Showing posts with label Opera. Show all posts
Showing posts with label Opera. Show all posts

29 February 2024

Alessandro Striggio - composer and diplomat

Medici musician who invented the madrigal comedy

The score of Striggio's best known work was missing for 281 years
The score of Striggio's best known
work was missing for 281 years
The Renaissance composer Alessandro Striggio, famous as the inventor of the madrigal comedy, once thought to be the forerunner of opera, died on this day in 1592 in Mantua (Mantova), the town of his birth.

Although there is no accurate record of his age, it is thought he was born in 1536 or 1537, which would have put him in his mid-50s at the time of his death. 

Striggio spent much of his career in the employment of the Medici family in Florence, for whom he also served as a diplomat, undertaking visits to Munich, Vienna and London among other places on their behalf. 

He produced his best work while working for the Medici, composing madrigals, dramatic music, and intermedi - musical interludes - to be played between acts in theatrical performances.

Striggio’s best known composition is his Il cicalamento delle donne al bucato e la caccia (The gossip of the women at the laundry),  an innovative piece that combined music and words to tell a story, without acting. This was an example of what became known as the madrigal comedy, comprising a series of 15 humorous madrigals that together tell a story in words and music.

Perhaps his greatest achievements, though, were his choral works, including his motet Ecce beatam lucem, a feat of polyphony that included 40 independent voices, and his still more impressive Mass, Missa sopra Ecco sì beato giorno, which also featured 40 different voice parts and a final movement for 60 voices, which is thought to be the only piece of 60-part counterpoint in the history of Western Music.

Cosimo I de' Medici sent Striggio on a diplomatic mission to Vienna
Cosimo I de' Medici sent Striggio on
a diplomatic mission to Vienna
Although Striggio was born into an aristocratic family in Mantua, there is only sparse knowledge of his early life there. He possibly moved to Florence in his late teens or early 20s. He started work for Cosimo I de' Medici, Duke of Florence, on 1 March 1559 as a musician, eventually to replace Francesco Corteccia as the principal musician to the Medici court.

In the 1560s, he visited Venice and produced two books of madrigals influenced by the musical styles he encountered there.

Music was central to the Medici’s use of Striggio in a diplomatic role. Cosimo I craved the title of Archduke or Grand Duke, which within the hierarchy of the Holy Roman Empire was a rank below Emperor but a notch above Duke and equivalent to a King.

He ordered Striggio to travel to Vienna in the winter of 1566-67, sending his principal musician on a perilous journey through the Brenner Pass in order to meet Emperor Maximilian II and present Cosimo’s case for the Medici to be granted a royal title.

Striggio’s grand opus, Missa sopra Ecco sì beato giorno, was to be part of the presentation, underlining Cosimo’s commitment to the Catholic faith. Striggio was also charged with convincing Maximilian II that the Medici could support him both financially and militarily.

Unfortunately, Striggio reached Vienna only to find he needed to journey a further 140km (87 miles) north to Brno, where Maximilian had removed himself for the winter months. He presented the Emperor with a copy of the Mass, although he had too few musicians or singers with him in Brno for the piece to be performed.

The English composer Thomas Tallis is said to have been inspired by Striggio
The English composer Thomas Tallis is
said to have been inspired by Striggio
Instead, as Striggio continued his travels, it was performed in full before the courts of Munich and Paris, to great acclaim, before Vienna.  The Medici were granted the right to be headed by a Grand Duke two years later but it took almost 10 years for it to be given approval by the Emperor, although Cosimo I went by the title from 1569 until his death in 1574.

Striggio went on to visit England, having much respect for the work of musicians in the royal court there. He is said to have met Queen Elizabeth I and the composer Thomas Tallis, who had served in the courts of four monarchs - Henry VIII, Edward VI and Mary I, as well as Elizabeth I - and is considered one of England’s greatest composers, particularly of choral music. His own 40-voice motet, Spem in alium, is thought to have been inspired by his meeting with Striggio.

Striggio returned to Florence, where he became friends with Vincenzo Galilei, the lutenist and composer whose son was the astronomer and scientist, Galileo Galilei.

During the 1580s, Striggio began an association with the Este court in Ferrara, which at the time was at the forefront of musical composition in Italy. In 1586, he moved back to his home city, Mantua, although he would continue to compose music for the Medici at least until 1589.

Although the idea of Striggio’s madrigal comedy being the forerunner of opera is no longer widely held, the composer has a connection with the roots of opera in that his son, also called Alessandro, wrote the libretto of Claudio Monteverdi's L'Orfeo, one of the earliest works to fit the conventional definition of an opera.

As a footnote, the score of Striggio’s Missa sopra Ecco sì beato giorno was declared lost in 1726 but was rediscovered in 2007 by a musicologist from the University of California, Berkeley in the Bibliothèque nationale de France in Paris, where it had resided for most of the intervening years, unnoticed because it had reportedly been recorded in an inventory of manuscripts as being a four-part Mass by a composer called Strusco.

The Ducal Palace is one of many highlights of the atmospheric city of Striggio's home city
The Ducal Palace is one of many highlights of
the atmospheric city of Striggio's home city
Travel tip:

Mantua is an atmospheric old city in Lombardy, to the southeast of Milan, famous for its Renaissance Palazzo Ducale, the seat of the Gonzaga family between 1328 and 1707. In the Renaissance heart of Mantua is Piazza Mantegna, where the 15th century Basilica of Sant’Andrea houses the tomb of the artist, Andrea Mantegna. The church was originally built to accommodate the large number of pilgrims who came to Mantua to see a precious relic, an ampoule containing what were believed to be drops of Christ’s blood mixed with earth. This was claimed to have been collected at the site of his crucifixion by a Roman soldier.  In nearby Piazze delle Erbe is the Chiesa di San Lorenzo, another masterpiece of Renaissance architecture. Its elegant facade and interior are adorned with beautiful artwork and sculptures.  In the same square, the Torre dell’Orologio Astronomico - the Astronomical Clock Tower - displays lunar cycles as well as the time. Installed in 1473, the clock has failed twice but was restored in 1989.

Hotels in Mantua by Booking.com

Palazzo Vecchio was at one time Cosimo I's home
Palazzo Vecchio was at
one time Cosimo I's home
Travel tip:

Florence’s imposing Palazzo Vecchio, formerly Palazzo della Signoria, a cubical building of four storeys made of solid rusticated stonework, crowned with projecting crenellated battlements and a clock tower rising to 94m (308ft), became home of Duke Cosimo I de' Medici moved his official seat from the Medici palazzo in via Larga in May 1540. When Cosimo later removed to Palazzo Pitti, he officially renamed his former palace the Palazzo Vecchio, the "Old Palace", although the adjacent town square, the Piazza della Signoria, still bears the original name. Cosimo commissioned the painter and architect Giorgio Vasari to build an above-ground walkway, the Vasari corridor, from the Palazzo Vecchio, through the Uffizi, over the Ponte Vecchio to the Palazzo Pitti. Cosimo I also moved the seat of government to the Uffizi, which translated literally, simply means ‘offices’. Today, of course, the Uffizi, is known the world over for its collection of art treasures.

Book your stay in Florence with Booking.com

More reading:

Gonzaga court violinist Salomone Rossi, the leading Jewish musician of the Renaissance

Cosimo II de' Medici, patron of Galileo

Claudio Monteverdi, the Baroque composer who wrote the first real opera

Also on this day

1792: The birth of composer Gioachino Rossini

(Picture credit: Palazzo Vecchio by Geobia via Wikimedia Commons)

(Paintings: Portrait of Cosimo I de' Medici, Bronzino, Art Gallery of New South Wales)



Home



13 September 2023

Francesco Manelli – Baroque composer

Theorbo player staged the world’s first public opera

Manelli worked in Tivoli, Rome and Padua before settling in Venice
Manelli worked in Tivoli, Rome and
Padua before settling in Venice
Musician and opera composer Francesco Manelli, who is remembered for the important contribution he made to bringing commercial opera to Venice, was born on this day in 1595 in Tivoli in Lazio.

Manelli (sometimes spelt Mannelli) was also a skilled player of the theorbo, which is a plucked string instrument belonging to the lute family that has a very long neck.

From the age of ten, Manelli used to sing in Tivoli's Duomo, the Basilica Cattedrale di San Lorenzo Martire, and he was taught music by the various maestri di cappella working there at that time.

Manelli moved to Rome with the intention of studying for a career in the church, but after meeting and marrying a singer, Maddalena, he decided to dedicate himself exclusively to music.

In 1627, Manelli went back to Tivoli where he himself became a maestro di cappella at the Duomo, a post he held for two years. Then he returned to Rome to take up the post of maestro di cappella at the church of Santa Maria della Consolazione.

After going to Padua, where his wife sang in the opera Ermiona, Manelli and his family settled in Venice in order to be close to his patron.

In 1637, Manelli and another composer and theorbo player, Benedetto Ferrari, put together a company of singers to present an opera in a public theatre, which was the first time this had happened. The singers performed Andromeda, an opera, with music written by Manelli and a libretto written by Ferrari, at Teatro San Cassiano during that year’s Carnevale. Manelli himself sang two of the bass parts.  

A 17th century painting of an English woman playing the theorbo
A 17th century painting of an English
woman playing the theorbo
The following year, the company performed another opera by Manelli, La maga fulminata, with Manelli’s wife, Maddalena, singing the role of Pallade.

In 1639, Manelli composed La Delia, with a libretto by Giulio Strozzi, which premiered at Teatro Santi Giovanni e Paolo in Venice. This was followed by his operas, Adone in 1640 and L’Alcate in 1642, which were both performed at the same theatre.

Between 1639 and 1642, Manelli and Ferrari directed a company of Venetian singers in Bologna, which included Manelli’s wife, Maddalena, and their son, Constantino. In addition to Manelli’s own compositions, the singers performed Il ritorno di Ulisse in patria by Claudio Monteverdi.

In 1645, Manelli and his family went into the service of Ranuccio II Farnese, the Duke of Parma. Manelli composed five operas for the court, which were performed in the ducal theatre of Parma and Piacenza.

Manelli died in Parma in 1667 and his wife, Maddalena, died there in 1680.

A wooden model of how the theatre might have looked
A wooden model of how the
theatre might have looked
Travel tip:

Teatro San Cassiano, which was located in the San Cassiano parish of Venice’s Santa Croce sestiere, was the world’s first ever public opera house thanks to Francesco Manelli and Benedetto Ferrari. This sparked a global opera boom and established Venice as its capital. There is now a project to reconstruct the Teatro San Cassiano of 1637 as faithfully as modern scholarship and traditional craftsmanship will allow to deliver a fully functioning dedicated Baroque opera house and a centre for research into Baroque opera.

Tivoli's attractions include the gardens and fabulous fountains of the 16th century Villa d'Este
Tivoli's attractions include the gardens and fabulous
fountains of the 16th century Villa d'Este
Travel tip:

Tivoli, where Francesco Manelli was born, is a town in Lazio, situated about 30km (19 miles) northeast of Rome. The city offers a wide view over the Roman Campagna, a low-lying area of countryside surrounding Rome. Tivoli is famous for being the site of Hadrian’s villa, a large villa complex built around AD 120 by the Roman Emperor Hadrian, and the Villa d’Este, a 16th century villa, famous for its terraced hillside Renaissance garden and its abundance of fountains. Both villas are UNESCO World Heritage sites.




Also on this day: 

1506: The death of painter Andrea Mantegna

1583: The birth of composer Girolamo Frescobaldi

1808: The death of writer Saverio Bettinelli 

1973: The birth of footballer Fabio Cannavaro


Home


 



25 August 2023

Carlo Eduardo Acton – composer and musician

Musical member of the Acton family was born in Naples

Carlo Acton was the nephew of the former PM of Naples, Sir John Acton
Carlo Acton was the nephew of the
former PM of Naples, Sir John Acton
Opera composer Carlo Eduardo Acton, who was part of the distinguished Italian-based branch of the Acton family, was born on this day in 1829 in Naples.

Carlo became a concert pianist and is particularly remembered for composing the opera Una cena in convitto.

His father, Francis Charles Acton, was the youngest son of General Joseph Acton, and he was also the younger brother of Sir John Acton, the sixth Baronet.

Sir John Acton, Carlo’s uncle, had served as Commander of the naval forces of the Grand Duchy of Tuscany and as the Prime Minister of the Kingdom of Naples while the city was under the rule of King Ferdinand IV. He was the son of Edward Acton, an English physician who had settled in France, and he was the great-grandson of Sir Walter Acton, the second Baronet.

Sir John had succeeded to the title and the family estate in Shropshire in 1791 on the death of his second cousin once removed.

Following his distinguished service in the navy of the Grand Duchy of Tuscany, Sir John was invited to Naples by Queen Maria Carolina and he was asked to reorganize the Neapolitan navy.

Sir John Acton served as prime minister
of Naples under the rule of Ferdinand IV
One of Sir John's grandchildren, John Dalberg-Acton (1834-1902), better known as Lord Acton, was an historian, English politician, and writer, also born in Naples. He was Regius Professor of Modern History at Cambridge from 1895 until his death. He edited the first series of the Cambridge Modern History, served as a Liberal Party MP and is remembered for coining the phrase 'power tends to corrupt, and absolute power corrupts absolutely' in a letter to an Anglican bishop.

Sir John’s younger brother, Francis Charles Acton, had married Esther Fagan, the daughter of the Irish painter, Robert Fagan, who had spent most of his career working in Rome and Sicily, but had fled to Naples to live there at a time when Napoleon’s armies were known to have been approaching Rome.

Francis and Esther had three sons, the talented musician Carlo, and his two brothers, Richard, and Edward.

Carlo learnt to play the piano and in addition to writing an opera, he composed sacred music. His most well-known sacred composition is his work, Tantum ergo.  

Carlo died at Portici, a small port to the south of Naples, in 1909, at the age of 89.

The Acton family's connection with Naples continued into the 20th century. Sir Harold Acton (1904-1994), the British writer, scholar, and aesthete who was born and died at Villa La Pietra outside Florence, was the author of an authoritative two-volume history of the kingdom of Naples under the Bourbons: The Bourbons of Naples (1957) and The Last Bourbons of Naples (1961).


The Villa Pignatelli is set in beautiful gardens in Riviera di Chiaia
The Villa Pignatelli is set in beautiful
gardens in Riviera di Chiaia
Travel tip:

An Acton family landmark worth seeing in Naples is Villa Pignatelli, a house commissioned by Carlo’s cousin, the seventh Baronet, Sir Ferdinand Richard Edward Dalberg-Acton, in 1826, three years before the birth of the composer. The villa is in the Riviera di Chiaia in Naples, which is a long street running along the sea front and the Doric columns along the front of the villa can still be seen from the road. It was designed as a neo-classical residence that would be the centrepiece of a park. The property has changed hands several time since the death of Sir Ferdinand in 1841. It was purchased by Carl Mayer von Rothschild, a member of the German family of financiers. Later, it was used by the Jewish community of Naples for services. It was then sold to the Duke of Monteleon, whose widow, Princess Rosa Fici, left it to the Italian state in her will in 1852. Villa Pignatelli now houses a coach museum and a collection of 18th and 19th century English and French vehicles.

The Royal Palace of Portici was built as a home for Charles III of Spain, King of Naples and Sicily
The Royal Palace of Portici was built as a home
for Charles III of Spain, King of Naples and Sicily
Travel tip:

Portici, where Carlo Eduardo Acton died, is a town at the foot of Mount Vesuvius situated on the Bay of Naples, about eight kilometers (five miles) southeast of the city of Naples. The city had been destroyed by the eruption of Vesuvius in 1631, but was later rebuilt. Charles III of Spain, King of Naples and Sicily, built a royal palace in the town between 1738 and 1749. A botanical garden run by the Faculty of Agriculture of the University of Naples is now located there. The garden has an important collection of desert plants, which include specimens from South Africa and Madagascar. The gardens are open to the public from Monday to Friday in the mornings, and can be visited free of charge.



Also on this day:

79: Vesuvius erupts, destroying Pompeii and other cities

665: The death of Saint Patricia of Naples

1509: The birth of Borgia cardinal Ippolito II d'Este

1609: Galileo demonstrates the potential of telescope

1691: The birth of architect Alessandro Galilei 


Home

26 June 2023

Claudio Abbado – conductor

The distinguished career of a multi award-winning musician

Claudio Abbado had a long and successful career in music
Claudio Abbado had a long and
successful career in music
The internationally acclaimed orchestra conductor Claudio Abbado was born on this day in 1933 in Milan.

Abbado was musical director at Teatro alla Scala, the opera house in his native city, from 1972 to 1980 and remained affiliated to the theatre until 1986. He was the principal conductor of the Vienna Philharmonic and the London Symphony Orchestra and was appointed director of the Vienna State Opera and the Berlin Philharmonic.

Born into a musical family, Abbado studied the piano with his father, Michelangelo Abbado from being eight years old. His father was a professional violinist and a professor at the Giuseppe Verdi Conservatory in Milan. His mother, Maria Carmela Savagnone, was a pianist and his brother, Marcello, became a concert pianist, a composer, and a teacher.

The Nazis occupied Milan during his childhood and his mother spent time in prison for harbouring a Jewish child. Abbado grew up to have anti-fascist political beliefs.

Abbado studied piano, composition and conducting at the Milan Conservatory. After deciding to be a conductor, he went to study in Vienna, winning the Koussevitsky prize in 1958 and the Metropolitan Prize in 1963. He made his conducting debut in Trieste in 1958 and his conducting debut at La Scala in 1960.

After being engaged by the New York Philharmonic, he began a successful international career. He was principal guest conductor of the Chicago Symphony Orchestra, founder and director of Lucerne Festival Orchestra, founder and director of Mahler Chamber Orchestra, founding Artistic Director of Orchestra Mozart, and music director of European Youth Orchestra

Claudio Abbado made his conducting debut in Trieste in 1958 at the age of 25
Claudio Abbado made his conducting debut in
Trieste in 1958 at the age of 25

While serving as musical director of La Scala, Abbado was credited with broadening the repertoire of the theatre and lifting standards. He also introduced inexpensive performances for students and working people. Experts praised him for his attention to detail and his robust rhythmic grasp. He was particularly strong on German and Italian 20th century operatic traditions.  

Abbado had a son and daughter from his first marriage, a son from his second marriage, and a son as a result of his four-year relationship with the Russian-born British violinist Viktoria Mullova.

In 2013, Italian President Giorgio Napolitano appointed Abbado to the Italian Senate as a Senator for life.

One of the leading conductors of his generation, Abbado died in Bologna in 2014 at the age of 80. As a tribute to him, La Scala’s orchestra, conducted by Daniel Barenboim, performed the slow movement of Beethoven’s Symphony No 3 to an empty theatre, with the performance relayed to a crowd in the square in front of the opera house and live streamed via La Scala’s website.

The Teatro alla Scala in Milan was originally built almost 250 years ago
The Teatro alla Scala in Milan was originally
built almost 250 years ago
Travel tip:

Milan’s Teatro alla Scala, known to Italians simply as La Scala, has become the leading opera house in the world. It opened in 1778 after fire had destroyed the Teatro Regio Ducale, which had previously been the home of opera in Milan. A new theatre for the city was built on the site of the former Church of Santa Maria alla Scala, which is how the theatre got its name. It was designed by neoclassical architect Giuseppe Piermarini. The world’s finest singers have appeared at La Scala during the last 240 years and the theatre has hosted the premieres of operas by Rossini, Donizetti, Verdi, and Puccini. La Scala’s original 18th century structure was renovated in 1907 and, after bomb damage during World War II, it was rebuilt and reopened in 1946.

The Teatro Massimo in Palermo had been dark for 23 years when it was reopened in 1997
The Teatro Massimo in Palermo had been dark
for 23 years when it was reopened in 1997
Travel tip:

Palermo’s Teatro Massimo became a symbol of Italy’s fight back against the Mafia when Claudio Abbado conducted the Berlin Philharmonic in a concert there in 1997. The largest opera house in Italy, the Teatro Massimo had been closed for supposedly minor refurbishments in 1974, but with the Mafia controlling local government, no money was made available for the work. However, after the murder of Giovanni Falcone, the city turned against the Mafia and maestro Abbado was invited to conduct there at its grand reopening after the theatre had been dark for 23 years.

Also on this day:

1906: The birth of singer and actor Alberto Rabagliati

1944: British bombers attack San Marino

1968: The birth of footballer Paolo Maldini


Home



14 June 2023

Antonio Sacchini - composer

Masterpiece widely acknowledged only after tragic death

Antonio Sacchini, the son of a cook from Florence, who learned music in Naples
Antonio Sacchini, the son of a cook from
Florence, who learned music in Naples
The composer Antonio Sacchini, whose operas brought him fame in England and France in the second half of the 18th century and found favour with the Queen of France, Marie Antoinette, among others, was born on this day in 1730 in Florence.

His 1785 work Oedipe à Colone, which fell into the opera seria genre as opposed to the more light-hearted opera buffa, in which he also specialised, has best stood the test of time among his works, although it did not achieve popularity until after his death after initially falling victim to the political climate in the French court.

Sacchini came from humble stock. His father, Gaetano, was thought to be a cook, and it was through his work that the family moved to Naples when he was four, Gaetano having been employed by the future Bourbon King of Naples, Don Carlos, then the Duke of Parma and Piacenza.

This provided the opportunity for Sacchini to receive tuition at the Conservatorio di Santa Maria di Loreto, under the supervision of the composer Francesco Durante, where he learned the basics of composition, harmony and counterpoint, also developing impressive skills as a violinist and studying singing.

After Durante’s death in 1755, Sacchini began writing operas, which were performed by the students at the conservatory to great acclaim, leading to commissions from small theatres in Naples and ultimately the prestigious Teatro di San Carlo, where his first opera seria, Andromaca, was premiered in 1761.

The title page of the libretto for Sacchini's L'olimpiade in 1763
The title page of the libretto for
Sacchini's L'olimpiade in 1763
The following year, by now himself teaching at the conservatory, he was given permission to present his work in Venice and the success of subsequent productions in Padua, Florence and Rome persuaded him to leave his teaching post and set up as an independent composer, initially basing himself in Rome.

More success followed. His comic operas for the Teatro Valle expanded his reputation, although in 1768, rather than continue his self-employment, he accepted a permanent post as director of the Conservatorio dell’Ospedaletto in Venice, a famous institution. There, he continued to compose operas and wrote sacred music both for the conservatory and various Venetian churches, while also acquiring a high reputation as a singing teacher. Among his pupils was Nancy Storace, the soprano for whom Mozart would later create the role of Susanna in Le nozze di Figaro.

With the encouragement of Charles Burney, the English music historian, composer and critic, Sacchini moved to London in 1772, taking with him Giuseppe Millico, one of the finest castrati then active on the European stage . In London, where he was based for the next nine years, he enjoyed some of his greatest triumphs and found great favour with British audiences. Burney felt he was the foremost composer of the decade. 

However, though he was well paid, his lifestyle meant that he kept little of what he earned. As his debts escalated, he made enemies and his departure for Paris in 1781 was both to escape debtors’ prison and evade the attention among others of Venanzio Rauzzini, a leading male singer on the London circuit, who claimed that Sacchini had appropriated a number of arias of his composition and claimed them as his own. 

As it happened, Sacchini’s arrival in Paris coincided with the visit of Austrian emperor Joseph II, who was familiar with Sacchini’s works and recommended Sacchini to his sister, Queen Marie Antoinette, for patronage. 

French Queen Marie Antoinette  was an admirer of Sacchini's work
French Queen Marie Antoinette 
was an admirer of Sacchini's work
Less fortuitously, he arrived at a time when the music scene in the French capital had become decidedly political.

Marie Antoinette was known for her liking for foreign composers and handed Sacchini a lucrative contract with the Académie Royale de Musique, otherwise known as the Paris Opéra, to produce three new works. 

This was not well received by the head of the Académie Royale, Denis-Pierre-Jean Papillon de la Ferté, who was opposed to the queen's predilection for foreign music and plotted to delay the premiere of Sacchini’s first French opera, Renaud.

Sacchini also found himself caught up in the rivalry between supporters of the German opera composer Christoph Willibald Gluck and those of his Italian counterpart Niccolò Piccinni, one group seeking to undermine Sacchini's work, the other supporting it, but both inclined to change their view if they thought it might disadvantage the other side.

Marie Antoinette continued to support Sacchini until, under heavy pressure, she broke a promise to make his new French opera Oedipe à Colone (Oedipus at Colonus) the first opera to be performed at the new court theatre in Fontainebleau in 1786, explaining that she had effectively been forced to give that honour instead to a French composer.

Sacchini returned to his home in Paris, distraught. Already sick with gout, he took to his bed, refused to eat, and within three days he was dead, at the age of 56.

Oedipe à Colone is generally acknowledged as Sacchini’s masterpiece, remained in the repertoire of the Paris Opéra through the mid-19th century, enjoyed various revivals in the 20th century and as recently as 2005 was staged by the American company Opera Lafayette. 

A 17th century painting of the bustling Piazza del Mercato
in Naples illustrates how the area of the conservatory looked
Travel tip:

The Conservatorio di Santa Maria di Loreto, where Sacchini was a student and later a teacher, was the oldest of the four Naples conservatories that were eventually absorbed into the Conservatory of San Pietro a Majella. It was the fulcrum of the Neapolitan musical school between the 17th and 18th centuries. Built in 1537 during the Spanish expansion of Naples under the viceroy, don Pedro de Toledo, it stood between the present Piazza del Mercato and the Castello di Carmine, close to the main port area of the city. Like the other conservatories, it began life as an orphanage, where orphaned children were not only given food and accommodation but also an education. Music, initially, was one of a number of subjects taught but eventually took prominence as the conservatories became the founders of the Neapolitan school of music between the end of the 17th century and the beginning of the 18th. As a borgo - district - Santa Maria di Loreto ultimately ceased to exist after it was completely destroyed by bombing during the Second World War. The monastery that formed part of the original site was turned into a hospital but was flattened during an air raid in December, 1942.

Travel tip:

Teatro di San Carlo in Naples, which first staged an opera by Sacchini in 1761, can be found in Via San Carlo close to Piazza del Plebiscito, the main square in Naples. The theatre was designed by Giovanni Antonio Medrano for the Bourbon King of Naples, Charles I, and opened in 1737, some 41 years before Teatro alla Scala in Milan and 55 years before La Fenice in Venice. San Carlo is now believed to be one of the oldest, if not the oldest, functioning opera houses in the world. Both Gaetano Donizetti and Gioachino Rossini served as artistic directors at San Carlo and the world premieres of Donizetti’s Lucia di Lammermoor and Rossini’s Mosè were performed there.

Also on this day:

1497: The unsolved murder of Giovanni Borgia, brother of Cesare and Lucrezia

1800: The Battle of Marengo

1837: The death of poet and philosopher Giacomo Leopardi

1968: The death of Salvatore Quasimodo, Nobel Prize-winning poet


Home


30 March 2023

Faustina Bordoni - mezzo-soprano

Brilliant career overshadowed by infamous on-stage fight

A portrait of Faustina Bordoni by the Venetian painter Rosalba Carriera
A portrait of Faustina Bordoni by the
Venetian painter Rosalba Carriera
Faustina Bordoni, a feted mezzo-soprano ranked as one of the finest opera singers of the 18th century, was born on this day in 1697 in Venice.

Such was her popularity that when she joined her husband, the German composer Johann Adolf Hasse, in the employment of the Court of Saxony, where Hasse was maestro di cappella, her salary was double his.

Yet for all her acting talent and vocal brilliance, Bordoni is more often remembered as one half of the so-called ‘rival queens’ engaged by George Frideric Handel to join the company of the booming Royal Academy of Music in London in the 1720s, where she and the Italian soprano Francesca Cuzzoni allegedly came to blows on stage.

Born into a respected Venetian family, Bordoni’s musical talent was nurtured by the composers Alessandro and Benedetto Marcello and by her singing teacher, Michelangelo Gasparini. 

She made her debut in Venice at the age of 19 in Carlo Francesco Pollarolo's Ariodante. The quality of her voice excited the critics, while audiences were instantly charmed by her youthful beauty and stage presence.

Fame came quickly. As well as continuing to perform in her home city, where she performed for composers such as Tomaso Albinoni and Giuseppe Maria Orlandini, Bordoni sang in venues across Italy and in both Vienna and Munich. Her fans began to refer to her simply as ‘Faustina’.

Bordoni's singing rival, Francesca Cuzzoni
Bordoni's singing rival,
Francesca Cuzzoni
Her rivalry with Cuzzoni, a soprano from Parma of approximately the same age, probably began in Venice, although it was not until Bordoni arrived in London in 1726 that it came to a head in dramatic fashion.

Cuzzoni had been in London since 1722, establishing herself as one of the stars of the Royal Academy alongside the celebrated castrato, Senesino. Already known for a fiery temper, she had once allegedly refused to perform a role when she discovered Handel had initially written it for someone else.

When Handel, under pressure from the theatre management to engage more singers so they could meet a growing demand for performances as opera’s popularity soared, announced that Bordoni would be joining them in London, Cuzzoni was said to be furious.

After Bordoni’s debut alongside Cuzzoni in Handel’s Alessandro, London opera fans began to divide into factions who favoured Faustina and others who preferred Cuzzoni.

Watching opera in the 1700s was very different from today. Although theatres had wealthy patrons, they also provided entertainment for the masses and audiences did not necessarily conduct themselves with decorum, even to the extent of booing a singer considered a rival to their favourite. 

Johann Adolf Hesse, to whom Bordoni was married in 1730
Johann Adolf Hesse, to whom
Bordoni was married in 1730
The Cuzzoni-Bordoni rivalry came to a head when they were cast to appear alongside one another in a performance of Giovanni Bononcini’s opera Astianatte at the King's Theatre, Haymarket, in June 1727.

Despite the presence of Caroline, Princess of Wales in the audience, rival factions took turns to jeer and catcall whenever one or the other began to sing and when the two singers appeared on the stage together a fight broke out in the stalls.

Although accounts in the newspapers were almost certainly exaggerated for dramatic effect, Cuzzoni was reported to have turned on Bordoni, sparking an exchange of insults. Soon they were said to have begun pulling at each other’s hair and tearing pieces from their costumes. After they were separated, the performance was abandoned.

Bordoni left England the following year after the Royal Academy was forced into closure with unsustainable debts, driven partly by the high salaries commanded by the singers.  She married Hasse in 1730 and they remained with the Saxon Court in Dresden for 30 years, enjoying the status of a celebrity couple. Bordoni sang in 15 operas written by her husband, as well as continuing to travel regularly to the major opera houses of Italy.

She and Hasse left Dresden for Vienna in 1763 and ultimately to Venice in 1773. Bordoni is said to have continued to sing into her 70s before settling into a comfortable retirement. She died in Venice in 1781 at the age of 84.

Teatro La Fenice staged its first performances in 1792
Teatro La Fenice opened
its doors in 1792
Travel tip:

Opera was so popular in Venice in the 18th century that the city boasted no fewer than seven opera houses. The biggest of these, the Teatro San Benedetto in San Marco, was destroyed in a fire in 1771. Rebuilt, it became the object of a legal dispute involving the Venier family, who owned part of the land on which the theatre was built. The Venier family won the case and the company running the theatre had to sell up. On a different site, they built another opera house and called in Teatro La Fenice - the Phoenix Theatre - to symbolise its rise from the flames. Work was completed in April 1792 and the new opera house inaugurated on 16 May with a performance of I giochi di Agrigento by Giovanni Paisiello, to a libretto by Alessandro Pepoli.

Travel tip:

Faustina Bordoni and her husband Johann Adolf Hasse are buried within the Church of San Marcuola in the Cannaregio district of Venice, overlooking the Grand Canal, opposite the Fontego dei Turchi, between Santa Lucia railway station and the Rialto.  The church is actually dedicated to Saints Ermagora and Fortunato. The name San Marcuola is thought to be rooted in Venetian dialect. The church is thought to have been built originally in the 12th century. It was restructured in the 18th century by Giorgio Massari in accordance with plans drawn up by Antonio Gaspari, but the façade remained unfinished.  The interior is notable for a Last Supper by Jacopo Tintoretto, thought to be one of the Venetian painter’s earliest works.  

Also on this day:

1282: Sicily rises up against the French

1815: The Proclamation that began the Risorgimento movement

1892: The birth of Futurist painter and graphic artist Fortunato Depero

1905: The birth of urban engineer and architect Ignazio Gardella


Home






19 February 2023

Orazio Vecchi – composer

Late Renaissance church musician wrote madrigal comedies to entertain audiences

Vecchi mixed sacred music with pieces written for entertainment
Vecchi mixed sacred music with
pieces written for entertainment
Orazio Vecchi, who is regarded as a pioneer of dramatic music because of his innovative madrigal comedies, died on this day in 1605 in the city of Modena, in the Emilia-Romagna region.

His most famous composition, L’Amfiparnaso, was always intended as music for entertainment. It was a set of 15 pieces that were dramatic in nature, although they were not meant for the stage.

Vecchi is known to have been baptised in December 1550 in Modena. He was educated  at a Benedictine monastery and took holy orders.

He knew composers of the Venetian school, such as Giovanni Gabrieli, and he composed himself in the form of sacred music, such as masses and motets, as well as canzonette and madrigals for entertainment.

Vecchi served as maestro di cappella at the cathedral of Salò and as choirmaster at the cathedral of Reggio Emilia. He then became a canon at Correggio, where he was able to compose prolific amounts of music during his time there, before moving back to Modena, where he served as a priest and also had charge of the choir.

A woodcut of an actor delivering the prologue of Orazio Vecchi's L'Amfiparnaso in Venice in 1597
A woodcut of an actor delivering the prologue of
Orazio Vecchi's L'Amfiparnaso in Venice in 1597
In 1594 his madrigal comedy, L’Amfiparnaso, was premiered at Modena and it was published in an illustrated edition in 1597. In the same year, Vecchi visited Venice where he published a collection of canzonette. During his life, he published four volumes of sacred music and 13 volumes of canzonette, madrigals and madrigal comedies.

Duke Cesare d’Este appointed Vecchi his maestro di corte at the ducal court in Modena in 1598. The composer was put in charge of music at the court as well as the musical education of the Duke’s children. He accompanied the Duke to Rome and Florence in 1600 and while they were in Florence, Vecchi heard Jacopo Peri’s opera, Euridice. Vecchi died in Modena in 1605.

Vecchi has become renowned for his idea of grouping madrigals together in a new form called the madrigal comedy. This was light, popular, dramatic entertainment, which some regard as one of the precursors to opera. It included music of many types and even used burlesque and dramatic dialogue. There was no scenery and the audience would have been friends of the singers, so it cannot be considered as an early form of opera.

However, the sense of drama and contrast displayed in Vecchi’s work has caused experts to say that he led the way with dramatic music, even though they believe L’Amfiparnaso stands apart from the path that opera was to eventually take.

The Palazzo dei Principi in Corregio, which is today home to a museum of archaeology and art
The Palazzo dei Principi in Corregio, which is
today home to a museum of archaeology and art
Travel tip:

Correggio, where Orazio Vecchi served as a canon and wrote much of his music, is a town in the Emilia-Romagna region. The Renaissance painter Antonio Allegri, who was known as Il Correggio, was born there in 1489. One of the main sights in Correggio is the elegant Palazzo dei Principi in Corso Cavour. In 1659 Correggio was annexed to the Duchy of Modena. The present Duke of Modena, Prince Lorenz of Belgium, Archduke of Austria-Este, is the current holder of the title of Prince of Correggio.

The Ducal Palace in Modena, which was built  for Francesco I d'Este in the 17th century
The Ducal Palace in Modena, which was built 
for Francesco I d'Este in the 17th century
Travel tip:

Modena, where Orazio Vecchi was born and died, is a city on the south side of the Po Valley in Emilia-Romagna. It is known for its car industry, as Ferrari, De Tomaso, Lamborghini, Pagani and Maserati have all been located there. The city is also well known for producing balsamic vinegar. Operatic tenor Luciano Pavarotti and soprano Mirella Freni were both born in Modena. One of the main sights in the city is the huge, baroque Ducal Palace, which was begun by Francesco I on the site of a former castle in 1635, after Vecchi’s death. His architect, Luigi Bartolomeo Avanzini, created a home for him that few European princes could match at the time. The palace is now home to the Italian national military academy. 

Also on this day:

1461: The birth of cardinal and art collector Domenico Grimani

1743: The birth of cellist Luigi Boccherini

1953: The birth of actor and director Massimo Troisi

1977: The birth of operatic tenor Vittorio Grigolo


Home



20 January 2023

Ennio Porrino - composer

Premature death robbed Italian music of great talent

Ennio Porrino is seen by some as one of the greats of Italian opera
Ennio Porrino is seen by some as
one of the greats of Italian opera
The composer Ennio Porrino, best known for his symphonic poem, Sardegna, and his opera, I Shardana, was born on this day in 1910 in Cagliari.

Porrino was critically acclaimed, his operas earning comparisons with the great Giacomo Puccini, although to some his reputation has been tarnished by his association with Benito Mussolini’s Fascist regime. He was only 49 when he died in Rome.

His 1941 opera, Gli Orazi, has been interpreted as a ‘hymn to fascism’ by some critics, while his piece, The March of the Volunteer, was used by Mussolini’s short-lived Italian Social Republic as its anthem.

Little is known of Porrino’s early years. It is thought that his family moved to Rome when he was a small child and most accounts of his life begin with his studies at the Accademia Nazionale di Santa Cecilia, which he attended from the age of 17 and where he graduated in 1932.

He also studied with the composer Ottorino Respighi, who was keen to see his potential realised.  Respighi would be a significant influence on Porrino’s own work.

Porrino was not slow to make an impact in Roman musical circles. In 1931 he won an opera competition organised by the Giornale d'Italia newspaper. Two years later, his overture for orchestra, Tartarin de Tarascon, won the Accademia di Santa Cecilia’s own competition for the 25th anniversary concerts at the Teatro Augusteo, where it premiered under the baton of Bernardino Molinari. 

Porrino studied under the violinist and composer Ottorino Respighi (above)
Porrino studied under the violinist and
composer Ottorino Respighi (above)
Molinari was the conductor in January of the following year when Porrino’s  symphonic poem Sardegna was performed for the first time. A tribute to a homeland Porrino was yet to understand and appreciate, Sardegna was based largely on the nostalgic tales passed to him by his Sardinian mother. The piece was widely appreciated and performed numerous times in Italy and abroad, as well as being included in the Italian music section of the 1935 Hamburg International Festival. 

Like Respighi, who died in 1936, Porrino championed an Italian national music movement faithful to its classical roots. He openly opposed modernist composers such as Alfredo Casella.

However, some academics argue that there was a dark side to Porrino’s enthusiasm for traditional Italian music, citing an article he wrote for an antisemitic journal, La difesa della razza - The Defence of Race - in 1938.

Under the title, La musica nella tradizione della nostra razza - Music in the tradition of our race - Porrino argued that Italian music was a fundamental component of Italian culture and national pride, but that it had been corrupted by internationalism, which was generally recognised as code for Judaism. 

His opposition to Casella, it has been suggested, might have had as much to do with the latter’s opposition to Mussolini’s despised race laws as his music. Casella also happened to be married to a French woman from a Jewish family.

Porrino was also excited by Mussolini’s dream of restoring Rome to its former grandeur as the heart of his Fascist empire and his promotion of what he saw as the masculine, dynamic values of so-called romanità (Roman-ness).

Gli Orazi told the story of the feud between the Orazi and Curiazi families in 7th century Rome
Gli Orazi told the story of the feud between the
Orazi and Curiazi families in 7th century Rome
In was in this context, perhaps, that Porrino wrote Gli Orazi, which is the story of a conflict between the Roman family of Horatius (Orazio) and that of Curiatius (Curiazio), from Alba Longa, just to the south of Rome, when the two cities are at war during the seventh century.

The one-act opera concludes with a victory for the Orazi in this feud and a celebration of Rome’s defeat of Alba in the war.  Porrino collaborated with the librettist Claudio Guastalla on Gli Orazi, as he had in completing Respighi’s unfinished opera, Lucrezia, after Respighi’s death. Guastalla, though he regarded himself unequivocally as Italian, was the son of Jewish parents and his name ultimately disappeared from the credits.

Nonetheless, Gli Orazi was staged with great success at La Scala in Milan in February 1941.  

After the fall of Mussolini and the defeat of the Fascists, the immediate post-war years saw Porrino devote more time to academic work than to composing. He was appointed professor of composition at the Rome Conservatory, and became a full member of both the Accademia di Santa Cecilia and the Luigi Cherubini Academy in Florence.

In 1946 he was appointed substitute librarian in the Library of the Conservatory of San Pietro a Majella in Naples, where he also taught composition.  Later, he became director of the Pierluigi da Palestrina Conservatory of Cagliari, and conducted orchestral and choral performances in Naples and Venice.

Sardinia is dotted with the remains of nuraghe, conical stone towers as old as the Shardana
Sardinia is dotted with the remains of nuraghe,
conical stone towers as old as the Shardana
He returned to opera composition triumphantly with I Shardana, a 1959 work set among the warrior race that spent much of its time defending Sardinia from foreign invaders during the Bronze Age.

Inspired by what Porrino had learned about his homeland after returning as an adult, the opera is regarded as one of the most important in Italy post 1945 and confirmed Porrino’s reputation, according to some critics, as the greatest Italian musician since Puccini.

It came as a profound shock, then, just a few months after I Shardana’s premiere at Teatro San Carlo in Naples, when it was reported in September 1959 that Porrino had died, following a sudden illness. He had been in Venice only a few days earlier, when his work La bambola malata, described as a pantomime, had been performed at the Venice International Festival of Contemporary Music.  

He left a widow, Malgari, a painter and theatrical designer, and a daughter, Stefania, born in 1957, who became a playwright and stage director in adulthood.

An orchestral performance inside the modern Accademia Nazionale di Santa Cecilia in Rome
An orchestral performance inside the modern
Accademia Nazionale di Santa Cecilia in Rome
Travel tip:

The Accademia Nazionale di Santa Cecilia, one of the oldest musical institutions in the world, was established in 1565. It was founded in Rome by Pope Sixtus V at the Church of Santa Maria ad Martires, better known as the Pantheon. Over the centuries, many famous composers and musicians have been members, among them opera singers Beniamino Gigli and Cecilia Bartoli. Since 2005 the Academy’s headquarters have been at the Parco della Musica in Rome, which was designed by the architect Renzo Piano, in Viale Pietro de Coubertin in the Flaminio district, close to the location of the 1960 Summer Olympic Games.

A view from the sea similar to that which the writer D H Lawrence might have experienced
A view from the sea similar to that which the
writer D H Lawrence might have experienced
Travel tip:

Cagliari, where Porrino was born, is Sardinia's capital, an industrial centre and one of the largest ports in the Mediterranean. Yet it is also a city of considerable beauty and history, most poetically described by the novelist DH Lawrence when he visited in the 1920s. As he approached from the sea, Lawrence set his eyes on the confusion of domes, palaces and ornamental facades which, he noted, seemed to be piled on top of one another. He compared it to Jerusalem, describing it as 'strange and rather wonderful, not a bit like Italy.’  What he saw was Cagliari’s charming historic centre, known as Castello, inside which the city’s university, cathedral and several museums and palaces - plus many bars and restaurants - are squeezed into a network of narrow alleys.

Also on this day:

1526: The birth of mathematician Rafael Bombelli

1920: The birth of film director Federico Fellini

1950: The birth of magazine editor Franca Sozzani

1987: The birth of motorcycle racer Marco Simoncelli


Home



3 November 2022

La cambiale di matrimonio - opera

Rossini’s first professional work premieres in Venice

The title page of the libretto for the opera, by Gaetano Rossi
The title page of the libretto
for the opera, by Gaetano Rossi
La cambiale di matrimonio - the first opera by Gioachino Rossini to be performed before a paying audience - premiered at the Teatro San Moisè in Venice on this day in 1810.

Although the Pesaro-born composer, who would go on to write 39 operas including Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola (Cinderella), had tried his hand at the genre earlier, La cambiale di matrimonio was the first to be staged in public.

Rossini had written the one-act farce - translated in English as The Bill of Marriage or The Marriage Contract - in the space of just a few days while he was an 18-year-old student at the Liceo Musicale in Bologna.

Based on a play of the same name by Camillo Federici, an 18th century dramatist from Piedmont, La cambiale di matrimonio revolves around the attempts by a London merchant, Tobias Mill, to marry off his daughter, Fanny, to a somewhat mature Canadian businessman by the name of Slook.

Mill makes this arrangement, which is designed primarily for his own financial gain, without knowing that Fanny has a lover, Edward Milfort, whose existence she has kept secret from her father on account of his lowly financial status.

The action takes place in the drawing room of the Mill house, where Edward and Fanny are together at just the moment Slook arrives.

La cambiale di matrimonio had a brief run, lasting just 13 performances, but the presence of a well-regarded mezzo-soprano, Rosa Morandi, in the role of Fanny attracted attention and the two baritones cast as Mill and Crook are said to have played to the gallery as the composer intended.

The young Rossini wrote a series of farces for the Teatro San Moisè
The young Rossini wrote a series of
farces for the Teatro San Moisè
Rossini himself was pleased enough with one aria, performed by Morandi, that he used it as the basis for a duet between Figaro and Rosina in Il barbiere di Siviglia, which premiered in 1816, by which time the composer was enjoying enormous fame and the wealth that came with it.

The Teatro San Moisè, meanwhile, invited the young Rossini to compose more works along the same lines. He obliged by delivering three more farces, L'inganno felice (The Fortunate Deception), La scala di seta (The Silken Ladder) and Il signor Bruschino.

Active from 1620 to 1818, the Teatro San Moisè, which could be found near the start of the Grand Canal and just a few steps from Piazza San Marco, was a small theatre but an influential one.

Its first opera production was Claudio Monteverdi's L'Arianna in 1640, while in the 18th century the music of the Baroque composers Francesco Gasparini, Antonio Vivaldi and Tomaso Albinoni was frequently performed there. 

When the Neapolitan opera buffa genre arrived in Venice in the 1740s, San Moisè became something of a showcase for the genre, staging works by Baldassare Galuppi, who formed a partnership with the brilliant playwright and librettist, Carlo Goldoni.

The theatre closed in 1818 and was later revived as a puppet theatre and a cinema but the building was demolished in the 20th century.

The church of San Moisè contains works by Tintoretto and Palma il Giovane
The church of San Moisè contains works
by Tintoretto and Palma il Giovane
Travel tip:

The church of San Moisè, from which the theatre took its name, can be found just 124m (135 yards) from Piazza San Marco in Campo San Moisè, flanked on one side by the modern, five-star Hotel Bauer and on the other by the Venice stores of Versace and Prada. Built originally in the eighth century, the church’s elaborately decorated Baroque facade was added in the late 17th century to a design by the Padua architect Alessandro Tremignon. The interior is dominated by Heinrich Meyring's huge altarpiece, depicting Moses at Mount Sinai receiving the Tablets. The Old Testament prophets were considered by the Venetians as saints. Also inside are a Washing of the Feet by Tintoretto and a Last Supper by Palma il Giovane.

The Ducal Palace in Pesaro was commissioned by ruler Alessandro Sforza in the 15th century
The Ducal Palace in Pesaro was commissioned
by ruler Alessandro Sforza in the 15th century
Travel tip:

Pesaro, while a major centre for tourism due to its location on the Adriatic coast, is also a former mediaeval city of some standing, ruled by Giovanni Sforza between 1483 and 1510. It had a 15th century Ducal Palace, commissioned by Alessandro Sforza, one of Giovanni’s ancestors, and an imposing castle, the Rocca Costanza, built by Costanza I Sforza, the condottiero who was Alessandro’s son. Today, it is known as the city of music. Each summer, in honour of Gioachino Rossini, born in 1792, it hosts the Rossini Opera Festival, and the town is home to the Conservatorio Statale di Musica Gioachino Rossini, which was founded from a legacy left by the composer.



Also on this day:

1560: The birth of painter Annibale Carracci

1801: The birth of composer Vincenzo Bellini

1908: The birth of politician Giovanni Leone

1918: The Villa Giusti Armistice

1931: The birth of actress Monica Vitti


Home