Settimia Caccini – singer and songwriter

Esteemed soprano composed beautiful music

Settimia initially performed alongside her sister,
 Francesca (above), who was also a composer

Singer and composer Settimia Caccini, who is believed to have been one of the first women in Italy to have a successful career in music, was born on this day in 1591 in Florence.

Settimia was highly regarded by those who heard her sing because of her beautiful soprano voice and she initially worked with other members of her family singing for the Medici court in Florence. But she became famous as a solo artist in 1608 when she sang the role of Venus in Claudio Monteverdi’s opera Arianna in Mantua. 

Records show that for a time she received high pay from the Gonzaga family, who employed her at their court in Mantua and clearly valued her.

Born into a family of singers and composers, Settimia learnt music from an early age. Her father was Giulio Caccini, who was a key figure in the advance of the Baroque style of music and wrote musical dramas, which would now be recognised as operas. 

Her older sister was Francesca Caccini, who was also a talented singer and was the composer of what is thought to be the oldest surviving opera by a woman composer, La Liberazione di Ruggiero.

Settimia’s mother, Lucia Gagnolanti, was a talented singer, but she died when Settimia was still young. Her older brother, Pompeo Caccini, was also a singer.

Giulio Caccini was employed by the Medici family who ruled Florence at the time. While working for them he was introduced by the Medici to the ‘concerto delle donne’, a group of’ professional female singers who worked for the Este court in Ferrara. It is thought that Giulio may have persuaded these women to train his daughters to sing in the same way.

Due luci ridenti is one of just eight
surviving compositions by Settimia

Instead of singing solos, Settimia and  Francesca, were trained to sing soprano arias together and they were called Il Concerto Caccini. In 1600, they sang together in their father’s opera, Il rapimento di Cefalù, on the occasion of the wedding of Maria de’ Medici and Henry IV of France.

Settimia and Francesca grew up singing and performing together, but by 1608 when Settimia performed in Monteverdi’s opera in Mantua, they had gone their separate ways.

After her success in Mantua, Settimia was offered various offers of employment and marriage proposals, all of which she turned down. The following year, she married the singer and composer Alessandro Ghivizzani, who was from Lucca. After initially working for the Medici court in Florence together, the couple left the city to go to Lucca, which was Ghivizzani’s birthplace, and they then travelled throughout Italy before moving to Mantua to serve at the Gonzaga court. 

It is known that in 1622 Settimia and her husband were in the service of Odoardo Farnese in Parma and that in 1626 she was chosen to sing in two of Monteverdi’s operas. The composer himself is said to have stated that Settimia Caccini sang the arias ‘with superhuman grace and angelic voice.’

After Ghivizzani’s death in 1632, Settimia returned to Florence to work at the Medici court again, where she remained until her death, which is assumed to have been in the 1630s, but the exact date is not certain.

Settimia was mostly known for her beautiful singing but she was also an active composer. None of her work was published while she was alive and most of it is now lost. However, it was documented that in 1611 she had composed the music for a masked carnival in Venice.

Just eight of Settimia Caccini’s compositions have survived, all written for a single singer, so they were perfect for her to sing herself and she many not have expected anyone else to perform them. These include Due luci ridenti, a madrigal. Some are now performed as piano solos and one was published in a 17th century collection of music.

Ponte Vecchio in Florence, which connects the
Palazzo Pitti with the rest of the city

Travel tip:

Musicians working for the Medici family in Florence would have performed for them and their guests at Palazzo Pitti, a palace originally built for the banker Luca Pitti in 1457 in the centre of Florence, in a bid to try to outshine the Medici family. The Medici later bought it from his bankrupt heirs and made it their main residence in 1550. Today visitors can look round the richly decorated rooms and see treasures from the Medici collections. The Ponte Vecchio connects Palazzo Pitti with the rest of the city, which is on the other side of the River Arno. It was built in 1345 and is the oldest bridge remaining in Florence. The medieval workshops used to be inhabited by butchers and blacksmiths, but these were eventually given to goldsmiths and are still inhabited by jewellers today. The private corridor over the shops was designed by the architect, Vasari, to link the Palazzo Vecchio to the Palazzo Pitti, via the Uffizi, allowing the Medici to move about between their residences without having to walk through the streets.

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The Palazzo Ducale in Mantua, where Settimia
is likely to have sung for the Gonzaga family

Travel tip:

Mantua, where Settimia Caccini worked for the Gonzaga family, is an atmospheric old city, to the south east of Milan, a highlight of which is the Renaissance Palazzo Ducale, which has a famous room, Camera degli Sposi, decorated with frescoes by Andrea Mantegna. Settimia would probably have sung for the Gonzagas in what is known as the Galleria dei Fiumi, a space in the palace that has the dimensions to accommodate a stage and orchestra and where there is room for a small audience. It is not known for certain, but the premiere of the opera L’Orfeo, by the composer Claudio Monteverdi, may have taken place in the Galleria dei Fiumi. L’Orfeo, which is the earliest opera still being regularly staged, had its first performance in 1607 in Mantua. Settimia Caccini sang the role of Venus in Monteverdi’s opera Arianna in Mantua the following year. 

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More reading:

Giulio Caccini, the 16th century singer who helped create the opera genre

Francesca Caccini, the court musician who composed the oldest surviving opera by a woman

Monteverdi’s L’Orfeo, the 400-year-old opera still staged today

Also on this day:

1836: The birth of writer and soldier Giuseppe Cesare Abba

1888: The birth of wartime nurse Saint Maria Bertilla Boscardin

1935: The birth of professional wrestler Bruno Sammartino

1943: The October Martyrs massacre

1943: The birth of football coach Ottavio Bianchi

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Romano Mussolini - jazz musician and painter

Dictator’s son forged successful career in music

At his peak, Romano Mussolini played around the
world alongside some of jazz's greatest icons

Romano Mussolini, the youngest son of Benito Mussolini, who grew up to enjoy success as a jazz musician and a painter, was born on this day in 1927 at the family home in Carpena, a hamlet outside Forlì in the Emilia-Romagna region.

Although he began his career with the anonymity of an assumed name, in time he became a central figure in Italy's post-war contemporary jazz scene under his true identity.

His peak achievement came in 1963, when his band, the Romano Mussolini All Stars, recorded the album Jazz allo Studio 7, winning the prestigious Italian Critics Award, raising his profile enough to play on tour alongside such jazz icons as Chet Baker, Duke Ellington, and Dizzy Gillespie.

Yet despite his musical fame, Romano considered painting to be his true creative passion and his expressive, figurative style achieved national and international recognition. 

Villa Carpena, the Mussolini family home and today open to the public as a museum, was a beautiful, Liberty-style country house in a pleasant rural setting. Between there and his father’s official residence in Rome, the neoclassical mansion, Villa Torlonia, Romano’s early years were somewhat idyllic. 

He studied music as a child, playing classical pieces on the piano and accompanying his father, who played the violin.  He first encountered jazz listening to records belonging to his older brother, Vittorio.  Largely self-taught as a musician, he began experimenting with playing jazz on the piano in around 1943. He also played accordion and alto saxophone.

Italy’s defeat in World War Two changed everything, of course. Having failed to escape to Switzerland, who rejected an application by his mother, Rachele, for asylum, Romano, his mother and sister, Anna-Maria, hid in a  house near Como, where he learned that his father, who had made a separate escape attempt in the company of his mistress Clara Petacci, had been executed by partisans.

Themselves captured by partisans, they were handed over to the British, who moved them to an internment camp near Terni in Umbria. From there they were transferred to Ischia, the island off the coast near Naples, where they remained in state-imposed exile until the Italian government announced an amnesty in 1947.

Romano Mussolini as a young child, pictured with
his father on a beach holiday at Riccione

Thanks to the family whom he lived with on Ischia, Romano had been able to keep up his piano playing and painting. After the amnesty, he stayed on the island, where he met Ugo Calise, a guitarist and composer, who invited him to play accordion in his group.

In the early 1950s, he returned to the mainland, moving into an apartment on the northern outskirts of Rome. He began to play jazz piano professionally, under the name of Romano Full or Raymond Full.

By 1955, after forming a partnership with a trumpeter, Nunzio Rotondo, he performed for the first time under his real name.

He modelled himself on his idol, the Canadian pianist Oscar Peterson, and his popularity grew, reaching a high point in 1963 when he was becoming a regular at the Santa Tecla club in Milan, which was something of a temple of jazz in the city.

His trio, the Romano Mussolini All Stars, recorded an album, Jazz allo Studio 7 - named after a famous Milan recording studio - that won that year's Italian critics award.  The award opened numerous doors, including regular invitations to tour abroad.

The irony is that, had his father’s regime survived, Romano would have probably had to choose a different career. Jazz, with its roots in black culture, was severely restricted by the Fascist government.  

Romano Mussolini explored various ways to earn extra money to support his music career, some more successful than others. He attempted to launch himself as a film producer but achieved poor results, making more from writing soundtracks for films. One of his more profitable ventures was a chicken and pig farm he acquired in Romagna.

Mussolini (left) pictured on an album sleeve with
singer Lilian Terry and trumpeter Nunzio Rotondo

In 1962, he married Maria Scicolone, the younger sister of actress Sophia Loren. They had two daughters, Alessandra and Elisabetta.  Alessandra went on to lead a small political party on the Italian far-right and was often described as a neofascist. Romano Mussolini composed the party's official anthem.

As he became older, Romano devoted himself more and more to painting. His subjects ranged from landscapes to still life, abstract dreams, beautiful women, clowns, gypsy scenes and the carnivals of Venice. His style has been described as Post-War Italian Figurative Expressionism.

Although there are none on display in the famous galleries, many of his paintings survive in collections around the world, occasionally changing hands at auction.

His musical career continued, including an appearance at the Lake Maggiore Jazz Festival in 2002, although his later years were most notable for writing a book of memoirs under the title, Il Duce, mio padre. 

In the book, Romano condemned his father’s part in the deportation to Nazi death camps of some 7,000 Italian Jews, yet his appraisal of the dictator’s political career was largely sympathetic. 

He died in Rome from heart problems in February, 2006 and was buried in the family crypt in the cemetery of San Cassiano in Predappio, the town south of Forlì where both his parents were born.

The Villa Carpena, where Romano Mussolini
grew up, is now open to the public

Travel tip:

The Villa Carpena museum, located about 10km (6 miles) southeast of  Forlì, is the historic former country residence of Benito Mussolini and his family. Known officially as the Casa dei ricordi di Mussolini (The House of Memories of Mussolini), the estate was the family home from 1924 onwards. His widow, Rachele, lived there long after his death. It eventually became neglected but in 2001 was bought by an Italian businessman  from the Mussolini estate and painstakingly restored, before being opened to the public as the first private museum dedicated to the dictator's personal life. Visitors today can explore the largely unchanged rooms, which are filled with original family belongings, furniture, and private photographs. Key highlights include Mussolini’s study, his uniform, personal letters, and the cradle of his children. The surrounding grounds feature a large garden, a vineyard, and the remains of a defensive bunker built during World War II. 

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The Maronti Beach in Ischia is one of the many
beautiful beaches for which Ischia is noted

Travel tip:

Ischia is a beautiful volcanic island notable for its many beautiful beaches located in the Tyrrhenian Sea at the northern tip of the Gulf of Naples. It has an area of some 47 square  kilometres, rising to a height of 789 m (2,589 ft) at the peak of Monte Epomeo. The vineyards surrounding Monte Epomeo produce excellent wine that is served in the island’s restaurants. The hot mineral springs on the island have been used since Roman times as a cure for ailments and are still recommended for people suffering from rheumatism and arthritis today. An entire circuit of the island’s 34km (21 miles) of coastline on one of the local buses will take about two and a half hours. Ischia is also the name of the island’s main town, the other municipalities being Barano d'Ischia, Casamicciola Terme, Forio, Lacco Ameno and Serrara Fontana. Notable sights include the Aragonese Castle (Castello Aragonese), which was built on a rock near the island in 474 BC, by Hiero I of Syracuse. Nowadays, it is connected to the town of Ischia by a stone causeway.  The island, which has a population of around 62,000, is accessible by hydrofoil and car ferries from Naples and Sorrento. Typical journey times are 50-60 minutes by hydrofoil from either starting point, with the ferry from Naples taking about one hour and a half.

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More reading:

Rachele Mussolini, the dictator’s long-suffering wife

How Mussolini and his mistress were captured and killed

The controversial career of Alessandra Mussolini

Also on this day:

1927: The birth of World Cup-winning football coach Enzo Bearzot

1973: The death of Oscar-winning actress Anna Magnani

1997: Earthquake damages Basilica of Saint Francis in Assisi

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Benedetto Marcello – writer and musician

Controversial composer had little time for opera

A 19th century bust of Marcello, 
housed in Palazzo Loredan in Venice

Aristocratic poet and musician Benedetto Marcello, the author of a satirical and witty pamphlet that was reprinted many times and became an important source about the early history of opera, died on this day in 1739 in Brescia, then in the Republic of Venice.

Marcello is mainly remembered for his composition Estro poeticoarmonico, a setting for voices and instruments of the first 50 Psalms in the Bible. An edition with words in English was brought out in 1757, after his death.

In his amusing pamphlet Il teatro alla moda, which was written in 1720, Marcello expressed strong opinions about the state of musical drama at the time.

Born into a noble family in 1686 in Venice, he was intended by his father for the law.  Marcello became a member of the Venetian Council of Forty in 1711 and in 1730 he went to Pola in Istria as Governor, but he managed to combine his work with writing and composing music. 

Eight years later, Marcello retired to Brescia as papal chamberlain. During his life he composed many operas, oratorios, cantatas, concertos and sonatas.

He was also a poet, translated John Dryden’s Timotheus as a text for one of his own cantatas, and wrote a libretto for the 1709 opera, Arata in Sparta, by Guido Ruggeri.

As a young man Marcello was a contemporary of Antonio Vivaldi in Venice and it is thought that his music has a flavour of Vivaldi’s work.

Although Marcello wrote an opera, La fede riconosciuta, which was produced in Vicenza in 1702, he had little sympathy with this form of music, as he showed when writing his pamphlet Il teatro alla moda.

The cover of Marcello's satirical
pamphlet, Il teatro alla moda

In 1728, Marcello married his singing student, Rosanna Scalfi, in a secret ceremony. As a nobleman, his marriage to a commoner was unlawful and after his death it was declared null by the state. Marcello died of tuberculosis while living in Brescia in 1739.  Rosanna was unable to inherit his estate and filed a suit in 1742 against Marcello’s brother Alessandro, asking for financial support.

The library of the Brussels Conservatoire possesses some interesting volumes of chamber cantatas composed by Marcello for his mistress.

The composer Joachim Raff wrote an opera entitled Benedetto Marcello, based loosely on the lives of Marcello and Rosanna Scalfi. 

The Conservatorio di Musica Benedetto Marcello di Venezia - also known as the Venice Conservatory - was named after him. The conservatory is housed in Palazzo Pisani a San Stefano, which faces Campo Santo Stefano in the San Marco sestiere.

A street in Rome, Largo Benedetto Marcello, is also named in his memory. 

Marcello's birthplace in Venice, in the Palazzo Marcello on the Grand Canal in the Cannaregio sestiere, is marked with a plaque.

The Palazzo Marcello on the Grand Canal
in Venice, Benedetto's birthplace

Travel tip:

Visitors to Venice who arrive by train at Santa Lucia railway station are greeted by the magnificent sight of the Grand Canal when they come out of the station. They can choose to sail down to Piazza San Marco in style on a vaporetto, or to walk down Lista di Spagna and through fascinating back streets in the direction of the Rialto bridge and Piazza San Marco. Walking through the Santa Croce area in the direction of the Rialto will bring you to the Campo della Pescheria and Venice’s famous fish market, which has been developed into a vibrant area with bars and restaurants where you can eat outside looking out over the Grand Canal. Venice’s most famous opera house is Teatro La Fenice in Campo San Fantin, inaugurated in 1792, but it is predated by the Teatro Goldoni, which originated as Teatro di San Luca, founded in 1622. La Fenice’s heyday was during the 19th century when the premieres of Rossini’s Tancredi and Semiramide and Verdi’s La traviata were held there. During the Austrian occupation of Venice,  the audience threw red, white and green flowers on the stage to represent the Italian flag and shouted ‘Viva Verdi’. They weren’t just praising the composer, Giuseppe Verdi, but using the letters of his last name as code for ‘Vittorio Emanuele Re d’Italia’, expressing support for the first King of Italy.  

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Brescia's 11th century Duomo Vecchio, also known
as La Rotonda because of its cylindrical shape

Travel tip:

Brescia, where Benedetto Marcello was residing when he died,  is a town of great artistic and architectural importance. Although it is the second city in Lombardy after the capoluogo, Milano, and has Roman remains and well-preserved Renaissance buildings, it is not as well-known to tourists as other historic Italian cities. Brescia became a Roman colony before the birth of Christ and remains from the forum, theatre and a temple can still be seen. The town was fought over by different rulers in the Middle Ages, but came under the protection of Venice in the 15th century. There is a distinct Venetian influence in the architecture of the Piazza della Loggia, an elegant square in the centre of the town, which has a clock tower similar to the one in Saint Mark’s square in Venice. Next to the 17th century Duomo is an older cathedral, the unusually shaped Duomo Vecchio, also known as la Rotonda, which is open to the public. The Santa Giulia Museo della Cittá covers more than 3000 years of Brescia’s history, housed within the Benedictine Nunnery of San Salvatore and Santa Giulia in Via Musei. The nunnery was built over a Roman residential quarter, but some of the houses, with their original mosaics and frescoes, have now been excavated and can be seen while you are looking round the museum.

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More reading:

Antonio Vivaldi, the musical priest who died impoverished

Tomaso Albinoni, the Vivaldi contemporary who became a prolific composer

Bartolomeo Cristofori, the 17th century musician credited with inventing the piano

Also on this day:

1759: The birth of Victor Emmanuel I of Sardinia

1843: The birth of painter Eugene de Blaas

1921: The birth of tenor Giuseppe Di Stefano

1931: The birth of film director Ermanno Olmi

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Pietro Nardini – violinist

Brilliant musician inspired the young Mozart

Violinist Pietro Nardini was praised for
the beauty and emotion of his playing

Pietro Nardini, who was one of the most celebrated violinists of the 18th century and was also a talented composer of violin music, died on this day in 1793 in Florence.

Nardini’s playing was praised by his contemporaries for its beauty and emotional power and his violin and flute compositions are still valued for their melodious qualities and technical skill.

He was a friend of Johann Georg Leopold Mozart, the father and teacher of the composer Wolfgang Amadeus Mozart. When the young composer first visited Italy with his father, he performed alongside Nardini in Tuscany.

Pietro Nardini was born in Livorno in 1722. At the age of 12 he became a pupil of the violinist and composer Giuseppe Tartini. 

By the time he was 14, he was already playing the violin at festivals in Lucca, but he continued working with Tartini until 1740, when he became head instrumentalist in Lucca.

In 1762, Nardini moved to Stuttgart, where he joined the court of Charles Eugene, Duke of Wurtemberg as a violinist. He was later appointed orchestra conductor, succeeding Niccolo Jomelli in the post.

After moving back to Italy to support the ailing Tartini, Nardini was appointed as maestro di cappella in Florence and he remained at the court of Leopold II Grand Duke of Tuscany for the rest of his life, although he also sometimes performed in Pisa, Rome and Naples.

Nardini also had many successful pupils, including Thomas Linley Junior, who was a highly talented violinist and is sometimes referred to as ’the English Mozart.’

The young Mozart performed with Nardini
at the Villa Medicea di Poggio Imperiale

When the teenage Mozart visited Tuscany with his father in 1770, he performed alongside Nardini at the Grand Duke Leopold’s summer palace, the Villa Medicea di Poggio Imperiale.

The Mozart family had first met Nardini in Augsburg in 1763. Pietro Nardini was intrigued to meet the young Mozart again, because his student,  Thomas Linley, was almost exactly the same age. 

The next days the boys met for the first time at the home of the Medici court’s official poetess, who was known as Corilla Olimpica, and was herself a pupil of Nardini on the violin and often held musical evenings.

In 1768, Thomas Linley, at the age of 12, had been sent to Florence to study with Nardini. The Tommasino, as he was known, and the little Mozart, were both talked of in Italy as the most promising musicians of the age. 

That evening in Tuscany, they performed one after another,  constantly embracing each other between pieces of music

The boys spent the next day together as well and the following evening performed together at the home of the court finance minister. The Mozart family party were to leave Tuscany the next day and plans were discussed for a reunion, but sadly, Linley and Mozart were never to see each other again. 

The Mozart family were unable to go back to Florence, and Linley, who also became a promising composer, returned to England. He died eight years later at the age of 22 in a boating accident in Lincolnshire.

Manuscripts of Nardini’s compositions are preserved in many Italian cities and abroad. Much of his work has been recorded in the 20th and 21st centuries and is available on disc. 

Probably the best known among Nardini’s highly regarded compositions are his Sonata in D Major and Concerto in E Minor.

The canal district in the Quartiere Venezia is
one of Livorno's attractions
(Image by danielmanastireanu from Pixabay)

Travel tip:

Livorno, where Pietro Nardini was born, is a lively Tuscan port city dating back to the Renaissance, which features Medici fortresses and canal districts among its attractions. Planned by the Medici as an ideal Renaissance port, its cosmopolitan past as a free port created a tolerant, multicultural atmosphere that remains part of its identity.  The city’s most elegant promenade is the Terrazza Mascagni, a sweeping checkerboard terrace overlooking the Ligurian Sea.  The Livorno Aquarium sits at one end, while historic bathing establishments line the shore.  At the heart of the older part of the town lies Quartiere Venezia, a 17th‑century canal district of bridges, warehouses, and pastel façades. Nearby stands the city’s emblem, the Monumento dei Quattro Mori, a dramatic 1620s sculpture of four chained bronze figures supporting the statue of Grand Duke Ferdinando I.  Livorno has two major fortresses. The Fortezza Vecchia, guarding the Medici port, preserves medieval towers and later Renaissance additions.  Inland, the Fortezza Nuova rises above a green moat and park, offering peaceful walks amid red‑brick ramparts.  For a taste of daily life, the Mercato Centrale is one of Italy’s largest indoor markets, with stalls selling fish, bread and pastries, and many local specialties. 

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The Villa Medicea di Poggio Imperiale, where Mozart
and Nardini performed, now houses a girls' school
(Picture by Sailko via Wikimedia Commons)

Travel tip:

The Villa Medicea di Poggio Imperiale, where Pietro Nardini performed with the young Mozart, is a grand, predominantly neoclassical Medici residence in Arcetri, in the hills just south of Florence.  The villa was originally the Baroncelli family’s country house and passed to the Pandolfini and Salviati families before being seized in 1565 by Cosimo I de’ Medici, who gave it to his daughter Isabella de’ Medici. Isabella transformed it into a refined retreat, hosting an intellectual court and enriching the interiors with art. In 1622, it was bought by Grand Duchess Maria Maddalena of Austria, who commissioned architect Giulio Parigi to double its size, create the monumental façade, and link the villa to Florence via a long, tree‑lined avenue. It was she who gave it the name Poggio Imperiale, reflecting her imperial Habsburg lineage. After further expansions followed under Vittoria Della Rovere, in the 18th century, Grand Duke Leopold II adopted the villa as a principal residence.  The villa’s present neoclassical appearance is largely down to Maria Luisa of Spain, Elisa Baciocchi (Napoleon’s sister), and Ferdinando III, who refined the façade and interiors into the elegant, symmetrical form seen today.  Today the building houses a prestigious girls’ boarding school, but guided tours can be booked.

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More reading:

Giuseppe Tartini, 18th century composer who changed technique of violin playing

Why Italian composer Antonio Salieri was dogged by Mozart murder rumours 

Opera composer Pietro Mascagni, another of Livorno’s famous musical sons

Also on this day: 

1917: The birth of cardinal and composer Domenico Bartolucci

1922: The birth of actor and TV host Raimondo Vianello

1976: The birth of rugby star Andrea Lo Cicero

1983: The birth of Olympic champion archer Marco Galiazzo

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Giorgia - singer-songwriter

Sanremo victory first of multiple successes

Giorgia has become one of Italy's
most popular performers

The popular singer-songwriter Giorgia Todrani, who performs simply as ‘Giorgia’, was born on this day in 1971 in the Monteverde Vecchio neighbourhood of Rome.

Giorgia, whose vocal ability has seen her compared to the American superstar singer Whitney Houston, rocketed to fame after winning the prestigious Sanremo Music Festival in 1995, less than a year into her recording career.

She has since sold more than 25 million records worldwide. Of her 12 studio albums, five have reached No 1 in the Italian charts, as did a greatest hits compilation released in 2002.  Giorgia has also topped the Italian singles chart on five occasions.

Her 1995 Sanremo winner, Come saprei - How would I know? - which she co-wrote with three others, including the best-selling Italian male star, Eros Ramazzotti, was the first entry to win both the main competition and the critics’ award at the annual festival.

Thirty years later, in 2025, she was strongly tipped to win Sanremo again with La cura per me - The cure for me - from her No 1 album G. Ultimately, the song finished sixth, a result that sparked boos from the audience at the Teatro Ariston, the theatre in the Ligurian resort that has been home to the competition since 1977.

Giorgia was born into a musical household in that her father, Giulio Todrani, was half of the singing duo Juli & Julie, which enjoyed some success in the 1970s and ‘80s. Giulio is said to have chosen the name, Giorgia, for his daughter after a favourite Ray Charles song, Georgia on My Mind. 

After the Juli & Julie duo - in which he partnered with the female singer Angela Bini - went their separate ways in 1989, Giulio formed a soul and rhythm-and-blues group under the name Gli Io Vorrei La Pelle Nera. Giorgia is said to have performed on stage with the group.

Giorgia had some formal singing lessons from the lyric tenor, Luigi Rumbo, who was a member of the Sistine Chapel choir, but it was at Roman jazz clubs such as the Alexanderplatz in Prati, Big Mama in Trastevere and La Palma in Pigneto that she honed her vocal style.

Since winning Sanremo in 1995, Giorgia's
record sales have topped 25 million

The Sanremo Music Festival would play a significant part in her professional breakthrough in the early 1990s.

In 1993, she entered and won Sanremo Giovani, a section of the competition for young artists, with a song called Nasceremo, the prize for which included entry for the Newcomers section in 1994. The bonus for Giorgia was that the 1993 edition of Sanremo Giovani was the first to be televised.

Although her 1994 song, E poi - And Then - finished only seventh in the Newcomers section, it gained enough attention to become a hit single, reaching number two in the Italian chart, matched by the album from which it came, entitled simply Giorgia, which made No 2 in the album chart, selling 180,000 copies in Italy.

That success sparked an invitation to appear with the opera superstar Luciano Pavarotti on one of his famous Pavarotti & Friends charity concerts in Modena as part of a celebrity line-up that included Sting, Bryan Adams and the rising tenor Andrea Bocelli, who had won the Newcomers section at Sanremo in which she had finished seventh.

Giorgia and Bocelli then appeared together at a Christmas Eve concert at the Vatican in front of Pope Paul II, their performance creating enough interest for them to release a single together, Vivo per lei, in 1995.

Of course, it was winning the main Sanremo contest in 1995 that provoked the biggest surge in Giorgia’s popularity. Her second album, Come Thelma & Louise, which included Come saprei, sold eight million copies worldwide and remains her biggest-selling individual album. No less a star than Elton John described her voice as “one of the most beautiful in the world” and invited her to appear as a guest on his upcoming tour of Italy.

A particularly proud moment for her father, Giulio, came in 2000 when Ray Charles, the iconic American soul singer, invited Giorgia to sing Georgia on My Mind at one of his concerts, having heard the story of how she came to be named.

Over time, through collaborations with artists such as Pino Daniele and Herbie Hancock, Giorgia was able to broaden her repertoire away from the ballads of her early success to more up-tempo and experimental music, allowing her to explore the full range of her vocal skills and bring comparisons with some of the most versatile singers in jazz-pop history.

Away from performing, Giorgia has been in a relationship since 2004 with Emanuel Lo, a dancer and teacher on the TV talent show, Amici di Maria De Filippi. The two met during one of the singer's tours and have a son, Samuel, who was born in 2010. 

A previous relationship ended in tragedy when the singer Alex Baroni, her partner of four years, was killed in a motorcycle accident.

She still lives in the Monteverde district of Rome, not far from where she grew up. 

The Villa Pamphilj, with its surrounding park,
is one of the attractions of the Monteverde district

Travel tip:

Monteverde, the area of Rome where Giorgia was born and still lives, can be found to the southwest of the central part of the city, within the Municipio XII rione. It borders Trastevere to the north and sits across the Tiber from Testaccio. Divided into the older Montevecchio Vecchio, characterised by elegant early‑20th‑century villas, and the mainly post-war Monteverde Nuovo, the area is historically middle‑class and artistic, with a long association with musicians, actors and media professionals. Small theatres and music venues abound. Known as a green area, it is home to the Villa Pamphilj, Rome’s largest landscaped park, popular for jogging, walking and relaxing, as well as the smaller park around Villa Sciarra. To the north, the Gianicolo - Janiculum Hill - offers panoramic city views.  The film director Pier Paolo Pasolini often chose the neighbourhood for location shots. Though quieter than neighbouring Trastevere, its restaurants are popular in the evenings and an increasing number of visitors chose to stay in the area, picking it as a quiet escape from the crowds in central Rome, yet close enough to be a base for exploring.

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The Teatro Ariston in Sanremo, which has been
home to the Sanremo Music Festival since 1977

Travel tip:

The resort of Sanremo in Liguria, which has figured prominently in Giorgia’s career, can be found 146km (91 miles) southwest of Genoa as the Italian Riviera extends towards France. Sanremo enjoyed particular prestige even before the music festival, first staged in 1951, put it on the cultural map. The town expanded rapidly in the mid-18th century, when the phenomenon of tourism began to take hold among the wealthy. Several grand hotels were established and the Emperor Nicholas II of Russia was among the European royals who took holidays there. The Swedish chemist Alfred Nobel, who bequeathed money in his will to establish the prizes that take his name, was so taken with the elegance of the town after his holiday visits that he made it his permanent home. Known as the City of Flowers, it is characterised by its Stile Liberty architecture (the Italian variant of Art Nouveau), of which the Casinò di Sanremo in Corso degli Inglesi is a beautiful example.  The Casino, in fact, was home to the music festival until 1977, when its closure for renovations obliged the organisers to find an alternative venue. They chose the Teatro Ariston, the town’s largest theatre in Via Matteotti, which is where it has remained.

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More reading:

How Mina became Italy’s all-time top-selling female music star

Laura Pausini, Sanremo winner and first Italian woman to land Grammy

The history of the Sanremo Music Festival

Also on this day:

1538: The birth of painter Gian Paolo Lomazzo

1575: The birth of Maria de’ Medici

1925: The birth of chocolatier Michele Ferrero

1977: The birth of astronaut Samantha Cristoforetti 

1993: The birth of rugby player Tommaso Allan

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Nino Sanzogno – conductor

Orchestra leader introduced audiences to new composers

Nino Sanzogno in 1951,
during his time at La Scala

The talented conductor and composer Nino Sanzogno, who was much admired for his elegance and the precision of his conducting, was born Giovanni Giuseppe Luigi Sanzogno on this day in 1911 in Venice.

He led the premieres of many important operas at Teatro alla Scala in Milan and also became well known for championing new music.

Sanzogno learnt the violin and developed a love of music from a young age. He went on to study under musicians such as Hermann Scherchen and Gian Francesco Malipiero and later went to Vienna to learn more about conducting from Scherchen.

His career took off when he was given the opportunity to lead the Gruppo Strumentale Italiano, who performed at concerts in Italy and abroad.

In 1937, Sanzogno became the main conductor at the opera house Teatro La Fenice in Venice. He then went on to work with the Rai Milan Symphony Orchestra and, in 1939, he began conducting at La Scala. 

There, he led the first performances of many operas, including David by Darius Milhaud, Dialogues des Carmelites by Francis Poulenc, and Troilus and Cressida by William Walton.

He also introduced Italian audiences to works such as A Midsummer Night’s Dream by Benjamin Britten, and Lady Macbeth of Mtsensk by Dmitri Shostakovich.

In Britain and in other countries he introduced new Italian composers such as Malpiero, Luigi Dallapiccola, and Ildebrando Pizzetti.

In 1955, Sanzogno helped to open the Piccola Scala theatre, which he inaugurated with a performance of Domenico Cimarosa’s Il Matrimonio Segreto. This was a smaller theatre where he brought back works from the 1700s by composers such as Niccolò Piccinni, Giovanni Paisiello and Cimarosa.

He took the Piccola Scala company to perform at the Edinburgh Festival in 1957.

Sanzogno inside the Piccola Scala theatre in Milan,
where he would play a major role

Sanzogno was married to the harpist Zeffira Galeati, with whom he had a son, Giampaolo, who also went on to become a highly regarded conductor. After his first wife’s death, Sanzogno married the soprano, Giannina Buniato.

He also composed his own music, writing symphonic poems, concertos and music for solo instruments and small groups of instruments. At the age of just 23, he wrote the soundtrack for the film Il canale degli angeli, a 1934 production directed by Francesco Pasinetti and filmed in Venice.

In 1961 Sanzogno conducted the first full studio recording of Giuseppe Verdi's Rigoletto, featuring the soprano Joan Sutherland, for Decca Records.

During his career Sanzogno was widely respected for his perfect timing and the discipline and precision of his conducting.  He was admired for the clarity, economy and poise of his conducting style. His movements were unfussy, projecting calm authority rather than theatricality, which often contrasted with the more flamboyant Italian conductors of his generation.

He died in Milan in 1983 at the age of 72. 

A typical street in the Castello district,
which is known as working-class Venice

Travel tip:

Nino Sanzogno was born in the Castello district of Venice, which is the largest and most diverse of the city’s six sestieri, stretching across the entire eastern portion of Venice, from the edge of San Marco to the green spaces of Sant’Elena. It encompasses monumental architecture near San Marco to laundry‑lined alleys further east.  Unlike the heavily-tourist areas around Rialto and San Marco, Castello remains largely residential. Locals outnumber tourists in many parts and it is often described as the area of the city where Venice still lives, day to day. Castello grew around the Arsenale, once one of Europe’s largest naval complexes and the industrial heart of the Venetian Republic. This history still shapes the district’s identity, which shows in its functional architecture, wider streets, and a sense of purposeful design rather than ornamentation. The eastern section is characterised by working‑class residential zones, quiet canals, and dilapidated but picturesque buildings, but also contains some of Venice’s rare greenery, including the Giardini Pubblici and the leafy island of Sant’Elena.

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The final scene from the Piccola Scala's 1956-57
production of Mozart's opera Così fan tutte

Travel tip:

The Piccola Scala, where Sanzogno led the opening night performance of Cimarosa’s Il Matrimonio Segreto, was a 600‑seat opera house built between 1949 and 1955. It stood on Via Filodrammatici, directly beside the main Teatro alla Scala, and was designed by Piero Portaluppi and Marcello Zavellani Rossi.  It was conceived during the post‑war reconstruction of La Scala, which had been heavily damaged in the 1943 bombings. The idea was to create a second, more intimate hall within the theatre complex - one suited to smaller‑scale works and experimental programming. Its initial focus was on Baroque and late‑18th‑century operas that were too small in scale for the main house, or chamber‑sized productions requiring reduced orchestras or minimalist staging.  Notable productions included Mozart’s Così fan tutte (1956), conducted and directed by Guido Cantelli, and Monteverdi’s Il ritorno d’Ulisse in patria (1972), conducted by Nikolaus Harnoncourt.  Despite its artistic successes, the theatre had an unexpectedly short life. In October 1983, regular programming was suspended due to changes in safety regulations for public venues and it was officially closed in 1985. The building itself was demolished in 2002.

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More reading:

How Arturo Toscanini became a great conductor by chance

Bruno Bartoletti, the Italian who led Lyric Opera Chicago for more than 50 years

The celebrated career of maestro Riccardo Muti

Also on this day:

1519: The birth of Catherine de’ Medici, Queen of France

1808: The birth of engineer and inventor Antonio Meucci

1920: The birth of ill-fated banker Roberto Calvi

1928: The birth of racing driver Giannino Marzotto

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Giuseppe Borgatti - tenor

Beautiful voice brings fame for former bricklayer

Borgatti was an illiterate bricklayer
before his vocal talent was spotted

Opera singer Giuseppe Borgatti, who became known as Italy’s greatest Wagnerian tenor, was born on this day in 1871 in Cento in the province of Ferrara.

Borgatti began his working life as a bricklayer and stone cutter, until a wealthy patron discovered that he had an outstanding voice and arranged for him to have music lessons. 

He went on to sing leading roles at Teatro alla Scala in Milan for a period of 20 years and he was the first Italian tenor to be invited to sing at the annual Wagner festival held in Bayreuth in Germany.

After being born into a poor family, Borgatti had grown up to be illiterate, but when his singing talent was discovered, a local aristocrat paid for him to have professional singing lessons and to acquire some basic education.

When Borgatti was in his early twenties, he made his debut at Castelfranco Veneto, singing the title role in Faust by Charles Gounod. After performing at some Italian opera houses, he was given the chance to sing the role of Chevalier des Grieux in Giacomo Puccini’s Manon Lescaut in a production in Venice. 

Later in the year, he appeared at Teatro del Verme in Milan as Lohengrin, which was his first Wagnerian role.

Borgatti’s big breakthrough came when he sang the title role in Andrea Chénier on the night of the premiere of the opera at La Scala in Milan. The composer of the opera, Umberto Giordano, had worked with the tenor Alfonso Garulli to create the role of Andrea Chénier, but Garulli became ill at the eleventh hour and his place on the first night in 1896 had to be taken by the young tenor Borgatti.

On the night of the premiere, many members of the audience in Milan were moved by the emotional intensity of Giordano’s music sung by Borgatti. 

The opera was a big success and his triumph in the role escalated him into the top tier of Italian opera singers. 

Borgatti continued to appear in Italian operas, but also worked closely with La Scala’s principal conductor, Arturo Toscanini to try to master the main tenor parts in the Richard Wagner repertoire. He also travelled to Spain, Russia, and South America with other Italian opera stars to perform. 

Borgatti on stage at as Siegfried in the
third opera of Wagner's The Ring Cycle

In 1901 he took part in a grand concert at La Scala, held to mark the death of Giuseppe Verdi, in which the rising young star Enrico Caruso also appeared. 

Borgatti was honoured by being the first Italian tenor asked to sing at the Bayreuth festival in Germany in 1904, after which Cosima Wagner, the composer’s widow, praised his voice.

When he was at the height of his career in 2007 and his voice was at its peak, Borgatti began losing his sight due to glaucoma. After another seven years, he had to retire from the operatic stage, even though his voice was still excellent.

He continued to give concerts and the theatre in his home town of Cento was named in his honour in 1924. Eventually he lost his sight in both eyes and, in 1928, he gave his last public performance in Bologna.

After retiring, he taught singing in Milan. His best known pupils were the English Lyric tenor, Heddle Nash, and the German baritone, Willi Domgraf-Fassbaender.

Borgatti married one of his singing teachers, Elena Cuccoli, and they had a daughter, Renata Borgatti, who became a concert pianist.

Borgatti died in 1850 when he was 79 at Reno di Leggiuno, a resort he had moved to near Lago Maggiore. He left fewer than 20 recordings, which were all sung in Italian, of extracts from works by Wagner, Verdi, and Puccini. Borgatti had been La Scala’s original Cavaradossi in Puccini’s Tosca in 1900 and among the recordings he left behind is the aria E lucevan le stelle, from Tosca.

Cento's impressive Rocca, the 14th century castle
originally built by the Bishop of Bologna

Travel tip:

Cento, where Giuseppe Borgatti was born, is a town in the province of Ferrara in Emilia-Romagna. It grew from being a little fishing village to become an established farming town and, in 1502, Pope Alexander VI took Cento away from the dominion of the Bishop of Bologna and made it part of the dowry for his daughter, Lucrezia Borgia, when she was betrothed to Duke Alfonso I d’Este. Cento was returned to the Papal States in 1598.The town’s 19th century theatre was named the Teatro Comunale Giuseppe Borgatti in honour of the famous tenor.  Known sometimes as "Little Bologna" for its arcaded streets and colourful buildings, it is famous as the birthplace of the Baroque painter Guercino, for its historic 14th-century Rocca fortress, and its world-renowned carnival.  Some of Guercino’s works can be seen in the Palazzo del Monte di Pietà, which houses the Civic Gallery, as well as in the Basilica Collegiata San Biagio, the Church of the Rosary and, in the frazione of Corporeno, the 14th-century church of San Giorgio.  The Rocca, a massive square castle with square towers, was built in 1378 by the Bishop of Bologna and enlarged by Giulio della Rovere, the future pope Julius II, in 1460.

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The Hermitage of Santa Caterina del Sasso, built into
the rock face, is accessible only by boat or on foot

Travel tip:

Giuseppe Borgatti went to live at Reno di Leggiuno, a resort at Lago Maggiore in the province of Varese, when he retired and he died there in 1850. Reno di Leggiuno is a picturesque  hamlet on the Lombardy shore of the lake. The area is famous for the Hermitage of Santa Caterina del Sasso, a Roman Catholic monastery perched on a rocky ridge overlooking the lake, which dates back possibly to the 12th century. It is thought to have been founded by a hermit, Alberto Besozzi. Though still in use as a monastery, it serves mainly as a tourist attraction and pilgrimage site. It can be reached by boat or on foot by climbing down a winding stairway and was declared a national monument in 1914. Reno di Leggiuno, which has a marina and a number of hotels, is a tranquil, authentic location featuring a scenic sand-and-pebble beach, lakefront dining, and panoramic views of the Borromean Islands. It is the birthplace of the footballer Luigi ‘Gigi’ Riva, while the actor and playwright Dario Fo, was born in nearby Leggiuno Sangiano. Reno di Leggiuno is about 25km (15 miles) northwest of the city of Varese.

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More reading:

The opera that propelled Umberto Giordano into the front rank of composers

How the great conductor Toscanini became an orchestra leader by chance

The painter Guercino, 17th century master who is Cento’s most famous son

Also on this day:

1542: The death of playwright Angelo Bealco

1826: The birth of inventor Innocenzo Manzetti

1861: Kingdom of Italy proclaimed 

1925: The birth of actor Gabriele Ferzetti

1939: The birth of football coach Giovanni Trapattoni

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Verdi’s Macbeth premieres in Florence

Shakespeare adaptation marked change in composer’s style

The poster advertising the first
performance of the opera

Giuseppe Verdi’s operatic interpretation of the Shakespeare play Macbeth was performed for the first time on this day in 1847.

The premiere took place at the Teatro della Pergola in Florence, where the composer, already gaining fame at 33 years old but with his most successful years still to come, was under contract to the impresario Alessandro Lanari.

After his success with Nabucco, his third opera, which featured the great chorus, Va, pensiero, in 1842, Verdi rapidly found himself in demand. Macbeth would be his tenth opera, his eighth in just five years. Lanari, confident that anything bearing the up-and-coming maestro’s name would sell tickets, was happy to leave the choice of work to Verdi himself, and so did not give him a particular brief.

The theatre was known for its refined acoustics and had a reputation for supporting innovative work and Verdi, who already felt his artistic freedom was being compromised by a need to produce commercially viable output, saw an opportunity to shake off at least some constraints.

Having revered the English dramatist William Shakespeare from an early age, Verdi chose Macbeth for a number of reasons. First, he felt the nature of the play would allow him to focus on the drama of the story, rather than adhering strictly to bel canto convention, which demanded a structure built around vocal highlights, sometimes at the expense of realism and depth.

The play had been in Verdi’s mind for some time. What convinced him that the moment to work with it had arrived was the availability of Felice Varesi, a baritone renowned for his dramatic intensity, to cast in the title role.

He faced some challenges in bringing the project to fruition in the way he intended. There were disagreements with his librettist, Francesco Maria Piave, over how to convey the tone Verdi desired. A number of times, the composer asked his friend, Andrea Maffei, another librettist, to provide input as well, even rewriting parts of Piave's libretto.

His leading lady, the soprano Marianna Barbieri-Nini, who had worked with him on his sixth opera, I due Foscari, had to be coached not to infuse her performance with the vocal polish usually required. Keen to emphasise character. Verdi demanded that her Lady Macbeth be “ugly and evil.”

When Verdi’s Macbeth was unveiled, audiences were sceptical about the lack of a central romance and some critics were unsettled by its darkness. Structured in four acts, with the emphasis on Lady Macbeth’s ruthless ambition, Macbeth’s psychological unravelling and the three witches - represented in Verdi’s interpretation by three choral groups - as a driving force of fate, it was nonetheless deemed a success, if not the crowd-pleasing blockbuster Lanari might have been hoping for.

Felice Varesi, the first to
sing the title role

The Florentine audience, who were seen as traditionally more restrained, say, than those in Milan, respected it as a considered, serious and innovative work, if a little unusual. It toured Italy, reportedly being performed at 21 venues around the country, before making its United States debut in New York in 1850, and its United Kingdom debut in Manchester in 1860, although it was never seen as a runaway hit.

The composer himself was said to regard it as his greatest achievement to that point. Later he would talk about it in terms of marking the start of his move away from what he spoke of as his “galley years” as a composer, when he likened himself to a “galley slave”, endlessly under pressure in terms of workload, deadlines, and artistic constraints, as if chained to an oar.

Indeed, Macbeth is now seen as a landmark moment in Verdi’s career, signalling a transition towards the artistic depth that would set him apart as the greatest composer of Italy’s operatic history, placing him above even Giacomo Puccini and Gioachino Rossini as titans of the genre.

By the time he produced the substantially revised version of Macbeth he presented in Paris in 1865, the version generally performed today, he had written Rigoletto, Il trovatore, La traviata, Simon Boccanegra, Un ballo in maschera and La forza del destino, transforming his reputation from that of rising star to a creator of genuine masterpieces.

Verdi’s reverence towards Shakespeare never diminished, even though he would not return to the English playwright until the end of his career, signing off with Otello in 1887 and Falstaff, adapted from The Merry Wives of Windsor, in 1893.

It is thought this was down to a number of factors, among them the conventions of Italian opera in the 19th century, with star singers expecting showcase roles and impresarios wanting traditional theatre-filling melodrama. 

Verdi also had to feel artistically confident that he was able to do a Shakespeare play full justice and be supported by a librettist who could do likewise. Until his collaboration with Arrigo Boito, who worked with him on Otello and Falstaff, such a librettist never appeared.

The Teatro della Pergola, the historic
theatre in the centre of Florence

Travel tip:

Florence’s Teatro della Pergola, where Verdi’s Macbeth was performed before an audience for the first time, was inaugurated in December 1656. It is one of Italy’s oldest and most historically significant theatres, celebrated as the first substantial example of what came to be known as an Italian‑style theatre, with tiers of private boxes, a shift away from the traditional design based on a semi-circle of decreasing steps. It is said to have taken its name from the grape pergola that used to stand nearby. Built under the patronage of Cardinal Giancarlo de’ Medici, it was designed by the architect Ferdinando Tacca, quickly becoming a centre of Florentine cultural life. It was officially opened during the carnival of 1657, with the world premiere of the comic opera Il podestà di Colognole by Jacopo Melani. The genre of melodrama, which became the fundamental currency of opera in Italy, is said to have been born at the Teatro della Pergola, which hosted the premieres of two operas by Gaetano Donizetti,  Parisina d'Este and Rosmonda d’Inghilterra, in 1833 and 1834.  The Pergola also appears as a footnote in another famous story, it being the theatre at which Antonio Meucci, the Italian said to have been the real inventor of the telephone, was working as a stage technician when he constructed a prototype acoustic telephone to communicate between the stage and the theatre’s control room.  Located on Via della Pergola, the theatre is a short walk from Piazza del Duomo, and close to landmarks such as the Palazzo Bargello and the Basilica di Santa Croce. 

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The Baratta Salsamenteria Storica in Busseto, which
celebrates the career of a reputed former customer

Travel tip:

Giuseppe Verdi came from Busseto, a town in Emilia-Romagna about 45km (27 miles) from Parma, 35km (21 miles) from Piacenza and 25km (15 miles) from Cremona. The area has plenty to offer Verdi fans, who can visit the house where he was born, in 1813, in the village of Le Roncole, and the churches of Santa Maria degli Angeli and San Michele Arcangelo, where he played the organ. Visitors can also admire the Palazzo Orlandi, a beautiful house on Via Roma that Verdi bought in 1845, which he shared with his future wife, the soprano Giuseppina Strepponi, from 1849 to 1851. Verdi is said to have composed Luisa Miller, Stiffelio, Rigoletto and Il trovatore while living there. Look out also for the Rocca dei Marchesi Pallavicino, on Piazza Giuseppe Verdi, which houses the Teatro Giuseppe Verdi. In 1913, Arturo Toscanini conducted a performance of Falstaff there in celebration of the centenary of Verdi's birth and to raise funds for what is now a large monument of the seated composer located in the piazza. Visitors to the small town, which has a population of around 6,700 residents, are often drawn to the Baratta Salsamenteria Storica, a tavern and salumeria on Via Roma where Verdi was once reputed to be a regular customer. The tavern specialises in charcuterie boards loaded with local hams, salami and cheeses, which customers eat with chunks of country bread, washed down with red lambrusco wine, traditionally drunk from a bowl rather than a glass.

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More reading:

Giuseppina Strepponi, the soprano who inspired Verdi and Donizetti

How the premiere of Otello, Verdi’s penultimate opera, prompted 20 curtain calls

The Verdi chorus that, for many Italians, became the country’s national anthem

Also on this day:

1655: The birth of painter Giuseppe Maria Crespi

1835: The birth of astronomer Giovanni Schiaparelli

1820: The birth of Victor Emmanuel II, first king of the unified Italy

1844: The birth of Umberto I, second king of the unified Italy

1972: The shocking death of publisher Giangiacomo Feltrinelli

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