Antonio Salvi
Antonio Salvi (born January 17, 1664 in Lucignano , Grand Duchy of Tuscany , today Tuscany , † May 21, 1724 in Florence ) was an Italian librettist .
Life
Salvi was a doctor at the ducal court in Florence . From 1694 to 1718 he wrote libretti for theaters in Livorno and Florence; between 1701 and 1710 seven of his works were also performed in the villa of Prince Ferdinando de 'Medici in Pratolino (whose favorite librettist Salvi was). After Ferdinando's death in 1713, Salvi expanded his sphere of activity to include cities outside Tuscany such as Rome , Reggio nell'Emilia , Turin , Venice and Munich . His librettos were set to music by the most famous composers of his time, including Scarlatti , Vivaldi and Handel .
style
Salvis works are characterized by the simplicity of style, regularity of form and emotionality of the content. This partly reflects the influence of French theater; Salvi edited a. a. Pieces from Molière .
Works
Quite a few of his libretti have been set to music several times. The opera Astianatte (1701) was particularly popular ; she was u. a. set to music by Antonio Maria Bononcini , who, along with Georg Friedrich Handel, was one of the regular composers at the Royal Academy of Music in London . This setting became famous in musical history because, during one of the performances of this opera at London's King's Theater on June 6, 1727, the proverbial rivalry between the two prima donnas of the Academy, Faustina Bordoni and Francesca Cuzzoni , escalated and the two on stage in the hair went and beat.
- Astianatte , set to music a. a. by Giacomo Antonio Perti (1701), Antonio Maria Bononcini (1718), Francesco Gasparini (1719), Leonardo Vinci (1727), Giovanni Battista Bononcini (1727) and Niccolò Jommelli (1741); set to music under the title Andromaca by Leonardo Leo (1742), Giovanni Battista Lampugnani (1749) and Davide Perez (1750)
- Arminio , set to music a. a. by Alessandro Scarlatti (1703), Antonio Caldara (1705), Carlo Francesco Pollarolo (1722), Johann Adolph Hasse (1730), Georg Friedrich Händel (1737, → Arminio ), Baldassare Galuppi (1747) and Gioacchino Cocchi (no year) )
- Publio Cornelio Scipione (1704), set to music a. a. by Georg Friedrich Händel (1726, → Publio Cornelio Scipione )
- Il gran Tamerlano , set to music by Alessandro Scarlatti (1706) and under the title Teodorico by Giovanni Porta (1720) and as pasticcio Il trace in catena by Francesco Gasparini a . a. (1717)
- Dionisio re di Portogallo , set to music by Giacomo Antonio Perti (1707) and under the title Sosarme by Georg Friedrich Händel (1732, → Sosarme )
- Ginerva principessa di Scozia , set to music by Giacomo Antonio Perti (1708), Domenico Sarro (1720), G. Sellitto, 1733; Antonio Vivaldi (1736) and Ferdinando Bertoni (1753); also by Carlo Francesco Pollarolo (1716), Georg Friedrich Händel (1735, → Ariodante ) and Georg Christoph Wagenseil (1745) under the title Ariodante
- Berenice regina d'Egitto , set to music by Giacomo Antonio Perti (1709), Domenico Scarlatti & Nicola Antonio Porpora (1718), Francesco Araja (1734) and Georg Friedrich Händel (1737, → Berenice ); and under the title Le gare di politica e d'amore by Giovanni Maria Ruggieri (1711)
- Rodelinda regina de 'Longobardi , set to music a. a. by Giacomo Antonio Perti (1710), Georg Friedrich Händel (1725, → Rodelinda ) and Carl Heinrich Graun (1741) and under the title Bertarido re de 'Longobardi by Giuseppe Boniventi (1727)
- Lucio Papirio , set to music a. a. by Francesco Gasparini (1714), Luca Antonio Predieri (1715), Leonardo Leo (1735) and Nicola Antonio Porpora (1737)
- Amor vince l'odio overo Timocrate , set to music by Francesco Gasparini (1715)
- Il Tartaro nella Cina , set to music by Francesco Gasparini (1715)
- Amore e maestá (tragedia per musica), set to music by Giuseppe Maria Orlandini (1715), Francesco Gasparini (1720) and Giuseppe Maria Buini (1722); and under the title Arsace by Francesco Gasparini (1718), Domenico Sarro (1718), Giovanni Francesco Brusa (1725); Geminiano Giacomelli (1737), Francesco Feo (1741) and Giovanni Battista Lampugnani (1741)
- Il pazzo per politica , set to music by Luca Antonio Predieri (1717) and under the title Eumene by Tomaso Albinoni (1717)
- Scanderbeg , set to music by Antonio Vivaldi (1718)
- Il carceriero di se stesso , set to music by Giuseppe Maria Orlandini (1720)
- Adelaide , set to music a. a. by Pietro Torri (1722), Nicola Antonio Porpora (1723), Giuseppe Maria Buini (1725), Giuseppe Maria Orlandini (1729), Antonio Vivaldi (1735) and Gioacchino Cocchi (1743) as well as under the title Lotario by Georg Friedrich Händel (1729) , → Lotario )
- Gl'equivoci d'amore e d'innocenza , set to music by Francesco Gasparini (1723)
- Ipermestra , set to music by Geminiano Giacomelli (1724), Antonio Vivaldi (1727) and Francesco Feo (1728)
literature
- Francesco Giuntini: I drammi per musica di Antonio Salvi. Aspetti della "riforma" del libretto nel primo Settecento (= Proscenio. Vol. 7). Società Editrice il Mulino, Bologna 1994, ISBN 88-15-04771-9 .
Web links
- Literature by and about Antonio Salvi in the catalog of the German National Library
- Works by and about Antonio Salvi in the German Digital Library
- Search for operas by Antonio Salvi (search term in the Autore field : “Salvi Antonio”) in the Corago information system of the University of Bologna
personal data | |
---|---|
SURNAME | Salvi, Antonio |
BRIEF DESCRIPTION | Italian librettist |
DATE OF BIRTH | January 17, 1664 |
PLACE OF BIRTH | Lucignano |
DATE OF DEATH | May 21, 1724 |
Place of death | Florence |