Content deleted Content added
→La sonnambula: Milan, March 1831: caption |
comma |
||
(21 intermediate revisions by 12 users not shown) | |||
Line 1:
{{short description|Italian opera composer (1801–1835)}}
{{Use dmy dates|date=July 2023}}
{{Use British English|date=December 2021}}
[[File:
'''Vincenzo Salvatore Carmelo Francesco Bellini''' ({{IPA-it|vinˈtʃɛntso salvaˈtoːre karˈmɛːlo franˈtʃesko belˈliːni|lang|It-Vincenzo Bellini.ogg}}; 3 November 1801 – 23 September 1835) was an Italian [[opera]] composer,<ref>The Editors of Encyclopædia Britannica, [https://www.britannica.com/biography/Vincenzo-Bellini "Vincenzo Bellini, Italian Composer"], ''Encyclopædia Britannica'', 15 January 2018.</ref><ref name=L&M1>{{harvnb|Lippmann|McGuire|1998|p=389}}</ref> who was known for his long-flowing melodic lines for which he was named "the Swan of [[Catania]]".<ref>Giovanni (no surname provided) to "Uncle Ignazio" ("identified as Ignazio Giuffrida-Moschetti, Catanese friend of Bellini" in Weinstock), 18 January 1832, quoted in {{harvnb|Weinstock|1971|pp=109–110}}: the actual original wording was "the Swan of Sicily, or to phrase it better, of Catania".</ref> Many years later, in 1898, [[Giuseppe Verdi]] "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before'."<ref>Verdi to Camille Belaigue, 2 May 1898, {{harvnb|Lippmann|McGuire|1998|p=392}}</ref>
A large amount of what is known about Bellini's life and activity comes from surviving letters
Bellini was the quintessential composer of the Italian ''[[bel canto]]'' era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as:
Line 13 ⟶ 12:
In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, ''[[Il pirata]]'' laid much of the groundwork in 1827, achieving very early recognition in comparison to [[Gaetano Donizetti|Donizetti]]'s having written thirty operas before his major 1830 triumph with ''[[Anna Bolena]]''. Both ''[[I Capuleti e i Montecchi]]'' at [[La Fenice]] in 1830 and ''[[La sonnambula]]'' in Milan in 1831 reached new triumphal heights, although initially ''[[Norma (opera)|Norma]]'', given at [[La Scala]] in 1831 did not fare as well until later performances elsewhere. "The genuine triumph"{{sfn|Lippmann|McGuire|1998|pp=389–390}} of ''[[I puritani]]'' in January 1835 in Paris capped a significant career. Certainly, ''Il pirata'', ''Capuleti'', ''La sonnambula'', ''Norma'', and ''I puritani'' are regularly performed today.<ref>[http://operabase.com/oplist.cgi?id=none&lang=en&is=&by=Bellini&loc=&stype=abs&sd=1&sm=1&sy=2012&etype=abs&ed=&em=&ey= List of "671 performances of 146 productions in 95 cities"] on [[Operabase]], from 1 January 2012 into 2015 on operabase.com. Retrieved 24 June 2014</ref>
After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, ''[[I puritani]]''. Only nine months later, Bellini died in [[Puteaux]], France, at the age of 33.
==Catania: early life==
Line 46 ⟶ 45:
Increasingly, Bellini did better and better in his studies: in January 1820 he passed his examinations in theory, and was successful enough to gain an annual scholarship, which meant that his stipend from Catania could be used to help his family.<ref name=WEIN-ED>{{harvnb|Weinstock|1971|pp=14–23}}</ref> In the following January he was equally successful and, to fulfill his obligations to write music for Catania – a condition of his scholarship – he sent a ''Messa di Gloria'' in A Minor for soloists, choir and orchestra, which was performed the following October.
Besides this melodious work, his output from these study years in Naples included two other settings of the Mass: a full Ordinary in E Minor and a second full Ordinary in G Minor, both of which probably date from 1823. There are two settings of the ''[[Salve Regina]]'' (one in A Major for
Bellini's involvement in Zingarelli's class took place over the 1822/23 school year. By January 1824, after passing examinations in which he did well, he attained the title ''primo maestrino'', requiring him to tutor younger students and allowing him a room of his own in the ''collegio'' and visits to the [[Teatro di San Carlo]] on Thursdays and Sundays,<ref name=WEIN-ED/> where he saw his first opera by Rossini, ''[[Semiramide]]''. While Weinstock gives an account of how he was "clearly captivated by the music of Rossini [and] put Rossini on a pedestal", he relates that, returning from ''Semiramide'' Bellini was unusually quiet and then "suddenly exclaimed to his companions, 'Do you know what I think? After ''Semiramide'', it's futile for us to try and achieve anything!'"{{sfn|Weinstock|1971|p=35}}
Line 59 ⟶ 58:
==Beginnings of a career==
[[File:Carlo De Falco - Ritratto di Francesco I.jpg|thumb|King [[Francis I of the Two Sicilies|Francesco I]], who gave his personal approval to Bellini's ''[[Bianca e Gernando]]'']]
Following the presentation of ''Adelson e Salvini'' and while he was in Milan, Bellini—requesting help from Florimo—began to make some revisions,
In the summer or early autumn of 1825 Bellini began work on what was to become his first professionally produced opera. A contract between the Conservatory and the royal theatres obliged the Conservatory—when it nominated a sufficiently talented student—to require that student to write a cantata or one-act opera to be presented on a gala evening in one of the theatres.<ref name=WEIN30>{{harvnb|Weinstock|1971|pp=30–31}}</ref> After Zingarelli used his influence to secure this honour for his promising student, Bellini was able to obtain agreement that he could write a full-length opera and, furthermore, that the libretto did not have to be written by Tottola, the theatres' official dramatic poet. However, as Intendant of the San Carlo, "Barbaja was the chief beneficiary: 'With a small investment he found among those young men the one who would lead him to large profits'" notes Florimo.<ref>Florimo 1882, ''Bellini: Memorie e lettere'', in {{harvnb|Eisenbeiss|2013|p=155}}</ref>
Line 79 ⟶ 78:
Upon his arrival, he met Antonio Villa of La Scala and composer [[Saverio Mercadante]] whose new opera, ''Il Montanaro'' was in rehearsal. The latter introduced him to [[Francesco Pollini|Francesco]] and Marianna Pollini (an older couple, the husband a retired professor of piano, the wife a better-than-amateur musician) who immediately took the young man under their wing.
In addition, Bellini was introduced to the librettist [[Felice Romani]], who proposed the subject of the
While in Milan, "[Bellini] quickly gained an entrée into higher social circles",<ref name=L&M389>{{harvnb|Lippmann|McGuire|1998|p=389}}</ref> although he also stayed for months at a time with friends, the Cantù and the Turina families. It was with Giuditta Turina that he began an affair in 1828 during the premiere performances of ''Bianca e Fernando'' in Genoa.
Line 139 ⟶ 138:
With rehearsals for ''Pirata'' underway in late December, Bellini was given notice by the La Fenice impresario, Alessandro Lanari, that it was doubtful whether Pacini would be present in time to stage an opera and that a contract was to be prepared with the proviso that it would only become effective on 14 January. Accepting the offer 5 January, Bellini stated that he would set Romani's libretto for ''Giulietta Capellio'', that he required 45 days between receipt of the libretto and the first performance, and that he would accept 325 napoleoni d'oro (about 8,000 lire).<ref>Bellini to Lanari, 5 January 1830, in {{harvnb|Weinstock|1971|p=83}}: Weinstock notes that Romani had used "Capellio" as Juliet's last name in the libretto.</ref>
The tentative contract deadline was extended until 20 January, but by that date Romani was in Venice, having already re-worked much of his earlier libretto which he had written for [[Nicola Vaccai]]'s 1825 opera, ''[[Giulietta e Romeo (Vaccai)|Giulietta e Romeo]]'', the source for which was the play of the same name by [[Luigi Scevola]] which had been written in 1818. The two men set to work, but with the winter weather in Venice becoming increasingly bad, Bellini fell ill; however, he had to continue to work under great pressure within a now-limited timetable. Eventually, revisions to Romani's libretto were agreed to, a new title was given to the work, and Bellini reviewed his score of ''Zaira'' to see how some of the music could be set to the new text, but composing the part of Romeo for Grisi. He also took
At the premiere of ''[[I Capuleti e i Montecchi]]'' on 11 March 1830 success for Bellini returned. Weinstock describes the premiere as "an unclouded and immediate success"<ref name=WEIN85/> but it was only able to be performed eight times before the La Fenice season closed on 21 March.<ref name=WEIN85>{{harvnb|Weinstock|1971|p=85}}</ref> A local newspaper, ''I Teatri'', reported that "all things considered, this opera by Bellini has aroused as much enthusiasm in Venice as ''La straniera'' aroused in Milan from the first evening on".<ref>{{harvnb|Cambi|1943}} in {{harvnb|Weinstock|1971|p=85}}</ref>
Line 147 ⟶ 146:
Before leaving Venice, Bellini was offered a contract to produce another new opera for La Fenice for the 1830–31 Carnival season, and—upon his return to Milan after a reunion with Turina—he also found an offer from Genoa for a new opera but proposed for the same time period, an offer he was forced to reject.
Later that year, Bellini prepared a version of ''Capuleti'' for La Scala which was given on 26 December, lowering
===''La sonnambula'': Milan, March 1831===
[[File:
Returning to Milan after the ''Capuleti'' performances, little occurred until the latter part of April when changes began to appear in the management of La Scala. The organisation, "Crivelli and Company" which had managed both that house as well as La Fenice, was negotiating with a triumvirate consisting of Count [[Pompeo Litta Biumi|Pompeo Litta]] and two businessmen, their immediate concern being the engagement of singers and composers for La Scala. In order to contract with Bellini, he had to be released from his obligation to Venice; this was achieved by Litta buying out the Venice contract. When Bellini laid out his terms for writing for Milan, Litta gave him a very favourable response: "I shall earn almost twice as much as if I had composed for Crivelli [then the Venetian impresario]" he noted in a letter to his uncle.<ref>Bellini to Vincenzo Ferlito, April 1830, in {{harvnb|Weinstock|1971|pp=87–88}}</ref>
Line 181 ⟶ 180:
<blockquote>Pasta and Rubini sang with the most evident enthusiasm to support their favourite conductor [''sic'']; the second act the singers themselves wept and carried the audience along with them.<ref>Glinka, ''Memoires'', in {{harvnb|Weinstock|1971|p=97}}</ref></blockquote>
After its premiere, the opera was performed in London on 28 July 1831 at the [[Her Majesty's Theatre|
During Bellini's lifetime another ''sfogato'', [[Maria Malibran]], was to become a notable exponent of the role.
Line 222 ⟶ 221:
Upon his arrival, Bellini wrote to his new friend Santocanale in Palermo, telling him that he would be accepting a contract from La Fenice<ref>Bellini to Santocanale, 28 April 1832, in {{harvnb|Weinstock|1971|p=118}}</ref> so the issue had resurfaced in the form of a contract from Lanari which appeared to have accepted the composer's terms. But he had forgotten how much he had demanded: writing to Giuditta Pasta's husband, Giuseppe, he asked for the letter he had written to him (in which he had revealed the terms offered) to be sent to him to await his arrival in Florence.<ref>Bellini to Giuseppe Pasta, 28 April 1828, in {{harvnb|Weinstock|1971|p=118}}</ref>
[[File:Teatro della Pergola.JPG|thumb|right|Foyer of the Teatro della Pergola, after redecoration in the 1850s]]
When returning to Naples, the couple reached Rome on 30 April. There is speculation that, when there, Bellini composed a one-act opera, ''Il fu ed
Within a few days, Bellini was in Milan, from there writing to his friend Santocanale in Palermo that "I'm ... trying to find a good subject for my new opera for Venice. In August, I shall go to Bergamo for the production of my ''Norma'' with Pasta."<ref name=NORM-BOL>Bellini to Santocanale, 1 July 1832, {{harvnb|Galatopoulos|2002|pp=256–257}}</ref> From Bergamo, he wrote to Romani, excited to tell him that:
Line 234 ⟶ 233:
''[[Beatrice di Tenda]]'', with the leading role requiring a strong female character to be written for Pasta, composer and librettist met to consider a subject. Much of the initial work fell upon Romani, who had to look at a number of possible sources, and he became irritated by the task, finally hoping that a shipment of books from Paris would reveal a suitable one. It appears that by 6 October, a subject had been agreed upon: it would be ''Cristina regina di Svenzia'' from a play by [[Alexandre Dumas]] which had appeared in Paris in 1830. However, by one month later, Bellini was writing to Pasta to state that: "The subject has been changed, and we'll write ''Beatrice di Tenda'' [after the play of the same name by Carlo Tedaldi-Fores.] I had a hard time persuading Romani, but persuade him I did, and with good reasons. Knowing that the subject pleases you, as you told me the evening when you saw the ballet [in September 1832 in Milan when it accompanied a Mercadante opera] ... He is a man of good will, and I want him to show it also in wanting to prepare at least the first act for me swiftly."<ref>Bellini to Pasta, 3 November 1832, in {{harvnb|Weinstock|1971|p=125}}</ref>
Bellini's expectation that Romani's good will would be demonstrated promptly, turned out to be a mistake. The librettist had vastly over-committed himself: by the time that ''Cristina'' became ''Beatrice'', he had made commitments to Mercadante for an October opera; also to [[Carlo Coccia]] for an opera for La Scala on 14 February 1833; and further, to Luigi Majocchi for a Parma production on 26 February; to Mercadante for La Scala on 10 March; and to Donizetti for Florence on 17 March.{{sfn|Weinstock|1971|pp=125–126}} Nothing happened in November; Bellini announced that he would arrive in Venice in early December and after 10th, he became preoccupied with rehearsals for ''Norma''. However, the lack of any verses—for an opera which was supposed to be staged in the second half of February—caused him to have to take action against Romani. This involved a complaint lodged with the governor of Venice who then contacted the governor of Milan, who then had his police contact Romani. The librettist finally arrived in Venice on 1 January 1833. He holed up to write Bellini's libretto, but, at the same time, Donizetti was equally incensed at delays in receiving a libretto from Romani for an opera which was to be ''[[Parisina (Donizetti)|Parisina]]''.
When ''Norma'' opened on 26 December, it was a success but only because of Pasta. The Adalgisa of Anna Del Serre and the Pollione of Alberico Curioni were mediocre; Bellini feared for how ''Beatrice'' would turn out. Writing to Santocanale on 12 January, Bellini was in despair, complaining of the short time to write his opera because "Whose fault is that? that of my usual and original poet, the God of Sloth!"<ref>Bellini to Santocanale, 12 January 1833, in {{harvnb|Weinstock|1971|p=128}}</ref> Their relationship quickly began to deteriorate: greetings including ''tu'' (the informal "you") gave way to ''voi'' (the formal "you") and they lived in different parts of Venice. However, by 14 February, Bellini was reporting that he had only "another three pieces of the opera to do" and that "I hope to go onstage here on 6 March if I am able to finish the opera and prepare it."<ref>Bellini to Vincenzo Ferlito, 14 February 1833, in {{harvnb|Weinstock|1971|pp=128–129}}</ref>
Line 262 ⟶ 261:
==London: April to August 1833==
[[File:Italian Opera House, Haymarket by Thomas Hosmer Shepherd 1827-28.JPG|thumb|King's Theatre, London (aka Italian Opera House) by Thomas Hosmer Shepherd, 1827–28]]
After leaving Venice on 26 March, before the barrage of letter-writing began, it is known that Bellini spent some time with Mrs. Turina in Milan and, leaving many of his personal possessions with her, appears to have planned to return there by August since he did not give up his rooms in the contrade dei
With the Pasta and other members of the Italian troupe contracted for London by the impresario of the [[King's Theatre, London|King's Theatre]], Pierre-François Laporte, Bellini and his troupe set off. On the journey it is known that he stopped in Paris and discussed with Dr. [[Louis Véron]], the director of the [[Paris Opéra]], the possibility of writing a French opera, but his intention was to focus on that subject on his return in the coming July.
Line 285 ⟶ 284:
On a professional level, Bellini became very concerned around the middle of April 1834, when he learned that Donizetti would be composing for the Théâtre-Italien during the same season, 1834–35. According to Weinstock, quoting letters sent to Florimo in Italy at around that time (and continuing almost up to the premiere of ''I puritani''), Bellini perceived this to be a plot orchestrated by Rossini. In a long, rambling letter of 2,500 words to Florino of 11 March 1834, he expresses his frustrations.<ref>Bellini to Florimo, 11 March 1834, in {{harvnb|Weinstock|1971|p=163}}</ref>
But over a year later and with hindsight—after ''Puritani''{{'}}s great success which came way ahead of that of Donizetti's first work for Paris, ''[[Marin Faliero]]''—he outlines "the plot which was being hatched against me" and the strategies which he adopted to counter it. These strategies included expanding his contacts with Rossini to secure his growing friendship by continuing to see him on numerous occasions to seek his advice, noting "I have always adored Rossini, and I succeeded, and happily ... [having] tamed Rossini's hatred, I no longer was frightened and finished that work of mine which won me so much honour".<ref>Bellini to Vincenzo Ferlito, [day, month unknown, 1835 after ''Puritani's success''], in {{harvnb|Weinstock|1971|pp=163–164}}</ref> In a series of letters to Florimo
However, during the time during which he was composing ''Puritani'', Bellini recounted the details of another bout of what he describes as "gastric fever"<ref>Bellini to Florimo, 30 April 1834, in {{harvnb|Weinstock|1971|pp=164–165}}</ref> and which Weinstock describes as "that brief indisposition, which had been recurring almost every year at the onset of warm weather".{{sfn|Weinstock|1971|p=165}}
Line 326 ⟶ 325:
It was clear from Bellini's reaction to Heine's remarks that he did not like Heine. Attempting to reconcile the two men, Madame Joubert, who had attended the summer event, invited both to dinner, along with her friend the Princess Belgiojoso. Bellini failed to appear, instead he sent a note stating that he was too ill. Weinstock reports that the princess sent Doctor Luigi Montallegri to Puteaux. Over a few days, he reported to Carlo Severini of the Théatre-Italien with four notes, the first (on 20 September) stated "no appreciable improvement". On the following day, Montallegri reported a slight improvement, and on 22nd, the doctor stated that he "hopes to declare him out of danger tomorrow". However, the fourth note—on 22 September—is far more pessimistic; it reported that it was the thirteenth day of the illness and that Bellini had "passed a very restless night". And then, during the daytime of the 23rd, Montallegri indicated that there had been what Weinstock describes as "a terrifying convulsion" and that death was close. It appears that Bellini died at around 5 pm on 23 September 1835.<ref>Luigi Montallegri's reports to Severini; reports from other sources, including diaries written by Baron Augusto Aymé d'Aquino of the Two Sicilies' Embassy in Paris, in {{harvnb|Weinstock|1971|pp=202–204}}</ref>
[[File:Catania BW 2012-10-06 11-55-16.jpg|thumb|Bellini's tomb in the [[Catania Cathedral]] in Sicily|left]]
Immediately taking charge of arrangements, Rossini began to plan Bellini's funeral and entombment, as well as caring for his estate. He ordered that a post-mortem be performed, following an order which came directly from the King. The distinguished Court-appointed Doctor Dalmas performed the autopsy and reported his findings on the cause of death:
<blockquote>It is evident that Bellini succumbed to an acute inflammation of the colon, compounded by an abscess in the liver. The inflammation of the intestine had produced violent symptoms of dysentery during life.<ref>Dr. Dalmas' post-mortem report, supported by quotations from a report made in 1969 by Doctor Victor de Sabata, in {{harvnb|Weinstock|1971|pp=204–205}}</ref></blockquote>
Line 332 ⟶ 331:
Rossini then created a committee of Parisian musicians in order to find support for a subscription to build a monument to the dead composer, as well as supporting a funeral mass to be celebrated on 2 October in the chapel of the Hôtel des Invalides.
[[File:Annoncredamirarti.JPG|thumb|upright=1.3|Musical notation, inscribed on Bellini's tomb, from Amina's last aria in ''La sonnambula'': "Ah! non-credea mirarti / Sì presto estinto, o fiore", translated as: "I did not believe you would fade so soon, oh flower"]]
On 27 September and 3 October, Rossini wrote to Santocanale in Palermo providing very detailed accounts of all that he had done immediately following Bellini's death as well as what had taken place on 2 October.<ref>Rossini to Santocanale, letters of 27 September and 3 October 1835, in {{harvnb|Weinstock|1971|pp=206–209}}</ref> Initially, Rossini regarded burial in [[Père Lachaise Cemetery]] as a short-term arrangement, not knowing where the final resting place would turn out to be. Despite attempts over many years to have Bellini's remains transferred to Catania, that did not take place until 1876, when the casket containing his remains was taken to the cathedral in Catania and reburied.<ref name=L&M390>{{harvnb|Lippmann|McGuire|1998|p=390}}</ref> His elaborate now empty tomb in Père Lachaise Cemetery remains and is neighbouring that of Rossini's whose bones were also eventually transferred back to Italy.
Of the many tributes which poured forth following Bellini's death, one stands out. It was written by Felice Romani and published in Turin on 1 October 1835. In it, he stated:
Line 349 ⟶ 348:
===Francesco Florimo===
[[File:Francisco Florimo.jpg|thumb|A portrait of [[Francesco Florimo]] in later life]]
One of the closest people in Bellini's life was [[Francesco Florimo]], whom he met as a fellow student at the [[Naples Conservatory]]. Throughout Bellini's lifetime, the two shared a close correspondence.{{sfn|Libby|1998|p=242}} During the 1820 revolution, Bellini and Florimo joined a secret society, the Carboneria. Their closeness is evident in their letters. For example, on 12 January 1828 Bellini wrote that theirs were "hearts made only to be friends to the last breath."<ref name="auto"/> Bellini wrote in 1825 that "Your existence is necessary to mine".<ref name="auto"/> Further, on 11 February 1835, Bellini wrote: " my excellent, my honest, my angelic friend! The more we know the world, the more we shall see how rare is our friendship."<ref name="auto"/> Based on these letters, some have speculated about Bellini's [[homosexuality|sexuality]],<ref>{{cite web|url=https://www.theguardian.com/education/2001/nov/02/arts.highereducation|title=Feature: Vincenzo Bellini|author=Tim Ashley|work=[[The Guardian]]|date=2 November 2001}}</ref>{{sfn|Galatopoulos|2002}} but Weinstock (1971)
===Maddalena Fumaroli===
Line 358 ⟶ 357:
===Giuditta Turina===
[[File:Giuditta Turina-by Luigi Bianchi-c1828.jpg|thumb|Giuditta Turina]]
The one significant relationship which Bellini had after 1828 was the five-year relationship with Giuditta Turina, a young married woman with whom he began a passionate affair when both were in Genoa in April 1828 for the production of ''Bianca e Fernando''. Their relationship lasted until Bellini went to Paris.
However, in May 1833 while he was in London, a significant change in Bellini's relationship with Giuditta followed from the discovery by her husband of a compromising letter from Bellini.{{sfn|Weinstock|1971|pp=153–154}} The result was that he decided to seek a legal separation and have her removed from his house. For Bellini, it meant the possibility of taking on responsibility for her, and he had no interest in doing that, having cooled in his feelings for her.<ref>Giuditta Turina to Florimo, 4 August 1834, referencing a September 1833 letter to her from Bellini where he stated that his career is "avant tout".</ref> When he wrote to Florimo from Paris the following year, he clearly stated that "I constantly am being threatened from Milan with Giuditta's coming to Paris", at which point he says he'll leave that city if that were to happen. Then he continues: "I no longer want to be put in the position of renewing a relationship that made me suffer great troubles".<ref>Bellini to Florimo, 11 March 1834, in {{harvnb|Weinstock|1971|p=154}}</ref> When Turina announced that she was leaving her husband, Bellini left her, saying "with so many commitments, such a relationship would be fatal to me," expressing his fear of romantic attachments getting in the way of his musical career.<ref name="auto"/> Ultimately, he resisted any long-term emotional commitment, and never married.
Line 489 ⟶ 488:
* an Organ Sonata in G major
* 40 sacred works, including:
** ("Catania" No. 1) Mass in D major (1818)
** ("Catania" No. 2) Mass in G major (1818)
** ''Messa di Gloria'' in A minor for soloists, choir and orchestra (1821)
** Mass in E minor (Naples, c. 1823)
Line 550 ⟶ 549:
[[Category:Burials at Catania Cathedral]]
[[Category:Burials at Père Lachaise Cemetery]]
[[Category:
[[Category:Italian classical composers]]▼
[[Category:Italian male classical composers]]
[[Category:Italian opera composers]]
[[Category:Italian Romantic composers]]
[[Category:Musicians from Catania]]▼
[[Category:Kingdom of Sicily people]]
[[Category:Knights of the Legion of Honour]]
▲[[Category:Musicians from Catania]]
|