Francesca Cuzzoni

from Wikipedia, the free encyclopedia
Fig. 1. James Caldwall (1739–1822) after Enoch Seeman : Francesca Cuzzoni from Parma. Engraving in John Hawkins ' A General History of the Science and Practice of Music (1776)
Fig. 2. Philippe Mercier : Francesca Cuzzoni (?),
Assignment not quite sure around 1734

Francesca Cuzzoni , married Sandoni (eigtl. Paula Francisca Geltruda Antonia Cuzzoni ; baptized April 2, 1696 in Parma , † June 19, 1778 in Bologna ) was a famous Italian opera singer ( soprano ). She was also called " la Parmeggiana " after her place of birth .

She is particularly known for her participation in operas by Georg Friedrich Händel , who composed eleven parts for her, including Cleopatra in Giulio Cesare , the title role in Rodelinda and Asteria in Tamerlano .

Life

Various dates of birth are in circulation in the literature, but her baptism entry of April 2, 1696 has been discovered, which states that she was two months old when she was baptized - consequently, she must have been born in late January or early February 1696.
Francesca Cuzzoni was the daughter of Angelo Cuzzoni, who worked as a violinist at the Chiesa della Madonna in Parma, and his wife Marina, nee. Castelli. In her hometown of Parma, Francesca received her singing training from the organist of the cathedral , Francesco Lanzi .

At the age of 18 she made her debut in the Small Court Theater in Parma in 1714 in the opera La virtù coronata o il Re Ferdinando by Bernardo Sabadini . There she performed together with Santa Stella and Margherita Durastanti . With the latter, for which George Frideric Handel had already written various works in Rome and Venice, Cuzzoni was to temporarily return to the stage in London in 1723. Her next well-known appearance was again in Parma in 1716 in Emanuele d'Astorgas Dafni .

In the following years she sang at almost all the famous opera houses in Northern Italy ( Bologna , Genoa , Florence , Reggio , Milan , Mantua , Turin ) and rose to the celebrated prima donna at an early age . In 1717 she became chamber singer of the Granprincipessa Violante Beatrix of Bavaria , a daughter of the Bavarian Elector and widow of the Hereditary Grand Duke of Tuscany Ferdinando de'Medici . In the same year, Cuzzoni sang at the Teatro Formagliari in Bologna in the world premiere of Orlandini's La Merope (October 24, 1717) alongside the contralto Vittoria Tesi .

She must already have had a brilliant reputation, because at the beginning of 1718 she sang in concerts in front of the imperial court in Vienna and was rewarded princely for this.
In the spring of 1718 she was back in Italy and performed in Florence at the Teatro della Pergola in the premiere of Vivaldi's opera Scanderbeg .

Fig. 3. Francesca Cuzzoni,
caricature by Marco Ricci , ca.1720

In November of the same year she made her debut in Venice at the prestigious Teatro San Giovanni Grisostomo in the role of Dalinda in the opera Ariodante by Carlo Francesco Pollarolo . She sang for the first time alongside Faustina Bordoni , who was to be her stage partner even more often, later in London.

In September 1719 she was in Dresden and, along with the old castrati Senesino and Margherita Durastanti, was one of the singers who appeared in Antonio Lotti's operas Giove in Argo and Teofane . On this occasion she probably heard George Frideric Handel , who was currently looking for singers in Florence on the Elbe.

At the end of 1719 and 1720 she was again at San Giovanni Grisostomo in Venice, where she appeared on stage several times with Faustina Bordoni, namely in Orlandini's Ifigenia in Tauride (premiere: January 21, 1719), in Antonio Pollarolo's Lucio Papirio dittatore (premiere: December 26, 1720) and as Poppea in Orlandini's Nerone (premiere: February 11, 1721).
In the following years, Francesca Cuzzoni also sang several times at the same theater alongside Vittoria Tesi and the famous castrato Antonio Bernacchi (who was also one of Handel's singers), among others. a. in the title role of Plautilla by Antonio Pollarolo (premiere: November 22, 1721).

Cuzzoni in London

Fig. 4. John Vanderbank , around 1723: Cuzzoni in the middle between the two castrati Senesino (left) and Gaetano Berenstadt (right) during a performance of Handel's Flavio
Fig. 5. William Hogarth later took up the representation of the Cuzzoni between Senesino and Berenstadt from Handel's Flavio in his caricature Lame theater (in the banner that hangs over the entrance of the building on the left). The caricature takes on the fondness of Londoners for Italian opera, which is not at all English, as well as the excessive claims and fees paid to the Italian singers and especially the castrati. Deviating from the original representation, Vanderbanks kneel in the banner in front right, in front of the three artists, nobles and "beg", as the written banner above them reveals, for the singers (or just the Cuzzoni?) To “please accept 8,000 pounds” ( English original "Pray Accept £ 8000").

After lengthy negotiations, Georg Friedrich Handel and the impresario Johann Jacob Heidegger succeeded in hiring the Cuzzoni in the summer of 1722, with an advance of £ 250 and a promised annual fee of £ 2000 for the 1722/1723 season for the Royal Academy of Music in London . They then sent the harpsichordist of the London orchestra Pier Giuseppe Sandoni to Italy to accompany the singer to England. She and Sandoni were probably married at that time, at least there is a corresponding report in The London Journal of December 22, 1722.

She made her debut on the London stage on January 12, 1723 as Teofane in a revival of Handel's Ottone , alongside the celebrated Senesino as primo uomo . The Daily Journal reports that Cuzzoni "surprised and was admired by the large audience with her singing." Just three days later, for the second performance of Handel's Ottone , the popularity of the Cuzzoni had grown so massively that the tickets were now sold for four guineas instead of half a guinea . On March 26, 1723, "individual nobles are said to have paid (even) 50 guineas for a ticket," which brought them an income of 70 pounds that one evening alone.

Probably the best-known anecdote about the Cuzzoni and Handel reports his first biographer John Mainwaring : According to this, the two clashed during their first collaboration in rehearsals for Ottone , because she originally composed the simple aria Falsa immagine, which was originally composed for Durastanti and was only accompanied by the continuo didn't want to sing. Thereupon Handel became angry and is said to have said to her that he knew that she was “a real devil”, but he had to tell her that he was “ Beelzebub , the head of all devils”, and then grabbed her by the hip and threatened to throw her out the window. Only then did Cuzzoni change his mind and finally sang the aria. In the end it was the aria Falsa immagine , of all things , with which she sang her way into the hearts (and wallets) of the English. The behavior of the Cuzzoni was to a certain extent typical of the Italian singers of the time, who had a say in shaping their roles. Handel himself had a similar problem with the castrato Giovanni Carestini when preparing for Alcina (1735) . The librettist Metastasio later complained about the moods of Italian singers and called them “expensive canaries”.

In the following years until 1726, Francesca Cuzzoni sang the leading female roles in Handel's operas Flavio (1723), Giulio Cesare , Tamerlano (1724), Rodelinda (1725) and Scipione (1726) with Senesino as a partner . She celebrated her greatest success as Cleopatra in Giulio Cesare , where she and Senesino “shone indescribably” (letter from Friedrich von Fabrice, March 10, 1724). She also appeared in various operas by Attilio Ariosti and Giovanni Bononcini (see list of roles below).

Francesca Cuzzoni as a private person is known through letters from her colleagues Anastasia Robinson and Gaetano Berenstadt that she was very interested in fashion, played and spent the money with full hands - a habit that she later, when she was no longer earning such high sums, should still be doomed (see below). Horace Walpole found Cuzzoni’s taste questionable and reports that in Handel’s Rodelinda she wore a brown silk dress with silver embroidery, which Walpole thought was cut “so scandalous and vulgar” that it shocked the elderly, but it was among the young women triggered a new fashion. Walpole said the Cuzzoni was " silly and fantastical " (foolish and foolish); Berenstadt also found the Cuzzoni “crazy and unpredictable”, but admitted that “if their behavior were as good as their singing, they would be a divine being”.

In the break after the end of the season 1723/1724 she gave a guest performance in Paris together with other musicians from the Royal Academy of Music under the direction of Giovanni Battista Bononcini and received from the French King Louis XV. when she had sung a mass with him at Fontainebleau Castle , a diamond- studded portrait of the ruler.

Contrary to the above-cited communication of December 22, 1722, that she married Sandoni, her marriage to "San Antonio Ferre, an extraordinarily rich Italian" was announced on January 12, 1725, who probably meant Pier Giuseppe Sandoni. Its wealth is mentioned in various sources, including a letter from Handel admirer Mary Delany to her sister from August 1725. Francesca Cuzzoni and her husband had two children, their first daughter was born on August 22, 1725. The children are later not mentioned in the literature and it is suspected that they died early.

The successes of the Cuzzoni and other Italian singers were sometimes also criticized nationalistically in the English press and viewed as the neglect of local artists. Catherine Tofts , mentioned in the following text, rivaled the Italian Margherita de L'Épine around 1705 and triggered a public dispute:

“… There are some who think that Ms. Tofts was completely equal to the Cuzzoni, but she was born in Italy. We don't want to fully understand why music can only be made in this country and by its compatriots, as this country has so far not produced anyone who can match our Purcell in terms of harmony of tones . Just as we like Italian music now, we will probably soon have enough of her, because you hear that when the Cuzzoni leaves, the next most beautiful voice from Venice, Faustina, should come again and her voice should be even more beautiful be like what we are already hearing here. "

Cuzzoni & Faustina Bordoni - The Rival Queens

Fig. 6. The landing of the illustrious Mr. Senesino in England and how all lovers of music and harmony praise him . Contemporary engraving with original legend. In it, under point 2, the two “rival prima donnas Signora Faustina & Signor Cuzzoni” are explicitly named as the two women to the right and left of Senesino in the middle.

For the season 1725/1726, the Royal Academy had engaged Faustina Bordoni , who years before had often appeared on stage next to Francesca Cuzzoni in Venice, but was portrayed as her rival in the English press before her arrival from the start:

Signiora Faustina, a famous Italian Lady, is coming over this winter to rival Signiora Cuzzoni.

"Signora Faustina, a famous Italian lady, will come this winter to compete with Signora Cuzzoni."

After a long delay (Faustina was supposed to arrive at the beginning of the season), the new dream ensemble of the London Opera Academy was on stage for the first time at the premiere of Handel's Alessandro on May 5, 1726, with Cuzzoni, Bordoni and Senesino . Over the next two years, Handel also wrote the four operas Admeto , Riccardo Primo , Siroe and Tolomeo for the same cast - that is, for an ensemble with two equal female leading roles ( prima donna ) .

The above-cited announcement from 1723 that Faustina as the new star in the singing sky would, as it were, replace and replace the Cuzzoni, did not materialize. However, because of the two prima donnas, which were called the "Rival Queens" in reference to a successful English play in 1677 , a real theater war broke out. The audience split into two parties for one or the other of the two singers who were said to have disliked each other. Lord Hervey claimed that the gentlemen of these two parties would "never have a drink together" outside of the opera, and that the ladies would remove supporters of the warring party from their visiting and guest lists. Eventually this fanned rivalry escalated into real audience tumult, so that the followers of Cuzzoni whistled and roared when the Bordoni sang, and those of the Bordoni did the same when the Cuzzoni wanted to sing their aria.

From a letter from Mary, Countess of Pembroke, from April 1727, it emerges that at least Francesca Cuzzoni suffered greatly from this situation and in some cases did not want to appear again:

… Cuzzoni had been publicly told, to complete her disgrace, she was to be hissed off the stage on Tuesday; she was in such concern at this, that she a great mind not to sing, but I, without knowing anything that the Princess Amelia would honor the Opera with her presence, positively ordered her not to quit the stage, but let them do what they did would ...

“... Cuzzoni was publicly informed, to add to her shame, that she would be whistled off the stage on Tuesday; She was so upset about it that she seriously considered not singing, but I, without knowing that Princess Amelia would honor the opera with her presence, encouraged her (the Cuzzoni) and advised her not to give up the stage, but instead Just let them do what they want ... "

Although Cuzzoni took the well-intentioned advice, he soon fell ill due to the increased psychological stress , had voice problems and had to cancel some opera performances.

The climax reached the turbulence on June 6, 1727 in Bononcini's Astianatte , where "hissing and boos" of the audience became so prevalent that the performance had to be stopped prematurely (Lord Harvey, letter of June 13, 1727). In contrast to some of the literature where it is claimed that there was fistfighting between the two singers and that they tore each other's hair, the Bordoni specialist Saskia Woyke (and other authors) thinks that there was no ( serious) indication that "Faustina Bordoni and Francesca Cuzzoni attacked each other on the open stage".

After the Cuzzoni had already announced their departure, the English King George I felt compelled to intervene personally and declared in one of his last letters to the directors of the Royal Academy, “... that if they do not come to an agreement with the Cuzzoni, he would no longer come to the opera and would not pay the annual subscription rate of £ 1000 ”. This royal statement was given a retrospective and strange weight through the death of the monarch on June 11, 1727, and the opera season had to end anyway because of state mourning .

The scandal surrounding the rival queens was taken up several times in literary and satirical terms, for example by John Arbuthnot , by Henry Carey and also in John Gays and Pepusch 's infamous Beggar's Opera .

Francesca Cuzzoni and Faustina Bordoni stayed in England for another year and often stood on stage together - apparently without any major rivalry problems. They sang together in the world premiere of Handel's Coronation Opera (for George II ) Riccardo Primo on November 11, 1727, and on November 22, St. Caecilien's Day, together with Senesino in a concert in London's Crown Tavern . In 1728 Handel's Radamisto and Admeto were resumed , and Siroe (premiere: February 17th) and Tolomeo (premiere: April 30th) followed.

Italy 1729–34

In 1728, however, the Royal Academy of Music was bankrupt and Francesca Cuzzoni left England in late August, when Bordoni and Senesino were already on their way to Italy. At the suggestion of the imperial ambassador in London, Count Kinsky , she first went to the imperial court in Vienna , where she sang "to the greatest satisfaction of your imperial majesties" and was offered a job. Ernst Ludwig Gerber in his Historisch-Biographisches Lexicon der Tonkünstler from 1790/1792 reports that Cuzzoni then demanded a completely excessive fee of 24,000 guilders , which is why the imperial court decided not to hire the soprano. So she had to move on to Italy.

Fig. 7. Antonio Maria Zanetti : Francesca Cuzzoni, the castrato Farinelli and the impresario Johann Jacob Heidegger .
Caricature on the popularity of Italian opera. Farinelli and the Cuzzoni stood together in Venice and Piacenza in 1730 and in London in 1734/1735 in the aristocratic opera that competed with Handel.

There she successfully continued her career at the Northern Italian opera houses in Venice, Modena and Bologna. She appeared several times in the same city as Faustina Bordoni, but never again at the same theater. However, Faustina's husband, the important composer Johann Adolph Hasse, was not deterred by the hostility (?) Of the two women from using the Cuzzoni as prima donna in several of his operas. For example, on February 11, 1730, she sang at the Teatro San Giovanni Grisostomo in Venice in the successful world premiere of Hasse's Artaserse alongside Nicolino ( Nicola Grimaldi ) and the famous Farinelli . She had other appearances with Farinelli in Venice in the opera Idaspe by Riccardo Broschi , Farinelli's brother (premiere: January 25, 1730), and in Piacenza as Elvira in Geminiano Giacomelli's Scipione in Cartagine nuova (spring 1730); Mezzo-soprano Giovanni Carestini , who later succeeded Senesino as one of Handel's new singers in London, also took part in the latter production .

In autumn 1730 Cuzzoni was in Naples , southern Italy , where she sang Fulvia in Hasses Ezio and the title role in the opera Artemisia by Domenico Natale Sarro at the Teatro San Bartolomeo (premiere: January 7, 1731) Another highlight of her career was in the spring of 1731 in Bologna the performance of Farnace by Giovanni Porta , where she appeared again in a star ensemble with Farinelli, Vittoria Tesi and Antonio Bernacchi.

Important stages in her Italian career were also in Venice in 1732 the title role in Orlandini's Ifigenia in Aulide (premiere: February 4, 1732 in San Giovanni Grisostomo) and the role of Aglatida alongside Caffarelli in Hasse's Euristeo at the Teatro San Samuele .

Return to London and later years

In 1734 the Cuzzoni returned once more to London to take part in the aristocratic opera, which competed with Handel's second opera academy . She sang again with Senesino in the world premiere of Nicola Porpora's opera Enea nel Lazio (May 11, 1734, Lincoln's Inn Fields). On October 29, 1734, Cuzzoni was Farinelli's partner in his spectacular London debut in a version of the aforementioned Artaserse von Hasse, edited by his brother Riccardo . Farinelli and Senesino remained their stage partners in the following productions, especially in some other works by Porpora: Polifemo (February 1, 1735), Ifigenia in Aulide (May 3, 1735), where she created the title role, and Mitridate (2. Version; January 24, 1736). In the same constellation she sang in the opera Adriano in Siria by Francesco Maria Veracini (November 25, 1735).

Fig. 8. Francesca Cuzzoni,
caricature by Marco Ricci, ca.1730

In 1736 the Cuzzoni returned to the continent and tried to get long-term engagements at various courts (e.g. in Stuttgart ) and theaters. Giuseppe Maria Orlandini wrote two roles for her for the Teatro della Pergola in Florence: Aristea in his Olimpiade (summer 1737) and Andromeda in Le nozze di Perseo e d'Andromeda (April 9, 1738); in the latter opera she appeared again with Senesino. In the carnival 1738–39 she was on stage in Turin as Vitellia in La clemenza di Tito by Giuseppe Arena , together with Gizziello (Gioacchino Conti). For these performances, she received a high fee of 8,000 lire .

In autumn 1740 the Cuzzoni traveled to Hamburg with A. Mingotti's traveling troupe and sang in the opera at the Gänsemarkt in a setting of Metastasios Ipermestra , the composer of which is unknown.

A newspaper article appeared in London in 1741 claiming that the Cuzzoni had allegedly been sentenced to death in Italy for attempting to poison her husband - but it was almost certainly just unrelated malicious gossip .

From February to April 1742 she gave three concerts in Amsterdam , together with the conductor of the Duke of Braunschweig-Wolfenbüttel, Giovanni Verocai . JB Laborde claimed that she was so indebted in Holland that she had to go to jail, but was able to buy her way out with the proceeds of a few concerts.

In 1745 she was hired for 1000 thalers a year as a chamber singer at the Württemberg court in Stuttgart , where she also had to sing at the mass; it stayed there until at least 1747. In 1749 it is recorded in Bologna.

In February 1750 the Cuzzoni went to Paris and sang before Queen Maria Leszczyńska . She then traveled one last time to London, where she performed on May 18 at a benefit concert with the violinist Felice Giardini , organized by the old castrato Gaetano Guadagni . On this occasion she also heard the well-known English music writer Charles Burney (see below), who later reported that the signs of the times had not passed on her voice and that it had lost its former charm.
On August 2, 1750, she was jailed for debts, but was released through the intervention of the Prince of Wales . In the following year 1751 Francesca Cuzzoni gave two concerts in London, on April 16 at the Theater at the Haymarket and on May 22 with a Mr. Hickford, while she sang arias from Handel's Ottone , Giulio Cesare and from his oratorio Samson . Before the latter concert, she published a letter in the General Advertiser asking the audience to come so that she could pay her debts.

Then she returned to Italy to Bologna. There she is said to have earned her living in the last years of her life as a button maker and died completely impoverished in 1778.

Voice and singing

Johann Joachim Quantz characterized Cuzzoni's voice, singing and acting skills as follows in his curriculum vitae, designed by himself , which was printed by Friedrich Wilhelm Marpurg in his historical-critical contributions to the recording of the music :

“The Cuzzoni had a very pleasant and bright soprano voice, pure intonation and a beautiful trillo . Her voice ranged from the crossed c to the three crossed c. Her way of singing was innocent and touching. Their decorations did not seem artificial because of their nice, pleasant, and easy presentation; however, their tenderness captured all the audience. In the Allegro , she did not have the greatest skill with the passengers; but she sang them very roundly, nicely, and pleasantly. In the action she was a little cold-headed; and her figure was not too beneficial for the theater. "

In the fourth volume of his General history of music , the music historian Charles Burney expanded a characterization of the Cuzzoni from the thoughts on figurative singing ( Pensieri: e riflessioni pratiche sopra il canto figurato ) by Giovanni Battista Mancini as follows:

“Francesca Cuzzoni was born in Parma, and had her vocal instructions from Lanzi, an eminent professor of his time, under whose tuition she became a most exquisite performer; having been endowed by nature with a voice that was equally clear, sweet, and flexible. It was difficult for the hearer to determine whether she most excelled in slow or rapid airs. A native warble enabled her to execute divisions with such facility as to conceal every appearance of difficulty; and so grateful and touching was the natural tone of her voice, that she rendered pathetic whatever she sung, in which she had leisure to unfold its whole volume. The art of conducting, sustaining, increasing, and diminishing her tones by minute degrees, acquired her, among professors, the title of complete mistress of her art. In a cantabile air, though the notes she added were few, she never lost a favorable opportunity of eninching the cantilena with all the refinements and embellishments of the time. Her shake was perfect, she had a creative fancy, and the power of occasionally accelerating and retarding the measure in the most artificial and able manner, by what the Italians call tempo rubato. Her high notes were unrivaled in clearness and sweetness; and her intonations were so just and fixed, that it seemed as if it was not in her power to sing out of tune. "

“Francesca Cuzzoni was born in Parma, where she also took singing lessons from Lanzi, one of the outstanding singing teachers of his time. Naturally endowed with a voice that was just as clear, sweet and flexible, she became one of the most excellent singers under his guidance. It is difficult for the common listener to decide whether she shone most in the slow or in the fast arias. Her innate Trillo enabled her to perform even the most difficult passages and play-arounds with such ease that one no longer had any sense of how difficult the passage was. Her voice pitch was so lovely and touching that she - no matter what she sang - always grabbed everyone's heart, while she could develop the full power (volume) of her voice in every pitch if she wanted. Because she was able to either hold her tones exactly as required, or to increase or decrease their volume exactly as desired, she was, in the opinion of the scholars, completely and completely master of her (singing) art. In the first part she hardly added any notes, but in the da capo part she shone with all the refinements and embellishments that were common in her time. She could handle her voice perfectly and extremely creatively, be able to become faster and skilfully skillful or keep the tempo (what the Italians call tempo rubato ). Nobody surpassed them in terms of clarity and sweetness and their intonations were so precise and concise that it almost seemed as if they had no power to sing a note. "

In the latest biography of the Cuzzoni, Hans-Joachim Marx summarized as follows:

“Francesca Cuzzoni was one of the most successful Handel singers. Her musicality, her vocal talent and her expressiveness predestined her for heroic - pathetic roles. According to contemporary reports, her intonation was just as impeccable as her accuracy and vocal technique. "

Portraits and Appearances

Fig. 9. Antonio Maria Zanetti : Francesca Cuzzoni and the castrato Nicolo Grimaldi (Nicolino), around 1730

There is only one contemporary copper engraving portrait of the Cuzzoni by Enoch Seeman (1689 / 90–1744), which was published in 1776 in a version revised and modified by James Caldwell (1739–1822) in John Hawkins' A General History of the Science and Practice of Music was published, and is generally known today, especially in this inauthentic second version (Fig. 1). In Caldwell's engraving, her face looks older and more worn out than in the portrait of Seeman. It is doubtful whether Caldwell ever saw the singer in person (1750 as a 10-year-old boy in London?), Which calls into question the value of his portrait.

A somewhat melancholy-looking lady on a very distinctive chalk drawing by Philippe Mercier (around 1734) in the British Museum in London is also said to represent Francesca Cuzzoni (Fig. 2); however, it is not entirely certain whether it really is.

There are also several contemporary caricatures . On one of these caricatures - by Antonio Maria Zanetti - you can see the Cuzzoni together with Farinelli and the impresario Johann Jacob Heidegger around 1734/1735 in London (Fig. 7). In this drawing, it looks quite realistic and is similar to Mercier's picture.
John Vanderbank depicted her about twelve years earlier in a well-known caricature from around 1723 together with the castrati Senesino and Berenstadt (Fig. 4). He, too, apparently depicted the Cuzzoni realistically - apart from perhaps the somewhat exaggerated smallness - while Senesino in particular appears clearly caricaturally distorted.
Marco Ricci, on the other hand, drew the Cuzzoni on his caricatures (figs. 3, 8, 9) with a very pointed nose, reminiscent of a beak, and with a feather on her head - her association with a songbird is obvious. If the caricatures are to be believed, the Cuzzoni on the stage looked particularly small, almost like a bird, compared to the castrati - admittedly often oversized.

Roles (selection)

London 1722-1726

In London, Francesca Cuzzoni took part in the following productions until 1726:

London 1726-1728

Between 1726 and 1728 Francesca Cuzzoni sang alongside Faustina Bordoni and Senesino in London in the premieres of the following operas:

  • Season 1726/1727
    • Lucio Vero by Attilio Ariosti (January 7, 1727) - as Lucilla
    • Admeto von Handel (January 31, 1727) - as Antigona
  • Season 1727/1728
    • Teuzzone of Attilio Ariosti (October 21, 1727) - as Zelinda
    • Riccardo Primo von Handel (November 11, 1727) - as Costanza
    • Siroe von Handel (February 17, 1728) - as Laodice
    • Tolomeo by Handel (April 30, 1728) - as Seleuce

literature

(chronologically)

  • Johann Joachim Quantz : Characterization of the Cuzzoni , in: Friedrich Wilhelm Marpurg : Historical-Critical Contributions to the Recording of Music , Volume 1, Schütze, Berlin, 1754–55, p. 240 (accessed on July 17, 2020)
  • John Mainwaring : Episode about Cuzzoni's refusal to sing Falsa Imagine and Handel's threat to throw her out the window , in: Memoirs of the Life of the Late George Frederic Handel: To which is Added a Catalog of his Works and Observations upon them , Dodsley, London, 1760, pp. 110–111 (accessed July 17, 2020)
  • Charles Burney : Characterization of the Cuzzoni , in: A General History Of Music: From The Earliest Ages to the Present Period , Payne, Robson, Clark & ​​Robeson, London, 1789. Volume 4, pp. 446–447 (English; accessed on 17 July 2020; further references by simply searching for Cuzzoni)
  • Ernst Ludwig Gerber : Sandoni (Francesca Cuzzoni) , in: Historisch-Biographisches Lexicon der Tonkünstler , Vol. 2, 1792, Col. 380-382 (accessed on July 17, 2020)
  • Julian Marshall: Cuzzoni, Francesca , in George Grove (Ed.): Dictionary of Music and Musicians , 1900 (English; accessed July 17, 2020)
  • Otto Deutsch: Handel: A Documentary Biography , Da Capo Press, New York, 1974
  • Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans: Cuzzoni, Francesca, later Signora Pietro Giuseppe Sandoni and / or Signora San-Antonio Ferre , in: A Biographical Dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800 , Southern Illinois University Press, Carbondale 1975. Volume 4, p. 112; online in excerpts as a Google Book (English; accessed on July 17, 2020)
  • Walter Eisen (Ed.): Händel-Handbuch: Volume 4 , Deutscher Verlag für Musik, Leipzig 1985, ISBN 978-3-7618-0717-0
  • Bianca Maria Antolini:  Cuzzoni, Francesca. In: Massimiliano Pavan (ed.): Dizionario Biografico degli Italiani (DBI). Volume 31:  Cristaldi – Dalla Nave. Istituto della Enciclopedia Italiana, Rome 1985.
  • Paola Lunetta Franco: Francesca Cuzzoni (1696-1778): Lo Stile Antico Nella Musica Moderna , dissertation, Universitat Pavia, 2002
  • Isabelle Putnam Emerson: Francesca Cuzzoni , in: Five Centuries of Women Singers , Greenwood Publishing, Westport, 2005
  • C. Steven LaRue: Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728 , Oxford University Press, New York, 1995
  • Hans-Joachim Marx: Francesca Sandoni, b. Cuzzoni (1696-1778) . In: The same: Handel and his contemporaries. A biographical encyclopedia , Laaber-Verlag, Laaber 2008, pp. 866-870
  • Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks: George Frideric Handel, Collected Documents, Volume 1, 1709-1725 , Cambridge University Press, Cambridge (UK) 2013
  • Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks: George Frideric Handel, Collected Documents, Volume 2, 1725-1734 , Cambridge University Press, Cambridge (UK) 2015
  • Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017
  • Saskia Woyke: Faustina Bordoni , article on the website MUGI - Music and Gender on the Internet of the University of Music and Theater, Hamburg (accessed on July 6, 2020)

Web links

Commons : Francesca Cuzzoni  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Name according to baptism certificate. Occasionally other dates of birth appear, such as 1698 or even 1700. In MGG or Isabelle Putnam Emerson ( Five Centuries of Women Singers , Greenwood Publishing, Westport 2005, p. 59), April 2, 1696 is the birthday. But according to Franco and Kettleton, Cuzzoni's baptismal certificate was issued on April 2, 1696 when the child was already two months old; therefore she would have been born in late January or early February 1696. Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 2 and 3 (footnote 5) (Kettledon refers to: Paola Lunetta Franco: Francesca Cuzzoni (1696- 1778): Lo Stile Antico Nella Musica Moderna , dissertation, Universitat Pavia, 2002.)
  2. ^ Bianca Maria Antolini:  Cuzzoni, Francesca. In: Massimiliano Pavan (ed.): Dizionario Biografico degli Italiani (DBI). Volume 31:  Cristaldi – Dalla Nave. Istituto della Enciclopedia Italiana, Rome 1985.
  3. ↑ Handel's roles for “Francesca Cuzzoni” on the ossia editions website (accessed November 22, 2019)
  4. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 2 and 3 (footnote 5) (Kettledon refers to: Paola Lunetta Franco: Francesca Cuzzoni (1696 -1778): Lo Stile Antico Nella Musica Moderna , dissertation, Universitat Pavia, 2002.)
  5. ^ La virtù coronata o sia Il Fernando (Bernardo Sabadini) in the Corago information system of the University of Bologna
  6. ↑ a b c d e f g h i j k l Bianca Maria Antolini:  Cuzzoni, Francesca. In: Massimiliano Pavan (ed.): Dizionario Biografico degli Italiani (DBI). Volume 31:  Cristaldi – Dalla Nave. Istituto della Enciclopedia Italiana, Rome 1985.
  7. ^ La Merope (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  8. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 5
  9. ^ According to Corago in June. Scanderbeg (Antonio Vivaldi) in the Corago information system of the University of Bologna .
  10. ↑ According to Kettledon, Vivaldi's opera was in Reggio in April. Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 5
  11. ^ Ariodante (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna .
  12. ↑ a b Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 6-7 and 12 (Kettledon refers to: Donald Burrows, Helen Coffey, John Greenacombe , Anthony Hicks (ed.): George Frideric Handel: Collected Documents, vol. 1, 1709–1725 , Cambridge University Press, Cambridge (UK), 2013, pp. 7 and 444)
  13. ^ Ifigenia in Tauride (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  14. ^ Lucio Papirio dittatore (Antonio Pollarolo) in the Corago information system of the University of Bologna .
  15. ^ Nerone (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  16. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 7
  17. ^ Plautilla (Antonio Pollarolo) in the Corago information system of the University of Bologna .
  18. ^ Giulio Flavio Crispo (Giovanni Maria Capelli) in the Corago information system of the University of Bologna .
  19. ^ Venceslao (Giovanni Porta) in the Corago information system of the University of Bologna .
  20. ↑ Original wording : "Mrs. Cotsona whom we mentioned some time since to be coming over to England… is married on her journey. ”Quoted from Hans-Joachim Marx: Francesca Sandoni, geb. Cuzzoni (1696-1778) . In: The same: Handel and his contemporaries. A biographical encyclopedia . Laaber-Verlag, Laaber 2008, pp. 866–870, here p. 866. Marx classifies this communication as “deliberately spread false reports in order to give the impression that the singer is bound to London”.
  21. ↑ English original: "first perfom'd to the surprize and admiration of the audience, which was very numerous". Quoted from Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans: A Biographical Dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660–1800 . Southern Illinois University Press, Carbondale 1975. Volume 4, p. 112
  22. ^ Quote from The London Journal . Quoted from Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans: A Biographical Dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660–1800 . Southern Illinois University Press, Carbondale 1975. Volume 4, p. 112 , original wording: "Some of the Nobility gave her 50 Guineas a Ticket". According to Marx (see literature), p. 867, 50 guinea correspond to the annual earnings of a musician.
  23. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 14
  24. ↑ Quoted from John Mainwaring: Memoirs of the Life of the Late George Frederic Handel: To which is Added a Catalog of his Works and Observations upon them . Dodsley, London 1760, pp. 110-111 ; Original wording of Handel: “Oh! Madame, je sçais bien que Vous êtes une veritable Diablesse: mais je Vous ferai sçavoir, moi, que je suis Beelzebub , le Chêf des Diables. ”And in the story Mainwarings:“ With this he took her up by the waist and, if she made any more words, swore he would fling her out of the window ".
  25. ↑ Carestini initially refused to sing the aria " Verdi prati, selve amene ". Just like the cuzzoni, he sang them in the end, but of course Handel didn't try to throw him out the window! See: Anthony Hicks: CD-Text for `` Handel: Alcina '' , Hayes 1988, EMI CDS 7-497712, p. 4 ff. This probably refers to Charles Burney : Sketch of the life of handel. In: An account of the musical performances. London 1785, p. [* 24] (also: Charles Burney: '' Message from Georg Friedrich Handel's living conditions. '' From the English by Johann Joachim Eschenburg. Berlin / Stettin 1785, p. XXXI)
  26. ^ John Mainwaring: Memoirs of the Life of the Late George Frederic Handel: To which is Added a Catalog of his Works and Observations upon them . Dodsley, London 1760, pp. 109-110. See also Mattheson's German translation .
  27. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 19-20
  28. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 19-20
  29. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 26-27
  30. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 19 (Berenstadt) and 26 (Walpole)
  31. ↑ According to The Daily Courant of September 22, 1724. Quoted from Hans-Joachim Marx: Francesca Sandoni, geb. Cuzzoni (1696-1778) . In: The same: Handel and his contemporaries. A biographical encyclopedia . Laaber-Verlag, Laaber 2008, pp. 866–870, here p. 868. Original wording: "his picture set with diamonds"
  32. ↑ after Hans-Joachim Marx: Francesca Sandoni, b. Cuzzoni (1696-1778) . In: The same: Handel and his contemporaries. A biographical encyclopedia . Laaber-Verlag, Laaber 2008, pp. 866–870, here p. 868. Original wording of the press release: "Tomorrow Signiora Cuzzoni, the famous Chauntress, is to be married to San-Antonio Ferre"; Original wording of Mary Delany's letter: “Mrs. Sandoni (who was Cuzzoni) is brought to bed a daughter: it is a mighty mortification it was not a son… 'tis pity indeed that the noble name and family of the Sandoni's should be extinct. "
  33. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 27-28
  34. ↑ engl. Original: " ... there are several who believe that Mrs. Tofts was equal to her in every respect, but she was born in Italy. Why Musick should be confined only to that Country is what we cannot perceive; since no person that ever came out of it equal'd the harmony of our famous Purcell. As we delight so much in Italian Songs, we are likely to have enough of them, for as soon as Cuzzoni's Time is out, we are to have another over, for we are well assured Faustina, the fine Songstress at Venice, is invited, Whose voice, they say, exceeds that we have already here. ". In: London Journal of March 30, 1723. Quoted from Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans: A Biographical Dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800 . Southern Illinois University Press, Carbondale 1975. Volume 4, p. 112
  35. ^ The London Journal. London, September 4, 1725. Quoted from: Head of the Halle Handel Edition: Documents on life and work. In: Walter Eisen (Hrsg.): Handel manual: Volume 4. Deutscher Verlag für Musik, Leipzig 1985, ISBN 978-3-7618-0717-0 , p. 135.
  36. ↑ Original wording: “No Cuzzonist will go to a tavern with a Faustinian; and the ladies of one party have scratched those of the other out of their lists of visits. “Here after Hans-Joachim Marx: Francesca Sandoni, geb. Cuzzoni (1696-1778) . In: The same: Handel and his contemporaries. A biographical encyclopedia . Laaber-Verlag, Laaber 2008, pp. 866-870, here p. 868.
  37. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 44. (Based on: Otto Deutsch: Handel: A Documentary Biography , Da Capo Press, New York, 1974, p. 207.)
  38. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 44. (Based on: Otto Deutsch: Handel: A Documentary Biography , Da Capo Press, New York, 1974, p. 207.)
  39. ↑ a b Saskia Woyke: 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)
  40. ↑ Isabelle Putnam Emerson: Five Centuries of Women Singers , Greenwood Publishing Group, 2005, p. 68, excerpts online as a Google Book (English; accessed on July 15, 2020)
  41. ↑ Article Faustina Bordoni , in: Encyclopaedia Britannica (English; accessed on July 11, 2020)
  42. ↑ Suzana Ograjenšek, among others, has a similar opinion, who also pointed out that it was relatively normal in Italy to have two prima donnas in an opera and that only the English audience could not handle it. Here after: Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, pp. 39–40 (with reference to: Suzana Ograjenšek: “Francesca Cuzzoni and Faustina Bordoni: The Rival Queens? ”, In: Handel and the Divas , Handel House Museum, London, 2012, p. 5)
  43. ↑ This intervention by George I is reported in a letter from Giovanni Giacomo Zamboni to the royal Saxon ambassador Jacques Le Coq. Quoted from Hans-Joachim Marx: Francesca Sandoni, geb. Cuzzoni (1696-1778) . In: The same: Handel and his contemporaries. A biographical encyclopedia . Laaber-Verlag, Laaber 2008, pp. 866–870, here p. 869. Original wording: “He [King George I.] declared that if they [the directors of the Royal Academy] did not satisfy Cuzzoni (who had already given notice of her departure), he would no longer go to the opera or pay the usual £ 1000 "
  44. ↑ a b Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 46 (based on: Winton Dean: Handel's Operas: 1726-1741 , The Boydell Press, Suffolk (UK), 2006, p. 5)
  45. ↑ John Arbuthnot: The Devil to pay at St. James's: or, A full and true account of a most horrid and bloody battle between Madam Faustina and Madam Cuzzoni: Also of a hot skirmish between Signor Boschi and Signor Palmerini. Moreover, how Senesino has taken Snuff, is going to leave the opera, and sing Psalms at Henley's oratory ... , Moore, London, 1727
  46. ^ Henry Carey: Faustina: Or the Roman Songstress, a Satyr, on the Luxury and ... (incomplete)
  47. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 47 (after: Winton Dean: Handel's Operas: 1726-1741 , The Boydell Press, Suffolk (UK ), 2006, p. 6)
  48. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 48
  49. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 49
  50. ↑ Lisabeth Miller Kettledon: A Lyric Soprano in Handel's London: A Vocal Portrait of Francesca Cuzzoni , Dissertation, University of Connecticut, 2017, p. 50
  51. ↑ Ernst Ludwig Gerber: Historisch-Biographisches Lexicon der Tonkünstler Vol . 2 1792 . ( archive.org [accessed July 21, 2020]).
  52. ^ Charles Burney: A General History Of Music: From The Earliest Ages to the Present Period . London: Payne, Robson, Clark & ​​Robeson 1789. Volume 4, p. 307
  53. ^ Artaserse (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  54. ^ Idaspe (Riccardo Broschi) in the Corago information system of the University of Bologna .
  55. ^ Scipione in Cartagine nuova (Geminiano Giacomelli) in the Corago information system of the University of Bologna .
  56. ^ Ezio (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  57. ^ Artemisia (Domenico Natale Sarro) in the Corago information system of the University of Bologna .
  58. ^ Farnace (Giovanni Porta) in the Corago information system of the University of Bologna .
  59. ^ Ifigenia in Aulide (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  60. ↑ Euristeo (Johann Adolf Hasse) in Corago information system of the University of Bologna .
  61. ^ Enea nel Lazio (Nicola Porpora) in the Corago information system of the University of Bologna .
  62. ^ Artaserse (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  63. ^ Polifemo (Nicola Porpora) in the Corago information system of the University of Bologna .
  64. ↑ Ifigenia in Aulide (Nicola Porpora) in the Corago information system of the University of Bologna .
  65. ^ Mitridate (Nicola Porpora) in the Corago information system of the University of Bologna .
  66. ^ Adriano in Siria (Francesco Maria Veracini) in the Corago information system of the University of Bologna .
  67. ^ L 'olimpiade (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  68. ↑ Le nozze di Perseo e d'Andromeda (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  69. ^ La clemenza di Tito (La clemenza di Tito) in the Corago information system of the University of Bologna .
  70. ^ Ipermestra (Anonimo) in the Corago information system of the University of Bologna .
  71. ↑ Entry about Francesca Cuzzoni in Groves Dictionary of Music and Musicians from 1900 in the wikisource (English)
  72. ↑ Entry about Francesca Cuzzoni in Groves Dictionary of Music and Musicians from 1900 in the wikisource (English)
  73. ↑ "nice" is meant here (and generally in the 18th century) in the sense of the French netteté, i.e. in the sense of: clean, pure, clear
  74. ↑ So in runs or coloraturas
  75. ↑ meaning the acting skills
  76. ↑ Quoted from Friedrich Wilhelm Marpurg : Historical-Critical Contributions to the Recording of Music. Volume 1. Schütze, Berlin, p. 240
  77. ^ Charles Burney: A General History Of Music: From The Earliest Ages to the Present Period . London: Payne, Robson, Clark & ​​Robeson 1789. Volume 4, pp. 446-447
  78. ^ Hans-Joachim Marx: Francesca Sandoni, b. Cuzzoni (1696-1778) . In: The same: Handel and his contemporaries. A biographical encyclopedia . Laaber-Verlag, Laaber 2008, pp. 866-870, here p. 870
  79. ↑ Double portrait of Francesca Cuzzoni and Faustina Bordoni by Enoch Seeman (accessed on July 16, 2020)
  80. ^ Ottone, re di Germania (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  81. ^ Cajo Marzio Coriolano (Attilio Ariosti) in the Corago information system of the University of Bologna
  82. ^ Erminia (Giovanni Bononcini) in the Corago information system of the University of Bologna
  83. ↑ a b c Participation and role at Highfill
  84. ↑ Flavio, re di Longobardi (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  85. ^ Farnace (Giovanni Bononcini) in the Corago information system of the University of Bologna
  86. ^ Il Vespasiano (Attilio Ariosti) in the Corago information system of the University of Bologna
  87. ^ Libretto from Handel's Giulio Cesare in Egitto
  88. ↑ Calfurnia (Giovanni Bononcini) in Corago information system of the University of Bologna
  89. ^ Tamerlano (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  90. ^ Giulio Cesare in Egitto (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  91. ^ Artaserse (Attilio Ariosti) in the Corago information system of the University of Bologna
  92. ↑ Rodelinda, regina de 'Longobardi (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  93. ↑ Aquilio consolo (Attilio Ariosti) in Corago information system of the University of Bologna unclear participation
  94. ^ L'Elpidia, overo Li rivali generosi (pasticcio) in the Corago information system of the University of Bologna
  95. ↑ Handel's roles for “Francesca Cuzzoni” on the ossia editions website (accessed November 22, 2019)
  96. ↑ Lucio Vero, imperator di Roma (Attilio Ariosti) in the Corago information system of the University of Bologna
  97. ^ Admeto, re di Tessaglia (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  98. ↑ Teuzzone (Attilio Ariosti) in Corago information system of the University of Bologna
  99. ↑ Riccardo Primo, re d'Inghilterra (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  100. ↑ Siroe, re di Persia (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  101. ↑ Tolomeo, re di Egitto (Georg Friedrich Händel) in the Corago information system of the University of Bologna
personal data
SURNAME Cuzzoni, Francesca
ALTERNATIVE NAMES Sandoni, Francesca; la Parmeggiana
BRIEF DESCRIPTION Italian opera singer (soprano)
DATE OF BIRTH April 2, 1696 or 1698 or 1700
PLACE OF BIRTH Parma
DATE OF DEATH June 19, 1778
Place of death Bologna