{"id":6022,"date":"2012-10-01T12:00:00","date_gmt":"2012-10-01T11:00:00","guid":{"rendered":"https:\/\/tactus.it\/tc671501-orlandini-giovanni-maria-il-giocatore-three-intermezzos-by-antonio-salvi\/"},"modified":"2021-12-11T16:30:10","modified_gmt":"2021-12-11T15:30:10","slug":"tc671501-orlandini-giovanni-maria-il-giocatore-three-intermezzos-by-antonio-salvi","status":"publish","type":"post","link":"https:\/\/www.tactus.it\/en\/tc671501-orlandini-giovanni-maria-il-giocatore-three-intermezzos-by-antonio-salvi\/","title":{"rendered":"&#8220;Il Giocatore&#8221; Three Intermezzos by Antonio Salvi"},"content":{"rendered":"<p>The intermezzo \u201cIl Giocatore\u201d by the Bolognese composer Giuseppe Maria ORLANDINI (Bologna, 1675 or 1688- Florence 1760) is, together with \u201cLa Serva Padrona\u201d by Giovan Battista Pergolesi and \u201cLa Zingara\u201d by Rinaldo da Capua, one of the most successful examples of the \u201cbuffo\u201d genre so in vogue and often inserted into the \u201cheroic operas\u201d of the eighteenth century.<br \/>\nThey were probably performed during the scene changes between acts, and the fact that this intermezzo, though completely unified in form and time, is subdivided into three parts, with the indication \u201ctre intermezzi\u201d, further supports this hypothesis.<br \/>\nBe that as it may, intermezzos rapidly acquired their own autonomy and artistic dignity, such that they enjoyed triumphant successes. This was an Italian phenomenon, even outside of Italy (the well-known Querelle des Buffons, which in Paris between 1752 and 1754 set the Italian \u201cbuffo\u201d style against the French \u201ctrag\u00e9die lyrique\u201d, owes much to the work in question).<br \/>\nThis trend in turn paved the way for the new musical theater which Gioacchino Rossini would later raise to fabulous levels of rhythm and style.<br \/>\nThough little known today, Orlandini was one of the greatest opera composers of his time. His works were successfully performed in Naples, Hamburg, Paris, London and St. Petersburg, and admired by Burney and the Frenchman De La Borde, who praised Orlandini in particular for the intermezzo \u201cIl Giocatore\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The intermezzo \u201cIl Giocatore\u201d by the Bolognese composer Giuseppe Maria ORLANDINI (Bologna, 1675 or 1688- Florence 1760) is, together with \u201cLa Serva Padrona\u201d by Giovan Battista Pergolesi and \u201cLa Zingara\u201d by Rinaldo da Capua, one of the most successful examples of the \u201cbuffo\u201d genre so in vogue and often inserted into the \u201cheroic operas\u201d of [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":6024,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[34],"tags":[],"class_list":["post-6022","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-late-baroque"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>&quot;Il Giocatore&quot; 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