#Carlo Francesco Pollarolo

[dame-de-pique]

Carlo Francesco Pollarolo - Almansorre in Alimena, Imprint: Reggio: P. Vedrotti, 1696

[hobbitpunkmood]

Fun Fact

In Supernatural (Season 10, episode 20) Rowena is whining about how music hasn't been good since the year 1723. That's the year Carlo Francesco Pollarolo and William Babell both died and thus, stopped composing. Bach, Handel, and Scarlatti were all still composing that year.

[opera-ghosts]

Faustina Bordoni (30 March 1697 – 4 November 1781) was an Italian mezzo-sopranoMade her operatic debut at Venice in 1716 in Carlo Francesco Pollarolo's Ariodante, singing in her home city until 1725 in operas by Albinoni, the Gasparini brothers, Giacomelli, Leonardo Leo, Giuseppe Maria Orlandini, the Pollarolos, father and son, and Leonardo Vinci, amongst others. In 1718 and 1719 in Venice she sang alongside Francesca Cuzzoni, later to become her great rival. During this period she also performed several times at Reggio nell'Emilia, Naples and Parma, and at least once in Milan, Modena and Florence. After her German début in 1723, singing in  Pietro Torri's Griselda at Munich, she was a great favourite north of the Alps during the 1720s, also enjoying great success in Vienna (1725–26). Her nickname was the "new siren", and she was commonly known simply as "Faustina". Her London début, as Rossane in Handel's Alessandro, took place on 5 May 1726, alongside Senesino and Cuzzoni. During the next two seasons she created four more Handel roles: Alceste in Admeto and Pulcheria in Riccardo Primo (both 1727), and Emira in Siroe and Elisa in Tolomeo (1728). She also sang in a revival of Radamisto, and in operas by Ariosti and Giovanni Bononcini. In a performance of the latter's Astianatte on 6 June 1727, a riot broke out in the audience between her followers and those of her 'rival' Cuzzoni in the King's Theatre, Haymarket,  in front of Caroline, Princess of Wales. This furore seized the public imagination and a great deal of journalistic exaggeration  – the pamphleteer John Arbuthnot published "The DEVIL to pay at St. JAMES's: Or A full and true ACCOUNT of a most horrid and bloody BATTLE between Madam FAUSTINA and Madam CUZZONI", in which he lambasted the two ladies: "TWO of a Trade seldom or ever agree … But who would have thought the Infection should reach the Hay-market and inspire Two Singing Ladies to pull each other's Coiffs, to the no small Disquiet of the Directors, who (God help them) have enough to do to keep Peace and Quietness between them. … I shall not determine who is the Aggressor, but take the surer Side, and wisely pronounce them both in Fault; for it is certainly an apparent Shame that two such well bred Ladies should call Bitch and Whore, should scold and fight like any Billingsgates." Recent research has shown, however, that it was the singers' supporters who were behaving badly, rather than the singers themselves, who had worked together before in Italy and continued to work together for the Royal Academy until the directors were forced to dissolve it in 1728 owing to mounting debts.The composer Quantz gave a description of Bordoni's qualities, as given to Charles Burney: Faustina had a mezzo-soprano voice, that was less clear than penetrating. Her compass now was only from B flat to G in alt; but after this time she extended its limits downward. She possessed what the Italians call un cantar granito; her execution was articulate and brilliant. She had a fluent tongue for pronouncing words rapidly and distinctly, and a flexible throat for divisions, with so beautiful a shake that she put it in motion upon short notice, just when she would. The passages might be smooth, or by leaps, or consisting of iterations of the same note; their execution was equally easy to her as to any instrument whatever. She was, doubtless, the first who introduced with success a swift repetition of the same note. She sang adagios with great passion and expression, but was not equally successful if such deep sorrow were to be impressed on the hearer as might require dragging, sliding, or notes of syncopation and tempo rubato. She had a very happy memory in arbitrary changes and embellishments, and a clear and quick judgment in giving to words their full value and expression. In her action she was very happy; and as her performance possessed that flexibility of muscles and face-play which constitute expression, she succeeded equally well in furious, tender, and amorous parts. In short, she was born for singing and acting.Burney himself remarked on the strength of the note E (E5) in her voice, and it is worth noting that half of the arias written for her by Handel are in E or A (minor or major), keys which could give this note particular prominence.

[fuckyeahfarinelli]

Farinelli’s composers: D O M E N I C O   S C A R L A T T I  (1685-1757)

Giuseppe Domenico Scarlatti was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style and he was one of the few Baroque composers to transition into the classical period. Like his renowned father Alessandro Scarlatti, he composed in a variety of musical forms, although today he is known mainly for his 555 keyboard sonatas. Domenico Scarlatti was born in Naples, Kingdom of Naples, belonging to Spanish Crown, in 1685, the same year as Johann Sebastian Bach and George Frideric Handel. He was the sixth of ten children of the composer and teacher Alessandro Scarlatti. He never used his first Christian name (which could have led to confusion with his nephew Giuseppe): his name is always given in Italy as Domenico (or the familiar Mimo) Scarlatti, and in Portugal and Spain as Domingo Escarlate (Escarlati or Escarlatti).

He probably first studied music under his father. Other composers who may have been his early teachers include Gaetano Greco, Francesco Gasparini, and Bernardo Pasquini, all of whom may have influenced his musical style. He was appointed as composer and organist at the royal chapel in Naples in 1701. In 1704, he revised Carlo Francesco Pollarolo's opera Irene for performance at Naples. Soon afterwards, his father sent him to Venice. After this, nothing is known of Scarlatti's life until 1709, when he went to Rome in the service of the exiled Polish queen Marie Casimire. Scarlatti was already an eminent harpsichordist: there is a story of a trial of skill with George Frideric Handel at the palace of Cardinal Ottoboni in Rome where he was judged possibly superior to Handel on that instrument, although inferior on the organ. Later in life, he was known to cross himself in veneration when speaking of Handel's skill. In Rome, Scarlatti composed several operas for Queen Casimire's private theatre. He was Maestro Di Cappella at St. Peter's from 1715 to 1719. In 1719 he travelled to London to direct his opera Narciso at the King's Theatre. According to Vicente Bicchi (Papal Nuncio at the time), Domenico Scarlatti arrived in Lisbon on 29 November 1719. There he taught music to the Portuguese princess Maria Magdalena Barbara. He left Lisbon on 28 January 1727 for Rome, where he married Maria Caterina Gentili on 6 May 1728. In 1729 he moved to Seville, staying for four years. In 1733 he went to Madrid as music master to Princess Maria Barbara, who had married into the Spanish royal house and later became Queen of Spain. Scarlatti remained in the country for the remaining twenty-five years of his life, and had five children there. After the death of his first wife in 1742, he married a Spaniard, Anastasia Maxarti Ximenes. Among his compositions during his time in Madrid were a number of the 555 keyboard sonatas for which he is best known.

Scarlatti befriended the castrato singer Farinelli, a fellow Neapolitan also enjoying royal patronage in Madrid. The musicologist and harpsichordist Ralph Kirkpatrick commented that Farinelli's correspondence provides "most of the direct information about Scarlatti that has transmitted itself to our day". Domenico Scarlatti died in Madrid, at the age of 71. His residence on Calle Leganitos is designated with a historical plaque, and his descendants still live in Madrid. He was buried at a convent there, in Madrid, but his grave no longer exists.

Fandango

Sonata K 99

Se l'alma non t'adora  L'Ottavia ristituita al trono

Sonata K 89 for Viola d'Amore & Cembalo  

Sonata in G minor, K. 108

[onthisdayinearlymusic]

February 7

Alas, school restarted. Now I don't have that much time to do all this research...

1652 - The Roman composer and singer, Gregorio Allegri, died in the Eternal City.

1662 - Francesco Cavalli's opera Ercole amante, with a libretto by Francesco Buti after Ovid's Metamorphoses, commissioned by Cardinal Mazarin (intended) to celebrate the wedding of Louis XIV and Maria Theresa, Infanta of Spain, was premiered in the Salle des Machines in Tuileries, Paris. Due to a delay in the construction of a new theater and the spectacular stage sets and machinery by Gaspare Vigarani and his sons, the opera could not be made ready for the celebration, and Cavalli's old opera Xerse was performed instead.

1700 - The Italian impresario Filippo Acciaiuoli died in Rome. 

1723 - The Italian composer Carlo Francesco Pollarolo died in Venice.

1749 - The French composer André Cardinal Destouches, mostly known for his dramatic works, died in Paris. 

[dame-de-pique]

Carlo Francesco Pollarolo - Publio Cornelio Scipione, Imprint: Venezia: M. Rossetti, 1712?