La cambiale di matrimonio - opera

Rossini’s first professional work premieres in Venice

The title page of the libretto
for the opera, by Gaetano Rossi

La cambiale di matrimonio - the first opera by Gioachino Rossini to be performed before a paying audience - premiered at the Teatro San Moisè in Venice on this day in 1810.

Although the Pesaro-born composer, who would go on to write 39 operas including Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola (Cinderella), had tried his hand at the genre earlier, La cambiale di matrimonio was the first to be staged in public.

Rossini had written the one-act farce - translated in English as The Bill of Marriage or The Marriage Contract - in the space of just a few days while he was an 18-year-old student at the Liceo Musicale in Bologna.

Based on a play of the same name by Camillo Federici, an 18th century dramatist from Piedmont, La cambiale di matrimonio revolves around the attempts by a London merchant, Tobias Mill, to marry off his daughter, Fanny, to a somewhat mature Canadian businessman by the name of Slook.

Mill makes this arrangement, which is designed primarily for his own financial gain, without knowing that Fanny has a lover, Edward Milfort, whose existence she has kept secret from her father on account of his lowly financial status.

The action takes place in the drawing room of the Mill house, where Edward and Fanny are together at just the moment Slook arrives.

La cambiale di matrimonio had a brief run, lasting just 13 performances, but the presence of a well-regarded mezzo-soprano, Rosa Morandi, in the role of Fanny attracted attention and the two baritones cast as Mill and Crook are said to have played to the gallery as the composer intended.

The young Rossini wrote a series of
farces for the Teatro San Moisè

Rossini himself was pleased enough with one aria, performed by Morandi, that he used it as the basis for a duet between Figaro and Rosina in Il barbiere di Siviglia, which premiered in 1816, by which time the composer was enjoying enormous fame and the wealth that came with it.

The Teatro San Moisè, meanwhile, invited the young Rossini to compose more works along the same lines. He obliged by delivering three more farces, L'inganno felice (The Fortunate Deception), La scala di seta (The Silken Ladder) and Il signor Bruschino.

Active from 1620 to 1818, the Teatro San Moisè, which could be found near the start of the Grand Canal and just a few steps from Piazza San Marco, was a small theatre but an influential one.

Its first opera production was Claudio Monteverdi's L'Arianna in 1640, while in the 18th century the music of the Baroque composers Francesco Gasparini, Antonio Vivaldi and Tomaso Albinoni was frequently performed there. 

When the Neapolitan opera buffa genre arrived in Venice in the 1740s, San Moisè became something of a showcase for the genre, staging works by Baldassare Galuppi, who formed a partnership with the brilliant playwright and librettist, Carlo Goldoni.

The theatre closed in 1818 and was later revived as a puppet theatre and a cinema but the building was demolished in the 20th century.

The church of San Moisè contains works
by Tintoretto and Palma il Giovane

Travel tip:

The church of San Moisè, from which the theatre took its name, can be found just 124m (135 yards) from Piazza San Marco in Campo San Moisè, flanked on one side by the modern, five-star Hotel Bauer and on the other by the Venice stores of Versace and Prada. Built originally in the eighth century, the church’s elaborately decorated Baroque facade was added in the late 17th century to a design by the Padua architect Alessandro Tremignon. The interior is dominated by Heinrich Meyring's huge altarpiece, depicting Moses at Mount Sinai receiving the Tablets. The Old Testament prophets were considered by the Venetians as saints. Also inside are a Washing of the Feet by Tintoretto and a Last Supper by Palma il Giovane.

The Ducal Palace in Pesaro was commissioned
by ruler Alessandro Sforza in the 15th century

Travel tip:

Pesaro, while a major centre for tourism due to its location on the Adriatic coast, is also a former mediaeval city of some standing, ruled by Giovanni Sforza between 1483 and 1510. It had a 15th century Ducal Palace, commissioned by Alessandro Sforza, one of Giovanni’s ancestors, and an imposing castle, the Rocca Costanza, built by Costanza I Sforza, the condottiero who was Alessandro’s son. Today, it is known as the city of music. Each summer, in honour of Gioachino Rossini, born in 1792, it hosts the Rossini Opera Festival, and the town is home to the Conservatorio Statale di Musica Gioachino Rossini, which was founded from a legacy left by the composer.

Also on this day:

1560: The birth of painter Annibale Carracci

1801: The birth of composer Vincenzo Bellini

1908: The birth of politician Giovanni Leone

1918: The Villa Giusti Armistice

1931: The birth of actress Monica Vitti

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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

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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

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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

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Renata Scotto - soprano and opera director

Singer who stood in for Callas became an international star

After making her debut in 1952, Scotto had
established herself as a star within five years

Opera singer Renata Scotto, who was one of the leading sopranos in the world at the height of her career, was born on this day in 1934 in Savona in Liguria.

Admired for her musicality and acting ability, Scotto was one of the most popular singers during the bel canto revival of the 1960s, performing throughout Italy, and in the UK, America, Russia, Japan, Spain, France and Germany.

She sang opposite great tenors such as Mario del Monaco, Alfredo Kraus and Luciano Pavarotti.

Scotto made her stage debut on Christmas Eve 1952 at the age of 18 as Violetta in Giuseppe Verdi’s La traviata, singing to a sold-out house in Savona, her home town. The next day she made her official debut at the Teatro Nuovo in Milan as Violetta. Shortly afterwards, she performed in Giacomo Puccini’s Madama Butterfly in Savona.

In 1953 she appeared at Teatro alla Scala in Milan as Walter in Alfredo Catalani's La Wally alongside Renata Tebaldi and Mario del Monaco and, on the opening night, was called back for 15 curtain calls.

At the Edinburgh Festival in 1957 she stood in for Maria Callas, who had refused to appear saying she was ill, as Amina in La Scala’s production of Vincenzo Bellini’s La sonnambula. The performance was a great success and Scotto, at the age of 23, had become an international opera star.

Scotto also achieved much
success as a director 

In 1961 she performed the role of Amina again ,appearing with the tenor Alfredo Kraus at La Fenice in Venice.

For more than 40 years, Scotto performed more than 45 different roles in operas written by Donizetti, Meyerbeer, Verdi, Puccini, Bellini, Ponchielli and many more composers.

In 1960, she married Lorenzo Anselmi, who was the first violinist at La Scala. They had two children and eventually the family made their home in America,  where Scotto had great success at the Metropolitan Opera House in New York.  Lorenzo died in 2021 at the age of 87, by which time they had moved back to Italy, returning to Savona.

Since the 1990s, Scotto has been a stage director with many credits to her name. She won an Emmy Award for her telecast of La traviata at New York City Opera in 1995. In 2009, she won an Anton Coppola Award for Excellence in the Arts.

Renata Scotto celebrates her 88th birthday today.

Savona, a centre for shipbuilding, used to have
many iron works and foundaries

Travel tip:

Liguria’s third largest city after Genoa and La Spezia, Savona used to be one of the biggest centres of the Italian iron industry, the iron works and foundries providing materials for shipbuilding and railways among other things. It also has a busy port but as well as industrial areas the city has a charming medieval centre containing architectural gems such as the Baroque Cattedrale di Nostra Signora Assunta - behind which is Italy’s other Sistine Chapel, like the Rome version erected by Pope Sixtus IV - and the Fortezza del Priamar, built by the Genoese in 1542 after their conquest of the city and later used a prison. The popes Sixtus IV and Julius II were born in the city and it was there in 1830 that the revolutionary Giuseppe Mazzini was imprisoned.   Food specialities include gnocchi with nettles, bardenulla (white polenta flavoured with leek and mushrooms) and tagliatelle with mushrooms.

Find accommodation in Savona with Booking.com

The Teatro Nuovo in Milan is part
of a modern shopping complex

Travel tip:

The Teatro Nuovo theatre in Milan, where Scotto made her official debut in Verdi’s La traviata in 1952, is located on the Piazza San Babila in the lower level of the Palazzo del Toro. It 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 characterised by the presence of a fountain built in 1997 by the architect Luigi Caccia Dominioni in conjunction with the Ente Fiera Milano.

Stay in Milan with Booking.com

More reading:

Powerful voice made Mario del Monaco the perfect Otello

A star who prospered despite Madama Butterfly debut flop

The tragedy of Alfredo Catalani's early death

Also on this day:

1607: The debut of Monteverdi’s first opera, L’Orfeo

1896: The birth of restaurateur Cesare ‘Caesar’ Cardini

1934: The birth of politician Bettino Craxi

1990: The death of former president Sandro Pertini

(Picture credits: Savona by Andrea Ridács via Pixabay)

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Baldassare Galuppi – opera composer

Musician from Burano had a talent for comic opera

Galuppi became a major figure
in the evolution of comic opera

The prolific Venetian composer Baldassare Galuppi, who worked alongside the playwright Carlo Goldoni, died on this day in 1785 in Venice.

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

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

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

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

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

Carlo Goldoni, with whom
Galuppi worked successfully

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

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

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

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

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

The King's Theatre in London's Haymarket,
where Galuppi worked for 18 months

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

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

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

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

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

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

The statue of Galuppi
in Piazza Galuppi

Travel tip:

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

Travel tip:

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

Also on this day:

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

1698: The birth of poet and librettist Pietro Metastasio

1920: The birth of singer-songwriter Renato Carosone

1929: The birth of film director Sergio Leone

1952: The birth of politician Gianfranco Fini

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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)

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Francesco Domenico Araja - composer

Brilliant musician introduced Italian opera to Russia

Francesco Araja, depicted in a
caricature in 1731

Francesco Araja was the first in a long line of Italian composers to work for the Imperial Court in St Petersburg in Russia. Born on this day in 1709 in Naples, then in the Kingdom of Sicily, Araja received a musical education in his native city and was composing operas by the age of 20.

He made history as the composer of the first Italian opera to be performed in Russia and as the composer of the first opera with a Russian text.

It is thought that Araja was probably taught music by his father Angelo Araja and his grandfather Pietro Aniello Araja, who were both musicians. He was appointed maestro di cappella at the church of Santa Maria La Nova in Naples at the age of just 14.

Araja’s early operas were staged in Naples, Florence, Rome, Milan and Venice. His opera Berenice was performed in Florence in 1730, with the famous castrati, Farinelli and Caffarelli, singing the main roles in a new production in Venice in 1734.   

He was invited to St Petersburg in 1735 with a large Italian opera company and became the maestro di cappella to Empress Anna Ioannovna, and later to Empress Elizaveta Petrovna.

His opera, La forza dell’amore e dell’odio, staged in 1736, was the first Italian opera ever to be performed in Russia. It was translated into Russian and a printed booklet of the libretto was produced for the Russian audience. Araja is known to have written at least 14 operas while working for the Russian Imperial court.

Araja worked in St Petersburg from 1735 to 1759
and returned in 1762 before the fall of Tsar Peter III

In 1755, Araja composed Tsefal I Prokris, an opera in three acts, to the Russian language libretto by Alexander Sumarokov, which was based on Ovid’s Metamorphoses. It was staged in St Petersburg and was the first opera to be sung by Russian singers.

To celebrate the success of this opera, Araja was given a generous sum of money and a sable coat by the Empress, Elizaveta Petrovna. This first opera in Russian was revived and staged in St Petersburg in 2001.

Araja returned to Italy in 1759 but was recalled to Russia for the coronation of Tsar Peter III in 1762. He was obliged to leave Russia soon after the overthrow of the German-born Peter III by troops loyal to his wife, who became known as Catherine the Great.

The composer spent his remaining years living in Bologna and died there at some time between 1762 and 1770.

The church of Santa Maria delle
Grazie stands on the theatre site

Travel tip:

Although the Teatro di San Carlo in Naples is frequently referred to as the world’s oldest opera house, a more correct description would be the world’s oldest active opera house. The first operas in Naples were actually performed at the Teatro San Bartolomeo. Built in 1620, the San Bartolomeo originally staged plays and other spoken word performances but by 1650, it was primarily an opera house. It introduced southern Italy to works composed by musicians such as Monteverdi and others from the north. The theatre burnt down in 1681, was reopened two years later but closed for good in 1737 when the San Carlo replaced it as the royal opera house in Naples. The San Bartolomeo was demolished to make way for the Chiesa di Santa Maria delle Grazie, but remnants of the old theatre’s boxes can still be seen in the church, which is in vico Graziella al Porto, in the San Giuseppe Carità district.

The church of Santa Maria Nova,
where Araja was maestro di cappella

Travel tip:

The Church of Santa Maria la Nova in Naples is a Renaissance style, now-deconsecrated church and monastery that can be found in the street of the same name off Via Monteoliveto, which links Via Toledo with Via Armando Diaz in central Naples. It is a few blocks south of the church and monastery of Santa Chiara.  Nowadays, the Santa Maria La Nova complex houses various municipal offices, a museum of religious art and a tomb that some historians believe contains the remains of Vlades Tepes III Dracula, also known as Vlad the Impaler, the ruler of Wallachia - modern Romania - who inspired the name of Bram Stoker's famous literary vampire Count Dracula.

Also on this day:

1678: Elena Cornaro Piscopia becomes the first woman to graduate from a university

1900: The birth of actress Marta Abba, muse of Pirandello

1960: The birth of footballer Aldo Serena

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Alessandro Moreschi - the last castrato

Only singer of his type to make solo recordings

Alessandro Moreschi sang in the Sistine
Chapel choir for 30 years

Alessandro Moreschi, the singer generally recognised as the last castrato, and the only castrato of whom solo recordings were made, died on this day in 1922 in his apartment in Rome.

Suffering from pneumonia, Moreschi passed away in his apartment in Via Plinio, just a few minutes walk from the Vatican, where he sang for 30 years as a member of the Sistine Chapel choir.

Castrati were male classical singers with voices that were the equivalent of the female soprano, mezzo-soprano or contralto, but which carried much greater power. As the name suggests, these vocal qualities in men were produced through castration, which had to take place before puberty to prevent normal development.

The procedure both impaired the development of the larynx so that the pre-pubescent vocal range was retained and altered the way in which the subject’s bones developed, which resulted often in unusually long limbs and, more significantly, very long ribs, which gave the castrato’s lungs unrivalled capacity.

It was a barbaric practice and many boys did not survive it, but the rewards for those who did were potentially huge. At the height of the castrato voice’s popularity in opera, in the 18th century, singers such as Farinelli, Cafarelli and Senesino enjoyed the status of pop stars, commanding substantial appearances fees and enjoying rich lifestyles.

Moreschi was spotted singing
in a chapel choir near his home

But fashions changed. Where composers such as Rossini, Handel and Gluck had written many pieces for castrato singers, after about 1840 castrati were no longer in vogue and later composers such as Verdi and Wagner had no interest in them.

By the time Moreschi joined the Vatican Choir, castrati were employed only by the church, as they had been before Italy’s wealthy ducal courts and then the opera gave them opportunities. The castrato voices were essentially to compensate for the absence of women, who were not allowed to sing in church.

If Moreschi, born in 1858 in Monte Compatri, one of the group of towns southeast of Rome known as the Castelli Romani, was castrated on account of his vocal potential, he would have been one of the last to have undergone the procedure, which was outlawed in 1870.  Some accounts of his life suggest he was castrated for medical reasons, having been born with an inguinal hernia.

However, his castration came about, the quality of his singing soon stood out. He joined the choir of the chapel of the Madonna del Castagno, near his home town, where his talent was spotted by Nazareno Rosati, formerly a member of the Sistine Chapel choir, who took him to Rome and enrolled him at the Scuola di San Salvatore in Lauro. His teacher there, Gaetano Capocci, was maestro di cappella of the Papal basilica of St John Lateran, where Moreschi was appointed primo soprano in the choir at the age of only 15.

It was his performance in the demanding coloratura role of the Seraph in Beethoven’s oratorio Christus am Ölberge that in 1883 earned him the primo soprano position at the Sistine Chapel, where he would stay for 30 years, occupying many different roles.

In August 1900, at the request of the Italian royal family, he sang at the funeral of the king, Umberto I, and in 1902 he made the first of his 17 recordings for the Gramophone & Typewriter Company of London.

Moreschi’s voice began to decline as he entered his fifties and he retired in around 1914.

His recordings have been preserved and are available today on CD or vinyl. They include two songs by Tosti, the Bach-Gounod Ave Maria, Mozart's Ave verum and two versions of the Crucifixus from Rossini's Petite Messe Solenelle.  In the later recordings, Moreschi’s voice is said to be clear and penetrating.

Monte Compatri is one of the Castelli Romani
towns to the southeast of Rome

Travel tip:

Monte Compatri, where Moreschi was born, is a hill town located about 20km (12 miles) southeast of Rome. It is one of the Castelli Romani, the so-called Roman Castles, a group of 16 municipalities located at the foot of the Colli Albani - the Alban Hills. The area was formerly one of volcanic activity, in which the lakes Nemi and Albano formed in the extinct crater.  Frascati is the best known of the Castelli Romani, while Castel Gandolfo is home to the summer residence of the popes.  Monte Compatri’s parish church, dedicated to Santa Maria Assunta in Cielo,  (1630–33), was erected by will of Scipione Borghese, an Italian Cardinal, art collector and patron of the arts who was the patron of the painter Caravaggio and the artist Bernini.

Detail from Michelangelo's fresco, The Last
Judgment, in the Sistine Chapel

Travel tip:

The Sistine Chapel is in the Apostolic Palace, where the Pope lives, in Vatican City. The chapel takes its name from Pope Sixtus IV, the uncle of Pope Julius II, who had it restored during his papacy. It is famous for the ceiling painted by Michelangelo, who also painted the fresco The Last Judgment, on the altar wall of the chapel, which was not finished until 25 years after he completed work on the ceiling. The work was controversial for its depiction of nudity, some of which the Council of Trent, the ecumenical council that took place in Trento between 1545 and 1563, declared to be obscene and ordered Mannerist painted Daniele da Volterra to cover up.

Also on this day:

753BC: The founding of the city of Rome

1574: The death of Cosimo I de’ Medici, first Grand Duke of Tuscany

1930: The birth of actress Silvana Mangano

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Gianni Raimondi – tenor

Brilliant performer left few recordings of his voice

Raimondi's performances were
much admired by opera fans

Opera singer Gianni Raimondo, who on his first appearance at La Scala in Milan sang opposite Maria Callas in a production by Luchino Visconti, was born on this day in 1923 in Bologna.

Raimondi was admired for his brilliant top notes and exquisite phrasing when he performed. Opera fans have been disappointed that more recordings of his performances were not made at the time.

After studying voice in Bologna and Mantua, the tenor made his stage debut at the Teatro Consorziale in Budrio, a small town near Bologna, in 1977 as the Duke in Verdi’s Rigoletto. The following year in Bologna he sang the part of Ernesto in Donizetti’s Don Pasquale and was then chosen for the premiere of Il Contrabasso by Valentino Bucchi at the Teatro della Pergola in Florence.

In 1956 he made his La Scala debut opposite Callas in Verdi’s La Traviata and the following year sang opposite Callas again in Donizetti’s Anna Bolena.

He was also successful at La Scala in Rossini’s Mose in Egitto and Semiramide and as Rodolfo in Puccini’s La bohème.

Raimondo made his American debut in 1957 in San Francisco and then took part in La bohème at the Staatsoper in Vienna. Directed by Franco Zeffirelli, he then toured with La bohème to Moscow, Monaco and Bavaria.

Maria Callas sang opposite
Raimondi in several productions

He also appeared in the film of La bohème, directed by Zeffirelli, in 1965. 

In the same year he made his debut at the Metropolitan Opera in New York as Edgardo in Donizetti’s Lucia di Lammermoor singing opposite Mirella Freni. He appeared at La Scala in the same opera in the 1968 to 1969 season and then from 1969 to 1977 Raimondi was engaged in Hamburg by the Staatsoper.

There is a recording of Raimondi in La Traviata with Renata Scotto and of the singer at La Scala performing with Maria Callas in Anna Bolena.

Opera experts say he had a voice of great beauty and that he sang with style and elegance.

He was married to the Italian soprano Gianna Dal Sommo and in later years he gave vocal classes in Budria, the small town where he had made his operatic debut.

In retirement he spent much of his time at his seaside villa in Riccione in Emilia-Romagna.

Raimondi died at his home in Pianoro near Bologna in 2008. His death, at the age of 85, was announced by La Scala.

Budrio's 14th century town hall - the
Palazzo Municipale on Piazza Filopanti

Travel tip:

Budrio, where Raimondi made his operatic debut and later taught singing, is 15 km (nine miles) east of Bologna. It was founded in the 10th century and the Church of San Lorenzo was known to be active by 1146. The church was rebuilt as a castle in the 14th century, of which two towers can still be seen.  The town is the birthplace of the ocarina, a musical wind-instrument in terracotta, invented in 1853. Budrio’s Museo dell’ocarina in Viale I Maggio has a large collection of historical items and documents that illustrate the evolution of the instrument.

Riccione is renowned for its elegant tree-lined
boulevards as well as its wide beaches

Travel tip:

Riccione, where Raimondi owned a seaside villa, is a municipality in the province of Rimini on the Adriatic coast. Sometimes called the ‘green pearl of the Adriatic’, its elegant, tree-lined boulevards carry echoes of the town’s tradition as a resort that was a cut above its brasher neighbours. These days it is no less thronged in the high summer months than its big brother Rimini but the Via Ceccarini, with its smart boutiques, attractive cafés and trendy night spots, is still one of the most famous streets on the Adriatic Riviera. Other attractions are the Museo del Territorio, with exhibits reflecting thousands of years of history in the area, and the Castello degli Agolanti, once owned by the most powerful local family, now an exhibition and conference venue.

Also on this day:

1598: The birth of astronomer Giovanni Riccioli

1927: The birth of soprano Graziella Sciutti

1954: The birth of racing driver Riccardo Patrese

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