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I had never seen one before and was much pleased with the opening, but soon grew tired of the long speeches and declamations. They were past all bearing tedious. Thomyris, queen of the Amazons, came on dressed in a very equivocal manner, for in order to give her a marshal look, she had her petticoats trussed up above her knees which were very discernable, as well as her black breeches. She seemed in the attitude and circumstances of one going to p—s —but the audienced clapped violently as they constantly did at the worst things in the play.
There was a great deal of religion in it and such anachronisms that J. Ch—t, the Trinity, free will and predestination were not forgotten, and when Cyrus is dying he is examined by the Jewish priest a principal character in the play as to his religious opinions and makes to him his profession de foi. This kind of spectacle has been so long neglected in Italy that it seems wholly to have been lost and that, after a second birth, it is now in its infancy. The passion for dramas in music has ruined true tragedy as well as comedy in Italy.
He had expressed them to Voltaire in a letter of 30 June Good taste in the theater. Music and dance have exiled brilliant comedy and passionate tragedy. Opere 9, 54 9 C. Edmunde Poole, London, Folio Society, , Tomiri is a character in the tragedy Ciro re di Persia of Francesco Ringhieri — , which may have been the play that Burney saw in Bologna. The extravagance of serious operas, the grimaces of opera buffa, and the mimcry of ballets have won the field.
He could not have pointed to a period when Italians had devoted themselves to the composition of spoken plays, tragic or comic, with the success achieved by the French in the seventeenth century. For them, all that is required is singing, dancing, scenery, and nothing more.
I would not say a word against such spectacles—indeed I would not take a step in their direction—if I could find some corner where I could hear good tragedies and comedies, well performed. But that is impossible within the theatrical system as universally established.
Theodore Bestermann, Banbury: Voltaire Foundation, , — He went to Lugo for his education, and from there to Bologna, where he may have first met Albergati. The Abate Zacchiroli led an adventurous youth. After studies at the university of Bologna he went to Rome and entered the Papal bureaucracy.
By we find him back on the mainland, in Naples. There, overpowered by some folle passione, he committed an indiscretion that landed him in prison. On his release he headed north to Florence, where he found favor with Pietro Leopoldo, grand duke of Tuscany. Pietro Leopoldo granted him a stipend that allowed him to devote himself to poetry.
He published his first large collection of poems in , and several more followed. But poetry was by no means his only interest. As a connoisseur of painting and sculpture he produced a voluminous Description de la Galerie Royale de Florence Later, with the French Revolution and the arrival of republican armies in Italy, Zacchiroli turned to politics, occupying the position of general secretary of the Repubblica Cispadana.
When Albergati blamed opera for the poor state of spoken drama, Zacchiroli quickly came to its defense, insisting that opera and spoken drama were not mutually exclusive. Zacchiroli loved spoken drama, but he loved music too: And I love it passionately when it is the work of a fine composer and is performed by excellent musicians.
I know by heart the best recitatives and the most beautiful arias of Jumella, Guglielmi, Piccini, Paesiello; with the sweetest emotion have I heard the singing of Gabrielli, Agujari, Tayber, De Amici, Pacchiarotti, the divine Marchesi. I have wished to know intimately and to be friends with the majority of these marvelous people, who have dedicated their unique, precious talents to the honest pleasure of the public. You know that in earlier times I have made a journey of seven hundred miles to hear a great singer.
And what of it? To love music so passionately, would I have to be insensible to the pleasures of the spoken theater? Ho voluto conoscere intimamente, ed essere amico della maggior parte di queste persone maravigliose, le quali hanno consacrato i singolari amabili loro talenti al pubblico onesto piacere.
Voi sapete, che pel solo desiderio di udire un bravo cantante io feci in altri tempi un viaggio di settecento miglia. Per amar io si appassionatamente la musica, avrei dunque dovuto essere insensibile ai piaceri del teatro comico? The singers that Zacchiroli mentioned are likewise of the highest rank, and all specialists in opera seria. But Zacchroli was not a man to avoid conflict.
He spoke and wrote freely, and his freedom sometimes won him enemies. His sonnets are circulating in Siena, as are his Lettere francesi and his dialogues, in which he makes fun of my tragedies. Gasparo Pacchiarotti — and Luigi Marchesi —, the youngest of the singers mentioned by Zacchiroli and the only one younger than Zacchiroli himself are among the greatest musici of the last third of the eighteenth century.
Marchesi is singled out with the epithet divino. We will see that for Zacchiroli Marchesi had something that set him apart from all the other virtuosi listed here; he is the supreme singer. Alfieri, Epistolario, vol. Zacchiroli fired back the following retort: Zac: Alfieri, Alfieri, Che versi scrivi? Zac: Ma tu gli intendi? Alf: Oh! One of the largest and most modern opera houses in Italy, it had opened only a year before, and was now hiring the best composers, singers, and scenic artists that could be found.
Zacchiroli arrived just in time for the Carnival season of The main offering for Carnival was an opera seria, Armida. Veduta del Teatro Grande alla Scala. Disegno del Sig. The Bohemian had arrived in Italy in , and had scored a series of operatic triumphs, most 15 Carteggio di Pietro e Alessandro Verri, vol.
Giovanni Seregni, Milan, A. Everything seemed to suggest that he would score another success in Milan. His singers were brilliant and he knew how to write for them. Gabrielli, his former lover, had been his prima donna in Bellerofonte and in several of his other operas, contributing much to their success; Marchesi had created the primo uomo roles in his recent La Calliroe and Olimpiade both Naples, and in his La Circe Venice, Weakened by a protracted venereal disease that was to result in his death only a little more than a year later, he many not have been able to give his best to Armida.
And there were other problems as well. The libretto was unconventional for an opera seria of the time. For further brevity, however, some of the verses of the French drama have been omitted, and others substituted or addded in the first and third scenes of act 2 of the Italian libretto, in keeping with our practice.
It is not a full-length opera seria, but rather an azione teatrale, a small-scale occasional work. The result must have been hopelessly confusing for a Milanese audience of To make matters worse, she was on one occasion savagely hissed by the Milanese audience. Verri reported in a letter of 2 February that a small piece of stucco had fallen on a musician four days earlier. But the reception of Armida as a whole is not really important here.
Zacchiroli attended the opera but mentioned neither the title nor the name of the composer. Marchesi took it from another opera and inserted it in Armida for his own use. The musico Marchesi, who is singing in this Royal-Ducal Theater of La Scala, has stirred up in every heart a kind of enthusiasm. I feel impelled to speak to you of this extraordinary singer; I will speak of him with all the confusion born of the tumult and transport of my emotions.
Cold and insensitive souls, do not look at this letter. It was certainly not written for you. There, together, the lively brunette and the tender blond, there, the clever woman of twenty-two who pleases, and knows it; and the simple girl of fifteen who pleases all the more, the less she realizes it. There, Hellenic features breathing delicacy; there, Roman faces full of majesty.
Anime fredde e insensibili, non gettate lo sguardo su questa carta. Oh, how their eyes say everything to those who understand the language! There, in the box nearby, a couple quarrels sotto voce, scolding one another for having been unfaithful— accusations denied because they are true. They threaten to leave one another, and they end with new protestations of love and new promises of constancy and fidelity. In short, every angle of the theater presents you, one after another, with new points of view, infinitely varied by joy, laughter, pleasure, amusement, and love.
Delightful points of view that will always be dear to whoever has a heart in his breast! You certainly know this divine Marchesi; as for me, this is the third theater in which I have heard him sing. I know that he has not obtained an equal number of supporters in every place; but certainly Naples, Florence, and Milan acknowledge that they have never heard a rarer prodigy. Nature has given no musico such special gifts and in such great number.
Oh come i loro occhi dicon tutto a chi sa intendere il linguaggio! Deliziosi punti di vista, che sempre sarete cari a chiunque rinchiude in seno un cuore! Giammai musico alcuno non fu dalla natura insignito di doti tanto singolari ed in maggior numero. That fall must have been an exciting time in Florence. In celebration of the opening of a new theater no less than four new operas were presented. His reputation, and the expectations of the public, must have been great indeed when he arrived in his hometown of Milan for rehearsals of Armida.
It starts by assuring us that Marchesi is handsome and well-proportioned. Luigi Marchesi. His great agility allows him to ornament the vocal line magnficently: Now he goes from a note in the very highest range to the bass without a scale; now he goes by scale, touching each note with clarity, and in the most precise tempo—an amazing effect, especially in the execution of an embellishment that he does with tones and semitones, touching first a high note, then a low one.
When he sings parlando, he does so with a most lively expression, making the audience aware of how learned he is in the art of music with his frequent execution of syncopations in the most erudite manner. Among the most remarkable things that he does in his passaggi, in a measure consisting of sixteen sixteenth notes he trills the first note in each group of four, diminishing the other three. Sometimes he appears to be ascending by scale when in reality he is making a continuous leaping from octave to seventh; and sometimes he combines a motion by leap, by arpeggio, by scale, often with a unequaled speed that keeps the listener from being able to perceive the number of notes that he touches, however audible they are.
His variety of embellishments and facility of running extempore divisions are truly marvellous. Many of his graces are new, elegant, and of his own invention; and he must have studied with intense application to enable himself to execute the divisions, and running shakes from the bottom of his compass to the top, even in a rapid series of half notes [i.
But besides his vocal powers, his performance on the stage is extremely embellished, by the beauty of his person, and grace and propriety of his gestures. We expected a great singer, but that does not alway include an fine actor. Marchesi was at this time a very well-looking young man, of good figure, and graceful deportment. His acting was spirited and expressive; his vocal powers were very great, his voice of extensive compass, but a little inclined to be thick.
His execution was very considerable, but he was rather too fond of displaying it, nor was his cantabile singing equal to his bravura. In recitatives, and scenes of energy and passion he was incomparable, and had he been less lavish of ornaments, which were not always appropriate, and had possessed a more pure and simple taste, his performance would have been faultless; it was always striking, animated, and effective.
He was received with rapturous applause. He is without defects in intonation, he does feats of the greatest difficulty, and controls his voice as if he were playing a violin. He sustains the voice and fills the theater, however vast it is, and to all that you can add that his lovely voice is passionate, tender, and full of pathos, a combination that I have found in no other singer. In short, he has everything. The only thing he lacks, I believe, is sentiment, which would allow him to touch the soul—a talent in which Giziello is superior to him, even if he excells Giziello in strength and agility.
The lack of sentiment means that at the most beautiful moment in a tender aria, when you are feeling the gentle beginning of a shiver, Marchesi gives you a violent turn, he forces you out with an eccentric, cheerful idea, and thus he extinguishes the nascent sensibility. Indeed, since Zacchiroli had been introduced to Verri in December , he may have heard Verri express his opinion of the singer even before he wrote to Albergati on 15 January.
According to such opinions, Marchesi is only a fortunate rival of Agujari, who sings eighth notes and sixteenth notes divinely, but despite that never touches the heart. To be a great musico, to aspire to immortality, it is necessary to smooth out the voice, to put expression into singing, to speak to the soul like Guarducci, to make eight or nine hundred people weep, like Egiziello.
Now this is what Marchesi is missing: he stuns the imagination, but he does not shake the emotions. Egli ha tutto adunque. Not a single eyelid moves, one hardly dares breathe, and if one could stop breathing altogether, one would do so. Every soul flies, attentive, to the ears, all the senses suspended, so as not to distract from that of hearing. Already the voice—easy, obedient, harmonious—masters the most challenging combinations, stealing from nature all the beauties that lie hidden by it from art, and that after Marchesi will possibly never be found again.
I feel it here. It opens for me new sources of pleasure, unimagined and unimaginable, now with high notes that imitate and even surpass the song of the nightingale, now with low notes that imitate the majesty of the organ. I do not remember anything else; the whole of nature is nothing for me at that moment.
An indefinable spell of pleasure and delight penetrates to the depth of my heart, arouses my feelings, inebriates the senses, puts reason to sleep. All my emotions are concentrated in that heavenly song. My heart swells. I cannot resist the torrent of delight that drowns me. My sighs rush out one after another. I finish with sobs, tears, and applause. The whole theater responds to my sensibility; every listener is affected by the same delightful delirium.
A pleasure that, in its supreme power, borders on breathlessness, keeps the audience from breathing until after Marchesi, in leaving the stage, breaks the spell. Let those who do not love Marchesi tell me now that he knows how to sing only the difficult notes; let them tell me that he cannot touch the soul. He was not in control of his own feelings and actions. Zacchiroli was a man of sensibility, and very conscious of it.
Like so many eighteenth-century fashions, the cult of sensibility owed much to England. In Germany Goethe explored the pathological extremes of sensibility in Werther. The Italians took up sensibility as eagerly as the French and Germans, and none more eagerly than young Zacchiroli. Tutte le sensazioni mie sono concentrate in quel canto celeste. Are you perhaps an empty name that I pronounce, a name lost in the immensity of the fluid air that surrounds me?
You exist in the hearts of men; you reign in mine. Through you alone are poets seized by that tranquil enthusiasm that is so pleasing, like the ancients Euripides and Tibullus, and, among the moderns, Racine and Petrarch. For Bianchi and Zacchiroli the word had something of its original Greek sense: possession by some divine power, supernatural inspiration, ecstasy. In answering his question he turned, almost inevitably, to the theater: How many shades in our affections!
Approbation, sensibility, emotion, distress, impulse, passion, transport, insanity, fury, rage. These are the stages through which the miserable soul of man might pass. A geometrist attends a touching tragedy. He notices only that it is well performed. A young man who sits next to him is so moved that he notices nothing at all; a woman weeps; another young man is so transported that to his misfortune he is going to write a tragedy himself. He has caught the disease of enthusiasm.
No; tu esisti nel cuore degli uomini dabbene; tu regni nel mio. Per te solo gli oratori ardono e convincono, come un Cheminais, un Massilon, un Fenelon. Per te solo son presi i poeti da quel pacifico entusiasmo, che piace tanto, come tra gli antichi Euripide, e Tibullo; e tra merni Racine, e Petraca. Nor would he want to resist it, for it could be aroused only by what is good. There is nothing strange in this, for men and women of sensibility valued goodness and beauty equally.
And the beauty of music held a special power over them. Julie, what have I heard? What touching sounds? What magic? What delightful source of feelings and of pleasures? Gardner D. Stout, Jr. An unfamiliar sensation of voluptuousness gradually overpowered me.
With each phrase some picture entered my brain or some feeling entered my heart; the pleasure did not stop at my ear but penetrated to my soul. Why does the voice of a man who sings a few eighth notes from a platform raised above the ground set into convulsion the hearts of so many who listen?
Marchesi merits your traveling posthaste to hear him. Ah, my pleasure, which now seems to be incapable of increase, would be so much greater, if it were divided with you! Therefore I await you; and in the meantime accept a thousand and a thousand more most affectionate farewells. Sarti, a year younger than Albergati, and one of the leading opera composers in Italy during the late s and early s an interregnum between 36 Ah!
Quels sons touchans? Je ne sais quelle sensation voluptueuse me gagnoit insensiblement Marchesi merita, che voi facciate un viaggio a posta a posta per udirlo. Andremo insieme al teatro. A correspondent to C. This was normal practice, and clearly did not bother opera lovers such as Zacchiroli, for whom the beauty of one aria was enough to make an evening at the opera worthwhile. Gevaert, Paris, , vol.
As in the instrumental rondo, the first statement of the main theme of both sections, in the tonic, is followed by a contrasting episode and a return of the main theme in the tonic; in the fast section, a second episode and a third statement of the main theme may follow. Indeed it might be better to call it prototypical. Ma il dover. The first quatrain is addressed by Achille to Deidamia, his beloved; there is a sudden change of mood at the beginning of the second quatrain, as Achille hears the call of duty; he turns to Ulisse, who is trying to persuade him to leave Deidamia and join the Trojan army in Troy, and then just as suddenly he turns back to Deidamia.
In the third and final quatrain Achille cries out against the conflicting passions that war within him, and finally, turning to the audience or the world at large , he asks for pity. The poem thus presents a crescendo of dramatic tension, a move from tender melancholy and intimacy first to conflict, and then passionate outburst.
For the subsequently published literature, see the abstract that precedes this paper. I am grateful to Bruce Alan Brown for consulting the copy of this libretto in the library of the Cini Foundation, Venice. The text makes as much sense sung by Rinaldo in Armida as by Achille. Seas ons.
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