- Author:
Paola Besutti
- E-mail:
pbesutti@unite.it
- Institution:
Università degli Studi di Teramo
- ORCID:
https://orcid.org/0000-0002-5346-973X
- Year of publication:
2019
- Source:
Show
- Pages:
65-83
- DOI Address:
https://doi.org/10.15804/IW.2019.10.1.17
- PDF:
iw/10_2/iw10204.pdf
Emancipation stories: Virginia Ramponi Andreini (1583-1631) from her father-in-law to her husband
Numerous notarial deeds are kept in the State Archive of Mantua, involving some of the most famous comedians of the 17th century. Piermaria Cecchini (Frittellino); Francesco Andreini and his sons Domenico and Giacinto; Giovan Battista (Lelio) with his son Pietro Enrico; Tristano Martinelli; and others used notaries for wills, sales contracts, debt reduction, inventories of assets, and dowries. Some of these documents also involve the women of the Andreini family: Lavinia (sister Fulvia), Caterina (perhaps sister Clarastella), Virginia Ramponi Andreini (Florinda). In particular, an emancipation deed (1620) indirectly affected Virginia (Genoa, 1583? - before 17 November 1631), the first wife of Giovan Battista Andreini. On the basis of document analysis, two perspectives are explored: Virginia’s peculiar contribution to the activities of the family, also from an economic point of view; and the status of women with regards to emancipation, which must be understood from a legal point of view that was patriarchal and defensive of property. The article thus becomes an opportunity to reflect, starting from Virginia but gazing even beyond, on the condition of women who were active in the theatrical and musical world between jurisprudence, artistic professions, economic heritage, and daily life. In conclusion, through some selected examples (the concerto delle dame of Ferrara, Adriana Basile, Margherita Salicola, Antonia Merighi), the theme of emancipation throughout the 17th century is analysed, a period when women singers successfully populated the new operatic market. As the law remained unchanged, these women experimented with different strategies to protect their own person and assets.
- Author:
Walentyna Węgrzyn-Klisowska
- Institution:
Uniwersytet Muzyczny Fryderyka Chopina w Warszawie
- Year of publication:
2014
- Source:
Show
- Pages:
123-146
- DOI Address:
https://doi.org/10.15804/IW.2014.05.05
- PDF:
iw/05/iw505.pdf
ITALIAN OPERA IN WROCŁAW (1725-1734) AND ITS LINKS WITH OTHER MUSIC CENTRES
In the years 1725-1734, there was an Italian opera troupe performing in Wrocław, which was composed almost entirely of well-known Italian artists. At the beginning, its repertoire mimicked those of Italian theatres operating in Venice, Vienna, Florence, Genoa and Prague. Later on, however, the operas staged by Treu and Bioni, the music directors of the Wrocław opera, were also performed by other European theatres. The owner of the theatre in Prague and the originator of the idea to set up a theatre in Wrocław was Count Anton von Sporck, an imperial governor and a friend of Silesian aristocracy. It was on his initiative that a meeting with Antonio Vivaldi was arranged and the performers he recommended were invited to Wrocław. Thanks to the extensive contacts of Wrocław’s impresarios and bandmasters, the city’s virtuoso singers travelled throughout Europe, and outstanding musicians, stage designers and ballet masters were hired. The fame and high standards of Wrocław’s theatre caused its chief conductor, Daniel Gottlieb Treu (Daniele Teofilo Fedele), a pupil of Vivaldi, to write the history of the theatre, which was published in Hamburg (1740) by Johann Mattheson in Grundlage einer Ehren-Phorte. During the nine-year long operation of the theatre, a total of 45 operas were premiered, and their librettos are partly extant in the collection of Wrocław’s University Library (the Silesian-Lusatian Section) and at the Biblioteca Nazionale Braidense in Milan. Recently, a previously unknown copy of the opera Il Daphni by Spanish composer Emanuele d’Astorga, currently in the collection of the Sapieha Library, part of the collection of the Wawel Royal Castle Museum, has been discovered. The staging by the theatre in Wrocław of eminent baroque operas, performed by outstanding artists, puts them among the most interesting events in the European opera in the 18th century. : Italian theatre, Wrocław, baroque, opera, Daniel Gottlieb Treu