<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>Farinelli came to Venice only when his career was already well advanced. In 1728/29 he performed there in two operas, <italic>Catone in Utica</italic> by Leonardo Leo and <italic>Semiramide riconosciuta</italic> by Nicola Porpora. These operas needed to become a financial success because of the high remuneration the star singer earned. The composition and adaptation of the operas to the stage uncover the strategies by the impresarios of the Teatro San Giovanni Grisostomo, the Grimani brothers, and by Farinelli himself to secure income and renown. <italic>Catone in Utica</italic> underwent a highly unusual procedure at its very premiere because the opera was “impasticciata”, i.e. merged with pre-existing or newly-composed music by other composers. The substitutions reveal Farinelli's aim to stun the audience in his very first aria on stage. His brother's (Riccardo Broschi's) “Mi lusinga il cor d’affetto” Farinelli had sang earlier in 1728 presents his entire vocal profile in a single aria. In subsequent arias, Farinelli adds some features not present in this aria or concretizes several aspects of it. In the second opera, Porpora's <italic>Semiramide riconosciuta</italic>, Farinelli concentrates on another feature of his vocal style: small, fast, quasi-improvisational motives. Although they are also found in operas by other composers and were also sung by other singers, <italic>Semiramide riconosciuta</italic> is a special case because of their high frequency in Farinelli's role. All in all, the two operas of his first appearance in Venice seem to follow the intention to present his entire vocal spectrum to the audience.</p>
</abstract>

Farinelli came to Venice only when his career was already well advanced. In 1728/29 he performed there in two operas, Catone in Utica by Leonardo Leo and Semiramide riconosciuta by Nicola Porpora. These operas needed to become a financial success because of the high remuneration the star singer earned. The composition and adaptation of the operas to the stage uncover the strategies by the impresarios of the Teatro San Giovanni Grisostomo, the Grimani brothers, and by Farinelli himself to secure income and renown. Catone in Utica underwent a highly unusual procedure at its very premiere because the opera was “impasticciata”, i.e. merged with pre-existing or newly-composed music by other composers. The substitutions reveal Farinelli's aim to stun the audience in his very first aria on stage. His brother's (Riccardo Broschi's) “Mi lusinga il cor d’affetto” Farinelli had sang earlier in 1728 presents his entire vocal profile in a single aria. In subsequent arias, Farinelli adds some features not present in this aria or concretizes several aspects of it. In the second opera, Porpora's Semiramide riconosciuta, Farinelli concentrates on another feature of his vocal style: small, fast, quasi-improvisational motives. Although they are also found in operas by other composers and were also sung by other singers, Semiramide riconosciuta is a special case because of their high frequency in Farinelli's role. All in all, the two operas of his first appearance in Venice seem to follow the intention to present his entire vocal spectrum to the audience.

How to Impress the Public: Farinelli's Venetian Debut in 1728–1729

Ernst Moritz Arndt-Universität Greifswald

Musicology Today

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

{"article-title":"How to Impress the Public: Farinelli's Venetian Debut in 1728\u20131729"}

Farinelli came to Venice only when his career was already well advanced. In 1728/29 he performed there in two operas, Catone in Utica by Leonardo Leo and...

How to Impress the Public: Farinelli's Venetian Debut in 1728–1729

Publié en ligne: 31 déc. 2020

Pages: 14 - 33

DOI: https://doi.org/10.2478/muso-2020-0002

Mots clés
Carlo Broschi Farinelli, vocal profile, 18th-century opera, substitution practice, Venice

© 2020 Berthold Over, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

How to Impress the Public: Farinelli's Venetian Debut in 1728–1729

Publié en ligne: 31 déc. 2020

Pages: 14 - 33

DOI: https://doi.org/10.2478/muso-2020-0002

Mots clésCarlo Broschi Farinelli, vocal profile, 18th-century opera, substitution practice, Venice

© 2020 Berthold Over, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Mots clés
Carlo Broschi Farinelli, vocal profile, 18th-century opera, substitution practice, Venice