(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 commossoHa di tigre in petto il cor.)
Come rosa inaridita, ecc.
The lyrics to Gaetano Donizetti's song "Chi mi frena in tal momento" are an emotional and introspective reflection on inner turmoil, remorse, and love. The song is from Donizetti's opera Lucia di Lammermoor, and the lyrics are sung by the character Edgardo at a dramatic moment in the plot when he realizes his love for Lucia but also his responsibility for her tragic circumstances.
The first stanza expresses Edgardo's confusion and pain at seeing Lucia in a state of near-death, wondering who or what is stopping him from ending his own life as well. He suspects that she is suffering from guilt and remorse, and his love for her remains strong despite this. In the second stanza, Edgardo confronts his own guilt over betraying Lucia and feeling responsible for her situation. He wants to end his own life, but is unable to shake off his remorse. The third stanza is a desperate plea for release from his pain and confusion, and a recognition of the fear and terror that have come to dominate his life.
Overall, the lyrics to "Chi mi frena in tal momento" are complex and rich with emotion, reflecting the deep psychological states that the characters in Lucia di Lammermoor experience. The song is a powerful example of Donizetti's ability to capture the inner lives of his characters and express them through music.
Line by Line Meaning
Chi mi frena in tal momento?
Who stops me at this moment?
Chi troncò dell′ira il corso?
Who stopped the course of my anger?
Il suo duolo, il suo spavento, Son la prova d'un rimorso!
Her pain and fear are evidence of remorse!
Ma, qual rosa inaridita, Ella sta fra morte e vita...
But like a withered rose, she hovers between life and death...
Io son vinto... son commosso!... T′amo ingrata, t'amo ancor!
I am defeated... I am moved!... I love you, ungrateful one, I still love you!
Chi mi frena il mio furore E la man che al brando corse?
Who stops my fury and the hand that ran to the sword?
Della misera in favore Nel mio petto un grido sorse! E' mio sangue! l′ho tradita, Ella sta fra morte e vita...
In favor of the wretched one, a cry rose in my chest! It's my blood! I betrayed her, she hovers between life and death...
Ahi! che spegnere non posso I rimorsi del mio cor.
Ah! I cannot extinguish the remorse in my heart.
Io sperai che a me la vita Tronca avesse il mio spavento... Ma la morte non m′aita... Vivo ancor per mio tormento!
I hoped that my fear would cut short my life... But death does not help me... I still live in torment!
Da' miei lumi cadde il velo, Mi tradì la terra e il cielo! Vorrei pianger, ma non posso... M′abbandona il pianto ancor!
The veil fell from my eyes, the earth and sky betrayed me! I want to cry but cannot... My tears abandon me still!
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.
What a terrible moment! I cannot form words... A dense cloud of fear seems to cover the sun's rays! Like a withered rose, she hovers between life and death... Whoever is not moved by her has a tiger's heart within.
Writer(s): Gaetano Domenico Mari Donizetti
Contributed by Skyler W. 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!
@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.
@tobyndavis4710
Perfect rendition , soo beautiful. I saw this in Zürich back in 21, brings me to tears every time.
@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!
@bakerjohn8219
I saw this at The Met, on 3 different occasions and each and every time, Desay brought the house down. She not only can sing the part but her acting is unrivaled. Her movements and subtleties could be felt from the back of the house. She's extradoniary and I encourage anyone to see her live. It's well worth your time.