(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)
Lucia di Lammermoor: Chi mi frena in tal momento?
Gaetano Donizetti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Chi troncò dell'ira il corso?
Il suo duolo, il suo spavento
Son la prova d'un rimorso!
Ma, qual rosa inaridita,
Ella sta fra morte e vita...
Io son vinto... son commosso!...
T'amo ingrata, t'amo ancor!)
(Chi mi frena il mio furore
E la man che al brando corse?
Della misera in favore
Nel mio petto un grido sorse!
E' mio sangue! l'ho tradita,
Ella sta fra morte e vita...
Ahi! che spegnere non posso
I rimorsi del mio cor.)
(Io sperai che a me la vita
Tronca avesse il mio spavento...
Ma la morte non m'aita...
Vivo ancor per mio tormento!
Da' miei lumi cadde il velo,
Mi tradì la terra e il cielo!
Vorrei pianger, ma non posso...
M'abbandona il pianto ancor!)
(Qual terribile momento!
Più formar non so parole...
Densa nube di spavento
Par che copra i rai del sole!
Come rosa inaridita
Ella sta fra morte e vita...
Chi per lei non è commosso
Ha di tigre in petto il cor.)
Come rosa inaridita, ecc.
The lyrics of Gaetano Donizetti's song "Chi mi frena in tal momento" are about the inner turmoil and regrets of two lovers who are caught up in a tragic situation. The first stanza shows one of the lovers expressing their love despite the pain and fear they feel. They wonder who could stop them at this moment and who restrained their anger. They believe that their lover's pain and fear are proof of regret over something they have done. Although they are emotionally overwhelmed and defeated, they still love their ungrateful lover.
The second stanza is sung by the other lover who is speaking of their own frustration and anguish. They reveal that they had been ready to kill themselves and their lover, but a sense of pity or sympathy for the wretched person stayed their hand. They acknowledge that they have failed the other person and they are wracked with guilt. Although they wish they could cry and release their pain, they are unable to even do that.
In the final stanza, they sing together and express their inability to find words to describe their situation. They feel engulfed in fear and a dense cloud of terrible emotions that obscure their vision. They both refer to their lover as a "rose that withers between life and death," implying that they are suffering and may not survive. They challenge anyone who is not moved by their plight, saying that such a person has a heart of stone.
Overall, Donizetti's lyrics describe the depth and complexity of the lovers' emotions as they struggle to come to terms with their unfortunate bond. They show how love can bring about intense pain and regret, while also remaining powerful and persistent.
Line by Line Meaning
Chi mi frena in tal momento?
Who can stop me at this moment?
Chi troncò dell'ira il corso?
Who could have stopped my anger?
Il suo duolo, il suo spavento
Her pain and her fear
son la prova d'un rimorso!
are proof of her remorse!
Ma, qual rosa inaridita,
But, like a withered rose,
ella sta fra morte e vita...
she is between life and death ...
Io son vinto... son commosso!...
I am defeated ... I am moved! ...
T'amo ingrata, t'amo ancor!
I love you ungrateful, I still love you!
Chi mi frena il mio furore
Who can stop my fury?
e la man che al brando corse?
and the hand that grabbed the sword?
Della misera in favore
For the sake of the miserable one
nel mio petto un grido sorse!
a cry rose in my chest!
E' mio sangue! l'ho tradita,
It's my blood! I betrayed her,
ella sta fra morte e vita...
she is between life and death ...
Ahi! che spegnere non posso
Alas! I cannot extinguish
i rimorsi del mio cor.
the remorse of my heart.
Io sperai che a me la vita
I hoped that life would end for me
tronca avesse il mio spavento...
to cut off my fear ...
Ma la morte non m'aita...
But death doesn't help me ...
Vivo ancor per mio tormento!
I still live for my torment!
Da' miei lumi cadde il velo,
The veil fell from my eyes,
mi tradì la terra e il cielo!
the earth and the sky betrayed me!
Vorrei pianger, ma non posso...
I would like to cry, but I can't ...
M'abbandona il pianto ancor!
The tears still abandon me!
Qual terribile momento!
What a terrible moment!
Più formar non so parole...
I can't form words anymore ...
Densa nube di spavento
A dense cloud of fear
par che copra i rai del sole!
seems to cover the rays of the sun!
Come rosa inaridita
Like a withered rose
ella sta fra morte e vita...
she is between life and death ...
Chi per lei non è commosso
Whoever is not moved by her
ha di tigre in petto il cor.
has a heart of a tiger.
Writer(s): Gaetano Domenico Mari Donizetti
Contributed by Sydney K. Suggest a correction in the comments below.
@fernandocordeiro7656
EDGARDO
Chi mi frena in tal momento? ...
Chi troncò dell' ira il corso?
Il suo duolo, il suo spavento
So la prova d'un rimorso!
Ma, qual rosa inaridita,
Ella sta fra morte e vita!
Io son vinto ... son commosso ...
T' amo, ingrata, t' amo ancor!
@LaPenserosa1
The first man who enters is Edgardo, he's in love with Lucia (the one
who faints at the end). The man who resembles Snape is her brother and
is forcing her to marry the young man she's sitting next to. Edgardo
begins by singing, 'who restrains me at such a moment?' Basically he's
arrived to find the woman he loves and intends to marry, married to
someone else. He thinks Lucia is willing but she isn't so their
individual melodies and lyrics reflect that. Lucia is lamenting her
marriage and wishing to die. Edgardo is angry and betrayed, wondering
why she would do this to him. The brother is singing about his
fulfillment at seeing the marriage he arranged come to pass. It ends
with Edgardo confronting the brother and Lucia and Lucia succumbing to
her sorrow. I wont tell you what happens in the next act but the ink is
some foreshadowing. :D I hope you get a chance to see the full opera
some time - it's amazing! It's too bad this cast isn't on DVD because
their the ones that did the Met simulcast a few years back and it was
brilliant! Cheers!
@noelpatrick9465
Sheer perfection. The balance between tenor, baritone & soprano is fantastic. Calleja, Tesier and Dessay all excelling individually and together, will not be surpassed for a long time.
@jordanjames3937
I thought the same thing... How hard to Balance 6 Voices with what I like to call "Donizetti's Drunken Orchestra", and pull of the stage blocking.... utter perfection...
@draganatanasov2503
I don't know what you're talking about. Calleja is a voice completely devoid of any actual voice. The guy sings into the falsetto passage most of the time, and has no substance. I don't know how opera got to this. In the golden age of opera most of these singers would have cut the tickets.
@MLewis6270
Interesting. I was a huge fan of Dessay, and am a huge fan of Calleja. So I really liked this performance. But, a number of commenters seem to dislike the staging of the photograph. Apparently, they prefer the older style of having the singer stand and sing to the audience without the stage business in this performance. I am a long time opera fan, back into the time before appearance and acting was so important. Then just the voice was the thing. I prefer a good or great voice paired with good acting (and appearance if possible). Makes for a total theatrical/musical experience. I can listen to recordings of singers if I just want the voice. The staging of the photograph gives an opportunity to portray the additional context to Lucia's unhappiness and the awkwardness of the whole marriage. I think that adds to the poignancy of the music and lyrics. Just my opinion for what its worth. Bravo.
@ceesmulder5723
Beautifully sung. All voices can be heard.
In addition, I love the photographer “building” the scene…
@robertevans8010
Microphones
@ballyhigh11
I've heard this very oft repeated rumour about the Met. Is there any actual proof that this practice happens there? I know it's a gargantuan hall, but then so is Teatro Colon in Buenos Aires and it regularly merits the top ten theatres in the world for acoustic performance.
@draganatanasov2503
All voices can be heard? You listen to what happens when some of the other singers start singing forte, whether you can hear Joseph at all.
@e.conboy4286
@@draganatanasov2503: Yes I hear him!
@kid926
bellissimo sestetto e coro cantato bene e grandissimo DONIZETTI .