cor sentir
I miei sospir, confondere
Pe-per poco a' suoi sospir
I palpiti, i palpiti sentir
Confondere i miei co' suoi sospir
Cielo, si può morir
Di più non chiedo, non chiedo
Ah! Cielo, si può, si può morir
Di più non chiedo
Non chiedo
Si può morire
Si può morir d'amor
The lyrics to Gaetano Donizetti's song "Una Furtiva Lagrima" convey the overwhelming emotions of love and longing experienced by the singer. The opening lines describe a "furtive tear" that appears in the eyes of the beloved, which seems to arouse jealousy in others who witness this tender display of emotion. The singer expresses a sense of wonder and disbelief at the realization that their beloved may actually reciprocate their feelings.
The following verses reveal the singer's certainty that the beloved loves them back, as they can see it in their eyes and feel the palpitations of their heart in a single moment. This moment of connection becomes a source of intense joy and confusion for the singer, as they describe how their sighs blend with those of the beloved, and their heartbeats merge in a shared experience of love. The singer is consumed by this overwhelming connection and asks if it is possible to die from such intense feelings of love.
The lyrics continue to express the depth of the singer's emotions as they declare that they do not ask for more than what they are currently experiencing. The singer is so overcome with love and contentment that they feel they could die in that moment and not desire anything more. The repetition of the phrase "non chiedo" (I do not ask) emphasizes the singer's satisfaction and fulfillment in the present moment, as they feel that they have everything they could possibly want or need in the love they share with their beloved.
In the final lines of the song, the singer reflects on the profound power of love and the idea that one could indeed die from the overwhelming intensity of their feelings. The repetition of "Si può morir d'amor" (One can die of love) underscores the all-encompassing nature of the singer's emotions and the depth of their connection to their beloved. Through the emotional journey depicted in the lyrics of "Una Furtiva Lagrima," we witness the singer's discovery of reciprocated love, the overwhelming joy it brings, and the sense of complete contentment and fulfillment that comes from experiencing a deep and transformative connection with another person.
Line by Line Meaning
Una furtiva lagrima
A hidden tear
Negli occhi suoi spuntò
In her eyes, it appeared
Quelle festose giovani
Those youthful maidens
Invidiar sembrò
They seemed to envy
Che più cercando io vò?
What more am I seeking?
M'ama! Sì m'ama, lo vedo, lo vedo
She loves me! Yes, she loves me, I see it, I see it
Un solo instante i palpiti
Just one moment the pulsations
Del suo bel cor sentir
To feel from her beautiful heart
I miei sospir, confondere
My sighs to mingle
Pe-per poco a' suoi sospir
Almost like her sighs
I palpiti, i palpiti sentir
The pulsations, to feel them
Confondere i miei co' suoi sospir
Mix my sighs with hers
Cielo, si può morir
Heaven, can one die
Di più non chiedo, non chiedo
I ask for no more, I ask for no more
Ah! Cielo, si può, si può morir
Ah! Heaven, one can, one can die
Di più non chiedo
I ask for no more
Non chiedo
I do not ask
Si può morire
One can die
Si può morir d'amor
One can die of love
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@harpiadelbosque
[Gaetano Donizetti - Una furtiva lagrima]
Una furtiva lagrima
Negli occhi suoi spuntò
Quelle festose giovani
Invidiar sembrò
Che più cercando io vò?
Che più cercando io vò?
M'ama! Sì m'ama, lo vedo, lo vedo
Un solo instante i palpiti
Del suo bel cor sentir
I miei sospir, confondere
Pe-per poco a' suoi sospir
I palpiti, i palpiti sentir
Confondere i miei co' suoi sospir
Cielo, si può morir
Di più non chiedo, non chiedo
Ah! Cielo, si può, si può morir
Di più non chiedo
Non chiedo
Si può morire
Si può morir d'amor
........
Una lágrima furtiva
surgió de sus ojos
parecía envidiar
a aquellos alegres jovencitos.
¿Qué más puedo pedir?
¿Qué más puedo pedir?
¡Él me ama! Sí, él me ama, lo veo, lo veo.
¡Sentir sólo un instante el latido
de su hermoso corazón!
Mis suspiros se confunden
por un ratito ante sus suspiros.
Los latidos del corazón, los latidos del corazón sentir.
Confunden los míos con sus suspiros.
Cielos, ¡Ya puedo morir!
No pido más,
No pido más.
Cielos, ¡Ya puedo morir! ¡Ya puedo morir!
No pido más,
No pido más.
Ya puedo morir… morir de amor.
@claudiuvartolomei3900
Domenico Gaetano Maria Donizetti a fost un compozitor italian de muzică cultă și, mai ales, de operă din Bergamo, regiunea Lombardia. Wikipedia
Născut: 29 noiembrie 1797, Bergamo, Italia
Decedat: 8 aprilie 1848, Bergamo, Italia
Nume complet: Gaetano Domenico Maria Donizetti
Soție: Virginia Vasselli (căs. 1828–1837)
Părinți: Andrea Donizetti, Domenica Nava
Compoziții
Fiica regimentului
Elixirul dragostei (Una furtiva lagrima)
Don Pasquale
@DevinGarcia-y9z
Beautiful just beautiful classical music
@ILLBEBACH2
This is Love. There would be no life without music such as this aria. Bravo!
@ephori8142
If you're listening to this in 2022, you've got good taste in music!
@alejandroleon7408
And it is 2024
@StarshineInTHEnorth
@@alejandroleon7408An exquisite piece~that I keep turning to as the years pass🪶
@MacVader311
2025 still present!
@denisalarie914
In French, Simoneau and his wife, soprano Pierrette Alarie, were sometimes called Monsieur et Madame Mozart, Mr and Ms Mozart Stylists. Simoneau also excelled in other styles of music. This is a very good example from 1959.
@quequitoAR
Simoneau gives the right dignifying expression to this aria. Intimate and noble. Wonderful.
@artkill79
Wooooooonderfull😌🍀
@Suswaleh
this is the perfect voice for this aria