There are a lot of interesting fun cool facts about Felice Romani, born on January 31, 1788, and died on January 28, 1865, was an Italian poet and literature and mythology specialist who produced several librettos for opera composers Donizetti and Bellini. Between Metastasio and Boito, Romani was regarded as the best Italian librettist.
He was one of the most sought-after Italian librettists of his time, because of his well-structured storylines and musically favorable texts, Felice Romani interesting facts.
His harmony was more enterprising than that of his contemporary Gaetano Donizetti, and his handling of the orchestra in introductions and interludes was far from perfunctory, while he subordinated the orchestra accompaniment to the singers and placed the responsibility for dramatic expression on their voices, fun facts about Felice Romani.
Interesting Facts about Felice Romani
1. Felice Romani was born in Genoa to a bourgeois family and studied law and literature at Pisa and Genoa.
2. However, the two had a falling out over Beatrice di Tenda’s missing deadlines.
3. Bellini won the support of a powerful promoter, who commissioned Bianca e Fernando for the opera in Naples.
4. Bellini was seeking dramatic, even extravagant “situations” articulated in lines “intended to represent the feelings in the liveliest manner,” according to a letter to Francesco Florimo dated 4 August 1834, and he found them in Felice Romani.
5. Il pirata (1827), composed for Milan’s La Scala opera theater, gained him international acclaim.
6. Bellini was fortunate in having Felice Romani, the finest Italian theatrical poet of the time, as his librettist for his following six operas.
7. Felice Romani became editor of the Gazzetta Ufficiale Piemontese in 1834, and he provided literary commentary to the publication.
8. His final opera, I puritani, was premiered less than a year after he died.
9. Romani was very saddened by his death and prepared an obituary in which he conveyed his sorrow for their dispute.
10. He translated French literature at the University of Genoa and co-authored a six-volume dictionary of mythology and antiquities, which included the history of the Celts in Italy, with a colleague.
11. With the exception of 1849–1854, he remained in the position until his death in Moneglia in 1854. (in the region of Liguria, Italy).
12. In 1841, a collection of his lyric poetry was released.
13. Felice Romani made acquaintances with notable literary and musical people while he was there.
14. He declined the position of court poet in Vienna and instead launched a career as an opera librettist.
15. Norma, Bellini’s masterwork, is a tragedy set in ancient Gaul that has endured despite its initial failure.
16. Felice Romani was appointed as the librettist at La Scala after writing two librettos for composer Simon Mayr.
17. Felice Romani also penned a text for Verdi’s early play Un giorno di regno (originally for composer Adalbert Gyrowetz).
18. The bulk of the libretti Romani composed are based on French literature, and several, like Norma, incorporate mythical origins.
19. Between Metastasio and Boito, Romani was regarded as the best Italian librettist.
20. Bellini was certain that he would not write another Italian opera with anybody other than Romani after putting I puritani to a libretto by Carlo Pepoli.
21. Bellini moved to Paris after a brief stay in London in 1833.
22. Felice Romani declined to work in Paris, despite his love for French literature.
23. Romani created librettos for Bellini’s Il pirata, La straniera, Zaira, I Capuleti e I Montecchi, La sonnambula, Norma, and Beatrice di Tenda, as well as Rossini’s Il turco in Italia and Bianca e Falliero, and Donizetti’s Anna Bolena and L’elisir d’amore (which he adapted from Eu
24. Felice Romani appears to have gone through France, Spain, Greece, and Germany after declining a position at the University of Genoa, before returning to Milan in either 1812 or 1813.
25. Romani was seen to be a perfect fit for Bellini, who is recorded as saying, “Give me good words, and I’ll give you good music.”
26. Bellini’s popularity was inextricably linked to the bel canto style of his era’s great vocalists.
27. With almost a hundred libretti, Romani became the most well-known of all Italian librettists of his day.
28. Romani seldom collaborated closely with the composers who used his librettos, as was usual at the time.
29. Felice Romani wasn’t a reformer; his goals were Haydn’s and Mozart’s, and he aimed for clarity, the elegance of form and melody, and a strong relationship between text and music.
30. Felice Romani’s works with Bellini, in particular, were exemplars of bel canto opera’s golden age.
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