A Dictionary of Music and Musicians/Righini, Vincenzo
RIGHINI, Vincenzo, a well-known conductor of the Italian opera in Berlin, born at Bologna Jan. 22, 1756. As a boy he had a fine voice, but owing to injury it developed into a tenor of so rough and muffled a tone, that he turned his attention to theory, which he studied with Padre Martini. In 1776 he sang for a short time in the Opera buffa at Prague, then under Bustelli's direction, but was not well received. He made a success there however with three operas of his composition, 'La Vedova scaltra,' 'La Bottega del Caffe,' and 'Don Giovanni,' also performed in Vienna (Aug. 1777), whither Righini went on leaving Prague. There he became singing-master to Princess Elisabeth of Würtemberg, and conductor of the Italian opera. He next entered the service of the Elector of Mayence, and composed for the Elector of Treves 'Alcide al Bivio' (Coblenz) and a mass. In April 1793 he was invited to succeed Alessandri at the Italian Opera of Berlin, with a salary of 3000 thalers (about £450). Here he produced 'Enea nel Lazio' and 'Il Trionfo d'Arianna' (1793), 'Armida' (1799), 'Tigrane' (1800), 'Gerusalemme liberata,' and 'La Selva incantata' (1803). The last two were published after his death with German text (Leipzig, Herklotz).
In 1794 Righini married Henriette Kneisel (born at Stettin in 1767, died of consumption at Berlin Jan. 25, 1801), a charming blonde, and, according to Gerber, a singer of great expression. After the death of Friedrich Wilhelm II. (1797) his post became almost a sinecure, and in 1806 the opera was entirely discontinued. Righini was much beloved. Gerber speaks in high terms of his modesty and courtesy, and adds, 'It is a real enjoyment to hear him sing his own pieces in his soft veiled voice to his own accompaniment.' As a composer he was not of the first rank, and of course was eclipsed by Mozart. His best point was his feeling for ensemble, of which the quartet in 'Gerusalemme' is a good example. He was a successful teacher of singing, and counted distinguished artists among his pupils. After the loss of a promising son in 1810, his health gave way, and in 1812 he was ordered to try the effects of his native air at Bologna. When bidding goodbye to his colleague, Anselm Weber, he said, 'It is my belief that I shall never return; if it should be so, sing a Requiem and a Miserere for me'—touching words too soon fulfilled by his death at Bologna, Aug. 19, 1813. His own Requiem (score in the Berlin Library), was performed by the Singakademie in his honour.
Besides 20 operas, of which a list is given by Fétis. Righini composed church music—a Te Deum and a Missa Solennis are published and still known in Germany—several cantatas, and innumerable Scenas, Lieder, and songs; also a short ballet, 'Minerva belebt die Statuen des Dädalus,' and some instrumental pieces, including a serenade for 2 clarinets, 2 horns, and 2 bassoons (1799, Breitkopf & Härtel). One of his operas, 'Il Convitato di pietra, osia il dissoluto,' will always be interesting as a forerunner of Mozart's 'Don Giovanni.' It was produced at Vienna, Aug. 21, 1777 (ten years before Mozart's), and is described by Jahn (Mozart, ii. 333). His best orchestral work is his overture to 'Tigranes,' which is still occasionally played in Germany and England. Breitkopf & Härtel's Catalogue shows a tolerably long list of his songs, and his exercises for the voice (1804) are amongst the best that exist. English amateurs will find a duet of his, 'Come opprima,' from 'Enea nel Lazio,' in the 'Musical Library,' vol. i. p. 8, and two airs in Lonsdale's 'Gemme d'Antichita.' He was one of the 63 composers who set the words 'In questa tomba oscura,' and his setting was published in 1878 by Ritter of Magdeburg.