Work
He wrote poetry and plays, but is best remembered as one of the first writers of libretti, the texts used for all kinds of musical plays but most specifically opera.
His earliest known work was in 1609, an oration for the burial of Ferdinando I de' Medici, Grand Duke of Tuscany, for whom he also organized the burial rites. It was the first in a long-term series of efforts to get the patronage of the Medici family during the next decades, including a lengthy dedication of his 1624 reprint of the Venetia edificata to Ferdinando II de' Medici, Grand Duke of Tuscany. [1]
In 1621, he wrote his only epic poem, Venetia edificata. It was expanded and reprinted in 1624. Celebrating the glory of the Republic of Venice, it was at the same time written in support of Galileo Galilei and his controversial scientific theories. He also wrote a translation of the Spanish Lazarillo de Tormes which remained unpublished. [1]
From 1627 on, he mostly dedicated himself to writing opera libretti, and he was probably the most important opera writer in Venice in the 1630s and 1640s. He wrote La finta pazza Licori for Claudio Monteverdi in 1627. The two had first met in 1621. The opera was never performed and it is unknown how much of the music for it had been written before the project was abandoned. Both the music and the libretto are lost.
In the 1630s and 1640s, Strozzi was one of the driving forces behind the successful growth of opera in Venice. He wrote the libretto for the opening of the Teatro Santi Giovanni e Paolo in 1639 ( La Delia , music by Francesco Manelli), and for the 1641 opening of the Teatro Novissimo ( La finta pazza , music by Francesco Sacrati).
In 1630 Strozzi wrote Proserpina Rapita . His last libretto, Veremonda, l'amazzone di Aragona, was written for Francesco Cavalli in 1652.
He was a member of the Accademia degli Incogniti in Venice. He was the founder of some cultural "academies", gatherings of like-minded intellectuals; these included the Ordinati during his stay in Rome, and the Dubbiosi in Venice. In 1637 he founded the Accademia degli Unisoni, a gathering of musicians where his adopted daughter Barbara sang. [2]
Claudio Giovanni Antonio Monteverdi was an Italian composer, choirmaster and string player. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history.
Barbara Strozzi was an Italian composer and singer of the Baroque Period. During her lifetime, Strozzi published eight volumes of her own music, and had more secular music in print than any other composer of the era. This was achieved without support from the Church or consistent patronage from the nobility.
Il ritorno d'Ulisse in patria is an opera consisting of a prologue and five acts, set by Claudio Monteverdi to a libretto by Giacomo Badoaro. The opera was first performed at the Teatro Santi Giovanni e Paolo in Venice during the 1639–1640 carnival season. The story, taken from the second half of Homer's Odyssey, tells how constancy and virtue are ultimately rewarded, treachery and deception overcome. After his long journey home from the Trojan Wars Ulisse, king of Ithaca, finally returns to his kingdom where he finds that a trio of villainous suitors are importuning his faithful queen, Penelope. With the assistance of the gods, his son Telemaco and a staunch friend Eumete, Ulisse vanquishes the suitors and recovers his kingdom.
Ottavio Rinuccini was an Italian poet, courtier, and opera librettist at the end of the Renaissance and beginning of the Baroque eras. In collaborating with Jacopo Peri to produce the first opera, Dafne, in 1597, he became the first opera librettist.
L'incoronazione di Poppea is an Italian opera by Claudio Monteverdi. It was Monteverdi's last opera, with a libretto by Giovanni Francesco Busenello, and was first performed at the Teatro Santi Giovanni e Paolo in Venice during the 1643 carnival season. One of the first operas to use historical events and people, it describes how Poppaea, mistress of the Roman emperor Nero, is able to achieve her ambition and be crowned empress. The opera was revived in Naples in 1651, but was then neglected until the rediscovery of the score in 1888, after which it became the subject of scholarly attention in the late 19th and early 20th centuries. Since the 1960s, the opera has been performed and recorded many times.
Francesco Manelli (Mannelli) was a Roman Baroque composer, particularly of opera, and a theorbo player. He is most well known for his collaboration with fellow Roman composer Benedetto Ferrari in bringing commercial opera to Venice. The first two works, in 1637 and 1638, to be put on commercially in the Teatro San Cassiano were both by Manelli – his L'Andromeda and La Maga Fulminata.
Francesco Rasi was an Italian composer, singer (tenor), chitarrone player, and poet.
Francesco Sacrati was an Italian composer of the Baroque era, who played an important role in the early history of opera. He wrote for the Teatro Novissimo in Venice as well as touring his operas throughout Italy. His most famous piece is La finta pazza, said to be the first opera ever performed in France. The manuscript of this work was long thought to be lost but a touring edition of the manuscript was discovered by musicologist Lorenzo Bianconi in 1984. Some of the music bears striking similarities to the score of Monteverdi's L'incoronazione di Poppea, prompting scholars to speculate that Sacrati had a part in composing the surviving version of that opera. The United States premiere of La finta pazza, and first performance outside Europe, occurred in April 2010 at Yale University.
L'Arianna is the lost second opera by Italian composer Claudio Monteverdi. One of the earliest operas in general, it was composed in 1607–1608 and first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of Duke Vincenzo Gonzaga in Mantua. All the music is lost apart from the extended recitative known as "Lamento d'Arianna". The libretto, which survives complete, was written in eight scenes by Ottavio Rinuccini, who used Ovid's Heroides and other classical sources to relate the story of Ariadne's abandonment by Theseus on the island of Naxos and her subsequent elevation as bride to the god Bacchus.
Anna Renzi was an Italian soprano renowned for her acting ability as well as her voice, who has been described as the first diva in the history of opera.
Giovanni Francesco Busenello was an Italian lawyer, librettist and poet of the 17th century.
Veremonda, l'amazzone di Aragona is an opera in three acts and a prologue by the Italian composer Francesco Cavalli. The libretto is by Giulio Cicognini with revisions by Giulio Strozzi. The date of the Venetian performance is uncertain.
Giacomo Torelli was an Italian stage designer, scenery painter, engineer, and architect. His work in stage design, particularly his designs of machinery for creating spectacular scenery changes and other special effects, was extensively engraved and hence survives as the most complete record of mid-seventeenth-century set design.
The Teatro Santi Giovanni e Paolo was a theatre and opera house in Venice located on the Calle della Testa, and takes its name from the nearby Basilica of Santi Giovanni e Paolo, Venice. Built by the Grimani family in 1638, in its heyday it was considered the most beautiful and comfortable theatre in the city. The theatre played an important role in the development of opera and saw the premieres of several works by Francesco Cavalli, as well as Monteverdi's Il ritorno d'Ulisse in patria and L'incoronazione di Poppea.
Atto Melani was a famous Italian castrato opera singer, also employed as a diplomat and a spy.
The Italian composer Claudio Monteverdi (1567–1643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included operas, of which three—L'Orfeo (1607), Il ritorno d'Ulisse in patria (1640) and L'incoronazione di Poppea (1643)—have survived with their music and librettos intact. In the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. The loss of these works, written during a critical period of early opera history, has been much regretted by commentators and musicologists.
La finta pazza is an opera composed by Francesco Sacrati to a libretto by Giulio Strozzi. Its premiere in Venice during the Carnival season of 1641 inaugurated the Teatro Novissimo. It became one of the most popular operas of the seventeenth century.
The Teatro Novissimo was a theatre in Venice located in the Campo Santi Giovanni e Paolo with its entrance on the Calle de Mendicanti. It was the first theatre built in Venice specifically for the performance of opera. Because it was purpose-built, it had a wider stage than its existing competitors which allowed for the elaborate productions which became the Novissimo's hallmark. The theatre opened in the Carnival season of 1641 with the premiere of Sacrati's opera La finta pazza. After its last production in 1645, the theatre was closed amidst mounting debts and was demolished in 1647.
La finta savia is a 1643 drama by Giulio Strozzi written for the Teatro Santi Giovanni e Paolo with music by Filiberto Laurenzi. It is a sequel to Strozzi's La finta pazza (1641) whi was set to music by Francesco Sacrati. The music was mainly by Laurenzi but was supplemented in act 1 with scenes 3 to 5, 10 and 12 by Tarquinio Merula, in scene 6 mainly by Arcangelo Crivelli except for a canzonetta by Laurenzi. In act 1, scenes 2 and 3 were by Crivelli and in act 3 scenes 1 and 7 to 9 by Benedetto Ferrari.
