Javascript must be enabled to continue!
Songs and Arias Ornamented by Giovanni Battista Velluti, the Last Operatic Castrato
View through CrossRef
This edition consists of twenty-nine songs and arias from the early nineteenth-century solo vocal music repertoire to which Giovanni Battista (Giambattista) Velluti (1780–1861) composed (and frequently, though not always, published) ornamentation. The last great operatic castrato, Velluti, over the course of his career, became increasingly well known not only for his singing, but also for his creative, adventuresome ornaments. His publications of ornamented songs and arias were frequent throughout the last decade of his career, when his singing style became less purely virtuosic and more concerned with affect. The edition includes only ornamented solo songs and arias with a secure attribution to Velluti. Those with doubtful or spurious attribution are excluded, as are Velluti’s ornamented duets and trios, as well as arias in full orchestral score.
Title: Songs and Arias Ornamented by Giovanni Battista Velluti, the Last Operatic Castrato
Description:
This edition consists of twenty-nine songs and arias from the early nineteenth-century solo vocal music repertoire to which Giovanni Battista (Giambattista) Velluti (1780–1861) composed (and frequently, though not always, published) ornamentation.
The last great operatic castrato, Velluti, over the course of his career, became increasingly well known not only for his singing, but also for his creative, adventuresome ornaments.
His publications of ornamented songs and arias were frequent throughout the last decade of his career, when his singing style became less purely virtuosic and more concerned with affect.
The edition includes only ornamented solo songs and arias with a secure attribution to Velluti.
Those with doubtful or spurious attribution are excluded, as are Velluti’s ornamented duets and trios, as well as arias in full orchestral score.
Related Results
‘Veluti in speculum’: The twilight of the castrato
‘Veluti in speculum’: The twilight of the castrato
The final performances of castrato Giovanni Battista Velluti in London in the late 1820s constitute a particularly rich vantage point from which to explore why the castrato was eve...
Creative profile of Giovanni Ansani
Creative profile of Giovanni Ansani
The subject of the research is the operatic art of the turn of the 18th and 19th centuries. The object is the operatic performance creativity of the singer Giovanni Ansani. Giovann...
Utilization and Significance of the Pansori Inserted Songs
Utilization and Significance of the Pansori Inserted Songs
This study assumed that the insertion of songs or inserted songs during the formative period of Pansori played a significant role in establishing Pansori as epic poetry. To verify ...
A Collection of Loyal Songs: Songs as Spaces of Memory
A Collection of Loyal Songs: Songs as Spaces of Memory
In 1750, four years after the Battle of Culloden, Edinburgh printer Robert Fleming distributed the Jacobite songbook A Collection of Loyal Songs, Poems, &c. Jacobitism was, for...
Embodying Voice: Singing Verdi, singing Wagner
Embodying Voice: Singing Verdi, singing Wagner
<p>Writers from diverse disciplines have rhapsodised over the impact of the operatic voice on the listener, while musicologists such as Abbate, Duncan, and Risi have explored...
Operatic egalitarianism
Operatic egalitarianism
<p>For the majority of summers between 1917 and 1925, May Valentine presented popular operas to receptive audiences on the chautauqua circuits, conducting and managing her ow...

