Verdi’s Rigoletto, with its story of seduction and deception at the court of the Duke of Mantua, culminating in a murder attempt that goes horribly wrong, was most famous for the Duke’s philandering song, La donna è mobile. In his
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The Art of the Virtuoso: Vieuxtemps’ Variations on a Theme from Beethoven’s Romance No. 1 in G Major
Henry (Henri) Vieuxtemps (1820-1881), from Belgium, was one of the top violinists of his time. In the mid–19th century, the Franco-Belgian violin school set the standard for the world and Vieuxtemps was one of the leaders. His father was a
Brazil, like many countries in the 19th century, saw the rise of a well-to-do middle class that then needed entertainment. In the field of classical music, the Imperial Conservatory was founded in Rio de Janeiro in 1848 and the Academy
Giacomo Meyerbeer (1791-1864), born the year Mozart died, found his own musical art in his youth. His first production, a ballet, was staged when he was 19 and still a student. After studying in Germany, Meyerbeer went to Italy, where
The now-forgotten genre of ‘fantasy of operatic themes’ was very important in the 19th century – it served a double duty of preserving the important melodies from favourite operas and also, in the century of the virtuoso, was a showcase
Juan Crisóstomo de Arriaga (1806-1826) received the nickname of ‘The Spanish Mozart’ after his early death because, like his namesake, he was a child prodigy at both the keyboard and in composition. He was born on what would have been
French composer Félicien César David (1810-1876) composed his symphonic ode, Le Désert, in 1844, setting the poetry by August Colin. This work for speaker, tenor soloists, male chorus and orchestra was the perfect piece for the new Orientalists. As Victor
Joseph Boulogne, Chevalier de Saint-Georges (1745-1799) was not only a virtuoso violinist, a classical composer, a conductor of the leading orchestra in Paris but also was a champion fencer. When we listen to his music, we can hear exactly how