Title: Francesco Borosini (*Ca. 1690, † Nach 1756) : Leben und Karriere eines Tenors im Frühen Settecento
Variant title:
- Francesco Borosini (*ca. 1690, † after 1756) : life and career of a tenor in the early Settecento
Source document: Musicologica Brunensia. 2018, vol. 53, iss. Supplementum, pp. 109-121
Extent
109-121
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2018-S-9
Stable URL (handle): https://hdl.handle.net/11222.digilib/140869
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
Francesco Borosini (* ca. 1690, † after 1756) was one of the most significant singers of the first half of the 18th century and managed to obtain roles and arias comparable to those of the stars of Italian Baroque Opera, the castratos. Little is known about his origins and whereabouts when he was not traceable in Vienna. However, numerous manuscripts of operas, serenatas and oratorios given at the Habsburg court between 1713 and 1730 contain a vast amount of arias written for him, which illustrate his exceptional vocal capacities. The goal of this research was to examine those types of sources and to investigate the way in which composers and librettists made use of his abilities, at times creating unique roles for a tenor of this epoch. Furthermore, this article aims to show how his engagements in different European operatic centres reflected considerably on the writing for his voice.
References
[1] BEGHELLI, Marco. Il 'Do di petto'. Dissacrazione di un mito. Il saggiatore musicale, 1996, vol. 3, No. 1, S. 105–150.
[2] CALELLA, Michele. Kleinere musikalische Gattungen (componimenti drammatici). In Die Oper im 18. Jahrhundert. Herbert Schneider – Reinhard Wiesend (eds.). Laaber: Laaber Verlag, 2006, S. 63–73.
[3] CELLETTI, Rodolfo. Die Geschichte des Belcanto, dt. Übersetzung Federica Pauli. Kassel (u.a.): Bärenreiter, 1989.
[4] COVELL, Roger. Voice Register as an Index of Age and Status in Opera seria. In Opera & Vivaldi. Michael Collins (ed.). Austin: University of Texas Press, 2014, S. 193–210.
[5] DEAN, Winton – KNAPP, J. Merrill. Handel's Operas 1704–1726. Oxford: Clarendon Press, 1987.
[6] DURANTE, Sergio – PIPERNO, Franco. Cantanti settecenteschi e musicologia vivaldiana: lo stato degli studi. In Nuovi studi vivaldiani. Edizione e cronologia critica delle opere. Antonio Fanna, Giovanni Morelli (eds.). Firenze: Olschki, 1988. S. 535–565.
[7] GLÜXAM, Dagmar. Verzeichnis der Sänger in den Wiener Opern- und Oratoriumspartituren 1705–1711. Studien zur Musikwissenschaft, 2002, vol. 48, S. 269–319.
[8] HAYNES, Bruce. A History of Performing Pitch: The Story of A. Lanham: Scarecrow Press, 2002.
[9] JONES, Andrew. The Composer as Dramatist: Handel's Contribution to the Libretto of 'Rodelinda'. Music & Letters, 2007, vol. 88, no. 1, S. 49–77. | DOI 10.1093/ml/gcl111
[10] KNAPP, J. Merrill. Händel's Tamerlano: The Creation of an Opera. Musical Quaterly, 1970, vol. 56, No. 3, S. 405–430. | DOI 10.1093/mq/LVI.3.405
[11] KORSMEIER, Claudia. Giovanni Carestini (1700–1760) und 'seine' Komponisten: die Karriere eines Kastraten in der ersten Hälfte des 18. Jahrhunderts. Eisenach: Verlag der Musikaliensammlung Wagner, 2000.
[12] KUTSCH, Karl-Josef – RIEMENS, Leo. Großes Sängerlexikon, 4. erweiterte und aktualisierte Auflage. Berlin: De Gruyter, 2003.
[13] LARUE, Steven. Handel and his Singers: The Creation of the Royal Academy Operas, 1720–1728. Oxford: Clarendon Press, 1995.
[14] MAREK, Dan. Giovanni Battista Rubini and the Bel Canto Singers: History & Technique. Lanham (US): Scarecrow Press, 2012.
[15] MALAGODI, Franco. Dizionario dei musicisti di Modena e Reggio Emilia. Modena: Mucchi Editore, 2000.
[16] MICHELS, Claudia. Francesco Borosini-Tenor und Impresario. Musicologica Brunensia, 2012, vol. 47, S. 113–130.
[17] MICHELS, Claudia. Karnevalsoper in Wien am Hofe Kaiser Karls VI., Wien: Universität Wien und Universität für Musik und darstellende Kunst Wien, Univ.-Diss., 2006. (Publikation in Vorbereitung)
[18] POTTER, John. Tenor. History of a Voice. New Haven and London: Oxford University Press, 2009.
[19] ROMAGNOLI, Angela. Teseo in Creta di Pariati – Conti – Bibbiena, con balli di Phillebois, Levassori de la Motta e Matteis (Vienna 1715). Riflessioni in preparazione di un'edizione per la scena (Publikation in Vorbereitung).
[20] STROHM, Reinhard. Pietro Pariati, librettista comico. In La carriera di un librettista: Pietro Pariati da Reggio di Lombardia. Giovanna Gronda (ed.). Bologna: Il Mulino, 1990.
[21] WARD, Glennys. Caldara, Borosini and the 'One Hundred Cantici', or some Viennese Canons Abroad. In Antonio Caldara: Essays of his Life and Times, Brian Pritchard (ed.). Aldershot: Scholar Press, 1987, S. 302–342.
[22] WOYKE, Saskia Maria. Faustina Bordoni: Biographie, Vokalprofil, Rezeption. Frankfurt am Main, Wien (u.a.): Lang, 2010.
[2] CALELLA, Michele. Kleinere musikalische Gattungen (componimenti drammatici). In Die Oper im 18. Jahrhundert. Herbert Schneider – Reinhard Wiesend (eds.). Laaber: Laaber Verlag, 2006, S. 63–73.
[3] CELLETTI, Rodolfo. Die Geschichte des Belcanto, dt. Übersetzung Federica Pauli. Kassel (u.a.): Bärenreiter, 1989.
[4] COVELL, Roger. Voice Register as an Index of Age and Status in Opera seria. In Opera & Vivaldi. Michael Collins (ed.). Austin: University of Texas Press, 2014, S. 193–210.
[5] DEAN, Winton – KNAPP, J. Merrill. Handel's Operas 1704–1726. Oxford: Clarendon Press, 1987.
[6] DURANTE, Sergio – PIPERNO, Franco. Cantanti settecenteschi e musicologia vivaldiana: lo stato degli studi. In Nuovi studi vivaldiani. Edizione e cronologia critica delle opere. Antonio Fanna, Giovanni Morelli (eds.). Firenze: Olschki, 1988. S. 535–565.
[7] GLÜXAM, Dagmar. Verzeichnis der Sänger in den Wiener Opern- und Oratoriumspartituren 1705–1711. Studien zur Musikwissenschaft, 2002, vol. 48, S. 269–319.
[8] HAYNES, Bruce. A History of Performing Pitch: The Story of A. Lanham: Scarecrow Press, 2002.
[9] JONES, Andrew. The Composer as Dramatist: Handel's Contribution to the Libretto of 'Rodelinda'. Music & Letters, 2007, vol. 88, no. 1, S. 49–77. | DOI 10.1093/ml/gcl111
[10] KNAPP, J. Merrill. Händel's Tamerlano: The Creation of an Opera. Musical Quaterly, 1970, vol. 56, No. 3, S. 405–430. | DOI 10.1093/mq/LVI.3.405
[11] KORSMEIER, Claudia. Giovanni Carestini (1700–1760) und 'seine' Komponisten: die Karriere eines Kastraten in der ersten Hälfte des 18. Jahrhunderts. Eisenach: Verlag der Musikaliensammlung Wagner, 2000.
[12] KUTSCH, Karl-Josef – RIEMENS, Leo. Großes Sängerlexikon, 4. erweiterte und aktualisierte Auflage. Berlin: De Gruyter, 2003.
[13] LARUE, Steven. Handel and his Singers: The Creation of the Royal Academy Operas, 1720–1728. Oxford: Clarendon Press, 1995.
[14] MAREK, Dan. Giovanni Battista Rubini and the Bel Canto Singers: History & Technique. Lanham (US): Scarecrow Press, 2012.
[15] MALAGODI, Franco. Dizionario dei musicisti di Modena e Reggio Emilia. Modena: Mucchi Editore, 2000.
[16] MICHELS, Claudia. Francesco Borosini-Tenor und Impresario. Musicologica Brunensia, 2012, vol. 47, S. 113–130.
[17] MICHELS, Claudia. Karnevalsoper in Wien am Hofe Kaiser Karls VI., Wien: Universität Wien und Universität für Musik und darstellende Kunst Wien, Univ.-Diss., 2006. (Publikation in Vorbereitung)
[18] POTTER, John. Tenor. History of a Voice. New Haven and London: Oxford University Press, 2009.
[19] ROMAGNOLI, Angela. Teseo in Creta di Pariati – Conti – Bibbiena, con balli di Phillebois, Levassori de la Motta e Matteis (Vienna 1715). Riflessioni in preparazione di un'edizione per la scena (Publikation in Vorbereitung).
[20] STROHM, Reinhard. Pietro Pariati, librettista comico. In La carriera di un librettista: Pietro Pariati da Reggio di Lombardia. Giovanna Gronda (ed.). Bologna: Il Mulino, 1990.
[21] WARD, Glennys. Caldara, Borosini and the 'One Hundred Cantici', or some Viennese Canons Abroad. In Antonio Caldara: Essays of his Life and Times, Brian Pritchard (ed.). Aldershot: Scholar Press, 1987, S. 302–342.
[22] WOYKE, Saskia Maria. Faustina Bordoni: Biographie, Vokalprofil, Rezeption. Frankfurt am Main, Wien (u.a.): Lang, 2010.