Vittoria Tesi

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Vittoria Tesi, around 1740

Vittoria Tesi (or Tesi Tramontini ), called " la Fiorentina " or " la Moretta " ( February 13, 1701 in Florence - May 9, 1775 in Vienna ) was a famous 18th century Italian opera singer and singing teacher. Her voice was old .

Life

Her parents were Alessandro Tesi (son of Antonio Tesi) and Maria Antonia Rapacciuoli (daughter of Cosimo Rapacciuoli). She had two brothers: Cosimo and the deaf, dumb and mentally handicapped Giovanni. Vittoria's godparents were the well-known castrato Francesco de Castris (“Cecchino”) and the famous soprano Vittoria Tarquini , both of whom were singers of the music-loving Ferdinando de'Medici .

Various anecdotes are circulating about Vittoria Tesi , one of which relates to her origins and her exotic appearance: according to this, her actual father is supposed to have been a black, probably African , lackey named "Moretto" ("little Moor ") who was in the service (hers Godparents) Francesco de Castris stood. Hence the Tesi was given the nickname “ la Moretta ”. In a letter to Farinelli , she also called Metastasio “our incomparable African woman” (“ nostra impareggiabile africana ”), and more recently she has been referred to by R. Wiesend as “the first of the great colored opera singers”.

She received her first training with Francesco Redi in Florence and then studied with Francesco Campeggi in Bologna ; According to Mancini , she also attended " Bernacchi's School " at the same time , but if she did not take private lessons from him, this is probably a mistake or a mix-up, since Bernacchi only founded his school in 1737.

An encounter or even a relationship between Handel and a singer named Vittoria in Florence in 1707 , when his Rodrigo was performed there, cannot be identified with Vittoria Tesi due to her child's age of only 7 years (as was previously thought), and today it is more likely to be identified with her godmother Vittoria Tarquini, who was already famous at the time.

Vittoria Tesi had her first appearances in Parma in 1716 as Fileno in Il Dafni by Alessandro Scarlatti (?) And in Bologna in Il sogno avverato (composer unknown). 1718-19 she was then in Venice as virtuosa di camera of Prince Antonio of Parma.

In 1719 she sang in Dresden alongside Margherita Durastanti , Senesino and Santa Stella (the wife of the court composer Antonio Lotti ) at the festivities for the wedding of Prince Friedrich August (III.) With Archduchess Maria Josepha , and performed at the opening of the new Dresden Opera (am Zwinger ) on September 3, 1719 in Lottis Giove in Argo ; a few days later the role of Matilda in his opera Teofano followed . After the royal wedding in Dresden, the singer returned to Italy, where she appeared in all of Italy's major theaters until 1747, particularly in Venice, Naples and Milan , as well as in Florence , Bologna and Turin .

In the carnival of 1721 she was in Florence and sang among other things. the (male) title role in Luca Predieris Tito Manlio at the Teatro della Pergola . In Venice's most important opera house, the Teatro San Giovanni Grisostomo , she appeared together with Francesca Cuzzoni and Antonio Bernacchi from 1721-22 , in Antonio Pollarolo's opera Plautilla and in Giovanni Maria Capelli's Giulio Flavio Crispo .

The Tesi was good friends with the famous soprano Farinelli , with whom she often performed together in the 1720s and early 1730s and who sometimes mentions her in his letters and describes her as “wonderful people”. Relatively at the beginning of this friendship stands the often-mentioned concert performance of Johann Adolph Hasse's Serenata Marc'Antonio e Cleopatra in Naples in 1725, with the two appearing with reversed roles, Farinelli as Cleopatra and Tesi as Marc'Antonio, which was nothing unusual in baroque theater.
At the Teatro San Bartolomeo in Naples, the Tesi and Farinelli sang together (and together with Anna Maria Strada del Po ) between 1724 and 1726 in various operas by the young Neapolitan generation of composers , such as Leonardo Vinci , Domenico Natale Sarro , and Leonardo Leo .

On November 4, 1729 in Naples, to celebrate the name day of Emperor Charles VI. she sang Cleopatra in Hasse's opera Tigrane .

In Turin in 1731 she reappeared alongside Farinelli in Hasse's setting of Metastasios Catone in Utica . Farinelli himself reported about it to his friend Count Pepoli: “The Tesi was very popular, although at the premiere it did not yet have the entire affection of the public, and even displeased it; but after a few evenings when the first opera ( Catone in Utica ) was given, and after everyone had seen her special merits, they did her justice as one would ever do a virtuoso of the first order ... ", and their fire ( brio ) and their appearance were praised .

Throughout her career (from the late 1720s) the soprano Caffarelli was also a frequent stage partner of the Tesi (see the repertoire list below) and a high point in her career was a performance of Hasse's Siroe re di Persia at the Teatro Malvezzi in May 1733 in Bologna, where she appeared on stage with Farinelli and Caffarelli. She was also in early September 1734 at Farinelli's last appearances in Italy, at the Teatro della Pergola in Florence, in some performances of Orlandini's L'innocenza giustificata .

In 1736 at the Teatro San Giovanni Grisostomo in Venice she sang together with the tenor Angelo Amorevoli in the heavily revised 2nd version by Hasses Alessandro nell'Indie ( libretto : Metastasio), and at the opening of the Teatro San Carlo in Naples in 1737 she sang in Sarros Opera Achille in Sciro the male title role, alongside Anna Maria Peruzzi and Angelo Amorevoli, both of whom were also frequent stage partners.

1739-40 she was invited to Madrid by Farinelli, who now sang only for the Spanish king , and was one of the Italian opera stars, along with Caffarelli, the Peruzzi and the tenor Annibale Pio Fabbri , who performed during the celebrations for the wedding of Infante Felipe sang in Francesco Corselli's opera Farnace , in an unprecedentedly magnificent production. Farinelli wrote: “Our Tesi knew how to stand out among all the members of the ensemble through her sparkling spirit. She has found the destination that the gods of the highest altar have intended for her, because her play and her beautiful face have made all others (as they say here) servants ... "; as far as the purely vocal qualities were concerned, he found Caffarelli even better.

According to Croll, she possibly sang in 1741–42 in Frankfurt am Main at the imperial coronation (?).

Vittoria Tesi based on a caricature by Anton Maria Zanetti, 1741

From 1741 to 1745 the Tesi had an engagement again in Venice at the Teatro San Giovanni Grisostomo, where she, inter alia. 21 November 1744 title role in the premiere of Gluck Ipermestra and on December 27, along with the famous Mezzosopranisten Giovanni Carestini in Semiramide riconosciuta Hasse sang (libretto by Metastasio).

In Naples in 1747, to celebrate the first-born son Filippo of the Neapolitan King Carlo , she performed first in the Palazzo Reale and later at the Teatro San Carlo next to Caffarelli, Gizziello (actually Gioacchino Conti) and Giovanni Manzuoli in the Serenata Il sogno d'Olimpia by Giuseppe de Majo on (with libretto by Ranieri de 'Calzabigi ). Copper engravings have been published from the magnificent performance .

Then Tesi moved to Vienna - where she stayed until the end of her life - and at the opening of the new Burgtheater on May 14, 1748, she played the title role in the world premiere of Gluck's Semiramide riconosciuta with great success . In the following years she sang on the same stage in Hasse's Leucippo and in Jommelli's operas Achille in Sciro and Didone abbandonata .
She had her last appearances on the opera stage in 1750 (–51) in the Vienna Burgtheater with the title role in Andromeda liberata by Girolamo Abos (premiere: March 30, 1750), and as Lucinda in Georg Christoph Wagenseil's opera Vincislao (premiere: December 8, 1750) . In 1750 she also appeared in various opera pasticcios : in the title role of a Euridice (with music by Wagenseil, Hasse, Galuppi , Jommelli, Holzbauer and others), and as Armida in a pasticcio of the same name with music by Hasse, Abos, Bonno , Predieri and Carriage rope; In both cases (as often before) the famous tenor Angelo Amorevoli sang at her side.

The Tesi lived in Vienna in the Palais Rofrano (today: Palais Auersperg ), the residence of her benefactor, Prince Joseph von Sachsen-Hildburghausen . Even after she left the opera stage, she sang regularly at private concerts under the conductor Bonno. In March 1751, during a rehearsal, she met 12-year-old Carl Ditters (von Dittersdorf), for whom this remained an unforgettable memory:

“As soon as the symphony was finished, Madame Tesi appeared, who wanted to try two new arias ... today. She was a woman, over fifty years old, but very well preserved and pleasant. ... She had a round, bright contr-alto voice and her majestic performance delighted me to the point of numbness. ... After a number of instrumental pieces she finally stepped back to the clavicembalo and sang the second aria. It was an adagio . If I had been delighted by her brilliant lecture before, her gentle and melting expression carried me away so much that I believed that nothing more beautiful could be heard in the world. "

- Carl Ditters von Dittersdorf : biography , 1801

In 1754 Tesi appeared in Schloss Hof at a performance of Gluck's Le cinesi and in Bonno's Il vero omaggio . She also worked as a singing teacher and one of her students was celebrities such as Caterina Gabrielli , Anna-Lucia de Amicis and Elisabeth Teyber . In October 1762 Tesi met the 6-year-old Mozart and his father Leopold .

Vittoria Tesi died on May 9, 1775 “… in the Roforanischer Garten N: 1” in Josephstadt of “ pneumonia ” and was buried in the crypt of the Capuchin Church on the Neuer Markt in Vienna. She had bequeathed a foundation of 1,000 florins to the Capuchin Convention, with the stipulation that masses should be read regularly for her soul.

In her will, she bequeathed considerable sums to her husband Giacomo Tramontini and various other family members, such as her disabled brother Giovanni, and insisted that her niece (and godchild) Vittoria should freely dispose of her inheritance. Noticeably generous, she gave her black servant Maria Labita (later: Maria Victoria Tramontini), who lived with her from an early age and received a sum of 2000 Viennese florins.

marriage

Various rumors and anecdotes kursier (ed) about Vittoria Tesis sham or "Joseph marriage" with Giacomo Tramontini (* around 1705?), They should have just married to one another admirer (or even lovers) shake or even his honor save. This story became more and more embellished over time, and according to various authors Tramontini is said to have been a poor baker whom she met on the street and to whom she promised a fortune if he pretended to marry her; according to other sources he would have been a theater hairdresser . The place and time of this marriage are not known. Recent research by Michael Lorenz suggests that the marriage of Tesi and Tramontini may have taken place in their Italian time around 1730, possibly in Padua, where Tramontini owned the house where Tesi's disabled brother Giovanni lived. It is also certain that Tramontini also lived in Vienna, in Leopoldstadt , in her own house during Tesi's time in Vienna and was named a universal heir in her will , but with the condition that he would continue to care for her disabled brother Giovanni in the future until then lived in her husband's house in Padua.

Only a few months after Vittoria Tesi's death, on September 3, 1775, Giovanni Tramontini married his second wife, the Baroness Johanna Nepomuzena von Huldenburg, in St. Stephen's Cathedral . He died in 1785.

Voice and art

Vittoria Tesi is considered one of the greatest singers of the 18th century, she had a long operatic career that stretched from 1716 to around 1751 and continued to sing in concerts for years after that. Johann Joachim Quantz , who met her at the beginning of her career in the 1720s, described her voice as “a strong male contralt voice”; Dittersdorf heard it first in 1751 and spoke of a “round, bright contralto voice” (see quote above).

“... In the year 1719 in Dresden she sang mostly arias like those that are used for bassists. But now, in 1725, when she sang at the Opera in Naples, she had accepted a pleasant flattery in singing because of the splendid and serious. The range of her voice was extraordinarily wide. Singing high or low did not bother her either. Many passengers were not their work. But to captivate the audience through the action, she seemed to be born, strangely in male roles, which she almost most naturally performed for her advantage. "

- Johann Joachim Quantz

The repertoire of the operas composed for the singer shows, however, that she appeared occasionally, but not particularly often, in trouser roles (see the list of roles for Tesi below). It is also known that from 1738 onwards she no longer wanted to sing male roles, “because it was bad for her health” (!).

Tesi's admirers included Hasse, Metastasio, Farinelli, Dittersdorf and the singing teacher Giovanni Battista Mancini , who placed them above the other two prima donna of this era, Francesca Cuzzoni and Faustina Bordoni: “The first place goes, without a doubt, to Vittoria Tesi Tramontini ... ". Like Quantz and others, Mancini particularly praised her acting skills ("Action"):

“... she had all those rare prerequisites ... that were all united in her: an optimal and good personal appearance, together with a noble and graceful demeanor; their clear and chosen pronunciation (diction); weighing the words for their true meaning; the ability to distinguish one role from another and to express different characters with different facial expressions and appropriate gestures; mastery of the stage, and finally an absolutely perfect intonation, which did not wobble even in the fire of the most lively action, were her unique virtues, which she guided with great art, and which made her a uniquely perfect master. ... there was never another actress who came close to her. "

- Giovanni Battista Mancini : Riflessioni, e pensieri pratiche sopra il canto figurato , 1774

Roles for Vittoria Tesi

This is followed by a selection (!) Of roles that were expressly composed for Vittoria Tesi, only the most important opera composers of the time were considered. The most interesting fellow singers are also listed. All dates are from Corago, but some operas are also mentioned in the biographical part of the article.

  • Licisco (supporting role) in La Merope by Giuseppe Maria Orlandini ; Premiere: October 24th 1717, Bologna, Teatro Formagliari; i.a. with Francesca Cuzzoni
  • Claudio in L'amor di figlia by Giovanni Porta , premiere: October 29, 1718, Venice, Teatro Sant'Angelo; i.a. with Antonia Merighi
  • Matilda in Teofane by Antonio Lotti ; Premiere: September 13th 1719, Dresden, Kurfürstliches Theater; with Senesino (Francesco Bernardi), Santa Stella , Margherita Durastanti , Giuseppe Maria Boschi and others
  • Title role in Tito Manlio by Luca Predieri ; WP: Carnival 1721, Florence , Teatro della Pergola
  • Giulia in Plautilla by Antonio Pollarolo ; Premiere: November 22nd 1721, Venice , Teatro San Giovanni Grisostomo ; with Francesca Cuzzoni, Antonio Bernacchi and others
  • Fausta in Giulio Flavio Crispo by Giovanni Maria Capelli ; Premiere: January 17, 1722, Venice, Teatro San Giovanni Grisostomo; with Francesca Cuzzoni, Antonio Bernacchi, Annibale Pio Fabbri and others
  • Tusnelda in L'Arminio by Carlo Francesco Pollarolo ; Premiere: November 20, 1722, Venice, Teatro Sant'Angelo; with Nicolino (Nicola Grimaldi)
  • Erenice in Il Venceslao by Giovanni Maria Capelli; WP: Spring 1724, Parma , Court Theater; with Faustina Bordoni et al.
  • Title role in Eraclea by Leonardo Vinci ; Premiere: October 1st, 1724, Naples , Teatro San Bartolomeo ; with Farinelli (Carlo Broschi), Anna Maria Strada del Po , Diana Vico and others
  • Climene in Tito Sempronio Gracco by Domenico Natale Sarro ; WP: Carnival 1725, Naples, Teatro San Bartolomeo; with Farinelli (Carlo Broschi), Anna Maria Strada del Po, Diana Vico and others
  • Title role in Zenobia in Palmira by Leonardo Leo ; Premiere: May 13th 1725, Naples, Teatro San Bartolomeo; with Farinelli (Carlo Broschi), Anna Maria Strada del Po, Diana Vico and others
  • Andromaca in Astianatte by Leonardo Vinci; Premiere: December 2nd, 1725, Naples, Teatro San Bartolomeo; with Farinelli (Carlo Broschi), Anna Maria Strada del Po, Diana Vico and others
  • Lucinda in La Lucinda fedele by Giovanni Porta ; WP: Carnival 1726, Naples, Teatro San Bartolomeo; with Farinelli (Carlo Broschi), Anna Maria Strada del Po, Diana Vico and others
  • Title role in Eurene by Luca Predieri; WP: Carnival 1729, Milan , Regio Ducal Teatro; with Diana Vico, Caffarelli and others
  • Tamiri in Il Farnace by Leonardo Vinci; Premiere: August 28, 1729, Naples, Teatro San Bartolomeo; with Giovan Battista Minelli
  • Cleopatra in Tigrane by Johann Adolph Hasse ; Premiere: November 4th, 1729, Naples, Teatro San Bartolomeo; i.a. with Giovan Battista Minelli
  • Cleofide in Alessandro nell'Indie by Luca Antonio Predieri, WP: Carnival 1731, Milan, Regio Ducal Teatro; with Giovanni Carestini , Caffarelli, Anna Peruzzi and others
  • Berenice in Farnace by Giovanni Porta; WP: Spring 1731, Bologna , Teatro Malvezzi; with Farinelli (Carlo Broschi), Francesca Cuzzoni, Antonio Bernacchi and others
  • Arianna in Arianna e Teseo by Riccardo Broschi ; Premiere: August 28, 1731, Milan, Regio Ducal Teatro; i.a. with Farinelli (Carlo Broschi) as Teseo
  • Marzia in Catone in Utica by Johann Adolph Hasse; Premiere: December 26th 1731, Turin, Regio Teatro; i.a. with Farinelli (Carlo Broschi)
  • Title role in Merope by Riccardo Broschi; WP: Carnival 1732, Turin, Regio Teatro; with Farinelli (Carlo Broschi), Filippo Giorgi and others
  • Title role in Candace by Giovanni Battista Lampugnani ; Premiere: December 26th 1732, Milan, Regio Ducal Teatro; with Caffarelli, Anna Peruzzi, Angelo Amorevoli and others
  • Emira in Siroe, re di Persia by Johann Adolph Hasse; Premiere: May 2nd, 1733, Bologna, Teatro Malvezzi; with Farinelli (Carlo Broschi), Caffarelli, Anna Peruzzi, Filippo Giorgi, and others.
  • Cornelia in Cesare in Egitto by Geminiano Giacomelli ; WP: Carnival 1735, Milan, Regio Ducal Teatro; with Giuseppe Appiani , Angelo Amorevoli and others
  • Cleofide in L'Alessandro nell'Indie by Johann Adolph Hasse, January 28, 1736, Venice, Teatro San Giovanni Grisostomo; with Angelo Amorevoli
  • Berenice in Farnace by Leonardo Leo; Premiere: December 19, 1736, Naples, Teatro San Bartolomeo; with Giovanni Carestini, Angelo Amorevoli and others
  • Title role (Achille) in Achille in Sciro by Domenico Natale Sarro, Premiere: November 4, 1737, Naples, Teatro San Carlo (opening!); i.a. with Anna Peruzzi and Angelo Amorevoli.
  • Megacle in L'olimpiade by Leonardo Leo; Premiere: December 19, 1737, Naples, Teatro San Carlo; with Anna Peruzzi and Angelo Amorevoli
  • Alceste in Il Demetrio (revised version) by Leonardo Leo; Premiere: June 30th 1738, Naples, Teatro San Carlo; with Anna Peruzzi, Angelo Amorevoli and others
  • ? in Temistocle by Giovanni Alberto Ristori ; Premiere: December 19, 1738, Naples, Teatro San Carlo; with Caffarelli, Anna Peruzzi, Angelo Amorevoli and others
  • Semiramide in La Semiramide riconosciuta (revision) by Nicola Porpora ; Premiere: January 20, 1739, Naples, Teatro San Carlo; with Caffarelli, Anna Peruzzi, Angelo Amorevoli and others
  • Berenice in Farnace by Francesco Corselli ; Premiere: November 4th 1739, Madrid , Teatro del Buen Retiro; with Caffarelli, Anna Peruzzi, Annibale Pio Fabbri and others
  • Title role in Merope by Niccolò Jommelli ; Premiere: December 26th 1741, Venice, Teatro San Giovanni Grisostomo
  • Title role in Ipermestra by Christoph Willibald Gluck ; Premiere: November 21, 1744, Venice, Teatro San Giovanni Grisostomo
  • Semiramide in Semiramide riconosciuta by Johann Adolph Hasse; UA. December 26, 1744, Venice, Teatro San Giovanni Grisostomo; with Giovanni Carestini et al.
  • Olimpia in Il sogno d'Olimpia ( festa teatrale ) by Giuseppe de Majo ; Premiere: November 6th 1747, Naples, Palazzo Reale ; with Caffarelli, Gioacchino Conti , Giovanni Manzuoli and others
  • Dafne in Leucippo by Johann Adolph Hasse; Premiere: August 28, 1748, Vienna , Imperial Theater; with Angelo Maria Monticelli , Angelo Amorevoli, Rosalia Holzbauer, Ventura Rocchetti and others
  • Emira in Il Siroe by Georg Christoph Wagenseil ; Premiere: October 4th, 1748, Vienna, Imperial Theater; with Ventura Rocchetti
  • Semiramide in La Semiramide riconosciuta by Christoph Willibald Gluck; Premiere: May 14, 1748, Vienna, Burgtheater; with Ventura Rocchetti, Angelo Amorevoli and others
  • Mandane in Artaserse by Baldassare Galuppi ; Premiere: January 27, 1749, Vienna, Neues Kaiserliches Theater; with Ventura Rocchetti
  • Dido in Didone abbandonata by Niccolò Jommelli; Premiere: December 8th, 1749, Vienna, Burgtheater; with Caffarelli as Enea, Anton Raaff and others
  • Andromeda in Andromeda liberata by Girolamo Abos ; Premiere: March 30, 1750, Vienna, Imperial Theater; i.a. with Angelo Amorevoli
  • Title role in Euridice ( pasticcio ) with music by Wagenseil, Galuppi, Hasse, Holzbauer , Bernaschoni , Jommelli; Premiere: 1750, Vienna, Neues Kaiserliches Theater; with Angelo Amorevoli and others
  • Lucinda in Vincislao by Georg Christoph Wagenseil; Premiere: December 8th, 1750, Vienna, Neues Kaiserliches Theater
  • Lisinga in the Serenata Le cinesi by Christoph Willibald Gluck; Premiere: September 24, 1754, Hof Palace near Vienna

literature

  • Patrick Barbier : Farinelli, the castrato of the kings , Econ, Düsseldorf, 1995 (German translation of the French original)
  • "Vittoria Tesi", in: Brockhaus Conversations-Lexikon , Vol. 6, Amsterdam 1809, pp. 102-103, online (accessed October 19, 2019)
  • Charles Burney : The present state of music in Germany, the Netherlands, and United provinces , T. Becket and Co., London 1773.
  • Anke Charton: Article “Vittoria Tesi” . In: MUGI. Music education and gender research: Lexicon and multimedia presentations , ed. by Beatrix Borchard and Nina Noeske, University of Music and Theater Hamburg, 2003ff. As of May 17, 2018 (accessed October 15, 2020)
  • Gerhard Croll: "Tesi (Tramontini), Vittoria", January 2001, online at Oxford Index (English; accessed on October 21, 2019)
  • Adriana De Feo: Johann Adolf Hasses Marc'Antonio e Cleopatra , on the website of the Mozart Opera Institute of the Mozarteum University Salzburg, on Mozartoper.at (accessed on October 22, 2019)
  • Carl Ditters von Dittersdorf : Karl von Dittersdorf biography , Breitkopf and Härtel, Leipzig, 1801, pp. 12-13, online as a Google Book (viewed October 23, 2019)
  • Francesco Lora: Tesi, Vittoria, detta la Fiorentina o la Moretta , in: Dizionario Biografico degli Italiani , Volume 95, 2019, [3] (Italian; accessed March 17, 2020)
  • Michael Lorenz: The Will of Vittoria Tesi Tramontini , March 31, 2016 (update: July 30, 2018), on: Michael Lorenz -Musical Trifles and Biographical Paralipomena , online (accessed October 23, 2019)
  • Michael Lorenz: A Tesi Tramontini Addendum: Tesi's Mass Endowment Deed , April 27, 2016 ( online , English; accessed October 23, 2019)
  • Johann Adam Hiller : Instructions for musical, delicate singing ... , Johann Friedrich Junius, Leipzig 1780, online as a Google Book (accessed October 24, 2019)
  • Giovanni Battista Mancini : Riflessioni, e pensieri pratiche sopra il canto figurato , 1774, p. 19, online at archive.org (Italian; accessed October 24, 2019)
  • Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004 (Italian)
  • Reinhard Strohm: “Who is Farinelli?”, Booklet text on the CD: Arias for Farinelli , with Vivicagenaux , Academy for Early Music Berlin, René Jacobs ; harmonia mundi, 2002-2003. Pp. 38-44

Web links

Commons : Vittoria Tesi  - collection of images, videos and audio files

Individual notes

  1. ↑ In the baptism entry (in: Opera di S. Maria del Fiore, Archivio delle fedi di battesimo di S. Giovanni, reg. 295, c. 84v), February 13, 1700 is given. According to Lora, however, this relates to the Tuscan calendar usage ab incarnatione , which was then in use in Florence, and corresponds to February 13, 1701 according to the (modern) Gregorian calendar . See: Francesco Lora: Tesi, Vittoria, detta la Fiorentina o la Moretta , in: Dizionario Biografico degli Italiani , Volume 95, 2019, [1] (Italian; accessed March 17, 2020)
  2. ↑ a b Christian Fastl: Tesi (-Tramontini), Vittoria (La Moretta, La Fiorentina) , in: Österreichisches Musiklexikon online (accessed on March 17, 2020)
  3. ↑ Francesco Lora: Tesi, Vittoria, detta la Fiorentina o la Moretta , in: Dizionario Biografico degli Italiani , Volume 95, 2019, [2] (Italian; accessed March 17, 2020)
  4. ↑ Croll gives February 13th 1700 as his date of birth, since he apparently did not take into account the Tuscan calendar calculation. Gerhard Croll: "Tesi (Tramontini), Vittoria", January 2001, on Oxford Index (English; accessed on October 21, 2019)
  5. ↑ The original birth entry is quoted in " Vittoria Tesi, di Ademollo " , p. 1 (Italian; accessed on October 24, 2019)
  6. ↑ a b c d e f g h i j k l m n o p q r s Michael Lorenz: The Will of Vittoria Tesi Tramontini , March 31, 2016 (update: July 30, 2018), on: Michael Lorenz - Musical Trifles and Biographical Paralipomena , online (accessed October 23, 2019)
  7. ↑ Francesco Lora: Tesi, Vittoria, detta la Fiorentina o la Moretta , in: Dizionario Biografico degli Italiani , Volume 95, 2019, online on Treccani (Italian; accessed March 17, 2020)
  8. ^ Maria Augusta Timpanaro Morelli: Per Tommaso Crudeli: nel 255 ° anniversario della morte, 1745-2000 , Firenze, Olshki, 2000, p. 31, ISBN 882224866X
  9. ↑ a b Raffaele Mellace: Johann Adolf Hasse , L'Epic, 2004, p 40, Footnote 44 (Italian)
  10. ↑ It should be noted that in the Italian la Moretta as l'Amoretta ( Cupid sounds), so is in the nickname is also a pun.
  11. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, p. 197, footnote 77 (Italian)
  12. ↑ a b c d e f g h i j k l Gerhard Croll: "Tesi (Tramontini), Vittoria", January 2001, on Oxford Index (English; accessed on October 21, 2019)
  13. ↑ Giovanni Battista Mancini: Riflessioni, e pensieri pratiche sopra il canto figurato , 1774, p. 19, online at archive.org (Italian; accessed October 24, 2019)
  14. ↑ a b "Vittoria Tesi, di Ademollo" , Capitolo I, pp. 2–3 (actually no page numbers) (Italian; accessed October 24, 2019)
  15. ^ Il Dafni (Alessandro Scarlatti) in the Corago information system of the University of Bologna .
  16. ↑ According to Lorenz, the opera is by Astorga . Michael Lorenz: The Will of Vittoria Tesi Tramontini , March 31, 2016 (update: July 30, 2018), on: Michael Lorenz - Musical Trifles and Biographical Paralipomena , online (accessed October 23, 2019)
  17. ^ Tito Manlio (Luca Antonio Predieri) in the Corago information system of the University of Bologna .
  18. ^ Plautilla (Antonio Pollarolo) in the Corago information system of the University of Bologna .
  19. ^ Giulio Flavio Crispo (Giovanni Maria Capelli) in the Corago information system of the University of Bologna .
  20. ↑ Patrick Barbier : Farinelli, der Kastrat der Könige , Econ, Düsseldorf, 1995, pp. 37, 47f, 50f, 62, 65, 73, 141, 167
  21. ↑ Patrick Barbier: Farinelli ... , 1995, p. 65
  22. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, pp. 39–40 (Italian)
  23. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, p. 197 (Italian)
  24. ↑ Reinhard Strohm: “Who is Farinelli?”, Booklet text for the CD: Arias for Farinelli , with Vivicagenaux , Akademie für Alte Musik Berlin, René Jacobs ; harmonia mundi, 2002-2003. Pp. 38–44, here: 41
  25. ^ A b Adriana De Feo: "Johann Adolf Hasse's Marc'Antonio e Cleopatra ", on the website of the Mozart Opera Institute of the University Mozarteum Salzburg, on Mozartoper.at (accessed on October 22, 2019)
  26. ^ Eraclea (Leonardo Vinci) in the Corago information system of the University of Bologna .
  27. ^ Astianatte (Leonardo Vinci) in the Corago information system of the University of Bologna .
  28. ^ Tito Sempronio Gracco (Domenico Natale Sarro) in the Corago information system of the University of Bologna .
  29. ^ Zenobia in Palmira (Leonardo Leo) in the Corago information system of the University of Bologna .
  30. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, p. 41, footnote 52 (Italian)
  31. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, p. 105 (Italian)
  32. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, p 106 (Italian)
  33. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, pp. 106-107 (Italian)
  34. ↑ Patrick Barbier: Farinelli ... , 1995, pp. 62 & 64
  35. ↑ Patrick Barbier: Farinelli ... , 1995, p. 65
  36. ↑ The opera was a little older, so it wasn't a world premiere: L'innocenza giustificata (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna . Farinelli sang for the first time in London at the end of October.
  37. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, p. 56, footnote 100 (Italian)
  38. ^ Achille in Sciro (Domenico Natale Sarro) in the Corago information system of the University of Bologna .
  39. ↑ Patrick Barbier: Farinelli ... , 1995, pp. 140-141
  40. ↑ Patrick Barbier: Farinelli ... , 1995, p. 141
  41. ↑ Patrick Barbier: Farinelli ... , 1995, p. 141
  42. ↑ Raffaele Mellace: Johann Adolf Hasse , L'Epos, 2004, p. 56, footnote 102 (Italian)
  43. ↑ a b Vittoria Tesi, di Ademollo , end of "Capitolo II" (text without page numbers) (Italian; accessed on October 24, 2019)
  44. ^ Andromeda liberata (Girolamo Abos) in the Corago information system of the University of Bologna .
  45. ↑ Vincislao (Georg Christoph Wagenseil) in the Corago information system of the University of Bologna .
  46. ^ Euridice (Georg Christoph Wagenseil) in the Corago information system of the University of Bologna .
  47. ↑ Raffaele Mellace: Johann Adolf Hasse, L'Epos, 2004, p. 95 (Italian)
  48. ↑ "Vittoria Tesi" on the Josefstädterinnen website (viewed on October 21, 2019)
  49. ↑ Karl von Dittersdorf biography , Breitkopf and Härtel, Leipzig, 1801, pp. 12-13, online as a Google Book (viewed October 23, 2019)
  50. ↑ Michael Lorenz: A Tesi Tramontini Addendum: Tesi's Mass Endowment Deed , April 27, 2016 ( online , English; accessed October 23, 2019)
  51. ↑ a b here to: Johann Adam Hiller : Instructions for the musically delicate singing ... , Johann Friedrich Junius, Leipzig 1780, online as a Google Book (accessed on October 24, 2019) Preface, pp. XXII-XXIII
  52. ↑ here to: Johann Adam Hiller : Instructions for the musically delicate singing ... , Johann Friedrich Junius, Leipzig 1780, online as a Google Book (accessed October 24, 2019) Preface, pp. XXII-XXIII
  53. ^ John Rosselli: "Singers of italian Opera: the history of a profession", Cambridge University Press, 1995, p. 58, excerpts online as Google Books (English; accessed on November 12, 2019)
  54. ↑ Beginning of the greatly abbreviated translation of Mancini in Johann Adam Hiller: Instructions for the musical, delicate singing ... , online as a Google book (accessed October 24, 2019)
  55. ↑ " ... adorna di tutte quelle rare prerogative, ..., che erano tutte unite in lei. Un ottimo, e ben complesso personale, accompagnato da un nobile, e grazioso portamento; la chiara, e scelta sua pronunzia; il vibrare le parole a seconda del vero senso; l'adattarsi a distinguere a parte a parte ogni diverso carattere sí col cangiamento del volto, come col gesto appropriato; il possesso della scena; e finalmente una perfettissima intonazione, che non vacilló mai anche nel fervore del azione più viva, furono in lei pregi sì singolari, e guidati sì bene dall 'arte, che la resero unica perfetta Maestra. … Non vi fosse mai altra attrice, che potesse uguagliarla. “Giovanni Battista Mancini: Riflessioni, e pensieri pratiche sopra il canto figurato , 1774, pp. 19-20, online at archive.org (Italian; accessed October 24, 2019)
  56. ^ La Merope (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  57. ^ L 'amor di figlia (Giovanni Porta) in the Corago information system of the University of Bologna .
  58. ^ Teofane (Antonio Lotti) in the Corago information system of the University of Bologna .
  59. ^ Tito Manlio (Luca Antonio Predieri) in the Corago information system of the University of Bologna .
  60. ^ Plautilla (Antonio Pollarolo) in the Corago information system of the University of Bologna .
  61. ^ Giulio Flavio Crispo (Giovanni Maria Capelli) in the Corago information system of the University of Bologna .
  62. ^ L 'Arminio (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna .
  63. ^ Il Venceslao (Giovanni Maria Capelli) in the Corago information system of the University of Bologna .
  64. ^ Eraclea (Leonardo Vinci) in the Corago information system of the University of Bologna .
  65. ^ Tito Sempronio Gracco (Domenico Natale Sarro) in the Corago information system of the University of Bologna .
  66. ^ Zenobia in Palmira (Leonardo Leo) in the Corago information system of the University of Bologna .
  67. ^ Astianatte (Leonardo Vinci) in the Corago information system of the University of Bologna .
  68. ^ La Lucinda fedele (Giovanni Porta) in the Corago information system of the University of Bologna .
  69. ↑ Eurene (Luca Predieri) in Corago information system of the University of Bologna .
  70. ^ Il Farnace (Leonardo Vinci) in the Corago information system of the University of Bologna .
  71. ^ Tigrane (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  72. ↑ Alessandro nell'Indie (Luca Antonio Predieri) in the Corago information system of the University of Bologna .
  73. ^ Farnace (Giovanni Porta) in the Corago information system of the University of Bologna .
  74. ^ Arianna e Teseo (Riccardo Broschi) in the Corago information system of the University of Bologna .
  75. ^ Catone in Utica (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  76. ^ Merope (Riccardo Broschi) in the Corago information system of the University of Bologna .
  77. ^ Candace (Giovanni Battista Lampugnani) in the Corago information system of the University of Bologna .
  78. ^ Siroe, re di Persia (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  79. ^ Cesare in Egitto (Geminiano Giacomelli) in the Corago information system of the University of Bologna .
  80. ^ L'Alessandro nell'Indie (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  81. ^ Farnace (Leonardo Leo) in the Corago information system of the University of Bologna .
  82. ^ Achille in Sciro (Domenico Natale Sarro) in the Corago information system of the University of Bologna .
  83. ^ L'olimpiade (Leonardo Leo) in the Corago information system of the University of Bologna .
  84. ^ Il Demetrio (Leonardo Leo) in the Corago information system of the University of Bologna .
  85. ^ Temistocle (Giovanni Alberto Ristori) in the Corago information system of the University of Bologna .
  86. ↑ La Semiramide riconosciuta (Nicola Porpora) in the Corago information system of the University of Bologna .
  87. ^ Farnace (Francesco Corselli) in the Corago information system of the University of Bologna .
  88. ^ Merope (Niccolò Jommelli) in the Corago information system of the University of Bologna .
  89. ^ Ipermestra (Christoph Willibald Gluck) in the Corago information system of the University of Bologna .
  90. ^ Semiramide riconosciuta (Johann Adolf Hasse) in the Corago information system of the University of Bologna .
  91. ^ Il sogno d'Olimpia (Giuseppe di Majo) in the Corago information system of the University of Bologna .
  92. ^ Leucippo (Johann Adolph Hasse) in the Corago information system of the University of Bologna .
  93. ^ Il Siroe (Georg Christoph Wagenseil) in the Corago information system of the University of Bologna .
  94. ↑ La Semiramide riconosciuta (Christoph Willibald Gluck) in the Corago information system of the University of Bologna .
  95. ^ Artaserse (Baldassare Galuppi) in the Corago information system of the University of Bologna .
  96. ^ Didone abbandonata (Niccolò Jommelli) in the Corago information system of the University of Bologna .
  97. ^ Andromeda liberata (Girolamo Abos) in the Corago information system of the University of Bologna .
  98. ^ Euridice (Georg Christoph Wagenseil) in the Corago information system of the University of Bologna .
  99. ↑ Vincislao (Georg Christoph Wagenseil) in the Corago information system of the University of Bologna .
  100. ^ Le cinesi (Christoph Willibald Gluck) in the Corago information system of the University of Bologna .
personal data
SURNAME Tesi, Vittoria
ALTERNATIVE NAMES Tesi Tramontini, Vittoria; La Moretta; La Fiorentina
SHORT DESCRIPTION Italian opera singer, alt
DATE OF BIRTH February 13, 1701
PLACE OF BIRTH Florence
DATE OF DEATH May 9, 1775
Place of death Vienna