Showing posts with label Pietro Metastasio. Show all posts
Showing posts with label Pietro Metastasio. Show all posts

3 January 2022

Baldassare Galuppi – opera composer

Musician from Burano had a talent for comic opera

Galuppi became a major figure in the evolution of comic opera
Galuppi became a major figure
in the evolution of comic opera
The prolific Venetian composer Baldassare Galuppi, who worked alongside the playwright Carlo Goldoni, died on this day in 1785 in Venice.

At the height of his career, Galuppi achieved international success, working at different times in Vienna, London and Saint Petersburg, but his main base was Venice, where he held a succession of prestigious posts during his life.

Galuppi was born on the island of Burano in the Venetian lagoon and was sometimes referred to as Il Buranello, a signature he used on his music manuscripts. His father was a barber who also played the violin in an orchestra, and is believed to have been his first music teacher.

At the age of 15, Galuppi wrote his first opera, which was performed at Chioggia and Vicenza. He then became harpsichordist at the Teatro della Pergola in Florence.

In the early part of his career, Galuppi was successful in the opera seria genre, but after 1749 many of his operas were comic collaborations with the Venetian dramatist Carlo Goldoni. The most popular of his comic operas was his 1754 composition Il filosofo di campagna – The Country Philosopher.

He was one of the earliest opera composers to use the ensemble finale, in which all the characters appear together in a musical ensemble that carries the action forward to the end of the act. He was regarded as the father of comic opera - opera buffa - by the next generation of composers.

Carlo Goldoni, with whom Galuppi worked successfully
Carlo Goldoni, with whom
Galuppi worked successfully

Galuppi belonged to a group of composers, including Johann Adolph Hasse, Giovanni Battista Sammartini and C P E Bach, whose works all displayed a style of music that developed in Europe after the late Baroque era.

The composer held important positions with charitable and religious organisations in Venice and for these posts he composed a lot of sacred music. His most prestigious appointment was as maestro di cappella at the Doge’s chapel in St Mark’s Basilica. He was also a virtuoso performer and composer of music for keyboard instruments.

In 1741, Galuppi was invited to work in London, where he spent 18 months supervising productions for the Italian opera company at the King’s Theatre. At least four of the operas the company performed had been composed by Galuppi.

On his return to Venice, Galuppi continued to compose for the opera houses, often in partnership with the librettist Pietro Metastasio. He wrote his first comic opera, La forza d’amore in 1745.

He was invited to the court of Maria Theresa in Vienna in 1748, where he composed the music for Metastasio’s libretto Artaserse. He compressed four arias at the end of the first act into a single dramatic ensemble piece, which was seen as a breakthrough that strengthened the relationship of the music to the drama, although Metastasio was reported to have been unimpressed.

The King's Theatre in London's Haymarket, where Galuppi worked for 18 months
The King's Theatre in London's Haymarket,
where Galuppi worked for 18 months
When Galuppi returned to writing comic opera in 1749, he collaborated with Goldoni, who was fortunately happy for his libretti to be subservient to the music. Their joint works became very popular and by the 1750s Galuppi was judged by a music critic to be the most popular composer anywhere.

In 1794, he was summoned to be court composer to Catherine the Great to Saint Petersburg, where he composed both operas and sacred music and gave harpsichord recitals.

On his return to Venice, he continued to be a prolific composer of both operas and sacred music.  His last opera was La serva per amore which premiered in October 1773. In 1782, he conducted concerts to mark the visit to Venice of Pope Pius VI. His last known completed work was the 1784 Christmas mass for St Mark’s.

After Galuppi’s death, his body was buried in the church of San Vitale. The actors from the Teatro San Benedetto sang in a requiem mass for him at the church of Santo Stefano, which was paid for by local professional musicians.

Napoleon’s invasion of Venice in 1795 resulted in Galuppi’s manuscripts being either destroyed, lost or scattered around Europe.

Robert Browning wrote a poem, A Toccata of Galuppi’s, about the composer and his work, but it was not until the end of the 20th century that Galuppi’s compositions were revived in live performances and recordings.

The statue of Galuppi in Piazza Galuppi
The statue of Galuppi
in Piazza Galuppi
Travel tip:

Burano, where Baldassare Galuppi was born, is an island at the northern end of the Venetian lagoon and is known for its lace work and brightly coloured fishermen’s houses. More than 2,700 people live there and virtually all of the island has been built on, with very little green space. The island can be reached in about 45 minutes from St Mark’s Square in Venice by vaporetto. There is a statue of Galuppi in Piazza Galuppi, the main square. Burano’s church of San Martino has a leaning campanile and a painting of the Crucifixion by Giambattista Tiepolo.

Travel tip:

Baldassare Galuppi was buried in the former church of San Vitale (known as San Vidal) in Venice, although there is no gravestone for the composer there. The church has a 29 metre (94 feet) bell tower, or campanile, which was part of the original 1084 design, although it was rebuilt along with the church after a fire in 1105. The church is at one end of the Campo Santo Stefano and is now used as an event and concert hall.



Also on this day:

106BC: The birth of Cicero, Roman politician and philosopher

1698: The birth of poet and librettist Pietro Metastasio

1920: The birth of singer-songwriter Renato Carosone

1929: The birth of film director Sergio Leone

1952: The birth of politician Gianfranco Fini


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17 February 2019

Giovanni Pacini – opera composer

Works of overshadowed musician have enjoyed recent revival


Giovanni Pacini found himself overshadowed first by Bellini and Donizetti, then Verdi
Giovanni Pacini found himself overshadowed
first by Bellini and Donizetti, then Verdi
Composer Giovanni Pacini, who wrote operas in the early part of the 19th century to suit the voices of the great singers of the period, was born on this day in 1796 in Catania in Sicily.

Pacini began his formal music studies at the age of 12, when he was sent by his father, the opera singer Luigi Pacini, to study voice in Bologna with castrato singer and composer, Luigi Marchesi.

He soon switched his focus to composing and wrote an opera, La sposa fedele - The Faithful Bride. It was premiered in Venice in 1818 and, for its revival the following year, Pacini provided a new aria, to be sung specifically by the soprano Giuditta Pasta.

By the mid 1820s he had become a leading opera composer, having produced many successful serious and comic works.

Pacini’s 1824 work Alessandro nelle Indie - Alexander in the Indies - was a successful serious opera based on Andrea Leone Tottola’s updating of a text by librettist Pietro Metastasio.

But by the mid 1830s, Pacini had withdrawn from operatic activity after he found his operas eclipsed by those of Gaetano Donizetti and Vincenzo Bellini.

The title page of Pacini's opera, Saffo, regarded as his best
The title page of Pacini's opera,
Saffo, regarded as his best
He settled in Tuscany, where his father had been born, and he founded and directed a music school and theatre in Viareggio.

He also took on the post of maestro di cappella at the Palazzo Ducale in Lucca, where he began to compose liturgical music and he started to write articles on music and music criticism.

Pacini returned to composing with his opera, Saffo, in 1840, which differed stylistically from his earlier work and is generally hailed as his masterpiece. It was performed extensively in Italy, Europe and other parts of the world.

But he then found himself overshadowed by another opera composer, this time Giuseppe Verdi, who often addressed contemporary political issues in his work. Pacini instead began writing instrumental music.

He was the only significant composer of his time to write an autobiography, Le mie memorie artistiche - My Artistic Memoirs. Published in 1865, it has been read avidly by scholars as it gives a fascinating insight into Pacini’s career and life, during which he produced more than 70 operas.

Pacini died in 1867 in Pescia in Tuscany.

Since the 1980s there have been revivals and recordings of his works. His 1825 opera, L’ultimo giorno di Pompei - The Last Day of Pompei - was performed at the Festival delle Valle d’Itria in Martina Franca in 1996 and was then transferred to the Teatro Massimo Bellini in Catania. A live recording of the Martina Franca performance was released in 1997 and re-released in 2012.

The Grand Hotel Royal in Viareggio is an example of the town's Liberty-style architecture
The Grand Hotel Royal in Viareggio is an example of
the town's Liberty-style architecture
Travel tip:

Viareggio, where Pacini opened a music school and theatre, is a popular seaside resort in Tuscany with excellent sandy beaches and some beautiful examples of Liberty-style architecture, such as the Grand Hotel Royal. There is a monument to the poet Percy Bysshe Shelley in Piazza Paolina because his body was washed up on the beach at Viareggio after he drowned during a storm in the Gulf of La Spezia.

Find a hotel in Viareggio with TripAdvisor

One of the streets in the centre of Pescia, the small town in Tuscany where Giovanni Pacini died in 1867
One of the streets in the centre of Pescia, the small
town in Tuscany where Giovanni Pacini died in 1867
Travel tip:

Pescia, where Giovanni Pacini died, is in the northern part of Tuscany, close to the beautiful towns of Lucca, Pistoia and Montecatini Terme. It is known as the ‘city of flowers’ because of its large wholesale flower market. In the church of San Francesco there are 13th century frescoes depicting the life of St Francis of Assisi, which are believed to be an accurate representation of the Saint because the artist, Bonaventura Berlinghieri, actually knew him.


More reading:

Giuditta Pasta - the first soprano to sing Bellini's Norma

The short but successful career of Vincenzo Bellini

La Traviata - the world's favourite opera

Also on this day:

1600: Philosopher Giordano Bruno burned at the stake

1653: The birth of Baroque composer Arcangelo Corelli

1916: The birth of movie actor Raf Vallone

(Saffo first page from the Central National Library of Florence; Grand Hotel Royal by Sailko; Pescia street by Davide Papalini; via Wikimedia Commons)


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24 December 2018

Domenico Sarro – composer

Court choirmaster wrote several important operas


Domenico Sarro, as depicted by Nicolò Maria Rossi
Domenico Sarro, as depicted
by Nicolò Maria Rossi
Opera composer Domenico Sarro was born on this day in 1679 in Trani, a seaport north of Bari in Apulia.

He was given the middle name, Natale, which is the Italian word for Christmas.

Sarro is famous for being the composer of Achille in Sciro, the opera chosen for the opening night of the new Teatro San Carlo in Naples in 1737.

He studied music from the age of six at Sant’Onofrio, a church near Porta Capuana, one of the ancient city gates of Naples, which at the time was the location of the city’s music conservatory. His first opera, L’opera d’amore, was performed in Naples in 1702.

He was appointed assistant choirmaster to the Neapolitan court in 1702 and by 1706 was having his religious music performed in churches in Naples. He wrote several of what were then referred to as three-act musical dramas, which were performed in theatres and private palaces throughout the city.

Sarro’s opera, Didone abbandonata, was premiered on February 1, 1724 at the Teatro San Bartolomeo in Naples. It was the first setting of a major libretto by the writer Pietro Metastasio, who would become the most celebrated librettist of the 18th century. The intermezzo, Dorina e Nibbio or L’impresario delle canarie, has been performed extensively by orchestras since then, right up to the present day. It has also been imitated by composers such as Tomaso Albinoni, Francesco Gasparini, Leonardo Leo and Martini il Tedesco.

The title page of Sarro's opera Didone Abbandonata
The title page of Sarro's opera
Didone Abbandonata
Sarro’s 1726 opera, Valdemaro, is considered important because it demonstrates Sarro’s interest in the upper voice, as in this opera the melodic lines are dominant in the upper voices.

Sarro, sometimes called Sarri, also wrote many vocal cantatas, which have been admired by music experts for their charm and inventiveness.

The only known portrait of Domenico Sarro is part of a painting called The Viceroy at the Festa of the Quattro Altari by Nicolò Maria Rossi. Sarro is one of the many composers depicted by the artist as part of the Neapolitan Court.

Domenico Sarro died in Naples in 1744, aged 65.

Trani's 12th century duomo - the Cattedrale di San Nicola Pellegrino - stands on a platform on the sea
Trani's 12th century duomo - the Cattedrale di San Nicola
Pellegrino - stands on a platform on the sea
Travel tip:

The port of Trani, where Domenico Sarro was born, is about 40km (25 miles) to the northwest of Bari. It was a flourishing port as early as the 11th century because of its location on the Adriatic Sea. In 1063 Trani issued a maritime law code, believed now to be the oldest in western Europe. Trani has lost its old walls and bastions but still has a 13th century fort,  which has been restored as a museum and performance venue. The 12th century Cathedral on a raised site over the sea is dedicated to St Nicholas the pilgrim, a Greek who died there in 1094 while on the way to Rome.

Search tripadvisor for a hotel in Trani

The church of San Pietro a Majella, looking along Via dei Tribunali
The church of San Pietro a Majella, looking
along Via dei Tribunali
Travel tip:

Sarro studied at the Music Conservatory when it was in Sant’Onofrio in Naples. Today, the Music Conservatory is in the complex of San Pietro a Majella, close to Via dei Tribunali, one of the main thoroughfares in the heart of the centro storico in Naples. It is the last of a string of establishments that were once music conservatories in Naples, dating back to when the Spanish ruled the city in the 16th century. One of the earliest, I Poveri di Gesù Cristo, was founded in 1589 by Marcello Fossataro, a Franciscan monk. It was next to the Church of Santa Maria a Colonna on Via dei Tribunale, but in 1743 it was converted into a church seminary.

More reading:

Tomaso Albinoni, the Venetian most famous for his haunting Adagio in G Minor

How Pietro Metastasio progressed from street entertainer to great librettist

Francesco Gasparini, the musical director who gave Vivaldi a job

Also on this day:

Vigilia di Natale - Christmas Eve

1836: The birth of food canning pioneer Francesco Cirio

1897: The birth of Lazzaro Ponticelli, the longest surviving veteran of World War One


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11 May 2018

Ignazio Fiorillo – composer

Talented Neapolitan influenced music in Germany


Fiorillo studied music at the Naples  Conservatory in his home town
Fiorillo studied music at the Naples
Conservatory in his home town
Ignazio Fiorillo, who is remembered as an opera seria composer, was born in Naples on this day in 1715.

Fiorillo often composed music for the libretti of the acclaimed writer, Pietro Metastasio, creating the type of noble and serious operas that were fashionable in Europe in the 18th century.

After studying music at the Naples Conservatory, Fiorillo composed the opera L’egeste, which was premiered in Trieste in 1733.

Another of his operas, Mandane, was first performed at the Teatro Sant’Angelo in Venice in 1736.

Fiorillo was later engaged as a composer for an ensemble specialising in performances for children and toured Europe with them.

Pietro Metastasio was one of the most  acclaimed librettists of his day
Pietro Metastasio was one of the most
acclaimed librettists of his day
In 1749 they stayed in Braunschweig in Germany at the court of Carl I von Braunschweig-Wolfenbüttel. Fiorillo was appointed court composer the following year and during his remaining time at Braunschweig composed most of his operas.

He became composer to the court of Frederick II Landgrave of Hesse-Kassel in 1762 and went on to improve significantly the quality of court opera in Kassel. He also composed intermezzi and stage music for court theatre.

Ignazio Fiorillo retired in 1779 and died in Fritlar in Germany in 1787.

His son, Federigo, who had been born in 1753, became a violinist and composer and is best remembered for his collection of études.

The Naples Conservatory adjoins the church of San Pietro a Majella
The Naples Conservatory adjoins the church
of San Pietro a Majella
Travel tip:

A Neapolitan by birth, Fiorillo studied at the Naples Music Conservatory. Today, the Music Conservatory is in the complex of San Pietro a Majella, close to Via dei Tribunali, one of the main thoroughfares in the heart of the centro storico in Naples. It is the last in a long series of establishments that were once music conservatories in Naples, dating back to when the Spanish ruled the city in the 16th century. One of the earliest, I Poveri di Gesù Cristo, was founded in 1589 by Marcello Fossataro, a Franciscan monk. It was next to the Church of Santa Maria a Colonna on Via dei Tribunale, but in 1743 it was converted into a church seminary.

The Palazzo Barocci, now a top hotel, is only a short  distance from the Sant'Angelo vaporetto stop
The Palazzo Barocci, now a top hotel, is only a short
 distance from the Sant'Angelo vaporetto stop
Travel tip:

Teatro Sant’Angelo, where Fiorillo’s opera Mandane, was premiered in 1736, was a theatre in Venice between 1677 and 1803. It was in Campo Sant’Angelo facing the Grand Canal and the Rialto Bridge and was the venue for many operas by Antonio Vivaldi and plays by Carlo Goldoni. After the theatre closed, the building was converted into a warehouse, but was later demolished and rebuilt as the Palazzo Barocci. Today it is the four-star Hotel NH Collection Palazzo Barocci, just a few steps from the Sant’Angelo vaporetto stop.


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16 January 2018

Niccolò Piccinni – opera composer

Writer drawn into 18th century Paris rivalry


Niccolò Piccinni was one of Italy's most  popular composers in the 18th century
Niccolò Piccinni was one of Italy's most
popular composers in the 18th century
The composer Niccolò Piccinni, one of the most popular writers of opera in 18th century Europe, was born on this day in 1728 in Bari.

Piccinni, who lived mainly in Naples while he was in Italy, had the misfortune to be placed under house arrest for four years in his 60s, when he was accused of being a republican revolutionary.

He is primarily remembered, though, for having been invited to Paris at the height of his popularity to be drawn unwittingly into a battle between supporters of traditional opera, with its emphasis on catchy melodies and show-stopping arias, and those of the German composer Christoph Willibald Gluck, who favoured solemnly serious storytelling more akin to Greek tragedy.

Piccinni’s father was a musician but tried to discourage his son from following the same career. However, the Bishop of Bari, recognising Niccolò’s talent, arranged for him to attend the Conservatorio di Sant’Onofrio in Capuana in Naples.

He was a prolific writer. His first opera, a comedy entitled Le donne dispettose (The mischievous women) was staged at the Teatro dei Fiorentini in Naples in 1755 and after he had formed a working partnership with the acclaimed librettist Pietro Metastasio his catalogue of works was already well into double figures when the success of one particular composition won him popularity across Europe.

La buona figliuola (The good daughter), also known as La Cecchina, was essentially an opera buffa – a light-hearted comedy – for which the libretto was written by the famous playwright Carlo Goldoni.

Carlo Goldoni, the Venetian playwright, wrote the libretto for Piccinni's first major success
Carlo Goldoni, the Venetian playwright, wrote
the libretto for Piccinni's first major success
It premiered at the Teatro delle Dame in Rome in 1760 and was so popular it enjoyed a two-year run, acquiring such a reputation as a crowd pleaser that it was soon attracting packed houses in every capital city in Europe.  What set it apart was that it was a comedy with dramatic elements and a soft sentimentality designed to touch the emotions of the audience.

The public enthusiasm for the story was such that a commercial spin-off industry developed around it almost in the manner of box-office successes of today, with fashion houses and shops trading on the La Cecchina name.

The new sentimental style caught on with other composers, eager to match Piccinni’s success, but at the same time there was a backlash among conservatives, who felt music, and opera in particular, should be about strength and manliness and saw this brand of modern Italian music as rather effete, promoting effeminacy and cowardliness rather than courage and moral virtue.

Among those composers who had their support was Gluck, the German who had found favour with the Hapsburg court in Vienna.  Gluck moved to Paris in the 1770s and when Queen Marie Antoinette invited Piccinni to live and work in the French capital, the directors of the Academie Royale de Musique, as the Paris Opera was then known, saw the commercial potential in pitting the two against one another.

They invited each to compose his own interpretation of the same texts and deliberately encouraged the Parisian public to fall into one or the other of two camps – the Gluckists and the Piccinnists. The antagonism between some factions became quite ugly.

The Piccinni statue in his home city of Bari
The Piccinni statue in his
home city of Bari
The irony was that Piccinni admired Gluck and while in Paris, excited by the chance to compose pieces of greater substance, he collaborated with the celebrated French dramatist Jean-Francois Marmontel on several projects that he hoped would advance the cause of operatic reform that Gluck and his intellectual supporters were proposing.

The French Revolution in 1789 – two years after the death of Gluck - brought to an end Piccinni’s time in Paris and he returned to Naples, where he was given a warm welcome by King Ferdinand IV, whose wife Maria Carolina was the ill-fated Marie Antoinette’s sister, only to fall out of favour when his daughter’s marriage to a French democratic republican brought him under suspicion of connections and sympathies with the revolutionaries whose influence Ferdinand feared.

The king’s attitude towards any suspected republicans in Naples had been uncompromising and many were rounded up and shot. Piccinni was spared that fate but remained under house arrest for four years.

His fame long since faded, he spent the years after his release eking out an uncertain living in Naples, Venice and Rome before returning to Paris in 1798, where he was received with enthusiasm but struggled to make much money, although with the support of friends he was able to settle in the comfortable suburb of Passy, where he died in 1800 at the age of 72.

Piccinni’s life is commemorated with a statue in the Piazza della Prefettura in his home city of Bari in Puglia.

Porta Capuana in Naples used to be part of the city's  ancient Aragonese walls
Porta Capuana in Naples used to be part of the city's
ancient Aragonese walls
Travel tip:

Capuana is the area of Naples close to Porta Capuana, a now free-standing gateway that was once part of the Aragonese walls of the city.  Situated roughly between the city’s main railway station and the Duomo.  The Conservatorio di Sant’Onofrio, which was in time absorbed into the Naples Conservatory, used to be close to the Castel Capuano, originally a 12th-century fortress which has been modified several times.  Until recently, the castle was home to the city’s Hall of Justice, also known as the Vicaria, comprising legal offices and a prison.

The pretty Via Margutta in Rome, close to where the Teatro delle Dame stood in the 18th and early 19th centuries
The pretty Via Margutta in Rome, close to where the
Teatro delle Dame stood in the 18th and early 19th centuries
Travel tip:

In the 18th century, Rome’s Teatro delle Dame vied with the Teatro Capranica for the right to be called the city’s leading opera house, staging many premieres of works by the leading composers of the day. Built in 1713 specifically to stage opera seria – as opposed to opera buffa – and remained a major venue until the early 19th century, when it was used more often for public dancing, acrobatic shows and plays in local Roman dialect.  Completely destroyed by fire in 1863, it stood where Via Aliberti joins Via Margutta in an area of pretty, narrow streets close to Piazza di Spagna in the direction of Piazza del Popolo.






20 August 2017

Eleonora Fonseca Pimentel – poet and revolutionary

Noblewoman who sacrificed her life for the principle of liberty


Eleonora Fonseca Partinel was inspired by the French Revolution to join the Jacobins
Eleonora Fonseca Partinel was inspired by the
French Revolution to join the Jacobins
A writer and leader of the movement that established the Parthenopean Republic in Naples, Eleonora Fonseca Pimentel was hanged on this day in 1799 in a public square near the port.

A noblewoman, she would have expected her execution to be carried out by beheading, but had given up her title of marchioness when she became involved with the Jacobins, founded by supporters of the French Revolution, who were working to overthrow the monarchy.

Pimentel had asked to be beheaded anyway, but the restored Bourbon monarchy showed her no mercy, reputedly because she had written pamphlets denouncing Queen Maria Carolina as a lesbian.

On the day of her execution, Pimentel was reputed to have stepped calmly up to the gallows, quoting Virgil by saying: ‘Perhaps one day this will be worth remembering.’ She was 47 years of age.

Pimentel was born in Rome in 1752 into a noble Portuguese family. As a child she wrote poetry, read Latin and Greek and learnt to speak several languages.

Her family had to move to Naples because of political difficulties between Portugal and the Papal States, of which Rome was the capital.

A plaque marks the birthplace of  Pimentel in Campo Marzio in Rome
A plaque marks the birthplace of
Pimentel in Campo Marzio in Rome
As an adult, Pimentel became part of literary circles in Naples and exchanged letters with other literary figures.

She had a long correspondence with Pietro Metastasio, the Italian court poet in Vienna, who was a prominent librettist at the time, and Voltaire, the French writer, who was an outspoken advocate for civil liberties.

Pimentel married a lieutenant in the Neapolitan army and gave birth to a son, Francesco, who died at the age of eight months. She had no other children as she suffered two subsequent miscarriages, following alleged mistreatment by her husband, and eventually the couple separated.

In the 1790s Pimentel became involved in the Jacobin movement in Naples, which was working to overthrow the monarchy and establish a republic. She was one of the leaders of the revolution that installed the Pathenopean Republic in the city in January 1799, which was proclaimed from the Certosa di San Martino, citing liberty and equality for all along the lines of the French model.

Pimentel was the director of Monitore Napoletano, the republic’s newspaper, for which she wrote most of the content. She also translated books and articles into the Neapolitan dialect to try to win popular support. When the republic was overthrown, after just five months, she was arrested on the orders of the restored Bourbon monarchy and sentenced to death.

The Certosa di San Martino occupies a commanding position on too of the Vomero hill
The Certosa di San Martino occupies a commanding
position on too of the Vomero hill
Travel tip:

The Certosa di San Martino in Naples, from which the short-lived republic was proclaimed, is a former monastery complex that is now a museum. It is one of the most visible landmarks of the city, perched high on the Vomero hill overlooking the bay. Today the museum houses paintings, porcelain, jewellery, Neapolitan costumes, and old presepi, nativity scenes made in the city.  

The Piazza Mercato is an open space not far from the main  port of Naples between Corso Umberto I and the waterfront
The Piazza Mercato is an open space not far from the main
port of Naples between Corso Umberto I and the waterfront 
Travel tip:

Piazza Mercato, where Pimentel and her fellow revolutionaries were executed, is in the heart of Naples not far from the port. Overlooked by the church of Santa Maria del Carmine, it had been the setting for many other historic events in the city, including the beheading in 1268 of Corradino, a 16-year-old King of Naples.


1 June 2017

Francesco Scipione – playwright

Erudite marquis revitalised Italian drama


An 18th century portrait of Scipione by  an unknown artist
An 18th century portrait of Scipione by
an unknown artist
Dramatist Francesco Scipione, marchese di Maffei, was born on this day in 1675 in Verona.

His most famous work was his verse tragedy, Merope, which attempted to introduce Greek and French classical simplicity into Italian drama. This prepared the way for the dramatic tragedies of Vittorio Alfieri and the librettos of Pietro Metastasio later in the 18th century.

After studying at Jesuit colleges in Parma and Rome, Scipione went to fight on the side of Bavaria in the War of the Spanish Succession. He saw action in 1704 at the Battle of Schellenberg, near Donauworth, when his brother, Alessandro, was second in command at the battle.

In 1710, Scipione was one of the founders of an influential literary journal, Giornale dei letterati, a vehicle for his ideas about reforming Italian drama. He founded a later periodical, Osservazioni letterarie, to promote the same cause.

Scipione spent time studying the manuscripts in the Royal Library at Turin and arranged the collection of objects of art which Charles Emmanuel, Duke of Savoy had brought from Rome. He also travelled extensively in France, England, the Netherlands and Germany and received an honorary doctorate from Oxford University.

The Scipione statue in Piazza dei
Signori in Verona
When Scipione’s verse tragedy, Merope, was first performed in 1713, it met with astonishing success. It was based on Greek mythology and the French neoclassical period, signalling the way for the later reform of Italian tragedy. It was popular with the audience because of its rapid action and the elimination of the prologue and the chorus.

In addition to Merope, Scipione wrote other plays, scholarly works and poetry, and he also translated the epic poems, the Iliad and Aeneid.

Another of his major works is a valuable account of the history and antiquities of his native city - Verona illustrata: A Compleat History of the Ancient Amphitheatres and in particular that of Verona.

Scipione built a museum in Verona to house his art and archaeological collection, which he bequeathed to his native city. He died there at the age of 79 in 1755.  A statue to him was later erected in Piazza dei Signori in Verona.

Travel tip:

The secondary school, Liceo Maffei, is named in Scipione’s honour in the town of his birth, Verona. The city in the Veneto is famous as the setting for Shakespeare’s Romeo and Juliet as well as for its Roman amphitheatre, L’Arena di Verona in Piazza Bra, where opera and music concerts are now regularly performed.

The Biblioteca Reale is housed inside the Royal Palace in Turin's Piazzetta Reale
The Biblioteca Reale is housed inside the Royal Palace
in Turin's Piazzetta Reale
Travel tip:

The Royal Library, Biblioteca Reale, in Turin, where Scipione studied the manuscripts, is on the ground floor of the Royal Palace in Piazzetta Reale. It was originally established to hold the rare manuscripts collected by members of the House of Savoy.


3 March 2017

Nicola Porpora – composer and teacher

Tutor of celebrated opera singers died in poverty


Nicola Porpora - a painting by an unknown artist
Nicola Porpora - a painting by an unknown artist
Nicola Porpora, who composed more than 60 operas and was a brilliant singing teacher in Italy, died on this day in 1768 in Naples.

Among his many pupils were poet and librettist Pietro Metastasio, composers Johann Adolph Hasse and Joseph Haydn and the celebrated castrati, Farinelli (Carlo Broschi) and Caffarelli (Gaetano Majorano).

Porpora’s most important teaching post was in Venice at the Ospedale degli Incurabili, where there was a music school for girls, in which he taught between 1726 and 1733.

He then went to London as chief composer to the Opera of the Nobility, a company that had been formed in opposition to Royal composer George Frideric Handel’s opera company.

The composer had been born Nicola Antonio Giacinto Porpora in 1686 in Naples.

He graduated from the music conservatory, Poveri di Gesù Cristo, and his first opera, Agrippina, was a success at the Neapolitan court in 1708. His second opera, Berenice, was performed in Rome.

To support himself financially while composing, Porpora worked as maestro di cappella for aristocratic patrons and also taught singing.

The castrato singer Farinelli was one of Porpora's  most successful pupils
The castrato singer Farinelli was one of Porpora's
most successful pupils
Between 1715 and 1721 he trained Farinelli, Caffarelli, Salimbeni and many other famous singers.

Among the operas he wrote in London were Polifemo, Davide e Betsabea and Ifgenia in Aulide, in which he included parts for his brilliant pupil, Farinelli.

He returned to Italy when the opera company closed and wrote several comic operas while teaching in both Venice and Naples.

He went to live in Dresden, where he was a chapelmaster, and spent time in Vienna, where he taught the young Haydn to compose. Haydn later said he had profited greatly from Porpora’s tuition in singing, composing and the Italian language.

On his return to Naples, a revised version of Porpora’s opera Il Trionfo di Camilla was staged, but it failed.

The composer’s last years were spent living in poverty in the city and when he died, on March 3, 1768, he was so poor the expenses of his funeral had to be paid for by a subscription concert.

By contrast, his former pupils Farinelli and Caffarelli were living in luxury on the fortunes they had earned as a result of the excellent teaching they had received from Porpora.

As well as his operas, Porpora composed oratorios, masses, motets and instrumental works. Two of operas, Orlando and Arianno in Nasso, one mass and his Venetian Vespers have been recorded.

Travel tip:

The Music Conservatory, Poveri di Gesù Cristo, where Porpora studied, was founded in Naples in 1589 by Marcello Fossataro, a Franciscan monk. It was next to the Church of Santa Maria a Colonna on Via dei Tribunale but in 1743 it was converted into a church seminary. Via dei Tribunali is one of the main thoroughfares in the heart of the centro storico in Naples. The Church of Santa Maria della Colonna is close to the corner of Via San Gregorio Armeno, where craftsmen still carve shepherds and other figures for presepe, the traditional Neapolitan nativity scenes.

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The former Ospedale degli Incurabili can be found on
Fondamenta Zattere adjacent to the Giudecca Canal
Travel tip:

The former Ospedale degli Incurabili (hospital for incurables), where Porpora taught music in Venice, is a magnificent 16th century building, now the seat of the Venice Academy of Fine Arts. In 1527 a shelter for abandoned children was added to the hospital and the girls who had musical talent were taught to be singers.


More reading:


The short life of 'opera buffa' genius Giovanni Battista Pergolesi

How Jacopo Peri composed music history's first opera

When Teatro alla Scala opened its doors for the first time


Also on this day:







(Picture credit: Ospedale degli Incurabili by Abxbay via Wikimedia Commons)

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