- Venue's Capacity: 750
Philippe Jaroussky (c) Simon Fowler
Rossi : Arias1 h 30
No Italian composer was as successful in France during the seventeenth century as Luigi Rossi, composer, harpist, luthist, singer and organist.
Student of Giovanni de Macque in Naples, Luigi Rossi went to Rome in 1614. He entered the service of the Borghese family and became an organist in San Luigi dei Francesi. In 1635, he continued at the invitation of Ferdinand II of Medici in Florence where he spent several years. The highlight of the musical activity in Rome at the time of Luigi Rossi is the Barberini family, which offers the creativity of the composers the space that will allow them to flourish fully. Highlights of this dynasty are Pope Urban VIII (Maffeo Barberini) and his nephews Francesco and Cardinal Antonio Barberini, who make the Barberini palace and its theater the turning-point of Roman opera. They command masses, oratorios and operas that are performed at the time of the carnival, weddings, political events, coronations or important official visits. Luigi Rossi was hired by Cardinal Antonio Barberini to play a booklet by Giulio Rospigliosi: the Palazzo incantato (1642), inspired by the Orlando Furioso, which was a huge success at the carnival of 1642. The most famous castrates of theirs When Marc'Antonio Pasqualini, Mario Savioni and Loreto Vittori participated in the shows, hundreds of machines and hundreds of decorators and technicians make this work an event-show that lasts seven hours.
The Barberini dynasty abruptly ends at the death of Pope Urban VIII, where the new pope discovers that the Vatican's official funds have been diverted by the Barberini family to fund their shows. in 1645. They bring with them some of their musicians such as Marco Marazzoli, the famous singer Leonora Baroni, the castrati Atto Melani and Mario Savioni, friends, colleagues and performers of the cantatas of Luigi Rossi. At the request of Mazarin and recommended by Cardinal Barberini, Rossi came to Paris at the end of the summer of 1646. Cardinal Mazarin's musical patronage is one of the salient aspects of an ambitious policy that touched all the arts and aimed to acclimate the Italian taste in France. He will no longer cease to search for artists capable of serving his purpose in establishing the Italian opera in France: Rossi's Orfeo (1647), on a poem by Abbot Buti, will be one of the most ambitious productions in this field. The project is based on two precious manuscripts offered to Anne of Austria, which are kept at the National Library of Paris. They contain about a hundred Italian cantatas, most of them composed by Luigi Rossi. These two books are decorated with the emblem of the Barberini family, and bear witness to the performance of Italian vocal music by Italian and French singers.
Source © Château de Versailles Shows
Cat + : the programme and a glass of champagne during the interval.