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Composer: Giovanni Paisiello (1740-1816)
Work: Te Deum pour le couronnement de l'Empereur Napoléon (1804)
Performers: Solistes, choeur et Orchestre de la CapeIIa de Saint-Petersbourg; VIadisIav Tchernouchenko (direction)
Drawing: Gottfried Schadow (1764-1850) - Napoleon, realistically drawn, stands with his back to a small stage on which a play symbolizing the diplomatic and military situation in Europe is being performed (1813)
Image in high resolution: https://flic.kr/p/2kWNdvq
Painting: Élisabeth Vigée Le Brun (1755-1842) - Portrait of Giovanni Paisiello (1791)
Image in high resolution: https://flic.kr/p/2hr5ywA
Further info: https://www.amazon.es/Integral-Musica-Coronacion-Napoleon-Paisiello/dp/B000001SRQ
Listen free: No available
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Giovanni Paisiello
(Roccaforzata, 9 May 1740 - Naples, 5 June 1816)
Italian composer. He was one of the most successful and influential opera composers of the late 18th century. Paisiello received his education first at the Jesuit school in Taranto and then, between 1754 and 1763, at the Conservatorio di S Onofrio, Naples. At about the time he left the S Onofrio he attracted the attention of a young nobleman, Giuseppe Carafa, who appointed him musical director of the small opera company he was then forming. It was due to Carafa that Paisiello acquired his first commissions to write works for the Teatro Marsigli-Rosi, Bologna, in 1764. The second of these, 'I francesi brillanti', failed at its first performance but was more successful when it was transferred to Modena two weeks later. This led to a commission from Modena for some new music for an opera originally by Guglielmi, 'La donna di tutti i caratteri'. Paisiello’s revision, 'Madama l’umorista', contained much new music; its success led in turn to requests for new operas for other north Italian theatres. Paisiello regarded himself as Neapolitan, and preferred living and working in Naples to anywhere else. In 1766 he returned to Naples; as a freelance composer his chief activity was setting comic operas for the Nuovo and Fiorentini theatres, where his chief rival was Piccinni. But he was also happy to accept commissions for heroic operas for the S Carlo. The three operas staged at the S Carlo between June 1767 and May 1768 appear to indicate that the court, and in particular the King of Naples, Ferdinando IV, approved of his music. However, the royal approval seems to have been withdrawn, possibly because of Paisiello’s unusual behaviour over his marriage to a widow, Cecilia Pallini. In the summer of 1768 he signed a contract to marry her but then tried to withdraw from it, using various excuses. Pallini successfully appealed, and Paisiello was confined in prison until the marriage was solemnized on 15 September. He received no further recognition from the court until 1774, when his short 'Il divertimento de’ numi' was performed at the royal palace, and no further commission came from the S Carl
