In mid-17th century Venice Francesco Cavalli (1602 – 1676) was the most famous composer in the rising genre of public opera . Overall, Cavalli created thirty-three operas. His magnificent masterpieces make use of a small orchestra of strings and basso continuo to overcome the limitations of opera houses. Francesco was a major force in spreading opera music throughout Italy. He also helped introduce it to France.
At that time opera was still quite a new medium. When Cavalli began working it did not attract huge audience. However, opera slowly matured into a popular public spectacle by the end of composer’s career. Francesco Cavalli was a driving force behind these innovations. He introduced melodious arias into his music and popular types into his libretti. Each of his operas has a remarkably strong sense of dramatic effect, great musical facility, and grotesque humour. Good example of it is “La Calisto”, opera with a libretto by Giovanni Faustini. A myth of Callisto from Ovid’s Metamorphoses served as a source of the story.
La Callisto was not a major success during Cavalli’s lifetime. Quite the opposite, it miserably failed. on 28 November 1651 opera premiered at the Teatro San Apollinare, Venice. Authors prepared a lavish spectacle for future audience. Opera house San Apollinare was specially equipped with complex stage machinery to impress and amaze public. Surpsingly, the first performances did not bring large audience. Even more, the run of first eleven performances attracted only about 1200 patrons to a theatre that housed 400. In addition, Faustini died same year during the first run, on 19 December.
In modern times baroque opera La Callisto has been successfully revived. The recording of this opera production has been re-released on a compact disc.
Some specialists consider Henry Purcell (1659-1695) the first English opera composer. Others pass this honorary title to his mentor John Bow. No matter who is right or wrong, his famous opera Dido and Aeneas is the first genuine English opera masterpiece.
Henry wrote his monumental baroque opera to a libretto created by Nahum Tate. It comprises three acts and lasts about an hour. There is some evidence suggesting that opera was played much earlier than the official date. However, formal opening date for now is 1689 when Purcell presented it in cooperation with dancing master and choreographer Josiah Priest. Priests’s wife kept a boarding school for young gentlewomen, where Purcell presented his opera for the first time.
Amazingly, at the time “Dido and Aeneas” never found its way to the opera house, though it appears to have been very popular in private circles. Opera became so popular that it has been extensively copied, but only one song was printed by Purcell’s widow. The complete work remained in manuscript until 1840, when it was printed for the first time by the Musical Antiquarian Society.
No score in Purcell’s hand exists. The only 17th century source is a libretto, possibly from the original performance. Another problem is that no later sources follow the act divisions of the libretto, and the music to the prologue is lost.
There are not many wonderful biopic movies about baroque opera singers and composers that one can find easily online or offline. It takes a lot of talent and guts to go through with the film project about opera nowadays. There just isn’t much money to make. Why watch a maestro who performs beautifully an opera aria on a big screen? After all, isn’t it much easier to shoot another movie for the masses and earn loads of dough?
So, in case you missed this magnificent film “Farinelli: Il Castrato” made in 1994 by Belgian director Gérard Corbiau, I would recommend it to you wholeheartedly. As the title hints about the king of castrati singers Farinelli who ruled the baroque opera stages of Europe in the 18th century.
The most difficult task for the film authors was the attempt in recreating the sound of castrato singer. It was impossible to find anything similar today. That is why Farinelli’s singing voice was provided by two singers: a soprano, Ewa Małas-Godlewska and a countertenor, Derek Lee Ragin. Each singer was recorded separately and then their voices were digitally morphed.
The film team made its best to show the ups and downs of Farinelli’s life. That is why they took some real events and turned them into a drama. For example, in this film famous composer George Frideric Handel is presented as some kind of nemesis, of the opera singer. And he has a lot of animosity and hostility when Farinelli perfoms in his pieces. But as we know, in reality Handel and Farinelli were quite friendly.
One of the earliest musical works that we recognize as an opera was created for an annual carnival in Mantua on February 24, 1607. Its creator revolutionary opera composer Claudio Monteverdi created it on the text by Alessandro Striggio. Today we know this early opera under the name The Legend of Orpheus or in Italian as “La Favola d’Orfeo”. Pretty simple libretto is based on the ancient Greek myth of Orpheus, who attempts to rescue his dead lover Eurydice from the underworld.
The significance of this early opera is in its combination of new Baroque music genre and Renaissance elements. Besides, The Legend of the Orpheus is the first large composition that survived to our days with its exact instrumentation, while many other operas of that period are lost to us. It is an entirely new style of music which we know today as musical drama.
The Legend of Orpheus consists of 5 acts, Even today it preserved its dramatic power and lively orchestration. That’s why, Starting with its modern debut in 1904 in Paris, this Monteverdi opera returned to us and since that time saw many productions.
In 1733 during empress of Habsburg celebrated her birthday. All cities and towns belonging to the vast empire launched their festivities in her honor. In Naples the festivities program included opera Proud Prisoner created by brilliant Italian opera composer Giovanni Battista Pergolesi on a libretto written by Gennaro Antonio Federico.
As an intermezzo a rather smaller comic opera Servant Mistress was included as well. It went on for only 45 minutes and was performed between the acts of the Proud Prisoner to entertain the audience. Servant Mistress or in Italian “La serva padrona” was written in the genre of opera buffa which has its roots in the improvisatory commedia dell’arte.
Well, “Proud Prisoner” miserably failed. Even today it does not exist in today’s opera repertoire. However, its intermezzo became huge success and wrote its name into the history of opera. Pergolesi separated it from its bigger brother and made it an opera in its own name that enjoyed fame throughout Europe for years after its premiere.
“La serva padrona” was appealing to people of different European nations because of its characters who motives were easy to understand. Audiences enjoyed the tricks of the cunning maid Serpina who felt that she was the mistress of the household and tricksed her aging master Uberto into marrying her.
The importance of this comic opera is significant. Modern specialists consider it the quintessential piece that bridges the gap from the Baroque to the Classical opera period.
During baroque opera rehearsal with Jean-Christophe Spinosi and his orchestra – Ensemble Matheus…. Famous contra tenor Philippe Jaroussky sings Vivaldi’s opera arias ‘Nisi Dominus’, ‘Cum dederit’ and ‘Amen’. And contralto Marie-Nicole Lemieux sings an aria ‘Stabat mater dolorosa’ from Vivaldi opera ‘Stabat Mater’.