Personne : Bernardo Mengozzi

D'une troupe

Role Troupe De à
chanteur
 Théâtre de Monsieur (Théâtre Feydeau) 1789 Inconnue

Titre Date Rôle
Aujourd’hui 1791-02-03 compositeur
Les Deux vizirs 1792-03-10 compositeur
Isabelle de Salisbury 1791-08-20 compositeur
Selico 1793-10-05 compositeur
L’Isola disabitata 1789-08-22 compositeur
Le Débat des muses 1791-12-31 compositeur
Les Habitants du Vaucluse 1799-06-01 compositeur
Brunet et Caroline 1799-07-05 compositeur
La Fausse mère 1795-05-19 compositeur
La Dame voilée 1799-11-28 compositeur
Une Faute par amour 1795-05-16 compositeur

Performance Rôle Troupe Date
Les Fausses apparences (1793-02-02) compositeur 1793-02-02

  • Sujet Grove Music Online
    Objet [extrait de:] Michel Noiray : 'Mengozzi, Bernardo', Grove Music Online ed. L. Macy (Accessed 14 June 2004), http://www.grovemusic.com :
    "Mengozzi [Mengocci, Mingozzi], Bernardo (b Florence, 1758; d Paris, Feb or March 1800). Italian composer and singer. He studied singing in Florence with Guarducci and at St Mark’s in Venice with Potenza. His name appears in two librettos for Sarti’s Le gelosie villane, performed in 1777 in Florence and in 1784 in Naples. His London début was in February 1787 as a tenor in the Haymarket company, to which his wife, the soprano Anna Benini, also belonged. The Mengozzis went to Versailles during the summer of 1787 with other singers from the Haymarket for performances of Italian opera buffa; they then settled in Paris, and in 1789 joined the company of the Théâtre de Monsieur, where Mengozzi became famous both as a singer and as the composer of many substitute arias. His Isola disabitata is a landmark in the history of opera in France, being the first serious opera performed in Italian in Paris since Cavalli’s Ercole amante. The most successful of his French operas seem to have been Isabelle de Salisburi and Selico, principally because of their spectacular element. Under the Directory Mengozzi spent some time in Bordeaux, and then returned to Paris to teach singing at the Conservatoire; he took an active part in the writing of the Méthode de chant du Conservatoire de Musique (1804) in collaboration with Garat, Cherubini and Langlé."
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