Roberto “Robertino” Loreti - singer and actor

Child prodigy who specialised in traditional Italian songs

Robertino Loreti pictured in 1964, when 
he was 17 and already a star

The singer and actor Roberto Loreti, who performed under the stage name “Robertino”, was born on this day in 1946 in Rome.

Loreti, who sang live on Italian television earlier in 2022 at the age of 75, built popularity in many countries apart from Italy at his peak, his repertoire largely built on traditional Italian songs. He also appeared in acting roles in a number of films.

The fifth of eight children, he was only 10 years old when his father, Orlando, could not work for a long period because of illness. In order to help bring money into the household, Loreti had to give up school and find work.

He took a job as a delivery boy for a bakery which supplied pastries to restaurants. As he made his deliveries, he would amuse himself by singing folk songs.

The quality of his voice made an impression on people who heard him. One restaurant asked him to sing at a wedding and that led to others asking him to perform for their diners. 

Because Rome was the heart of the Italian film industry, Loreti even landed small parts in films, such as The Return of Don Camillo in 1953, when as a six-year-old boy he was cast as the small son of one of the story’s main characters.

At the age of eight, the operatic quality of his voice won him a place in the choir at a production of Ildebrando Pizzetti’s opera, Assassinio nella cattedrale - Murder in the Cathedral - performed at the Vatican in the presence of Pope John XXIII.

Loreti was just five years old when he won a 
part in the film, The Return of Don Camillo

His big break came some years later as a 14-year-old, in 1960, when he was singing for clients at the Caffè Grand'Italia in the Piazza della Repubblica, not far from Rome’s Termini station. Sitting at a table were the Neapolitan actor Totò, a Danish TV producer called Volmer Sørensen and his wife, singer Grethe Sønck, who drew their attention to the boy’s melodic voice.

Sørensen invited Roberto and his father to travel to Copenhagen. The prodigy sang on a number of TV shows and his father was persuaded to sign a contract with Sørensen to perform at concerts in Scandinavia and other parts of Europe, taking him to the age of 17.

Robertino, as he was now known, would spend months at a time on tour, singing up to three concerts a day, as well as recording albums of his songs. In 1962, he underwent a successful trip to the United States, where he performed at Carnegie Hall in New York.

By focussing his talents on classics such as Mamma, Arrivederci Roma and O sole mio, he appealed to audiences for whom such songs were the essence of Italian music. For a while he was nicknamed ‘Little Caruso’.

Loreti pictured during his appearance on the
talk show Oggi è un altro giorno in April 2022

Still only 17, Loreti returned to Italy in 1964, signing a record deal and enjoying more popularity through appearances at the major song festivals such as Sanremo and the Neapolitan Song Festival, winning the latter in 1966 with a song called Bella.

These festivals, enormously popular in Italy and screened on television, provided the platform for many songs that went on to be top-selling singles.

His voice now matured and described as a “baritenor” - defined as a baritone voice with the range of a tenor - he continued to give live performances for many years, although his peak years probably ended in the early 1970s.

According to some accounts of his life, Loreti retired from performing and for a time opted for a quieter life running a grocery store. After about 10 years out of the limelight, he decided to perform again.

In April 2022, six years after he last performed before an audience, Loreti was persuaded to sing on the Rai Uno talk show Oggi è un altro giorno - Today is Another Day - giving a rendition of Un bacio piccolissimo - A Tiny Kiss - which he had performed at Sanremo in 1964 at the age of 17.

A panoramic view of the Ligurian resort of 
Sanremo, home of the eponymous song festival

Travel tip:

The resort of Sanremo in Liguria expanded rapidly in the mid-18th century, when the phenomenon of tourism began to take hold, albeit primarily 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 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 Sanremo Festival has been an annual event since 1951, making its first appearance on Italian television in 1955. It is the longest-running televised song contest in the world.

The Fountain of the Naiads, with the Basilica di
Santa Maria degli Angeli e dei Martiri beyond

Travel tip:

Piazza della Repubblica, where Loreti was singing at the Caffè Grand'Italia when he was spotted by the Danish TV producer who would change hie life, is a circular piazza in Rome at the of the Viminal Hill, the smallest of Rome’s seven hills, next to the Termini station. Its features include the Basilica di Santa Maria degli Angeli e dei Martiri, which was built inside part of the ruins of the Roman Baths of Diocletian and the Fountain of the Naiads - nymphs of Greek mythology - sculpted by the Sicilian Mario Rutelli in 1901. The square marks the start of Via Nazionale, one of the city’s main commercial streets, more than a kilometre in length and linking the Repubblica almost with Piazza Venezia.

Also on this day:

1885: The birth of tenor Giovanni Martinelli

1965: The birth of actress Valeria Golino

1967: The birth of composer and conductor Salvatore Di Vittorio

1968: The popular Soave wine earns the prestigious DOC status

Home

Leonardo Leo - composer

Baroque musician known for his sense of humour

Leonardo Leo wrote or contributed to
more than 70 operas, mainly comic

A prolific composer of comic operas, Leonardo Leo was born on this day in 1694 in San Vito degli Schiavoni (now known as San Vito dei Normanni) in Apulia.

His most famous comic opera was Amor vuol sofferenza - Love requires suffering - which he produced in 1739. It later became better known as La finta frascatana, and received a lot of praise, but Leo was equally admired for his serious operas and sacred music. He has been credited with forming the Neapolitan style of opera composition.

He was enrolled as a young boy as a student at the Conservatorio della Pietà dei Turchini in Naples and was a pupil first of Francesco Provenzale and later of Nicola Fago. It has been speculated that he may have been taught by Alessandro Scarlatti, but it has since been proved by music historians that he could not possibly have studied with the composer, although he was obviously influenced by his compositions.

Leo’s earliest known work was a sacred drama, L’infidelta abbattuta, which was performed by his fellow students in 1712, while he was still a teenager.

His first opera, Pisistrato, was produced at the court theatre in Naples in 1714 and was much admired.

As an adult Leo held various posts at the royal chapel in Naples while continuing to write for the stage and teach at the conservatory.

Leo was a major influence in the 
development of opera's Neapolitan school 

In 1722 he added comic scenes to Francesco Gasparini’s Bajazet for a performance in Naples. He then started to compose his own comic operas in Neapolitan dialect, such as La ’mpeca scoperta in 1723 and L’Alidoro in 1740.

His most famous serious operas were Demofoonte (1735), Famace (1737) and L’Olimpiade (1737). With L’Olimpiade he became the first composer to introduce the chorus into Neapolitan opera.

Handel was so impressed with Leo’s opera, Catone in Utica, that he used some of the music from it in a performance at the King’s Theatre in London in 1732.

Leo died of a stroke in 1744 while he was composing new arias for a revival of his acclaimed opera, La finta frascatana.

Experts believe Leo was the first composer of the Neapolitan School to achieve a complete mastery over modern harmonic counterpart and agree that in his comic operas he reveals a keen sense of humour. He was to be one of the last major Italian Baroque composers and was well regarded as a teacher, with Niccolò Piccinni and Niccolò Jommelli among his students.

Leo wrote or contributed to about 70 operas, as well as composing oratorios, masses and instrumental works, some of which are still performed and are available on contemporary recordings. His Miserere (🎵Listen 🎵) for double choir and orchestra is regarded as his signature piece.

The Corso Leonardo Leo in San Vito dei Normanni
is typical of the town's quaint narrow streets

Travel tip:

San Vito dei Normanni, where Leonardo Leo was born, is a town with a population of around 20,000, situated about 24km (15 miles) west of Brindisi in the area of Puglia known as Salento. An attractive town of narrow streets lined with baroque-style churches and palaces and numerous restaurants and bars, it was formerly known as San Vito degli Schiavoni on account of a large number of Slavs - Schiavoni in Italian - who settled in the area after migrating from Dalmatia, on the opposite side of the Adriatic, to escape persecution by the Saracens in the 10th century. The town’s history, though, dates back much further, with archaeological remains discovered that show the area was inhabited during the Bronze Age. Things to see include the medieval Castello di Dentice Frasso, sometimes known as the Castello di San Vito, which overlooks the main piazza, and the beautiful Baroque church of San Giovanni Evangelista, built in soft Lecce stone.

Inside the Church of the Pietà dei Turchini, which
dates back to the time of the conservatory

Travel tip:

Founded in 1583, the Conservatorio della Pietà dei Turchini, where Leonardo Leo was a pupil, was the longest running of four Naples conservatories that were ultimately incorporated into the Real Collegio di Musica, which became the Conservatorio di San Pietro a Majella. Like the Conservatorio di Sant'Onofrio a Capuana, another of the four, it had been a charitable institution for the care of orphans and abandoned children. The church of the Pietà dei Turchini, which was built at around the same time as the conservatory, stands in Via Medina in the centre of Naples, not far from the Teatro di San Carlo opera house.

Also on this day:

1607: The birth of cardinal and arts patron Antonio Barberini

1623: The birth of composer Antonio Cesti

1953: The birth of Felice Casson - politician and magistrate

2002: The death of novelist Franco Lucentini

Home

Carlo Savina - film composer and musical director

Worked on major scores including The Godfather and Fellini’s Amarcord

Carlo Savina conducting in during his 
time working in TV and radio in the 1950s

Musical director Carlo Savina, who arranged soundtracks written by such luminaries of the film music industry as Ennio Morricone and Nino Rota, was born on this day in 1919 in Turin.

Savina was also a prolific film composer in his own right and is credited with writing or arranging the scores of at least 200 movies in a career spanning more than 35 years.

He won a David di Donatello award for Best Music for the 1985 crime drama The Pizza Connection, directed by Damiano Damiani and starring Michele Placido, a version of which was released in the United States as The Sicilian Connection.

Yet Savina is more frequently remembered for his work with Rota on the multi-award winning soundtrack of the first film in Francis Ford Coppola’s The Godfather trilogy in 1972 and with Federico Fellini the following year on Amarcord, the maestro’s semi-autobiographical film about growing up in a village in the Fascist Italy of the 1930s.  He worked with Fellini and Rota on many projects, including La Dolce Vita (1960), which remains their most famous collaboration.

Although the music in a film would always be attributed to the headline composer in the credits, the work done by the likes of Savina in matching their music to the scenes and in producing an edited version of the soundtrack for commercial release was invaluable.

Savina came from a musical family. His father was the first clarinet for the orchestra of the public radio broadcaster EIAR, based in their home city.

Savina, who played a wide range of instruments,
is shown accompanying a vocal group on guitar

As a child, Savina learned to play the violin and as a student attended the Giuseppe Verdi Conservatory in Turin, where he studied piano, violin, composition, and conducting. He obtained further qualifications from the National Education Ministry in the 1940s.

Savina explored many avenues in music, for a while conducting small orchestras or playing soloists at dance halls in Turin. 

His early classical compositions included sonatas for clarinet and violin and a quartet for wind instruments. Savina also wrote a small number of operas, one of which was performed at the Teatro dei Rozzi in Siena.

Immediately after the Second World War, he wrote music and songs for the popular market.  In the 1950s, he began to acquire national fame through his work with the national broadcaster Rai, who entrusted him with the direction of a large string orchestra. He had a prominent role in the musical direction on the experimental programmes made for Rai’s early television output in 1953.

Savina was in his 30s before the film industry began to be his focus.  His relationship with some of the world’s most famous film music composers  began at the outset, when he composed the music to Carlo Borghesio’s 1950 comedy Il monello della strada (The Street Brat) in partnership with Rota.

Savina worked with Nino Rota
on The Godfather and other titles

He worked with the great commedia all’italiana director Mario Monicelli on Totò cerca pace (Totò seeks peace) in 1954 and thereafter until the late 1960s was writing as many as a dozen soundtracks per year. His individual output, from spaghetti westerns, of which he scored more than 30, to horror films, began to lessen in the 1970s, but by then he was in demand to work with other composers.

As well as Morricone and Rota, he collaborated with Armando Trovajoli, Mario Nascimbene, Stanley Myers, Stephen Sondheim, Philippe Sarde, and Miklós Rózsa among the great big-screen music composers of his time.  

It was his relationship with Rota and Fellini that would prove the most enduring and successful, spanning almost 30 years until Rota’s death in 1979. Their last collaboration was on Fellini’s Orchestra Rehearsal, a 1978 film in which members of an orchestra go on strike against their conductor.

Savina, who wrote under various pseudonyms in his career, including Herbert Buckman, Charles Hanger and James Munshin, died in Rome in 2002 at the age of 82.

After his death, the Centro Sperimentale di Cinematografia, Rome’s historic film school, established the Premio Carlo Savina as an annual prize for composers of film music. Winners include Morricone, Davide Cavuti and Franco Piersanti, who among other things wrote the music for the TV series based on Andrea Camilleri’s Inspector Montalbano novels.

Elegant streets and a vibrant café
culture are a feature of Turin

Travel tip:

Turin, the capital city of the region of Piedmont, where Carlo Savina was born and grew up, has some fine architecture that illustrates its rich history as the home of the Savoy Kings of Italy. Piazza Castello, with the royal palace, royal library and Palazzo Madama, which used to house the Italian senate, is at the heart of ‘royal’ Turin.  An elegant, stylish and sophisticated city, Turin has much to commend it, from its many historic cafés to 12 miles of arcaded streets and some of the finest restaurants in Piedmont. In the 19th century, the city’s cafés were popular with writers, artists, philosophers, musicians and politicians among others, who would meet to discuss the affairs of the day.  The city’s duomo, the Cattedrale di San Giovanni Battista, as it is also known, was built between 1491 and 1498 in Piazza San Giovanni in Turin, on the site of an old Roman theatre.

The Centro Sperimentale di Cinematogrofia
in Rome was established in the 1930s

Travel tip:

The Centro Sperimentale di Cinematografia has its headquarters in Via Tuscolana in Rome, was established at the time when the city became the hub of the Italian film industry because of the nearby Cinecittà, a large studio complex to the south of the city, built during the Fascist era under the personal direction of Benito Mussolini and his son, Vittorio. The studios were bombed by the Allies in the Second World War but were rebuilt and used again in the 1950s for large productions, such as Ben-Hur, the 1959 epic starring Charlton Heston, the acclaimed soundtrack of which saw Carlo Savina work with the Hungarian-American composer Miklós Rózsa. These days a range of productions, from television drama to music videos, are filmed there and Cinecittà has its own dedicated Metro stop.

Also on this day:

1854: The birth of author Francis Marion Crawford

1945: The death of composer Pietro Mascagni

1980: The bombing of Bologna railway station

Home

Salvatore Fisichella - operatic tenor

Singer was called the most outstanding interpreter of Bellini of his day

Salvatore Fisichella began
singing as a small child 

Opera singer Salvatore Fisichella, who won international acclaim for his interpretations of the leading roles in Bellini’s operas, was born on this day in 1943 in Catania in Sicily.

Recognised for the ease and vocal brilliance of his singing, Fisichella has specialised in performing in bel canto operas, especially those of Gioachino Rossini, Gaetano Donizetti and Vincenzo Bellini.

He began singing when he was a small child at family parties. He was taught music at the local seminary and from the age of ten sang solos during church services.

After leaving the seminary, Fisichella attended a secondary school that had a science-based curriculum and then studied to become a surveyor.

Once he had qualified as a surveyor, he had little time for singing, but one day he was invited to the wedding of one of his clients. Fisichella had drawn up the plans for the couple’s new home, but on the day of the wedding he found himself filling in for the tenor, who had been scheduled to perform but whose arrival was delayed. 

Fisichella's operatic 
debut came in 1971

The bride, who had specifically requested Ave Maria, was so upset she threatened to postpone the wedding, however Fisichella saved the day by offering to sing in his place. To everyone’s amazement, he sang the part of the tenor perfectly to great acclaim and was even praised by the tenor himself, who had arrived just in time to hear him.

His interest reawakened, Fisichella began working under Maria Gentile, a soprano from Catania who had become a singing teacher. He listened to the singing of Mario del Monaco, Giuseppe Di Stefano, Franco Corelli, Carlo Bergonzi and Gianni Raimondi and occasionally took part in small concerts. His breakthrough came when he won a prestigious singing competition in Spoleto.

In 1971, he was engaged by the Teatro dell’Opera di Roma for two performances of Rigoletto and seven performances of I puritani with Mirella Freni . A year later he  was back at the theatre again to appear with Mirella Freni in Gounoud’s Faust. In 1973 he made his debut at the Teatro Bellini in his home town of Catania in La bohème.

Fisichella subsequently performed all over the world in the top theatres and concert halls and enjoyed enthusiastic receptions and glowing reviews.

Fisichella once received a 
22-minute standing ovation

In Pesaro in 1975 he became one of the few tenors to rise to the challenge of Rossini’s Messa di Gloria, a score avoided by many bel canto tenors. In 1985, Theatre magazine said he was ‘a tenor to rival Domingo and Pavarotti’. The following year he performed for the first time at the Met in New York alongside Joan Sutherland and was a resounding success.

In 1992 in Paris, he received a 22-minute standing ovation following his performance at the Concerto Belliniano at the Champs Élysées opera house. The French press declared him the most outstanding interpreter of Bellini of his day. In 1994 he was awarded the Bellini D’Oro prize by the Sicilian Tourist Authority. Fisichella continued to perform on the international stage well into this millennium and now passes on his technique and experience by giving masterclasses to up and coming young tenors.

Fisichella lives in Sant’ Agata li Battiati near Catania with his wife, Fiorella, He has a son, Filippo and daughter Lucia Martina (Lulu), who also enjoys singing.

Salvatore Fisichella celebrates his 79th birthday today.

Catania sits in the shadow of Mount Etna,
the still-active volcano

Travel tip:

Salvatore Fisichella’s home city of Catania is one of the ten biggest cities in Italy, and the seventh largest metropolitan area in the country, with a population including the environs of 1.12 million. Located on the east coast of Sicily facing the Ionian Sea, it has twice been destroyed by earthquakes, in 1169 and 1693. With Mount Etna looming in the background, it can be compared in some respects with Naples, which sits in the shadow of Vesuvius, in that it lives with the constant threat of a natural catastrophe and as such it has always been a city for living life to the full. In the Renaissance, it was one of Italy's most important cultural, artistic and political centres and enjoys a rich cultural legacy today, with numerous museums and churches, theatres and parks and many restaurants.  

The beautiful Basilica
della Collegiata

Travel tip:

Catania is notable for its Baroque city centre, which is a UNESCO heritage site, but also has some outstanding classical buildings, ancient remains buried over the centuries.  Greek and Roman cities built on the site of the present city disappeared under layers of lava from Etna's eruptions but parts of them have been unearthed, including an impressive Greek-Roman theatre.  Among the many fine examples of the Sicilian Baroque style, which is typical of the island, including the beautiful Basilica della Collegiata, with its six stone columns and the concave curve of its façade. A prominent architect was Vincenzo Sinatra, a pupil of Rosario Gagliardi, who had been influenced by Gian Lorenzo Bernini’s work in Rome. 

Also on this day:

1567: The baptism of composer Claudio Monteverdi

1902: The birth of band leader Pippo Barzizza

1936: The birth of actress Anna Maria Alberghetti

Home

Leo Nucci – operatic baritone

Singer renowned for his interpretation of Rigoletto

Leo Nucci's voice has maintained
its power even in his 70s

One of the most famous baritones in the world, Leo Nucci, was born on this day in 1942 in Castiglione dei Pepoli, a small town south of Bologna and, since making his stage debut in 1967, has been delighting opera audiences for more than 50 years.

The singer has performed his signature role of Giuseppe Verdi's Rigoletto more than 500 times all over the world. He had planned to retire in 2020, but changed his mind during the first Covid-19 lockdown when the area around his home near the city of Lodi was declared a red zone and subject to the toughest restrictions imposed by the Italian government.

He has said that he lost colleagues and friends to Covid and had the opportunity for reflection while he remained at his home, listening to the sounds of nature, broken only by the sirens of hundreds of ambulances taking victims of the virus to hospital. It was then he realised he ought to move forward in his career and play his role as a singer fully in order to be useful to others.

At the start of his career, Nucci studied with Giuseppe Marchese and won several singing competitions. He first appeared on stage in Spoleto as Figaro in Gioachino Rossini's Il barbiere di Siviglia. He then joined the chorus of La Scala in Milan. He made his solo debut there in 1975 when he again played Figaro.

He quickly became an international star and made his debut at London’s Royal Opera House in 1978 as Miller in Verdi's Luisa Miller. He played Renato/Ankerstrom in Un ballo in maschera, also by Verdi, at New York’s Metropolitan Opera in 1980. He then played the same role at the Paris Opera in 1981.

Nucci in his signature role, Rigoletto, which
he has performed more than 500 times

During his career he has appeared with such stars as Luciano Pavarotti, Joan Sutherland and Placido Domingo. In 2019, Nucci sang during the celebrations for the Verdi anniversary Verdi in Parma. Long associated with Verdi's baritone roles, Nucci’s singing and acting abilities have been displayed most notably in the roles of Rigoletto, Macbeth, the Count di Luna in Il trovatore, Iago in Otello and Falstaff.

He is married to the soprano Adriano Anelli, with whom he has a daughter. They first met in La Scala’s restaurant and, three and a half years after they were married, they appeared in Rigoletto together.

After lockdown restrictions were lifted in Italy, Nucci returned to the stage at the age of 78 in Verdi's La traviata, which was performed at La Scala and at the Arena di Verona.

He has been a trombone player for many years but more recently has learnt to play the cello. He has also embarked on directing the staging of operas, drawing on his years of performing experience.

The Palazzo Pepoli in Castiglione dei Pepoli
dates back to the late 15th century

Travel tip:

Castiglione dei Pepoli, Nucci's place of birth, can be found about 55km (34 miles) south of Bologna in Emilia Romagna, at the foot of Monte Gatta, in the Bolognese Apennines, on the border with Tuscany. It enjoys spectacular views over the valley of Brasimone. The small town takes its name from the noble Pepoli family of Bologna. At the centre, a small medieval square features the ancient Palazzo Pepoli, built towards the end of the 15th century, which is now the municipal administration headquarters. On the opposite side of the square stands a beautiful clock tower built in 1724.  According to legend, the nearby Santuario della Madonna di Bocca di Rio was built in the place where, in 1480, two shepherds had an apparition of the Virgin who asked them to erect in that forest a temple in her honour. The sanctuary has become a destination for pilgrimages from all over Italy.

Piazza della Vittoria in the centre of Lodi is
rated one of Italy's most beautiful squares

Travel tip:

Lodi, the city in the area where Nucci made his home, is in Lombardy, about 45km (28 miles) southeast of Milan and on the right bank of the River Adda. The main square, Piazza della Vittoria, has been listed by the Touring Club of Italy as among the most beautiful squares in Italy and it has porticoes on all four sides. Nearby Piazza Broletto has a 14th century marble baptismal font from Verona. Notable buildings include the 12th-century Romanesque cathedral, the 15th century church of the Incoronata. Lodi is an important agricultural and industrial centre noted for cheese, ceramics, wrought iron, and wool products. Historically, it is famous for being the scene of the first major battle led by the young Napoleon Bonaparte, who defeated the Austrians in the Battle of Lodi in 1796.  

Also on this day:

1118: The death of Adelaide del Vasto, Countess of Sicily

1839: The birth of politician Antonio Starabba, Marchese di Rudini

1858: The birth of gold prospector Felice Pedroni

1881: The birth of artist and illustrator Fortunino Matania

Home

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

Home

Piero Piccioni – film composer and lawyer

Politician’s son gave up legal practice to write movie scores

Piccioni gave up a career as a
lawyer to compose film music

Pianist, conductor and prolific composer Piero Piccioni was born on this day in 1921 in Turin in the northern region of Piedmont.

A self-taught musician, Piccioni became  a composer of film soundtracks, writing more than 300 scores, themes and songs for top directors such as Francesco Rosi, Luchino Visconti, Bernardo Bertolucci, Roberto Rossellini and Vittoria De Sica.

Piccioni had come into contact with the film industry during the 1950s while practising as a lawyer in Rome and working to secure movie rights for Italian distributors such as Titanus and  De Laurentiis.

His interest in music had started as a result of being taken to concerts by his father, Attilio Piccioni, who was a prominent Christian Democrat politician who served several times as deputy prime minister. 

Although Piccioni never studied music formally, he became a talented musician by teaching himself. He had listened to jazz during his childhood  and was a fan of Art Tatum and Charlie Parker. He was also influenced by 20th century classical composers and American cinematography and he started writing songs of his own.

Piccioni played the piano on radio for the first time in 1938 with his ‘013’ Big Band but did not go on air again until after the liberation of Italy in 1944. He had the distinction of being the only Italian pianist ever to play for Charlie Parker after he was called upon to substitute for the pianist Al Haig on a television programme filmed in New York in 1949.

Piccioni's musical ability was
entirely self-taught

While Piccioni was still a practising lawyer, he was contacted by Michelangelo Antonioni and asked to write a score for a documentary film directed by Luigi Polidoro, one of his apprentices.

His first feature film was Il mondo le condanna in 1952, after which he gave up law to write music full time. He wrote the music for most of the films that comic actor Alberto Sordi either took part in or directed. Many of the themes he composed for Sordi went on to become popular hits.

Piccioni won many prestigious prizes for his music, including the David di Donatello Award for the 1975 film Swept Away and the Nastro d’Argento award for the 1962 film Salvatore Giuliano. He also won the Anna Magnani award in 1975, the Vittorio De Sica Award in 1979 and the Prix International Lumiere in 1991.

In 1953, Piccioni had been implicated in the Montesi scandal, which followed the discovery of a dead Italian woman on a beach near Rome. He was given an alibi for the time of death by the actress Alida Valli who said he was with her at Carlo Ponti’s villa in southern Italy. He was acquitted of any involvement in the death at a trial three years later and a journalist who had written about Piccioni recanted his allegations after legal action was taken against him.

Piccioni died in Rome in 2004 at the age of 82, leaving a widow, the former musical star Gloria Paul, and their two children, Jason and Valentina.

Turin is a city of understated elegance
with a vibrant café culture

Travel tip:

Turin, the capital city of the region of Piedmont, where Piero Piccioni was born, has some fine architecture that illustrates its rich history as the home of the Savoy Kings of Italy. Piazza Castello, with the royal palace, royal library and Palazzo Madama, which used to house the Italian senate, is at the heart of ‘royal’ Turin.  An elegant, stylish and sophisticated city, Turin has much to commend it, from its many historic cafés to 12 miles of arcaded streets and some of the finest restaurants in Piedmont. In the 19th century, the city’s cafés were popular with writers, artists, philosophers, musicians and politicians among others, who would meet to discuss the affairs of the day.

The 'ancient Rome' set is one of the 
highlights of the Cinecittà studio complex

Travel tip:

Rome, where Piero Piccioni lived for many years of his life, became the hub of the Italian film industry because of Cinecittà, a large studio complex to the south of the city, built during the Fascist era under the personal direction of Benito Mussolini and his son, Vittorio. The studios were bombed by the Allies in the Second World War but were rebuilt and used again in the 1950s for large productions, such as Ben Hur. These days a range of productions, from television drama to music videos, are filmed there and Cinecittà has its own dedicated Metro stop.

Also on this day:

1478: The birth of Baldassare Castiglione, courtier, diplomat and writer

1586: The birth of astronomer Niccolò Zucchi

1794: The birth of opera singer Luigi Lablache

1975: The birth of businessman Andrea Agnelli

Home

Piero Cappuccilli - operatic baritone

Singer highly respected for interpretation of Verdi roles

Piero Cappuccilli as Ernani in a
performance of Verdi's Don Carlo

Piero Cappuccilli, regarded during a 41-year opera career as one of the finest Italian baritones of the late 20th century, was born on this day in 1926 in Trieste, in the far northeast corner of the peninsula.

Although not exclusively, Cappuccilli’s focus was predominantly the work of Italian composers, in particular Giuseppe Verdi, in whose operas he sang 17 major roles.

He sang at many of the world’s great opera houses, travelling to South America and the United States, where he made his debut at the Metropolitan Opera in New York as Giorgio Germont in Verdi’s La traviata in 1960 and had a particular association with the Lyric Opera in Chicago, where he made his first appearance in 1969 as Sir Richard Forth in Bellini's I puritani and returned many times before his farewell performances there in 1986.

Nonetheless, he spent most of his time in Europe. He made his debut at Milan’s Teatro alla Scala in 1964 as Enrico in Donizetti’s Lucia di Lammermoor; at the Royal Opera House in Covent Garden as Germont in 1967; and at the Opéra de Paris in 1978, singing Amonasro in Verdi’s Aida. He also appeared at the Vienna State Opera and the Salzburg Festival and worked with Europe’s finest conductors, including Herbert von Karajan, Gianandrea Gavazzeni, Claudio Abbado, and Carlos Kleiber.

Cappuccilli was initially reluctant to
pursue the idea of a career in opera

His retirement, in 1992 in his mid-60s, was enforced, unfortunately, after he was seriously injured in a road accident following a performance of Verdi’s Nabucco at the Arena di Verona. Although he recovered enough to make further contributions to the world of opera as a teacher, the damage to his body left him unable to cope with the physical demands of performing on stage.

Cappuccilli first encountered opera as a 10-year-old boy, during a family holiday, when he was recruited for the children's chorus of a production of Bizet’s Carmen in Naples. He thought nothing at that stage of a career in music, focussing his ambitions on becoming an architect.

As a young adult, friends noted the quality of his voice whenever he sang and in 1949 encouraged him to audition at the opera house in Trieste, the Teatro Giuseppe Verdi. Luciano Donaggio, an opera teacher, heard him and thought he had enough potential to offer him free lessons. 

Even then, Cappuccilli was not convinced it was worth his time and gave up for a while. But Donaggio ultimately persuaded him he was good enough to contemplate a career in opera and he joined the company at the Teatro Giuseppe Verdi in 1951, taking a succession of small parts.

Many of Cappuccilli's performances have
been preserved in a large discography

His major break came in 1955 when he auditioned at La Scala in Milan, on the back of which it was suggested he enter the Viotti International Music Competition in Vercelli, Piedmont, now world-renowned but at that stage still in its relative infancy. He won first prize in his category and offers of more important roles soon followed. Cappuccilli made his debut in a major role in the Teatro Nuovo in Milan in 1957, singing Tonio in Leoncavallo’s Pagliacci.

In the years that followed, Cappuccilli not only excelled for the rich quality of his voice, outstanding breath control and immaculate phrasing but for the sensitive interpretation of the characters he portrayed. Critics spoke of him in the same breath as Tito Gobbi and Ettore Bastianini among the great Italian baritones.

He seldom disappointed in any role but his performances in Aida and Forza del Destino at La Scala in the 1960s attracted particularly enthusiastic reviews, while London critics were wowed by his interpretation of the title role in Verdi's Simon Boccanegra when the La Scala company guested at Covent Garden in 1976.

Happily, many great performances were preserved in an extensive discography that includes performances alongside Maria Callas, Katia Ricciarelli, Placido Domingo and Mirella Freni under the baton of Von Karajan and Abbado among others.

Cappuccilli spent his final years back in Trieste, where he died in 2005, aged 78. He left a wife, Graziella, three children and two grandchildren. He is buried at the Cimitero di Sant’Anna.

A view of the Canale Grande in Trieste, the 
maritime capital of  Friuli-Venezia Giulia

Travel tip:

The seaport of Trieste, capital of the Friuli-Venezia Giulia region, officially became part of the Italian Republic in 1954. Trieste had been disputed territory for thousands of years and after it was granted to Italy in 1920, thousands of the resident Slovenians left. The final border with Yugoslavia was settled in 1975 with the Treaty of Osimo. The area today is one of the most prosperous in Italy and Trieste is a lively, cosmopolitan city and a major centre for trade and ship building.  The city has a coffee house culture that dates back to the Hapsburg era.  Caffè Tommaseo, in Piazza Nicolò Tommaseo, near the grand open space of the Piazza Unità d’Italia, is the oldest in the city, dating back to 1830.

Piazza San Babila is the home of 
Milan's Teatro Nuovo today

Travel tip:

The Teatro Nuovo theatre in Milan, located on the Piazza San Babila in the lower level of the Palazzo del Toro, was designed by architect Emilio Lancia and was the project of the impresario Remigio Paone. It was inaugurated in December 1938 with a performance of Eduardo De Filippo's comedy Ditegli sempre di sì. Piazza San Babila is characterized by the presence of a fountain built in 1997 by the architect Luigi Caccia Dominioni in conjunction with the Ente Fiera Milano.

Also on this day:

1383: The birth of military leader Niccolò III d’Este

1697: The pope orders the relocation of the city of Cervia, in Emilia-Romagna, because of toxic air from surrounding marshland 

1877: The birth of Enrico De Nicola, the first president of Italy

1921: The birth of football stickers pioneer Giuseppe Panini

1974: The birth of footballer Alessandro Del Piero

(Image of Canale Grande by Severin Herrmann from Pixabay)

Home

 

Niccolò Paganini - musician and composer

Extraordinary talent aroused bizarre suspicions

Niccolò Paganini is widely regarded
as one of history's greatest violinists

The musician and composer Niccolò Paganini, widely regarded as one of the greatest violinists of all time, was born on this day in 1782 in Genoa.

Paganini’s ability was so far ahead of his contemporaries that to some observers it defied comprehension. He possessed unusually long fingers, a memory that enabled him to play entire pieces without the need for sheet music, and could play at up to 12 notes per second.

This, combined with his appearance - he was tall and thin, with hollow cheeks, pale skin and a fondness for dressing in black - and a habit of making wild, exaggerated movements as he played, gave rise to outlandish theories that he was possessed by the Devil, or even was the Devil himself.

He also pursued a somewhat dissolute lifestyle, drinking heavily, gambling and taking advantage of his fame to engage in numerous affairs.  

The suspicion of demonic associations stayed with him all his life to the extent that after his death at the age of 58 it was four years before his body was laid to rest because the Catholic Church would not give him a Christian burial, their reticence not helped by his refusal to accept the last rites.

Only years later was it concluded that his long fingers were probably the result of a genetic disorder called Marfan syndrome, while the speed of his playing and jerky movements could have been symptoms of Ehlers-Danlos syndrome, another inherited condition, whose sufferers have increased flexibility but a lack of coordination.

Paganini has such an accurate memory
that he could play without sheet music

Paganini was born the third of six children. His father, Antonio, was a trader, albeit not a prosperous one, and would supplement his income by playing the mandolin. Niccolò soon learned to play the instrument and had moved on to the violin by the age of seven.

It was soon clear he was blessed with prodigious talent and was soon offered scholarships to study with local teachers in Genoa. His ability quickly outpaced what they could offer him, prompting his father to take him to Parma in search of more advanced tuition.

His progress was interrupted in 1796 when northern Italy was invaded by France and Paganini’s family left the city to move inland along the Polcevera river to Bolzaneto, where they owned another property. Paganini occupied himself by learning to play the guitar, again to an extraordinary standard, although it was an instrument he played largely for his own amusement and for close friends, rather than give public performances.

He embarked on his first solo violin tour at the age of 15, appearing at various places around Italy, but being away from home was not good for his mental health and it was thought that this pushed him towards drinking and gambling as an escape. 

After he recovered, he was appointed first violin of the Republic of Lucca, at that time one of the most powerful city states in Italy, but in 1805 Lucca was annexed by Napoleonic France, and the region was ceded to Napoleon's sister, Elisa Baciocchi.  Paganini stayed, becoming a violinist to the Baciocchi court.  It was during this time that he composed perhaps his most famous work, his 24 Caprices for solo violin.

Paganini's violin Il
Cannone Guarnerius

Eventually, he decided to return to touring, giving concerts around Genoa and Parma, where he had attracted large audiences previously. He was still not well known outside Italy, even after beginning to make appearances at La Scala in Milan, gaining admirers among their international clientele. 

It was not until after Pope Leo XII had conferred upon him the Order of the Golden Spur, the papal equivalent of a knighthood, in 1827, that his fame spread across Europe. The following year, he was invited to play in Vienna, followed by a prolonged tour that saw him perform in almost all the major cities of Germany, Poland and Bohemia. Later, he performed in Paris and London.

Still, his phenomenal ability attracted suspicion. In Vienna, an audience member claimed he had seen the Devil on stage with Paganini. A story circulated that the sound of a woman’s scream could be heard emanating from his violin while he played, the consequence, it was said, of his murdering a woman and making strings from her intestines, while imprisoning her soul within the body of the instrument. 

Given such stories, it was hardly surprising that he made few friends. Two exceptions were Gioachino Rossini, the Italian composer he first met in Bologna in 1818 and for whom he once conducted an opera performance after the sudden death of the regular conductor, and Hector Berlioz, the French composer whom he compared with Beethoven and supported with large sums of money towards the end of his life.

Among his many romantic associations, the most enduring involved a singer from Como, Antonia Bianchi. After meeting in Milan in 1813 they gave concerts together throughout Italy. They had a son, Achille Ciro Alessandro, born in Palermo in 1825, but they were never married and split up in around 1828. 

Paganini began learning the violin
at the age of seven

Paganini’s health was never good. He was diagnosed with syphilis in 1922 and the treatment for it, which involved mercury and opium, did as much damage as it cured. In 1834 he developed tuberculosis while in Paris, which left him prone to infection and bouts of depression.

Touring soon became impossible and he returned to Genoa initially, giving lessons to a small number of pupils, including Camillo Sivori, who would go on to assume his mantle as Italy’s finest violinist. 

Restless, he went back to Paris in 1836 and unwisely invested much money in a casino, which failed so badly he was forced to auction off many of his prized collection of violins and guitars, including several made by Antonio Stradavari in Cremona, in order to recoup his losses. He left Paris for Marseille in 1838 and from there went to Nice, which is where he died in 1840, apparently from internal bleeding as a result of cancer of the larynx. It was the Bishop of Nice who arranged for a local priest to visit him and perform the last rites, but Paganini refused to accept his life was nearing its end and dismissed the priest.

The local church refused to bury him on consecrated ground and his embalmed body remained in the house where he died for more than a year and in the Nice area for almost four years while his son, Achille, pleaded with the Catholic Church to allow his body to be moved back to Italy. Ultimately, Achille’s entreaties were answered by Pope Gregory XVI and Paganini’s body was finally laid to rest at La Villetta cemetery in Parma.

The Fratello Minore fortress above the
Polcevera valley outside Bolzaneto

Travel tip:

Bolzaneto, where the Paganini family had a house while Niccolò was growing up, was once a hamlet located outside the city of Genoa in the Polcevera valley. Today it is a suburb of Genoa, surrounded by many small industries and business firms. On the mountains behind Bolzaneto, at the left side of Polcevera valley, are two fortresses, which are part of the external fortresses of Genoa: the Fort Diamante and a smaller fortress known as Fratello Minore. Close to the Bolzaneto exit of the A7 motorway that runs from Genoa to Milan is what used to be Bolzaneto’s castle, built in the early 14th century but subsequently destroyed in clashes between the Guelphs and Ghibbelines before being rebuilt and destroyed several times thereafter, finally as a grand residence at the beginning of the 20th century.

Paganini's tomb memorial at the
La Villetta cemetery in Parma

Travel tip:

La Villetta, the monumental cemetery at Parma where Paganini’s body was finally buried and an elaborate memorial erected, takes its name after the farm that Duchess Marie Louise of Austria, the second wife of Napoleon, chose as the site for the city's burial ground during her rule of the city from 1816 to 1847. Designed by the engineer Giuseppe Cocconcelli in neoclassical style, it contains the tombs among others of the poet Angelo Mazza and the composer Ildebrando Pizzetti. Paganini’s tomb, housed under a domed portico supported by eight Doric columns, is on the left side of the entrance, opposite the main chapel dedicated to San Gregorio Magno.

Also on this day:

1952: The birth of Oscar-winning actor Roberto Benigni

1962: The death in a plane crash of industrialist Enrico Mattei

1967: The birth of mountaineer Simone Moro

Home