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Baldassare Galuppi	In 1741 Galuppi was invited to work in London. He petitioned the Mendicanti authorities for leave of absence, to which they agreed. He was in England for 18 months, supervising productions for the Italian opera company at the King’s Theatre. Of the 11 operas under his direction, at least three are known to have been his own compositions, "Penelope", "Scipione in Cartagine" and "Sirbace"; a fourth was presented shortly after he left London to return to Venice. Rival composer Handel attended one of these productions. Galuppi also attracted attention as a keyboard virtuoso and composer. His contemporary, the English musicologist Charles Burney, wrote that "Galuppi had had more influence on English music than any other Italian composer". However, in Burney's view Galuppi's skills were still immature during his spell in London. Burney wrote, "He now copied the hasty, light and flimsy style which reigned in Italy at this time, and which Handel's solidity and science had taught the English to despise."
Baldassare Galuppi	However, others strongly disagreed with Metastasio. German composer, pedagogue and theorist Abbé Georg Joseph Vogler, in his "Betrachtungen der Mannheimer Tonschule" marveled at the new heights to which Galuppi had elevated the marriage between text, music and dramatic intent. He devoted an entire section to examining Galuppi’s style and innovation, complete with an analysis of Galuppi’s aria, "“Se cerca, se dice”" from Metastasio’s "L’Olimpiade." Vogler writes,
Baldassare Galuppi	In April 1762 Galuppi was appointed to the leading musical post in Venice, "maestro di capella" of St Mark's, and in July of the same year he was also appointed "maestro di coro" at the Ospedale degli Incurabili, at whose school his teacher Lotti had also taught. At St Mark's, he set about reforming the choir. He persuaded the Basilica authorities, the Procurators, to be more flexible in payments to singers, allowing him to attract performers with first-rate voices such as Gaetano Guadagni and Gasparo Pacchiarotti.
Baldassare Galuppi	Early in 1764 Catherine the Great of Russia made it known through diplomatic channels that she wished Galuppi to come to Saint Petersburg as her court composer and conductor. There were prolonged negotiations between Russia and the Venetian authorities before the Senate of Venice agreed to release Galuppi for a three-year engagement at the Russian court. The contract required him to "compose and produce operas, ballets and cantatas for ceremonial banquets", at a salary of 4,000 rubles and the provision of accommodation and a carriage. Galuppi was reluctant, but Venetian officials assured him that his post and salary as "maestro di cappella" at St. Mark's were secure until 1768 as long as he supplied a "Gloria" and a "Credo" for the Basilica's Christmas mass each year.
Baldassare Galuppi	Galuppi was much admired for his keyboard music. Few of his sonatas were published in his lifetime, but many survive in manuscript. Some of them follow the Scarlatti single-movement model; others are in the three-movement form later adopted by Haydn, Beethoven and others.
Baldassare Galuppi	Baldassare Galuppi (18 October 17063 January 1785) was an Italian composer, born on the island of Burano in the Venetian Republic. He belonged to a generation of composers, including Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works are emblematic of the prevailing galant style that developed in Europe throughout the 18th century. He achieved international success, spending periods of his career in Vienna, London and Saint Petersburg, but his main base remained Venice, where he held a succession of leading appointments.
Baldassare Galuppi	Galuppi was born on the island of Burano in the Venetian Lagoon, and from as early as age 22 was known as "Il Buranello," a nickname which even appears in the signature on his music manuscripts, "Baldassare Galuppi, called 'Buranello'." His father was a barber, who also played the violin in theatre orchestras, and is believed to have been his son's first music teacher. Although there is no documentation, oral tradition as related to Caffi in the nineteenth century says that the young Galuppi was trained in composition and harpsichord by Antonio Lotti, the chief organist at St Mark's Basilica. At the age of 15 Galuppi composed his first opera, "Gli amici rivali", which, according to Caffi, was performed unsuccessfully at Chioggia and equally unsuccessfully in Vicenza under the title "La fede nell'incostanza".
Baldassare Galuppi	From 1726 to 1728, Galuppi was harpsichordist at the Teatro della Pergola in Florence. On his return to Venice in 1728, he produced a second opera, "Gl'odi delusi dal sangue", written in collaboration with another Lotti pupil, Giovanni Battista Pescetti; it was well received when it was presented at the Teatro San Angelo. The collaborators followed it with an "opera seria", "Dorinda", the next year. This, too, was modestly successful, and Galuppi began to receive commissions for operas and oratorios.
Baldassare Galuppi	Most biographers have overlooked the journey that Galuppi made to Vienna in 1748-49, where he was called to the court of Maria Theresa in order to celebrate the birthday of the empress at the Burgtheater on May 14 of 1748. The libretto "Artaserse", by the imperial poet Metastasio was chosen for Galuppi to set to music. Metastasio's text was known verbatim by Viennese opera lovers from its previous settings by Vinci, Hasse, Graun, and Gluck, among others, and the audience was surprised to find the four arias that end the first act compressed into one a single dramatic ensemble piece, in which the protagonist Arbace is confronted and disowned first by his father, then his ruler, then his lover. This unprecedented choice by Galuppi was a breakthrough that strengthened the relationship of the music to the drama, heightened the intensity of the finale, and gave the work an unprecedented degree of compositional unity. Daniel Heartz observes that, while ensembles in opera were not unusual, "pieces in which the stage action is written into the music, in which the music "becomes" the action, are exceedingly rare."
Baldassare Galuppi	Metastasio, who expected the music to remain subservient to his words, was scandalized. He later wrote to Farinelli, "When [Galuppi] writes he thinks as much about the words as you think of becoming pope; and if he did think about them more, I doubt he would do better."