Bernardo de Muro debuted in performing in "Cavalleria rusticana" by the Italian composer who ushered in which movement?
Bernardo de Muro Bernardino de Muro was born on November 3, 1881, in Tempio Pausania, Sardinia, to Antonio Maria and Jeanne-Marie Demuro. His father was a small landowner. Bernardo’s formal education ceased at primary school. Initially self-taught, he began singing in a café in Tempio. Moving to Rome, he participated in a competition for admission to the Conservatory of St. Cecilia in 1903. He studied under A. Sbriscia and Alfredo Martino. His operatic debut was on May 12, 1910, at the Teatro Costanzi in Rome, performing in "Cavalleria rusticana" by Mascagni. He received flattering reviews for this performance. In the next few years he performed in "Madama Butterfly", "L'Africaine", "Carmen", and further performances of "Cavalleria rusticana". Although he was long a star at La Scala, he was largely unknown to American audiences until he began to tour there. His continued career carried him to such places as the Solis in Montevideo, Uruguay in 1916, the Dal Verme in Milan (performing "Mefistofele"), the Hippodrome, St. Petersburg, Florida, in 1927, and The Dell Ofrecie Grand Opera Company of New York (performing "Aida").
Giovanni Battista Sammartini Giovanni Battista Sammartini (c. 1700 – 15 January 1775) was an Italian composer, oboist, organist, choirmaster and teacher. He counted Gluck among his students, and was highly regarded by younger composers including Johann Christian Bach. It has also been noted that many stylizations in Joseph Haydn's compositions are similar to those of Sammartini, although Haydn denied any such influence. Sammartini is especially associated with the formation of the concert symphony through both the shift from a brief opera-overture style and the introduction of a new seriousness and use of thematic development that prefigure Haydn and Mozart. Some of his works are described as "galant", a style associated with Enlightenment ideals, while "the prevailing impression left by Sammartini's work... [is that] he contributed greatly to the development of a Classical style that achieved its moment of greatest clarity precisely when his long, active life was approaching its end".