Flambini Lamenti
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| '''Electric Suit''' | '''Electric Suit''' | ||
| - | Many of the opera houses that relied on him for their survival often had to struggle to reach his great demands which came to include adding lengthy music interludes usually having little to do with the style or theme of the opera for which Flambini would wow his audiences with pyrotechnical skills. Musicians and composers disliked working with him and were quite outspoken until some of Lamenti's entourage left the string section short a viola one evening during a performance of the [[Paolo Grignotti]] piece, [[The Pancakes of Pan]]. | + | Many of the opera houses that relied on him for their survival often had to struggle to reach his great demands, which came to include adding lengthy musical interludes to performances, usually having little to do with the style or theme of the opera for which he had been commissioned. Although he would wow his audiences with his "pyrotechnical" skills, the interludes detracted from the final acts of the opera by bringing total performance times to upwards of six hours. Musicians and composers disliked working with him and were quite outspoken until some of Lamenti's entourage left the string section short a viola one evening during a performance of the [[Paolo Grignotti]] piece, [[The Pancakes of Pan]]. |
| '''Adante' Mainline''' | '''Adante' Mainline''' | ||
| - | After a chance encounter with a blindly drunk young William Blake (b.1757) after a performance of Grigonotti's [[Pubinella]] in London in 1783, Lamenti became a pedagogical proselytizer of [[Secret Mysteries]] he claimed to have envisioned during his new pastime, opium smoking. It was during this phase that Lamenti, now experimenting more with his newfound voice as a divine librettist created his most memorable works. Although he was forced to give up the violin due to what doctors no describe a carpal tunnel syndrome, Lamenti continued defining a sound that would soon be considered maladrotial in the wake of the cultural damage that was to become Wolfgang Mozart. | + | After a chance encounter with a "blindly drunk" young William Blake (b.1757) following a performance of Grigonotti's [[Pubinella]] in London in 1783, Lamenti became a pedagogical proselytizer of [[Secret Mysteries]] he claimed to have envisioned during his new pastime, [[opium smoking]]. It was during this phase that Lamenti, now experimenting more with his newfound voice as a divine librettist created his most memorable works. Although he was forced to give up the violin due to what doctors now describe as carpal tunnel syndrome, Lamenti continued defining a sound that would soon be considered maladroit in the wake of the cultural damage that was to become Wolfgang Amadeus Mozart. |
| '''White Album''' | '''White Album''' | ||
| - | Lamenti gave up the stage and worked primarily as composer in residence in many universities around Europe were he continued his well rehearsed brand of charasmatic manipulation and refined his overt style of seduction, of which he had now collected a compendium of accomplishments in diary form, of which he wished to publish before his untimely death from syphillis, in Rome,1822, where he was scheduled for a [[Vatican Breakfast]] with Pope Pius VII. | + | Lamenti gave up the stage and worked primarily as composer in residence in many universities around Europe, where he continued his well-rehearsed brand of [[charismatic manipulation]] and refined his overt style of seduction. By 1800 he had collected a compendium of accomplishments in diary form that he wished to publish before his untimely death from syphillis in Rome (1822), where he was scheduled to have a [[Vatican Breakfast]] with Pope Pius VII. |
Revision as of 15:39, 15 Oct 2004
Born 1759 Chieti Italy, Died 1822 Rome Italy. He arrives bourne amongst nebulous fanfare and stage smoke. He is a petri dish. He recieves a chrysanthemum dipped in chocolate, frosted with courage.
Cards and Letters Babe
In 1777 Flambini Lamenti dazzled the opera houses of Italy with his hairdo and masterful violin technique. He was instantly famous and gathered quite an entourage whom he led on alcohol-fueled melees through the slums of the cities were they traveled. His more Bawdy Operas are based loosely on events of this particular time. His entourage became increasingly more aristocratic with a particularaly evil bent. As members were replaced by better-connected newcomers, those who were cast aside often rallied together to cause further drama. His ability to hypnotise women became a risky marketing tool that without the aide of several bodygaurds, Falmbini would surely have met his match at the hands of many a disgruntled husband. It is of no wonder that he created so many enemies on his way.
Electric Suit
Many of the opera houses that relied on him for their survival often had to struggle to reach his great demands, which came to include adding lengthy musical interludes to performances, usually having little to do with the style or theme of the opera for which he had been commissioned. Although he would wow his audiences with his "pyrotechnical" skills, the interludes detracted from the final acts of the opera by bringing total performance times to upwards of six hours. Musicians and composers disliked working with him and were quite outspoken until some of Lamenti's entourage left the string section short a viola one evening during a performance of the Paolo Grignotti piece, The Pancakes of Pan.
Adante' Mainline
After a chance encounter with a "blindly drunk" young William Blake (b.1757) following a performance of Grigonotti's Pubinella in London in 1783, Lamenti became a pedagogical proselytizer of Secret Mysteries he claimed to have envisioned during his new pastime, opium smoking. It was during this phase that Lamenti, now experimenting more with his newfound voice as a divine librettist created his most memorable works. Although he was forced to give up the violin due to what doctors now describe as carpal tunnel syndrome, Lamenti continued defining a sound that would soon be considered maladroit in the wake of the cultural damage that was to become Wolfgang Amadeus Mozart.
White Album
Lamenti gave up the stage and worked primarily as composer in residence in many universities around Europe, where he continued his well-rehearsed brand of charismatic manipulation and refined his overt style of seduction. By 1800 he had collected a compendium of accomplishments in diary form that he wished to publish before his untimely death from syphillis in Rome (1822), where he was scheduled to have a Vatican Breakfast with Pope Pius VII.
