Faustina Bordoni

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Faustina Bordoni, pastel portrait by Rosalba Carriera ( Ca 'Rezzonico , Venice)

Faustina Bordoni (often just la Faustina or Signora Faustina ; born March 30, 1697 in Venice , † November 4, 1781 in Venice) was an important Italian opera singer ( mezzo-soprano ).

She worked with Georg Friedrich Handel in London , among others, and was married to the Saxon conductor-elect Johann Adolph Hasse since 1730 . From then on she operated as Faustina Hasse in the Dresden libretti and as Faustina Bordoni-Hasse in Italian productions .

Life

Youth (1697–1725)

Faustina Bordoni was born in Venice, her parents were the valet Pietro Bordon and his wife Santina. Later, her sister Laura often accompanied her on her travels through the opera houses in Italy.

There is no reliable knowledge of Faustina's musical training. The Michelangelo Gasparini , sometimes given in older sources as her teacher, is only proven to be her singing teacher or advisor for the relatively late date of 1724. Various sources also give the well-known castrato Antonio Bernacchi as their teacher, but this is not well documented. Probably through a noble patron named Isabella Renier Lombria, Faustina became acquainted with the composer Benedetto Marcello at an early age , who was possibly one of her teachers and had her perform in his private concerts. In older literature it was speculated that Faustina was the mistress of Benedetto's older brother Alessandro , but it is now clear that Faustina, whom he mentions in some of the epigrams , was probably the sister of the painter Carlo Maratta .

For March 1714, Woyke reports that the Bordoni spent a short time in prison (!) For unknown reasons.

Faustina Bordoni, by Bartolomeo Nazari

She probably made her operatic debut in November 1716 at the important Teatro San Giovanni Grisostomo as Dalinda in Carlo Francesco Pollarolo's Ariodante , alongside the famous Marianna Benti Bulgarelli , who was also her partner in Antonio Lotti's Alessandro Severo (premiere: January 17, 1717).

At the San Giovanni Grisostomo, Faustina Bordoni also frequently appeared alongside the soprano Francesca Cuzzoni from 1718 to 1720 , who years later would become her “rival” in London. The two sang u. a. together in Pollarolo's Ariodante (November 1718), in Orlandini's Ifigenia in Tauride (premiere: January 21, 1719), in Antonio Pollarolo's Lucio Papirio dittatore (premiere: December 26, 1720) and in Orlandini's Nerone (premiere: February 11, 1721). Benedetto Marcello apparently heard the two young singers, because he mentions them by name in his cantata " Carissima Figlia " and characterized them with typical musical phrases for their respective vocal range and singing style: The Cuzzoni with a chiseled melody in C minor with the high range from g to a flat '', and the Bordoni in B flat major in a medium range from f to es ''.

In addition, Faustina appeared on various other Italian stages, in Modena , Bologna , Reggio , Naples and Florence , among others in works by Antonio Bononcini , Antonio Lotti, Francesco and Marc'Antonio Gasparini, Giovanni Maria Orlandini and Leonardo Vinci .

In March 1722 she gave private concerts in Rome , and from 1723–1724 she accepted an invitation to Munich , where she appeared in operas by the court composer Pietro Torri , including his Griselda , alongside Bernacchi and Filippo Balatri .

That she had already reached a first peak of fame by this time is shown by the fact that three medals were dedicated to her in Florence in 1724 , something which Vittoria Tarquini had experienced some twenty years earlier . In allusion to the ancient myth of the enticing song of the sirens , the Bordoni was referred to on one of these medals as " la nuova sirena ".

From summer 1725 to spring 1726 she was in Vienna and sang the title role in Antonio Caldara's Semiramide in Ascalona and in operas by Johann Joseph Fux on the Empress’s birthday . You already had a fabulous reputation and Emperor Karl VI. According to Mattheson, she is said to have called her “this great wonder of the world” and allegedly paid her the horrific sum of 15,000 guilders .

England (1726-1728)

Faustina Bordoni and Senesino on the stage, caricature by Anton Maria Zanetti (Venice 1729)

In 1726 she went to London for a fee of £ 3,000 a year . She made her debut at the King's Theater on May 5th as Rossane in Georg Friedrich Handel's opera "Alessandro", alongside the famous old castrato Senesino and Francesca Cuzzoni, both of whom were already favorites of the English audience. Since Faustina Bordoni was too important as a singer and already too big a star to only use her as a seconda donna , Handel wrote two equal prima donna roles for the Cuzzoni and for the Bordoni in his new operas up to 1728 - both vocally as well as the singing style were very different. Faustina Bordoni sang the roles of Alcestis in Admeto and Pulcheria in Riccardo Primo in 1727 , and Emira in Siroe and Elisa in Tolomeo (1728) in 1728. She also appeared in a revival of his Radamisto . According to his own statements, Handel is said to have enjoyed working with her.

She also sang in the operas Lucio Vero and Teuzzone by Attilio Ariosti , as well as in Giovanni Bononcini's Astianatte .

The fact that there were two prima donnas in the opera company divided the London audience into two parties, and the rivalry between the two singers led to them being referred to as the Rival Queens , often referring to a popular English play by Nathalie Lee . In Bononcini's Astianatte , therefore, on June 6th, 1727 there were such violent riots "with hissing and boos" that the performance had to be stopped prematurely (Lord Harvey, letter of June 13th, 1727). In contrast to a part of the literature where it is claimed that there were fistfights between the two singers, according to Woyke there is “no indication” that “Faustina Bordoni and Francesca Cuzzoni attacked each other on the open stage”. The rivalry between the two prima donnas was also addressed in the infamous Beggar's Opera by John Gay and Johann Christoph Pepusch from 1728.

Italy (1728–1731)

After the financial collapse of the Royal Academy of Music , Faustina returned to Italy and sang in Venice, Parma , Turin , Milan and Munich.
Senesino was her stage partner several times, for example in Venice at the Teatro San Cassiano in Geminiano Giacomelli's opera Gianguir (premiere: December 27, 1728) and in Orlandini's Adelaide (premiere: February 8, 1729); and also in Turin in Siroe by Andrea Stefano Fiorè (premiere: December 26, 1729) and in Nicola Porporas Tamerlano (premiere: Carnival 1730). One of these appearances was recorded in a caricature by the artist Anton Maria Zanetti (see illustration above).

Particularly noteworthy are Bordoni's appearances as prima donna next to the famous soprano Carlo Broschi called " Farinelli ", in the spring of 1729 in Parma in Giacomelli's Lucio Papirio and in Turin in the Carnival of 1731, in Porporas Poro and in the opera Ezio by Riccardo Broschi (Farinelli's brother) .

Johann Adolph Hasse , portrait by Balthasar Denner, ca.1740

Muse and wife of Johann Adolph Hasse

In 1730 there was a decisive encounter in the life of Faustina Bordoni when she sang the title role in the opera Dalisa (premier: May 1730) by the German composer Johann Adolf Hasse , one of the most important protagonists of a new one, imported from Naples in the Venetian Teatro San Samuele , " Gallant " Rococo style in music. It was not just a collaboration and the two married on July 20 of the same year in Venice - secretly because the bride was already pregnant. The two had three children: Maria Gioseffa (called Peppina; 1730–1811), Maria Cristina (1733–1807) and Francesco Maria (1735 / 36–1795).

Together with Hasse, she went to the Saxon Court Opera in Dresden for the first time in 1731 , where she celebrated great success in his Cleofide (premiere: September 13, 1731). Probably sitting in the audience and Johann Sebastian Bach , who only a day after the premiere of a concert on the Silbermann - Organ Dresdner Sophia played where Bordoni must have heard him because all court musicians and virtuosos were present.

In the following carnival she was back in Venice, appearing in Giacomelli's Epaminonda (December 26, 1731) and as Cleonice in Hasse's Demetrio (February 10, 1732). For her appearances at the Teatro San Bartolomeo in Naples in the autumn of 1732 in Hasse's Issipile , Faustina was rewarded with an incredible 3,300 ducats . During this stay, in November of the same year, Naples was shaken by an earthquake which terrified the pregnant singer.

From 1734 the Hasse couple were permanently engaged in Dresden, for which they together received the enormous sum of 6000 Reichstalers per year. By 1751, the Bordoni sang the leading female role in her husband's 23 operas, as well as in oratorios and concerts.

Portrait of Faustina Bordoni by Ludovico Mazzanti , 1738–40, Institute of Arts , Minneapolis

Her engagement in Dresden was only interrupted a few times when she traveled to Italy to perform at operas, where she mostly stood up for her husband's works. For example, she sang Vitellia in Pesaro in 1735 in Hasse's setting of La clemenza di Tito (premiere: September 24, 1735), alongside Giovanni Carestini and the tenor Angelo Amorevoli .
1738–1739 she traveled to her hometown Venice for opera performances and sang the role of Aristea in Pergolesi's L 'olimpiade and the title role in the world premiere of Hasse's Viriate (January 24, 1739) at San Giovanni Grisostomo . On this occasion, the French traveler Charles de Brosses heard her in 1739 , who, however, already registered the first signs of a vocal decline: “Faustina sings on a grand scale and with charming ease, but her voice is no longer young.” (“ ... la Faustina chante d'un gran goût et d'un légèreté charming, mais ce n'est pas plus une voix neuve ”).

Frederick the Great, on the other hand, was still enchanted by (French) “la Faustine” in 1742 when he heard her in the role of Papiria in Hasse's Lucio Papirio during a visit to the Dresden court .

Costume design for Faustina Bordoni as Berenice in Johann Adolph Hasse's Antigono (premiere: January 20, 1744, Hoftheater Dresden)

Until 1747 she was undisputed as the prima donna of the Dresden court opera. Because of the progressive aging of her voice, the court was looking for a successor at this time, who was found in the soprano Regina Mingotti . Although she was only hired as the second singer for the time being, bitter disputes broke out between the two in a very short time, about which Metastasio and Pisendel's letters provide information. The dispute was not settled until 1750, as Mingotti was hired to Naples for a year.

In the same year, the Hasse couple traveled to Paris together , mainly to visit and entertain the Dauphine Maria Josepha , a daughter of the Saxon Elector. Unusually they were housed at court and everything revolved around Faustina, although her voice was no longer really up to date.

In 1751 in Dresden she took her leave of the stage, in Hasse's opera Ciro riconosciuto and in his oratorio I Pellegrini , alongside the apparently terminally ill soprano Felice Salimbeni . She received a pension of 3000 thalers. The Mingotti only succeeded her until 1752, after which Teresa Albuzzi-Todeschini was hired as Dresden prima donna.

After the Seven Years' War the Dresden Court Opera was closed. In a fire that broke out during the bombardment of Dresden, Bordoni and her husband Johann Adolph Hasse lost a large part of their belongings, and the Dresden court was forced to cancel their pension. They went to Vienna in 1760 , where they lived with their son and two daughters for a few years at least until 1772. That year they received a visit from Charles Burney , who took part in a house concert by the two Hasse daughters and apparently wanted the 75-year-old ex-diva Faustina to sing for him (!), But she only replied: “ Ah non posso. Ho perduto tutti le mie facoltà. “(“ Ah, I can't do that. I've lost all my skills ”).

Around 1773 the Hasse family moved to Venice.

Faustina Bordoni died there on November 4, 1781 at the age of 84. She was buried in the church of San Marcuola .

Faustina Bordoni's appearance is passed down through a series of portraits, including several pastel portraits by the hand of the Venetian painter Rosalba Carriera (among others in Galerie Alte Meister , Dresden; Museo Correr , Venice) and a caricature by Pier Leone Ghezzi ( Biblioteca Apostolica Vaticana , Rome) .

Voice, singing and acting

Costume design for Faustina Bordoni as Attilia in Hasse's Attilio Regolo (premiere: January 12, 1750, Hoftheater Dresden)

Faustina Bordoni was one of the most important singers of the 18th century. She is generally considered to be a mezzo-soprano , but in the roles that Handel (1726–1728) and Hasse (1730–1751) wrote for her, there is a clearly audible difference in the position of the voice: The main weight of the voice is in Handel still between g 'and g' ', later with Hasse, however, about a third lower. In depth, Hasse explicitly asked his wife for the first time in 1737 to use a low h and b, and in 1740 for the first time an a. This suggests that Bordoni's voice initially tended towards the soprano - which was seldom performed over g '' or a '' in the Baroque anyway - but fell a little over time. Reasons for this could be not only the frequent use and aging of the voice, but also the three pregnancies and births in quick succession between 1730 and 1735 (see above).

The Bordoni was and is, like Farinelli, one of the protagonists of a new kind of virtuosity that is more instrumental than (typically) vocal. The vocal specialist Giovanni Battista Mancini emphasized Faustina Bordoni's perfect breathing technique and support and her extraordinary and novel virtuosity, especially in the execution of sextoles and triplets , which are considered particularly difficult in bel canto , and a “ trillo granito” .

Similar to how Benedetto Marcello characterized her singing style with a phrase in major as early as 1718/1719 (see above), Georg Friedrich Händel composed mostly arias in major for Faustina in 1726-28, which seem rather playful and like concert movements and are less influenced by deep feelings or elegiac melodies stand out as the arias that he wrote for Francesca Cuzzoni or for Senesino in the " pathetic style" (often in minor ), which was modern up to that time (and more typical for Handel ). Faustina Bordoni's early predilection for major keys is of course also reflected in the gallant Rococo style of her husband Johann Adolph Hasse .

Johann Joachim Quantz highlighted Faustina Bordoni's unusual ability to repeat notes quickly and, in his resume , described her voice, singing and acting skills as follows:

“Faustina had a not too bright, but penetrating mezzo-soprano voice, the range of which at that time did not extend much from the unprimed b to the double g, but after a while it increased in depth with a few notes. Her way of singing was expressive and brilliant (un cantar granito ). She had a fluent tongue to pronounce words quickly one after the other and yet clearly, a very skilful throat, and a beautiful and very finished Trillo , which she could apply with the greatest ease, how and where she wanted. The passages might be set running or jumping, or consist of many rapid notes on one note one after the other, so she knew how to push them out as skilfully as possible at the highest possible speed as they can always be played on an instrument. It is undoubtedly the first to have performed the imaginary passages, consisting of many notes on one tone, in singing, and indeed with the greatest success. She sang the Adagio with much affect and expression ; only there did not have to be an overly sad passion, which can only be expressed by grinding notes or a constant carrying of the voice. She had a good memory for the arbitrary changes and a keen power of judgment, in order to give due emphasis to the words which she uttered with the greatest clarity. She was particularly strong in the action; and because she was capable of the art of imagination, or, to speak with Herr Mattheson , of hypocriticism, to a high degree, and  could accept whatever mines ( sic !) she liked, they dressed the serious ones as well as in love ones tender roles equally well: In a word, she is born for singing and for action. "

literature

Lexicon article

(chronologically)

Specialist literature

(Alphabetical)

  • Bernd Baselt: Handel Handbook: Volume 1 , Deutscher Verlag für Musik, Leipzig 1978, p. 21, ISBN 978-3-7618-0610-4
  • Marco Bizzarini: Benedetto Marcello , L'Epos, Palermo, 2006 (Italian)
  • George T. Ferris: Faustina Bordoni . In: Great Singers. Faustina Bordoni to Henrietta Sonntag , Vol. 1. New York: Appleton, pp. 7–31 (English)
  • Margarete Högg: Faustina Hasse's art of singing and the female singers of her time in Germany . Self-published, Dresden 1931, (Berlin, phil. Diss.), (Good, but partly out of date).
  • Kai Köpp: Johann Georg Pisendel (1687–1755) and the beginnings of modern orchestral conducting . Schneider, Tutzing 2005, ISBN 3-7952-1140-9 , (also: Freiburg (Breisgau), Univ., Diss., 2002).
  • Giovanni Battista Mancini : Pensieri e riflessioni pratiche sopra il canto figurato , 1st edition, Ghelen, Vienna, 1774, pp. 21-22 (Italian)
  • Raffaele Mellace: Johann Adolf Hasse , L'Epos, Palermo, 2004 (Italian)
  • Panja Mücke: Johann Adolf Hasse's Dresden operas in the context of high culture . Laaber-Verlag, Laaber 2003, ISBN 3-89007-553-3 , ( Dresden Studies on Musicology 4), (At the same time: Marburg, Univ., Diss., 2000).
  • A. Niggli: Faustina Bordoni-Hasse. An 18th century prima donna . In: Collection of musical lectures . Vol. 2 (1880): pp. 263-318 (also as a separate date from the same year)
  • Isabelle Putnam Emerson: Faustina Bordoni , in: Five Centuries of Women Singers , Greenwood Publishing Group, 2005, pp. 65-76, excerpts online as a Google Book (English; accessed on July 11, 2020)
  • Johann Joachim Quantz : CV designed by himself . In: Friedrich Wilhelm Marpurg : Historically critical contributions to the recording of the music. Volume 1. Sagittarius, Berlin
  • Saskia Maria Woyke: Faustina Bordoni. Biography - vowel profile - reception . Lang, Frankfurt am Main et al. 2010, ISBN 978-3-631-57950-3 .
  • Christine Wunnicke: The Tsar's Nightingale - The life of the castrato Filippo Balatri , Allitera Verlag, Munich 2010

Trivial literature

  • Elise Polko : Faustina Hasse. Musical novel. 2 volumes. Schlicke, Leipzig 1860.

Web links

Commons : Faustina Bordoni  - collection of images, videos and audio files
Wikisource: A Dictionary of Music and Musicians / Hasse, Faustina  - sources and full texts (English)

Individual evidence

  1. ↑ a b c d Isabelle Putnam Emerson: Faustina Bordoni , in: Five Centuries of Women Singers , Greenwood Publishing Group, 2005, pp. 65–76, here: p. 69, excerpts online as a Google Book (English; accessed on July 15, 2020)
  2. ↑ According to the baptism entry from April 1, 1697. Saskia Woyke: Faustina Bordoni , article on the MUGI website - Music and Gender on the Internet of the University of Music and Theater, Hamburg (accessed June 6, 2020)
  3. ↑ a b c d e f Wolfgang Hochstein & Saskia Woyke: Faustina Bordoni , in: MGG online , 2000/2016 (complete access only with subscription; seen on June 11, 2020)
  4. ↑ a b c d e f g h i j k l m n o p q r s t u v Saskia Woyke: Faustina Bordoni , article on the website MUGI - Music and Gender on the Internet of the University of Music and Theater, Hamburg ( access on June 6, 2020)
  5. ↑ a b c Francesco Degrada: Bordoni, Faustina , in: Dizionario Biografico degli Italiani , Volume 12, 1971, online in Treccani (Italian; accessed on July 6, 2020)
  6. ↑ Marco Bizzarini: Benedetto Marcello , L'Epos, Palermo 2006, pp. 48-49.
  7. ^ Ariodante (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna , accessed on July 12, 2020.
  8. ↑ Alessandro Severo (Antonio Lotti) in the Corago information system of the University of Bologna , accessed on July 8, 2020.
  9. ^ Ariodante (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna .
  10. ^ Ifigenia in Tauride (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  11. ^ Lucio Papirio dittatore (Antonio Pollarolo) in the Corago information system of the University of Bologna .
  12. ^ Nerone (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  13. ↑ This corresponds perfectly to the treatment of the voices in Handel; the Bordoni melody is also astonishingly reminiscent of the style that Hasse later chose for Bordoni. Marco Bizzarini: Benedetto Marcello , L'Epos, Palermo 2006, pp. 58–60 and note ex. in Fig. 10.
  14. ↑ a b c Isabelle Putnam Emerson: Faustina Bordoni , in: Five Centuries of Women Singers , Greenwood Publishing Group, 2005, pp. 65–76, here: p. 68, excerpts from online as a Google Book (English; accessed on 15 July 2020)
  15. ↑ a b c article Faustina Bordoni , in: Encyclopaedia Britannica (English; accessed on July 11, 2020)
  16. ↑ a b Christine Wunnicke: The Tsar's Nightingale - The Life of the Castrati Filippo Balatri , Allitera Verlag, Munich 2010, p. 140
  17. ↑ See the bronze medal with the portrait of Vittoria Tarquini by Massimiliano Soldani Benzi (1708) on the website numismatica-italiana (accessed October 29, 2019)
  18. ↑ Christine Wunnicke: The Tsar's Nightingale - The Life of the Castrati Filippo Balatri , Allitera Verlag, Munich 2010, p. 141
  19. ^ Baselt, Bernd, Händel-Handbuch: Volume 1 , Deutscher Verlag für Musik, Leipzig 1978, p. 21, ISBN 978-3-7618-0610-4
  20. ↑ Senesino is listed on Corago with his real name Francesco Bernardi! Gianguir (Geminiano Giacomelli) in the Corago information system of the University of Bologna .
  21. ^ Adelaide (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  22. ^ Siroe, re di Persia (Andrea Stefano Fiorè) in the Corago information system of the University of Bologna .
  23. ^ Tamerlano (Nicola Porpora) in the Corago information system of the University of Bologna .
  24. ^ Lucio Papirio dittatore (Geminiano Giacomelli) in the Corago information system of the University of Bologna .
  25. ^ Poro (Nicola Porpora) in the Corago information system of the University of Bologna .
  26. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, p 234
  27. ^ Ezio (Riccardo Broschi) in the Corago information system of the University of Bologna .
  28. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, pp 51 and 66
  29. ↑ a b Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, p 54
  30. ^ Cleofide (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  31. ^ Epaminonda (Geminiano Giacomelli) in the Corago information system of the University of Bologna .
  32. ^ Il Demetrio (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  33. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, p 104
  34. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, p. 107 (and footnote 268)
  35. ^ Tito Vespasiano, ovvero La clemenza di Tito (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  36. ^ L'olimpiade (Giovanni Battista Pergolesi) in the Corago information system of the University of Bologna .
  37. ^ Viriate (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  38. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, pp 99-100
  39. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, pp. 84–85
  40. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, p 99
  41. ↑ Raffaele Mellace: Johann Adolf Hasse (Italian), L'Epos, Palermo, 2004, p 100
  42. ↑ Constantin von Wurzbach : Hasse, Faustina . In: Biographisches Lexikon des Kaiserthums Oesterreich . 8th part. Imperial and Royal Court and State Printing Office, Vienna 1862, p. 41 f. ( Digitized version ).
  43. ^ Similar in the early parts of Hasse, as in Cleofide from 1731.
  44. ↑ a b Saskia Woyke: Acknowledgment: voice and singing art of Faustina Bordonis ... voice sound and ambitus , in: Faustina Bordoni , article on the website MUGI - Music and Gender on the Internet of the University of Music and Theater, Hamburg (accessed on June 6th 2020)
  45. ↑ Saskia Woyke: Appreciation: Faustina Bordoni's voice and singing art ... Faustina Bordoni - exponent of a new style? , in: Faustina Bordoni , article on the website MUGI - Music and Gender on the Internet of the University of Music and Theater, Hamburg (accessed on June 6, 2020)
  46. ↑ Here after: Isabelle Putnam Emerson: Faustina Bordoni , in: Five Centuries of Women Singers , Greenwood Publishing Group, 2005, pp. 65-76, here: p. 65, online in excerpts as a Google Book (English; accessed on 15 July 2020)
  47. ^ Giovanni Battista Mancini: Pensieri e riflessioni pratiche sopra il canto figurato , 1st edition, Ghelen, Vienna, 1774, pp. 21-22 (Italian)
  48. ↑ Marco Bizzarini: Benedetto Marcello , L'Epos, Palermo 2006, pp. 58–60 and note ex. in Fig. 10.
  49. ↑ In the Baroque (as here) the Italian term “ passages ” usually refers to runs or coloraturas , i.e. a succession of fast notes, not the so-called “ passaggio ” as a transition from one register to the other or from emissione aperta as is the case in modern vocal pedagogy to emissione coperta .
  50. ↑ "Affect" can be equated with feeling in the Baroque era.
  51. ↑ "grinding notes" = legato
  52. ↑ "Arbitrary changes" are decorations, which are mostly from play around or the like. exist, and which are not in the musical text, but have to be invented or improvised by the interpreter; this requires a lot of imagination as well as composition and composition skills. In 18th century vocal music, they were mainly used when the A section of the Dacapo aria was repeated . In contrast to this are the essential manners , which are small embellishments such as cadence trills, leads, etc., which in Italian music are usually not in the musical text, but must be done completely naturally and always.
  53. ↑ this refers to the acting skills / acting on stage
  54. ↑ = faces (in modern orthography)
  55. ↑ Quoted from Friedrich Wilhelm Marpurg : Historical-Critical Contributions to the Recording of Music. Volume 1. Schütze, Berlin, pp. 240-241
personal data
SURNAME Bordoni, Faustina
ALTERNATIVE NAMES Hasse, Faustina; Bordoni-Hasse, Faustina
BRIEF DESCRIPTION Italian opera singer (mezzo-soprano)
DATE OF BIRTH March 30, 1697
PLACE OF BIRTH Venice
DATE OF DEATH November 4, 1781
Place of death Venice