Diamante Maria Scarabelli

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Diamante Maria Scarabelli with Apollo and the nine muses , engraving by Girolamo Albrizzi, Modena 1697

Diamante Maria Scarabelli , also known as " La Diamantina " (also: Diamante Scarabelli ; * October 6, 1675 in Bologna ; † April 5, 1754 ibid) was a famous Italian opera singer ( soprano ) of the Baroque era, who was particularly prominent as the prima donna in the Venetian opera and also participated in Georg Friedrich Handel's Agrippina .

Life

She was born in Bologna as the daughter of Giorgio Scarabelli and Giovanna Tavolini.

She apparently made her operatic debut at the age of 16 in the spring of 1692 in Crema in the opera Pausania by Giovanni Lenzei , in an ensemble with the famous Alto - Kastrat en Pistocchi . In the winter of 1692–93 she was in Lodi and sang in Paolo Magnis and Giacomo Griffini's Endimione (premiere: November 24, 1692) and in La Rosmene (probably by Alessandro Scarlatti ).

From around 1695 to 1708 she was officially in the service of the Duke of Mantua , Ferdinando Carlo von Gonzaga-Nevers , as a “ virtuosa ” and continued her operatic career under his protection.

Diamante Maria Scarabelli soon developed into one of the outstanding prima donnas of the late 17th and early 18th centuries, together with singers such as Maria Maddalena Musi , Vittoria Tarquini and (a little later) Margherita Durastanti . The Scarabelli was praised not only for her virtuoso singing skills, but also for her acting skills.

The Teatro San Giovanni Grisostomo in Venice in 1709 (Museo Correr)

In the Carnival of 1695 she sang for the first time in the important Teatro San Giovanni Grisostomo , the most magnificent opera house in Venice , which would subsequently remain the glamorous center of her career. She appeared in Carlo Francesco Pollarolo's opera Irene .

1695–96 she was at the Teatro Ducale in Turin and in 1697 in Mantua. In the same year she experienced one of the high points of her career when she sang a trouser role in the Pasticcio Perseo at the Teatro Malvezzi in her hometown of Bologna , with music by Aldrovandini , Giacomo Antonio Perti , Pollarolo and Bernardo Sabadini . After this performance, a group of admirers dedicated a collection of 14 poems to her, which was titled La miniera del Diamante ("The Diamond Mine ") in allusion to her name ( Modena , 1697). At the same time a copper engraving by Girolamo Albrizzi was published, on which the singer is shown with a turban , surrounded by Apollo and the nine muses .

In the Carnival of 1698 she was again at San Giovanni Grisostomo (according to a letter from Rinaldo d'Este ). In September 1699 she appeared in Milan in the opera Ariovisto (with music by Giacomo Antonio Perti and Paolo Magni) alongside the famous Domenico Cecchi (" il Cortona ") and Barbara Riccioni .

On the occasion of Aldovrandini's opera Le due auguste in the Teatro Formagliari in Bologna in the summer of 1700, a list of female singers was drawn up from which it emerges that Diamante Maria Scarabelli has now received the rather high sum of 260 Spanish doubloons ( doppie ) for this series of performances ; the only singer who earned even more at that time was the famous Maria Maddalena Musi , with 500 doubloons (and thus apparently too expensive for the Bolognese impresarios ).

Antonio Caldara

In Venice, in 1703, Diamantina sang in San Giovanni Grisostomo in the world premiere of Carlo Francesco Pollarolo's Venceslao on February 7, 1703 alongside the Neapolitan castrato Nicolino (Nicola Grimaldi), and in September 1704 she took part in an open-air serenata on the Grand Canal , in the role of Bellezza in Pollarolo's Da la virtude ha la bellezza onore , alongside Francesco de Grandis .

A fruitful collaboration with Antonio Caldara began in 1703 with his opera Gli equivoci del sembiante , which was performed in Casale Monferrato before the Duke of Mantua. The glamorous cast also included Domenico Cecchi (“ il Cortona ”), Maria Landini , Valentino Urbani and Santa Stella . The latter became a frequent stage partner of the Scarabelli in the following years, such as in the Carnival in Genoa in 1705 in Caldaras Arminio and later in Venice (see list of roles below).

In the 1707 carnival, on the occasion of Alessandro Scarlatti's Il Mitridate Eupatore in the Teatro San Giovanni Grisostomo, Diamante Scarabelli, spoiled by success, had to experience that the important Neapolitan composer preferred another singer to her. Bartolomeo Dotti wrote ironically:

“ … Ei protegge, a quel ch'intendo, / una giovine meschina, / e la stima, oh caso orrendo! / molto più di Diamantina. "

"... he patronizes, as I hear, / a poor young thing / and values ​​her, oh horror! / much more than Diamantina. "

- Bartolomeo Dotti : Satire , II, Geneva 1757, p. 105

However, this did not change her popularity with the Venetian audience, because in the following years from 1707 to 1712 Diamantina experienced her musical heyday with a permanent engagement at San Giovanni Grisostomo. She had evidently become a favorite singer of the most important composers of Venetian opera: Antonio Lotti , Antonio Caldara and Carlo Francesco Pollarolo used her in many of their world premieres, often alongside Lotti's wife Santa Stella, Nicolino and bassist Anton Francesco Carli (see list below of opera roles).

Georg Friedrich Handel, around 1710

During this time at San Giovanni Grisostomo she met the young Georg Friedrich Handel , who composed the part of the coquettish Poppea in his Agrippina for her in 1709 . This role is rich in coloratura and reveals that Diamantina had a very agile, agile soprano voice.

After the death of the Duke of Mantua in the summer of 1708, the Viceroy of Naples , Cardinal Vincenzo Grimani , became its patron (until 1710). He was one of the founders and co-owners of the Teatro San Giovanni Grisostomo. After his death she entered the service of the Duke of Modena Rinaldo d'Este .

In addition to Venice and Bologna, Diamante Scarabelli appeared on the stages of Parma , Piacenza , Turin, Reggio , Rovigo , Siena , Casale Monferrato , Pavia , Vicenza and Ferrara . She sang in works by Pollarolo, Aldovrandini, Legnani, Giovanni Bononcini , Perti, Antonio Caldara, Tomaso Albinoni and Francesco Gasparini, among others . The only major theater in Italy where they wanted to hire her, but where she never performed, was the San Bartolomeo in Naples . Apparently the trip was too long for her.

In 1714 she incurred the wrath of the Duke of Modena, her protector, after failing to keep a contract with the theater in Genoa; subsequently she was not allowed to appear in Milan either, but instead accepted an offer from Rome to appear in the private theater of the Queen Dowager Maria Casimira of Poland, probably in Domenico Scarlatti's Amor d'un'ombra e gelosia d'un'aura .

In Venice she no longer sang at the San Giovanni Grisostomo from 1715 - possibly a sign that her voice was now a little less vocal and could therefore no longer charge such high fees. At the Teatro Santi Giovanni e Paolo she sang in the Carnival of 1715 in Pollarolos Marsia deluso and in Lottis Polidoro , and in the season 1715-16 she was then at the small Teatro Sant'Angelo , where she appeared in operas by Fortunato Chelleri , Albinoni and Gasparini.

Her last documented appearance was in the summer of 1718 at the Teatro Formagliari in her native Bologna as Emilia in Orlandini's Lucio Papirio , alongside Giovanni Paita , Antonio Pasi , Diana Vico and Giovan Battista Minelli . In the libretto of this performance, the name “ in venerazione della Nobiltà di Bologna ” (“in adoration of the nobility of Bologna”) can be found after her name .

After their retreat from the stage, there is little news of the Scarabelli; In 1725 she gave an " accademia " with music and poetry in her house .

She was married to a Giacinto Donati and was buried in the Santuario del Corpus Domini on April 5, 1754 after her death in Bologna.

Roles (selection)

The following list contains a selection of the roles that were composed for Diamante Maria Scarabelli “ La Diamantina ”. Most of the information comes from Eleanor Selfridge-Field and Corago. The date and place of the premiere appear in brackets; the most important stage partners are also given.

  • Amore in Endimione by Paolo Magni (Nov. 24, 1692, Lodi )
  • Ermosilda in Ariovisto by Giacomo Antonio Perti and Paolo Magni (September 1699, Milan ); next to Domenico Cecchi (“ il Cortona ”) and Barbara Riccioni .
  • Teodora in Le due Auguste by Giuseppe Aldrovandini (August 16, 1700, Teatro Formagliari, Bologna); next to Angela Ghering and Nicolino Grimaldi
  • Lucinda in Venceslao by Carlo Francesco Pollarolo (February 7, 1703, Teatro San Giovanni Grisostomo , Venice ); next to Nicolino (Nicola Grimaldi).
  • Tomiri in Gli equivoci del sembiante by Antonio Caldara (Carnival (?) 1703, Teatro Nuovo, Casale); next to Domenico Cecchi (“ il Cortona ”), Maria Landini , Santa Stella and Valentino Urbani .
  • Bellezza in Da la Virtude ha la Bellezza onore by Carlo Francesco Pollarolo (September 1704, Grand Canal di Rialto, Venice); next to Francesco de Grandis .
  • Rosmonda in Arminio by Antonio Caldara (Carnival 1705, Teatro Sant'Agostino, Genoa ); next to Santa Stella .
  • Rosmira in L'onestà nelli amori by Antonio Caldara (1705, Teatro Sant'Agostino, Genoa ); next to Santa Stella and Antonio Borosini .
  • Alarda in Il selvaggio eroe by Antonio Caldara (November 20, 1707, Teatro San Giovanni Grisostomo, Venice); next to Santa Stella, Anton Francesco Carli and Nicolino Grimaldi .
  • Title role in Partenope by Antonio Caldara (Premiere: December 26th 1707, Teatro San Giovanni Grisostomo, Venice)
  • Candaspe in Alessandro in Susa by Luigi Mangia (January 28, 1708, Teatro San Giovanni Grisostomo, Venice).
  • Lucinda in Il Venceslao by Giacomo Antonio Perti (May 19, 1708, Teatro Malvezzi, Bologna); next to Matteo Sassano (called Matteuccio ) and Anton Francesco Carli.
  • Title role in Sofonisba by Antonio Caldara (November 24, 1708, Teatro San Giovanni Grisostomo, Venice); next to Anton Francesco Carli, Matteo Sassano (called Matteuccio ) and the bass Giuseppe Maria Boschi .
  • Cunegonda in Il vincitor generoso by Antonio Lotti (January 12, 1709, Teatro San Giovanni Grisostomo, Venice); next to Giuseppe Maria Boschi and Anton Francesco Carli.
  • Lindori in Ama più che men si crede by Antonio Lotti (November 23, 1709, Teatro San Giovanni Grisostomo, Venice); next to Anton Francesco Carli and Margherita Durastanti .
  • Poppea in Agrippina by Georg Friedrich Händel (December 26, 1709, Teatro San Giovanni Grisostomo, Venice); next to Margherita Durastanti , Anton Francesco Carli and Valeriano Pellegrini .
  • Teodora in Il comando non inteso et ubbidito by Antonio Lotti (February 8, 1710, Teatro San Giovanni Grisostomo, Venice); next to Margherita Durastanti.
  • Costanza in Isacio tiranno by Antonio Lotti (November 24, 1710, Teatro San Giovanni Grisostomo, Venice); next to Aanton Francesco Carli and Margherita Durastanti.
  • Aspasia in Il Tradimento by Antonio Lotti (January 17, 1711, Teatro San Giovanni Grisostomo, Venice); next to Anton Francesco Carli.
  • Erifile in Publio Cornelio Scipione by Carlo Francesco Pollarolo (January 9, 1712, Teatro San Giovanni Grisostomo, Venice); next to Santa Stella.
  • Placilla in Spurio Postumio by Carlo Francesco Pollarolo (December 26, 1712, Teatro San Giovanni Grisostomo, Venice); alongside Margherita Durastanti in the title role.
  • Talestri in Alessandro fra le Amazzoni by Fortunato Chelleri (October 27, 1715, Teatro Sant'Angelo , Venice)
  • Tomiri in L'amor di figlio non conosciuto by Tomaso Albinoni (January 4, 1716, Teatro Sant'Angelo, Venice)
  • Arsinoe in Il più fedele fra i vassalli by Francesco Gasparini (January 15, 1716, Teatro Sant'Angelo, Venice); next to Anton Francesco Carli
  • Emilia in Lucio Papirio by Giuseppe Maria Orlandini (summer 1718, Teatro Formagliari, Bologna); next to Giovanni Paita, Antonio Pasi, Diana Vico and Giovan Battista Minelli

literature

Web links

Commons : Diamante Maria Scarabelli  - Collection of images, videos and audio files
  • Diamante Scarabelli, dite la Diamantina (aussi Diamante Maria) , on the Quell'Usignolo website , with CD recordings (French; accessed June 30, 2020)
  • Scarabelli, Diamante Maria, detta la Diamantina , on Haendel.it (Italian; accessed June 30, 2020)
  • Diamante Maria Scarabelli: la Diamantina , on the Genus Bononiae website (Italian; accessed July 4, 2020)
  • Nicolas Slonimsky, Laura Kuhn, Dennis McIntire: Scarabelli, Diamante Maria , Kurzbio in: Baker's Biographical Dictionary of Musicians , online at encyclopedia.com (English; accessed on July 4, 2020)

Individual evidence

  1. ↑ d. H. "Small diamond"
  2. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Francesco Lora:  Diamante Maria Scarabelli. In: Dizionario Biografico degli Italiani (DBI).
  3. ↑ Il Pausania (AA.VV.) in Corago information system of the University of Bologna .
  4. ^ Endimione (Paolo Magni) in the Corago information system of the University of Bologna .
  5. ^ La Rosmene, overo L'infedeltà fedele (Alessandro Scarlatti) in the Corago information system of the University of Bologna .
  6. ^ Ariovisto (Giacomo Antonio Perti) in the Corago information system of the University of Bologna .
  7. ^ Venceslao (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna .
  8. ↑ freely translated: "Virtue honors beauty"
  9. ↑ Da la virtude ha la Bellezza Onore (Carlo Francesco Pollarolo) in Corago information system of the University of Bologna .
  10. ^ Gli equivoci del sembiante (Antonio Caldara) in the Corago information system of the University of Bologna .
  11. ^ L 'Arminio (Antonio Caldara) in the Corago information system of the University of Bologna .
  12. ↑ a b Winton Dean: Scarabelli, Diamante Maria , on the Oxford Music website online (full access only with subscription; English; accessed July 4, 2020)
  13. ↑ Lucio Papirio (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  14. ↑ A kind of concert.
  15. ^ Endimione (Paolo Magni) in the Corago information system of the University of Bologna .
  16. ^ Ariovisto (Giacomo Antonio Perti) in the Corago information system of the University of Bologna .
  17. ↑ Le due Auguste (Giuseppe Antonio Vincenzo Aldrovandini) in the Corago information system of the University of Bologna .
  18. ^ Venceslao (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna .
  19. ^ Gli equivoci del sembiante (Antonio Caldara) in the Corago information system of the University of Bologna .
  20. ↑ Da la virtude ha la Bellezza Onore (Carlo Francesco Pollarolo) in Corago information system of the University of Bologna .
  21. ^ L 'Arminio (Antonio Caldara) in the Corago information system of the University of Bologna .
  22. ^ L 'onestà nelli amori (Antonio Caldara) in the Corago information system of the University of Bologna .
  23. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 280, online as Google Book (accessed July 4, 2020)
  24. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 281, online as Google Book (accessed July 4, 2020)
  25. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 283, online as Google Book (accessed July 4, 2020)
  26. ^ Il Venceslao, ossia Il fratricida innocente (Giacomo Antonio Perti) in the Corago information system of the University of Bologna .
  27. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 286, online as Google Book (accessed July 4, 2020)
  28. ↑ Francesco Silvani: Libretto for Caldaras Sofonisba , Marino Rossetti, Venice, autumn 1708, p. 13, online as Google Book (Italian; accessed on July 4, 2020)
  29. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , pp. 288 f, online as Google Book (accessed on July 4, 2020)
  30. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 291, online as Google Book (accessed July 4, 2020)
  31. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 292 f, online as Google Book (accessed on July 4, 2020)
  32. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 296, online as Google Book (accessed on July 4, 2020)
  33. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 299, online as Google Book (accessed July 4, 2020)
  34. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 301 f, online as Google Book (accessed on July 4, 2020)
  35. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 308, online as Google Book (accessed July 4, 2020)
  36. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 311, online as Google Book (accessed July 4, 2020)
  37. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 323, online as Google Book (accessed July 4, 2020)
  38. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 324 f, online as Google Book (accessed on July 4, 2020)
  39. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , p. 325, online as Google Book (accessed July 4, 2020)
  40. ↑ Lucio Papirio (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
personal data
SURNAME Scarabelli, Diamante Maria
ALTERNATIVE NAMES La Diamantina
BRIEF DESCRIPTION Italian opera singer (soprano)
DATE OF BIRTH October 6, 1675
PLACE OF BIRTH Bologna
DATE OF DEATH April 5, 1754
Place of death Bologna