Gaspare Pacchierotti

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Gaspare Pacchierotti, around 1790

Gaspare Pacchierotti ( also Gasparo , and Pacchiarotti ; baptized on May 21, 1740 in Fabriano ( Ancona ); † October 28, 1821 in Padua ) was an Italian opera singer and castrato ( soprano ). He had an international career that took him to London and was one of the last great castratos.

Life

Little is known about his childhood and youth. One of his ancestors to the Renaissance - painter Jacopo del Pecchia, called " Pacchierotto " from Siena have been. According to Zanatta, Gaspare is known to have been neutered before he was 12 years old.

Presumably he had lessons at the Cathedral of Forlì or with Ferdinando Bertoni at St. Mark's Basilica in Venice . His voice is said to have been full in the beginning and a range up to c '' ', but a bit unstable and nasal. Therefore, at first he only sang secondo parts and had to spend a lot of diligence and practice to perfect his singing technique.

Pacchierotti made his operatic debut at the age of 19 at the Teatro dei Nobili in Perugia in Baldassare Galuppi's Le nozze di Dorina in a female role (as is usual with castrati).

In Venice he met on February 28, 1765 for three years a soloist spot on St. Mark's Basilica and sang in the same year in Innsbruck at the wedding of Peter Leopold of Habsburg-Lorraine with the Spanish Infanta Maria Luisa , the small lot of Acronte in Romolo ed Ersilia of Johann Adolph Hasse . The stars of this performance were the castrato Gaetano Guadagni and the soprano Anna De Amicis .

In Venice Pacchierotti sang Ulisse at the Teatro San Giovanni Grisostomo (1766) in Florian Gassmann's opera Achille in Sciro in 1766 . In 1769 he sang a primo-uomo part for the first time at the Teatro San Benedetto, when he stood in for the sick Guadagni (or Guarducci?), And was greatly admired for his performance. The opera is probably Galuppi's Il re pastore (premiere: July 17, 1769).

According to Ferris, Pacchierotti was, unlike some of his colleagues, a very humble and reserved person, which is why little is known about his private life. When he (in Venice 1765?) Had to sing a few performances next to the famous prima donna Caterina Gabrielli , and after she had sung her first bravura aria , the soprano is said to have panicked for fear that he had no chance against her. So he fled behind the scenes and shouted: “Povero me, povero me! Questo é un portento! ” (“ Poor me, poor me! This is a miracle! ”). It is said that it was difficult to get him to return to the stage, but when he finally sang, Gabrielli herself was completely carried away by his singing.

In 1770 Pacchierotti left the lagoon city and followed a call to Palermo as primo uomo . It is said that the then famous prima donna Anna De Amicis (who already knew him as a secondo uomo ) initially did not want to accept him as a primo uomo , but changed her mind from "contempt to honest and sincere admiration" after she sang with him and him had heard. De Amicis then became his stage partner for several years at the Teatro San Carlo in Naples , where he sang for the first time in Jommellis Ifigenia in Tauride in 1771 . At the same theater followed until 1776, always alongside Anna De Amicis, appearances in Pasquale Anfossi's Nitteti (premiere: August 13, 1771), Ezio by Antonio Sacchini (premiere: November 4, 1771) and Alessandro nell'Indie by Niccolò Piccinni ( Premiere: January 12th 1774). The Bohemian composer Joseph Myslivecek also worked in Naples during this time and composed the leading male roles for Pacchierotti in his operas Romolo ed Ersilia (premiere: August 13, 1773), and Ezio (May 30, 1775)

During this time Pacchierotti also appeared in Bologna in Bertoni's Olimpiade (Carnival 1773), at the Court Theater of Naples in Gluck's Orfeo (Carnival 1774), and was also in Milan at the Regio Ducal Teatro (Carnival 1775).

In 1776 he left Naples for good and then performed first in Rome and Florence . In the same year he sang the role of Arbace in Metastasios Artaserse (composer: Bertoni?) In Forlì , and touched the whole thing with his expressive singing in a scene in which he had to voluntarily go to death instead of his (stage) father The audience and the orchestra so much that the musicians forgot their commitment. When he asked the conductor to play, he replied: "I'm crying, O Signore ...".

Pacchierotti also had the honor of participating in the opening of La Scala in Milan on August 3, 1778 as primo uomo , in the role of Asterio in Antonio Salieri's L'Europe riconosciuta .

Gaspare Pacchierotti around 1785

He then went to London for the first time, where he had resounding success, including as Arbaces in Bertoni's Artaserse (premiere: 23 January 1779), and as Aeneas in Enea e Lavinia by Antonio Sacchini (premiere: 25 March 1779 ). In both operas he sang alongside Antonia Bernasconi and the bass Valentin Adamberger . He became a crowd favorite and gave several guest appearances in England until 1791 (see also the list of operas below). Some good descriptions of his singing skills have survived from his time in London. The entire family of Charles Burney was entranced by Pacchierotti's singing and Susan Burney wrote to Fanny about his appearance in Sacchini's opera Rinaldo : "... Pacchierotti has charmed me, not only in his arias , but also with every word in the recitatives ." She later wrote about his spectacular vocal range and his adornment :

"He has come up with all kinds of pirouettes amused and let his voice sink so low and rise as high as he could - I knew him his scope allowed tenor arias to sing, but I had no idea that he with Agujari and Danzi in can rival their heights - and believe me when I tell you, and it is the truth, that in one of his roulades he has risen to the highest f (i.e. f ′ ′ ′; translator's note) of the harpsichord . "

1780–81 he was back in Italy to sing at the Teatro San Benedetto in Venice as Rinaldo in Bertoni's Armida abbandonata (premiere: December 26, 1780), and in Giuseppe Sarti's opera Giulio Sabino (premiere: January 1781).

This was followed by his second engagement in London from 1782 to 1784, with appearances in Venanzio Rauzzini's L 'eroe cinese (premiere: March 16, 1782) and Creusa in Delfo (premiere: April 29, 1783), as well as in Bertoni's Cimene (premiere: 7th March 1782) . January 1783) and in Pasquale Anfossis Issipile (premiere: May 8, 1784). He also took part in a Handel concert in London in 1784 , with excerpts from the oratorios Joshua and Israel in Egypt .

Back in Venice, from the end of 1784 in the following years he often worked with the composer Francesco Bianchi (1752–1810), who wrote leading roles for him in several of his operas: Il disertore (premiere: December 26, 1784), Alessandro nell ' Indie (premiere: January 28, 1785), L'orfano cinese (premiere: January 30, 1787), La morte di Cesare (premiere: December 27, 1788) and Daliso e Delmita (premiere: June 12, 1789).

In 1786 he sang in Paris to Queen Marie Antoinette , who said to him: “When your London duties are over, Pacchierotti, remember that you are ours. We'll see each other again in three years ”. However, because of the outbreak of the French Revolution , it did not come to that.

During his last stay in London in 1791, he sang one of his brilliant roles alongside Gertrud Elisabeth Mara , the title role in Ferdinando Bertoni's Quinto Fabio , and the leading male roles in Sacchini's Armida and Sarti's Idalide . He also got to know Joseph Haydn , who personally accompanied him to performances of his cantata Arianna a Naxos .

In 1792 in Venice Pacchierotti was the primo uomo at the opening of the Teatro la Fenice , in Paisiellos I giuochi d'Agrigento (premiere: May 16, 1792), alongside Brigida Banti and the famous tenor Giacomo David . He ended his career at La Fenice the following year because he wanted to leave the theater at the height of his art himself and did not want to experience that “the theater would leave him”. The last roles that were composed for him were the title role in Francesco Bianchi's Tarara, o sia La virtù premiata (premiere: December 26, 1792) and Don Pietro in Giuseppe Giordanis Ines de Castro (premiere: January 28, 1793).

After his stage career Pacchierotti retired to Padua and initially lived in the Ca 'Farsetti near Prato della Valle , which originally belonged to the well-known humanist Pietro Bembo (1470–1547). He received visits from many artists and writers, such as Carlo Goldoni (1707–1793), Vittorio Alfieri (1749–1803), Antonio Canova (1757–1822), Ugo Foscolo (1778–1827) and Stendhal (1783–1842).

During the Napoleonic Wars in 1796, Pacchierotti had to sing (compulsorily) in front of Napoleon Bonaparte in the Teatro Nuovo in Padua , although he had not performed for a few years , and was then asked by the general to sit next to him (which was intended as an honor).

After the death and in honor of his teacher and friend Ferdinando Bertoni , Pacchierotti sang in Venice in 1814 at his obsequies.

When Gioachino Rossini visited the old singer, he lamented the deterioration of the singing in favor of "deafening and luxurious novelties". The composer replied : “Give me a Pacchierotti and I will know how to write for it too” (“ Datemi un Pacchierotti e saprò scrivere anche per esso !”).

Pacchierotti later moved to a villa in the Padua area. Even in old age he is said to have sung every day and it is said that he said that he had “learned the little that he knew” from Benedetto Marcello's psalms .

Shortly before his death at the age of 81, he is said to have asked God to “accept him into his most humble choirs” (“si compiacesse aggregarlo fra i suoi più umili cori”) . Shortly afterwards he died of edema and was buried in a small chapel near his villa.

Voice and art

Gaspare Pacchierotti was, according to Ferris, "the third in the great triad of male sopranos in the 18th century" alongside Farinelli and Caffarelli , and "the brilliance of his reputation does not shine dimly (" dimly ") compared to the other two". He did not look as good as some other castrati (Farinelli, Luigi Marchesi , Velluti ) and was even described as ugly, "thin and with a strange nose". Although he apparently had a few problems with his voice as a young person and first needed a relatively long and disciplined apprenticeship (see above) before he was able to advance to primo uomo , his singing must then have been quite incomparable. The reports of contemporary witnesses show that he was outstanding and moving in every respect, both vocally and in terms of bravura and art of decoration, as well as in expression. He could move people to tears (see above).

Music lover Richard Edgcumbe , Earl of Mount Edgcumbe, wrote of him:

“Pacchierotti's voice was a soprano of great range, full and sweet to the highest degree: his strengths in execution were great, but he had too good taste and sense to play them where it would have been inappropriate and limited himself to a bravura aria in every opera, as he was aware that the main pleasure in singing and his own outstanding excellence lie in touching expression and exquisite pathos .
He was so thoroughly a musician that nothing was difficult for him; every style was equally easy for him and at first glance he could sing all arias of completely different characters, not only with the ease and correctness that results from a complete mastery of the music, but he immediately immersed himself in the composer's imagination and gave her all the spirit and expression that that intended. His genius in ornamentation and cadences was so great that their variety was inexhaustible. "

Pacchierotti himself published instructions for singing when he was old, and his saying is well known: "If you know how to breathe properly and have a good pronunciation, you can also sing".

Autopsy 2013

Gaspare Pacchierotti is the second castrato after Farinelli (2006) whose remains were exhumed for research purposes in July 2013. In contrast to Farinelli, from whom only poorly preserved bones were found, Pacchierotti's skeleton was quite well preserved as a whole, making it the first complete skeleton of a castrato ever to be excavated. The examinations were carried out by experts from the University of Padua and, similar to Farinelli, showed clear traces of osteoporosis and a height of approx. 1.91 m, which was enormous for his time and for people from southern Europe. The epiphyseal plates of the bones were not closed at the age of 81, which would normally be the case in adults over 23; in 90–100% of men over 35 the epiphyseal plates would actually no longer be visible. These are all typical consequences of a pre- pubertal castration.
Furthermore, clear signs of wear and tear were found in the area of ​​the cervical spine , which is regarded as a typical wear and tear of singers. In addition, he had exceptionally good and well-cared for teeth for someone who died at the old age of 81.

Roles for Gasparo Pacchierotti

Pacchierotti sang in the opera seria of the late 18th century and many of the most important Italian opera composers wrote roles for him. This repertoire is almost completely forgotten at the beginning of the 21st century. Although a contemporary of Mozart , he never sang in one of his operas, which only later gained international attention. The following is a list of operatic roles that were composed for Gasparo Pacchierotti. The date and place relate to the premiere . In addition, the singer appeared in numerous other operas, which, however, were not written directly for him. Resumptions of successful operas are also not mentioned here, but can be viewed on Corago and are sometimes mentioned in the biography above.

  • Livietta in Le nozze di Dorina by Baldassare Galuppi ; Carnival 1759 - Perugia , Teatro del Pavone.
  • Siface in Sofonisba by Antonio Boroni ; May 1764 - Venice , Teatro di San Salvatore. With Anna De Amicis .
  • Ulisse in Achille in Sciro by Florian Leopold Gassmann ; Ascension Season 1766 - Venice, Teatro San Giovanni Grisostomo.
  • Oreste in Ifigenia in Tauride by Niccolò Jommelli ; May 30, 1771 - Naples , Teatro San Carlo
  • ? in Nitteti from Pasquale Anfossi ; August 13, 1771 - Naples, Teatro San Carlo. With Anna De Amicis.
  • ? in Ezio by Antonio Sacchini ; November 4, 1771 - Naples, Teatro San Carlo. With Anna De Amicis.
  • Orazio in Il trionfo di Clelia by Giovanni Battista Borghi ; May 30, 1773 - Naples, Teatro San Carlo. With Anna De Amicis.
  • Romolo in Romolo ed Ersilia by Josef Mysliveček ; August 13, 1773 - Naples, Teatro San Carlo. With Anna de Amicis.
  • Poro in Alessandro nell'Indie by Niccolò Piccinni ; Jan. 12, 1774 - Naples, Teatro San Carlo. With Anna De Amicis.
  • Arsace in Medonte, re d'Epiro by Felice Alessandri ; December 26, 1774 - Milan , Regio Ducal Teatro. With Elisabeth Teuber and Luigi Marchesi .
  • Poro in Alessandro nell'Indie by Carlo Monza ; Jan. 28, 1775 - Milan, Regio Ducal Teatro. With Elisabeth Teuber and Luigi Marchesi.
  • Title role in Ezio by Josef Myslivecek; May 30, 1775 - Naples, Teatro San Carlo. With Anna De Amicis.
  • Alceo in Il natal d'Apollo by Pasquale Cafaro ; (June?) 1775 - Naples, Teatro San Carlo. With Anna de Amicis.
  • Demetrio in Antigono by Gaetano Latilla ; August 13, 1775 - Naples, Teatro San Carlo. With Anna De Amicis
  • Timante in Demofoonte by Carlo Monza; Autumn 1776 - Alessandria , Nuovo Teatro
  • Title role in Ezio by Michele Mortellari ; Jan. 25, 1777 - Milan, Teatro Interinale.
  • Arsace in Medonte by Ferdinando Bertoni ; 26/12/1777 - Turin , Teatro Regio.
  • Title role in Eumene by Giacomo Insanguine ; Jan. 31, 1778 - Turin, Teatro Regio.
  • Asterio in L 'Europa riconosciuta by Antonio Salieri ; August 3, 1778 - Milan, Nuovo Regio Ducal Teatro ( La Scala , opening!). With Francesca Danzi Lebrun .
  • Arbaces in Artaserse by Ferdinando Bertoni; January 23, 1779 - London , King's Theater in the Haymarket. With Antonia Bernasconi .
  • Enea in Enea e Lavinia by Antonio Sacchini ; March 25, 1779 - London, King's Theater in the Haymarket. With Antonia Bernasconi and Valentin Adamberger .
  • Rinaldo in Armida abbandonata by Ferdinando Bertoni; December 26, 1780 - Venice, Teatro San Benedetto.
  • Sabino in Giulio Sabino by Giuseppe Sarti ; January 1781 - Venice, Teatro San Benedetto
  • Siveno in L'eroe cinese by Venanzio Rauzzini ; March 16, 1782 - London, King's Theater in the Haymarket.
  • Rodrigo in Cimene by Ferdinando Bertoni; Jan. 7, 1783 - London, King's Theater in the Haymarket.
  • in Creusa in Delfo by Venanzio Rauzzini; April 29, 1783 - London, King's Theater in the Haymarket.
  • Giasone in Issipile by Pasquale Anfossi; May 8, 1784 - London, King's Theater in the Haymarket.
  • Gualtieri in Il disertore by Francesco Bianchi ; December 26, 1784 - Venice, Teatro San Benedetto. With Brigida Banti .
  • Poro in Alessandro nell'Indie by Francesco Bianchi; Jan. 28, 1785 - Venice, Teatro San Benedetto. With Brigida Banti
  • Demetrio in Antigono by Niccolò Antonio Zingarelli ; April 13, 1786 - Mantua , Regio Ducal Teatro.
  • Zamti in L'orfano cinese by Francesco Bianchi; Jan. 30, 1787 - Venice, Teatro San Benedetto.
  • Giulio Cesare in La morte di Cesare by Francesco Bianchi; December 27, 1788 - Venice, Teatro San Samuele
  • Sammate in Nitteti by Ferdinando Bertoni; Feb. 6, 1789 - Venice, Teatro San Samuele.
  • Daliso in Daliso e Delmita by Francesco Bianchi; June 12, 1789 - Padua , Teatro Nuovo.
  • Il Senno in L'unione del senno e della fortuna by Ferdinando Bertoni; 19/05/1789 - Venice, Società de 'Filarmonici
  • Alceo in I giuochi d'Agrigento by Giovanni Paisiello ; May 16, 1792 - Venice, Teatro La Fenice (opening!). With Brigida Banti and Giacomo David .
  • Title role in Tarara, o sia La virtù premiata by Francesco Bianchi; Dec. 26, 1792 - Venice, Teatro La Fenice. With Brigida Banti and Giacomo David.
  • Don Pietro in Ines de Castro by Giuseppe Giordani ; Jan. 28, 1793 - Venice, Teatro La Fenice. With Brigida Banti and Giacomo David.

literature

  • Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , Seminario, Padua, 1844, online as Google Book (Italian; accessed January 12, 2020)
  • George T. Ferris: Great singers , D. Appleton and company, New York, 1879, online (accessed January 13, 2020), pp. 47–50 (in the “Catarina Gabrielli” chapter)
  • Kathleen Kuzmick Hansell: Pacchierotti (Pacchiarotti) Gasparo , in: Oxford Music online , 2001, (English; accessed January 12, 2020)
  • Giovanni Toffano: Gaspare Pacchierotti (Fabriano 1740 - Padova 1821), il crepuscolo di un "musico" al tramonto della Serenissima , Edizioni, Armelin Musica, Padua, 1999 [2]
  • Alberto Zanatta, Fabio Zampieri, Giuliano Scattolin, Maurizio Rippa Bonati: Occupational markers and pathology of the castrato singer Gaspare Pacchierotti (1740-1821) , in: Sci. Rep. 6, 28463; doi: 10.1038 / srep28463 (2016). Online at Nature (accessed January 4, 2020)

Web links

  • Susanna Felix: Skeleton exhumed by castrato: Decrypted - the secret of the castrato , June 29, 2016, short article online on BR-Klassik (accessed on January 12, 2020! Sensational!)
  • Gasparo Pacchierotti , short bio (and CD recordings) online at Quell'Usignolo (French; accessed on January 14, 2020)
  • Riassumendo la vita di Gaspare Pacchiarotti , biography in: Gaspare Pacchiarotti - l'ultimo Divo dei venerati castrati October 30, 2017, online on the website www.gasparepacchierotti.it (allegedly from descendants of the Pacchierotti family; Italian; accessed January 12, 2020 )

Individual evidence

  1. ↑ a b c d e f g Kathleen Kuzmick Hansell: Pacchierotti (Pacchiarotti) Gasparo , in: Oxford Music online , 2001, (English; accessed January 12, 2020)
  2. ^ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , Seminario, Padua, 1844, online as Google Book , pp. 3-4
  3. ↑ a b c d e f g h i j k l m n o p Alberto Zanatta, Fabio Zampieri, Giuliano Scattolin, Maurizio Rippa Bonati: Occupational markers and pathology of the castrato singer Gaspare Pacchierotti (1740–1821) , in: Scientific Reports , Article No. 28463 (2016), online (English; accessed on January 4, 2020)
  4. ↑ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as a Google Book , pp. 4-6
  5. ↑ He appeared under the name "Porfirio Pacchierotti". Le nozze di Dorina (Baldassare Galuppi) in the Corago information system of the University of Bologna .
  6. ↑ Here, too, he appeared under the name "Porfirio Pacchierotti". Romolo ed Ersilia (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  7. ↑ See libretto , p. 6 (accessed January 14, 2020)
  8. ↑ Riassumendo la vita di Gaspare Pacchiarotti , biography in: Gaspare Pacchiarotti - l'ultimo Divo dei venerati castrati October 30, 2017, online on the website www.gasparepacchierotti.it (allegedly from descendants of the Pacchierotti family; Italian; accessed on January 12 2020)
  9. ↑ Cecchini Pacchierotti speaks of Guarducci, but Guadagni is listed in the contemporary libretti. Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as Google Book , p. 6
  10. ↑ WP = world premiere , also in the following.
  11. ↑ In this opera he originally played the role of agenore, from the traditional libretti it is of course not clear if someone fell ill and someone else stepped in at short notice. The sick primo uomo was obviously not Guarducci, but Guadagni. Il re pastore (Baldassare Galuppi) in the Corago information system of the University of Bologna .
  12. ↑ George T. Ferris: Great Singers , Vol. I, ..., New York 1879, p. 48 (in the chapter Catarina Gabrielli ). Online at: archive.org
  13. ↑ Ferris dates the incident to 1765, which seems realistic insofar as Pacchierotti was still young and relatively inexperienced at the time. George T. Ferris: Great singers , Vol. I,…, New York 1879, pp 47-48 (in the chapter Catarina Gabrielli ). Online at: archive.org
  14. ↑ Fétis said it didn't happen until 1777. François-Joseph Fétis : "Gabrielli (Catherine)", in: Biographie universelle des musiciens , Vol. 4, 2nd edition, Paris 1860–1868, pp. 230–232. Online at: gallica.bnf.fr / Bibliothèque nationale de France (French; accessed August 29, 2019)
  15. ^ François-Joseph Fétis : "Gabrielli (Catherine)", in: Biographie universelle des musiciens , Vol. 4…, here: 231–232. Online at: gallica.bnf.fr / Bibliothèque nationale de France
  16. ↑ George T. Ferris: Great Singers , Vol. I, ..., New York 1879, pp. 47-48 (in the chapter Catarina Gabrielli ). Online at: archive.org
  17. ^ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as Google Book , pp. 7–8
  18. ^ Ifigenia in Tauride (Niccolò Jommelli) in the Corago information system of the University of Bologna .
  19. ^ Nitteti (Pasquale Anfossi) in the Corago information system of the University of Bologna .
  20. ^ Ezio (Antonio Sacchini) in the Corago information system of the University of Bologna .
  21. ↑ Alessandro nell'Indie (Niccolò Piccinni) in the Corago information system of the University of Bologna .
  22. ^ Romolo ed Ersilia (Josef Myslivecek) in the Corago information system of the University of Bologna .
  23. ^ Ezio (Josef Myslivecek) in the Corago information system of the University of Bologna .
  24. ↑ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti ,… 1844, online as Google Book , p. 11
  25. ^ L 'Europa riconosciuta (Antonio Salieri) in the Corago information system of the University of Bologna .
  26. ^ Artaserse (Ferdinando Bertoni) in the Corago information system of the University of Bologna .
  27. ^ Enea e Lavinia (Antonio Sacchini) in the Corago information system of the University of Bologna .
  28. ↑ Here from the French: " (La moindre réplique de l'opéra (Rinaldo) est superbement mise en musique par Sacchini et) Pacchierotti m'a enchantée, non seulement dans ses airs mais aussi dans chaque mot des récitatifs ". See: Gasparo Pacchierotti , short biography online at Quell'Usignolo (French; accessed January 12, 2020)
  29. ↑ Here from the French: “ Il s'est amusé à toutes sortes de pirouettes, faisant caracoler sa voix aussi grave et ausi aigu qu'il le pouvait - je savais que son étendue lui permettait de chanter des airs de ténors, mais je ne me doutais pas qu'il pût rivaliser avec Agujari & Danzi dans leurs altitudes - et me croiras-tu quand je te dirai, et c'est la vérité, que dans une de ses roulades il est monté jusqu'au fa le plus aigu du clavecin ". See: Gasparo Pacchierotti , short biography online at Quell'Usignolo (French; accessed January 12, 2020)
  30. ^ Armida abbandonata (Ferdinando Bertoni) in the Corago information system of the University of Bologna .
  31. ^ Giulio Sabino (Giuseppe Sarti) in the Corago information system of the University of Bologna .
  32. ^ L 'eroe cinese (Venanzio Rauzzini) in the Corago information system of the University of Bologna .
  33. ^ Creusa in Delfo (Venanzio Rauzzini) in the Corago information system of the University of Bologna .
  34. ↑ Cimene (Ferdinando Bertoni) in Corago information system of the University of Bologna .
  35. ^ Issipile (Pasquale Anfossi) in the Corago information system of the University of Bologna .
  36. ↑ Gasparo Pacchierotti , short bio online at Quell'Usignolo (French; accessed January 12, 2020)
  37. ^ Il disertore (Francesco Bianchi) in the Corago information system of the University of Bologna .
  38. ↑ Alessandro nell'Indie (Francesco Bianchi) in the Corago information system of the University of Bologna .
  39. ↑ L 'orfano cinese (Francesco Bianchi) in Corago information system of the University of Bologna .
  40. ^ La morte di Cesare (Francesco Bianchi) in the Corago information system of the University of Bologna .
  41. ^ Daliso e Delmita (Francesco Bianchi) in the Corago information system of the University of Bologna .
  42. ^ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as Google Book , p. 10
  43. ^ Quinto Fabio (Ferdinando Bertoni) in the Corago information system of the University of Bologna .
  44. ↑ Gasparo Pacchierotti , short biography online at Quell'Usignolo (French; accessed January 12, 2020)
  45. ^ Armida (Antonio Sacchini) in the Corago information system of the University of Bologna .
  46. ↑ Idalide, o sia La virgin del sole (Giuseppe Sarti) in Corago information system of the University of Bologna .
  47. ↑ Gasparo Pacchierotti , short biography online at Quell'Usignolo (French; accessed January 12, 2020)
  48. ↑ Riassumendo la vita di Gaspare Pacchiarotti , biography in: Gaspare Pacchiarotti - l'ultimo Divo dei venerati castrati October 30, 2017, online on the website www.gasparepacchierotti.it (allegedly from descendants of the Pacchierotti family; Italian; accessed on January 12 2020)
  49. ^ I giuochi d'Agrigento (Giovanni Paisiello) in the Corago information system of the University of Bologna .
  50. ^ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as Google Book , p. 11
  51. ^ Tarara, o sia La virtù premiata (Francesco Bianchi) in the Corago information system of the University of Bologna .
  52. ^ Ines de Castro (Giuseppe Giordani) in the Corago information system of the University of Bologna .
  53. ↑ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti ,… 1844, online as Google Book , p. 13
  54. ↑ Gasparo Pacchierotti , short biography online at Quell'Usignolo (French; accessed January 12, 2020)
  55. ^ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as Google Book , p. 14
  56. ^ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as Google Book , p. 15
  57. ^ Giuseppe Cecchini Pacchierotti: Cenni biografici intorno a Gaspare Pacchierotti , ... 1844, online as Google Book , p. 15
  58. ↑ George T. Ferris: Great Singers , Vol. I, ..., New York 1879, p. 48 (also p. 41 ff; in the chapter Catarina Gabrielli ). Online at: [ https://archive.org/details/greatsingers01ferr/page/46 archive.org]
  59. ↑ George T. Ferris: Great singers . D. Appleton and company, New York 1879, p. 48–49 (English, [1] [accessed January 12, 2020]): “Pacchierotti's voice was an extensive soprano, full and sweet in the highest degree: his powers of execution were great, (but he had far too good taste and good sense too make a display of them where it would have been misapplied, confining it to one bravura song in each opera, conscious that the chief delight of singing and his own supreme excellence lay in touching expression and exquisite pathos.)
    Yet he was so thorough a musician that nothing came amiss to him; every style was to him equally easy and he could sing, at first sight, all songs of the most opposite characters, not merely with the facility and correctness which a complete knowledge of music must give, but entering at once into the views of the composer and giving them all the spirit and expression he had designed. Such was his genius in his embellishments and cadences, that their variety was inexhaustible. ... As an actor, with many disadvantages of person - for he was tall and awkward in his figure and his features were plain - he was nevertheless forcible and impressive; for he felt warmly, had excellent judgment, and was an enthusiast in his profession. His recitative was inimitably fine, so that even those who did not understand the language could not fail to comprehend from his countenance, voice, and action every sentiment he expressed. "
  60. ↑ “He who knows how to breathe and pronounce well, knows how to sing” . See the website school of old belcanto by Oleg Lapa (English; accessed January 12, 2020)
  61. ↑ Under the name Porfirio Pacchierotti. Le nozze di Dorina (Baldassare Galuppi) in the Corago information system of the University of Bologna .
  62. ↑ Under the name Porfirio Pacchierotti. Sofonisba (Antonio Boroni) in the Corago information system of the University of Bologna .
  63. ^ Achille in Sciro (Florian Leopold Gassmann) in the Corago information system of the University of Bologna .
  64. ^ Ifigenia in Tauride (Niccolò Jommelli) in the Corago information system of the University of Bologna .
  65. ^ Nitteti (Pasquale Anfossi) in the Corago information system of the University of Bologna .
  66. ^ Ezio (Antonio Sacchini) in the Corago information system of the University of Bologna .
  67. ^ Il trionfo di Clelia (Giovanni Battista Borghi) in the Corago information system of the University of Bologna .
  68. ^ Romolo ed Ersilia (Josef Myslivecek) in the Corago information system of the University of Bologna .
  69. ↑ Alessandro nell'Indie (Niccolò Piccinni) in the Corago information system of the University of Bologna .
  70. ^ Medonte, re d'Epiro (Felice Alessandri) in the Corago information system of the University of Bologna .
  71. ↑ Alessandro nell'Indie (Carlo Monza) in the Corago information system of the University of Bologna .
  72. ^ Ezio (Josef Myslivecek) in the Corago information system of the University of Bologna .
  73. ^ Il natal d'Apollo (Pasquale Cafaro) in the Corago information system of the University of Bologna .
  74. ^ Antigono (Gaetano Latilla) in the Corago information system of the University of Bologna .
  75. ^ Demofoonte (Carlo Monza) in the Corago information system of the University of Bologna .
  76. ^ Ezio (Michele Mortellari) in the Corago information system of the University of Bologna .
  77. ^ Medonte (Ferdinando Bertoni) in the Corago information system of the University of Bologna .
  78. ↑ Eumene (Giacomo Insanguine) in Corago information system of the University of Bologna .
  79. ^ L 'Europa riconosciuta (Antonio Salieri) in the Corago information system of the University of Bologna .
  80. ^ Artaserse (Ferdinando Bertoni) in the Corago information system of the University of Bologna .
  81. ^ Enea e Lavinia (Antonio Sacchini) in the Corago information system of the University of Bologna .
  82. ^ Armida abbandonata (Ferdinando Bertoni) in the Corago information system of the University of Bologna .
  83. ^ Giulio Sabino (Giuseppe Sarti) in the Corago information system of the University of Bologna .
  84. ^ L 'eroe cinese (Venanzio Rauzzini) in the Corago information system of the University of Bologna .
  85. ↑ Cimene (Ferdinando Bertoni) in Corago information system of the University of Bologna .
  86. ^ Creusa in Delfo (Venanzio Rauzzini) in the Corago information system of the University of Bologna .
  87. ^ Issipile (Pasquale Anfossi) in the Corago information system of the University of Bologna .
  88. ^ Il disertore (Francesco Bianchi) in the Corago information system of the University of Bologna .
  89. ↑ Alessandro nell'Indie (Francesco Bianchi) in the Corago information system of the University of Bologna .
  90. ^ Antigono (Niccolò Antonio Zingarelli) in the Corago information system of the University of Bologna .
  91. ↑ L 'orfano cinese (Francesco Bianchi) in Corago information system of the University of Bologna .
  92. ^ La morte di Cesare (Francesco Bianchi) in the Corago information system of the University of Bologna .
  93. ^ Nitteti (Ferdinando Bertoni) in the Corago information system of the University of Bologna .
  94. ^ Daliso e Delmita (Francesco Bianchi) in the Corago information system of the University of Bologna .
  95. ↑ L 'Unione del senno e della fortuna (Ferdinando Bertoni) in Corago information system of the University of Bologna .
  96. ^ I giuochi d'Agrigento (Giovanni Paisiello) in the Corago information system of the University of Bologna .
  97. ^ Tarara, o sia La virtù premiata (Francesco Bianchi) in the Corago information system of the University of Bologna .
  98. ^ Ines de Castro (Giuseppe Giordani) in the Corago information system of the University of Bologna .
personal data
SURNAME Pacchierotti, Gaspare
ALTERNATIVE NAMES Pacchiarotti, Gasparo; Pacchierotti, Porfirio
BRIEF DESCRIPTION Italian opera singer
DATE OF BIRTH baptized May 21, 1740
PLACE OF BIRTH Fabriano
DATE OF DEATH October 28, 1821
Place of death Padua