Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-22T00:17:28.536Z Has data issue: false hasContentIssue false
  • English
  • Français

Singers at San Marco in Venice: The Competition Between Church and Theatre (c1675–c1725)

Published online by Cambridge University Press:  01 January 2020

Olga Termini
Get access Rights & Permissions [Opens in a new window]

Extract

In the late seventeenth and early eighteenth centuries Venice was primarily known as a centre of opera, with several flourishing opera houses. The most prestigious of these was the Teatro San Giovanni Grisostomo, named like the others after the parish in which it was located. It had been built by the brothers Giovanni, Carlo and Vicenzo Grimani, whose uncle Giovanni Grimani had built the Teatro SS Giovanni e Paolo (1639) and the Teatro San Samuele. The oldest public opera house in Venice, the Teatro S.Cassiano (1637), was owned by the Tron family. In 1640 Almoro Zane had opened a small theatre called San Moise, later distinguished by a famous impresario, Francesco Santurini. The latter in turn built a theatre of his own in the parish of Sant' Angelo; operas were produced at this theatre from 1677 to 1752. Another small house, San Fantino, opened in 1699, only to close in 1719. The Teatro San Salvatore, owned by the Vendramin family, was also known as the Teatro San Luca; this name was changed twice again in its three-hundred-year history (to Teatro Apollo and Teatro Goldoni; see Wiel 1897, XLIV). All in all, sixteen Venetian theatres had opened by the end of the seventeenth century, eight of them serving both for straight comedy and opera (Galvani 1879, 13).

Type
Research Article
Information
Royal Musical Association Research Chronicle , Volume 17 , 1981 , pp. 65 - 96
Copyright
Copyright © Royal Musical Association, 1981

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bibliography and Abbreviations

AdC = Ademollo n.d.Google Scholar
Ademollo, Alessandro Felice, n.d. Le cantanti italiane celebri. MilanGoogle Scholar
Agricola, Johann Friedrich, 1757. Anleitung zur Singekunst (trans, of Tosi 1723, with additions). Berlin: G. L. Winter; reprinted Celle 1966Google Scholar
Algarotti, Francesco, 1755. Saggio sopra l'opera in musica. n.p.Google Scholar
Antonicek, Theophil, 1969. ‘Johann Rosenmüller und das Ospedale della Pietà in Venedig’, Die Musikforschung 22, 460–64Google Scholar
AntR = Antonicek 1969Google Scholar
ArL = Arnold 1962-3Google Scholar
Arnold, Denis, 1962-3. ‘Orphans and Ladies: the Venetian Conservatoires (1680–1790)’, Proceedings of the Royal Musical Association 89, 31–47CrossRefGoogle Scholar
Arnold, Denis, 1966a. ‘Orchestras in Eighteenth-Century Venice’, The Galpin Society Journal 19, 3–19Google Scholar
Arnold, Denis, 1966b. ‘Venedig. Musikgeschichte II.: Von 1560 bis 1797’, Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume, Vol. 13, cols. 1377–87. Kassel: BärenreiterGoogle Scholar
Arnold, Denis, 1976. ‘Cavalli at St Mark's’, Early Music 4, 3CrossRefGoogle Scholar
ArO = Arnold 1966aGoogle Scholar
ASV = Venice, Archivio segreto veneto [Deer, e Term. = Deereti e terminazioni]Google Scholar
B = Bonta 1964Google Scholar
Becker-Glauch, Irmgard, 1951. Die Bedeutung der Musik für die Dresdner Hoffeste bis in die Zeit Augusts des Starken. Kassel: BärenreiterGoogle Scholar
Bonta, Stephen, 1964. The Church Sonatas of Giovanni Legrenzi. Harvard University, Ph.D. dissertationGoogle Scholar
Caffi, Francesco, 1854-5. Storia della musica sacra nella già cappella ducale di San Marco in Venezia dal 1318 al 1797. Venice: G. Antonelli; reprinted 1931, Milan: Bollettino bibliografico musicaleGoogle Scholar
Caffi, Francesco, n.d. Appunti, frammenti, corrispondenza relativi alla storia della musica teatrale in Venezia. Venice, Biblioteca Marciana, MS Cod. it. IV-748 (10466)Google Scholar
CAT = Caffi n.d.Google Scholar
CeH = Celletti 1969Google Scholar
Celletti, Rudolfo, 1969. ‘Il virtuosismo vocale nel melodramma di Händel’, Rivista italiana di musicologia 4, 77–101Google Scholar
CI = ASV Procuratoria de Supra per la chiesa di S. Marco, Cariche ed impieghati di cappella, B. 91Google Scholar
Cicogna, Emmanuele Antonio, 1842. Delle inscrizioni veneziane, vol. 4. Venice: G. OrlandelliGoogle Scholar
CiI = Cicogna 1842Google Scholar
CMS = Caffi 1854-5Google Scholar
Cor = Coronelli 1697 etcGoogle Scholar
Coronelli, F. Vincenzo, 1697, 1706, 1713, 1715. Guida de’ forestieri per succintamente osservare tutto il più riguardevole nella città di Venetia. VeniceGoogle Scholar
d'AM = D'Angeli 1946Google Scholar
D'Angeli, Andrea, 1946. Benedetto Marcello, la vita, le opere, Storia della musica 1/14. Milan: BoccaGoogle Scholar
Deutsch, Otto Erich, 1955. Handel: A Documentary Biography. New York: W. W. NortonGoogle Scholar
DH = Deutsch 1955Google Scholar
DT = ASV Procuratoria de Supra per la chiesa di S. Marco, Decreti e terminazioni, registro …Google Scholar
FB = Frati 1922Google Scholar
FD = Furstenau 1861-2Google Scholar
Frati, Lodovico, 1922. ‘Antonio Bernacchi e la sua scuola di canto’, Rivista musicale italiana 29, 473–91Google Scholar
Fürstenau, Moritz, 1861-2. Zur Geschichte der Musik und des Theaters am Hofe zu Dresden. Dresden: R. KuntzeGoogle Scholar
Galvani, Livio Niso, 1879. I teatri musicali di Venezia nel secolo XVII (1637–1700). Milan: Ricordi: repr. Bologna: Forni, 1969Google Scholar
Giazotti, Remo, 1967. ‘La guerra dei palchi’, Nuova rivista musicale italiana 1, 245–86 and 465–508Google Scholar
Glover, Jane, 1978. Cavalli. London: B. T. Batsford Ltd.Google Scholar
Goudar, Sara, 1773. De Venise, rémarques sur la musique & la danse. Venice: C. PaleseGoogle Scholar
GP = Giazotto 1967Google Scholar
GT = Galvani 1879Google Scholar
H = Heriot 1956Google Scholar
Haas, Robert, 1931. Aufführungspraxis der Musik, Handbuch der Musikwissenschaft 8. Potsdam: Akademische Verlagsgesellschaft Athenaion; repr. New York: MusurgiaGoogle Scholar
Haböck, Franz, 1927. Die Kastraten und ihre Gesangskunst: eine gesangsphysiologische, kultur- und musikhistorische Studie. Stuttgart: Deutsche Verlags-AnstaltGoogle Scholar
Heriot, Angus, 1956. The Castrati in Opera. London: Seeker & Warburg; reprinted New York 1975Google Scholar
HK = Haböck 1927Google Scholar
KC = Kirkendale 1970Google Scholar
Kirkendale, Ursula, 1966. Antonio Caldara: sein Leben und seine venezianisch-römischen Oratorien. Graz and Cologne: BöhlauGoogle Scholar
Kirkendale, Ursula, 1970. ‘Antonio Caldara - la vita’, Chigiana 27, 223–346Google Scholar
Láng, Paul Henry, 1941. Music in Western Civilization. New York: W. W. Norton & Co.Google Scholar
Láng, Paul Henry, 1966. George Frederic Handel. New York; W. W. NortonGoogle Scholar
LH = Láng 1966Google Scholar
Liess, Andreas, 1957. ‘Materialien zur römischen Musikgeschichte des Seicento: Musikerlisten des Oratorio San Marcello 1664–1725’, Acta musicologica 29/4, 131–71Google Scholar
LR = Liess 1957Google Scholar
Luin, E. I., 1932. ‘La musica sacra alla fine del secolo XVII a Bologna e Modena’, Musica d'oggi, 153Google Scholar
MacDonald, John A., 1964. The Sacred Vocal Music of Giovanni Legrenzi. University of Michigan, Ph.D. dissertationGoogle Scholar
Mancini, Giovanni Battista, 1774. Pensieri, e riflessioni pratiche sopra il canto figurato, Vienna: Stamparia di GhelenGoogle Scholar
Martello, Pier Jacopo, 1715. Delia tragedia antica e moderna. Rome: F. GonzagaGoogle Scholar
Matricola del sovvegno de'signori musici sotto l'invocazione di Sta Cecilia vergine & martire nella chiesa di S. Martino, Venice, Biblioteca Marciana, MS Cod. it. VII-2447 (10556), containing the signatures of the founding members, 1687Google Scholar
MC = Matricola del sovvegno … (above)Google Scholar
MGG = Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume. Kassel, etc: Bärenreiter, 1949-79Google Scholar
Molmenti, Pompeo Gherardo, 1880, 2/1880, 6/1902–26, 7/1927. La storia di Venezia nella vita privata dalle origine alla caduta della repubblica. Turin: Roux e FavaleGoogle Scholar
Pancino, Paolo, 1969. L'archivio musicale di S. Maria della Consolazione detta ‘della Fava’ già sede della Congregazione di S. Filippo Neri in Venezia. MilanGoogle Scholar
Papadòpoli, Nicolò Aldobrandini, 1893-1919. Le monete di Venezia descritte ed illustrate, Venice: F. OnganiaGoogle Scholar
Petrobelli, Pierluigi, 1967. ‘Francesco Manelli - documenti ed osservazioni’, Chigiana 24/4, 43Google Scholar
PF= Pancino 1969Google Scholar
Pleasants, Henry, 1966. The Great Singers, from the Dawn of Opera to our Own Time. New York: Simon and SchusterGoogle Scholar
Prunières, Henry, 1–931. Cavalli et l'opera vénitien au XVIIe siècle. Paris: RiederGoogle Scholar
Quadrio, Francesco Saverio, 1739-44. Delia storia e della ragione d'ogni poesia volumi quattro. Bologna: F. PisarriGoogle Scholar
Roche, Jerome, 1976. ‘Giovanni Antonio Rigatti and the Development of Venetian Church Music in the 1640s’, Music & Letters 57/3, 256–67Google Scholar
SC = ASV Procuratoria de Supra, Scontro chiesa, registro …Google Scholar
Selfridge-Field, Eleanor, 1969. ‘Organists at the Church of SS Giovanni e Paolo’, Music and Letters 50, 393–9Google Scholar
Selfridge-Field, Eleanor, 1971. ‘Annotated Membership Lists of the Venetian Instrumentalists’ Guild, 1672–1727’, Research Chronicle 9, 1–52CrossRefGoogle Scholar
Selfridge-Field, Eleanor, 1975. Venetian Instrumental Music from Gabrieli to Vivaldi, Blackwell's Music Series. Oxford: BlackwellGoogle Scholar
Senn, Walter, 1954. Musik und Theater am Hof zu Innsbruck: Geschichte der Hofkapelle vom 15. Jahrhundert bis zu deren Auflösung im Jahre 1748. Innsbruck: Österreichische VerlagsanstaltGoogle Scholar
SFA = Selfridge-Field 1971Google Scholar
SFO = Selfridge-Field 1969Google Scholar
SFV = Selfridge-Field 1975Google Scholar
StrO = Strohm 1976Google Scholar
Strohm, Reinhard, 1976. Italienische Opernarien des frühen Settecento (1720–1730), Analecta musicologica 16/2. CologneGoogle Scholar
Tosi, Pier Francesco, 1723. Opinioni de’ cantori antichi, e moderni, o sieno Osservazioni sopra il canto figurato. Bologna: L. dalla Volpe; reprinted 1968; Eng. trans, by J. E. Galliard, 1742, reprinted 1969Google Scholar
Ursprung, Otto, 1931. Die katholische Kirchenmusik, Handbuch der Musikwissenschaft. Potsdam: Akademische Verlagsgesellschaft Athenaion; repr. New York: MusurgiaGoogle Scholar
Wiel, Taddeo, 1897. I teatri musicali veneziani del settecento: catalogo delle opere in musica rappresentate nel secolo XVIII in Venezia (1701–1800). Venice: Prem. stab, tipo-litografico fratelli VisentiniGoogle Scholar
Wienandt, Elwyn Arthur, 1965. Choral Music of the Church. New York: Free PressGoogle Scholar
WO = Worsthorne 1949Google Scholar
Worsthorne, Simon Towneley, 1949. ‘Some Early Venetian Opera Productions’, Music & Letters 30, 146–51Google Scholar
Worsthorne, Simon Towneley, 1954. Venetian Opera in the Seventeenth Century. Oxford: Clarendon PressGoogle Scholar
WT = Wiel 1897Google Scholar
WV = Worsthorne 1954Google Scholar