The Concise Oxford Dictionary of Opera

By John Warrack; Ewan West | Go to book overview


'Pace, pace mio Dio'. Leonora's (sop) aria in Act IV of Verdi La forza del destino, opening with a long held note on sop, B♭, in which she prays for peace of mind.

Pacini,Giovanni (b Catania, 17 Feb. 1796; d Pescia, 6 Dec. 1867). Italian composer. Son of Luigi Pacini, the first Geronio in Il turco in Italia; began to study singing with Marchesi at the age of 12, and also worked at composition with Mattei and Furnaletto. His first opera, Don Pomponio ( 1813), was not produced, but his second, Annetta e Lucindo, was given in the same year. He continued to pour out operas (a dozen comedies in four years); but his first real success was an opera semiseria, Adelaide e Comingio ( 1817).

In 1820 he went to Rome, where his easy Rossinian manner enabled him to help Rossini himself by composing three numbers for Matilde di Shabran. Many works followed; his Naples début was with Alessandro nell'Indie ( 1824), which had 70 consecutive performances, and after the success of L'ultimo giorno di Pompei in 1825 he became music director of the Naples C. Here he was contracted to compose two operas a year. By 1830 he was one of the most successful opera composers in Italy: in 16 years he had produced almost 40 operas, including 11 corsaro ( 1831) for the inauguration of the rebuilt T Apollo in Rome. Especially after some failures in 1833, he realized that he was threatened by the growing reputation of Bellini and Donizetti. Accordingly he withdrew to found a music school at Viareggio, to which he devoted himself after the failure of Carlo di Borgogna in 1833. He made a comeback after the death of Bellini and retirement of Rossini with Saffo ( 1840), the most successful work in his new, more careful style and indeed his masterpiece. He continued to write successful works, especially La fidanzata corsa ( 1842), Maria, regina d'Inghilterra ( 1843), Medea ( 1843), Lorenzino de' Medici ( 1845), and Bondelmonte ( 1845); but with the rise of Verdi he was once more eclipsed. His last real success was Il saltimbanco ( 1858).

In his early works, Pacini took Rossini as his model, believing this to be the natural and successful way to write Italian opera, and he even copied Rossini's move towards a more serious manner. He was well aware of this, and of his carelessness; he relied on a fluency and dexterity which won him the respect of Rossini and Bellini, above all for his skill in writing singable melodies. In his middle works, he tried to improve on earlier weaknesses in harmony and orchestration; he helped to unify aria, ensemble, and chorus in the years before Verdi. For his pupils he wrote some theoretical treatises, and also left an entertaining autobiography.

Padilla y Ramos, Mariano. See ARTóT, DÉSIRÉE.

Padmâvatî. Opéra-ballet in 2 acts by Roussel; text by Louis Laloy, after an event in 13th-cent. Indian history. Prem. Paris, O, 1 June 1923.

India, 1540. The Mogul sultan Alaouddin (bar) proposes an alliance with Ratan-sen (ten), King of Tchitor. He is well received, but demands Ratan-sen's wife Padmâvatî (mez) as a condition; to this Ratan-sen reluctantly consents. A Brahmin (ten) who later asks for her to be handed over is stoned to death by the crowd riots. Alaouddin defeats Ratan-sen in battle, but rather than have the sin of betraying her rest on her husband's conscience, Padmâvatî stabs him. She therefore has to die on his funeral pyre.

'Padre, germani'. Ilia's (sop) aria in Act II of Mozart Idomeneo, expressing her guilt for loving a Greek, Idomeneo's son Idamante, whom as a Trojan princess she should hate.

Padre Guardiano. The Abbot (bs) of the monastery of Hornachuelos in Verdi La forza del destino.

Paer, Ferdinando (b Parma, 1 June 1771; d Paris, 3 May 1839). Italian composer. Studied Parma with Fortunati and Ghiretti. He won early success with his operas, and was made honorary maestro di capella in 1792; his most important early work was Griselda ( 1798), in the semiseria style that he particularly cultivated. As director of the Vienna, K. 1797-1801, he came to know Beethoven. The most striking successes of this period were Camilla ( 1799) and Achille ( 1801), whose funeral march was not the only


Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Cite this page

Cited page

Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
The Concise Oxford Dictionary of Opera
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Preface vii
  • Key to Vocal Compasses x
  • Abbreviations xi
  • A 1
  • B 28
  • C 72
  • D 112
  • E 144
  • F 157
  • G 181
  • H 218
  • I 241
  • J 251
  • K 259
  • L 277
  • M 305
  • N 356
  • O 370
  • P 384
  • Q 419
  • R 421
  • S 449
  • T 505
  • U 525
  • V 529
  • W 545
  • X 563
  • Y 564
  • Z 565


Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 571

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

    New feature

    It is estimated that 1 in 10 people have dyslexia, and in an effort to make Questia easier to use for those people, we have added a new choice of font to the Reader. That font is called OpenDyslexic, and has been designed to help with some of the symptoms of dyslexia. For more information on this font, please visit

    To use OpenDyslexic, choose it from the Typeface list in Font settings.

    OK, got it!

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search


    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.