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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Antonio Buzzolla - composer, choirmaster and conductor

Output included operas, religious music and Venetian dialect songs

An illustration of Antonio Buzzolla, thought
to show him at the age of 25 in 1840

Antonio Buzzolla, a composer who was at various times a musician, conductor and choirmaster, was born on this day in 1815 in Adria, a town in the southern part of the Veneto region, situated between the mouths of the Po and Adige rivers.

Buzzolla, who was once a student of the opera composer Gaetano Donizetti, composed five operas of his own, as well as producing a substantial catalogue of religious music while serving as maestro di cappella at St Mark’s Basilica in Venice.

Yet during his life he was best known for composing ariette and canzonette - brief songs of a melodic, playful or sometimes sentimental nature - written in Venetian dialect. These songs became popular in the city, both for the light-hearted entertainment they provided and for the contribution they made to Venice’s musical identity.

It was a sign of the respect in which Buzzolla was held among his peers that he was invited by Giuseppe Verdi to contribute to a requiem mass he was organising for his fellow opera giant Gioachino Rossini following the latter’s death in 1869.

Buzzolla was born into a musical family. His father, Angelo Buzzolla, was maestro di cappella - choirmaster - at what was then Adria's cathedral. Angelo, who was also an accomplished violinist, provided his son with a well-rounded musical education that saw him become proficient on a range of instruments, including violin, flute, organ, piano and piccolo, by the age of 16. 

At this point, he left Adria to live in Venice, a city rich in opportunities to further his career. He had not been studying there long when he was invited to play in the orchestra at the Gran Teatro La Fenice, the city’s principal opera house, at first as a flautist before being promoted to second violin.

At the same time, he began to try his hand at composition, leading him to write his first opera, Il Ferramondo, which premiered at the Teatro Gallo, formerly the Teatro San Benedetto, in Venice in December, 1836, and was also performed in Trieste and Mantua.

The reception for Il Ferramondo was positive enough to persuade Buzzolla to go to Naples to study composition at the Conservatory of San Pietro a Maiella. His teachers included Donizetti and, later, Saverio Mercadante. His output there included a cantata for the Neapolitan court and vocal pieces performed at the Teatro San Carlo. 

Teatro La Fenice in Venice, where 
Buzzolla was an orchestra member

On returning to Venice, Teatro La Fenice premiered both of Buzzolla’s second and third operas, Mastini I della Scala in 1841 and Gli avventurieri the following year, which also saw his first works of sacred music performed. 

With his reputation now extending beyond Italy, Buzzolla took up a position as director of Italian Opera at the Berlin court of Frederick William IV of Prussia, to whose children he became tutor. From Berlin he toured Russia, Poland and France before being appointed director of the Théâtre de la comédie italienne in Paris, in 1846.

He returned to Venice again in 1848, directing two more operas, Amleto and Elisabetta di Valois, at Teatro la Fenice. He also conducted his own Requiem for four voices and large orchestra at the Basilica di San Marco.

In 1848, Venice briefly became an independent state following the uprising against the occupying army of Austria, and Buzzolla demonstrated his commitment to the cause by co-directing a patriotic concert at La Fenice in November of that year, featuring excerpts from Verdi's Macbeth and Attila alongside works by Rossini and Donizetti. 

Buzzolla’s operas were respected by his fellow composers and well received by audiences, yet his output was small. It was dwarfed, in fact, by his catalogue of short songs, which were mostly performed in Venice’s salons or at domestic gatherings in middle-class homes.

Written in the tradition of bel canto opera, which emphasises the beauty of the voice, these lyrical pieces had light-hearted themes based on everyday life in Venice, highlighting romance and nature in particular.

Buzzolla’s Canzonette Veneziane, a collection of 12 light-hearted songs in Venetian dialect, was published by Ricordi in 1852.

After the successful staging of Elisabetta di Valois in 1850, Buzzolla announced it would be his last opera. Where other composers of the mid-19th century, such as Giovanni Pacini and Errico Petrella, relentlessly exploited the popularity of opera by composing literally dozens of them, Buzzolla was less commercially driven and decided to devote himself to sacred music, the culmination of which was his appointment in 1855 as maestro of the Cappella Marciana, the choral and instrumental ensemble that provides musical service at Basilica di San Marco.

He held the prestigious position until his death in 1871, after which his body was interred in a tomb on the Isola di San Michele, the island in the Venetian Lagoon that houses the city’s main cemetery.

Adria in the Veneto, once a thriving seaport on
the Adriatic coast, is now several miles inland

Travel tip:

Adria, where Antonio Buzzolla was born and grew up, is a town in the Veneto about 23km (14 miles) east of Rovigo and just over 60km (36 miles) south of Venice. It is situated between the lower courses of the Adige and Po rivers. Today it lies inland, but in antiquity it was a major port on the Adriatic Sea, so influential that the sea itself took its name from the town. It thrived in particular during the Etruscan and Greek civilisations but fell into decline during the Roman era as the Po and Adige progressively silted up, pushing the coastline further east and robbing Adria of its direct maritime access. Over time it was absorbed into the territories of Ravenna and Venice before coming under French and Austrian rule. After incorporation in the new Kingdom of Italy in 1867, the late 19th and early 20th centuries brought land reclamation, new road networks and agricultural expansion. The Adria of today, with a population of around 19,500, is a relatively modern town with an economy based on agriculture, commerce, and light manufacturing. As a town boasting one of the longest continuous settlements in the whole of Italy, going back perhaps to the 12th century BC, it is home to the huge collection of relics preserved at the Museo Archeologico Nazionale di Adria. The Conservatorio Statale di Musica Antonio Buzzolla was established in Adria in 1975, and named in his honour. 

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The cemetery island of San Michele, with the
neighbouring island of Burano in the distance

Travel Tip:

The Isola di San Michele, where Buzzolla was buried, has been the home of Venice’s principal cemetery since the early 19th century. Situated between Venice and the island of Murano, it had previously been home to a Camaldolese monastery, built in the 13th century, and the Chiesa di San Michele in Isola, which was designed by the architect Mauro Codussi and built in 1469 as the first Renaissance church in Venice. The island was also used as a prison at one time. In 1807, when Venice was occupied by the French under Napoleon, the neighbouring island of San Cristoforo was designated as the city’s cemetery, only for it to become clear after only a few years that it was not big enough. In 1835, work began to fill in the narrow canal between the two islands to create one much larger island. Annibale Forcellini, an architect and engineer, was given the task of designing the cemetery complex, which retains the Chiesa di San Michele near the entrance and includes a domed chapel built in memory of the ancient Chiesa di San Cristoforo, which had been demolished during the construction of the original cemetery. As well as housing the remains of ordinary Venetian citizens, the cemetery has a sufficient number of illustrious occupants to have become a tourist attraction. In addition to Buzzolla, the remains of the poet Ezra Pound, the entrepreneur and Venice Film Festival founder Giuseppe Volpi, the psychiatrist Franco Basaglia, the writers Carlo and Gasparo Gozzi, the football manager Helenio Herrera, the avant-garde composer Luigi Nono, and others, are buried there.

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More reading:

How the overlooked work of Giovanni Pacini has enjoyed a revival

Nabucco - the Verdi opera that became a symbol of the Risorgimento

The Venetian lawyer who led fight to drive out the Austrians

Also on this day:

1603: The birth of Sicilian painter and architect Pietro Novelli

1886: The birth of football manager Vittorio Pozzo

1939: The election of wartime pontiff Pope Pius XII

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Ferdinando Fontana – journalist and playwright

Prolific writer produced the words for Puccini’s early operas 

Ferdinando Fontana (left), with Puccini
in a photograph taken in around 1885

The dramatist Ferdinando Fontana, who is remembered chiefly for being the writer of the libretti for the first two operas written by Giacomo Puccini, was born on this day in 1850 in Milan.

He became a journalist as a young man to help provide for his younger sisters, and while he was working for the newspaper Corriere di Milano he wrote two plays in Milanese dialect which were both successes.

Through his interest in the Scapigliatura artistic movement, Fontana became a versatile writer. The word scapigliato means ‘unkempt’ or ‘dishevelled’ and the movement was the equivalent of the French Bohemian idea. Fontana also produced poems, travel books, and articles for the Milanese daily newspaper Corriere della Sera.

After being introduced by the composer Amilcare Ponchielli to the young Giacomo Puccini, he agreed to write the libretti for his early operas Le Villi and Edgar.

Fontana had been forced to abandon his studies after the death of his mother and had to go to work to keep himself and his sisters. After having a series of menial jobs, he got a job as a proof reader for Corriere di Milano, where he first became involved with journalism and literature.

He travelled from New York to San Francisco with a journalist colleague and while he was in America he met the editor of an Italian language newspaper, to which he later contributed features.

Fontana wrote a libretto for an opera, Odio, that was being planned by Ponchielli but never actually composed, after which he wrote two libretti for the composer Alberto Franchetti.

Puccini was studying under Ponchielli at the Milan Conservatory at the time and the composer invited the young Puccini to stay at his villa, where he introduced him to Ferdinando Fontana.

The music and libretto for Le Villi,
Puccini's debut operatic work

The writer’s first libretto for Puccini was for Le Villi, Puccini’s first stage work, which was a big success after its premiere at Teatro Dal Verme in Milan in 1884.

Fontana went on to have a prolific writing output, and an article in 1886 in La Stampa recorded that at that time, the music for 13 libretti by Fontana were in the process of being composed as operas by 12 different composers.

It was while staying in an hotel in Caprino Bergamasco run by a fellow librettist that Fontana wrote the libretto for Puccini’s opera Edgar, which premiered in 1889. 

This, unfortunately, was not as successful as Le Villi. Puccini made several revisions but could not redeem the opera, which he eventually effectively disowned, although he blamed himself as much as Fontana.

The publisher Guilio Ricordi, who had commissioned a second opera from Puccini as a result of the success of his first, came under pressure to drop him after the disappointing reception for Edgar, which might have spelled the end of Puccini’s career. Happily, Ricordi stuck with him and was rewarded with Manon Lescaut, for which the libretto was written by Luigi Illica and Giuseppe Giacosa, which proved to be one of his most popular and enduring works. 

Fontana also translated foreign libretti for performances in Italy, including Franz Lehar’s Die lustige Witwe - The Merry Widow. 

Fontana was a committed socialist and took part in the demonstrations in Milan in 1889, which led to the massacre of protestors by troops led by General Fiorenzo Bava-Beccaris.

The massacre was part of a crackdown on Milanese citizens protesting about rising food prices, particularly bread, which had become so expensive due to wheat shortages that it was unaffordable for many families.  Official government figures put the number of deaths at 80, although some estimates claimed up to 400 people may have been killed.

During the repressions that followed the massacres, Fontana fled to Switzerland where he settled in Montagnola, a small town near Lugano. He was supported by local Liberal radicals, but as his health deteriorated, he reduced his literary output.  He died in Lugano in 1919 at the age of 69.

Corriere della Sera's headquarters in Via Solferini,
its Milan offices since the early 20th century

Travel tip:

Corriere della Sera, one of Italy’s main daily newspapers with a circulation of around 250,000, has had its headquarters in the same buildings In Milan since the beginning of the 20th century, and therefore it is popularly known as "the Via Solferino newspaper", after the street where it is still located, which connects Porta Garibaldi with the Brera district, about 1.5km (1 mile) north of the city’s cathedral and the Galleria Vittorio Emanuele II. When the newspaper was founded in 1876, it was produced in a building directly facing the Galleria. Its earliest editorial offices operated right beside the Galleria’s Piazza della Scala entrance. This proximity meant that the newspaper grew up literally on the edge of Milan’s most symbolic civic space, and the two became intertwined in the city’s cultural identity. As the name indicates, it was originally an evening paper. During the Fascist regime in Italy, it broadly supported Mussolini but tried to distance itself from the deposed dictator after World War Two, for a while going under the title of Il Nuovo Corriere della Sera, a name that it kept until 1959. Nowadays, its political agenda could be described as centre-right. 

The Chiesa di San Biagio in Caprino Bergamasco,
the town where Fontana wrote his libretto for Edgar

Travel tip:

Caprino Bergamasco, where Fontana was based when he wrote the libretto for Edgar, is a quiet hill town at the southern edge of the province of Bergamo in Lombardy, made up of clusters of old stone houses against a backdrop of of gentle slopes and cultivated fields, described as a town in which life moves at a measured pace, anchored by the rhythms of agriculture. The town has viewpoints that look towards the Adda valley on one side and the first foothills of the Bergamasque Alps on the other. It is the home of the Collegio Convitto Celana, an historic seminary that has long been associated with religious education and cultural life in the area. The parish church, the Chiesa di San Biagio, has some attractive frescoes and traditional Lombard religious architecture.  Nearby attractions include the Paderno d’Adda Iron Bridge - an engineering landmark spanning the Adda River, and Montevecchia - a hilltop village and nature reserve offering panoramic views and hiking trails.

More reading:

How Puccini took the baton from Giuseppe Verdi as Italy’s most celebrated composer

Giulio Ricordi, the music publisher who took the credit for ‘discovering’ Puccini

How Milan’s bread riots led to the assassination of Umberto I

Also on this day:

228: The death of Saint Martina of Rome

1629: The death of architect Carlo Maderno

1640: The death of Saint Hyacintha Mariscotti

1721: The birth of Venetian painter Bernardo Bellotto

1935: The birth of actress Elsa Martinelli

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Lucia Valentini Terrani - opera singer

Colaratura mezzo-soprano noted for velvety softness of agile voice

Lucia Valentini Terrani in 1982: The singer had a
powerful stage presence as well as a brilliant voice 

The opera singer Lucia Valentini Terrani, who became one of Italy’s most captivating mezzo-sopranos, blessed with an agile, velvety voice and magnetic stage presence, was born on this day in 1946 in Padua, in the Veneto region.

Equally at home in contralto roles, she was among the most notable interpreters of the 18th and 19th century bel canto repertoire and was a major influence on the way the Gaetano Rossini repertoire evolved over the last three decades of the 20th century.

After her debut in 1969 and breakthrough in 1973, Valentini Terrani sang at most of the world’s major opera houses, in South America and Russia as well as Europe and the United States.

Little is known about her early life in Padua before she attended the city’s Cesare Pollini Music Conservatory. From there she moved to the Benedetto Marcello Conservatory in Venice, where she was a student under the former soprano Iris Adami Corradetti.

There, she laid the foundations for her career. At that point, she performed as Lucia Valentini, making her debut in 1969 in Brescia as Angelina in Rossini’s La Cenerentola, a role that would become her signature. 

With its demanding coloratura and nuanced comedy elements, La Cenerentola showcased Valentini’s vocal brilliance but also her theatrical finesse. 

Following her triumph in the International Competition for New Rossini Voices organised by the broadcaster Rai in 1972, her big breakthrough came in 1973, again in La Cenerentola, this time at Teatro alla Scala in Milan. Stepping in for Teresa Berganza, one of the most popular and admired mezzo-sopranos of the modern era, Valentini reprised the Angelina role to great acclaim. The performance effectively launched her international career.

Alberto Terrani said he was "spellbound
by the beauty of her face" when they met

It was around this time that she met Alberto Terrani, an actor, at a party in Padua. He described being “spellbound by the beauty of her face” and “enraptured by her voice when she started to sing.”

They fell in love and were married in 1973, at which point he gave up his own career to become her manager and she added his name to hers

Valentini Terrani’s artistry was deeply entwined with Rossini’s music. She mastered both his comic heroines and his more florid, serious roles, such as Arsace in Semiramide, Tancredi, and Malcolm in La donna del lago. 

The last three were so-called “trouser roles”, in which a male character is sung by a female singer. Valentini Terrani’s versatile, expressive and richly coloured voice allowed her to perform such roles with convincing masculinity and emotional depth. 

Yet her repertoire was not limited to Rossini and his genre. She also ventured into baroque opera, portraying Medea in Cavalli’s Giasone, Dido in Purcell’s Dido and Aeneas, and Bradamante in Handel’s Alcina, as well as dramatic and lyrical roles such as Eboli in Don Carlos, Carmen, Charlotte in Werther, and Quickly in Falstaff. 

Her international engagements took her to the Metropolitan Opera (debuting in 1975 as Isabella in L’italiana in Algeri), Covent Garden, Paris, Moscow, Buenos Aires, and beyond. 

Valentini Terrani's career was cut short
after she was diagnosed with leukemia

On her visits to Moscow, she embraced Russian opera, performing with distinction in Stravinsky’s Oedipus Rex and Mussorgsky’s Boris Godunov. 

Valentini Terrani’s career was cut short when she was diagnosed with leukemia in 1996. Encouraged by her friend and fellow opera singer José Carreras, who had recovered from the disease, she travelled to the Fred Hutchinson Cancer Research Center in Seattle, where he had been treated successfully. Sadly, though, she died there in 1998 aged just 51, following complications from a bone marrow transplant.

Her legacy endures not only in recordings and memories but also in Padua, where a square near the Teatro Verdi bears her name.  There is also a small hotel in Padua, supported by charity, to accommodate hospital visitors and patients in need of repeated treatment, named the Casa di Accoglienza Lucia Valentini Terrani.

It was inspired by an act of generosity by the singer shortly before she died in Seattle, when she was so dismayed to find that the relatives of fellow patients were sleeping in their cars because accommodation was so expensive that she asked her husband to pay for their hotel rooms.

The Basilica di Sant'Antonio,
with its Byzantine domes

Travel tip:

Lucia Valentini Terrani’s home city of Padua, in Veneto, has a population of around 217,000. It is rich in history, art and architectural treasures. The biggest attractions for visitors include the Scrovegni Chapel, a medieval gem that houses a fresco cycle by Giotto often cited as the dawn of Renaissance painting; the Basilica of Saint’Antonio, notable for its Byzantine-style domes, that houses the relics of St. Anthony and features masterpieces by Donatello; the Palazzo della Ragione, once the seat of Padua’s medieval government and today a civic building with a bustling food market on the ground floor, the elegant Piazza dei Signori, with its beautiful Renaissance clock tower; and Prato della Valle, a vast oval space, built on the site of a former Roman amphitheatre and one of Europe’s largest public squares, which features statues of historic figures around a central island. 

Find a hotel in Padua

Brescia's Roman heritage is visible in the ruins
of the Tempio Capitolino in Piazza del Foro

Travel tip:

Brescia, where Valentini Terrani made her public debut, is a city in Lombardy midway between Bergamo and Verona often described as an underrated cultural gem, a mix of Roman and medieval heritage. The Santa Giulia Museum, housed in a former monastery and a UNESCO World Heritage, showcases Roman villas, medieval frescoes, and treasures such as the Desiderius Cross, while Brescia’s ancient heart includes the Capitolium Temple and Forum and other Roman remains that date back to 73AD. Perched on the Colle Cidneo, with panoramic views over the city, is the well-preserved Castello di Brescia.  In the centre of the city, the Piazza della Loggia is a Renaissance square with an astronomical clock and elegant arcades, while the Piazza Paolo VI is home to two cathedrals - the Duomo Vecchio and the Duomo Nuovo, bringing together Romanesque and Baroque styles side by side.  

Search for accommodation in Brescia

Also on this day:

1875: The birth of flautist Leonardo De Lorenzo

1941: The birth of artist and designer Ugo Nespolo

1967: The birth of Tiziana ‘Tosca’ Donati

1991: The Mafia murder of Palermo businessman Libero Grassi

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Bruno Bartoletti – operatic conductor

Florentine maestro conquered hearts in Chicago

Bruno Bartoletti spent more than 50 years at Lyric
Opera Chicago as conductor and artistic director  

Internationally acclaimed operatic conductor Bruno Bartoletti, who conducted and served as an artistic director at Lyric Opera Chicago for more than 50 years, was born on this day in 1926 in Sesto Fiorentino in Tuscany.

Bartoletti is recognised as having shaped the excellent reputation of Lyric Opera Chicago for staging great productions of Italian opera masterpieces, as well as modern works. He also directed Teatro dell’Opera di Roma and Maggio Musicale Fiorentino, and was principal conductor at the Danish Royal Opera.

His father, Umberto, was a blacksmith who played the clarinet in a band, and as a young boy Bruno Bartoletti played the piccolo. One of his teachers recognised his musical talent, and her husband, who was the sculptor Antonio Berti, recommended him to the Cherubini conservatory, where he studied the flute and the piano.

Bartoletti went on to play in the orchestra of the Maggio Musicale Fiorentino and then became a pianist on the staff of Teatro Comunale in Florence.

He assisted conductors such as Artur Rodzinski, Dimitri Mitropoulos, Vittorio Gui and Tullio Serafin, who was the one who encouraged Bartoletti to study conducting.

Bartoletti made his professional debut as
a conductor in Florence in 1953

In 1953, Bartoletti made his professional conducting debut at Teatro Comunale in Florence with Giuseppe Verdi’s opera Rigoletto.

Bartoletti made his debut as a conductor in the United States in 1956 with Lyric Opera Chicago when he conducted Verdi’s Il trovatore, after Tullio Serafin had been taken ill. He had been recommended to the theatre by the Italian baritone, Tito Gobbi. 

He subsequently became principal conductor of the Royal Danish Opera between 1957 and 1960.

From 1956 until 2007, Bartoletti conducted 600 performances of 55 different operas for Lyric Opera of Chicago. He became their principal conductor in 1964 and continued in that role until his retirement in 1999. 

He also became co-artistic director at Lyric Opera and was later named sole artistic director. He worked with many famous opera singers, including Placido Domingo, Luciano Pavarotti and Renata Tebaldi. 

His final appearance at Lyric Opera was in 2007 when he conducted Verdi’s La traviata.

Bartoletti died the day before
his 87th birthday in 2013

After his retirement, Bartoletti was given the title of artistic director emeritus by Lyric Opera for the rest of his life.

Bartoletti was awarded the title of Cavaliere di Gran Croce della Repubblica Italiana by the Italian Government, and he was made a member of the Accademia di Santa Cecilia, one of the oldest and most prestigious musical institutions in the world. In his later years, he taught at the Accademia Chigiana in Siena. Bartoletti conducted his final opera, Manon Lescaut, in 2011.

With his wife, Rosanna, he had two daughters and five grandchildren.  He died in Florence the day before his 87th birthday in 2013.

He has been acknowledged as a superb interpreter of 19th century and early 20th century Italian opera, but Bartoletti also embraced modern music and Slavic works, such as Bedrich Smetana’s Bartered Bride and Modest Mussorgsky’s Boris Godunov, during his career, although he is said to have rarely conducted symphonies.

Sesto Fiorentino's historic Palazzo Pretorio was
built at the end of the 15th century

Travel tip:

Bartoletti’s home town, Sesto Fiorentino, known locally as simply Sesto, is a town within the metropolitan area of Florence in Tuscany, situated about 12km (7.5 miles) to the northwest. With a population of around 49,000. It is famous above all for its tradition of ceramics. Once an ancient Etruscan settlement, it began to flourish at the time of ancient Romans, thanks to its position along the Via Cassia. Today, there are more than 100 pottery producers in Sesto Fiorentino, the first having been founded there in 1735 by Marquis Carlo Ginori. Now under the name Richard-Ginori, the company is still located in Sesto, which also hosts a state school for teaching pottery, L'Istituto Statale d'Arte. Notable buildings in Sesto Fiorentino include the beautiful Romanesque parish church of San Martino and the Palazzo Pretorio, built at the end of the 15th century as the seat of the podestà, the local representative of Florentine authority. The 15th century façade is still decorated with the coats of arms of the families who exercised power over the town between the 15th and 16th centuries.

The new Teatro del Maggio Musicale Fiorentino
has been the home of the festival since 2014

Travel tip:

The Maggio Musicale Fiorentino is an annual festival in Florence that has been held since 1933. It was started by Luigi Ridolfi Vay da Verrazzano, a politician and entrepreneur who also founded the AC Fiorentina football club, in conjunction with the conductor Vittorio Gui and another politician, Carlo Delcroix, who was its first president. It usually takes place from the end of April to the beginning of July and includes operas, concerts, ballets and prose performances. It has its origins in the ancient tradition of the musical festivals of May, called maggiolate. Originally, the festival was staged at the Teatro Comunale in Corso Italia, on the edge of the city’s historic centre, about 1.5km (1 mile) from the Ponte Vecchio along the Arno river.  Since 2014, the festival has had its own base at the new Teatro del Maggio Musicale Fiorentino, situated less than a kilometre away on land opposite the public park known as Le Cascine. Designed by Paolo Desideri, it was inaugurated in 2011 with a performance of Beethoven's Ninth Symphony conducted by Zubin Mehta. The square in front of the theatre is named Piazza Vittorio Gui in honour of the festival’s founder.

Also on this day:

1465: The birth of statesman and political adviser Mercurino Arborio di Gattinara

1918: The death of opera composer and librettist Arrigo Boito

1940: Italy enters World War Two

1959: The birth of football manager Carlo Ancelotti

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Anna Caterina Antonacci – soprano

Acclaimed performer has perfected her portrayal of Rossini heroines

Anna Caterina Antonacci's vocal 
skills were largely self-taught

Italian opera singer Anna Caterina Antonacci, who is considered one of the finest sopranos of her generation, was born on this day in 1961 in Ferrara in Emilia-Romagna.

Particularly known for her roles in Rossini’s operas, Antonacci has been awarded many prizes and honours during her career. In 2021, she was elected as one of the ‘Accademici Effettivi’, by the panellists of the General Assembly of the Accademia Nazionale di Santa Cecilia, one of the oldest, and most prestigious, musical institutions in the world.

After studying in Bologna, Antonacci entered the chorus at the Teatro Comunale di Bologna in 1981. She made her solo debut in 1984 in Pistoia as the Contessa di Ceprano, in Rigoletto, by Giuseppe Verdi. In 1986, in Arezzo in Tuscany, she sang the role of Rosina, the heroine of Gioachino Rossini’s comic opera The Barber of Seville.

Eight years later, she made her debut at the Royal Opera House in Covent Garden in London as Elcia in Mosè in Egitto, another opera by Rossini. In 2006, Antonacci appeared at the Royal Opera House again, this time singing with the German-Austrian tenor, Jonas Kaufman.

Among her many operatic performances, the majority have been as a mezzo-soprano playing Rossini heroines, such as Dorliska in Torvaldo e Dorliska, Ninetta in La gazza ladra, Semiramide in Semiramide, Ermione in Ermione, Elisabetta in Elisabetta, regina d'Inghilterra, Elena in La donna del lago, Zelmira in Zelmira, Elcia in Mosè in Egitto, Anaï in Moïse and Angelina in La Cenerentola.  

She has also appeared in La Voix Humaine, a one act opera for a soprano and orchestra, composed by Francis Poulenc, at the Opera-Comique in Paris in 2013.

Anna Caterina Antonacci (right, foot on stool) in
a scene from Bizet's Carmen on stage in Paris

The soprano was married to the Italian water polo player, Luca Giustolisi, who won a bronze medal in the 1996 summer Olympics in Atlanta in the USA, and they had a son, Gillo.

Sadly, Antonacci was widowed in 2023 after Luca Giustolisi died of cancer at the age of 53, and she went to live in Paris. She has been recognised by the French Government with the award of the Chevalier de l’Ordre National de la Legion d’honneur, the highest national distinction anyone can receive in France.

She has won many prizes and awards during her career and has produced some acclaimed recordings of her operatic roles.

This summer (2025), Antonacci will be performing at Teatro Fenice in Venice, in the role of Madame de Croissy in Poulenc’s Dialogues des Carmélites. 

She is now based at Verbier in Switzerland. 

The Castello Estense in Ferrara sits at
the heart of the historic city

Travel tip:

Ferrara, where Anna Caterina Antonacci was born, is a city in Emilia-Romagna, about 50 kilometres to the north east of Bologna. It was ruled by the Este family between 1240 and 1598 and they built an enormous castle for themselves to live in and to impress their guests. Building work on the magnificent, moated castle, which is in the centre of the city, began in 1385 and it was added to and improved by successive rulers of Ferrara until the end of the Este line. Parts of Ferrara have remained untouched in modern times and you can still see the narrow, mediæval streets to the west and south of the city centre, between the main thoroughfares of Via Ripa Grande and Via Garibaldi, which were part of the original core of the city in the middle ages. The impressive Este Castle was eventually purchased for 70,000 lire by the province of Ferrara in 1874, to be used as the headquarters of the Prefecture. Today, it is still  the highlight of the city for tourists to visit.

Pistoia's duomo, originally built in the
10th century, has a Romanesque facade

 

Travel tip:

Pistoia, where Anna Antonacci made her solo debut, is a pretty, mediæval walled city in Tuscany to the north west of Florence. The city developed a reputation for intrigue in the 13th century and assassinations in the narrow alleyways were common, using a tiny dagger called the pistole, which was made by the city’s ironworkers, who also specialised in manufacturing surgical instruments. The Cathedral of Saint Zeno, or the Duomo of Pistoia, is in the Piazza del Duomo in the centre of the city. Originally built in the 10th century, the cathedral has a façade in Romanesque style. Set around the Piazza del Duomo are the octagonal Battistero di San Giovanni in Corte, and the Palazzo dei Vescovi, an 11th-century palace. The palace was bought and restored by the Cassa di Risparmio di Pistoia, a regional bank, in the late 20th century and it now houses a museum complex. 

Also on this day:

1498: The birth of condottiero Giovanni dalle Bande Nere

1521: The birth of architect Francesco Laparelli

1622: The birth of mathematician and scientist Vincenzo Viviani

1801: The birth of philosopher and politician Vincenzo Gioberti 

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Arturo Toscanini - conductor

Cellist who became orchestra leader by chance

Arturo Toscanini is remembered as one of the 
most influential figures in 20th century music

The brilliant conductor Arturo Toscanini was born on this day in 1867 in Oltretorrente, a working-class neighbourhood of Parma, now part of Emilia-Romagna.

Toscanini came to be recognised as one of the most influential musicians of the late 19th and early 20th century. An intense individual who was a perfectionist in everything he did, as well as having a brilliant ear for detail in orchestral performances, he also had the gift of being able to remember complete musical scores after only one reading. 

At various times, he was the music director at Teatro alla Scala in Milan and at the New York Philharmonic. He became particularly well known in the United States after he was appointed the first music director of the NBC Symphony Orchestra. 

Toscanini had the privilege of conducting the world premieres of many of the greatest operas of his lifetime, including Pagliacci, La bohème, La fanciulla del West and Turandot, as well as Siegfried, Götterdämmerung, Salome, Pelléas et Mélisande and Euryanthe. 

The son of a tailor, Toscanini developed an interest in music at an early age and won a scholarship to Parma Conservatory, where he studied the cello. 

Toscanini (right) and the composer Giacomo Puccini
enjoyed a close professional relationship

He joined the orchestra of an opera company, with whom he toured Brazil. It was there, in Rio de Janeiro, that the young Arturo picked up the conductor’s baton for the first time, although entirely through circumstance.

Prior to a presentation of Verdi’s Aida, the singers refused to work with the locally hired conductor, Leopoldo Miguez, who abruptly resigned. His replacement was subjected to booing from the audience, who were unhappy with his performance, and also resigned, leaving the orchestra without a conductor and the next performance only hours away.

Aware of his ability to remember whole scores, a member of the orchestra suggested giving the baton to Toscanini. Only 19 years old and with no conducting experience, Toscanini was reluctant at first but was eventually persuaded to accept the invitation, aware that the whole tour was at risk of being cancelled if he did not.

In the event, he led the two-and-a-half hour performance flawlessly, and entirely from memory. He found he had a natural talent for the job. The audience warmed to his charisma and intensity and applauded his musicianship. He kept the baton for another 18 operas as the tour unfolded with great success.

Toscanini became one of the
most sought-after conductors

Word spread of his ability and he soon found himself in demand. He continued to play the cello, but his talent as a conductor brought so much work that opportunities to take his seat in the orchestra became fewer and fewer.

He made his conducting debut in Italy at the Teatro Carignano in Turin in November, 1886, leading the premiere of a revised version of Alfredo Catalani’s Edmea. He soon broadened his repertoire to symphonic concerts, his reputation growing so fast that in 1898 he was named principal conductor at La Scala, at the age of just 31.

He remained at the Milan theatre, Italy’s principal opera house, for 10 years before he was lured away to America for the first time by Giulio Gatti-Casazza, the former general manager at La Scala, who had taken the same role at the Metropolitan Opera in New York and persuaded Toscanini to join him there. 

Toscanini spent seven seasons at the Met, returning to Europe in 1915. He was due to leave New York on the British liner RMS Lusitania on May 7 but decided at the last moment to depart a week earlier on the Italian liner Duca degli Abruzzi. It proved a mightily fortuitous decision: the Lusitania never made it to its intended destination, sinking off the coast of Ireland after being torpedoed by a German u-boat. A total of 1,197 passengers and crew perished.

He maintained his transatlantic lifestyle, conducting around Europe and in the United States, leading the New York Philharmonic-Symphony Orchestra between 1928 and 1936. He ceased working in his native Italy, however, after falling foul of the Fascist leader, Benito Mussolini.

Mussolini was keen to attach himself to Toscanini, whom he described as ‘the greatest conductor in the world’ and wished to promote as a symbol of Italian excellence. But Toscanini had little truck with Fascism, defying Mussolini by refusing to conduct the party’s official hymn, Giovinezza.

Toscanini's tomb at the Cimitero Monumentale
in Milan, where he was buried after his death at 89

Eventually, though, his defiance rebounded on him when he refused to lead a rendition of Giovinezza at a concert in Bologna in 1931, in spite of the presence in the audience of a leading Fascist official. Afterwards, Toscanini was set upon by Blackshirts and badly beaten. His passport was confiscated and he was put under surveillance. The passport was eventually returned following a public outcry and as Italy entered World War Two he left the country.

Prior to that, he had considered retirement. Instead, he embarked on a new chapter of his career, leading the newly-formed NBC Symphony Orchestra. When Toscanini did finally retire, in 1954, he was 87 years old.

Although he reportedly had numerous affairs, notably with the American soprano, Geraldine Farrar, Toscanini was married only once, to Carla De Martini, who was a teenager when they met. They remained together from their wedding in 1897 to her death in 1951. They had three children, a son, Walter, and daughters Wally and Wanda.

Toscanini died on January 16, 1957, having suffered a stroke on New Year's Day at his home in the Riverdale section of the Bronx in New York City. He was 89. His body was returned to Italy and buried at the Cimitero Monumentale in Milan. His tomb carries an epitaph based on a remark he is said to have made at the end of the 1926 premiere of Puccini's unfinished Turandot.

"Qui finisce l'opera, perché a questo punto il maestro è morto - Here the opera ends, because at this point the maestro died".

The house where Toscanini was
born is now a museum of his life

Travel tip:

The house in Borgo Rodolfo Tanzi, in the Oltretorrente district of Parma, where Arturo Toscanini was born, is now a museum of his life, open to the public between 10am and 6pm from Wednesday to Sunday, closing on Monday and Tuesday. A 15-minute walk from the city centre and close to the sprawling green space of the Parco Ducale, the house was one shared by the Toscaninis and three other families. His father, a tailor who fought in Garibaldi’s army in the campaign to unite Italy, used the downstairs room as a workshop. Among the exhibits on display are photographs, theatre programmes and posters, letters to and from composers with whom he worked, such as Giacomo Puccini and Richard Strauss, and some of the clothes he wore to conduct. There is a letter from Albert Einstein, the German physicist and noted campaigner against racism, praising Toscanini for standing up to the Fascists.

Parma's 12th century baptistery
is among the city's main sights

Travel tip:

Parma is an historic city, famous for its Prosciutto di Parma ham and Parmigiano Reggiano cheese, the true ‘parmesan’. In 1545 the city was given as a duchy to the illegitimate son of Pope Paul III, Alessandro Farnese, whose descendants ruled Parma till 1731. As well as Toscanini, the city’s musical heritage includes the composer, Giuseppe Verdi, who was born near Parma at Bussetto. The city has a prestigious opera house, the Teatro Regio, and a Conservatory named in honour of Arrigo Boito, who wrote the libretti for many of Verdi’s operas.  An elegant city with an air of prosperity common to much of Emilia-Romagna, Parma’s outstanding architecture includes an 11th century Romanesque cathedral and the octagonal 12th century baptistery that adjoins it, the church of San Giovanni Evangelista, which has a beautiful late Mannerist facade and bell tower, and the Palazzo della Pilotta, which houses the Academy of Fine Arts, the Palatine Library, the National Gallery and an archaeological museum.

Also on this day:

1347: The birth of Saint Catherine of Siena

1541: The birth of Francesco I, Grand Duke of Tuscany

1546: The birth of poet and courtesan Veronica Franco

1625: The death of poet Giambattista Marino

1927: The birth of politician Tina Anselmi

1940: The birth of record-breaking pop star Mina 

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