Luigi Allemandi (8 November 1903^[1] – 25 September 1978) was an Italian footballer who played as a defender.

Career[link]

Born in San Damiano Macra, province of Cuneo, he debuted in 1921 with A.C. Legnano. Later, he played with Juventus F.C., F.C. Internazionale Milano, A.S. Roma, S.S.C. Venezia and S.S. Lazio. He was a member of the Italian national team which won the 1934 World Cup. He died in Pietra Ligure, Province of Savona.

After debuting for the national team in 1925 he eventually won the left back position from Umberto Caligaris before their 1934 World Cup qualifying match against Greece. Vittorio Pozzo started him in every match, helping the Azzurri win the title. However, the part of his career that stands out is the corruption scandal in the Torino-Juventus derby in 1927 that resulted in Torino being stripped of their title. A manager from Torino offered Allemandi 50,000 lira to throw the game, 25,000 immediately and the rest after the match. Torino won the match 2–1, but when Allemandi went to collect the rest of the money he was refused. The confrontation was overheard by a journalist from the Tifone newspaper who then went public with the information. Along with Torino's title revocation, Allemandi was banned for life. He was later pardoned by Umberto of Savoy in 1928 and joined Ambrosiana-Inter.

References[link]

• La Gazzetta dello Sport

v t e Italy squad – 1934 FIFA World Cup Winners (1st Title) GK Cavanna GK Combi (c) GK Masetti DF Allemandi DF Caligaris DF Monzeglio DF Rosetta MF Bertolini MF Castellazzi MF Ferraris MF Monti MF Pizziolo MF Varglien FW Arcari FW Borel FW Demaria FW Ferrari FW Guaita FW Guarisi FW Meazza FW Orsi FW Schiavio Coach: Pozzo

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Luigi (ルイージ, Ruīji^?) is a fictional character, featured in video games and related media released by Nintendo. Created by prominent game designer Shigeru Miyamoto, Luigi is portrayed as the slightly younger fraternal twin brother of Nintendo's mascot Mario, and appears in many games throughout the Mario series, frequently as a sidekick to his brother and the deuteragonist of the series.

Luigi first appeared in the 1983 arcade game Mario Bros. as the character controlled by the second player, and retained this role in Super Mario Bros., Super Mario Bros. 3, Super Mario World, and other titles. The first game where he was available as a primary character was Super Mario Bros. 2. In more recent appearances, Luigi's role became increasingly restricted to spinoffs such as the Mario Party and Mario Kart series, though he has been featured in a starring role on two occasions: first in the 1991 educational game Mario is Missing, later in Luigi's Mansion for the Nintendo GameCube in 2001 and in Luigi's Mansion 2 for the 3DS. In both of these games, he is called upon to act as the hero because Mario, the usual hero within the franchise, is in need of rescue. Luigi has also appeared in every episode of the three DiC TV series based on the Nintendo Entertainment System and Super Nintendo Entertainment System games.

Originally developed as a palette swap of Mario with a green color scheme instead of red, Luigi has since developed a personality and style of his own. As his role in the Mario series progressed, Luigi evolved into a physically distinct character, taller and thinner than his brother. Although as kindhearted as Mario, Luigi is portrayed as timid and sometimes cowardly, especially in the presence of ghosts or when faced with seemingly impossible tasks to accomplish.

Concept and creation[link]

The events leading to Luigi's creation began in 1982, during the development of Donkey Kong, where the Nintendo designer Shigeru Miyamoto had created Mario (then known as "Jumpman") hoping that he would be able to recast the character in a variety of different roles in future games.^[1] Miyamoto had been inspired by the game Joust to create a game with a simultaneous two-player mode, which led to his development of the game Mario Bros. in 1983, with Luigi filling the role of Mario's brother as the second playable character.^[2] Luigi's name is said to have been inspired by a pizza parlor near Nintendo of America's headquarters in Redmond, Washington, called "Mario & Luigi's".^[2] Miyamoto observed that the word ruiji means "similar" in the Japanese language, and that Luigi was designed to have the same size, shape and gameplay of Mario.^[3]

While Mario was originally portrayed as a carpenter in Donkey Kong, the duo of Mario and Luigi in Mario Bros. were styled as Italian plumbers by Miyamoto, on the suggestion of a colleague.^[4] Software constraints of the time—similar to those that gave Mario his distinctive look in Donkey Kong—meant Luigi's first appearance was restricted to a simple palette swap of Mario designed to represent the second player. Graphically and in terms of gameplay, the characters were completely identical, except for their color schemes;^[5] the green color scheme adopted for Luigi would remain one of his defining physical characteristics in subsequent releases.

After the success of Mario Bros., Luigi was introduced to a wider audience in 1985 with the release of the console game Super Mario Bros. Once again his role was restricted to a palette swap of Mario, functioning as the second-player in a similar fashion to Mario Bros.. The subsequent Japan-only version of Super Mario Bros. 2 in 1986 (later released in the west as Super Mario Bros.: The Lost Levels) marked the beginning of Luigi's development toward becoming a more distinguished character. As with his previous appearances, Luigi remained a palette swap of Mario; however, his movement was no longer identical. Luigi could now jump higher and farther than his brother, at the expense of movement response and precision.^[6]

While this version of Super Mario Bros. 2 was released in Japan, it was deemed to be too difficult for American audiences at the time.^[4] In 1988, consequently, an alternative release was developed to serve as Super Mario Bros. 2 for western players (and later released in Japan as Super Mario USA); this version would play a key role in shaping Luigi's current appearance.^[4] The game was a conversion of Yume Kōjō: Doki Doki Panic, with the graphics altered to represent characters and scenes from the Mario franchise. In this release, the character of "Mama", who had the highest jump among the original cast, served as the template for Luigi, resulting in his taller, thinner look, combined with his Marioesque outfit and ubiquitous green color scheme. Official artwork for Super Mario Bros. 3 and Super Mario World depicts Luigi with this new look; but Nintendo of Japan would not adapt his artwork differences to his look in-game until the 1992 game Super Mario Kart. Luigi's distinctive appearance from the Yume Kōjō: Doki Doki Panic-inspired version of Super Mario Bros. 2 has been used ever since, even for remakes of games in which he was originally a palette swap.

This emblem appears on Luigi's hat and as a symbol for him in many game interfaces.

Actor portrayal[link]

Upon debuting on the Nintendo 64, Luigi received a voice, provided by Charles Martinet, who also voices Mario, Wario, Waluigi, and Toadsworth. Much like his appearance, Luigi's vocal portrayal has fluctuated over the years. When first introduced in Mario Kart 64, Luigi's voice was considerably lower in pitch than Mario's (although it was high pitched in the Japanese version^{[citation needed]}); however, in Mario Party, his voice has a much higher pitch, similar to Mario's voice (the same voice from the Japanese Mario Kart 64). He retained this higher voice in Mario Party 2. In Mario Golf, Mario Tennis, and Mario Party 3, his voice returned to a lower state. Since then, with the exceptions of Mario Kart: Super Circuit and Super Smash Bros. Melee, Luigi has consistently had a medium-pitched voice. In Mario Kart: Super Circuit, Luigi's voice was the same high voice from the Japanese Mario Kart 64. In Super Smash Bros. and Super Smash Bros. Melee, Luigi's voice is made up of clips from Mario's voice taken from Super Mario 64, with raised pitches. In Super Smash Bros. Brawl, he has his own voice (which is medium-pitched) instead of a pitched-up version of Mario's.

Characteristics[link]

Luigi is portrayed as the taller, younger brother of Mario, and he is usually seen dressed in green with overalls.^[7] Although Luigi is a plumber,^[7] like his brother, other facets of his personality vary from game to game. Luigi always seems nervous and timid but is good-natured and not as quick to anger as his more famous brother.

While it has not been made official, Daisy may be Luigi's romantic interest. They were a romantic couple in the Super Mario Bros. film^{[citation needed]} and in Mario Kart Wii they are seen in statue dancing together.^{[citation needed]} She was his caddy in NES Open Tournament Golf^[8] as Peach was to Mario. Also on Daisy's trophy in Super Smash Bros. Melee, it says that she is possibly Luigi's answer to Mario's Peach.^{[citation needed]}

Appearances[link]

[edit] Mario series

Luigi's first appearance was in the 1983 arcade game Mario Bros.^[7] as the character controlled by the second player. He retained this role in Wrecking Crew. He later appeared in Super Mario Bros.^[7] for the NES, and again in Super Mario Bros.: The Lost Levels, Super Mario Bros. 2, Super Mario Bros. 3, and Super Mario World. Super Mario Bros. 2 introduced Luigi as the taller of the two brothers, as well as the better jumper. Super Mario Bros. 3, and Super Mario World returned to featuring Luigi as a reskinned Mario. He made a minor appearance in his baby form in Super Mario World 2: Yoshi's Island. Beginning with Super Mario 64, Luigi made no appearances in main Mario titles, including the sequel Super Mario Sunshine. However, the Nintendo DS remake of Super Mario 64 features him as a playable character alongside Mario, Yoshi, and Wario. He received his own starring role in the Nintendo GameCube video game Luigi's Mansion, where he wins a mansion from a contest he never entered, and saves Mario from King Boo. Luigi became playable in the Nintendo DS game New Super Mario Bros. as a hidden character, and as a hidden character in the Wii game Super Mario Galaxy. In its sequel, Super Mario Galaxy 2, the player can switch out for Luigi throughout the game.^[9] He also appears as a playable character in New Super Mario Bros. Wii, where four players can play at once cooperatively as Mario, Luigi, and two Toads. He will star in the upcoming Luigi's Mansion 2.^[10] He also appears in Super Mario 3D Land as a playable character.

Appearance in other games[link]

Luigi appears in all of the Mario spin-offs, including Mario Kart, Mario Party, and Mario sports titles. He also appears in all installments of the Super Smash Bros. series as an unlockable character in each.

Luigi has appeared in every Mario role-playing game. While he originally made a cameo appearance in the end credits of Super Mario RPG: Legend of the Seven Stars, he appears more prominently in the Paper Mario series. He is a non-playable character in the original Paper Mario. In the sequel Paper Mario: The Thousand-Year Door, he appears yet again as a non-playable character, going on a separate adventure from Mario's. Super Paper Mario features him as a playable character after he is initially brainwashed into working for the antagonist under the name "Mr. L". The Mario & Luigi series features Luigi as a main protagonist; the events of the game focus on him and his brother Mario. He has appeared in all three Mario & Luigi games, Mario & Luigi: Superstar Saga, Mario & Luigi: Partners in Time, and Mario & Luigi: Bowser's Inside Story.

Other media[link]

Luigi made his animated debut in the 1986 Original video animation Super Mario Bros.: The Great Mission to Save Princess Peach. In the film, he was voiced by Yū Mizushima and had a different color sceme than he has today, sporting a blue cap, blue overalls, and a yellow shirt. This was because he was not yet given a consistent color scheme. In the OVA, Luigi was very greedy and even left Mario at one point to look for coins. He was also a little more serious than his brother Mario, who constantly would daydream about Princess Peach, although he is not as brave as Mario.^{[citation needed]}

Luigi later made an appearance in the third of a trilogy of OVAs released in 1989, in which the Mario characters acted out the story of Snow White. He appears at the end of the video to save Mario and Peach from the Wicked Queen, portrayed by Bowser (called "Koopa" in Japan).^{[citation needed]}

Luigi regularly appeared in The Super Mario Bros. Super Show!, airing from 1989 to 1990, which cast Danny Wells as both his live-action portrayal and voice. Like his brother, Luigi's voice actor changed in later cartoons, in his case to Tony Rosato. Even though he was not the starring character in the show, Luigi appeared in every episode of the three DiC Mario cartoons (ninety-one episodes in total), in one of which Mario himself did not appear.^{[citation needed]}

Luigi played a different role in the Super Mario Bros. film, where he was portrayed by John Leguizamo.^[11] He was a more easy-going character in contrast to the cynical Mario (played by Bob Hoskins^[11]) in the film.

Luigi has also appeared in several Robot Chicken sketches, always alongside Mario.^{[citation needed]} In one sketch, he and Mario accidentally appear in Vice City, from the Grand Theft Auto series, while another features them competing in a Cannonball Run-styled car race.^{[citation needed]}

Reception[link]

Since his appearance in Super Mario Bros., Luigi has received generally positive reception. Nintendo Power listed Luigi as their fifth favourite hero, citing his dependability while describing him as being an underdog. They also listed him as having one of the best mustaches.^[12] GameDaily listed the "neglected guy" as one of their top 25 video game archetypes, citing Luigi as an example and stating that he lacks the charisma of his brother Mario and that he should get another starring role.^[13] They also listed Luigi's Poltergust 3000 from Luigi's Mansion as one of the top 25 Nintendo gimmicks.^[14] UGO Networks ranked Luigi at #16 on their "25 Most Memorable Italians in Video Games" list, ranking him over Mario himself.^[15]

Luigi has been featured in many "Top Sidekicks" lists. Machinima placed Luigi as the best sidekick on gaming on their "Top 10 Sidekicks in Gaming" list.^[16] He was also listed as the best sidekick in video games by Maximum PC.^[17] IGN ranked him at #2 on their top 10 list, commenting "No pair illustrates brotherly love like Mario and Luigi".^[18] Luigi is also ranked at #2 on ScrewAttack's top 10 list, where they comment that even though does everything Mario does, he gets none of the glory.^[19] WhatCulture listed him at #5 on their top 20 list, adding that a Mario game doesn't seem like a Mario game without Luigi.^[20] Maxim listed Luigi as the second most underrated sidekick.^[21]

References[link]

External links[link]

	Book: Mario series characters
Wikipedia books are collections of articles that can be downloaded or ordered in print.

	Mario portal
	Fictional characters portal

• Luigi at the Internet Movie Database
• Nintendo's official website
• Mario Bros. at the Killer List of Videogames

Lucia Aliberti (born 17 September 1961 ^[1] in Messina) is a prominent Sicilian soprano opera singer. She is much appreciated for her performances of the bel canto roles of , Bellini, Gioacchino Rossini, Donizetti, Giuseppe Verdi, Giacomo Puccini, Vivaldi, Mercadante, etc.

A dramatic soprano of vocal agility, Lucia Aliberti was awarded a diploma with full marks from the Conservatory while still very young. She then completed her studies in Rome with Maestro Luigi Ricci and continued the study with Alfredo Kraus. She is considered one of the most complete artists of the new generation. Musician and composer, while studying singing, she was also studying the piano and other musical instruments (guitar, accordion, violin, mandolin). She has composed many pieces for piano, clarinet, flute and singing. Her natural vocal talents are enhanced by a technique which allows her to sustain even the most difficult parts in the "belcanto" repertory. International critics have also underlined her particular stage presence and dramatic capabilities.

Career[link]

She began her artistic career in Spoleto at the "Festival dei Due Mondi", under the direction of Giancarlo Menotti. She has sung in the world's major theatres: Metropolitan Opera in New York, the Washington Opera, Covent Garden in London, the Deutsche Oper of Berlin, the Munich State Opera, the Hamburg State Opera, the Staatstheater in Stuttgart, the Tonhalle Düsseldorf, Oper der Stadt Köln, Konzerthaus Die Glocke Bremen, Alte Oper Frankfurt, the Staatsoper Wien, Graz, Gebouw in Amsterdam, La Scala in Milan, Rome the Opera Theatre, the S.Carlo Naples, Theatre M.Bellini in Catania, the Grand Opera in Geneva, Lausanne, the Opernhaus in Zurich, Suntory Hall in Tokyo, Osaka, Nagoya, Seoul, the Théâtre de la Monnaie in Brussels, the Stockholm Opera in Oslo, the Bolshoi in Moscow, in National Theatre Kiev, Colón Theatre in Buenos Aires, Budapest Erkel Theatre, Warsaw National Opera, Théâtre des Champs-Élysées in Paris, Toulouse, Saint Étienne, Montpellier Festivals, Teatro Real Madrid, Valencia, Bilbao, the Philarmonia in Zagreb, Dubrovnik Festivals, Split, Tivoli Festival Copenhagen, Grosse Festspielhaus Salzburg,Bangkok[University Philarmonia].

Lucia Aliberti is a requested artists for international gala concerts. She sung for His Holiness Pope Wojtila celebrating the Jubilee of the Family in Saint Peter's Square with worldwide TV broadcast and at Nervi Hall (Vatican) a concert for the Immaculate Mary; she has been the guest star at "Cinema for Peace" during the Berlin Film Festival; for Prince Charles of England in Paris at the Auditorium of the United Nations; for Aga Khan; the German Chancellors Helmut Kohl and Gerhard Schröder; for the Royal Family of Liege; for the Royal Family of Holland; for the Prince of Japan Hiro (in Tokyo a restaurant is named after her "Restaurant Lucia"). Also galas for Mercedes, BMW, Volkswagen, FIAT, at the Formula 1 Grand Prix of Monte Carlo, for UNICEF,UNESCO and UNITALSI. Lucia Aliberti sang at Sporting Club in Monte Carlo in a special gala in honour of Prince Albert of Monaco. She performed in honour of the German President Horst Kohler at the Presidential residence "Schloss Bellevue", she has sung in a special gala in honour of Queen Sirikit in Bangkok and guest star during the international cinema price "Diva" in Munich.

Operatic repertoire[link]

She is considered a specialist in the repertory of Vincenzo Bellini (she has also dedicated intense study to some of his manuscripts). The other most important composer in her repertory are Donizetti, Rossini and Verdi. Several operas of these composers have become her most successful roles:

• Lucia di Lammermoor (Lucia)
• Anna Bolena (Anna)
• Lucrezia Borgia (Lucrezia)
• Beatrice di Tenda (Beatrice)
• Maria Stuarda (Maria)
• Norma (Norma)
• La Sonnambula (Amina)
• I Puritani (Elvira)
• Il Pirata (Imogene)
• La Straniera (Alaide)
• I Capuleti e i Montecchi (Giulietta)
• Semiramide (Semiramide)
• La traviata (Violetta)
• Simon Boccanegra (Maria)
• Luisa Miller (Luisa)
• Rigoletto (Gilda)

Honors and awards[link]

Lucia Aliberti has received two prestigious European Prizes: The "Goldene Feder" in Hamburg, the "Premio Callas" from the Association of Opera Friends of Milan, Iso D'Oro in Graz, Austria.

Recordings of complete operas[link]

• Beatrice di Tenda (Beatrice), Martin Thompson (Orombello), Camille Capasso (Agnese), Paolo Gavenelli (Fillipo) - Chor und Orchester der Deutschen Oper Berlin - Fabio Luisi (conductor) - (Berlin Classics)
• Il Pirata (Imogene), Stuart Neill, Roberto Frontali, Kelly Anderson - Chor und Orchester der Deutschen Oper Berlin - Marcello Viotti (conductor) - (Berlin Classics)
• La Sonnambula (Amina), John Aler (Elvino), Francesco Ellero d'Artegna (Rodolfo), Iris Vermillion (Teresa), Jane Giering (Lisa), Friedrich Molsberger (Alessio), Warren Mok (Il Notario) - Chor und Orchester der Deutschen Oper Berlin - Jesús López-Cobos (conductor), live recording, February Deutsche Oper Berlin (BMG Classics)
• La Straniera (Alaide), Vincenzo Bello, Roberto Frontali, Sara Mingardo, Carlo Striuli - Orchestra del Teatro Verdi di Trieste - Gianfranco Masini (conductor) - (BMG Ricordi)
• La traviata (Violetta Valery), Peter Dvorský (Alfredo Germont), Renato Bruson (Giorgio Germont) - Fujiwara Opera Chorus and Tokyo Philharmonic Orchestra - Roberto Paternostro (conductor), live recording, Tokyo (Capriccio/Delta Music)

Recitals[link]

• "Famous Opera Arias" - Münchner Rundfunkorchester - Lamberto Gardelli (conductor) - (Orfeo)
• "A Portrait" - Nordwestdeutsche Philharmonie - Peter Feranec (conductor) - (RCA/BMG Classics)
• "Viva! Belcanto" - Orchestra Sinfonica Di Milano G. Verdi - Patrick Fournillier (conductor) - (RCA/BMG Classics)
• "Verdissimo" - Orchestra Sinfonica e Coro Sinfonico di Milano Giuseppe Verdi - Oleg Caetani (conductor) - (Deag Music/Warner Music)

DVD[link]

• Lucia Aliberti - Live at Semperoper Dresden - DVD 88697 19045 9 / RCA Red Seal - SonyBMG

External links[link]

• Lucia Aliberti's website
• Lucia Aliberti's Facebook Fanpage
• Lucia Aliberti's myspace

References[link]

1. ^ Munzinger Archiv

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (December 2011)

Gaetano Donizetti.

Domenico Gaetano Maria Donizetti (Italian pronunciation: [doˈmeːniko ɡaeˈtaːno maˈɾia doniˈdzetti]; 29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. His best-known works are the operas L'elisir d'amore (1832), Lucia di Lammermoor (1835), and Don Pasquale (1843), all in Italian, and the French operas La favorite and La fille du régiment (both from 1840). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera.

Biography[link]

Gaetano Donizetti.

The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter located just outside the city walls. His family was very poor with no tradition of music, his father being the caretaker of the town pawnshop. Nevertheless, Donizetti received some musical instruction from Simon Mayr, a German composer of internationally successful operas who had become maestro di cappella at Bergamo's principal church in 1802.

Donizetti was not especially successful as a choirboy, but in 1806 he was one of the first pupils to be enrolled at the Lezioni Caritatevoli school, founded by Mayr, in Bergamo through a full scholarship. He received detailed training in the arts of fugue and counterpoint, and it was here that he launched his operatic career. After some minor compositions under the commission of Paolo Zancla, Donizetti wrote his ninth opera, Zoraida di Granata. This work impressed Domenico Barbaia, a prominent theatre manager, and Donizetti was offered a contract to compose in Naples. Writing in Rome and Milan in addition to Naples, Donizetti achieved some popular success in the 1820s (although critics were often unimpressed), but was not well known internationally until 1830, when his Anna Bolena was premiered in Milan. He almost instantly became famous throughout Europe. L'elisir d'amore, a comedy produced in 1832, came soon after, and is deemed one of the masterpieces of 19th-century opera buffa (as is his Don Pasquale, written for Paris in 1843). Shortly after L'elisir d'amore, Donizetti composed Lucia di Lammermoor, based on the Sir Walter Scott novel The Bride of Lammermoor. It became his most famous opera, and one of the high points of the bel canto tradition, reaching stature similar to Bellini's Norma.

After the success of Lucrezia Borgia (1833) consolidated his reputation, Donizetti followed the paths of both Rossini and Bellini by visiting Paris, but his opera Marin Faliero suffered by comparison with Bellini's I puritani, and he returned to Naples to produce his already-mentioned masterpiece, Lucia di Lammermoor. As Donizetti's fame grew, so did his engagements, as he was further hired to write in both France and Italy. In 1838, he moved to Paris after the Italian censor objected to the production of Poliuto (on the grounds that such a sacred subject was inappropriate for the stage); there he wrote La fille du régiment, which became another success.

As a conductor, he led the premiere of Rossini's Stabat Mater.

Donizetti's wife, Virginia Vasselli, gave birth to three children, none of whom survived. Within a year of his parents' deaths, his wife, on 30 July 1837, died from cholera. By 1843, Donizetti exhibited symptoms of syphilis and probable bipolar disorder. After being institutionalized in 1845, he was sent to Paris, where he could be cared for. After visits from friends, including Giuseppe Verdi, Donizetti was sent back to Bergamo, his hometown. After several years in the grip of insanity, he died in 1848 in the house of the noble family Scotti. After his death Donizetti was buried in the cemetery of Valtesse but in the late 19th century his body was transferred to Bergamo's Basilica of Santa Maria Maggiore near the grave of his teacher Simon Mayr.

Donizetti is best known for his operatic works, but he also wrote music in a number of other forms, including some church music, a number of string quartets, and some orchestral works.

He was the younger brother of Giuseppe Donizetti, who had become, in 1828, Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808–1839).

Works[link]

Gaetano Donizetti

Donizetti was a prolific composer. He composed about 75 operas, 16 symphonies, 19 string quartets, 193 songs, 45 duets, 3 oratorios, 28 cantatas, instrumental concertos, sonatas, and other chamber pieces.

Operas[link]

1816–1819[link]

• Il Pigmalione (written 1816; premiere: 13 October 1960, Teatro Donizetti, Bergamo)
• Olimpiade (1817, incomplete, libretto by Metastasio)
• L'ira di Achille (1817)
• Enrico di Borgogna (14 November 1818, Teatro San Luca, Venice)
• Una follia (17 December 1818, Teatro San Luca, Venice) (lost)
• I piccioli virtuosi ambulanti (1819), opera buffa in one act
• Pietro il Grande zar di tutte le Russie ossia Il Falegname di Livonia (26 December 1819, Teatro San Samuele, Venice),

1820–1824[link]

• Le nozze in villa (1820; 1821? Teatro Vecchio, Mantua)
• Zoraida di Granata or Zoraïda di Granata (28 January 1822, Teatro Argentina, Rome, rev. 7 January 1824 at the same theatre)
• La Zingara (12 May 1822, Teatro Nuovo, Naples)
• La lettera anonima (29 June 1822, Teatro del Fondo, Naples)
• Chiara e Serafina, ossia I pirati (26 October 1822, Teatro alla Scala, Milan)
• Alfredo il grande (2 July 1823, Teatro San Carlo, Naples)
• Il fortunato inganno (3 September 1823, Teatro Nuovo, Naples)
• L'ajo nell'imbarazzo (4 February 1824, Teatro Valle, Rome)
• Emilia di Liverpool (L'eremitaggio di Liverpool) (28 July 1824, Teatro Nuovo, Naples)

1825–1829[link]

• Alahor in Granata (7 January 1826 Teatro Carolino, Palermo)
• Don Gregorio [rev of L'ajo nell'imbarazzo] (11 June 1826, Teatro Nuovo, Naples)
• Elvida (6 July 1826, Teatro San Carlo, Naples)
• Gabriella di Vergy (written: 1826; premiere: 29 November 1869, Teatro San Carlo, Naples) (Gabriella)
• Olivo e Pasquale (7 January 1827 Teatro Valle, Rome)
• Olivo e Pasquale [rev] (1 September 1827, Teatro Nuovo, Naples)
• Otto mesi in due ore (13 May 1827, Teatro Nuovo, Naples) (Gli esiliati in Siberia)
• Il borgomastro di Saardam (19 August 1827, Teatro del Fondo, Naples)
• Le convenienze ed inconvenienze teatrali, also known as Viva la mamma (21 November 1827, Teatro Nuovo, Naples)
• L'esule di Roma, ossia Il proscritto (1 January 1828, Teatro San Carlo, Naples)
• Emilia di Liverpool [rev] (8 March 1828, Teatro Nuovo, Naples)
• Alina, regina di Golconda (12 May 1828, Teatro Carlo Felice, Genoa)
• Gianni di Calais (2 August 1828, Teatro del Fondo, Naples)
• Il paria (12 January 1829, Teatro San Carlo, Naples)
• Il giovedi grasso (Il nuovo Pourceaugnac) (26 February 1829?, Teatro del Fondo, Naples)
• Il castello di Kenilworth (6 July 1829, Teatro San Carlo, Naples)
• Alina, regina di Golconda [rev] (10 October 1829, Teatro Valle, Rome)

1830–1834[link]

• I pazzi per progetto (6 February 1830, Teatro San Carlo, Naples)
• Il diluvio universale (28 February 1830, Teatro San Carlo, Naples)
• Imelda de' Lambertazzi (5 September 1830, Teatro San Carlo, Naples)
• Anna Bolena (26 December 1830, Teatro Carcano, Milan)
• Le convenienze ed inconvenienze teatrali [rev of Le convenienze teatrali] (20 April 1831, Teatro Canobbiana, Milan)
• Gianni di Parigi (written: 1831; premiere: 10 September 1839, Teatro alla Scala Milan)
• Francesca di Foix (30 May 1831, Teatro San Carlo, Naples)
• La romanzesca e l'uomo nero (or La romanziera e l'uomo nero) (18 June 1831, Teatro del Fondo, Naples) (arias and ensembles survive but spoken dialogue is lost)
• Fausta (12 January 1832, Teatro San Carlo, Naples)
• Ugo, conte di Parigi (13 March 1832, Teatro alla Scala Milan)
• L'elisir d'amore (12 May 1832, Teatro Canobbiana, Milan)
• Sancia di Castiglia (4 November 1832, Teatro San Carlo, Naples)
• Il furioso all'isola di San Domingo (2 January 1833, Teatro Valle, Rome)
• Otto mesi in due ore [rev] (1833, Livorno)
• Parisina (17 March 1833, Teatro della Pergola, Florence)
• Torquato Tasso (9 September 1833, Teatro Valle, Rome)
• Lucrezia Borgia (26 December 1833, Teatro alla Scala Milan)
• Il diluvio universale [rev] (17 January 1834, Teatro Carlo Felice, Genoa)
• Rosmonda d'Inghilterra (27 February 1834, Teatro della Pergola, Florence)
• Maria Stuarda [rev] (Buondelmonte) (18 October 1834, Teatro San Carlo, Naples)
• Gemma di Vergy (26 October 1834, Teatro alla Scala Milan)

1835–1839[link]

• Maria Stuarda (30 December 1835, Teatro alla Scala Milan)
• Marin Faliero (12 March 1835, Théâtre-Italien, Paris)
• Lucia di Lammermoor (26 September 1835, Teatro San Carlo, Naples)
• Belisario (4 February 1836, Teatro La Fenice, Venice)
• Il campanello di notte (1 June 1836, Teatro Nuovo, Naples)
• Betly, o La capanna svizzera (21 August 1836, Teatro Nuovo, Naples)
• L'assedio di Calais (19 November 1836, Teatro San Carlo, Naples)
• Pia de' Tolomei (18 February 1837, Teatro Apollo, Venice)
• Pia de' Tolomei [rev] (31 July 1837, Sinigaglia)
• Betly [rev] ((?) 29 September 1837, Teatro del Fondo, Naples)
• Roberto Devereux (28 October 1837, Teatro San Carlo, Naples)
• Maria de Rudenz (30 January 1838, Teatro La Fenice, Venice)
• Gabriella di Vergy [rev] (written: 1838; August 1978 recording, London)
• Poliuto (written: 1838; premiere: 30 November 1848, Teatro San Carlo, Naples)
• Pia de' Tolomei [rev 2] (30 September 1838, Teatro San Carlo, Naples)
• Lucie de Lammermoor [rev of Lucia di Lammermoor] (6 August 1839, Théâtre de la Renaissance, Paris)
• Le duc d'Albe (written: 1839; premiere: 22 March 1882, Teatro Apollo, Rome) (Il duca d'Alba)

1840–1845[link]

• Lucrezia Borgia [rev] (11 January 1840, Teatro alla Scala Milan)
• Poliuto [rev] (Les martyrs) (10 April 1840, Paris Opera (Salle Le Peletier)
• La fille du régiment (11 February 1840, Opéra-Comique, Paris)
• L'ange de Nisida (1839; ?)
• Lucrezia Borgia [rev 2] (31 October 1840, Théâtre-Italien, Paris)
• La favorite [rev of L'ange de Nisida] (2 December 1840, Paris Opera (Salle Le Peletier)
• Adelia (11 February 1841, Teatro Apollo, Rome)
• Rita (Deux hommes et une femme) (written: 1841; premiere: 7 May 1860, Opéra-Comique, Paris)
• Maria Padilla (26 December 1841, Teatro alla Scala Milan)
• Linda di Chamounix (19 May 1842, Kärntnertortheater, Vienna)
• Linda di Chamounix [rev] (17 November 1842, Théâtre-Italien, Paris)
• Caterina Cornaro (18 January 1844, Teatro San Carlo, Naples)
• Don Pasquale (3 January 1843, Théâtre-Italien, Paris)
• Maria di Rohan (5 June 1843, Kärntnertortheater, Vienna)
• Dom Sébastien (13 November 1843, Paris Opera (Salle Le Peletier)
• Dom Sébastien [rev] (6 February 1845, Kärntnertortheater, Vienna)

Choral works[link]

Orchestral works[link]

Concertos[link]

Chamber works[link]

Piano works[link]

Media[link]

	"Una furtiva lagrima" "Una furtiva lagrima" from L'elisir d'amore. Sung by Enrico Caruso in 1911 for the Victor Talking Machine Company. Prelude to Lucia di Lammermoor Le beau vingt-et-unième from Donizetti's opera La fille du régiment, performed by Atelier Vocal des Herbiers
Problems listening to these files? See media help.

Quotations[link]

• "Ah, by Bacchus, with this aria I shall receive universal applause. People will say to me, “Bravo maestro!”

I, in a very modest manner, shall walk about with bowed head; I’ll have rave reviews…I can become immortal…

My mind is vast, my genius swift...

And at composing, a thunderbolt am I."

(From a poem composed by 14-year-old Gaetano Donizetti)

• "Donizetti, when asked which of his own operas he thought the best, spontaneously replied, 'How can I say which? A father always has a preference for a crippled child, and I have so many.'" (Louis Engel: "From Mozart to Mario", 1886)

References[link]

Sources

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2007)

• Allitt, John Stewart, Gaetano Donizetti – Pensiero, musica, opere scelte, Milano: Edizione Villadiseriane, 2003
• Allitt, John Stewart, Donizetti – in the light of romanticism and the teaching of Johann Simon Mayr, Shaftesbury, Dorset, UK: Element Books, 1991. Also see Allitt's website http://www.johnstewartallitt.com/
• Ashbrook, William: Donizetti and his Operas, Cambridge:Cambridge University Press 1982. Ashbrook also wrote an earlier life entitled Donizetti in 1965.
• Bini, Annalisa and Jeremy Commons, Le prime rappresentazioni delle opere di Donizetti nella stampa coeva, Milan: Skira, 1997
• Black, John, Donizetti's Operas in Naples 1822–1848, London: The Donizetti Society, 1982
• Cassaro, James P., Gaetano Donizetti – A Guide to Research, New York: Garland Publishing. 2000
• Gossett, Philip, "Anna Bolena" and the Artistic Maturity of Gaetano Donizetti, Oxford: Oxford University Press, 1985
• Kantner, Leopold M (Ed.), Donizetti in Wien, papers from a symposium in various languages (ISBN 3-7069-0006-8 / ISSN 156,00-8921). Published by Primo Ottocento, available from Edition Praesens.
• Keller, Marcello Sorce, "Gaetano Donizetti: un bergamasco compositore di canzoni napoletane", Studi Donizettiani, III(1978), 100- 107.
• Keller, Marcello Sorce, "Io te voglio bene assaje: a Famous Neapolitan Song Traditionally Attributed to Gaetano Donizetti", The Music Review, XLV (1984), no. 3- 4, 251- 264. Also published as: "Io te voglio bene assaje: una famosa canzone napoletana tradizionalmente attribuita a Gaetano Donizetti, La Nuova Rivista Musicale Italiana, 1985, no. 4, 642- 653.
• Minden, Pieter (Ed.): Gaetano Donizetti (1797-1848): Scarsa Mercè Saranno. Duett für Alt und Tenor mit Klavierbegleitung [Partitur]. Mit dem Faksimile des Autographs von 1815. Tübingen : Noûs-Verlag, 1999. - 18 pp., [13] fol.; ISBN 3-924249-25-3. [Caesar vs. Cleopatra.]
• Sadie, Stanley (Ed.), The New Grove Dictionary of Music and Musicians, Volume 7, London: Macmillan Publishers Ltd., 2001, pp. 761–796. The 1980 edition article, by William Ashbrook and Julian Budden, was also reprinted in The New Grove Masters of Italian Opera, London: Papermac, 1984, pp. 93–154.
• Sadie, Stanley (Ed.), The New Grove Dictionary of Opera, Volume 1, London: Macmillan Publishers Ltd., 1997, pp. 1201–1221.
• Saracino, Egidio (Ed.), Tutti I libretti di Donizetti, Garzanti Editore, 1993.
• Weinstock, Herbert, Donizetti and the World of Opera in Italy, Paris and Vienna in the First Half of the Nineteenth Century, New York: Random House, 1963.
• Petténi, Giuliano Donati, Donizetti, Milano: Fratelli Treves Editori, 1930
• Zavadini, Guuido, Donizetti: Vita – Musiche- Epistolario, Bergamo, 1948

External links[link]

Wikimedia Commons has media related to: Gaetano Donizetti

• Donizetti Society website
• Donizetti works at Casa Ricordi
• List of Donizetti operas at opera.stanford.edu
• Donizetti article on Manitoba Opera website
• Donizetti biography on Arizona Opera website
• 2 Donizetti libretti on intratext.com

Sheet music

• Free scores by Gaetano Donizetti at the International Music Score Library Project
• Free scores by Gaetano Donizetti in the Choral Public Domain Library (ChoralWiki)

Recordings

• Donizetti cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.

Medal record
Men's canoe slalom
Competitor for  Italy
World Championships
Bronze	2007 Foz do Iguaçu	C-2
European Championships
Bronze	2008 Kraków	C-2

Andrea Benetti (born 28 June 1980) is an Italian slalom canoer who has competed since the late 1990s.

He won a bronze medal in the C-2 event at the 2007 ICF Canoe Slalom World Championships in Foz do Iguaçu and again at the 2008 European Championships in Kraków.

Benetti also competed in two Summer Olympics, earning his best finish of fifth in the C-2 event at Beijing in 2008.

His partner for most of his career has been Erik Masoero.

References[link]

• ICF medalists for Olympic and World Championships - Part 2: rest of flatwater (now sprint) and remaining canoeing disciplines: 1936-2007.
• Sports-reference.com profile

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