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Updated: June 16, 2025
Wagner's own words leave no doubt as to what he thought. In one of his earliest writings he utters a prayer that German composers may one day write such melody and learn such treatment of the voice as are found in Bellini's Norma. Wagner's vocal melody was largely modelled on that of the Italians.
The wishes which he expressed in his short moments of respite, evinced the calm solemnity with which he contemplated the approach of death. He desired to be buried by the side of Bellini, with whom, during the time of Bellini's residence in Paris, he had been intimately acquainted. The grave of Bellini is in the cemetery of Pere LaChaise, next to that of Cherubini.
It would seem to have been painted quite early in the last decade of the fifteenth century, when Bellini's art would still be the predominant influence over the young artist. It is but a step onward to the next portrait, that of a young man, in the Gallery at Buda-Pesth, but the supreme distinction which marks this wonderful head stamps it as a masterpiece of portraiture.
It was here, as we may safely assume, that he completed, or, it may be, repaired, Giovanni Bellini's last picture, the great Bacchanal or Feast of the Gods on Earth, now at Alnwick Castle.
There was something of the sweet, youthful dignity of Giovanni Bellini's Madonnas of the Trees about the girl's bearing and the pose of the white throat; but the face was almost childlike in the candour and virginal innocence of its large brown eyes.
Bellini's music is quite the reverse of dramatic, but the melodies throughout 'La Sonnambula' are graceful and tender, and in the closing scene he rises to real pathos.
While Carpaccio has treated the historic scene in a poetic way, with quaint formality, Bellini's picture is full of truth and detail. "But," he continued, "Gentile Bellini's work, as art, fades in importance before that of his brother, Giovanni, who gave himself almost wholly to religious painting.
I believe I can tell you what they are, though." "Well?" "The 'Admiral, for one." "Yes. What others?" "The two Bellini's." "By Jove, you ARE uncanny!" Gyp laughed. "You want decision, clarity, colour, and fine texture. Is that right? Here's another of MY favourites."
There is that Pascale Salvini. He has a rival studio, and when that Genoese, Cristoforo Colombo, was here and made his stopping-place at Bellini's studio, Pascale told every one that Colombo was a lunatic and Bellini another, for encouraging him to show his foolish maps and charts.
I also set L'Attente from Hugo's Orientales, and Ronsard's song, Mignonne, to music. I next stumbled on the idea of writing a grand bass aria with a chorus, for Lablache to introduce into his part of Orovist in Bellini's Norma. Lehrs had to hunt up an Italian political refugee to get the text out of him.
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