question: Both Gaetano Donizetti and Luigi Cherubini were regarded as Beethovens greatest contemporaries?
answer: no
context: Title: Gaetano Donizetti
  Passage: Domenico Gaetano Maria Donizetti (] ; 29 November 1797 – 8 April 1848) was an Italian composer.  Along with Gioachino Rossini and Vincenzo Bellini, Donizetti was a leading composer of the "bel canto" opera style during the first half of the nineteenth century.  Donizetti's close association with the bel canto style was undoubtedly an influence on other composers such as Giuseppe Verdi (1813–1901).
  Title: Gaetano Rossi
  Passage: Gaetano Rossi (18 May 1774 – 25 January 1855) was an Italian opera librettist for several of the well-known "bel canto"-era composers including Gioachino Rossini, Gaetano Donizetti, and Saverio Mercadante in Italy and Giacomo Meyerbeer in one of his early Italian successes.  Other composers with whom he worked included Simon Mayr, a composer and Donizetti's teacher, as well as the prolific Giovanni Pacini.
  Title: Agostino Rovere
  Passage: Agostino Rovere (1804, Monza - 1865, New York City) was an Italian operatic bass.  After studying singing in Milan, he made his professional opera debut in 1826 at the opera house in Pavia.  In 1828 he portrayed Clemente in the world premiere of Vincenzo Bellini's "Bianca e Fernando" at the Teatro Carlo Felice in Genoa.  In 1839 he sang the role of Pedrigo in the world premiere of Gaetano Donizetti's "Gianni di Parigi" at La Scala.  He returned to that opera house the following year to create the role of La Rocca in the world premiere of Giuseppe Verdi's "Un giorno di regno".  In 1842 he portrayed the role of Marquis de Boisfleury in the world premiere of Donizetti's "Linda di Chamounix" at the Kärntnertortheater in Vienna.  In 1847-1848 he was committed to the Royal Opera House in London where he sang Bartolo in Wolfgang Amadeus Mozart's "The Marriage of Figaro", Don Magnifico in Rossini's "La Cenerentola", Dulcamara in Donizetti's "L'elisir d'amore", Leporello in "Don Giovanni", and Mustafà in Gioachino Rossini's "L'italiana in Algeri"
  Title: Pauline Duchambge
  Passage: Pauline Duchambge née de Montet (1778 – 23 April 1858) was a French Creole pianist, singer, and composer.  Duchambdge (Montet) was born in Martinique, West Indies and was the daughter of a noble family.  She was taken to Paris, where she received a convent education and studied the piano from composer and author Jean Baptiste Desormery, son of the famous comic opera actor and composer Léopold-Bastien Desormery.  Pauline composed and performed as a singer and a pianist.  She studied harmony and composition with Daniel Auber and with Luigi Cherubini, who wrote several compositions for her.  She also studied piano and composition with Jan Ladislav Dussek.  Pauline left the convent in 1792 and married Baron Duchambge in 1796.  In 1798 at the age of 20, she lost both her parents and with them the family fortune.  Soon afterwards she was later divorced.  It was after these events that Duchamge musical education began in earnest.  She studied church music with Jan Dussek, Luigi Cherubini and D.F.E Auber.  In 1815, Duchambge met the French poet and novelist, Marceline Desbordes-Valmore beginning a lifelong friendship and collaboration.  Their friendship is documented by a lengthy correspondence and a number of songs by Duchambge on Debordes-Valmore’s texts including L’adieu tout bas, La fiancée del marin, Je pense à lui, La jeune Châtelaine, Rêve du mousse, La sincère and La valse et l’automne.  Duchambge also composed music to texts and romances of other female authors such as Mme Amble Tastu and Mme Emile De Girardin.  Pauline Duchambge wrote over three hundred romances, a very popular genre in the nineteenth century.  Auber deposited three hundred of Duchambge’s songs in the Bibliothèque du Conservatoire in Paris.  Eleven of Duchambge's individual songs and albums of songs were published between 1827 and 1841 by some of the leading Parisian publishers: Jean Antoine Meissonnier, Jacques-Joseph Frey, A. Petibon, and Ignace Pleyel.  Her works reached a German audience through the Berlin publisher Maurice Schlesinger and the Schott firm in Mainz.  In addition to songs, Duchambge wrote a few piano pieces.  Duchambge had a difficult life, struggling with poverty, delicate health, and the disenchantments of love; her music expresses her emotions.  She commented: "Love, it is life!  but a life full of troubles, illusions, deceptions, repentance, discouragements…. "
  Title: Eugenio Cavallini
  Passage: Eugenio Cavallini (16 June 1806 — 11 April 1881) was an Italian conductor, composer, violinist, and violist.  In 1833 he became first violinist of the orchestra at La Scala, a post he held through 1855.  He also served as a conductor at La Scala, notably leading the world premieres of Gaetano Donizetti's "Lucrezia Borgia" (1833), Donizetti's "Gemma di Vergy" (1834), Donizetti's "Maria Stuarda" (1835), Saverio Mercadante's "Il giuramento" (1837), Mercadante's "Il bravo" (1839), Giuseppe Verdi's "Oberto" (1839), Verdi's "Un giorno di regno" (1840), Donizetti's "Maria Padilla" (1841), Verdi's "Nabucco" (1842), Verdi's "I Lombardi alla prima crociata" (1843), Verdi's "Giovanna d'Arco" (1845), Federico Ricci's "Estella di Murcia" (1846), and Domenico Ronzani's "Salvator Rosa" (1854).
  Title: Luigi Cherubini
  Passage: Luigi Cherubini (] ; 8 or 14 September 1760 – 15 March 1842) was an Italian composer who spent most of his working life in France.  His most significant compositions are operas and sacred music.  Beethoven regarded Cherubini as the greatest of his contemporaries.
  Title: Teresa Ruggeri
  Passage: Teresa Ruggeri (sometimes spelled Ruggieri) was an Italian operatic soprano who had an active career from the 1820s through the 1840s.  In 1827 she portrayed the role of Zarele in the world premiere of Giovanni Pacini's "Gli arabi nelle Gallie" at La Scala in Milan.  She performed in several more world premieres at that house, including Francisca in Gaetano Donizetti's "Maria Padilla" (1841), Anna in Giuseppe Verdi's "Nabucco" (1842), and Viclinda in Verdi's "I Lombardi alla prima crociata" (1843).  Other roles she performed at La Scala included Baroness Aspasia in Gioachino Rossini's "La pietra del paragone" (1829), Giannetta in Donizetti's "L'elisir d'amore" (1835), Alisa in Donizetti's "Lucia di Lammermoor" (1839), The Marquise of Birkenfeld in "La fille du régiment" (1840), and Giovanna in Verdi's "Ernani" (1844) among others.
citations: Gaetano Donizetti Luigi Cherubini