Baldassare Galuppi – opera composer

Musician from Burano had a talent for 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

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

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

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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Niccolò Antonio Zingarelli - composer

Neapolitan who snubbed Napoleon wrote 37 operas

Niccolò Zingarelli was one of the most
successful composers of his time

The composer Niccolò Antonio Zingarelli, who wrote 37 mainly comic operas and more than 500 pieces of sacred music, was born on this day in 1752 in Naples.

His success made him one of the principal composers of opera and religious music of his time. At various points in his career, he was maestro di cappella - music director - at Milan Cathedral, choir master at the Sistine Chapel and director of the Naples Conservatory.

Many of Zingarelli’s operas were written for Teatro alla Scala in Milan. Early in his career he worked in Paris, which held him in good stead later when he was arrested after refusing to conduct a hymn for the newly-born son of the Emperor Napoleon, who at the time was the self-proclaimed King of Italy.

Sometimes known as Nicola, the young Zingarelli studied from the age of seven at the Conservatorio di Santa Maria di Loreto, which was the original conservatory of Naples, dating back to 1537. He was tutored by Fedele Fenaroli, whose pupils also included Domenico Cimarosa and, later, Giuseppe Verdi, and also by Alessandro Speranza.

As a young man, Zingarelli earned a living as a violinist, while also composing. His first opera, Montezuma, was successfully produced at Teatro di San Carlo in Naples in 1781. Four years later Alsinda was staged at La Scala, the first of a series of his operas produced there until 1803.

Zingarelli refused to conduct a service for
Napoleon's new son at the Sistine Chapel

In 1789, he was invited to Paris to compose Antigone to a libretto by Jean-François Marmontel for the Opéra. He might have stayed longer in Paris had the French Revolution not driven him to Switzerland.

From there he returned to Milan, where in 1793 he became music director at the Duomo.

A year later, Zingarelli moved again, to take up the post of maestro di cappella at the Basilica della Santa Casa in Loreto, in Marche, an important and prestigious position at the time. He stayed there for 10 years, composing a large number of sacred works, at the same time continuing to write operas for La Scala and other theatres.

When he left Loreto, it was to become music director and choir master at the Sistine Chapel in Rome, where he composed cantatas on poems by Torquato Tasso and Dante.

It was in Rome that he wrote Berenice (1811), an opera that achieved great popularity, although two operas he composed for La Scala, Il mercato di Monfregoso (1792), based on a play by Carlo Goldoni, and Giulietta e Romeo (1796), inspired by William Shakespeare’s play, are said to be his finest work.

It was in 1811 that he was asked to conduct a Te Deum - a short religious service, held to bless an event or give thanks, which is based on the Latin hymn of the same name - for Napoleon, to celebrate the emperor’s new-born son.  As an Italian patriot, however, he felt he could not and, as a consequence of his public refusal, was arrested.

As it happened, though, Napoleon was a fan of his music and not only allowed Zingarelli to go free, he also awarded him a state pension.

In 1813, he left Rome to return to Naples, where he became director of the Conservatorio di San Sebastiano, before moving to the current site, the Conservatorio di San Pietro a Majella, in 1826. By then, he had also replaced Giovanni Paisiello as choir master of Naples Cathedral, a position he held until his death, in 1837, in Torre del Greco, just along the coast.

The huge Basilica della Santa Casa sits at the highest point
of Loreto and therefore dominates the skyline

Travel tip:

The hill town of Loreto, about 5km (3 miles) inland from the Adriatic coast about 25km (16 miles) south of Ancona and a similar distance north of Civitanova Marche, is easily identified from a distance away by the dome of the basilica, which stands taller than anything else in the area. The Basilica della Santa Casa takes its name from the rustic stone cottage that once occupied its site - and indeed is preserved inside the structure of the cathedral - which was said to be the place of refuge to which angels brought the Madonna as a safe haven after the Saracens who had invaded the Holy Land. The beautiful basilica itself is a late Gothic structure upon which Giuliano da Maiano, Giuliano da Sangallo and Donato Bramante all worked at different times. Inside, there are artworks by Luca Signorelli and Lorenzo Lotto, who died there in 1556.

Torre del Greco was once a thriving upmarket seaside
resort, as depicted in this late 19th century postcard

Travel tip:

Torre del Greco was once part of Magna Graecia – Great Greece – in the eighth and seventh centuries BC but its name is thought to originated in the 11th century AD when a Greek hermit was said to have occupied an eight-sided coastal watch tower called Turris Octava. From the 16th century it became popular with wealthy families and even Italian nobility, who built elaborate summer palaces there. The area is largely run down these days but in the 19th century and early 20th century Torre del Greco enjoyed its peak years as a resort to which wealthy Italians flocked, both to enjoy the sea air and as a point from which to scale Vesuvius via a funicular railway. A thriving café scene developed, and the art nouveau Gran Caffè Palumbo became famous across the country.  Since the 17th century it has been a major producer of coral jewellery.

More reading:

Why Carlo Goldoni is seen as the greatest Venetian dramatist

The story of the troubled Renaissance poet Torquato Tasso

How Domenico Cimarosa developed the model for comic opera

Also on this day:

1951: The birth of singer-songwriter Francesco De Gregori

1960: The birth of businesswoman Daniela Riccardi

1963: The birth of politician and journalist Irene Pivetti


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Carlo Goldoni – playwright

Greatest Venetian dramatist whose work still entertains audiences today

Alessandro Longhi's portrait of Carlo Goldini
is on display at the Casa Goldoni

Carlo Goldoni, the author of The Servant of Two Masters, one of Italy’s most famous and best-loved plays, was born on this day in 1707 in Venice.

Goldoni became a prolific dramatist who reinvigorated the commedia dell’arte dramatic form by replacing its masked, stock figures with more realistic characters.

He produced tightly constructed plots with a new spirit of spontaneity and is considered the founder of Italian realistic comedy.

The son of a physician, Goldoni read comedies from his father’s library when he was young and ran away from his school at Rimini with a company of strolling players when he was just 14.

Later, while studying at the papal college in Pavia, Goldoni read comedies by Plautus, Terence and Aristophanes and learnt French so he could read plays by Molière.

He was eventually expelled for writing a satire about the ladies of Pavia and was sent to study law.

Although he practiced law in Venice and Pisa and held diplomatic appointments, his real passion was writing plays for the theatres in Venice.

Antonio Dal Zòtto's statue of Goldoni
in Piazza San Bartolomeo in Venice

In 1748 he began writing for the Teatro Sant’Angelo company and dispensed with masked characters altogether for his play, La Pamela, a serious drama based on Samuel Richardson’s novel.

In the 1750 season he produced some of his best comedies, such as I pettegolezzi delle donne - Women’s Gossip - a play in Venetian dialect, Il bugiardo - The Liar - written in commedia dell’arte style and Il vero amico -  The True Friend - a comedy of manners.

From 1753 to 1762, Goldoni wrote for Teatro San Luca, now called Teatro Goldoni. Among the important plays he wrote during this period is La locandiera - Mine Hostess - which was first performed in 1753.

There was intense rivalry between competing playwrights at the time. Goldoni satirised Pietro Chiari, a rival playwright, in I malcontenti - The Malcontents - which was performed in 1755, before Carlo Gozzi, an adherent of the commedia dell’arte, denounced him in a satirical poem in 1757, then ridiculed both Goldoni and Chiari in a commedia dell’arte classic, L’amore delle tre melarance - The Love of Three Oranges - which was performed in 1761.

In 1762, Goldoni left Venice for Paris to direct the Comedie-Italienne. He later rewrote all his French plays from this period for Venetian audiences. L’Eventail, performed in France in 1763, became Il ventaglio - The Fan - and is considered one of his finest works.

Goldoni retired from the theatre in 1764 and went to teach Italian to the French royal princesses at Versailles.

In 1783 he began writing his Memoirs in French but after the French Revolution his pension was cancelled and he died in poverty in Paris in 1793. The pension was eventually restored to his widow, Nicoletta Conio, after the intervention on her behalf of the poet Andrea Chénier.

Goldoni’s most famous work, Il servitore di due padroni - The Servant of Two Masters - written in 1745, has been translated into different languages and performed many times. In 2011 it was adapted for the National Theatre in the UK under the title One Man, Two Guvnors and it was so popular it transferred to the West End and then Broadway.

Travel tip:

Goldoni was born in Ca’ Centani, or Centanni, a beautiful 15th century Gothic palace overlooking a narrow canal in the San Toma district of Venice. Better known as Casa Goldoni, the palace was bequeathed to Venice in 1931 and now houses the Goldoni Museum and a centre for theatrical studies. Through a series of displays of relics, furniture, paintings, illustrations of Goldonian comedies and explanatory panels, the museum represents the life and work of Carlo Goldoni in the context of 18th century theatre and Venetian society.

Hotels in Venice from Booking.com

The interior of the Teatro Goldoni, which
dates back to the 1720s

Travel tip:

Teatro Goldoni near the Rialto Bridge in Venice was formerly known as Teatro San Luca, when Goldoni was writing plays for it. The present building dates back to the 1720s although it has been renovated many times after fires or structural problems. Situated in Calle Goldoni in the San Marco district, it was renamed Teatro Goldoni in 1875 and is now home to the Teatro Stabile del Veneto ‘Carlo Goldoni’.


More reading:

How Carlo Gozzi fought to preserve commedia dell'arte

Zanetta Farussi, the 18th century Venetian actress who was the mother of Casanova

Niccolò Piccinni, the opera composer for whom Goldoni wrote a libretto

Also on this day:

1682: The birth of anatomist Giovanni Battista Morgagni

1873: The birth of the great tenor Enrico Caruso

2003: The death of comic actor Alberto Sordi

Selected books:

The Comedies of Carlo Goldoni, edited and introduced by Helen Zimmern

The Servant to Two Masters, by Carlo Goldoni

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Lino Capolicchio - actor

Acclaimed for role in Vittorio de Sica classic

Lino Capolicchio's acting talents shone on the
 stage, television and the big screen

The actor and director Lino Capolicchio, who starred in Vittorio de Sica’s Oscar-winning film The Garden of the Finzi-Continis, was born on this day in 1943 in Merano, an alpine town in the Trentino-Alto Adige region of northern Italy.

Capolicchio appeared in more than 70 films and TV dramas, and dubbed the voice of Bo Hazzard in the Italian adaptation of the American action-comedy The Dukes of Hazzard.

As a director, he won awards for Pugili, a drama-documentary film set in the world of boxing based on his own storylines, but it is for The Garden of the Finzi-Continis, for which he won a David di Donatello award for best actor, that he is best remembered.

The movie is about a wealthy Jewish family in Ferrara in the 1930s, whose adult children, Micol and Alberto, enjoy blissful summers entertaining friends with tennis and parties in the garden the family’s sumptuous villa.

Capolicchio’s character, Giorgio, from another middle-class Jewish family, falls in love with Micol but she only toys with his attentions. In any event, everything changes with the outbreak of war as northern Italy’s Jewish population become targets for the Nazis and their Fascist allies.

Capolicchio with his co-star Dominique Sanda in Vittorio
de Sica's Oscar winner The Garden of the Finzi-Continis

The movie won De Sica one of his four Oscars as a director. The Garden of the Finzi-Continis and Yesterday, Today and Tomorrow both won Best Foreign Language Film, while Bicycle Thieves and Sciuscià were both awarded honorary Oscars.

Trained at the Silvio D’Amico Academy of Dramatic Arts in Rome, Capolicchio made his stage debut in 1964 at the Piccolo Teatro di Milano in a play by Carlo Goldoni under the direction of Giorgio Strehler, who also used him in some subsequent Shakespeare productions.

By 1967 his acting talents were held in such high regard that he was given a small role in Franco Zeffirelli’s movie version of Shakespeare’s The Taming of the Shrew, which starred Richard Burton and Elizabeth Taylor.

His first major starring role came in Escalation (1968), a drama directed by Roberto Faenza, before the chance to play Giorgio in The Garden of the Finzi-Contadinis followed in 1970. The movie was such a success, winning critical acclaim as well as public popularity, that Capolicchio became famous almost overnight.

Capolicchio continued to work well into his
70s with a number of TV roles

Many more parts followed, including several films for the director Pupi Avati, including his 1976 movie La casa dalle finestre che ridono (The House with the Laughing Windows), the 1984 film Noi tre (The Three of Us), in which he plays Mozart’s father, and Ultimo minuto (Last minute) in 1988.

For a period in the late 80s, Capolicchio focussed on teaching, taking the acting chair at the Experimental Centre of Cinematography in Rome. During this period he discovered new talents such as Francesca Neri, Sabrina Ferilli and Jaja Forte.  Later, while he was holding auditions for his film Pugili, he came across a young actor of great talent who has gone on to enjoy a successful career in Pierfrancesco Favino.

Pugili, shot in 1995, was named Best Film by the international press at the Turin Film Festival.  Awarded the Vittorio de Sica Award in 2012 for best actor and director, he continued working into his 70s, with parts in TV dramas such as La piovra and the massively popular Una grande famiglia.

Updated August 2022: Lino Capolicchio sadly passed away in Rome in May, 2022, at the age of 78.

Trauttmansdorff Castle is one of the attractions of Merano

Travel tip:

Located in a basin surrounded by mountains that rise up to almost 3,350m (11,000ft), Merano is a town of around 40,000 inhabitants in Trentino-Alto Adige, known also as the South Tyrol, which is most famous for its spas. The writers Franz Kafka and Ezra Pound were both residents at one time or another. Among the attractions for visitors are the Gothic St. Nicholas' Church and, a little outside the town, the Trauttmansdorff Castle and its gardens.

The Rotonda Foschini in Ferrara

Travel tip:

Apart from the impressively well preserved Castello Estense right at the heart of the city, Ferrara - situated midway between Bologna and Venice in Emilia-Romagna - has many notable architectural gems, including many palaces from the 14th and 15th centuries.  Among them is the striking Palazzo dei Diamanti, so-called because the stone blocks of its facade are cut into the shape of diamonds. The palace holds the National Picture Gallery, which houses many works from the  masters of the 16th-century School of Ferrara, including Lorenzo Costa, Dosso Dossi, Girolamo da Carpi and Benvenuto Tisi.

More reading:

Vittorio de Sica - the maestro behind Bicycle Thieves and other classics in Italian cinema history

The Shakespeare adaptations that made Franco Zeffirelli into a household name

How La Dolce Vita actor Marcello Mastroianni became the epitome of Italian cool

Also on this day:

1862: The birth of adventure novelist Emilio Salgari

1969: The death of Giuseppe Meazza, Italian football's first superstar


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Marta Abba - actress

Aspiring star who became Pirandello’s muse

Marta Abba was just 24 when she met the
playwright Luigi Pirandello

Marta Abba, who as a young actress became the stimulus for the creativity of the great playwright Luigi Pirandello, was born on this day in 1900 in Milan.

The two met in 1925 when Pirandello, whose most famous works included the plays Six Characters in Search of an Author (1921) and Henry IV (1922), asked her to see him, having read an enthusiastic appreciation of her acting talents by Marco Praga, a prominent theatre critic of the day.

Abba had made her stage debut in Milan in 1922 in Anton Chekhov’s The Seagull and was noted for the exuberance and passion of her performances. Pirandello was impressed with her and immediately hired her as first actress for his Teatro d’Arte company in Rome.

Over the next nine years until Pirandello’s death in 1936, Abba would become not only his inspiration but his confidante. When Abba was not working with him but was on stage in some other city or country, they would correspond in writing, exchanging hundreds of letters.

Pirandello was said to be infatuated with Abba from
their first meeting in 1925 in Rome

There was a considerable age gap between them - Abba was 24 and Pirandello 58 when they met - and their relationship was complex and not always harmonious.  It has been speculated that there was a romance between them but any love affair was probably one-sided.

The Sicilian playwright, who was married but whose wife was in an asylum for the mentally ill, was infatuated with the young actress but it is thought it was a passion that was unconsummated, which meant that the relationship was a source of torment for Pirandello as well as one that inspired his creativity.

The eldest daughter of a Milan merchant, Abba went to a theatre school in Milan and was always set on a career in theatre.  Her collaboration with Pirandello, starring in many of his plays, would make her a significant figure in theatre in Italy.

Abba did not marry until after
Pirandello's death

In 1930 she founded her own theatrical company and specialized in staging the works of Pirandello and other European playwrights such as George Bernard Shaw, Gabriele d'Annunzio and Carlo Goldoni, under the direction of prestigious directors such as Max Reinhardt and Guido Salvini.

After Pirandello’s death, she moved to the United States, making her Broadway debut was in the play Tovarich, by the French writer Jacques Deval, at the Plymouth Theatre.

She remained single until after Pirandello’s death. In January 1938 she married a wealthy Cleveland polo player, Severance Allen Millikin.  They lived in Cleveland until they divorced in 1952, at which point Abba returned to Italy.

Her health remained robust until the last few years of her life, when she was confined to a wheelchair.  She spent the last few weeks before her death in 1988 receiving treatment at the spa town of San Pellegrino Terme, north of Bergamo.

She wrote an autobiography, La mia vita di attrice (My Life as an Actress). After her death, a collection she had kept of more than 500 letters between her and Pirandello was donated to the University of Princeton, in New Jersey.

The Art Nouveau Grand Hotel in San Pellegrino Terme

Travel tip:

San Pellegrino Terme is a small town in a little over 20km (12 miles) north of the city of Bergamo, in Lombardy, in the Val Brembana. Its name has become known all over the world because of the fame of its spring water, bottled by a company that marketed it as San Pellegrino mineral water. The company’s main production centre used to be in the town, which is also notable for several striking Art Nouveau buildings from the early 20th century, including the Casinò, the Grand Hotel and the Terme (Baths).

The Palazzo Chigi-Odescalchi in Rome

Travel tip:

Luigi Pirandello’s Teatro d’Arte company used to stage its productions at the Odescalchi Theatre inside the Palazzo Chigi-Odescalchi, in Piazza Santi Apostoli, a short distance from Piazza Venezia in the heart of Rome. The palace, which belonged originally to the Colonna family, was remodelled by Carlo Maderno before undergoing a later transformation under the great Roman sculptor and architect Gian Lorenzo Bernini, with later input from Nicola Salvi and Luigi Vanvitelli, with the façade on Via del Corso rebuilt by Raffaelo Ojetti.

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Niccolò Piccinni – opera composer

Writer drawn into 18^th century Paris rivalry

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 18^th 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

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 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

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 12^th-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

Travel tip:

In the 18^th 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 19^th 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.

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Zanetta Farussi – actress

Venetian performer who gave birth to a legendary womaniser

Giacomo Casanova, whose mother was
 the actress Zanetta Farussi

Zanetta Farussi, the comedy actress who was the mother of the notorious adventurer, Casanova, was born on this day in 1707 in Venice.

At the age of 17, Zanetta had married the actor Gaetano Casanova, who was 10 years older than her.

He had just returned to Venice after several years with a touring theatrical troupe, to take a job at the Teatro San Samuele.

Farussi’s parents opposed the marriage because they considered acting to be a disreputable profession.

But Farussi soon began working at Teatro San Samuele herself and the following year she gave birth to a son, Giacomo, who was to grow up to make the name Casanova synonymous with womanising and philandering.  Giacomo Casanova would later claim that his real father was Michele Grimani, who owned the Teatro San Samuele.

Zanetta and Gaetano accepted a theatrical engagement in London where Farussi gave birth to their second son, Francesco, who became a well-known painter.

They returned to Venice in 1728 and went on to have four more children. The youngest child was born two months after the death of his father. 

The Teatro San Samuele, where Farussi found work

The same year, Farussi met the playwright Carlo Goldoni in Verona and he wrote a short comedy for her called La Pupilla (The Female Ward), which was inspired by the jealous infatuation she had inspired in a famous actor and theatrical impresario of the day. It was presented as an interlude with his tragicomedy, Belisario.

In 1737 Farussi signed a long contract to appear in Italian comedies in Saxony.

The following year she made her debut in Pilnitz, near Dresden, on the occasion of the proxy wedding of Crown Princess Maria Amalia.

Farussi eventually visited Warsaw, where she presented two short theatrical pieces she had written herself.

When the Seven Years War started, the Saxon court suspended the activities of the Italian comedy troupe and the actors all retired and were granted an annual pension.

The playwright Carlo Goldoni

During the war, Farussi sought refuge in Prague but as soon as it was safe she returned to Dresden where she was to remain for the rest of her life. She was joined by one of her sons, Giovanni, who taught at the Academy of Fine Arts there, and one of her daughters, Maria Maddalena, who married the court organist, Peter August.

Meanwhile, her eldest son, Giacomo Casanova, had graduated in law from the University of Padua. At various times during his life he worked as a clergyman, military officer, violinist, businessman and spy. Throughout his life it was a recurring pattern that he embarked on passionate affairs with women, ran out of money and was imprisoned for debt.

He was locked up for a time in the Doge’s Palace in Venice in terrible conditions, but he eventually escaped through the ceiling of his cell, broke back into the building through a window, walked out through the main entrance and made his escape in a gondola across the lagoon on his way to exile in France.

Farussi, who was known in theatrical circles as La Buranella, a reference to her family roots on the island of Burano, died in 1776 in Dresden.

Travel tip:

The church of San Samuele, just beyond the waterbus stop

Teatro San Samuele, where Farussi began her theatrical career, was an opera house and theatre at the Rio del Duca, between San Samuele and Campo Santo Stefano. It was first opened in 1656 in Venice and the playwright, Carlo Goldoni, was the theatre’s director between 1737 and 1741. The theatre was destroyed by fire in 1747 but then rebuilt and it remained a theatre until the building was demolished in 1894. San Samuele is in the San Marco sestiere and has a waterbus stop on the right bank of the Grand Canal before you reach the Rialto.

Goldoni's home was the beautiful Palazzo Centani

Travel tip:

The playwright, Carlo Goldoni, who wrote more than 250 comedies, was born in the beautiful Gothic Palazzo Centani in Venice. The palace, in Calle dei Nomboli in the San Polo district, is now a centre for theatrical studies and has a collection of theatrical memorabilia on display. It is open to the public every day except Wednesday.

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Carlo Gozzi – playwright

Noble Venetian who fought to preserve commedia dell’arte

Carlo Gozzi - a portrait by an
unknown artist

Count Carlo Gozzi, the poet and playwright, was born on this day in 1720 in Venice.

He was a staunch defender of the traditional Italian commedia dell’arte form of drama and his plays were admired throughout Europe.

Commedia dell’arte was a theatrical form that used improvised dialogue and a cast of masked, colourful stock characters such as Arlecchino, Colombina and Pulcinella.

Gozzi was against the dramatic innovations made by writers such as Pietro Chiari and Carlo Goldoni. He attacked Goldoni in a satirical poem and then wrote a play, L’amore delle tre melarance - The Love of Three Oranges - in which he portrayed Goldoni as a magician and Chiari as a wicked fairy.

The play was first performed by commedia dell’arte actors, who had been out of work due to the dwindling interest in the genre following the innovations of Goldoni and Chiari. It was a great success and revived the fortunes of the company of actors.

Having been born into a noble but poor family, Gozzi initially had to go into the army to make a living because his parents could not support him. When he returned to Venice, he joined the Accademia dei Granelleschi, a group determined to preserve Italian literature from being corrupted by foreign influences.

Gabriel Bella's painting of the stage at the Teatro san Samuele

His personal crusade was to revive traditional commedia dell’arte and after the success of The Love of the Three Oranges, Gozzi wrote nine fiabe, literally fairy tales.

Considered outstanding were Il re cervo - the King Stag - Turandot, and La donna serpente - the Snake Woman - which were all performed in 1762, and L’augellin belvedere - the Pretty Little Green Bird - performed in 1765.

Gozzi’s fiabe were popular, both in Italy and other countries in Europe, and drew influences from commedia dell’arte, which led to a revival of interest in the genre and earned him the title of ‘the saviour of commedia dell arte’.

Gozzi’s Turandot was first performed at the Teatro San Samuele in Venice in January 1762.

Later, in Germany, the playwright Schiller turned Turandot into a serious play and it was used later as the basis for operas by Ferruccio Busoni and Giacomo Puccini. The Love of the Three Oranges also provided the basis for an opera by Sergey Prokofiev.

Gozzi wrote his authobiography, Memorie inutile - Useless Memories - in 1797.

He died in Venice in 1806 at the age of 85 and was buried in the Church of San Cassiano in the San Polo district of the city.

Travel tip:

Teatro San Samuele, where Gozzi’s Turandot was first performed, was an opera house and theatre at the Rio del Duca, between San Samuele and Campo Santo Stefano. It was first opened in 1656 in Venice and the playwright Carlo Goldoni was the theatre’s director between 1737 and 1741. The theatre was destroyed by fire in 1747 but then rebuilt and Gozzi’s play, Turandot, was performed in the new structure in 1762. It remained a theatre until the building was demolished in 1894. San Samuele is in the San Marco sestiere and is a waterbus stop on the right bank of Canal Grande, travelling from San Marco towards the railway station, before you reach the Rialto.

Campo San Cassiano in Venice, with the church of
 the same name to the left

Travel tip:

The Church of San Cassiano in Venice, where Carlo Gozzi was buried, is in the San Polo sestiere and can be reached by getting off the waterbus at the San Stae stop on Canal Grande. The 14th century church, which is dedicated to San Cassian of Imola, is in Campo San Cassiano. Its highlight is the painting of The Crucifixion of Christ by Tintoretto, which the art critic John Ruskin described as ‘the finest example of a Crucifixion painting in Europe’. Campo San Cassiano is also where the world’s first public opera house, Teatro San Cassiano, was located until it had to be demolished in 1812 after several fires.

More reading:

Tommaso Albinoni - prolific Venetian composer famous for adagio in G minor

Titian - the colossus of Venetian Renaissance art

Dario Fo - playwright who put focus on corruption

Also on this day:

1466: Death of the great early Renaissance sculptor Donatello

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