Vincenzo Olivicciani

Anton Domenico Gabbiani : Vincenzo Olivicciani together with his colleagues Antonio Rivani (1629–1686) and Giulio Cavaletti (1668–1755) at the Medici court , approx. 1680 ( Palazzo Pitti , Florence). Vincenzo is probably the middle man at the spinet (see below).

Vincenzo Olivicciani called Vincenzino (also: Ulivicciani ; Oliviciani ; Oliviciano ; Vincento ; Vicenzino * January 1647 in Pescia , † 12. April 1726 in Florence ) was an Italian singer ( castrato , soprano ), which mainly in Florence and Vienna active was.

Life

Vincenzino was a student of Giacomo Carissimi in Rome .

He made his operatic debut in Florence in 1661 in Antonio Cestis Orontea . He was officially in the service of the Medici in Florence from 1664 to 1666 and from 1669 to 1724 .

Presumably through the mediation of Cesti, Vincenzino came to the court of Emperor Leopold I in Vienna and is one of the few singers who are known to have performed in 1667 at the wedding celebrations of the emperor with Margarita Teresa of Spain in the famous opera Il Pomo d'oro of Cesti (the role of Venus and probably one or more other characters). In 1668, and then again in 1674 and 1682, Vincenzino sang in the oratorio Il Lutto dell'Universo by Leopold I and from 1670 at the latest he was a soprano in the court orchestra in Vienna (until his retirement on September 30, 1711). He was probably the most highly paid singer at the imperial court and received, for example, the enormous sum of 3320 florins in 1687 , while his colleagues Giovanni Paolo Bonelli and Clementino only received florins in 1880 and 1770 at the same time.

Apparently Olivicciani shuttled back and forth between Florence and Vienna in the following decades, because in the period from 1666 to 1674 he had borrowed harpsichords from the Florentine court. There is also evidence that he was in Florence in 1683, 1689, and 1692–1693.

In Vienna, Vincenzino often sang in the imperial “house concerts” after 1673 alongside the famous soprano Giulia Masotti . For the emperor's birthday, on June 9 and 10, 1674, they sang Il ratto delle Sabine in Antonio Draghis and Nicolò Minatos ; Vincenzino appeared in the female role of Mirena. Together with “Giulia” he was one of the stars in the opera Il fuoco eterno custodito dalle Vestali (October 30, 1674); the music was by Draghi, Emperor Leopold, and Johann Heinrich Schmelzer . The castrati Clementino ( Clemens Hader ) and "Franzl" (Adam Franz Günther, son of the organist Karl Günther at the Michaelerkirche in Vienna) also belonged to the singing ensemble . In 1676, Vincenzino was given leave of absence from the imperial court due to illness in order to receive medical treatment (probably in Italy).

It has not yet been sufficiently clarified whether, when or how often Vincenzino appeared in the opera houses of Venice , where his reputation had already reached the mid-1660s. The Venetian nobles and impresarios Tommaso and Marco Corner tried again and again to hire him for their Theater San Luca, at least partially in vain. In 1671 he was wanted for the Venetian Theater of San Salvatore for Giovanni Antonio Boretti's opera Dario in Babilonia , and Giovanni Lenzei tried to win Olivicciani for his opera L'anarchia dell'imperio in San Salvatore in 1683 - but it is apparently not exactly known whether he was really occurred. One problem is the contemporary libretti , in which the contributors were not yet listed, as was later common.

At the age of over 60, Vincenzino sang in Vienna in 1708 in Antonio Bononcini's La Presa di Tebe , and in 1709 in the oratorios Il Figliuol Prodigo by Camilla de Rossi and La Decollazione di San Giovanni Battista by Antonio Bononcini. In the same year he also appeared in the festa di musica Il Campidoglio Ricuperato by Marc'Antonio Ziani .

In 1711 he retired and lived on the emperor's pension. He is said to have entered a monastery and died in Florence in 1726.

There is a group portrait of the Florentine court painter Anton Domenico Gabbiani , which shows three castrati: Vincenzo Olivicciani together with his colleagues Antonio Rivani (1629–1686) and the still childish Giulio Cavaletti (1668–1755). Vincenzino is likely to be the castrato in the middle of the spinet , as it can be proven that he played on the keel instruments of the Florentine court or was responsible for them. Rivani was 18 years older and the oldest in the picture is apparently the gentleman on the left.

literature

• Beth & Jonathan Glixon: Inventing the Business of Opera: The Impresario and His World in Seventeenth Century Venice , Oxford University Press, 2007, pp. 102, 177, 182-84. Excerpts online as a Google book (accessed on January 5, 2020)

• Elisa Goudriaan: Florentine Patricians and Their Networks: Structures Behind the Cultural Success and the Political Representation of the Medici Court (1600–1660) , BRILL, 2017, Google Book (accessed on January 5, 2020) (picture by Gabbiani)

• Warren Kirkendale: The Court Musicians in Florence during the Principate of the Medici: with a Reconstruction of the Artistic Establishment , University of Michigan, LS Olschki, Florence 1993, pp. 409-411

• Janet K. Paige: Sirens on the Danube: Giulia Masotti and Women Singers at the Imperial Court. In: Journal of Seventeenth-Century Music. Volume 17 (2011), No. 1, 2015, sscm-jscm.org (English; accessed on January 5, 2019)

• Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660–1760 , Stanford University Press, 2007, p. 162, online at online (accessed January 5, 2020)

Web links

• Vincenzo Olivicciani dit Vincenzino , short biography on Quell'Usignolo (French; accessed January 5, 2020)

Individual notes

1. ↑ ^{a b c d e f g} Dagmar Glüxam: Oliviciano (Olivicciani, Oliviciani, Ulivicciani), Vincento (Vincenzo, Fincenzo), called Vincenzino , in: Österreichisches Musiklexikon online (accessed January 5, 2020)
2. ↑ ^{a b c d} Vincenzo Olivicciani dit Vincenzino , biography on Quell'Usignolo (French; accessed on January 5, 2020)
3. ^ ^{A b} Janet K. Paige: Sirens on the Danube: Giulia Masotti and Women Singers at the Imperial Court. In: Journal of Seventeenth-Century Music. Volume 17 (2011), No. 1, 2015, sscm-jscm.org , Section 4.1., Footnote 53
4. ↑ "The Mourning of the Universe"
5. ↑ Janet K. Paige: Sirens on the Danube: Giulia Masotti and Women Singers at the Imperial Court. In: Journal of Seventeenth-Century Music. Volume 17 (2011), No. 1, 2015, sscm-jscm.org , Section 4.4, footnote 68
6. ↑ Stewart Pollens: Bartolomeo Cristofori and the Invention of the Piano , Cambridge University Press, 2017, p. 242, online (accessed January 5, 2020)
7. ↑ Janet K. Paige: Sirens on the Danube: Giulia Masotti and Women Singers at the Imperial Court. … 2015, online , section 4.1.
8. ↑ "The Rape of the Sabine Women "
9. ↑ Janet K. Paige: Sirens on the Danube: Giulia Masotti and Women Singers at the Imperial Court. … 2015, online , section 4.3
10. ↑ "The Eternal Fire Guarded by the Vestals"
11. ↑ Janet K. Paige: Sirens on the Danube: Giulia Masotti and Women Singers at the Imperial Court. In: Journal of Seventeenth-Century Music. Volume 17 (2011), No. 1, 2015, sscm-jscm.org , section 4.4.
12. ↑ Beth & Jonathan Glixon: Inventing the Business of Opera: The Impresario and His World in Seventeenth Century Venice , Oxford University Press, 2007, p. 183. online as a Google Book (accessed January 5, 2020)
13. ^ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , Stanford University Press, 2007, p. 104, online on online
14. ↑ "The Anarchy of the Empire"
15. ↑ Eleanor Selfridge-Field: A New Chronology of Venetian Opera and Related Genres, 1660-1760 , Stanford University Press, 2007, p. 162, online on online (accessed January 5, 2020)
16. ↑ "The Beheading of John the Baptist"
17. ↑ "The Regained Capitol "
18. ↑ See online at akg-images.de ( accessed on January 5, 2020)
19. ↑ See online in the picture index of art (accessed on January 5, 2020)
20. ↑ Elisa Goudriaan: Florentine Patricians and Their Networks: Structures Behind the Cultural Success and the Political Representation of the Medici Court (1600-1660) , BRILL, 2017, Google Book
21. ↑ On the age and biography of Cavaletti see: Martha Feldman: The Castrato: Reflections on Natures and Kinds , Univ. of California Press, 2015, p. 61, online (accessed January 5, 2020)
22. ↑ On the age and biography of Rivani see: Jean Grundy Fanelli: Antonio Rivani in the Grove online ( accessed January 5, 2020)
23. ↑ The author of the French website Quell'Usignolo believes that Vincenzino is the left singer, but for the said reason that is unlikely. See: Vincenzo Olivicciani dit Vincenzino on Quell'Usignolo (French; accessed January 5, 2020)
24. ↑ The dating of the picture to 1687 can at most refer to the painterly completion, but is otherwise set too late because of the age of the sitter, even if one assumes that castrati often looked younger than they were. Rivani had already died in 1686 at the age of 57 and Cavaletti, born in 1668, cannot be older than 14 or 15 in the picture. The picture is more likely to have been taken around 1680 or a little later.