their adaptation to the voice. He was a master of the art of vocalization, the typical exponent of the old Italian school of singing.
Other important singing-teachers were Domenico Gizzi (d. 1745), and his pupil Francesco Feo (d. after 1740), an accomplished composer of church music, 6 operas (1713-31) and an oratorio (1739), his learning and versatility giving him much renown.
Francesco Durante (d. 1755), though not himself a secular composer (see sec. 122), stands with Scarlatti and Leo as a leader in shaping the Neapolitan style, because under him as head of one of the conservatories were trained almost all the versatile opera-writers by whom that style became powerful throughout Europe. His influence told for clearness and elegance of melody, with attention to breadth and brilliance of general effect. He helped also to raise the standard of orchestral writing, especially as concerns the wind parts.
Leonardo Leo (d. 1744), born near Naples in 1694, pupil of Fago and Scarlatti at Naples and of Pitoni at Rome, won renown by an oratorio in 1712 and an opera in 1714, rapidly advanced as a teacher and was welcomed as a gifted composer. Among his many pupils were Pergolesi, Jommelli and Piccinni. Besides excellent sacred music (see sec. 122), he wrote about 60 operatic works, with a few oratorios, in a style of expressiveness and charm, rising often to grandeur and passion. His success extended to other Italian cities besides Naples. In the handling of the orchestra he surpassed Scarlatti, as well as in suavity of melody. He often utilized texts by librettists like Zeno and Metastasio.
Giuseppe Porsile (d. 1750), born at Naples, after serving for a short time at the Spanish court, from about 1711 was at Vienna, employed by the Empress Amalie. In 1715, at the suggestion of Fux, he entered the Imperial Chapel, where from 1720 he was 'composer.' His works (from 1719) were almost wholly dramatic, including perhaps 20 operas or similar works (as Spartaco, 1726) and 13 oratorios (as Giuseppe riconosciuto, 1733), all written for Vienna and representing a fusion of styles.
Leonardo Vinci (d. 1732), a pupil of Greco, for a time royal choirmaster at Naples, and finally a monk, left a surprising number of works, almost all dramatic (from 1719), which were very popular, especially at Naples and Venice. They include nearly 40 operas, the earlier comic (as Lo cecato fauzo, 1719), and the later serious (as Ifigenia in Tauride and Astianatte, 1725), besides oratorios and some church music.
Other composers after 1725 include Girolamo Abos (d. 1786), a pupil of Leo and Durante, with 14 operas (from 1730) at Naples, Venice, Rome, London, etc.; Francesco Araja (d. c. 1767), who was at St. Petersburg in 1735-59, with over 10 operas (from 1730), first at Florence, Rome and Venice, but mostly at the Russian court, including (1751-5) the first operas in Russian; Gaetano Latilla (d. c. 1789), pupil of Gizzi, for a time from 1738 choirmaster at Sta. Maria Maggiore in Rome and from 1756 teacher at Venice, later at Naples, with over 35 operas (from 1732); Nicola Sala (d. 1800), famous as a theorist (see sec. 165), with a few operas and oratorios (from 1737); Giuseppe Scarlatti (d. 1777), Alessandro's grandson, with 27 operas (from 1740) at Naples, Venice and Vienna; Pasquale Cafaro (d. 1787), pupil and successor
