Name Ermanno Wolf-Ferrari | Role Composer | |
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Died January 21, 1948, Venice, Italy Librettists Enrico Golisciani, Luigi Sugana, Giovacchino Forzano Compositions Il segreto di Susanna, Il segreto di Susanna, Le donne curiose, Le donne curiose, I gioielli della Madonna, I gioielli della Madonna, Il campiello, Il campiello, I quatro rusteghi, I quatro rusteghi, Sly, Sly, La vedova scaltra, La vedova scaltra, L'a medico, L'a medico, Das Himmelskleid, Das Himmelskleid, The Four Ruffians: Intermezzo, The Four Ruffians: Intermezzo, La dama boba, La dama boba, Il segreto di Susanna: Intermezzo, Il segreto di Susanna: Intermezzo, Gli dei a Tebe, Gli dei a Tebe, L’a medico: Intermezzo, L’a medico: Intermezzo, Serenade for strings in E-flat major: III Scherzo, Serenade for strings in E-flat major: III Scherzo, Serenade for strings in E-flat major: II Andante, Serenade for strings in E-flat major: II Andante, Suite-Concertino in F major - op 16: I Notturno Andante un poco mosso, Suite-Concertino in F major - op 16: I Notturno Andante un poco mosso, Il segreto di Susanna: "Via cosi non mi lasciate", Il segreto di Susanna: "Via cosi non mi lasciate", Suite-Concertino in F major - op 16: IV Finale Andante con moto, Suite-Concertino in F major - op 16: IV Finale Andante con moto, Serenade for strings in E-flat major: IV Finale, Serenade for strings in E-flat major: IV Finale, Idillio-Concertino: I Preambolo, Idillio-Concertino: I Preambolo, Gli amanti sposi, Gli amanti sposi, Idillio-Concertino: IV Rondo, Idillio-Concertino: IV Rondo, Il segreto di Susanna: "Ah! L'odore fatal", Il segreto di Susanna: "Ah! L'odore fatal", Il segreto di Susanna: Overture, Il segreto di Susanna: Overture, Il segreto di Susanna: "Evitiam che un domestic allora - questo odor", Il segreto di Susanna: "Evitiam che un domestic allora - questo odor", Il segreto di Susanna: "Che palpiti - che palpiti!", Il segreto di Susanna: "Che palpiti - che palpiti!", La dama boba: Overture, La dama boba: Overture, Serenade for strings in E-flat major: I Allegro, Serenade for strings in E-flat major: I Allegro, I gioielli della Madonna: Act III Intermezzo, I gioielli della Madonna: Act III Intermezzo, Idillio-Concertino: III Adagio, Idillio-Concertino: III Adagio, Il segreto di Susanna: "O - siete qui - mio Gil?", Il segreto di Susanna: "O - siete qui - mio Gil?", Il campiello: Ritornello, Il campiello: Ritornello, Suite from the Opera "I gioielli della Madonna": III Serenata, Suite from the Opera "I gioielli della Madonna": III Serenata, Il segreto di Susanna: "Mantiglia griga - cappellino rosa", Il segreto di Susanna: "Mantiglia griga - cappellino rosa", Suite-Concertino in F major - op 16: III Canzone Andante cantabile, Suite-Concertino in F major - op 16: III Canzone Andante cantabile, I quattro rusteghi: Prelude, I quattro rusteghi: Prelude, Il campiello: Intermezzo, Il campiello: Intermezzo, Il segreto di Susanna: "Respiro - e andato", Il segreto di Susanna: "Respiro - e andato", Suite from the Opera "I gioielli della Madonna": I Festa popolare, Suite from the Opera "I gioielli della Madonna": I Festa popolare, Suite-Concertino in F major - op 16: II Strimpellata Presto, Suite-Concertino in F major - op 16: II Strimpellata Presto, L’a medico: Overture, L’a medico: Overture, Il segreto di Susanna: "Ti colgo questa volta!", Il segreto di Susanna: "Ti colgo questa volta!", Il segreto di Susanna: "Coglierla debbo - Coglierla!", Il segreto di Susanna: "Coglierla debbo - Coglierla!", Suite from the Opera "I gioielli della Madonna": II Intermezzo, Suite from the Opera "I gioielli della Madonna": II Intermezzo, Violin concerto in D major - op 26: I Fantasia, Violin concerto in D major - op 26: I Fantasia, Violin concerto in D major - op 26: III Improvviso, Violin concerto in D major - op 26: III Improvviso, Il segreto di Susanna: "Sante col cioccolato", Il segreto di Susanna: "Sante col cioccolato", Violin concerto in D major - op 26: IV Rondo finale, Violin concerto in D major - op 26: IV Rondo finale, Suite from the Opera "I gioielli della Madonna": IV Danza napolitana, Suite from the Opera "I gioielli della Madonna": IV Danza napolitana, Cenerentola, Cenerentola Similar People Ferruccio Busoni, Renata Scotto, Gianandrea Noseda, Renato Bruson, John Bradbury | ||
Ermanno wolf ferrari melodie op 14 no 1
Ermanno Wolf-Ferrari (born Ermanno Wolf) (January 12, 1876 – January 21, 1948) was an Italian composer and teacher. He is best known for his comic operas such as Il segreto di Susanna (1909). A number of his works were based on plays by Carlo Goldoni, including Le donne curiose (1903), I quatro rusteghi (1906) and Il campiello (1936).
Contents
- Ermanno wolf ferrari melodie op 14 no 1
- Ermanno wolf ferrari romanze op 14 no 3
- Life
- Music
- Other vocal works
- Orchestral
- Chamber Music
- References
Ermanno wolf ferrari romanze op 14 no 3
Life
Ermanno Wolf-Ferrari was born in Venice in 1876, the son of German painter August Wolf and Emilia Ferrari, from Venice. He added his mother's maiden-name, Ferrari, to his surname in 1895. Although he studied piano from an early age, music was not the primary passion of his young life. As a teenager Wolf-Ferrari wanted to be a painter like his father; he studied intensively in Venice and Rome and traveled abroad to study in Munich. It was there that he decided to concentrate instead on music, taking lessons from Josef Rheinberger. He enrolled at the Munich conservatory and began taking counterpoint and composition classes. These initially casual music classes eventually completely eclipsed his art studies, and music took over Wolf-Ferrari’s life. He wrote his first works in the 1890s.
At age 19, Wolf-Ferrari left the conservatory and traveled home to Venice. There he worked as a choral conductor, married, had a son called Federico Wolf-Ferrari, and met both Arrigo Boito and Verdi. In 1900, having failed to have two previous efforts published, Wolf-Ferrari saw the first performance of one of his operas, Cenerentola, based on the story of Cinderella. The opera was a failure in Italy, and the humiliated young composer moved back to Munich. German audiences would prove more appreciative of his work; a revised version of Cenerentola was a hit in Bremen in 1902, while the cantata La vita nuova brought the young composer international fame.
Wolf-Ferrari now began transforming the wild and witty farces of the 18th-century Venetian playwright Carlo Goldoni into comic operas. The resulting works were musically eclectic, melodic, and utterly hilarious; every single one became an international success. In fact, until the outbreak of World War I, Wolf-Ferrari’s operas were among the most performed in the world. In 1902 he became professor of composition and director of the Liceo Benedetto Marcello.
In 1911 Wolf-Ferrari tried his hand at full-blooded Verismo with I gioielli della Madonna; a story of passion, sacrilege and madness. It was quite popular in its day and for a period after, especially in Chicago, where the great Polish soprano Rosa Raisa made it a celebrated vehicle. Maria Jeritza (and, later, Florence Easton) triumphed in it at the Metropolitan Opera, in an all-out spectacular production in 1926.
World War I, however, was a nightmare for Wolf-Ferrari. The young composer, who had been dividing his time between Munich and Venice, suddenly found his two countries at war with each other. With the outbreak of the War, he moved to Zurich and composed much less, though he still wrote another comedy, Gli amanti sposi (1916). A new melancholy vein appeared in his post-war work; his operas grew darker and more emotionally complex.
He did not really pick up his rate of output until the 1920s, when he wrote Das Himmelskleid (1925) and Sly (1927), the latter based on William Shakespeare's The Taming of the Shrew. In 1939 he became professor of composition at the Mozarteum in Salzburg. In 1946 he moved again to Zürich before returning to his home city of Venice. He died in Venice at Palazzo Malipiero and is buried in the Venetian cemetery Island of San Michele.
Music
As well as his operas, Wolf-Ferrari wrote a number of instrumental works, mainly at the very beginning and very end of his career. Only his violin concerto has ever been performed with anything approaching regularity, though he also wrote Idillio-concertino (essentially a chamber symphony), various pieces of chamber music including a piano quintet and two piano trios, three violin sonatas and a number of works for the organ amongst others.
Wolf-Ferrari's work is not performed very widely (with the exception of several of his overtures and his Jewels of the Madonna intermezzo) although he is generally thought of as probably the finest writer of Italian comic opera of his time. His works often recall the opera buffa of the 18th century, although he also wrote more ambitious works in the manner of Pietro Mascagni, which are thought of less well.